نوع مقاله : مقاله پژوهشی
نویسنده
دانشیار گروه نقاشی ، دانشکده هنر ، هیات علمی دانشگاه الزهرا س، تهران ، ایران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
Purpose: Court portrait paintings in the first Qajar period are mostly known with the faces of the king and courtiers, but part of the paintings of this period are painted images of women dancing and playing music. These images also follow the rules of court portraiture, but the portraiture of women independently has never been the goal of research. This type of painting, unlike court portrait painting, does not have a political or propaganda aspect and is used to decorate palaces with the standards and rules of court portrait painting, and it is painted without the artists' signatures. The purpose of this research is the analytical study of court portrait painting of women in the first Qajar period and its aesthetic criteria. The question in this research is as follows: what are the aesthetic criteria for portraying women in the first Qajar period? What are the similarities and differences with the official portrait painting of the court in this era?
Methodology: The research method in this research is descriptive and analytical, using library sources and examining examples of portrait paintings of women and museum examples. Women in the first period of Qajar.
Findings: The results of this research show that the portrait painting of women in the Qajar period was an important part of the official court portrait painting in this era, the paintings have a decorative and idealistic aspect and have more diverse motifs and decorations. In the rules of aesthetics, idealism, the use of decorations and motifs, exaggeration in the facial expression has something in common with the official portrayal of the king and courtiers. In these paintings, according to the patterns defined in Iranian literature, women are young, beautiful, dancing, playing instruments and performing acrobatic movements.
کلیدواژهها [English]
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