نگاه زنانه در پيوند با عناصر تصويري در "طوطي با ظرف ميوه و تك چهره زن"

The Female gaze in proportion to pictorial elements in "A parrot with fruit and a portrait of a girl"

نقاشي قاجار در آستانه عبور از سنت‌هاي پيشين، نقاشي ايران را تحت تأثير فرهنگ تصويري تازه‌اي قرار مي‌دهد. بانفوذ فرهنگ و هنر غرب به‌مثابه فرهنگ ديگري، موضوعات نقاشي تغيير پيداكرده و تك‌چهره و تك پيكره اهميتي ويژه مي‌يابند. هدف اين پژوهش بررسي و تحليل تك‌چهره‌اي از يك زن قاجار و نگاه زنانه به‌عنوان بخشي از عملكرد بدن با استفاده از نشانه‌شناسي فرهنگي است. تصويري كه چند ژانر نقاشي را در خود جاي‌داده است و از اين منظر اثري ويژه محسوب مي‌شود. ازاين‌رو نمونه‌ مطالعاتي، اثري با عنوان "طوطي با ظرف ميوه و تك‌چهره زن" متعلق به نقاشي دوره نخست قاجار است. روش تحقيق در اين پژوهش، توصيفي ـ تحليلي است و بر مبناي تغييرات اجتماعي و فرهنگي شكل‌گرفته در اين دوره؛ مسئله، نحوه حضور بدن و نگاه زنانه در اين اثر چند تصويري است. به اين صورت كه چه نسبتي ميان عناصر تصويري اين اثر و درواقع ميان بدن و فرآيند نگاه زن جوان با ديگر عناصر تصوير وجود دارد و به چه ميزان كنش نگاه زنانه در اين اثر در پيوند با ديگر نشانه‌هاي تصويري برآمده از فرهنگ ديگري تعريف مي‌شود و متمايز از نگاه قدرت نماي مردانه به تصوير كشيده شده است. نتيجه تحليل حاكي از اين است كه تك‌چهره زن جوان در اين اثر با تصاوير زن در آثار ديگر اين دوره مفهوم متفاوتي را در برمي‌گيرد. پيوند ميان عناصر درون تصوير با بدن زن، نشان‌گر نگاه مقتدر زن درباري در كشاكش اين دوران و تحولات برخاسته از فرهنگ ديگري است و او در آستانه ورود به چنين معنايي، به تصوير كشيده مي‌شود.

Qajar painting influenced Iran’s painting with a new kind of illustrations originating from the past traditions. Art and cultural politics of Fath Ali Shah performs an obvious role amongst the influential agents and historical events in the era of Qajar paintings for a presentation of the concepts of power in the social, political and cultural arena. Fath Ali Shah’s patronage of the art alters painting’s direction as Iran’s painting moves to a new field of pictorial history. Thus the portrait and figure get special significance in the painting this period as respects the themes of painting have changed via the penetration and impression of the western art and culture, and the noblemen take possession of that to be part of their belongings. Its climax is clearly seen in the court noblemen portraits and figures that has originated from amalgamation and mergence of western and Iranian traditions .Those are portraits and figures that are for the peerage men, kings, princes, dignitaries and the king’s courtiers and attendants. To show women’s portrait starts from the Qajar dynasty, and their representation matters in this era’s pictures, and its presentation falls prey to change both in the shape and content. Women’s images were not widespread because of religious reasons and didn’t «boom» as much as men’s images. The purpose of this article is connected with cultural semiotics which analyse a woman’s portrait related to the period of Qajar paintings. an‎d the female gaze is tantamount to the body function. This is a specific work of art because it is an image synthesized from several painting genres. This research interpreted pictorial elements in proportion together by an adaptive and analysis approach based on the shaped changes in this cultural and social period. We suppose that female gaze in this work of art, composed of several genres reflects changeable presence of the body’s action. The question is about the proportion between body and procession of the young woman’s look matching another details and elements of the image. Maybe the female gaze in this work was depicted as distinct from power of the male gaze. So this Qajar era painting provides an opportunity for different studying of this kind of pictures. Depicted portrait of the young woman contrasts with the separate images from women of this period of Qajar paintings. In conclusion should say that the representation and nature of the body was different in the images of this period. There is an exact relationship between the elements of the image, especially in case of the woman's body that reflects a dominant female gaze. She was a court woman that has stood in the middle of the tradition and modernity. She shows the cultural tension of the Qajar era. Her female gaze predominated not only on the audience but also on all that by its proportion to other elements. There is a structural and formal relation between elements that demonstrates physical presence of her body and a different look.