نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکترای پژوهش هنر/ دانشگاه هنر اصفهان
2 دانشیار گروه پژوهش هنر/ دانشکده پژوهش های عالی هنر و کارآفرینی/ دانشگاه هنر اصفهان
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
William Norman Bryson is one of the second-generation cultural studies researchers who is concerned with revising the concept of art history. Focusing on the discussion of the image and its analysis, while criticizing the classic sociological and semiotic methodologies in the criticism of the image, he presents painting as a social practice and a cultural sign. In his opinion, if the painting analysis method is revised, the dimensions A wider scope of painting is opened and the nature of painting is clarified as a social practice or a cultural sign, which really makes painting a social formation, and from this point of view, the nature of art history itself is also revised. According to Bryson, the denotation process of painting is a kind of active production, and it appears from the heart of social interactions, and at the same time, it embodies social conflicts, and painting is a cultural being. The main question of the upcoming article is to explain Bryson's point of view on painting as a social practice and a cultural sign. From this point of view, painting is understood as a work intertwined with social formation, which shows some agency on the part of the painter. The action painting has a sign and implication, which, along with its impact on social conditions, plays an active role in the way these conditions are expressed, and even actively enters into the change of cultural approaches. The research method of this article is descriptive-analytical with a critical approach, which while describing Bryson's point of view, presents his critical analysis of classic sociological and semiotic analysis methods to painting as a result, painting as a social practice and cultural sign.
کلیدواژهها [English]
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