چکیده:
از پگاه تاریخ انسان برای بیان بعد روحانی و شهودی خود دستاویزهای گوناگونی را اختیار می‌کرد که تحت عنوان کلی فرهنگ و در زیر مجموعه‌های هنر و ادب بیان می‌شدند. شعر، آواز، نقاشی و رویاپردازی‌های فولکلوریک و افسانه‌سازی را می‌توان از زمره این صراط‌های منتهی به رب‌النوع هنر دانست. از این‌رو تلاش است با مطالعات کتابخانه‌ای به تحلیل آثار رضا بدرالسماء پرداخته‌شود تا بن‌مایه‌های فکری ایشان را به‌عنوان نمونه‌ای از نگارگری معاصر آشکار نماید. بر این اساس دو سوال اساسی مطرح می‌شود: 1) رضا بدرالسماء در کدام‌یک از موضوعات آثار خود، وابسته به آثار نگارگری اسلامی پیشین بوده‌است؟ 2) کدام‌یک از مولفه‌های هویت ایرانی و ملی درآثار رضا بدرالسماء، نمود بیش‌تری پیدا کردهاست؟ نتایج نشان می‌دهد که هنرمند، سعی دارد آثارش، آینه روزگار خویش باشند؛ اما با نگاهی سنت‌گرا. آثار بدرالسماء، نه‌تنها منبعی جهت مطالعه اخلاق عمومی جامعه کنونی ایران، بلکه از اخلاق حاکم نیز متأثر است. گرایش او به مسایل روز را از همین جنبه و نیز از رویه تعهد هنرمندانه وی در قبال استعدادش، می‌توان تحلیل نمود. اگر سجیه‌های برتر اخلاقی و هنری وی، قابل ملاحظه و ارزشمند باشند؛ می‌توان گرایش به مسایل روز را از دغدغه‌های اصلی هنرمند ارزیابی کرد. در واقع، مظاهر و نمادهای ملی در آثار بدرالسماء، از توجه بسیار پایینی برخوردار بوده‌اند.
From the beginning of human life, for the sake of the spiritual and intuitive aspect of his existence, he considered various things. All of which are expressed under the general name of culture and under art and literature collections. Painting, poetry, vocal, folklore and mythology are examples of ways to reach to the god of art. Iranian painting lost its independence in the interval of the 20th century. On the one hand, it represented ancient styles (including the Safavid School), often associated with skill and love and self-sacrifice. On the other hand, Iranian painters engaged in various “futurist” Western Paintings. Inevitably, this process resulted in some sort of inertia and sterility, and it was ruined in deliberate counterfeiting, and the first one lost its identity with the legacies of Behzad and Sultan Muhammad. After the victory of the Islamic Revolution, since the approach to national identity, culture, traditional and ethnic art was a prominent slogan, young painters were drawn to the use of traditional arts and sometimes even this approach appeared as “fashion”. In the meantime, some painters, directly and hastily, rebuilt Iranian folk and traditional painting spaces, such as the Qajar Period Painting, Ghahveh Khaneh Painting, the oil painting and sometimes 3D painting. Some artists attempted to create a new identity for the paintings by incorporating elements from the ancestors and traditional art; others attempted to link themselves to the history of this land, referring to the foundations of traditional art. Others, while adhering to the principles of ancient Iranian painting and heritage, incorporate the color, environment and elements of the present world into their work, including Reza Badrossama, who deals with subjects such as mystical, religious, moral and cultural dimensions. The ancient Iranians have shown admirable works to the emergence. Therefore, in this research, it is attempting to analyze the works of contemporary painter Reza Badrossama in order to reveal his thoughts in creating exquisite works. Accordingly, two basic questions arise: 1) In which of his subjects did Reza Badrossmaa relate to earlier Islamic Paintings? 2) Which of the components of Iranian and national identity has been more prominent in the artworks of Reza Badrossma? The revival of traditional arts and the creation of a growing field of painting require that the works of contemporary artists be evaluated and criticized. Obviously, in the light of attention to them, one can expect their prosperity. Lack of scholarly attention to existing works will leave them in the dust of oblivion and their artists would be marginalized. Badrossama works are exemplary of contemporary art whose influence of contemporary world events on them can be well understood and can thus be a good case study. The present study based on objective is applied and descriptive-analytical in nature. Thus, by collecting the works of Reza Badrossama, the works are first presented in a descriptive manner and then they are analyzed. Statistical population includes all paintings by Reza Badrossama on his personal website. After review, the 120 existing paintings were categorized into several different themes and then, using MAXQDA 10, qualitative data mining software, keywords were identified. The 475 keywords extracted from their tenor were categorized and charts were adjusted using Microsoft WORD 2010 software. Finally, the charts were analyzed in terms of their frequency. The results of the research indicate that the tendency to the issues of the day was evaluated by the artist's main concerns as well as his artistic commitment to his talent. Among the topics of interest of Reza Badrossama are the “human” and the various aspects of his life. Nature and its related concepts occupy a second category of painting subjects. Religious and ethical concepts are found in the third category of his artistic tendencies. The scenes of peoples' lives in the countryside, the tribal and urban community in his works all have a nostalgic feel. This category of topics has received less attention than the first three categories. Iranian and national symbols can hardly be categorized within the artists’ works. Tools and objects are in the latest category of motifs. The categorization of these cases can be attributed to their singular and independent presence in the work. In fact, it can be said that national manifestations and symbols in the works of the master have received very little attention. In the neighboring country of Turkey, attention is paid to maintaining the cultural identity of the community by the artist. Artists, with cultural policies, show the inner ethnicity that is the unity of the country. There is a lot of commitment among artists in our country, but we must pay special attention to it. If one can consider his address to social and ethical values as an intrinsic concern and the artist's reaction to the diminution of social values under the influence of factors such as cultural aggression, one must seek the same sense of destructive waves that may destroy and damage Iranian Identity.
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