Document Type : Research Paper
Author
Assistan professor of Textile and Clothing Design Department, Faculty of Applied Arts, Iran University of Art, Tehran, Iran
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 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.
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DOI: 10.22034/BAGH.2019.154767.3841
DOI: 10.22034/BAGH.2021.259728.4726
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