اسنادی جدید پیرامون عکاسخانه اندرونی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در میان کارکردهای مختلف دوربین عکاسی در قرن نوزدهم در ایران، از همان ابتدا مسئله عکاسی از زنان و مغایرت آن با شیوه های بازنمایی در غرب به عنوان یک مسئله فرهنگی مطرح شد. ترس از قرارگیری زنان در مقابل دوربین عکاسی، عکاس نامحرم وافتادن عکس های آنها به دست دیگران، عکاسی از زنان را غیرممکن جلوه می داد. تفنن و موضع برتر ناصرالدین شاه، اولین گام ها را در جهت شکستن این تابوی فرهنگی برداشت و عکاسی او از بانوان حرمسرایش آغاز به تصویر کشیدن زنان بوسیله دوربین عکاسی در ایران شد. عکاسخانه همایونی، اولین مکانی بود که به طور رسمی و به دستور ناصر الدین شاه برای انجام امور عکاسی، ظهور و چاپ عکس ها تأسیس شد. این عکاسخانه در جنب شمس العماره واقع بود. اسناد جدید یافت شده که در این مقاله مورد بررسی قرار گرفته اند نشان می دهند که با توجه به ملاحظات اخلاقی که در مورد عکاسی از زنان و ظهور و چاپ عکس های بانوان حرم وجود داشته است و باتوجه به فاصله زیاد عکاسخانه همایونی تا اندرونی، ناصرالدین شاه مکانی را در اندرون ناصری به عکاسخانه اختصاص می دهد. عکاسخانه اندرونی به امور عکاسی از بانوان حرم اختصاص داشته و مدیریت آن به عهده امینه اقدس، یکی از بانوان برجسته و با نفوذ دربار بوده است.New Documents about Studio Harem Photography
Photography camera was presented to the Qajar court in mid December1842 as a gift and since photography received the royal attention of Nasseredin Shah, it grew rapidly and became institutionalized. Among various functions of photography in the nineteenth century, in the beginning, taking women's picture was in contradiction with the women's representation in the west was raised as a cultural issue. Photography of women was almost impossible for fear of women sitting in front of camera, male photographer and published their photos. The joy and Nasseredin Shah's tend and his superior situation made first steps in breaking this cultural taboo and his taking photos of his women of the Harem became the beginning of taking women's photos by photography camera in Iran. He would personally take pictures of the members of his seraglio. Underneath most pictures of the women of his seraglio which exist in the collection of his photographs in the royal collection, he points out in his own handwriting that he has personally taken the pictures (not another male photographer). Two teenager eunuchs had helped to shah when he wanted to be in some photos next to his wives or in developing and print. Nasseredin shah felt that he should allot a special place for a studio. For this reason he designated a place in the yard of Golestan Palace to studio. It was next to Shamsol Emareh Building, naming it as the his Majesty's Royal Studio.Agha Reza Akkas Bashi was the first professional photographer in Iran.He became the manager of the first Royal studio. He would take all the photos desired by Nasseredin shah in this studio, except photography of women. New documents have been investigated in this research evidence because Royal studio was far away from Harem and for Islamic limitation Nasseredin Shah reserved an area of his Harem for photography studio. Harem studio designated to photography of the women of his seraglio and had been managed by Amineh Aghdas one of the influential and famous women in the court. These documents consist of architectural documents of royal palace (Golestan Palace) and some telegraphs from Nasseredin Shah that had sent to his wives, especial Amine Aghdas, during Nasseredin Shah's travel to the west.The frequent trips of noble Iranian in the west and three trips to the western countries by shah put us in the path of sudden storm of modernity and modernism was formed in shape of arrival of western images in Iran. Taking photos of women in this cultural- social change cycles by the upper class people with expenses of traveling west left the walls of Nasseri Palace and arrived into photography shops. After Nasseredin Shah, some noblemen started to photography of women in their family and after that we can see pictures of Iranian women had been taken by Iranian photographer in photography studios. This research also has investigated the gradual process of abolishment of bans in taking photos from women and its spread.
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