پژوهش های کیفی در علوم رفتاری

پژوهش های کیفی در علوم رفتاری

خلق اثر هنری و تحول روانی: تحلیلی بر تحول نگاه روانکاوی به هنر

نوع مقاله : مقاله مروری

نویسندگان
1 دکترای روان‌شناسی، گروه روان‌شناسی، دانشگاه الزهرا، تهران
2 استاد، گروه روان‌شناسی، دانشگاه الزهرا، تهران
3 دانشیار، گروه روان‌شناسی، دانشگاه الزهرا، تهران
4 استادیار، گروه روان‌شناسی، دانشگاه الزهرا، تهران
چکیده
زمینه: رابطۀ میان روان‌کاوی و هنر، تاریخی طولانی و پیچیده دارد که از نخستین سال‌های شکل‌گیری روان‌کاوی و نوشته‌های Sigmund Freud دربارۀ هنرمندان آغاز شده و تا امروز ادامه یافته است. با وجود این پیشینه، نظریه‌های روان‌کاوانه دربارۀ هنر همچنان پراکنده‌اند و نیازمند بررسی نظام‌مند از منظر تاریخی و محتوایی هستند.
هدف: پژوهش حاضر، با هدف مرور و تحلیل انتقادی سیر تحولی دیدگاه‌های روان‌کاوانه دربارۀ هنر و فرآیند خلاقه انجام شده است.
روش: این پژوهش با روش مرور روایتی و با تلفیق داده‌های حاصل از 69 مقاله و 28 کتاب انجام شد. جست‌وجو در پایگاه‌های اطلاعاتی شاملPep-Web, Web Of Science, Scopus, Sciencedirect, Proquest, Google Scholar, Google Books, Researchgate, Pubmed, Jstor, Sid, Magiran, Ganj, Noormags & Civilica از سال ۱۹۰۰ تا ژوئیه ۲۰۲۵ انجام گرفت. در مرحلۀ نخست، ۲۴۰۵ مقاله شناسایی شد. در مرحلۀ دوم غربالگری، ۵۹۴ مقاله برای بررسی عنوان و چکیده انتخاب شدند و در ادامه، ۳۸۰ مقاله برای بررسی متن کامل ارزیابی شدند. در نهایت، با اعمال معیارهای ورود و خروج، ۶۹ مقاله و ۲۸ کتاب انتخاب و داده‌های مرتبط استخراج، دسته‌بندی و تلفیق شدند.
یافته‌ها: یافته‌ها در سه محور اصلی سازمان یافته‌اند؛ نخست، ارائۀ یک رده‌بندی سه‌شاخه و معیارمند از سیر تحول دیدگاه‌های روان‌کاوی دربارۀ هنر؛ دوم، ارائۀ مدلی چهارمرحله‌ای برای تبیین فرآیند خلاقه از منظر روان‌کاوی پست‌مدرن که در آن، چگونگی ترجمۀ مؤلفه‌های فرآیند خلق اثر هنری به سازوکارهای تغییر در فرآیند روان‌کاوی تبیین می‌شود؛ و سوم، ترسیم نقشه‌ای تطبیقی از مؤلفه‌های ساختاری و کارکردی فرآیند خلق اثر هنری و مؤلفه‌های متناظر آن در فرآیند روان‌کاوی.
نتیجه‌گیری: این پژوهش، مدلی بیناذهنیتی- میدانی با رویکردی پسا‌بیونی پیشنهاد می‌کند. براساس این مدل، ابژه‌های برانگیزاننده، مواد خام ناهشیار را در «میدانِ» تعامل میان بخش‌های مختلف روان هنرمند فعال می‌کنند. این ناهشیارِ برانگیخته، در تعامل با فرآیندهای هشیار، مادۀ هنری و عوامل درونی و بیرونی، به پیدایش «سومِ هنری» می‌انجامد؛ مفهومی الهام‌گرفته از «سوم تحلیلی» که در عین هم‌آفریده‌ شدن، واجد نوعی استقلال است. «سومِ هنری»، ظرفیتِ «شاهد بودن» را فراهم می‌آورد و زمینه را برای شکل‌گیری استعاره و نماد، تولید معنا و یکپارچه‌سازی گسست‌های روایت روان مهیا می‌سازد. بدین‌ترتیب، هنر نه محصولِ خویشتنی منفرد، بلکه برآمده از «میدان خلاق» پویا است.
کلیدواژه‌ها
موضوعات

