بازنگری نگرش «انحطاط» هنر قاجار با تأکید بر سفالگری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
منبع:
نگره پاییز 1403 شماره 71
حوزه‌های تخصصی:
شماره صفحات:
۲۱۳ - ۲۳۵
دریافت مقاله
تعداد دانلود :
۱۵
آرشیو
چکیده
مطالعه پژوهش های صورت گرفته در زمینه سفال قاجار طی دهه های گذشته، بیانگر وجود نوعی اندیشه یکسونگرانه و غالباً منفی نسبت به این هنر در عرصه مطالعات هنر اسلامی است که آن را آغاز دوره «انحطاط» در تاریخ سفال ایران تلقی می کند. هدف این پژوهش، ارزیابی و سنجش درستی و نادرستی اندیشه مذکور است. سوال تحقیق حاضر این است که آیا این نگرش، ریشه در واقعیات تاریخی دارد یا حاصل برداشت هایی نادرست از تاریخ و هنر قاجار است؟ در پژوهش کیفی حاضر، از روش تحقیق تاریخی- تحلیلی استفاده شده و گردآوری داده ها با مراجعه به اسناد کتابخانه ای و میدانی و تحلیل داده ها به روش استقرایی انجام پذیرفته است. یافته های تحقیق حاکی از آن است که برخلاف آن چه که اغلب اذعان گردیده، سفال قاجار به لحاظ کمّی و کیفی نه تنها راه به «انحطاط» نبرده بلکه جایگاه ویژه و مجزایی را در گستره سفال ایران به خود اختصاص داده است. در دوره قاجار، برنامه های حمایتی جهت گسترش و رونق صنعت سفال از سوی دولت و نخبگان سیاسی به طرز قابل ملاحظه ای افزایش می یابد که این مسئله منجر به ترقی کاشی سازی و انجام اقداماتی در زمینه چینی سازی می گردد. در این دوره، تولید ظروف خمیرسنگ به دلیل واردات چینی تا حدودی دچار نقصان می گردد، اگرچه ساخت آن برای بازار جدید مشتریان نوظهور طبقه متوسط استمرار می یابد. از سوی دیگر، می توان دید که با تغییر پایگاه اجتماعی هنر در این دوره علاوه بر گسترش دامنه حامیان و سفارش دهندگان سفال، به دلیل افزایش برنامه های ساخت وساز و مرمت ابنیه، سفارش کاشی در اولویت قرار می گیرد. علاوه بر این، تحت تأثیر پدیده جمع آوری آثار هنر اسلامی و رونق بازار تقاضای هنر ایرانی، هنر قاجار نیز مورد توجه موزه ها و مجموعه داران اروپایی قرار می گیرد که این مسئله، حجم زیادی از سفارشات را برای سفال قاجار و حتی محصولات تقلیدی با کیفیت مشابه آثار گذشته در پی دارد.Reassessing the Issue of Degeneration of Qajar Art with an Emphasis on Pottery
A study of the research carried out in the field of Qajar pottery shows that the prevailing attitude towards this art during the past decades has generally been derived from a kind of negative thought, which is basically defined by keywords such as “degeneration”, ”vanishing”, ”decline”, “deterioration” and “stagnation”. Even with the change of attitude towards Qajar art since the end of the 20th century, the effects of the mentioned approach still remain on the later research, and traces of it can be seen from time to time in the conducted research. The purpose of the present study is to evaluate and measure the correctness and incorrectness of the mentioned approach. The question of the current research is that whether this attitude has its roots in historical facts or is it just the result of a wrong understanding of Qajar history and art? In other words, is Qajar pottery really weak in terms of quantity and quality, or is it subjected to adverse and biased comments? In this regard, the frequency of Qajar pottery production level will be investigated in accordance with the underlying and influential factors in the process of Qajar artistic trends, including the discourse of development and reform, supply and demand market, and the social bases of art. It should be noted that the word “quality” in this research refers to “technical quality” of the products - including the quality of clay, glaze, colors and firing - and does not include their “visual aspects”. This fundamental research applies the historical-analytical method. Data collection has been done by referring to library and field documents with reference to various sources, including historical texts (books, manuscripts and documents), accounts of travelers and political agents, and the works and documents preserved in museums. Data analysis has also been done by inductive method and in a round-trip process. The target community of the present research is the Qajar era pottery, including dishes, tiles and various pottery objects, which were sampled in a targeted manner. The findings of the research indicate that in contrast to what has often been asserted, not only the Qajar pottery has not been faced with “degeneration” in terms of quantity and quality, but it established a special and distinct place for itself in the field of Iranian pottery. During the Qajar period, the support for the expansion and prosperity of the pottery industry by the government and political elites increased significantly, leading to the development of tile making and chinaware production. In this period, no defect could be seen in the production of earthenware and generally monochrome products, but due to the influence of Chinese imports and the loss of traditional and long-standing patrons, namely financiers and political elites, creators of stonepaste wares were unable to produce products of high quality. Nevertheless, the production of stonepaste wares continued, though not with the previous quality, for a new market of emerging middle-class customers. On the other hand, it can be seen that with the change of the social base of art in this period, in addition to the expansion of patrons and customers of pottery, the priority is directed to ordering tiles due to the increase in building construction and restoration programs. The change in the social bases of art brought about other effects; including the one that led to the “commodification” of manufactured products. Accordingly, Qajar pottery lost the former “luxurious” character of Safavid pottery. Under such conditions, Qajar pottery was relegated from the class of noble and courtly objects and it became available to the general public at the level of commercial goods. In spite of that, this issue caused more creativity in Qajar products in the field of design and coloring. On the other hand, the boom in the market of supply and demand due to the emergence of the phenomenon of collecting art works by foreign museums and collectors resulted in bulk orders for the Qajar potters, especially in the late 13th and the early 14th centuries AH/ 19th and 20th centuries AD. At the same time, the increase in demand for old works led to the production of fake products known as “antiques”. The impossibility of distinguishing between some of these products from the original samples is indicative of the high skill of the potters of this period in producing high-quality products. Furthermore, it implicitly reminds us of the important and effective role of patrons of works of art in determining the trend of artistic trends.
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