تآثیرات ادراکی و معنوی نور و فضا در آثار دن فلاوین (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
پژوهش حاضر به تحلیل نقش نور در آثار مینیمالیستی دن فلاوین و تأثیر آن بر تجربه ادراکی و معنوی مخاطب می پردازد .مسئله اصلی تحقیق این است که چگونه استفاده فلاوین از نور فلورسنت و فرم های هندسی، تجربه بصری را از سطحی ساده به فرآیندی پیچیده، پویا و درگیرکننده ارتقا می دهد. اهمیت این موضوع در آن است که مینیمالیسم با تأکید بر مخاطب محوری و تجربه مستقیم اثر، تحولی بنیادین در نسبت میان اثر هنری و بیننده ایجاد کرده و فلاوین یکی از مهم ترین هنرمندان این جریان به شمار می رود. این پژوهش با روش توصیفی-تحلیلی و بر پایه مطالعه منابع اسنادی انجام شده است. یافته ها نشان می دهد آثار فلاوین با نورپردازی های فلورسنت، فضاهایی دینامیک می سازند که مرز میان سوژه و ابژه را محو کرده و مخاطب را به بخشی از اثر تبدیل می کنند. چنین فضایی علاوه بر ایجاد واکنش های بصری، توهمات ادراکی و تأثیرات حسی، مخاطب را به تجربه ای معنوی و تأمل برانگیز فرا می خواند. نوآوری پژوهش در تأکید بر ظرفیت معنوی تجربه های بصری فلاوین است؛ بعدی که در بسیاری از مطالعات پیشین کمتر برجسته شده است. در مجموع، فلاوین با ترکیب نور، فضا و زمان، تجربه ای چندبعدی و تحول آفرین خلق می کند که هم زمان بینایی، احساس و تفکر مخاطب را درگیر می سازد.Light and Sensory Experience: A Study of Visual Phenomena in the Work of Dan Flavin
The contemporary world, shaped by significant transformations and developments in art, reflects new ideas that emerged in the 1960s, particularly as a reaction to Modernism ’s formalism. These changes, influenced by intellectual, philosophical, and political shifts following World War I and World War II , led to a reassessment of artistic concepts and ideas. In the postwar period, artistic developments shifted from Europe, particularly France, to the United States, where they gained momentum with Abstract Expressionism . This movement eventually gave birth to such movements as Pop Art and Minimalism , both playing a central role in the transition from Modernism to Contemporary Art . Minimalism emerged as an intellectual and philosophical movement rooted in phenomenology , emphasizing the relationship between space, volume, and human experience. In contrast to Abstract Expressionism , which focused on emotions and personal expression, Minimalism sought such components and maybe norms as simplicity, repetition, and industrial materials. A key principle was the direct experience of the artwork by the audience, shifting the focus from the artist to the viewer. Unlike Modernism ’s focus on artistic intention, Minimalism prioritized the viewer’s sensory physical engagement. Minimalist art emphasized direct physical relationships with the artwork, particularly in how space and time are perceived by the audience. This marked a departure from Modernism ’s abstract ideals and emphasized the very sensory engagement. Minimalist works were not merely objects to be viewed but experiences to be physically engaged with. The viewer’s bodily interaction became an integral part of the artistic process. The role of perception in Minimalism —especially in how light, space, and form are perceived and understood—was crucial. During the modern era, there was an intellectual transition from external knowledge to internal understanding, influencing scientific studies on sensory perception. The body became central to understanding perception . Before the 19th century, visual perception was considered a fixed process, but with modernity, it became a subject of investigation. Scientific advancements introduced tools for analyzing perception , making optical instruments widely accessible and transforming how observers engaged with visual phenomena. Minimalism has often been described as a phenomenological exploration devoid of spiritual meaning. Robert Morris saw it as a way of establishing relationships between the viewer and the artwork. He emphasized the perception of objects from different positions, focusing on the viewer’s interaction. Rosalind Krauss , referencing Maurice Merleau-Ponty , argued that Minimalism shifted art’s focus from idealistic meaning to bodily and sensory experience. However, there is a notable gap in the analysis of Minimalism , particularly in its relationship with entoptic phenomena —visual experiences originating within the visual system, such as afterimages or floaters, which hold spiritual and creative significance in various cultures. Despite the prevalence of entoptic phenomena in Op Art and psychedelic visual culture, few studies have linked them to Minimalism . This study explores the relationship between Dan Flavin ’s minimalist works and entoptic images , analyzing how they relate to idealistic concepts, impact perception , and engage the viewer. Flavin ’s Untitled ( 1970 ), displayed in Donald Judd ’s bedroom and later at the Dia Art Foundation , serves as a key case study for this investigation.
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