خوانش بیش­متنی بافت نقاشی معاصر ایران با پیش­متن­هایی از نقوش ایران باستان بر اساس گونه‌شناسی ژرار ژنت (آثار هشتمین دوسالانه نقاشی)

 
 
How to reflect the motifs of works left over from ancient Iran in the texture of contemporary Iranian painting according to Gérard Genettete's intertextuality approach is the main issue of this research. Gérard Genettete is one of the researchers who investigates any relationship between the text and other texts in a wider and more systematic way than Kristeva. Unlike Kristeva, he is also explicitly looking for relationships of influence and impressionability and puts any relationship that a text can have with other texts under the theory of transtextuality. Genette examines any relationship between texts, this examination includes all the details and dependents of the text. He studies the relationships of texts from the perspective of transtextuality in five subgroups, which include paratextuality, intertextuality, metatextuality, sertextuality, and hypertextuality. Gérard Genettete's theory of intertextuality as a subset of metatextuality; It is about the relationship of each text including artwork or other texts and its borrowing from previous texts and their reading. The influence of texts on each other has long been the concern of researchers in various fields, and sometimes the issue of plagiarism has also been raised, but in the present era, special attention is paid to the influence of texts on each other, and this acceptance of influence is not a reprehensible thing, but It is considered inevitable. In the current era, the text is neither a self-sufficient unit nor the result of the author's invention, but it has a plural nature that originates from other texts. So, with these words, in every text, traces of other texts can be observed and it can be accepted that every text is the passage of contemporary or previous texts, so paying attention to the intertextual nature of the texts and examining its predecessors can give us an accurate reading of the text. Genette used the term Kristeva to examine the impact relationships of texts. with the difference that Genette's intertextuality is more limited and practical than Kristeva's. He reduces intertextuality to the simultaneous presence of two or several texts and the actual presence of one text in another text. Genette's intertextuality is based on copresence; that is, if a part of a text appears in another text, either implicitly or in the form of a copy, it is considered intertextual. It has been said about several details that Genettete's typology of intertextuality is difficult because he never addressed it directly. In a work dedicated to intertextuality, Piquero has examined Genetteic intertextuality in four types, which include; Quoting, referring, stealing and hinting. Quotation is a perfect example of objective and obvious copresence of one text in another text. From Genette's point of view, the most explicit and literal form of intertextuality is quotation. That is, the text should appear in the second text exactly as it was in the first text. The second is referral. Citation often comes with documentation and means mentioning the sources that part of it is used in a work. In this type of intertextuality, a part of the pre-text is not present in the text, but sometimes this copresence is done by referring to the name of the work or its author. Plagiarism, which is the third type of intertextuality, is a less explicit and less formal form of intertextuality. In this type of intertextuality, a person tries to hide this copresence. Among the types of intertextualities that were expressed, hint has the least clarity in the copresence of texts. A hint is a relationship between two texts, one of which is obvious and the other is hidden. In most cases, an allusion is not a word but an image that refers one text to another. The purpose of this research is to pay attention to the capabilities of texture in the identity of contemporary Iranian painting. In this research, after introducing the concepts, the study of national and ancient textures and the presentation of statistical results have been done. The types of intertextuality are examined in them and the first text is also introduced. In this research, each and every painting has been carefully studied and their relationship with the previous paintings has been carefully examined. This research shows that artists are more inclined to prehistoric artworks in reflecting ancient motifs. The influence of Iranian painting from the contemporary art movements of the world has sometimes led to distance from Iranian culture. A part of identity building in contemporary Iranian painting is the responsibility of texture, which seems that artists have been oblivious to the capabilities of texture in reflecting national tradition and culture. The reflection of national and traditional culture in the texture of contemporary Iranian painting can play a significant role in enriching the works. The traces of the national and traditional art and culture of Iran in the texture of the paintings entered into the 8th painting biennial can be seen from three perspectives; Using the geometry of motifs and pillar design, using the texture of traditional arts in paintings and using ancient motifs in their texture production. Also, the multi-text analysis carried out in this article indicates that the texture in these works has been recreated by changing the pre-text. These changes and transformations, which indicate the metamorphosis of polytexts, are mostly based on their aesthetic and structural characteristics, which are related to all kinds of cultural, narrative, temporal, symbolic, environmental and Internal changes include deletion, addition and replacement and have led to maintaining the structure and creating changes in the texture of the polytext compared to the pre-text. In fact, the contemporary painters of Iran have achieved the creation of national and ancient textures by creating different types of distortions and changes, which, in addition to preserving the structure of the motifs, have changes in the style and type of execution compared to the original. This research inclines the view of artists to the national and ancient textures that have not been paid enough attention to, which determines the necessity of conducting the above research. The method of conducting this research is descriptive-analytical, the data collected through litreture review and the research analysis method is quantitative (with the help of Excel software) and qualitative. In the paintings of the 8th biennial of Iran, the pre-text of ancient motifs has been well used to create texture. The use of silk and Susa terracotta patterns, Parthian plasters, Sassanid period patterns and repetition of rhombic patterns, broken lines, circles, squares and triangles have created a powerful visual texture in the works. For example; In her work, Shahla Habibi used pre-texts from Susa pottery motifs in order to create texture, besides that, there is a great similarity between some of the overtext works and the pottery motifs of Persepolis. It should be noted that ancient motifs have special semantic characteristics. These features include different fields of vision and worldview. Considering that all the studied texts are related to a biennial and on the other hand, their pretexts are directly selected from Iranian culture, several points can be pointed out. First, due to the time gap of several centuries between pretext and hypertext texts, their influential relationship is longitudinal and temporal. Another point is that the cultural origin of multi-text and pre-text is the same. And another, based on the inherent nature of patterns, the rules of seeing the real world of patterns are different from physical quantities. Therefore, the multi-text works produced based on them will have an aesthetic system with the same principles and rules. Patterns do not have light by nature; therefore, their reflection through the repetition of motifs, as the visual texture of contemporary painting, has been successful. It shows the relationship of excitement and passion between them along with a little change and transformation. This means that the pre-text has undergone a transformation in the process of becoming a hyper-text, and therefore this relationship is of the type of tragonism. On the other hand, since multiple texts do not refer to only one pre-text, they do not have an exclusive pre-text; Except for a few works such as texture paintings by Shahla Habibi and Sima Shahmoradi, which are exclusive. In addition, the formal structure of polytexts is completely consistent with the pre-texts and has not had much effect on the process of becoming a polytext. By using national culture, textures have a good ability to create identity in contemporary Iranian painting. Due to being hidden in the visual memory, the national textures have caused the re-creation of the audience's collective memories, which leads to the painting effect becoming more tangible and creating a better interaction with the audience. One of the ways to create national textures is to use ancient motifs. This research dealt with the extent and manner of recreating ancient Iranian motifs in the texture of contemporary Iranian painting, relying on the theory of intertextuality and the hypertextual approach of Gérard Genettete.