كليدواژه :
نيت مندي , ديوارنگاره درباري قاجار , آبي لاجورد , آبي پروس , طيف سنجي زير قرمز تبديل فوريه (FT-IR)
چكيده فارسي :
از قرن نوزدهم به بعد و با پيشرفت و ارتقاء مطالعات علمي اين امكان براي حفاظتگران حرفه‌اي فراهم شد كه از روش‌هاي تحليلي و آزمايشگاهي براي شناسايي مواد مورداستفاده و خاص هر هنرمند در بررسي آثار تاريخي و هنري بهره‌مند شوند. تأكيد بر به‌كارگيري دانش شيمي و فيزيك به‌تدريج سبب شد تا رويكردي نوين در حوزه شناخت ديوارنگاره‌ها شكل بگيرد. يكي از اين رويكردهاي جديد درك نيت هنرمند از طريق بررسي‌هاي علمي و در حوزه‌ي شناخت انتخاب مواد و شيوه‌ي اجراي كار است. براي دستيابي به اين هدف و تعبير معناي ديوارنگاره‌ها، يكي از متداول‌ترين روش‌ها در حال حاضر كمك‌گيري از علوم طبيعي در شناسايي و بيان ويژگي‌هاي مختلف ديوارنگاره‌ها است. بر همين مبنا در اين پژوهش از طيف‌سنجي زير قرمز تبديل فوريه (FT-IR) با هدف شناسايي مواد تشكيل‌دهنده رنگ‌هاي به‌كاررفته در ديوارنگاره‌هاي درباري دوره قاجار استفاده‌شده است. نتايج حاصل از مطالعات انجام‌گرفته بر روي دو ديوارنگاره اتاق نقاشي كاخ گلستان و صف سلام فتحعلي شاه انتقالي به كاخ نگارستان تهران نشان مي‌دهد كه هنرمند دوره قاجار با توجه به جايگاه و اهميت اين ديوارنگاره‌ها از روي آگاهي كامل رنگ‌ها را انتخاب كرده است. بررسي منابع موجود از نگاه نظريه نيت‌مندي در مورد ديوارنگاره‌هاي دوره قاجار و همچنين انجام مطالعات آزمايشگاهي بر روي دو ديوارنگاره مذكور و تجزيه‌وتحليل كمي و كيفي نتايج آن‌ها رويكرد جديدي را براي نخستين بار در بررسي تأثير نيت هنرمند و ارتباط آن با رنگ‌هاي به‌كاررفته در ديوارنگاره هاي درباري دوره قاجار در اين مقاله مطرح مي‌سازد.
چكيده لاتين :
In the 19th century, professional conservators started using the science and scientific attitude in the
process of conservation studies. With the improvement of scientific methods, conservators gained
the ability to use analytical approaches to solve the problems. Emphasizing on using chemical and
physical studies had made a new field in conservation of arts. In this paper, Fourier-transform
infrared spectroscopy (FT-IR) is used to identify the pigments and the base of mural paintings with
the goal of acknowledging the role of science and the intention of artist in application specific
colors and methods at creating the royal Qajar mural paintings. This analysis is necessary to
improve the level of decision making for conservation and restoration. The results of this study
shows the Qajar artist chose the colors with full cognizance and the only differentiation is observed
in blue pigments, where Lapis Lazuli was used in the “Saf-e-Salam-e-Fathalishah”. Lazuli blue is
known for being resistant to weathering and for its fluorescent feature, and transmits the intention
of the artist to the viewer in the best way. The approach of this research in data gathering through
studying the available sources about Qajar mural painting with the consideration of artist intention
along with the quantitative and qualitative analysis of the samples from three Qajar royal wall
paintings from Golestan palace. These wall paintings now assembled in Negarestan palace,
discussing the artist intention in choosing/applying materials and methods in creating mural
paintings of Qajar era. Artist’s intention can have different levels of complexity, but conservators
identify a familiar problem as the main one. Natural causes and physical conditions change the
features of the artwork. Time, dust, or undesirable incidents always create a condition in which the
art work is dimmed, changed or damaged. In other words, the colors are dried, cracked or flaked,
the canvas is swollen and panels are detached. Moreover, the organic pigments become pale or
colorless and metal pigments can be oxidized and turn black and brown from green and red.
Neither the artist nor the conservator have access to stable ingredients. Conservators know how
hard controlling or forecasting such problems can be and these factors add on to the complexity of
the job. Except the goal, choices of the artist in materials will be affected by physical damage,
quality loss and deterioration. Artworks cannot be kept in the final form which the artist created,
although Qajar mural paintings have their own visual features, they also have their own distinctive
ingredients and method of painting. One of these are the unique method of each artist. Laboratory
researches showed that the only difference between the two mural paintings were the blue
pigments. This research aims to answer how choosing the ingredient and method with the intention
of the artist in the time of creating the artwork can help us to understand the art better. So, the
purpose of this research is to study the royal Qajar mural paintings based on the chemical analysis
to understand the intention of the artist in creation of these two artworks.
