تحلیل محتوای شخصیت های جنگاور نقاشی های علی اکبر صادقی در تطبیق با نقاشی های مذهبی قهوه خانه ای بر مبنای آرای ژیلبر دوران

نقاشی قهوه خانه ای از معدود هنرهای عامیانه برجامانده در ایران است که برآمده از نگرش های ملی و مذهبی مردم در عصر قاجار بوده و بر پایه‌ مضامین حماسی و مذهبی و با بن مایه های اسطوره ای خلق می شدند. انتقال مفاهیم این روایات به مخاطب، بر دوش جنگاوران اسطوره ای این نقاشی هاست که تداعی‌کننده‌ مفهوم حماسه اند؛ تلاشی بزرگ در اندازه‌ ایثار جان، برای دست‌یابی به هدف‌هایی بزرگ. چنین شخصیتی، در اندیشه‌ اسطوره شناسانی همچون ژیلبر دوران، نمایانگر نماد های مرگ گریز و مرگ ستیز است. پژوهش حاضر جنگاوران نقاشی های علی اکبر صادقی را در تطبیق با جنگاوران نقاشی های مذهبی قهوه خانه ای بر مبنای آرای دوران تحلیل می کند. هدف این پژوهش، شناخت محتوای شخصیت های جنگاور نقاشی های صادقی در تطبیق با نقاشی های مذهبی قهوه خانه ای، بر مبنای منظومه های روزانه و شبانه‌ دوران است. روش این پژوهش توصیفی، تحلیل محتوا با رویکرد تطبیقی و گردآوری اطلاعات به شیوه کتابخانه ای و تصویرخوانی بوده‌است. یافته های این پژوهش نشان می دهد که در نقاشی های مذهبی قهوه خانه ای، جنگاورانِ هر دو نیروی خیر و شرّ حضور داشته و نقاش به جانب‌داری از نیرو های خیر پرداخته و با این روش، حماسه های مذهبی یک قوم را نمایان ساخته‌است، ولی در مقابل، نقاشی های صادقی کاملاً تک قطبی و با ارزش گذاری های منفی ارزیابی شده که متمایل به منظومه‌ شبانه‌ دوران است. منظومه ای که در آن صحبتی از تقابل قهرمانانه و حماسی به میان نمی آید.

analysis of warrior characters in ali akbar sadeghi’s paintings in comparison with religious coffee house paintings based on gilbert doran’s views

coffee house painting is one of the few remaining folk arts in iran, the origin of which is the national and religious attitudes of the people in the qajar era, and imagination forms the basis of the images of the paintings, and national and religious myths are also the basis of the content of these paintings. transferring the concepts of these narratives to the audience is on the shoulders of the warriors of these paintings; warriors who, like the myth, evoke the concept of epic and heroic acts; a great effort to the extent of sacrificing their own life to achieve great and ideal goals. such a character, in the opinion of mythologists such as gilbert doran, represents the symbols of human endurance, who stand against death and mortality with all their material and spiritual powers. analysing the content of the warrior characters of ali akbar sadeghi’s paintings, to find their differences with the warriors of the religious coffee house paintings, based on the opinions of gilbert duran and contrary to their formal similarities, is the aim of this research. also, the causes of these differences in sadeghi’s paintings are analysed and investigated.referring to the origin of human imagination, gilbert duran proves that the products of imagination have an inherent meaning that determines our representation of the surrounding world. according to him, the core of human thinking is formed from imagination. gilbert doran’s method of understanding the imagination of an author is based on recovering the imaginary poles and finding the relationship between these poles. he also classifies them at the end. gilbert duran categorises all images and divides this category into daily and nightly systems. the daily system itself is classified into two groups of symbols that contrast the images: the images of the first group that spread the meaning of the great fear of time. the images of the second group wish to win and overcome the anxiety of time ascension and immortality. human thoughts in this structure are the same as primitive human thoughts. based on this thinking, man divides the world into two poles, good and bad.the images of this system are divided into two opposing groups: the first group is images of time and shows the dominance of darkness over light. the symbols of this category try to show the concepts of decay and anxiety by depicting death and darkness. in general, these are images with a negative meaning. these images express the fear of animals, darkness, and falling. the second category of images of the daily system are symbols of separation, illumination, and ascension. in this system, images with a positive meaning are contrasted with negative images. in the nightly system, instead of the images representing confrontation and conflict, the images soften the worry and fear of time. in other words, in the night system, negative images are displayed gently.the method of this descriptive research was content analysis with a comparative approach.based on the available documents, the peak period of the coffee house painting style can be considered to be the same time as iran’s constitutional movement, in the late qajar period and the early pahlavi period. coffee house painting reached its peak of prosperity with artists such as hossein qollar agassi and mohammad modbar and had an impact on contemporary art as well. these artists trained students such as fathullah qollar, hossein hamedani, hassan ismailzadeh (chalipa), and abbas bloukifar, who continued in their footsteps. the painting of a coffee house reflects national hopes and interests, religious beliefs, and the spirit of the special culture of the middle layers of the urban society.