Art
ameneh mafitabar
Abstract
The art of the first Qajar period is tied to FathAli Shah's name, while the achievements of the second period are accredited to NaserAddin Shah. The main aim of this study is to compare the style of make-up, clothing, jewelry, and body portrayals of women in six Qajar Muraqqas. So, the question ...
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The art of the first Qajar period is tied to FathAli Shah's name, while the achievements of the second period are accredited to NaserAddin Shah. The main aim of this study is to compare the style of make-up, clothing, jewelry, and body portrayals of women in six Qajar Muraqqas. So, the question is: How does comparing the style of make-up, clothing, jewelry, and body portrayals of women in six Qajar Muraqqas can elucidate the similarities and differences of women's portrayal in the two historical periods of Qajar?The current qualitative research studies the Qajar art with a historical approach, in an analytical and comparative method. Thus, this developmental research achieved its goal by collecting data in the form of documents and using note-taking and picture-reading methods. The findings demonstrate that Qajar Muraqqa-making represents the artistic characteristics of court portraiture in the common artistic style of the first period of Qajar's reign. In the second period, it emphasizes the features of court painting. In response to the question of the study: The portrayal style of women in the first period emphasizes the ornamental items. The features are observably expressed via slim bodies and additional cosmetic items. The clothes are made of expensive materials and there can be seen accessories such as fans and tambourines in their hands. Meanwhile, despite court portraiture, the background is pictured negligently and simplistically incomplete. In the Muraqqas of the second period, the portrayal style of women is more realistic and their body is more natural. The ornamental styles and flamboyant expensive jeweleries are avoided and even women are pictured in their outdoor attire. Women's clothing style, changes according to the fashion of the era. But the background is still out of details so that, like graphic Muraqqas of the first period, the viewer has to imagine a vague place indoors or outdoors
Effat alsadat Afzal Tousi; Golnaz Selahi; Ladan Selahi
Abstract
The art of Qajar period includes many unique features and themes. One of the most exceptional features of Qajar artworks (painting on tiles) is women motifs depicted at semiprivate and private spaces, at houses of nobilities, and palaces. Qajar women in these paintings interact with foreign women’s ...
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The art of Qajar period includes many unique features and themes. One of the most exceptional features of Qajar artworks (painting on tiles) is women motifs depicted at semiprivate and private spaces, at houses of nobilities, and palaces. Qajar women in these paintings interact with foreign women’s identity and they have shown a new face of Iranian women. The archi-myth of Qajar period is included of three different groups of myths: Islamic myths, Iranian myths and distant myths. After all, we can say in the female motifs of Qajar’s artworks, Iranian, Islamic and native identities are present simultaneously. Qajar woman has an independent entity in solitaire frames. This article has investigated the identity of the Qajar woman and her actions and her personal characteristics, by analyzing a set of visual documents- solitaire frame tiles with women motifs- which is left from that era in Shiraz’s houses.
