تحلیل تبارشناسانه دیوارنگاره «صف سلام» عبدالله خان در کاخ نگارستان تهران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
دیوارنگاره «صف سلام» که عبدالله خان، نقاش باشی عهد فتحعلی شاه در سال 1228 ه به سفارش حامی خود بر دیوارهای کاخ نگارستان ترسیم کرد از معدود آثار برگزیده هنر قاجار است که به عنوان یک سرمشق توسط هنرمند و دیگران در عمارات و کاخ های متعدد، رونگاشت های از آن اجرا شده است. فرضیه پژوهش این است که ارزش های نهفته یا آشکار، که باعث شهرت فوق العاده این اثر و سپس اجرای رونگاشت های فراوان از آن شد کدام است؟ گمان می رود این نقاشی پاسخ های مناسبی برای نیازهای تصویری آن روز جامعه داشته است که چنان مورد توجه قرار گرفت که حتی پس از مرگ هنرمند نیز تولید می شد.نوشتار حاضر با رویکردی تبارشناسانه، روشن می سازد که برای پدید آمدن یک شاهکار هنری، علاوه بر رعایت بنیان های زیبایی شناسی،تعامل با گفتمان قدرت و پشتوانه های تبلیغی نیز ضروریست. برای مثال حضور ایلچیان فرنگ از جمله سرگور اوزلی انگلیسی و آمده ژوبر فرانسوی در این نقاشی، جهت فراتر رفتن شهرت آن به خارج از مرزهای ایران بی تاثیر نبوده است. نمونه آماری اصلی دراین پژوهش دیوارنگاره صف سلام عبدالله خان است اما جامعه آماری مورد مطالعه تمامی آثار تصویری را که مضمون آنها صف سلام باشد در برمی گیرد. گستره مکانی و زمانی تحقیق، جغرافیای ایران عهد قاجار و روش تحقیق،توصیفی– تحلیلی است.Genealogical Analysis of the “The Royal Greeting Ceremony” ( Safe Salam) Murals painted by Abdullah Khan in Negrestan Palace in Tehran
The murals of “Safe Salam”,created by Abdollah KhanEsfahani)Active in the first half of the 19th century(,who was painter and architecture in Fath Ali Shah Qajar era(1833-1871 A.D),he was commissioned by his patron to draw that painting on the walls of Golestan palace in Tehran,which is one of the numerated distinguished work of Qajar art. That was used as a model and pattern by others painter in the others wall painting palace, several citations with different scale and tools implemented on it. The question is, which obvious and covert values was made to the extend reputation and then a lot of citation of it. It is thought that, this painting was an appropriated responses to the needs of the society’s image of that period of time, that to the extent considered even, after the artist’s and his patron’s death was produced repeatedly.In this murals,118 faces had painted in tricuspid , which It seems the interior view of three sides of a cube. The sides walls of the palace shows the portrait of ambassador, heads of state and captains and the smaller and main wall shows” Fath Ali Shah “ with his twelve sons,All characters faced toward the king And the strain on their own.this palace was destroyed in Pahlavi ‘s era and murals was disappearance, but the picture have left. It thought the secret of success of this painting should be the response to the image’s needs of those days. The difference between this painting with other works is the innovative theme and its exquisite structure .Also “ Abdollah Khan” was different with another artist because in the same time won the “ Mema’ar- Bashi”( Architecture) and he own self built the “Negarestan” palace.so, obviously he had better understanding of spatial relationships have three- dimensional spaces and he suspension features of painting and architecture with each other, with this method more immediate impact on the audience is create. He used the exact calculation of the view’s Angel, height observer, diffused light in the space and scales used, created a work that was unique in the history of Iranian’s painting from every direction. This article with genealogical approach, clarify that for creating a masterpiece art work, in addition it must be considered and observed the technical proficiency and the fundamentals of aesthetics, interaction with political discourse of power and propagation patronage is necessary, for example, in achieving fame across the Iran’s borders, the presence of cultural authorities, including: Sir Gore Ouseley from England and Pierre Ame’dee’ Jaubert from France and the other characters from Ottoman, YemeTemporal and spatial extent of this research is the geography of Iran during Qajar and the methodology of the study isdescriptive- analytical.n, India played an important roles. The basic case study in this research is” The Royal Greeting Ceremony”( Safe Salam) Murals painted by Abdullah Khan but the statistical society of this study inclusive all of the painting with royal greeting ceremony subject. Temporal and spatial extent of this research is the geography of Iran during Qajar and the methodology of the study is descriptive- analytical.
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