بررسی و شناخت سبک درآثار نقاشی محسن وزیری‌مقدم براساس نظریه کاندینسکی درباب هنر انتزاعی

Background: The identification of artistic trends and events in the classifications of art history is done with styles, schools, and movements, and it brings with it the introduction of artists and their diverse styles. Classification in the study of art became common in the course of history in the 18th century, and the term "style" was used specifically. Winckelmann was the first critic to examine works in order to classify and recognize the classical art of ancient Greece and Rome based on "style". Since then, art historians have created a method for studying works of art based on "stylology". In examining style among artists and critics, they deal with factors such as the artist's personal skill and creativity, their mental world, semantic signs, space, characteristics, and recurring visual elements. The research method in this article is a qualitative research approach, and the method of collecting information by referring to written texts and library data. The purpose of this research is to examine the criteria for determining style in contemporary Iranian artworks and the criteria for determining the style of Mohsen Vaziri Moghadam based on the perspective of the modern art theorist, the creator of the abstract style, Wassily Kandinsky. What the author of the article has achieved is that: After examining the works of Mohsen Vaziri Moghadam based on Kandinsky's ideas, he shows that Kandinsky has interpretations of art as material art and immaterial art, and in fact, he considers immaterial art (content) to be preferable to material art (form) and believes that art should have the meaning and spirit of its time and try to arouse the aesthetic feelings of the audience with color and form. Something that can be seen to a large extent in the paintings of Mohsen Vaziri Moghadam. The history of art has been classified in various ways by historians and art scholars, sometimes based on artistic events and sometimes on styles, schools, and movements, which has made it more understandable and accessible to researchers and artists. The classification of style in art history became common in the 18th century for its more detailed study, although it was first used in ancient times to classify and study works, and the term " style " was used. Winckelmann was the first to study works based on "style" to understand the art and civilization of ancient Greece, and since then, historians and critics have created a method for examining works of art called "stylism" so that they can gain the most knowledge of the state of art in a particular period with minimal evidence.
Objectives: Style can generally be considered the patterns or distinctive characteristics of an object or a set of objects. In different philosophical thoughts, different theories of style are presented, and each movement defines it in accordance with its own intellectual frameworks, just as empiricists use style only to study the formality of works and Hegelians seek to establish a relationship between the style of works of art and the spirit of the times. What we will discuss in this discussion is how to recognize the artist's style with the help of theoretical discussions and recognition of stylistic signs, as well as examining and recognizing the characteristics that make style recognizable in the works of Mohsen Vaziri Moghadam based on Kandinsky's views on modern and abstract art.
Method: In this regard, identifying the style of each artist is one of the important issues in recording their works in the history of art. However, examining and classifying the works of some artists in terms of their style and method of creating the work of art and its semantic contexts should be based on evidence and stylistic signs and the type of skill and scope of the works and the atmosphere created by the artist, aiming the work in a specific stylistic format and method, so that by recognizing and determining the limits of that method, it can be examined and analyzed more accurately. Critics often recognize the style of an artist by following the works of an artist, paying attention to the details of their work empirically, and studying the themes of the works. In this article, a number of paintings by Mohsen Vaziri-Moghaddam (a contemporary painter and sculptor) that follow his general painting style have been examined in a descriptive-analytical manner based on the theories of Kandinsky (a painter and theorist). Can Mohsen Vaziri-Moghaddam’s paintings be classified under the heading of a specific style? And considering the main issue raised in this stylistic research in contemporary Iranian painting, which examines the style in Mohsen Vaziri-Moghaddam’s paintings based on the authoritative theories of Wassily Kandinsky, we will discover Mohsen Vaziri-Moghaddam's painting style according to modern art theory. These are the questions that will be answered during the current research.
Results: The historical necessity of creating a transformation in the cultural, social, and economic infrastructures in traditional societies made it clear that in order to achieve new manifestations of civilization, successful Western countries, especially Europeans, should be taken as their model. Since this cultural transformation and upheaval in Iran was carried out without paying attention to the real issues and needs of society, many Iranian cultural intellectuals engaged in superficial imitation of the achievements of Western culture to compensate for the country's accumulated backwardness. In this way, modernism entered Iranian society superficially, without having a logical background and cultural context. Before the arrival of the cultural and artistic manifestations of modernism in Iran in the contemporary period, the Kamal al-Mulk School was considered the representative of the country's official art, which itself was one of the manifestations of Western art that influenced the mentality of Iranian artists. The views and methods of the students who were educated in the Kamal al-Mulk School dominated the field of Iranian painting for years. With the establishment of the Faculty of Fine Arts at the University of Tehran, the absolute dominance of the artistic views of the Kamal al-Mulk School in the education of visual arts was reduced. The atmosphere that dominated art, especially painting, was opposed to modernist movements in art, despite the presence of many people who believed in naturalism and realism.