از تحريم صورتگري تا صورت نگاري عريان؛ نگاهي به سير تحول نمايش پيكره انسان در تاريخ هنر و به ويژه ايران

From Prohibition of Portraiture to Naked Pictography; A Brief Review of the Evolution of Human Figure Representation in the History of Art especially Iran

مرزهاي تلقي اديان از پيكره انساني ،گاه مقدس به عنوان تمثيلي از صورت الهي و گاه مذموم به سبب نمايش حالات گناه-آلود و خودنمايانه بشر، بحث درباره هنر انسان نما را مورد توجه قرار مي دهد. از هنر پيشاتاريخي تا هنر معاصر، موضوع تصوير انسان در كانون اهميت قرار دارد؛ در پاره اي مواقع، همچون هنر انسان غارنشين، تصويرسازي عصر آخناتون در مصر، آيين بودا، دين يهود، دين اسلام و جنبش شمايل شكني بيزانس، تمثال سازي انسان داراي حرمت و گاه ممنوعيت است؛ و در پاره اي ديگر چون يونان باستان، هند باستان، آيين ويشنوپرستي و عصر رنسانس، نمايش پيكره برهنه انساني، آزادانه موضوع هنر قرار مي گيرد. در اين مقاله، پس از مطالعه رويكرد اديان مختلف در باب تمثال سازي انسان، تضاد و تناقض در معناي برهنگي و دوگانگي دلالت اين مفهوم از لحاظ واژه شناختي بررسي مي شود، سپس با نگاهي دقيق تر به هنر ايران، پس از مطالعه تاريخچه تصاوير عريان، به تغيير نگرش هنرمند عصر قاجار در باب تصاوير انساني پرداخته مي-شود. خوانش ايراني از اومانيسم غربي، جايگاه انسان را تغيير داد و ضمن آرمان زدايي از آن، وجوه مادي زندگي بشر را در مركز توجه قرار داد؛ مفاهيم معنوي جاي خود را به گرايشات مادي و انسان محور جديد بخشيد؛ اين روند موضوعات بديعي چون برهنه نگاري را به عرصه نقاشي قاجاري وارد نمود.

Throughout history, art in its many existing applications has been a receptacle for the expression of religious believes and rituals. The various religions’ approach, since the most ancient ages of human civilization, has been one of portraiture and human figure representation has sometimes been regarded as instruments of propaganda of religion and at times inhibiting. The perceptions of various religions of human figure, which sometimes appear as symbol of divine portraiture and sometimes as indecent because of man’s sinful and self-exhibitory presentation brings the discussion of human figurative art to the center of attention. From prehistoric to contemporary art the subject of human image is in the center of attention. Sometimes like in the art of cave dwellers, Akhenaton age imagery in Egypt, Buddhism, Judaism, Islam and the Byzantine iconoclasm movement, the human iconography is forbidden. In some ages and religions, like in ancient Greece, ancient India, Vishnu worshipping rituals, and the age of Renaissance, the representation of naked human figure freely becomes the subject of art. The union of art and religion in the world of tradition is deep and lasting and sometimes stellar but this seemingly unbreakable connection began to come apart by the emergence of new social forces in the age of Renaissance and brought about a free and independent form in the arts. The representation of naked human figure that in some ancient traditional cultures bore holiness and mystery was replaced by self-exhibitory manifestation of human figure that reflected the self-centeredness of mankind in the Renaissance and his freedom from divinity. In this article, after a study of different religions and cultures approach on human iconography, contrariety and contradiction in the meaning of naked imagery and the dichotomy in the implication of this concept from the viewpoint of terminology will be reviewed with mention of different types of nude imagery in history and culture. After the study of nude pictures by a closer look at Iranian art the change in the Qajar era artist’s approach to human pictures will be closely reviewed. Although, prior to this period traditionally the human dignity was always posed as an element spiritual element in painting but due to new humanist teachings the modern Qajari artist found a chance to portray a different form of human; a human who with belief in his supremacy remained in the center of the universe. The passage from semi-idealistic semi-realistic portraits of Fath Ali Shah to completely naturalistic pictures of the Nasseri era followed by nude pictures with epicurean approach was the product of the advancement and perfection of this concept. The Iranian reading of western humanism changes the position of man while rubbing off its idealism brought the materialistic aspects of human life to the center of attention. Spiritual concepts and artistic sacredness changed to materialistic and humanistic tendencies. This process brought in new subjects such as nude painting in the Qajar art.