عنوان مقاله English

Artistic Creation and Psychic Transformation: An Analysis of Psychoanalysis Evolution in Viewing Art

نویسندگان English

Mehrnaz Mesbah 1
Zohreh khosravi 2
Azadeh Tavoli 3
Shaghayegh Zahraei 4
1 Ph.D. Psychology, Department of Psychology, Alzahra University, Tehran, Iran
2 Professor, Department of Psychology, Alzahra University, Tehran, Iran
3 Associate Professor, Department of Psychology, Alzahra University, Tehran, Iran
4 Assistant Professor, Department of Psychology, Alzahra University, Tehran, Iran
چکیده English

Background: The relationship between psychoanalysis and art has a long and intricate history, originating with Freud’s writings on artists and evolving through a complex trajectory. Despite this, psychoanalytic theories of art remain fragmented, calling for a more systematic historical and conceptual synthesis.
Aim: This study aims to review and critically analyze the developmental trajectory of psychoanalytic perspectives on art and the creative process.
Method: A narrative review was conducted, integrating data from 97 articles and books retrieved from major databases (Web Pep, Web of Science, Scopus, ScienceDirect, ProQuest, Google Scholar, Google Books, ResearchGate, PubMed, JSTOR, Noormags, and SID), covering 1900 to July 2025. The initial search identified 2,405 records. After screening, 594 articles were selected for title/abstract review, and 380 full texts were examined in detail. Applying inclusion/exclusion criteria, 69 articles and 28 books were ultimately included.
Results: The findings of this review can be organized into three major categories: 1- A three-branch, criterion-based classification of the evolution of psychoanalytic thought on art. 2- A four-stage model explaining the creative process from a postmodern psychoanalytic perspective, illustrating how the elements of artistic creation correspond to mechanisms of psychic transformation in analysis. 3- A comparative map outlining the structural and functional components of artistic creation in parallel with analogous processes in psychoanalysis, highlighting their potential impact on the analytic process.
Conclusions: The study proposes an intersubjective, field (post-Bionian) model of the creative process: evocative objects activate the raw unconscious material within the “field” of the artist’s psychic interactions. This stirred unconscious, driven by the wish to re-experience a transformative object and engaged with consciousness, material, and inner/outer factors, gives rise to the “artistic third,” a concept inspired by the “analytic third,” which is both co-created and autonomous. The artistic third enables the capacity to “bear witness,” facilitating meaning-making and the integration of ruptures in the psyche’s narrative through metaphor and symbolization. Thus, art is not the product of a singular self but the emergent outcome of a dynamic creative field.

