مطالعه ی تطبیقی عکاسی درباری قاجار و نقوش کاشی قاجاری از منظر وانمایی بودریار (مورد پژوهی عمارت قاجاری در استان کرمانشاه)
آرشیو
چکیده
بیان مسئله: در دوران قاجار، نوعی از نقاشی با عنوان پیکرنگاری درباری با مختصات زیبایی شناسی جدید پدیدار شد که انفصالی از سنت نگارگری ایرانی را به همراه داشت. این سنت جدید، در نمایش واقعیت، متفاوت از گذشته عمل می کرد که بیشتر شبیه به واقع نمایی عکاسانه بود. هدف: پژوهش حاضر با ترسیم نمایی تاریخی از نقاشی پیکرنگاری درباری و عکاسی قاجار، تاثیر زیبایی شناسی عکاسانه را بر واقع نمایی پیکرنگاری درباری بررسی می کند و آن را بر اساس نظریه وانمایی بودریار مطالعه می نماید.سوال: مسئله اصلی پژوهش بررسی تاثیر واقع نمایی عکاسانه بر تغییر زیبایی شناسی نقاشی پیکرنگاری درباری است. روش تحقیق: برای رسیدن به پاسخ پژوهش از روش توصیفی و تحلیلی استفاده شده و شیوه ی دستیابی به اطلاعات، با استناد به منابع کتابخانه ای و براساس مطالعات نظری بوده است. نقاشی های بنای صارم الدوله به عنوان مورد پژوهشی مورد مطالعه قرار گرفتند.نتیجه گیری: با بررسی انجام گرفته میان عکاسی دوره قاجار و نقاشی های بنای صارم الدوله این نکته مشخص شد که عکاسی با ورودش به ایران در زمینه شبیه سازی و واقع نمایی بسیار مؤثر بوده است. شباهت های نقاشی های این بنا با مختصات زیبایی شناسی عکاسانه در ارائه شبیه سازی و مفاهیم، بسیار حائز اهمیت بوده و نشان دهنده آن است که هنرمندان برای رسیدن به شباهت ظاهری عکس و نقاشی بر پایه واقع گرایی تلاش کردند و تفاوت ها را به حداقل رساندند. در نهایت از منظر نظام سه گانه بودریار چنین نتیجه شد که نقاشی های پیکره نگاری درباری، به طور خاص آثار بنای صارم الدوله در مرحله آغاز مدرنیته تولید شده اند و به زعم بودریار به مرحله ی تولید، تکثیر و شبیه سازی تعلق دارند. هنرمند برای رسیدن به این شبیه سازی از تکنیک های چاپ و عکاسی کمک گرفته است و از نظر مفهومی نیز، حضور واقعیت و سوژه به طور توامان وجود داشته و در آخر به کمرنگ شدن رابطه ی واقعیت و سوژه منتج شده است.An adaptive study of Qajar court photography and Qajar tile motifs from the visual perspective of Baudrillard (case study of Qajar mansion in Kermanshah province)
Iranian painting had been following its own aesthetic coordinates for a long time, and for a long time, it had been promoting its aesthetic regardless of the productions of other regions. At the beginning, the aesthetics of Western painting followed some changes with the travel of some of Iranian painters to Europe and Europeans painters to Iran during the Safavid era, which showed itself in the Foreignization in the miniature of School of Isfahan. But in the Qajar era, this approach to the realism of painted images was different from the past. The photographic camera, which entered the court for the first time during the Qajar era, had a great impact on painters and changed the way of presenting reality. During the Qajar era, The Qajar dynasty an Iranian royal dynasty of Turkic origin, specifically from the Qajar tribe, ruling over Iran from 1789 to 1925, a type of painting called court portraiture emerged with new aesthetic coordinates, which led to a break from the tradition Iranian miniature. This new tradition, in the representation of reality, acted differently from the past, which was more like photographic realism. By drawing a historical view of court portrait painting and Qajar photography, the present study investigates the effect of photographic aesthetics on the realism of court portraiture and studies it based on Baudrillard's representational theory. In fact, the main problem of the research is to investigate the effect of photographic realism on changing the aesthetics of court portrait painting. To reach the result of the research, descriptive and analytical method was used also obtaining information method was based on library sources and theoretical studies. The paintings of Sarm al-Dawlah building were studied as a research case. A comparative study between photography of the Qajar period and the paintings of the Sarm al-Dawlah monument indicates that photography, upon its arrival in Iran, became very effective in the field of simulation and realism, then artists and courtiers welcomed this emerging art and found it compatible with their aesthetic standards. Iranian art society was moving from tradition to modernity and photography was considered one of the solutions of modernism. The reign of Fath Ali Shah, Fath-Ali Shah (May 1769 – 24 October 1834) was the second Shah (king) of Qajar Iran, who reigned from 17 June 1797 until his death on 24 October 1834, and his great support for art and artists caused his instrumental and purposeful view of art to be transferred to later periods as well. Also, Naseruddin Shah Qajar (July 1831 – 1 May 1896) was the Shah of Qajar Iran from 5 September 1848 to 1 May 1896, evaluated the strength of his power in supporting art. In response to the questions of the research hypothesis, it should be said that the similarities between the paintings of this building and the coordinates of photographic aesthetics have been very important in presenting simulations and concepts. Artists tried to achieve the similarity of the photo and painting based on realism and minimized the differences. Some differences, such as adding an element of imagination and decoration to the image, return to the tradition of Iranian painting. Art is at the disposal of the courtiers, the portraits of the royals and the king's face are proof of this claim, so it is obvious that the painter and designer should walk in the direction of their satisfaction. The effect that photography had on the artistic society of the Qajar period caused painting to have a modern and realistic movement forward and artists to be very precise in paying the details of the image and body, which shows the close connection between photography and painting. In the modern society, where the invention of photography and printing has opened the way for new ways of presenting art and empowering artists, the recording of visual elements provided the painters and designers with the time to create and finish the scenes and people, to perform according to the photo. So, as a result, the use of photography and painting required common goals. Finally, from the point of view of Baudrillard's triple system, it can be concluded that court portrait paintings, specifically the works of Sarm al-Dawlah, were produced at the beginning of modernity, and according to Baudrillard, they belong to the stage of production, reproduction and simulation. To achieve this simulation, the artist has taken help from printing and photography techniques, and from a conceptual point of view, the presence of reality and the subject coexisted, and in the end, it has resulted in the weakening of the relationship between the reality and the subject.
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