شماره ركورد :
964711
عنوان مقاله :
تحليل تبارشناسانه ديوارنگاره «صف سلام» عبدالله خان در كاخ نگارستان تهران
عنوان به زبان ديگر :
Genealogical Analysis of the The Royal Greeting Ceremony ( Safe Salam) Murals painted by Abdullah Khan in Negrestan Palace in Tehran
پديد آورندگان :
ميرزايي مهر، علي اصغر دانشگاه علم و فرهنگ - دانشكده هنر و معماري , حسيني، مهدي دانشگاه هنر - دانشكده هنرهاي تجسمي
تعداد صفحه :
8
از صفحه :
53
تا صفحه :
60
كليدواژه :
صف سلام , عبدالله خان , فتحعلي شاه , ديوارنگاري , نقاشي قاجار
چكيده فارسي :
ديوارنگاره «صف سلام» كه عبدالله خان، نقاش باشي عهد فتحعلي شاه در سال 1228 هـ به سفارش حامي خود بر ديوارهاي كاخ نگارستان ترسيم كرد از معدود آثار برگزيده هنر قاجار است كه به عنوان يك سرمشق توسط هنرمند و ديگران در عمارات و كاخ هاي متعدد، رونگاشت هاي از آن اجرا شده است. فرضيه پژوهش اين است كه ارزش هاي نهفته يا آشكار، كه باعث شهرت فوق العاده اين اثر و سپس اجراي رونگاشت هاي فراوان از آن شد كدام است؟ گمان مي رود اين نقاشي پاسخ هاي مناسبي براي نيازهاي تصويري آن روز جامعه داشته است كه چنان مورد توجه قرار گرفت كه حتي پس از مرگ هنرمند نيز توليد مي شد.نوشتار حاضر با رويكردي تبارشناسانه، روشن مي سازد كه براي پديد آمدن يك شاهكار هنري، علاوه بر رعايت بنيان هاي زيبايي شناسي،تعامل با گفتمان قدرت و پشتوانه هاي تبليغي نيز ضروريست. براي مثال حضور ايلچيان فرنگ از جمله سرگور اوزلي انگليسي و آمده ژوبر فرانسوي در اين نقاشي، جهت فراتر رفتن شهرت آن به خارج از مرزهاي ايران بي تاثير نبوده است. نمونه آماري اصلي دراين پژوهش ديوارنگاره صف سلام عبدالله خان است اما جامعه آماري مورد مطالعه تمامي آثار تصويري را كه مضمون آنها صف سلام باشد در برمي گيرد. گستره مكاني و زماني تحقيق، جغرافياي ايران عهد قاجار و روش تحقيق،توصيفي– تحليلي است.
چكيده لاتين :
The murals of “Safe Salam”،created by Abdollah KhanEsfahani)Active in the first half of the 19th century(،who was painter and architecture in Fath Ali Shah Qajar era(1833-1871 A.D)،he was commissioned by his patron to draw that painting on the walls of Golestan palace in Tehran،which is one of the numerated distinguished work of Qajar art. That was used as a model and pattern by others painter in the others wall painting palace، several citations with different scale and tools implemented on it. The question is، which obvious and covert values was made to the extend reputation and then a lot of citation of it. It is thought that، this painting was an appropriated responses to the needs of the society’s image of that period of time، that to the extent considered even، after the artist’s and his patron’s death was produced repeatedly.In this murals،118 faces had painted in tricuspid ، which It seems the interior view of three sides of a cube. The sides walls of the palace shows the portrait of ambassador، heads of state and captains and the smaller and main wall shows” Fath Ali Shah “ with his twelve sons،All characters faced toward the king And the strain on their own.this palace was destroyed in Pahlavi ‘s era and murals was disappearance، but the picture have left. It thought the secret of success of this painting should be the response to the image’s needs of those days. The difference between this painting with other works is the innovative theme and its exquisite structure .Also “ Abdollah Khan” was different with another artist because in the same time won the “ Mema’ar- Bashi”( Architecture) and he own self built the “Negarestan” palace.so، obviously he had better understanding of spatial relationships have three- dimensional spaces and he suspension features of painting and architecture with each other، with this method more immediate impact on the audience is create. He used the exact calculation of the view’s Angel، height observer، diffused light in the space and scales used، created a work that was unique in the history of Iranian’s painting from every direction. This article with genealogical approach، clarify that for creating a masterpiece art work، in addition it must be considered and observed the technical proficiency and the fundamentals of aesthetics، interaction with political discourse of power and propagation patronage is necessary، for example، in achieving fame across the Iran’s borders، the presence of cultural authorities، including: Sir Gore Ouseley from England and Pierre Ame’dee’ Jaubert from France and the other characters from Ottoman، YemeTemporal and spatial extent of this research is the geography of Iran during Qajar and the methodology of the study isdescriptive- analytical.n، India played an important roles. The basic case study in this research is” The Royal Greeting Ceremony”( Safe Salam) Murals painted by Abdullah Khan but the statistical society of this study inclusive all of the painting with royal greeting ceremony subject. Temporal and spatial extent of this research is the geography of Iran during Qajar and the methodology of the study is descriptive- analytical.
سال انتشار :
1397
عنوان نشريه :
هنرهاي زيبا- هنرهاي تجسمي
فايل PDF :
3638872
عنوان نشريه :
هنرهاي زيبا- هنرهاي تجسمي
لينک به اين مدرک :
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