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فردریک رابرت مارتین و بازخوانی نگارگری ایرانی: نقش، تأثیر و میراث | ||
| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 10 خرداد 1404 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2025.48081.1609 | ||
| نویسندگان | ||
| محمد معین الدینی* 1؛ الناز ایمانی2 | ||
| 1استادیار، عضو هیئت علمی گروه نقاشی، دانشکده هنر، دانشگاه سوره | ||
| 2گروه نقاشی، دانشکده هنر، دانشگاه سوره، تهران، ایران | ||
| چکیده | ||
| هدف این مقاله شناخت دیدگاه‌های فردریک رابرت مارتین، از پیشگامان پژوهش در هنرهای اسلامی، در ارتباط با نگارگری ایرانی است. ازاین‌رو، این پژوهش با رویکرد تاریخی و با تمرکز بر سویه‌های پژوهشی مارتین درباره نگارگری ایرانی، به بررسی دستاوردها و تحلیل انتقادی دیدگاه‌های او می‌پردازد. مارتین به‌عنوان یک هنردوست، مجموعه‌دار، دلال و کارشناس خبره هنر اسلامی و ایرانی، به‌واسطه کتاب دوجلدی «نقاشی مینیاتوری و نقاشان ایران، هند و ترکیه از قرن 8 تا قرن 18» یکی از پژوهشگران مهم در این زمینه نیز به شمار می‌رود. او در کتابش، با لحنی پرشور، نگارگری ایرانی، نگارگران و حامیان آن را می‌ستاید و آن‌ها را با همتایان اروپایی‌شان مقایسه می‌کند و در برخی جوانب آثار و شیوه کار نگارگران ایرانی را به نمونه‌های غربی ترجیح می‌دهد. او با نوعی سوگیری، آگاهانه بر نگارگری تیموری و به‌طور مشخص، بر عصر و خود بهزاد تأکید ویژه دارد و او را نمونه تام هنرمند ایرانی می‌داند. جدای از این سوگیری‌ها، وی اشتباهات زیادی نیز در دیدگاه‌هایش از انتساب آثار گرفته تا معرفی هنرمندان دارد که همین امر، به جنبه‌های علمی کار او خدشه وارد کرده است. ضمن اینکه، عملکرد او در قالب دلال آثار نگارگری باعث شده است تا برخی پژوهشگران با دیدگاه منفی، نظریات شورانگیز او درباره نگارگری ایرانی را ناشی از تمایل او به فروش آثار مجموعه‌اش بدانند. باوجوداین، نمی‌توان منکر جایگاه مارتین در گسترش دانش پیرامون نگارگری ایران و هنرمندان آن شد و تأثیر مطالعات مارتین بر پژوهشگران نسل‌های بعد از خودش را نادیده گرفت. | ||
| کلیدواژه‌ها | ||
| فردریک رابرت مارتین؛ نگارگری ایرانی؛ تاریخ هنر ایران؛ پیشگامان مطالعات هنر ایران؛ کمال‌الدین بهزاد | ||
| عنوان مقاله [English] | ||
| Frederick Robert Martin and the reinterpretation of Persian Miniature: role, influence and legacy | ||
| نویسندگان [English] | ||
| Mohammad Moeinaddini1؛ Elnaz Imani2 | ||
| 1Department of Painting, Faculty of Art, Soore University, Tehran, Iran | ||
| 2Department of Painting, Faculty of Art, Sooreh University, Tehran, Iran | ||
| چکیده [English] | ||
| The purpose of this article is to understand the views of Frederick Robert Martin, one of the pioneers of research in Islamic arts, in relation to Persian painting. Therefore, this research, with a historical approach and focusing on Martin's research aspects of Persian painting, examines the achievements and critical analysis of his views. As an art lover, collector, dealer and expert in Islamic and Iranian art, Martin is also considered one of the important researchers in this field through his two-volume book "Miniature Painting and Painters of Iran, India and Turkey from the 8th to the 18th Century". In his book, he praises Persian painting, its painters, and its supporters, comparing them to their European counterparts, and in some respects preferring the works and methods of Iranian painters to Western examples. With a kind of bias, he consciously emphasizes Timurid painting, and specifically, on the era and Behzad himself, and considers him a perfect example of an Iranian artist. Apart from these biases, he also has many mistakes in his views, from the attribution of works to the introduction of artists, which has damaged the scientific aspects of his work. In addition, his performance as a broker of paintings has caused some researchers with a negative view to consider his passionate theories about Iranian painting as the result of his desire to sell the works in his collection. However, Martin's position in the development of knowledge about Iranian miniature painting and its artists cannot be denied, and the impact of Martin's studies on the researchers of the generations after him cannot be ignored. During the nineteenth century, the sale and collection of Islamic historical works in Europe and America gradually increased, and as the end of the century approached, the number of collectors increased, and museums made special investments to collect works of Islamic and Iranian art. Consequently, the scientific and cultural community of the West also showed more interest in studies about Islamic culture and art, and a group decided to increase their understanding of Islamic art and civilization. Gradually, some researchers began to study and theorize about a variety of cultural aspects and Islamic civilization, which later, according to their approach, was linked to terms such as Orientalism, Islamic Studies, Egyptology, Iranian Studies, etc., and gradually the scope of research grew significantly and its scope included various historical aspects to understanding the conceptual and aesthetic aspects of all kinds of artworks in Muslim lands. This period coincided with the peak of the Islamic arts market and of course the phenomenon of counterfeit works, so gradually with the saturation of the market with counterfeit objects, research related to the authenticity of works in the antique market also became very important. In the