Document Type : Research Paper
Authors
1
Assistant Professor, Art Research Department, Faculty of Art, Shahid University, Tehran, Iran.
2
Assistant Professor, Department of Painting, Faculty of Art, Shahed University, Tehran, Iran.
3
Assistant Professor, Department of Graphic Design, Faculty of Art, Shahed University, Tehran, Iran.
Abstract
Introduction: Myths represent the collective identity of nations and function as cultural narratives through which societies define and preserve their historical consciousness. Identity is a continuous process formed through the transmission, reconstruction, and reinterpretation of symbols and narratives across generations. Therefore, myths, as significant elements of cultural identity, have always played an important role in shaping artistic expressions. Iran, with its long historical and cultural background, has preserved its myths through various forms of literature and visual arts throughout different historical periods. The Qajar period (1789–1925) was characterized by significant political, social, and cultural transformations. Developments such as increasing interactions with the West, the emergence of modernization processes, and the Constitutional Revolution influenced different aspects of Iranian society, including artistic production. During this period, governmental cultural policies were largely directed toward modernization and the adoption of new artistic approaches, while traditional values continued to remain influential among different social groups. This duality was reflected in Qajar painting, where Western-inspired court painting developed alongside traditional forms such as religious and popular painting. In this context, the role of cultural policy is particularly important because governmental decisions can either support the continuity of inherited traditions or encourage their transformation in response to new political and social conditions. Since myths constitute one of the fundamental components of cultural identity, their preservation and representation through art can reveal the cultural orientations of a society. The present study examines the position of Iranian myths in Qajar painting by focusing on three major artistic and cultural discourses of this period: the court discourse, the modernist discourse, and the traditional-Islamic discourse. The primary focus of this research is to investigate how cultural policies of the Qajar period influenced the representation and preservation of myths in visual arts.
Purposes & Questions: This research aims to provide a deeper understanding of Qajar cultural policies and their reflection in painting through the analysis of mythological representations. The study seeks to answer the following questions: 1. What were the main approaches and orientations of cultural policymaking during the Qajar period? 2. What position did the representation of myths, as symbols of Iranian-Islamic cultural identity, occupy in Qajar paintings?
Methods: The research employs a descriptive-analytical method. Data were collected through library research and analyzed using a qualitative approach. The research population includes selected Qajar paintings, consisting of court paintings, naturalistic works, and coffeehouse paintings. The samples were selected purposively based on their relevance to the representation of myths and their connection with the cultural discourses of the Qajar era. The analysis was conducted by examining the visual characteristics, themes, and symbolic functions of mythological elements within the selected artworks.
Findings & Results: The findings demonstrate that Qajar painting can be examined through three major discourses: courtly, modernist, and traditional-Islamic. Each discourse reflects a different approach toward the representation and preservation of myths. In the court discourse, myths were primarily employed as a means of legitimizing royal authority. By adapting narratives from the national epic tradition, particularly the Shahnameh, artists associated kings with heroic figures from Iranian mythology and used mythological references to strengthen the image and legitimacy of the ruler. In contrast, the traditional-Islamic discourse represented myths through both national and religious narratives. Figures such as Rostam and Sohrab from epic traditions, as well as religious figures associated with the events of Ashura, were depicted to reinforce collective memory and cultural values. In this discourse, myths were not merely decorative elements but functioned as symbols connected to religious beliefs, historical consciousness, and social identity. The modernist discourse, influenced by Western artistic approaches, introduced new visual methods and subjects into Iranian painting; however, it also contributed to the transformation of traditional representations. The findings indicate that despite these changes, mythological elements continued to maintain their cultural significance. Overall, Qajar painting reflects a dynamic interaction between modernity and tradition, demonstrating how visual arts became a field for negotiating cultural identity during a period of transition. The study concludes that myths in Qajar paintings served different purposes depending on the dominant discourse. While court paintings used myths to reinforce political authority, traditional-Islamic paintings employed them to preserve national and religious values. Therefore, Qajar painting can be considered an important medium through which Iranian society maintained and reconstructed its cultural identity during a period of major historical change.
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