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خوانش نقش پارچه معین مصور با موضوع زن موجود در موزه ملی ایران با رویکرد شمایل‌شناسی | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 11، دوره 10، شماره 1 - شماره پیاپی 19، خرداد 1404، صفحه 154-167 اصل مقاله (1.11 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2024.44078.1514 | ||
| نویسنده | ||
| شهره فضل وزیری* | ||
| استادیار دانشکده هنر دانشگاه علم و فرهنگ، تهران، ایران. | ||
| چکیده | ||
| در زمان پایتختی اصفهان در دوره صفوی سبک و شیوه خاصی در نقوش منسوجات به پیروی از شیوه تک‌پیکرنگاری شکل گرفت که مورد استقبال واقع شد. معین مصور نگارگری زبده، شاگرد رضاعباسی بود که به طراحی پارچه نیز می‌پرداخت. طراحی پارچه‌ی متعلق به او، به شیوه تک‌پیکرنگارگری، زن جوانی که آزادانه در بوستان بر زمین نشسته را نشان می‌دهد. هدف: نقوش بافته شده بر منسوجات تاریخی ایران علاوه بر جنبه تزیینی، بازگو کننده عوامل تاثیرگذار در فهم زمانه‌ی خود هستند که نیاز به بازشناسی دارند، تا بر تاریخ هنر ایران نکات گویاتری را آشکار سازند. در راستای این پژوهش این سوال مطرح است که چه عواملی در انتخاب موضوع این طرح بر پارچه تاثیرداشته-اند؟ این پژوهش به روش کیفی با رویکرد شمایل شناسی اروین پانوفسکی و با توجه به لایه‌های سه‌گانه و سلسله مراتب این رویکرد به تفسیر نقش پارچه مذکور پرداخته است. نتایج حاصل از این پژوهش نشان می‌دهد، عوامل سیاسی، فرهنگی و اقتصادی آن دوره بر چگونگی خلق اثر تاثیر بسزایی داشته است. معین مصور با جهان‌بینی زمانه خود در انتخاب موضوع آزادانه عمل کرده است. او در اثرش تحت تاثیر اندیشه انسان‌گرایانه غرب، نگاه آرمانی در نقش انسان را نادیده انگاشته و به تجسم زندگی روزمره و خواسته‌های دنیوی پرداخته است. | ||
| کلیدواژه‌ها | ||
| تصویر زن؛ پارچه‌های صفوی؛ معین مصور؛ شمایل شناسی؛ مکتب پارچه بافی رضاعباسی | ||
| عنوان مقاله [English] | ||
| Study the role of Moein Mossaver Fabric illustrated with the theme woman in the National Museum of Iran with the Approach of Iconology | ||
| نویسندگان [English] | ||
| Shohreh Fazl Vaziri | ||
| Assistant Professor, Faculty of Art, Science and Culture University, Tehran, Iran. | ||
| چکیده [English] | ||
| Textile art has placed in a privileged and special position during the historical eras of Iran. One of these golden ages in which it was known is the Safavid period. Examining the existent works of this period has shown that the use of high-quality raw materials and diverse and modern methods in unique textures and motifs played a significant role in the prosperity of Safavid textiles. Reaching this position should be deemed as the result of the Safavid rulers and kings' support. They did not neglect any support in order to produce exquisite fabrics. Majority of the Safavid kings encouraged artists, especially fabric designers and weavers to the extent that the supervision of the king and governors on the fabric weaving workshops increased the quality of the textiles. In addition to the decorative aspect, the motifs of the historical fabrics of Iran, they are indicator of the influential factors in the comprehension of their era. These factors were connected to the policies of kings and rulers, suitable economic situation and cultural and social conditions. The fabrics of Safavid period had a lot of applicants during their era that their products were also exported to other western countries in addition to domestic consumption. In this historical period, for the first time, we witness the emergence of two phenomena in the domain of fabric design and weaving. In the domain of fabric design, two styles formed: Ghiyathuddin Naqsh-Band and Reza Abbasi style. The characteristic of Ghiyathuddin style, which is also known as Yazd style, was accompanied with intricacy and content of the subject. Human motifs in this school have been consisted with Tabriz painting and revolved around the narratives of ancient Iranian literature and heroism era of Iran. The second style is named Reza Abbasi, a painter of that era. Reza Abbasi was a painter in the Shah Abbas period the one who also designed textiles. The characteristic of Reza Abbasi's style in fabric design was that fabric motifs were chosen more easily in a way that the background and text of the fabric were not involved in the intricacy of the previous school. The motifs were woven individually and separately but the intricacies inside the design on the fabrics were woven precisely. The human motifs in the weaves of this style were like patchwork (monochrome) of the Isfahan school, which is also known as the school of Reza Abbasi in the era of painting. Another new phenomenon in this period was the registration of artists who were engaged in fabric design. Until that time, it was not common to introduce and announce the names of fabric designers. Admitting the second style in fabric design was formed in Isfahan with regard to following the patchwork style. Reza Abbasi had trained numerous apprentices in aid of his style. Among them Moein Mossavar was a painter and one of his apprentices who was also involved in fabric design in addition to painting. The fabric of him, which is discussed in this article, is kept in the National Museum