تحلیل انتقادی دیدمان جنسیت در نقاشی قاجار؛ تبار کاوی چهره و بدن در مکتب پیکرنگاری درباری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
موضوع اصلی نقاشی قاجار پیکر انسانی با نوعی زیبایی آرمانی است که به لحاظ ویژگی های چهره و بدن از الگویی ثابت تبعیت می کند. بنا به رأی برخی محققان، مختصات زیبایی به طور یکسان برای مردان و زنان تصویرگری می شده است. این گزاره اگرچه صحیح، اما دقیق نیست. مسئله باید پیرامون بازنمایی جنسیت در فرهنگ دیداری و دیدمان حاکم بر این دوره صورت بندی شود و این موضوع و چرایی آن، خصوصاً در مورد شاه و شاهزادگان نیز باید مورد واکاوی قرار گیرد. این تحقیق از نوع کیفی و بنیادین بوده و روش آن توصیفی با تحلیل ترکیبی است که به نحو انتقادی کاربست می یابد. روش شناسی به مفهوم تبارکاوی بر بنیان آراء فوکو و لکان برمی گردد. تبارکاوی چهره و بدن از اهداف این نوشتار است. با توجه به اهمیت پرتره ی شاه، می توان نتیجه گرفت که فتحعلی شاه محور دیدمان و کلیشه ای تصویری برای بازنمایی زیبایی به علاوه ی قدرت است و برای خود و دیگران مورد تقلید و مطلوب انطباق هویتی قرار می گیرد. بنابراین زیبایی در این دیدمان، نخست متعلق شاه/پدر یا دیگری بزرگِ آینه ای است و سپس به دیگران تعلق می گیرد. چنین امری محصول ساحت خیالی جامعه بوده و به انگاره ی شاهی در نهاد ناآگاه جمعی برمی گردد که به نحو اسطوره ای، تاریخی و فرهنگی شکل گرفته است.Critical Visuality Analysis of Sexuality in Qajar`s Painting (Geneanalysis of Body and Face in School of Royal Portraiture)
One of the historical schools of Persian painting is the school of Royal Portraiture, the peak of which is seen in the early Qajar era. The central theme of this type of painting is the human body, including young people as well as kings, princes, and dancer women with ideal beauty. These people are almost similar in terms of facial and body features, following a fixed image cliché. This has led the majority of researchers in this field to the idea that the features of beauty were considered and depicted equally for men and women. Although this statement is generally correct, it is not accurate. Therefore, this issue and the whys, especially in the case of the king and the princes, should be analyzed more carefully in these paintings. This essay tries to address such questions about the visual representation of sexuality in the visual culture of this period. In a conceptualization related to the discourse, the general atmosphere of imagery in the Qajar era can be considered as visuality; a type of critical visuality analysis can be done. This research is qualitative and basic, and in terms of method, a descriptive with synthetic analysis research is applied critically. The methodology of this research refers to the concept of "Geneanalysis” organizing the theoretical framework of this research in the social psychoanalytic approach; it is based on the ideas of Michel Foucault and Jacques Lacan. What is called Geneanalysis is a dynamic combination of genealogy and psychoanalysis (social psychoanalysis). Compared to the Foucauldian genealogy, in geneanalysis, it is not the correlation of knowledge and power, but the relations of the "power and sexuality" that are analyzed. Sexuality, in this paper, is considered as a historical deployment, but it can be considered as the consequence of the struggle of the forces that are acting and interacting in the conscious and unconscious level of a society and each attempt to create a state of mind and a sign on body. Thus, geneanalysis of the face and body is one of the main goals of this essay. According to the importance and repetition of the portrait of the Shah, it can be seen that Fath-Ali Shah is the axis and nodal point of this visuality and also an image stereotype to represent beauty in addition to power, which is a morphological imitation for himself and others (princes and women) and in a kind of visual transformation is desirable and suitable for identification. Therefore, beauty, in our discussed visuality, first belongs to the king/father or the Other, and secondly, it belongs to others; this subject is the function of the imaginary of the society and according to the cultural history of Iran, it goes back to the image of the king in the Iranian collective unconscious. In this case, Yusuf can be considered as a prototype that has both the source of beauty and power and historically is projected in kings` image and even more deeply this image mythologically goes back to an archetype named Narse as a god-man.
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