نوع مقاله : مقاله پژوهشی
نویسندگان
1 استادیار، گروه پژوهش هنر دانشکده هنر دانشگاه شاهد تهران ایران.
2 عضو هیات علمی گروه نقاشی دانشگاه شاهد
3 گروه ارتباط تصویری، دانشکده هنر دانشگاه شاهد تهران ایران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The Qajar period (1779-1925) in the history of Iran is a period full of ups and downs in political, social and cultural terms. These changes, from the relationship with the West to the constitutional movement in Iran, had their impact on art. On the one hand, the western style was entering Iranian painting, which was welcomed by the court, and on the other hand, religious folk painting that was popular among the common people. So, Qajar painting is a combination of traditional Iranian painting and methods of European painting. During this period, the painting was mostly influenced by court. While Persian arts are usually associated in the popular imagination with exquisite miniature paintings and carpets, or other luxury decorative arts, the arts of the Qajar period are characterized by large-scale works and the incorporation of new technologies. Therefore, the importance of this research is obvious, what is the position of each of these variety of subjects and methods in Qajar painting. Court portraits were one of most important works in Qajar painting. The emphasis on the figure and on imperial regalia, stiff, frontal poses, commanding gestures and piercing gazes became defining characteristics of these portraits. The second phase of Qajar period painting is naturalistic painting that became popular during the era of Naser al-Din Shah after the artists returned from Europe and learned their techniques. In the continuation of this era and after the constitutional movement in Iran, and the adjustment of the power of the court, coffee house painting gained a double boom with popular support. Therefore, in this period, these three categories of painting can be considered: court portraiture, naturalistic painting, and coffeehouse painting, all of which are completely influenced by the social, political, and cultural conditions of that era. On the other hand, one of the important pillars of a nation's cultures are myths, whose preservation has contributed to the identity of cultures and nations. One of the ways to preserve these myths is art, which can be preserved by any nation in different periods of history. Mythological scenes in painting depict the plots and characters of ancient myths, folk tales, legends and traditions. With the aim of knowing more and more deeply the painting of the Qajar period, the present research seeks to answer the question: What is the place of myths in the painting of the Qajar period? The research examines the answer to this question in three parts; Court portraiture, naturalistic painting and coffee house painting. In each section, it traces myths by examining examples. From the results of this research, it can be seen that myths have been used as a tool to legitimize the government in the first works, but in the painting of a coffee house that was supported by the people, national and religious myths have been preserved. The research is descriptive and analytical, and data collection was done in a library method and data analysis was done in a qualitative way. The research community has been painting works of the Qajar period. And the sampling method was non-random. And in the sample analysis, after extracting the features of Iranian myths, these features have been checked in the samples. Findings of the research show that in the first two categories (court portraiture and naturalistic painting) in the current research, the use of an imaginary being or a king in the guise of a national hero, or similar to a national hero, is only a tool for the king's importance. In the third category, i.e. coffee house paintings, there is no mention of the full presence of the king in these works, and literary and religious narratives are the subject. Coffee house art was created by popular artists and for the people and became popular in a period when the king's rule is constitutional and the presence of the people is more colorful. In the works of the coffee house, there are significant examples of both literary and religious epics. According to these works, literary and religious myths have had the highest frequency. The painting of the coffee house contains almost all the characteristics of Iranian myths, and thus, by depicting these characteristics, this research comes to the conclusion that the painting of a coffee house was able to preserve the characteristics of Iranian myths. The publics can achieve this cultural goal even without government and its power. Therefore, there is no doubt that one of the most important ways to preserve the cultural identity of the people is that they can find their way by themselves and reach their destination even without the support of the government or even with minimal support.
کلیدواژه‌ها [English]
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