نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری هنر اسلامی، دانشکده صنایعدستی، دانشگاه هنر اصفهان، اصفهان، ایران.
2 دانشیار دانشگاه هنر اصفهان، اصفهان، ایران.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Introduction: Across many historical periods in Iran, a key contributor to the beauty of architectural works has been their decorations and patterns. The Qajar era is highly influential in the transformation of art and architecture in Iran, particularly in wall painting. A prominent characteristic of this era was its connection to the West and the emulation of its culture and art. Wall painting has deep roots in Iranian art, and Qajar wall painting is evident in various buildings, including the Mashir al-Molk House in Isfahan, which is a valuable example of Iranian-Islamic architecture from the Qajar period, particularly noted for its wall decoration.The royal reception halls feature distinctive and diverse paintings, mirrors, and pools that combine Iranian, Western, Russian, and Islamic concepts and themes. The importance and necessity of revealing and analyzing the reflection of the changes that occurred in the Qajar period due to the confrontation with the West, and the interplay between the themes of the wall paintings and the ideology, beliefs, and social and political stances of house's owners, cannot be overstated. Therefore, such research is essential to identify how prevailing social conditions and ideologies influenced the creation of these artworks. Accordingly, examination the patterns in this building can lead to the recognition of cultural identity and influential factors in their formation. This study investigates how the influence of Western art and, on the other hand, the reflection of the views, beliefs, and sociopolitical positions of the residents of the Mashir al-Molk House have impacted the building's patterns and wall paintings across different historical periods.
Purposes & Questions: The present research aims to investigate, categorize, and trace the themes and patterns of the paintings and murals in the Mashir al-Molk House and to identify and analyze the Iranian, Western, and Islamic content of the paintings in the Mashir al-Molk House based on a reflective approach. The research questions include: 1. What are the themes of the paintings in the Mashir al-Molk House? 2. How do the themes of the wall paintings relate the owners’ views, beliefs, and sociopolitical positions? 3. How do social, political, and historical changes manifest in the wall paintings of the Mashir al-Molk House?
Methods: The research method is descriptive-analytical and employs a reflective approach. Data were collected through library and document research, as well as field photography .
Findings & Results: The results indicate that individuals with diverse political, social, and ideological positions lived in the House across periods from the Qajar period to the present, and the wall paintings changed in line with each owner’s ideology during their tenure. The house’s wall paintings evolved accordingly, taking on new forms. The changes in the murals are sufficiently evident to serve as documents for studying the society’s social status.. The selected themes reflect the owners' social status and, moreover, manifest changes in social, national, cultural and religious status. Because social status and change ae often exhibited in contemporary art works, art can reflect the essence of the society social data become sources of inspiration, and artworks function as mirrors of society. Owing to the residents’ cultural, national, and ideological diversity, patterns such as Iranian decorative elements, various hand-printed European and Russian images, invocations, prayers, and the names of Allah were added to the murals during successive periods of residence, creating a wide range of decorative motifs side by side. Based on the data, the largest number, variety, and differences of mural themes in the Mushir al-Mulk house occur in the audience hall, given the importance of the location as the primary gathering space, and the highest number of religious murals belong to the pool hall, because religious ceremonies and gatherings were held there and its function required such wall decoration. The historical significance of the artwork renders it a documentary source. What has always attracted the attention of governments and political movements to wall paintings is its communicative capacity and social influence. A general view of the house's murals shows the coexistence of Iranian, Islamic, and Western art. This trajectory from the Qajar period to the present reflects the cultures, beliefs, perspectives, and ideologies of residents of different nationalities and political, social, intellectual, and ideological positions. Moreover, wall painting also serves to satisfy the aesthetic tastes of different social strata and to transmit intended content to the audience.
کلیدواژهها [English]
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