نوع مقاله : مقاله پژوهشی
نویسندگان
1 کارشناسی ارشد تاریخ هنر ایران اسلامی، دانشکده صنایع‌دستی، دانشگاه هنر اصفهان، اصفهان، ایران.
2 دانشیار دانشکده صنایع‌دستی، دانشگاه هنر اصفهان، اصفهان، ایران.
3 دکترای پژوهش هنر، دانشگاه هنر اصفهان، اصفهان، ایران.
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
Introduction: The hunt and the hunting ground are one of the first images and one of the most common scenes found in artworks from ancient times to the present. Hunting was a way of demonstrating physical and mental strength and skill, and became a practice for warriors before battle. Rulers also represented their victories—on the battlefield and in hunting scenes—across various forms of art, in addition to texts, in order to frighten rebels and rivals, to show their fighting power, and to make a name for themselves in the history of conquerors. The image of the hunt for rulers throughout history has not only been a work of art, but has also taken on symbolic and political aspects. Fatḥ-ʿAlī Shah had a particular view of art in terms of aesthetics, diplomacy, and politics; therefore, the numerous royal hunting paintings can be considered the main platform for displaying the power of his era. Hunting, along with art and literature, was one of the most important pursuits of Fatḥ-ʿAlī Shah in terms of war, sport, and politics. Since the footprint of art has a decisive presence in all strata of society, it is important to pay close attention to art in the field of culture in the political, social and economic life of the country as a link between the ruling power, the audience and wealth. Therefore, it is necessary to consider the artistic and cultural developments of each era in this regard. In the written sources of the Qājār era and the artistic works of this period, we can explore Fatḥ-ʿAlī Shah’s attitude and commitment to supporting art, literature and history, and his political use of art to sustain and assert his power through the image of hunting can be seen and explained in various artistic media (paintings, lacquer paintings, bas-reliefs).
Purposes & Questions: From this perspective, the purpose of this article is to analyze the image of hunting by examining the written sources and works of art related to royal hunting during the reign of Fatḥ-ʿAlī Shah, as well as the king’s role in supporting art and artists, and the political exploitation of the image of hunting. This research seeks to answer what role the image of the royal hunt played in advancing the cultural policies of Fatḥ-ʿAlī Shah Qājār.
Methods: The article benefits from Pierre Bourdieu’s “theory of practice” with an analytical-comparative methodology and the “cultural policy” approach. The relationship between habitus, and field is at the heart of Pierre Bourdieu’s theory, known as the theory of action. According to Bourdieu, habitus is a system of inclinations that form the principles, beliefs, evaluations, judgments, actions and behavior of a person and the field is a social, political, economic, cultural space or environment in which people act according to its conditions. Gathering information through documentary and library methods, this research seeks to present the model of “Art: The Artery of Culture” to better understand the concept of royal hunting imagery in the era of Fatḥ-ʿAlī Shah. A qualitative approach was also employed to analyze Fatḥ-ʿAlī Shah’s perspective.
Findings & Results: Since Fatḥ-ʿAlī Shah himself was a man of literature and art, by supporting art and poetry with national tendencies, he was able to associate himself with the ancient gods of Iran and the Shiite imams through a historical reading, and to present himself as the rightful heir to the throne and the ruler of the Islamic nation, and by creating a visual message and symbolizing the role of the hunting ground, to present himself as the savior of the guarded domains of Iran. By preparing the minds of his subjects for nationalism, he reduced internal rebellions and the concentration of Iranian military forces on the borders of the country, and by the presence of foreign forces on the borders of the country, he expanded the national identity and harnessed the people’s faith through jihād (holy war). In order to preserve the Islamic lands, Fatḥ-ʿAlī Shah was able to prevent the colonization of Iran. Therefore, the state of the court, social legitimacy, and visual memory were interrelated in the promotion of Fatḥ-ʿAlī Shah’s goals, and in their central point, they were coordinated with the factor of the artistic trend, the role of the hunt, and by an external factor within the framework of cultural and artistic policy in terms of far-reaching and important effects on the intellectual flow, culture, and destiny of the people and country of Iran. This intellectual current, formed by the Shah through the creation of cultural policies, did not allow the central government of Iran to disintegrate despite all the crises and invasions of foreign forces. As a result, during the period of crisis in Iran, the pursuit of imagery was seen as identity-building and nationalistic.
کلیدواژه‌ها [English]
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