نقش تحولات اجتماعی در شکل‌گیری مکتب نگارگری قزوین مقالة

مؤلف: یوسفی، حسن ؛ حاصلی، پرویز ؛ حسینی، سید رضا ؛

نگره پاییز 1403 - شماره 71 التصنيف: العلمية - البحثية/ISC (‎22 صفحة - من 47 إلی 68 )

الکلمات المفتاحية: صفویه نگارگری جامعه شناسی هنر مکتب قزوین تک‌پیکره‌نگاری Single-figures sociology of art Qazvin school Safavid Painting

fa en

خلاصة:

نقاشی ایران در مسیر رشد خود دچار تحولات فروانی شده است. به همین جهت، مکاتب گوناگون نگارگری، دارای صبغهٔ قومی و قبیله‌ای و دربرگیرندهٔ فرهنگ حاکم زمان خود هستند. مکتب قزوین از جمله مکاتب نقاشی ایران دورهٔ صفوی است که در سال 955 ق، هنگام تغییر پایتخت از تبریز به قزوین شکل گرفته و بسان سایر مکاتبْ در روند شکل‌گیری و تکامل خود، تحت تأثیر حوادث اجتماعی و سیاسی حاکم بوده است. همین ضرورت، نگاه جامعه‌شناسانه بر این مکتب را دو چندان می‌کند. پژوهش پیش‌رو، با هدف بررسی تأثیر بازتاب تحولات اجتماعی در ظهور مکتب نگارگری قزوین، ضمن معرفی این مکتب درصدد است با نگاهی جامعه‌شناختی، آن را از منظر نظریهٔ بازتاب، مورد واکاوی قرار دهد. در این راستا، جهت پاسخگویی به سؤالات: ۱. تحولات اجتماعی، اقتصادی و فرهنگی در دورهٔ صفویه چگونه شکل گرفته است؟ ٢. بازتاب این تحولات در مکتب نگارگری قزوین چگونه است؟ مقاله حاضر از روش نظری و شیوهٔ توصیفی- تحلیلی سود جسته است. نتایج نشان می‌دهد که مکتب قزوین، همواره متأثر از تحولات سیاسی و اجتماعی دورهٔ صفویه بوده است. از این‌رو، موضوع نگاره‌های این مکتب، توصیف و تمجید از انسان و حالات اوست و از این منظر شاهد جهان‌بینی و نگرشی جدید در آثار این مکتب هستیم. تک‌پیکره‌نگارها و اوراق تک‌برگ مستقل که عمدتاً تصاویری از شاه و درباریان را به نمایش می‌گذارند؛ اولین نمونه‌های تصویری هستند که به سفارش حامیان، در دستان توانمند طراحان چهره‌گشا رسامی می‌شوند. درکل، پر هزینه بودن تکمیل نسخه‌های خطی برای دربار، عدم توجه شاه تهماسب به نقاشی نسخه‌های خطی و معرفی نقاشی دیواری، تعصب مذهبی شاه تهماسب به نگارگری، ایجاد محیط هنری، رشد طبقهٔ بازرگان و افراد کم ثروت‌تر جامعه، سفارش زیاد اوراق تک‌برگ و مرقعات تصویری و خوشنویسی؛ از مهم‌ترین عوامل ایجاد و رشد مکتب نگارگری قزوین می‌باشند.

خلاصة:

Any artful production can be understood on the context of the society and its position and function. The Qazvin school is one of the Iranian painting schools of the Safavid period, which was formed in 955 AH when the capital was changed from Tabriz to Qazvin. In the process of its formation and evolution until 1006 AH, it has undergone important social and political events, which show the necessity of a sociological look at this school. The aim of the current research is to determine the role of reflection of social changes in the emergence of Qazvin school of painting with sociological analysis and from the perspective of reflection theory. Therefore, it seeks answers to these questions: 1. How did the social, economic and cultural developments take place during the Safavid period? and 2. What is the reflection of these developments in Qazvin painting school? The research method is based on the objective, fundamental and based on descriptive data collection. The data of the research was collected by the method of sampling from the sources and also by observing the wall paintings of the Safavid Government House of the Qazvin State. Data analysis was done qualitatively based on comparison, analysis and classification. The results showed that the painting of the Safavid period in Qazvin has many differences compared to the previous periods. These differences include dynamic figures and soft distance and flexibility of lines, brushstrokes and shadows with linear value, creation of a living and real space, enlivening the world around the human body by recreating natural movements, special feelings of affection and romance in nature and garden display, the design of face painting and diversity in the type of clothing and facial expressions of people, the creative use of colored ashes and changes in the theme. From a sociological point of view, an important part of these changes is the result of the change of the three institutions of power, religion and artistic circles. Before the invention of the printing industry, the institution of power, the rich and the courtiers, and at the head of it the king, was the most important patron and supporter of artists. In the era of Shah Tahmasb, the support of artists was not stable and continuous, which caused the reduction of painting and gilding of manuscripts, and instead painting of buildings, wall painting, and single-face painting became popular. Besides the power, new supporters were also found, including financiers close to the court, princes and merchants, who had their own worldview in the production and ordering of works of art. In the Safavid era, the institution of religion, especially the Shiite religion, gained a lot of power, as a result of which, many manuscripts were written and illustrated with Shiite topics and themes and stories and stories of the Prophets. The changes in the artist's artistic environment and the orders of art lovers, the creation of painting workshops and the production of manuscripts, show a change in the attitude and the prevailing discourse in the institution of art circles. This change in attitude led to the creation of paintings with different colors and numerous themes. The sociological analysis of Qazvin school of painting shows that the paintings of this period have significant differences with the paintings of other periods. Among the most important differences, we can point out the following: 1- Change in themes and content: the individual figures of this school and their actions and roles all show the development of society, the introduction of the governmental pyramid of the Safavid society - in which the Shah was at the head, and consecutively there were courtiers, aristocrats and nobles, merchants and common people. Also, the dominant ideology and the orders of art lovers can be seen in a different form in the Qazvin School's monographs along with changing the themes. 2- Beliefs, tendencies, values and beliefs of the artist in the production of works of art are such that the artist is referred to and introduced by his works. 3- The change of patrons of art caused a change in the discourse and attitude of artistic circles, and this caused the spread of single-figure paintings and single-faces as well as the production of independent single-figures.

استلام ملف الإرجاع :
(پژوهیار, , , )

تحميل
تحميل HTML

رابط قصير:

صفحة:

دخول / الاشتراک

تحتاج الدخول لعرض محتوى المقالة. إذا لم تكن عضوًا ، فتابع من الجزء الاشتراک.

دخول