نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر و عضو هیئت علمی دانشگاه کاشان،کاشان،
2 استاد و عضو هیئت‌‌علمی دانشکده هنرهای کاربردی، دانشگاه هنر، تهران، ایران
3 دانشیار و عضو هیئت‌‌علمی دانشکده معماری و هنر، دانشگاه کاشان، کاشان، ایران. ‏
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
The study of the researches carried out in the field of Qajar pottery during the past decades shows that the prevailing attitude towards this art during the past decades is generally derived from a kind of negative thought, which is defined by keywords such as "degeneration", "vanishing", "decline", "deterioration" and "stagnation". Even with the change of attitude towards Qajar art since the end of the 20th century, the effects of the previous approach still remain on the later researches, and traces of it can be seen from time to time in the conducted researches. The purpose of this research is to evaluate and measure the correctness and incorrectness of the mentioned thought. The question of the current research is whether this attitude has its roots in historical facts or is the result of a wrong understanding of Qajar history and art? In other words, is Qajar pottery really weak in terms of quantity and quality, or is it subjected to unexpert and biased comments? In other words, is Qajar pottery really weak in terms of quantity and quality, or has it been subjected to unexpert and biased comments? In this regard, the frequency of Qajar pottery production level will be investigated in accordance with the underlying and influential factors in the process of Qajar artistic trends, including the discourse of development and reform, supply and demand market, and the social base of art. It seems necessary to remember that the word "quality" in this research refers to the "technical quality" of the products - including the quality of clay, glaze, colors and firing - and does not include its "visual aspects". From the point of view of the goal, this research is a fundamental research that uses the historical-analytical method and the analysis of information and compilation of the research findings has been done in an inductive way and in a round-trip process. The target community of the present research is the Qajar era pottery, including dishes, tiles and various pottery objects, which were sampled in a targeted manner. Data collection has been done by referring to library and field documents, and in this regard, various sources including historical texts and sources (books, manuscripts and documents), reports of tourists and political agents, and works and documents in museums have been consulted. Data analysis has also been done by inductive method. The findings of the research indicate that, contrary to what is often acknowledged, Qajar pottery has not only not led to "degeneration" in terms of quantity and quality, but has established a special and distinct place for itself in the field of Iranian pottery. During the Qajar period, the support programs for the expansion and prosperity of the pottery industry by the government and political elites increased significantly, which led to the development of tile making and taking measures in the field of china making. In this period, there was no defect in the production of earthenware and generally monochrome products, but due to the influence of Chinese imports and the loss of its traditional and long-standing patrons, namely financiers and political elites, stonepaste ware were unable to produce quality products. Nevertheless, the production of stonepaste ware continued, although not with the previous quality, for a new market of emerging middle-class customers. On the other hand, it can be seen that with the change of the social base of art in this period, in addition to the expansion of patrons and customers of pottery, their priority is directed to ordering tiles due to the increase in building construction and restoration programs. The change in the social base of art, of course, also brought other effects, including the one that led to the "commodification" of manufactured products, so that Qajar pottery lost the "luxury" character of Safavid pottery. In this situation, Qajar pottery was relegated from the class of noble and courtly objects and became available to the public at the level of commercial goods; Although this problem caused more creativity in Qajar products in the field of design and coloring. On the other hand, the boom in the market of supply and demand following the emergence of the phenomenon of collecting art works by foreign museums and collectors resulted in many orders for Qajar potters, especially in the late 13th and early 14th centuries AH. At the same time, the increase in demand for old works caused the production of fake and fake products known as "antiques". The impossibility of distinguishing some of these products from the original samples indicates the high skill of the potters of this period in producing high-quality products. In addition to that, it is implicitly reminded of the important and effective role of patrons and patrons of works of art in determining the trend of artistic trends.
کلیدواژه‌ها [English]
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