کاشی نگاره ای از عصر قاجار؛ سندی بر تحکیم اقتدار ملی ایران در عرصه بین الملل (موجود در موزه ویکتوریا و آلبرت لندن) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
منبع:
نگره پاییز 1401 شماره 63
حوزه های تخصصی:
شماره صفحات:
۱۷۳ - ۱۸۷
دریافت مقاله
تعداد دانلود :
۱۳۰
آرشیو
چکیده
اقتدار ملی گونه ای قدرت مشروع و ناظر به مجموع توانمندی های یک ملت است که بخش عظیمی از اعتبار و هویت خویش را در فرهنگ آنها و به واسطه مکانیسم های متعدد همچون هنر حاصل می کند. زیرا هنر اگرچه در سوی ظاهری اش مبتنی بر عناصر زیبایی شناختی، نوعی لذت خوشایند دیداری فراهم می نماید. لیکن در سوی پنهان و در لایه های معنایی عمیق تر این قابلیت را دارد تا حامل پیام و اندیشه ای گردد. همانند کاشی نگاره ای از عصر قاجار که هنرمندش، علی محمد اصفهانی به دلیل شرایط خاص تولید سفارشی و متناسب با تحولات همان اوان، آن را سرشار از آرایه های تزئینی و نگاره های روایتگر می کند تا در چینش های بصری متوالی، بیانگر اقتدار ملی ایران در عرصه بین الملل باشد. براین اساس، هدف پژوهش حاضر آنست تا با تحلیل این کاشی نگاره در بُعد ارتباط با سیاست موضوع مورد مطالعه و در مقطعی تاریخی، تجربه ای واقع بینانه از نقش مکانیسمی هنری در تحکیم و توسعه اقتدار ملی ارائه دهد. همچنین بدین سؤال پاسخ دهد که: این اثر در لایه های محتوایی آرایه ها و نگاره هایش به چه نحوی و با چه مشخصه هایی خلق گردیده تا به مثابه سندی بصری، چنین بار معنایی را بازنمایاند؟ بررسی ها به روش نقد شمایل شناختی، با استناد به منابع کتابخانه ای- الکترونیکی و تحلیل های کیفی انجام پذیرفت تا نحوه معنادهی به نگاره های میز کاشی تبیین گردد. نتایج نشان می دهند که هنرمند نخست جهت بسترسازی اثرش آگاهانه دست به گزینش داستان ها و تمثال شخصیت هایی زده که دارای بار نمادینی از مؤلفه های هویتی ایران بوده اند. سپس درصدد بر آمده تا این مؤلفه ها اعم از تاریخ، جغرافیا، میراث نهاد دولت و میراث فرهنگی و علمی را که هریک جزئی از تعلقات پایدار و غنی این سرزمین هستند بر قواعد و اصول تجسمی بنشاند و آنها را با استفاده از گونه ای رنگ گذاری، چهره پردازی، پرسپکتیو مقامی و نشانه های فرمی و پوششی مطرح گرداند. چنانکه در کل تعمیم دهنده اقتدار ملی به فراسوی مرزهای ایران باشند.An Illustrated Tilework of the Qajar Era; an Evidence of Consolidation of Iran’s National Authority in the International Arena (Available at Victoria& Albert Museum)
National authority is a kind of rightful power, governing all potentials of a nation and attaining an enormous part of its validation and identity in their culture, through different mechanisms such as art, because although art provides a kind of visual pleasure in its outward appearance based on the aesthetic elements, it has also the potential to convey messages and thoughts and display political and social necessities of its own era in its hidden perspective and deep meaningful layers. Thus, as Foucault believed, each artwork is the meeting of different political and social debates which may be investigated for the purpose of identifying and analyzing the hidden meanings of authority, power and sovereignty. In this regard, the present research, with a case study approach, has focused on a tile tabletop from Qajar era, a work by Ali Muhammad Isfahani, so as to answer this question: How and by means of which characteristics are the content-based layers of its figures and illustrations created to become a visual proof of consolidation of national authority of Iran in international arena and to display such meaning? To answer accordingly, studies were conducted with reference to reliable library-electronic resources and based on iconological criticism approach to elaborate on the way the meaning was given to such tiles. The analysis displays that if the national authority is based on these three elements: identity factors, sense of belonging to such factors and knowledge of such factors, the artist has carried out illustration and visual narration according to all these elements. In fact, the artist has not merely intended to display the identity factors and belongingness, but he had a comprehensive and extensive knowledge of them and has taken action in creating decorative drawings and figures, relying on such knowledge and comprehension for the following reasons: 1- From all verse, prose and folk stories which have always been reflecting the thoughts of the Iranians in ups and downs of historical events, the artist has chosen some stories which emphasize on political heritage of the Iranians and their victories against the enemies’ invasions more than the others. Therefore, he has chosen five stories from Shahnameh, three stories from Hosseinnameh and one from Ghahremannameh. 2- Whereas he was aware that Houshang is the first king of the world after Kiomars and the founder of mythical ages of the world, he has placed the illustrations of such characters on the head of the tabletop and has set that as a base for placement and sequence of other illustrations. 3- He has made endeavors to convey some messages such as honor, bravery, courage, patience, chivalry, compassion, generosity, loyalty, patriotism, sacrifice and defense in the framework of interests of Iranian nation, and to hide them under visual layer of his artwork, because he created this artwork in a situation when he was first, completely aware of the position of its orderer, Robert Murdoch Smith, and he knew that this tile tabletop would be sent abroad to the UK after its creation and delivery, and second, he had accepted such order at a time when a new period of endangering historical borders and territorial integrity of Iran was started. 4- Whereas he was aware that authority is not an abstract concept and that it will come to existence when it is considered proportional to each period of time, he has made use of the common technique of that period, which is underglaze painting with light and bright colors in forming the mechanism of his artwork. Although, in this regard he obliged himself to display such mechanism with Iranian and Islamic attributes. Therefore, he refers to the tradition of accompaniment with literary contents; exactly in the middle of the period when tendency to modernism and to disconnect from literature became popular following the west. Further, he has made use of rules and principles of Persian miniature. Thus, we can generally conclude that Ali Muhammad Isfahani has not just intended to display his antecedent through repeating the historical patterns in the exact same form, but he was completely aware of all identity factors such as history, geography and territory, political heritages and government and cultural and scientific heritages, and connected them to the visual elements of his artwork in line with a specific and purposeful orientation. In other words, he has institutionalized them as the meaningful layers of visual elements of his artwork to signify a proof of an illustration of consolidation of national authority of Iran in international arena in the form of a painted tile tabletop; narrating the interesting ancient stories of Iran.
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