کلیدواژه‌ها English

psychoanalysis
art
creativity
art therapy
narrative review
  1. References
  2. Adams, L. S. (2019). Art and psychoanalysis. Taylor & Francis Group. https://www.taylorfrancis.com/books/mono/10.4324/9780429502200/art-psychoanalysis-laurie-schneider-adams
  3. Ayoubi, L., & Salehi, K. (2025). Methods of achieving saturation in qualitative research: A systematic review. Qualitative Research in Behavioral Sciences. https://doi.org/10.22077/qrbs.2025.8429.1069
  4. Balint, M. (1969). The basic fault: Therapeutic aspects of regression. Northwestern University Press. https://psycnet.apa.org/record/1992-98166-000
  5. Beveridge, A. (2001). A disquieting feeling of strangeness?: The art of the mentally ill. Journal of The Royal Society of Medicine, 94(11), 595-599. https://doi.org/10.1177/014107680109401115
  6. Bion, W. R. (1963). Learning from experience. William Heinemann Medical Books. https://www.google.com/books/edition/Learning_From_Experience/qevMEAAAQBAJ?hl=en
  7. Bollas, C. (1979). The transformational object. The International Journal of Psychoanalysis, 60(1), 97-107. https://www.ncbi.nlm.nih.gov/pubmed/457346
  8. Bollas, C. (1987). The shadow of the object: Psychoanalysis of the unthought known. Columbia University Press. https://books.google.com/books?id=uV0HtAEACAAJ
  9. Bollas, C. (2008). The evocative object world. Taylor & Francis. https://books.google.je/books?id=5n19AgAAQBAJ
  10. Civitarese, G. (2022). Psychoanalytic field theory: A contemporary introduction (1st ed.). Routledge. https://doi.org/10.4324/9781003219972
  11. Civitarese, G. (2025). The hour of birth: Psychoanalysis of the sublime and contemporary art. Taylor & Francis. https://books.google.com/books?id=2HiLEQAAQBAJ
  12. Cohen, F. W. (1981). Art therapy: Psychotic expression and symbolism. The Arts in Psychotherapy, 8(1), 15-23. https://www.sciencedirect.com/science/article/abs/pii/0197455681900150
  13. Dalsimer, K. (1994). The compulsion to create: A psychoanalytic study of women artists. By Susan Kavaler-Adler (Book review). The International Journal of Psycho-Analysis, 75(4). https://www.proquest.com/openview/90f098e85b73b6f33fe187a42460e938/1?pq-origsite=gscholar&cbl=1818729
  14. Ehrenzweig, A. (1953). The psycho- analysis of artistic vision and hearing: An introduction to a theory of unconscious perception. Routledge & Paul. https://books.google.com/books?id=uTNIAAAAMAAJ
  15. Ehrenzweig, A. (1967). The hidden order of art: A study in the psychology of artistic imagination. U. California Press. https://books.google.com/books/about/The_Hidden_Order_of_Art.html?id=p0kEUA_o1iUC
  16. Ehrenzweig, A. (1999). The psycho- analysis of artistic vision and hearing: An introduction to a theory of unconscious perception. Routledge. https://books.google.fr/books?id=UZj_n-MJudwC
  17. Eissler, K. R. (1963). Goethe: A psychoanalytic study, 1775-1786. Wayne State University Press. https://catalog.hathitrust.org/Record/007122873
  18. Esfandiar, F., Salehi, K., & Ebrahimi Kazemabad, A. (2026). Quality assessment of constructivist grounded theory studies: Developing a checklist. Qualitative Research in Behavioral Sciences. https://doi.org/10.22077/qrbs.2026.11129.1176
  19. Fenchel, G. H. (2008). Parallelism between psychoanalysis and art [Review of the book freud's art- psychoanalysis retold, by J. Sayers]. Psyccritiques, 53(21). https://psycnet.apa.org/doi/10.1037/a0011560
  20. Freud, S. (1914). On the history of the psycho- analytic movement. In J. Strachey (Ed.), The standard edition of the complete psychological works of sigmund freud (Vol. 14, pp. 1-66). https://www.scirp.org/reference/referencespapers?referenceid=2873856
  21. Freud, S. (Ed.). (1925). Note upon a ‘‘mystic writing-pad" (Vol. 20). Hogarth Press. https://web.english.upenn.edu/~cavitch/pdf-library/Freud_WritingPad.pdf