meantime, Iranian artworks have also attracted an important part of the attention of researchers due to their importance, diversity, and originality. These researches included different categories due to the variety of historical works that existed in Iran, because Iranian art historically and culturally included several periods from prehistory to contemporary, and included a wide range of objects and artifacts, from metalwork, glass, and pottery to carpets, various types of textiles, statues, reliefs, tiles, and of course, manuscripts and paintings. There were a variety of Iranian historical objects that were known as "antiques" in the common language of collectors at that time. With the beginning of the twentieth century, the number of Iranian antiquities enthusiasts increased, from researchers to collectors, museums, and dealers, and people entered the field as experts in a particular type of Iranian art. At that time, these specialists were mostly collectors and dealers rather than researchers, who became experts in a market that was full of counterfeit antiques. The work of these experts had two main aspects: one was to recognize the historical antiquity and know the origin from the subsidiary, and the other was to encourage the audience to buy antiques, because due to the great cultural distance, there was not enough and expected knowledge of the artistic and historical works of Iran, and this made many collectors reluctant to buy these works. And the materiality of these works was strongly felt. In fact, demystifying these works and discovering and transmitting their historical and aesthetic concepts and values was a strong scientific support for understanding the value of these works and creates a suitable justification for buyers. On the other hand, although the process of research related to Islamic and Iranian historical monuments had accelerated, the output of the researches was not enough to answer many questions about their nature, which is why in the lack of academic research in scientific institutions, a generation of collectors and dealers was gradually found who compensated for the shortcomings and made many efforts to study and study these works. In general, one of the common aspects of this branch of researchers is that they can be classified into several groups. In fact, they were dealer collectors who, for various reasons, from personal interest to marketing for objects in their collection, went to Islamic lands and researched Islamic art, lending their works to museums, and sparing no effort in organizing exhibitions of Islamic art. In this last case, i.e., holding exhibitions, his efforts played an undeniable role in introducing the arts of Muslim lands to the Western world. For example, in an exhibition held in 1912 at the Museum of Decorative Arts in Paris by Henri Vever and Georges Marteau, French private collectors presented more than 500 items of Islamic objects, mainly paintings and manuscripts. In addition to collecting and selling these artifacts, many of these collectors, using the knowledge they had gained from their experience of working in the exploration environments of historical artifacts, alone or with the cooperation of some orientalists, decided to research these artifacts in addition to buying and selling them. Of course, the knowledge of this generation of collectors/dealers was not limited to their experience, and some of them had advanced to high levels in various disciplines such as art history, archaeology, etc. They were educated and had the scientific knowledge of the day. For example, two of the most important collectors of this generation were Friedrich Sarre and Philipp Walter Schulz, the former of whom had a doctorate in art history and the latter had a doctorate in law from the University of Leipzig and had a great interest in the Persian language and Iranian culture, both of whom can be considered among the founders of Iranian art studies in Germany. In any case, in the absence of museum collections, the lack of various types of books, and the lack of articles in the specialized fields of Orientalism, it was collectors and dealers who, apart from the research they conducted, produced a rich collection of research works, some of which are considered today as the main classical sources of knowledge of Islamic and Iranian arts. One of the most important of these dealer collectors, who is a lesser-known name in Iran but is a well-known figure in the study of Iranian art, especially miniature, is Frederick Robert Martin, whose efforts to collect works of Islamic art, including pottery, carpets, and most of the manuscripts and paintings, as well as his research on them, had an important impact on the field of studies of the history of Iranian art. Therefore, this study tries to achieve a relatively comprehensive understanding of his role and influence in the historical field of Persian painting studies by focusing on the activities and views of Frederick Robert Martin. | ||
| کلیدواژه‌ها [English] | ||
| Frederik Robert Martin, Persian Miniatures, History of Iranian Art, Pioneers of Iranian Art Studies, Kamal ud-din Behzad | ||
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