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تحول تاریخی مضمون روایی «تَرک کردن آریادنه» در نقاشی اروپایی
Historical Evolution of the Narrative Theme of Ariadne’s Abandonment in European Painting
تخصصي
Special
پژوهشي
Research
<div style="text-align: justify;"><span style="font-size:12px;"><span style="font-family:Tahoma;"><span style="line-height:17.0pt"><span style="vertical-align:middle"><span style="direction:rtl"><span style="unicode-bidi:embed"><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">حکایت بر جای ماندن آریادنه، شاهدخت کِرِت، که به</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ویژه با دو شخصیت اساطیری دیگر، تسئوس و دیونوسوس، در پیوند است در سیر ادوار تاریخی مورد توجه هنرمندان بوده است. سه صحنه مشهور و پرتکرار از این روایت، اول صحنه</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ای که آریادنه به خواب رفته و تسئوس او را با راهنمایی و حکم آتنا ترک می</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">کند. دوم صحنه</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ای که دیونوسوس، آریادنه محزون را در جزیره ناکسوس پیدا کرده و از او دلجویی می</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">کند. سوم آریادنه تنها بر جا مانده پس از بیدار شدن در حالی که دورنمایی از کشتی تسئوس را در دریا نظاره</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">گر است. فراوانی و تکرار و توجه به هرکدام از این صحنه</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ها در دوران</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">های متفاوت، تغییر می</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">کند. نقاشی</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">های یونان باستان اغلب به صحنه اول ارجاع دارد. در دوران رنسانس و باروک اغلب صحنه دوم تصویر می</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">شود و از اواخر قرن هجدهم و خصوصاً قرن نوزدهم صحنه سوم مورد توجه قرار می</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">گیرد. اینکه هنرمند در چه زمانه و زمینه</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ای، کدام روایت را انتخاب کند یا بر چه وجهی از این مضمون متمرکز گردد، سرنوشت اثر را در تاریخ ویژه خود رقم می</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">زند. هدف پژوهش حاضر که از منابع کتابخانه</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ای بهره برده و به روش کیفی و توصیفی-تحلیلی انجام شده، تحلیل نقاشی</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">های این مضمون در سیر تاریخی و ارایه خوانشی از آن</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt"></span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ها است.</span></span></span></span></span></span></span></span></span></div>
<div style="text-align: justify;"><span style="font-size:12px;"><span style="font-family:Tahoma;"><span style="line-height:17.0pt"><span style="vertical-align:middle"><span style="color:black">The story of abandonment of Ariadne, a Cretan princess, especially connected with two other mythological characters, Theseus and Dionysus, has drawn the attention of painters and sculptors throughout history. Ariadne, Mino’s daughter, fell in love with Theseus, but Theseus abandoned her, and she was finally found by Dionysus in Naxos Island. Quite a few paintings have emerged in various styles from this theme, i.e. Ariadne’s abandonment by Theseus, Ariadne’s solitariness, and her meeting with Dionysus. This narrative has been portrayed by painters from different perspectives, and the works of paintings available on this theme in antiquity, the Renaissance and Baroque, and the eighteenth and nineteenth centuries AD have undergone fundamental evolution and change in terms of form, structure, and narrative style. This paper is aimed at providing a descriptive and analytical account of European works of paintings about Ariadne’s abandonment and identifying and understanding the structural and narrative changes of European works of paintings about this abandonment throughout history (from ancient Greece to the twentieth century).</span></span></span><br>
<span style="line-height:17.0pt"><span style="vertical-align:middle"><span style="color:black">Importantly, each artist has seen and portrayed this narrative according to his/her style and lived experience from a specific period. The works analyzed in this study belong to historical periods and artistic styles of Renaissance, Baroque, and the eighteenth, nineteenth and twentieth centuries. The theme of abandoned Ariadne narrative makes its contextual and iconographic analysis possible with regard to the historical changes and the artists’ desire in each era to select and interpret this legend. In the historical world of myths, Ariadne was left alone in her way to Athens in Naxos Island, but the depiction of this narrative in painting at different times and in different works has opened a new symbolic aspect of it and given it a new interpretation. There are more than five hundred images of this theme available from classical Greece to modern art. Three well-known and recurring scenes of this story can be examined. The first is the scene where Ariadne falls asleep and is abandoned by Theseus by Athena’s guidance and decree. The second is the scene where Dionysus finds Ariadne Naxos Island in great sadness and appeases her. It is in this scene that they hold a feast and celebrate their wedding. The third scene portrays Ariadne left alone after waking up, while gazing upon Theseus’s ship moving away at sea. Examining these works indicates that the frequency, repetition and attention to the importance of each of these scenes change in different periods. Ancient Greek paintings often portray the first scene. During the Renaissance and Baroque, it is the second scene that is often portrayed, while the third scene draws the painter’s attention from the late eighteenth century, and particularly the nineteenth century.</span></span></span><br>
<span style="line-height:107%"><span style="color:black">Using library resources and qualitative and descriptive-analytical method, this study aimed to analyze the paintings pertaining to Ariadne’s abandonment in the historical course from antiquity to the beginning of the twentieth century and to present a reading of them. The results suggest the evolution of this narrative theme throughout the history of painting.</span></span></span></span></div>
اسطوره, ترک کردن, آریادنه, تسئوس, دیونوسوس
myth, abandonment, Ariadne, Theseus, Dionysus
67
82
http://kimiahonar.ir/browse.php?a_code=A-10-1-305&slc_lang=fa&sid=1
Meghdad
Javid Sabaghian
مقداد
جاوید صباغیان
mejavid@du.ac.ir
10031947532846005940
10031947532846005940
Yes
Hoda
Refahi
هدی
رفاهی
hodarefahi@gmail.com
10031947532846005941
10031947532846005941
No
Asadollah
Gholamali
اسدالله
غلامعلی
a.gholamali@du.ac.ir
10031947532846005942
10031947532846005942
No