  22. Freud, S. (1926). The question of lay analysis. In J. Strachey (Ed.), The standard edition of the complete psychological works of sigmund freud (Vol. 20, pp. 177-258). https://ia800505.us.archive.org/8/items/the-complete-works-of-sigmund-freud/Freud%2C%20Sigmund/Question%20of%20Lay%20Analysis%2C%20The/Freud%2C%20Sigmund%20-%20Question%20of%20Lay%20Analysis%20%28Norton%2C%201969%29.pdf
  23. Freud, S. (1964). Leonardo da vinci and a memory of his childhood. Norton. https://books.google.com/books?id=4MZnpQZqNYAC
  24. Freud, S., Riviere, J., & Strachey, A. (1950). Collected papers. In. Hogarth Press & The Institute of Psychoanalysis. https://books.google.com/books?id=UVcNAQAAMAAJ
  25. Gendlin, E. T. (1966). The discovery of felt meaning. In J. B. M. R. R. Leeper (Ed.), Language and meaning. papers from the ascd conference, the curriculum research institute (pp. 45-62). Association for Supervision and Curriculum Development. https://www.focusing.org/gendlin/docs/gol_2039.html
  26. Gerson, S. (2004). The relational unconscious: Acore element of intersubjectivity, thirdness, and clinical process. The Psychoanalytic Quarterly, 73(1), 63-98. https://doi.org/10.1002/j.2167-4086.2004.tb00153.x
  27. Grant, M. J., & Booth, A. (2009). A typology of reviews: an analysis of 14 review types and associated methodologies. Health Info Libr Journal, 26(2), 91-108. https://doi.org/10.1111/j.1471-1842.2009.00848.x
  28. Green, B. N., Johnson, C. D., & Adams, A. (2006). Writing narrative literature reviews for peer- reviewed journals: Secrets of the trade. Journal of Chiropractic Medicine, 5(3), 101-117. https://doi.org/https://doi.org/10.1016/S0899-3467(07)60142-6
  29. Greenacre, P. (1964). A study on the nature of inspiration: Part i. some special considerations regarding the phallic phase. Journal of the American Psychoanalytic Association, 12(1), 6-31. https://doi.org/10.1177/000306516401200102
  30. Hagman, G. (2005). Aesthetic experience: beauty, creativity, and the search for the ideal. Rodopi. https://books.google.com/books?id=TlsYxZ_bg7oC
  31. Hagman, G. (2010). The artist's mind: A psychoanalytic perspective on creativity, modern art and modern artists. Taylor & Francis. https://books.google.com/books?id=tTZZBwAAQBAJ
  32. Hagman, G. (2025). The psychoanalysis of aesthetic experience: Self, relationship and culture. Taylor & Francis Group. https://books.google.com/books?id=WZ0b0QEACAAJ
  33. Jones, E. (1949). Hamlet and oedipus. Norton. https://books.google.com/books?id=N-JDAAAAYAAJ
  34. Kavaler-Adler, S. (1993). The compulsion to create: A psychoanalytic study of women artists. Taylor & Frances, Routledge. https://psycnet.apa.org/record/1993-98622-000
  35. Knafo, D. (2002). Revisiting ernst kris's concept of regression in the service of the ego in art. Psychoanalytic psychology, 19(1), 24-49. https://doi.org/10.1037/0736-9735.19.1.24
  36. Knafo, D. (2012 a). Alone together: Solitude and the creative encounter in art and psychoanalysis. Psychoanalytic Dialogues, 22(1), 54-71. https://psycnet.apa.org/doi/10.1080/10481885.2012.646605
  37. Knafo, D. (2012 b). Dancing with the unconscious: The art of psychoanalysis. Psychoanalytic Inquiry, 32(3), 275-291. https://doi.org/10.1080/07351690.2011.609081
  38. Kohut, H. (1966). Forms and transformations of narcissism. Journal of the American Psychoanalytic Association, 14(2), 243-272. https://psycnet.apa.org/doi/10.1177/000306516601400201
  39. Kris, E. (1952). Psychoanalytic explorations in art. International Universities Press. https://books.google.com/books?id=Q3hPAAAAMAAJ
  40. Kris, E., & Kurz, O. (1979). Legend, myth, and magic in the image of the artist: A historical experiment. Yale University Press. https://books.google.com/books?id=gl1iAZcg5pIC
  41. Levine, H. B. (2012). The colourless canvas: Representation, therapeutic action and the creation of mind. The International Journal of Psychoanalysis, 93(3), 607-629. https://doi.org/10.1111/j.1745-8315.2012.00574.x
