تبیین مفهوم اصالت در هنرهای سنتی در مواجهه با تکثیر مکانیکی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هنرهای سنتی در طول تاریخ رویکردهای مختلفی را در میان متفکرین از جمله سنت گرایان به همراه داشته است. دراین میان مفهوم اصالت از جایگاه ویژه ای برخوردار است. ازسوی دیگر، به واسطه مواجهه عصر حاضر با تکثیر مکانیکی، مباحث چالش برانگیزی در مورد مؤلّفه های هنرهای سنتی مطرح شده است. ازاین رو یکی از مباحث مهم، مقوله اصالت زدایی در هنرهای سنتی است که می توان با مطابقت دیدگاه آراء متفکرین به استنباط آن پرداخت. این در حالی است که نزد متفکرین سنت گرا بیشتر مفهوم اصالت مورد توجه قرار گرفته و مباحث مرتبط با اصالت زدایی از سوی نظریه پردازان دیگری همچون والتربنیامین، مطرح شده است. هدف از این پژوهش در مرتبه نخست کنکاش مفهوم اصالت در حوزه هنرهای سنتی از دیدگاه سنت گرایان و والتر بنیامین است. در مرتبه دوم شناسایی و تبیین چگونگی مواجهه این مفهوم با تکثیر مکانیکی صورت گرفته است. ازاین رو این پرسش صورت بندی شده است که مفهوم اصالت در هنرهای سنتی و مواجهه آن با تکثیر مکانیکی چگونه قابل تبیین است؟ روش تحقیق در این پژوهش توصیفی- تحلیلی با مطالعه تطبیقی، همراه با کاوش کتابخانه ای داده ها است. بدین ترتیب به منظور تشریح و تحلیل کیفی این مفاهیم، دیدگاه پنج نفر از سنت گرایان و مقاله والتر بنیامین، تا حد اشباع واکاوی گردیده است. نتایج پژوهش گویای آن است که مطابق با کدگذاری و تحلیل های صورت گرفته بر آراء مذکور، بخش عمده ای از مقوله های اصلی و زیرمجموعه مفهوم اصالت از منظر بنیامین، با آراء سنت گرایان مطابقت دارد. با بررسی دقیق مشخص گردید که «هستی یگانه در مکان اصلی» و «هنرمند اصیل»، از میان سایر مؤلّفه ها، مقوله های هسته ای و کلیدی مفهوم اصالت هستند. همچنین براساس تحلیل های صورت گرفته بر مفهوم تکثیر مکانیکی، مشخص گردید بخشی از مؤلّفه های این مفهوم، نقطه مقابل مؤلّفه های مفهوم اصالت است. در نتیجه با تبین تفاوت بین آن ها می توان این ادعا را داشت که مؤلّفه های مفهوم اصالت زدایی همان مؤلّفه های درنظر گرفته شده برای مفهوم اصالت است اما با این تفاوت که هنرهای سنتی در عصر حاضر با فقدان این مشخصه ها مواجه شده است.Explaining the Concept of Authentication in Traditional Arts in Contrast of Mechanical Reproduction
The concept of authenticity in artistic works has attracted the attention of many philosophers and theorists throughout history, from Plato to the postmodern era, and especially traditionalists. Among them, the theorists of the Frankfurt School have focused particularly on this concept. One of the members of this intellectual field is Walter Benjamin, who extensively addresses the concept of authenticity in his famous article "The Work of Art in the Age of Mechanical Reproduction". In discussions related to traditional arts, the views of traditionalists have always been of interest, and the concept of authenticity is particularly important among them. Generally, these theorists believe that authenticity is one of the fundamental components of traditional arts, and in examining and expanding on it, one can understand the relationship of other components and characteristics of traditional arts with authenticity. On the other hand, one of the challenging issues of the present era is the existential nature of the concept of authenticity in the face of mechanical reproduction and the emergence of the phenomenon of de-authentication in artistic works. Although the technology of reproduction has been present in various eras with different qualities, its influence has brought about variations in the principles of traditional arts in the present age. Consequently, a particular interpretation of the components of traditional arts, including the concept of authenticity, is observed today, and Benjamin's writings have focused on the issue of de-authentication in artistic works. In Benjamin's view, while referring to the characteristics of traditional art forms, direct references have been made to the decline and destruction of artistic components in the age of mechanical reproduction. The analysis and explication of the concept of authenticity in the views of Benjamin and traditionalists can be formulated on this basis. According to Benjamin, authenticity is an abstract thing that encompasses everything that has been transferable from the beginning; from its material continuity to its historical testimony to the history it has passed through. Therefore, from Benjamin's perspective, authenticity is the characteristic of the traditional form of an artwork, and the presence of the artwork is a necessary condition for the concept of authenticity. According to the text of the article, Benjamin considers the component of "unique existence in the original place" as a core and essential element of the concept of authenticity. Based on the inseparable connection of the authentic artwork to its unique existence, both secondary and primary elements have been considered in the analysis of the concept of authenticity, along with codes and concepts that have been differentiated. These elements, in agreement with unique existence, gain meaning and possibility, and all of them can be considered as characteristics of authentic artwork and components that indicate and signify the concept of authenticity. Furthermore, considering that Benjamin categorizes the components precisely in his article, similar concepts and elements can be explained in this regard, and there is no need for designing new vocabulary. Also, in examining this issue, what is important is to clarify the traditionalists' perspective on the concept of authenticity. Because when it comes to traditional arts, the views and writings of traditionalists are initially raised. Based on