چکیده:
یکی از نکات مهم در نگارگری دوره‌های مختلف این است که علاوه بر مضامین مشترک، اشتراک بصری در استفاده از اشکال، رنگ‌های خالص و عناصر نمادین نیز مشاهده می‌شود. به‌صورت خاص، رنگ یکی از ویژگی‌های مهم و درخورِ توجه هنر نگارگری است که ظرفیت مهمی برای بررسی و تحقیق به شمار می‌رود. نظریه‌های رنگ‌شناسی به شناخت عمیق انسان از رنگ‌ها و تجربه‌های حسی انسان برمی‌گردد و ابزار تحلیلی مناسبی برای بررسی آثار به دست می‌دهد. یکی از این دیدگاه‌ها، نگرش یوهانس ایتن است. با استفاده از این دیدگاه، می‌توان میان دو کیفیت بصری کنتراست وسعت و مکمل، با مضامین آثار در نگاره‌ها ارتباط برقرار کرد. پژوهش حاضر در پی آن است که به این پرسش اصلی پاسخ دهد که کمال‌الدین بهزاد چگونه از کنتراست مکمل و کنتراست وسعت به‌منظور ترسیم تصویری خیال‌انگیز از مضمون «عاشقانه‌عارفانه» بهره برده است. در این پژوهش با بهره‌بردن از روش توصیفی‌تحلیلی و گردآوری اطلاعات و داده‌ها به‌شیوۀ کتابخانه‌ای به این پرسش پاسخ داده شده است و چنین نتیجه‌گیری شد که نظریۀ یوهانس ایتن دربارۀ کنتراست وسعت و مکمل رنگ، به‌خوبی به آثار نگارگری کمال‌الدین بهزاد نیز تعمیم‌پذیر است و نکات خاص و مهمی را از این آثار برای مخاطب آشکار می‌کند. در این آثار، از کنتراست مکمل و وسعت، جهت ایجاد فضاهای رنگی مجزا که در عین دوبعدی بودن دارای عمق نیز باشند، استفاده شده است و هر بخش رنگی در این نگاره‌ها، نمایشی از وقوع رویدادهای خاص و مستقل است. هنرمند با به‌کارگیری این تمهیدات بصری جنبه‌های بیانگرایی، عاطفی و خیال‌انگیزی رنگ‌ها را تقویت کرده است.
One of the essential aspects of painting from various times is a visual similarity in the use of forms, pure colors, and symbolic motifs, in addition to common subjects. Color, in particular, is one of the most essential and notable characteristics of painting, and it is a key ability for inquiry and study. Chromatography theories allude to people's profound understanding of colors and sensory experiences, and they give a useful analytical instrument for studying the impacts. One of these points of view is Johannes Eaton's. The two visual aspects of contrast, width, and complementarity may be related to the subjects of the works in the drawings using this viewpoint. The purpose of this research is to find out how Kamaluddin Behzad used complementary and expanding contrast to create an imaginative image of the "romantic-mystical" topic. This study used a descriptive-analytical approach to address this question, gathering information and data in a library setting, and concluded that Johannes Eaten's theory of contrast, breadth, and color complementation might be applied to Kamaluddin Behzad's paintings, and it conveys to the audience the unique and vital aspects of these works. Each color portion in these paintings depicts the occurrence of distinctive and independent occurrences, and complementary contrast and width are employed to create different color spaces that are two-dimensional and have depth. The artist has heightened the expressive, emotional, and creative characteristics of colors by using these visual compositions. Hue theory is the product of the artist's sensory experience of colors in all artistic movements, including Iranian painting, and each color can include certain themes. Shapes and colors in the realm of painting are not what they appear to be in tangible terms. They rely on the transcendental realm, which is taken from Eastern thought, and the painter attempts to show such a world. This notion could be depicted on a two-dimensional paper surface by a Herat school painter. In each period, the paintings were slightly different in terms of the placement of statues, objects, elements, the emptiness of the space, and its colors and qualities, and in some cases, these differences caused change and progress in that period. Herat school is more developed and mature in this period, and the use of form and color symmetry in the works of this period is reduced. A specific form of realism may be noticed in bodies and even in color, in addition to landscapes. Most of the Herat school's works feature light hues, the brightest of which is gold. The school's distinguishing characteristics include brilliance, color maturity, color range, new color combinations, and the development of new topics, among others, which, with the passage of time and the presence of Kamaluddin Behzad, prepare the way for major changes in the art of painting. Europeans have been the primary source of knowledge about Iranian painting in the contemporary age. Thus, a deeper understanding of contemporary Iranian painting can be gained by looking at how the Iranian artist has used color and created colorful spaces in his works, as well as how the Iranian artist has achieved an imaginative display of visual qualities of colors (contrast, breadth, and complementarity). The present study aims to consider if complementary contrast and width (according to Eaton's theory) are present in Kamaluddin Behzad's paintings as a key visual preparation. To do this, this research aims to address the following question: how did Kamaluddin Behzad combine complementary contrast and expansive contrast to create an imaginative image of the "romantic-mystical" theme? For this reason, the position of color in Iranian painting is described first, followed by a study of Kamaluddin Behzad's works, which have been attributed to him based on written research by other researchers (Abdolmajid Hosseini Rad, 2006 and Rouin Pakbaz, 2004 and Mousavi Lor, 2007 and Azhand, 2008). The approach of employing contrast, breadth, and complementarity is discussed in these publications.
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