of Iran. There is transcript by Moein Mossavar with this theme: the command was obeyed on the 11th day of Sha'ban in 1051. Moein Mossavar can be seen beside the citron containing the figure of a young woman which corresponds to November 25, 1050 AD and coincides with the autumn season. The design of this fabric depicts a young woman who has sat freely on the ground in the garden by using the patchwork style of the painting school. In the process of the designing, the details of the young woman's dress and the style of head decorations are completely consistent with the common dress of Safavid women. A significant point that distinguishes Moein-Massavar from the other painters of his era is that he is a painter who has recorded the events according to the narration and the date of the end of the work, like today's journalists. He is the first painter in the history of Iranian art who has clearly written his name beside the work, day, date, month and year of implementation in most of his works, and if it is needed explains, he has also added a description of the story. He portrayed women in his own way. Feminine elegance and delicateness are used in drawing the parts of the face and body, and continuous lines are drawn all around figure. Moein Mossavar lived a long life and has lived in Isfahan during the reign of four Safavid kings, from Shah Abbas to Shah Soltan Hossein. According to researchers and the written history which is related to his works, he has lived for about ninety years. In line with this research, the question is raised that what factors have influenced the choice of the design of Moein Mossavar's fabric? In order to find the answer for the research question, Panofsky's method was considered as a suitable choice in image reading, which is named as iconography approach. This approach encompasses three layers and hierarchy that are as the following: pre-iconographical description, iconographical analysis and iconographical interpretation. Each of these layers readout the work systematically. The approach of iconography has created a link in the domain of art history studies and studies of other fields of human science that's why art is part of the history of thoughts. Regardless of whether the Moein Mossavar had such an intention or not, his action in line with design fabric can be understood to some extent by recognizing and relationship between the culture and tradition of his life period. According to the achievements of this research, it can be said that the influence of Shah Abbas's policies and his control over trade, along with the cultural and economic factors of that era, has affected the spread of Moein Mossavar's fabrics in textiles. The commercial policy of Shah Abbas caused the formation of a new class of capitalists in the society of that time. On the other hand, ignoring the style and tradition of the past art workshops, which huge funds invested in art, led to indifference and lack of attention to the artists of the courtier workshops. These artists migrated to earn money and also continued to work independently and privately. Therefore art turned away from the noble form of the sumptuous courtier and found new applicants. In this period, it was common for the courtiers and among the new class of capitalists and merchants to order fabrics with designs of charming women who were depicted in parks and gardens. Many western tourists and merchants took these fabrics to their lands for clothing and decoration. The presence of more Westerners who had come to Iran with humanistic though and political, economic and cultural goals affected the world view of artists in choosing the subject of painting and fabric design. Fast and summarized designs by artists of Isfahan were the beginning of a new style in the domain of painting and fabric design. By spreading the humanistic thought, that idealistic view of the presence of human role on fabrics was not seen any longer. The imagination of daily life and the demands of the world had found a new place on the choice of subject in the art of this special period of fabric design. The effect of these factors should not be ignored in choosing the design of the Moien Mossavar's fabric, which was influenced by them intentionally and unintentionally. In the design of this fabric, Moein Mossavar used symbols and allegories which are indicator of a part of the history of the dominant thought in that period with regard to the recognition, way of life, worldview and style of his works. Placing the woman's role in the frame of citron is an unknowing sign of preserving the dignity derived from the culture of its time. | ||
| کلیدواژه‌ها [English] | ||
| Woman's Role, Safavid Fabrics, Moein Mossavar, Fabric Weaving School of Reza Abbasi | ||
| مراجع | ||
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URLs: URL1: http://fa.wikipedia.org URL2: http://pinteresr.com URL3: http://Hermitagemuseum.org URL4: http://Metropolitanmuseum.org | ||
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