the codifications and correspondences that have taken place, a significant portion of the issues addressed in explaining the concept of authenticity from Walter Benjamin's perspective can also be elucidated in the views of traditionalists. Although traditionalists and Benjamin are two entirely different intellectual currents, overall, their perspectives on the concept of authenticity can be simultaneously considered. The goal of this research is to explain this concept in the age of mechanical reproduction, and Benjamin is one of the most important theorists who has critically evaluated the aesthetic components of art in the face of mechanical reproduction. Based on this, the research aims to delve into the theoretical dimensions of authenticity and de-authentication in traditional arts by analyzing and critiquing the views of traditionalists and Walter Benjamin, and consequently examining the position and manner of confrontation of the concept of authenticity with mechanical reproduction. In pursuit of answering the question of how the concept of authenticity in traditional arts and its confrontation with mechanical reproduction can be explained, the analysis conducted and in response to the research questions, in addition to elucidating concepts and related issues of authenticity, concepts and characteristics related to the concept of mechanical reproduction have also been identified. Furthermore, works of technical reproduction are considered as independent and novel works, while works of manual reproduction are not taken into account. Therefore, the focus is on works that are presented along with the characteristics of mechanical reproduction. The present research has been conducted from a theoretical foundational perspective and in a descriptive-analytical manner through a comparative study. Data collection was carried out using library research methods until theoretical saturation was reached from available sources, utilizing modern search tools and techniques. The research society initially included Benjamin's perspective in the article "The Work of Art in the Age of Mechanical Reproduction," and subsequently the views of five traditionalist thinkers: Guenon, Coomaraswamy, Schuon, Burckhardt, and Seyyed Hossein Nasr, were separately utilized. Following data collection, qualitative analysis was performed with the aim of extracting codes, concepts, and principles. In the initial coding stage, after extracting codes from the data, common codes were classified into separate tables, and conceptualizations were conducted. Subsequently, for axial and selective coding, in the first step, common concepts were categorized, and their sub-principles were identified. Then, in the second step, common sub-principles and main principles were formulated, laying the groundwork for clarifying and analyzing the concept of authenticity in the age of mechanical reproduction. As a result, the essential concepts of authenticity have been identified from the perspective of two distinct groups of thinkers. Due to the multiplicity of tables in the coding stages, the presentation of the stages of extracting codes from the data has been omitted in table form, and in the text, reference has been made to the most relevant data for the identification of sub-principles and main principles in the axial coding stage. For this purpose, a section of the tables of the coding stages has ultimately been presented in the appendix. The research results indicate that the concept of authenticity in traditional arts can be elucidated from the perspectives of Benjamin and traditionalists, both of whom hold a particular view and significance regarding the concept of authenticity. According to both groups, when we refer to a work as authentically artistic, two fundamental and key characteristics and components are instrumental in shaping this work. Firstly, it is "a unique existence in its original place," and the artistic work has drawn upon its components and other characteristics as a model. But the second condition that realizes this emulation is the presence of an authentic and traditional artist. This artist engages in emulation and imitation of traditional art forms and decorative patterns with an understanding of the meaning and concept, thereby creating an original and unique version. Furthermore, based on the conducted analysis, the components indicating the phenomenon of alienation in mechanical reproduction in traditional arts are considered the same components and main concepts for the notion of authenticity. However, Benjamin has focused on the negative outcome of all components encountering mechanical reproduction. Thus, the concept of alienation is explained through the conformity of the components of an authentic artwork with the components of the concept of mechanical reproduction as a non-authentic work. Consequently, in the age of mechanical reproduction, two key components of authentic art have faded or been generally forgotten. Therefore, based on the analysis and correspondences in this era with non-authentic artworks, we are faced with works that lack authenticity due to their confrontation with mechanical reproduction, leading to the absence of a unique existence in the original place and the absence of an authentic artist. As a result, works without the component of authenticity are identifiable and recognizable.<br /> <br /> <br /> <br /> <br /> <br />
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