  42. Levinson, C. P. (1986). Patient drawings and growth toward mature object relations: Observations of an art therapy group in a psychiatric ward. The Arts in Psychotherapy, 13(2), 101-106. https://doi.org/10.1016/0197-4556(86)90017-1
  43. Lieberman, J. S. (2011). Common ground between psychoanalysis and art: Introduction to wilson and miller. Journal of the American Psychoanalytic Association, 59(1), 85-87. https://doi.org/10.1177/0003065111402497
  44. Lingis, A. (2017). This immense fascination with the unconscious: Psychoanalysis and surrealism. In D. Legrand & D. Trigg (Eds.), Unconsciousness between phenomenology and psychoanalysis (pp. 261-277). Springer International Publishing. https://doi.org/10.1007/978-3-319-55518-8_15
  45. Loewald, H. W. (1975). Psychoanalysis as an art and the fantasy character of the psychoanalytic situation. Journal of the American Psychoanalytic Association, 23(2), 277-299. https://doi.org/10.1177/000306517502300201
  46. McDougall, J. (1995). The artist and the outer world. Contemporary Psychoanalysis, 31(2), 247-262. https://doi.org/10.1080/00107530.1995.10746909
  47. McDougall, J. (1999). Violence and creativity. The Scandinavian Psychoanalytic Review, 22(2), 207-217. https://doi.org/10.1080/01062301.1999.10592706
  48. Milner, M. B. (1995/2018). The role of illusion in symbol formation. In Meltzer, D. Psychoanalysis and Art. https://doi.org/10.4324/9780429478666
  49. Milner, M. B. (2010). On not being able to paint. Taylor & Francis. https://books.google.com/books?id=zNCsAgAAQBAJ
  50. Modell, A. H. (1993). The private self. Harvard University Press. https://books.google.com/books/about/The_Private_Self.html?id=clv-CaUOAaIC
  51. Modell, A. H. (2005). Emotional memory, metaphor, and meaning. Psychoanalytic Inquiry, 25(4), 555-568. https://doi.org/10.2513/s07351690pi2504_9
  52. Modell, A. H. (2009). Metaphor: The bridge between feelings and knowledge. Psychoanalytic Inquiry, 29(1), 6-11. https://doi.org/10.1080/07351690802246890
  53. Ogden, T. H. (1994). The analytic third: Working with intersubjective clinical facts. The International Journal of Psychoanalysis, 75(1), 3-19. https://www.ncbi.nlm.nih.gov/pubmed/8005761
  54. Ogden, T. H. (2004). The analytic third: Implications for psychoanalytic theory and technique. The Psychoanalytic Quarterly, 73(1), 167-195. https://doi.org/10.1002/j.2167-4086.2004.tb00156.x
  55. Poland, W. S. (2000). The analyst's witnessing and otherness. Journal of the American Psychoanalytic Association, 48(1), 17-34. https://doi.org/10.1177/00030651000480011301
  56. Rhodes, C. (2000). Outsider art: Spontaneous alternatives. Thames & Hudson. https://books.google.com/books?id=DZhjQgAACAAJ
  57. Rose, G. J. (1991). Abstract art and emotion: Expressive form and the sense of wholeness. Journal of the American Psychoanalytic Association, 39(1), 131-156. https://doi.org/10.1177/000306519103900107
  58. Rose, G. J. (1993). Affect: A biological basis of art. Journal of the American Academy of Psychoanalysis, 21(4), 501-512. https://doi.org/10.1521/jaap.1.1993.21.4.501
  59. Rose, G. J. (1996). Necessary illusion: Art as witness. International Universities Press. https://books.google.it/books?id=jLfpAAAAMAAJ
  60. Rose, G. J. (1999). Psychoanalysis and art: Their mutual relevance. Psychoanalysis and Contemporary Thought, 22(4), 591-608. https://pepweb.org/browse/document/PCT.022.0591A?index=27&page=P0592
  61. Segal, H. (1952). A psycho- analytical approach to aesthetics. The International Journal of Psychoanalysis, 33(2), 196-207. https://pubmed.ncbi.nlm.nih.gov/14917464/
  62. Segal, H. (1991). Dream, phantasy, and art. Tavistock- Routledge. https://books.google.com/books?id=avndQpoWA58C
  63. Shaddock, D. (2020). Poetry and psychoanalysis: The opening of the field. Routledge. https://doi.org/10.4324/9780429289224
  64. Sharpe, E. F. (1930). The technique of psycho- analysis. International Journal of Psychoanalysis, 11, 251-277. https://pep-web.org/browse/document/ijp.011.0251a
