تاملی بر تاثیرات تطور فرهنگ و جامعه ایران در میانه عصر قاجار بر دیوارنگاری (به گواه دیوارنگاره های عمارت صارم الدوله کرمانشاه) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
دوران حکومت قاجار یکی از مهمترین اعصار تحول هنر ایران، به ویژه در قالب دیوارنگاری است. ارتباط با غرب و الگوبرداری از فرهنگ و هنر ایشان مشخصه هنر این دوره است. این پژوهش در پی یافتن پاسخ به این سوال است که تغییرات رخ داده در جامعه قاجار موجب پیدایش چه نوع دیوارنگاره هایی گردید. مقاله با بررسی دیوارنگاره های عمارت صارم الدوله در کرمانشاه به تحلیل این موضوع می پردازد؛ و در دو بخش مجزا به روش تاریخی و مطالعه اسنادی و نیز روش توصیفی – تحلیلی یافتن پاسخ این پرسش را پی می گیرد. در این راستا، مقاله پس از مطالعه جریانات اجتماعی در جامعه متحول شده ایرانی آن دوران، به مدد دیوارنگاره های عمارت صارم الدوله، به بازخوانی این تحولات خواهد پرداخت. به فراخور مبحث، مضامین موجود در این دیوارنگاره ها به پنج گروه کلی تقسیم گردید و پس از بررسی و واکاوی تصاویر، مشخص گردید که آنها چگونه حکایتگر تغییرات در جامعه ایرانی می باشند، که سیر آن را اغلب در سفرنامه ها و کتب تاریخی می توان مشاهده نمود. این تصاویر بازنمایی از تاثیر برخورد سنت ایرانی با مدرنیته اروپایی است، که تنها در ظاهر و همچون تصوری از فرنگِ رویایی، به شکل تغییر در پوشش و رفتارها به تقلید از اروپاییان، صورت پذیرفته است.Reflection on evolution effects of culture and society of Iran in mid-Qajar epoch on the wall painting (To witness the wall paintings of Sarim Al-Dawla mansion in Kermanshah)
Through of world changes in eighteenth century, western countries took a new face and their developments accelerated, therefore under banner of science and technology dominated the world and most countries started to contact with west, subsequently. Iran was not excluded from other nations in the new encountering with European countries and west, this meeting caused the creation changes in structure and context of Iranian society which resulted the diversity and unprecedented plurality in culture, context and literature. Hence, condition of society changed to the distinct social and cultural layers. Therefore, in midst of these changes, art and painting was also not excluded from this category and those had evolutions in their identity. Qajar epoch is one of the most evolution of art eras, specially in wall painting which is structured with relationship and benchmarking of art and culture of the west. Intentionally or unintentionally, artists, especially painters of this era came to this new pattern and considered the assimilation of their arts with European samples as solutions for the achievement of the art and modern culture in the body of its western. This article is sought to analyze the impact of the relationship with west on society, culture and art of the Iran in middle of the Qajar reign and to ponder more on this topic by the wall paintings of Sarim Al -Dawla mansion that like a document image which is iterating the state of the society at that time, consider foregoing in two distinct parts; historical and comparative approach. And seek answer to question that changes in Qajar era resulted the emergence of what kind of wall paintings. This article will pay the review of evolutions after reading on socially changed trends in Iranian society at that era and by the image of mansion which is mentioned and will match their results with present image in mansion. According to this discussion, subject-matters on murals were divided to five groups which are as follows: face of woman and minstrelsy ceremony in European style, face of king and European men, image of war and deployment, image of narrative stories and image of heaven and angels. Finally, after reviewing the above, it was found that images in this set are well reflection of changing the situation and form of the Iranian community which can be seen this evolution in travel and history books, generally. These images are representation of impact the confrontation the Iranian tradition with European emerging modernity which causes of evolution in art, culture and society of Iran and showed expressive language from total outward changes of Iran society in midst of the Qajar reign and it can be concluded that they intended to move toward the fulfillment of dream modernity by replacing the European pattern with traditional pattern but for lacking the sufficient capacity in the levels of Iranian society, these changes only were conducted in outward aspects like imagination of new identity in form, transformation of face make up, changes in clothing and imitation of European habits.
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