تالیف و تفرُّد در نقاشی مکتب اصفهان

در این مقاله از رویکردی جامعه‌شناختی و با تمرکز بر مناسباتِ تولیدیِ هنر به مسئله‌ امکانِ پیدایش نقاش در مقام «مولف» در نگارگری مکتب اصفهان پرداخته‌شده ‌است. با اتخاذ روش توصیفی-تحلیلی، ازیک‌سو اسنادِ تاریخیِ شیوه‌ تولید نقاشی در آن دوران و از سوی دیگر مضامین و فرم آثار نگارگران صاحب ‌سبک آن مکتب موردبررسی قرارگرفت. مطابق شواهد تاریخی در کتابخانه‌های درباری این دوران همچنان مزد به شکلی بی‌واسطه در ازای مدتِ خدمت به نیرویِ کار نقاشِ ماهر تعلق‌می‌گرفت. بنابراین در این زمینه «تالیف» بیش از آفرینش خلاقانه به معنای تجمیع و تکمیل بود. از میانه‌های عهد صفوی با افزایش حامیان و کاهش انحصار در تولید نقاشی و شکل‌گیری وساطتی محدود میان «عرضه» و «تقاضای» هنر، جریانی در نقاشی ایرانی تقویت‌شد که می‌‌توانست به‌صورت نسبی شرایط را برای رشد استقلالِ رسانه‌ای و خلاقیت فردی فراهم‌کند. در این جریان دیدِ فردی و «اینجا و اکنون» نقاش اهمیت بیشتری یافت و «چهره‌ها» و «رقم‌ها» بیش‌ازپیش در آثار ظاهر شدند. برخی آثار برجامانده به‌این سبک در کارستانِ نقاشانی چون صادقی‌بیک‌افشار، رضاعباسی و معین مصور نشان‌دهنده‌ بارقه‌هایی از تعریفِ نقاش به‌مثابه «مولف» است، بارقه‌هایی که اگرچه در زمینه‌ اقتصادِ هنر آن دوران امکان تعمیق نیافت، اما امکان پیدایش سبکی متمایز را در سنت نگارگری مجسم‌ساخت.

Authorship and individuality in Isfahan Painting School

The possibility of the painter’s emergence as an author in Isfahan Painting School is discussed in this paper from a sociological approach focusing on the modes of art production. Therefore, by adopting a descriptiveanalytical method, on the one hand, historical documents related to the modes of painting production at that time, and on the other hand, the subjects and forms of the works of painters of the style of that school were examined. The historical evidence shows that the production of works was still done collectively in the court’s libraries during this period. This incumbent closed system only allowed few people access to these works. Here, painting is not an independent medium; however, along with arts such as calligraphy and illumination, it serves the verbal narrative. In this respect, illuminated books represent the authority of the verbal arts. As a result, there is less context for the emergence of the author in paintings compared to the verbal arts.On the other hand, in these libraries, an artwork was not commissioned and wages were directly attributed to the labor of the master painter.The emphasis was more on the quantity of work than its mental quality in this payment system. In other words, the multiplicity of productions was more important than the idea embedded in each work or the artist’s particular creativity. In such contexts, valuation typically depends more on mechanical factors, such as the finesse of details, dimensions, number of figures in assemblies, and the material foundation of colors, rather than on the painter’s mental expression. In this process, authorship meant aggregation and completion rather than creativity.The findings indicated that there was a limited but influential current in Persian painting from the midSafavid era that could produce works to some extent independent of the court library. Numerous reports indicate the existence of an independent market for painting in that period, and some local rulers and wealthy people emerged as new buyers and commissioners during this period. Obviously, the mainstream painting depended on court libraries, but this new movement introduced a new force into the Persian painting tradition. However, the popularity of the production of singlepage paintings in this period prepared the ground for ordering and purchasing artworks by more people, facilitating the differentiation of painting as a medium. In the same proportion that individual creativity and transient, monotonous mental designs were used in the painting style, individuals, faces, appeared more and more in the works. Also, Safavid historical texts also refer to the seclusion of the prominent painters of the time, which can show sparks of the melancholy spirit of the artist as a genius. The manifestation of this trend is especially evident in the works of Sadeghi Beyk and Reza Abbasi, two prominent painters of that time. The few surviving works in this style show sparks of the painter’s position as an author. Although it is impossible to delve deeply into the art economics of that time, Traces showed interesting examples of different styles in the Persian Painting tradition.