  65. Sharpe, E. F. (1935). Similar and divergent unconscious determinants underlying the sublimations of pure art and pure science. The International Journal of Psycho- Analysis, 16, 186. https://pep-web.org/browse/document/ijp.016.0186a
  66. Sharpe, E. F. (1940). Psycho- physical problems revealed in language: An examination of metaphor. The International Journal of Psycho-Analysis, 21, 201-213. https://psycnet.apa.org/record/1940-04567-001
  67. Spezzano, C. (1997). The emergence of an american middle school of psychoanalysis: Commentary on karen rosica's paper. Psychoanalytic Dialogues, 7(5), 603-618. https://psycnet.apa.org/doi/10.1080/10481889709539207
  68. Spitz, E. H. (1982). Reflections on form and content in modern art. The Psychoanalytic Study of the Child, 37(1), 547-568. https://doi.org/10.1080/00797308.1982.11823379
  69. Spitz, E. H. (1985). Art and psyche: A study in psychoanalysis and aesthetics. Yale University Press. https://books.google.pl/books?id=TbnjcBzAGXIC&printsec=frontcover&source=gbs_ViewAPI&hl=pl&redir_esc=y#v=onepage&q&f=false
  70. Spitz, E. (2010). Lucian freud: Psychoanalysis in paint? American Imago, 67(3), 441-450. https://muse.jhu.edu/article/414025
  71. Stern, D. (2012). Witnessing across time: Accessing the present from the past and the past from the present. The Psychoanalytic Quarterly, 81(1), 53-81. https://doi.org/10.1002/j.2167-4086.2012.tb00485.x
  72. Stern, D. B. (1983). Unformulated experience: From familiar chaos to creative disorder. Contemporary Psychoanalysis, 19, 71-99. https://psycnet.apa.org/doi/10.1080/00107530.1983.10746593
  73. Stern, D. B. (2004). The eye sees itself: Dissociation, enactment, and the achievement of conflict. Contemporary Psychoanalysis, 40(2), 197-237. https://doi.org/10.1080/00107530.2004.10745828
  74. Stern, D. B. (2012). Witnessing across time: Accessing the present from the past and the past from the present. Psychoanal Q, 81(1), 53-81. https://doi.org/10.1002/j.2167-4086.2012.tb00485.x
  75. Stern, D. B. (2019). Unformulated experience and the relational turn. Psychoanalytic Inquiry, 39(2), 127-135. https://psycnet.apa.org/doi/10.1080/07351690.2019.1561090
  76. Stern, D. B. (2022). On coming into possession of oneself: Witnessing and the formulation of experience. The Psychoanalytic Quarterly, 91(4), 639-667. https://doi.org/10.1080/00332828.2022.2153528
  77. Stolorow, R. D., & Atwood, G. E. (2014). Contexts of being: The intersubjective foundations of psychological life. Taylor & Francis. https://books.google.de/books?id=p2ihAwAAQBAJ
  78. Storr, A. (1988). Solitude: A return to the self. Free Press. https://books.google.com/books?id=FJzUXr5YFD8C
  79. Storr, A. (2001). Freud: A very short introduction. Oxford University Press. https://www.google.com/books/edition/Freud_A_Very_Short_Introduction/09xre3uD_hcC?hl=en
  80. Sukhera, J. (2022). Narrative reviews: Flexible, rigorous, and practical. Journal of Grad Med Educ, 14(4), 414-417. https://doi.org/10.4300/jgme-d-22-00480.1
  81. Urdang, P. E. (2018). Art, creativity, and psychoanalysis: Perspectives from analyst-artists: by Hagman, G. (Ed.). (2017). New York, NY: Routledge, 194 pp., $52.95. Psychoanalytic Social Work, 25(1), 1-5. https://doi.org/10.1080/15228878.2018.1428635
  82. Winnicott, D. W. (1965). The maturational processes and the facilitating environment: Studies in the theory of emotional development. Hogarth. https://books.google.com/books?id=wktqAAAAMAAJ
  83. Winnicott, D. W. (1967). The location of cultural experience. International Journal of Psychoanalysis, 48(3), 368-372. https://www.ncbi.nlm.nih.gov/pubmed/6053299
  84. Winnicott, D. W. (1971). Playing and Reality. Tavistock Publications. https://books.google.com/books?id=HwAuAAAAYAAJ
دوره 4، شماره 2 - شماره پیاپی 8
زمستان 1404
1404
صفحه 217-240

  • تاریخ دریافت 08 شهریور 1404
  • تاریخ بازنگری 08 آذر 1404
  • تاریخ پذیرش 10 بهمن 1404