بررسی تاثیر عکاسی بر آثار پیکره‎نگاری ابوالحسن‏ غفاری (صنیع‏ الملک)

توجۀ ویژه به پیکرۀ ‏انسان در نگارگری ایرانی، هم‏زمان با رونق هنر پیکره ‏نگاری در نیمۀ نخست قاجار فزونی یافته و به مثابۀ ابزاری قدرتمند جهت تبلیغ شوکت و قدرت پادشاهی مورد بهره ‏برداری قرار می‏ گیرد. اما این روند در نیمۀ‏دوم قاجار با افزایش تاثیرات هنر‏غربی و ورود فن‏ آوری‎های‏ نوین‏ رسانه‏ ای به‏ ویژه دوربین‏ عکاسی دچار تحول می‏ گردد و به‏ تدریج از اهمیت و رونق نگارگری و پیکره ‏نگاری ایرانی کاسته می‏ شود. در میانۀ این تغییرات، هنرمند‏ی پیشرو و برجسته به‏ نام ابوالحسن‏ غفاری ملقب به صنیع ‏الملک پا به عرصه‏ می‏ گذارد. در آثار او نگرشی نو به هنر پیکره‏ نگار‏ی با تاثیرپذیری از هنر غرب و تکنولوژی‏ عکس مشاهده می‏ شود. پژوهش‏ حاضر که ماهیتی کیفی و رویکردی تحلیلی دارد و از نظر هدف کاربردی است، تلاش دارد با مطالعه بر روی نمونه‏ هایی از آثار صنیع‏ الملک، ویژگی‏ هایِ پیکره ‏نگاریِ هنرمند، و تاثیر عکاسی بر آن‏ها را مورد بررسی قرار دهد. نتایج بررسی‏ ها، تاثیرپذیری هنرمند از عکس را در آثارش به ‏خوبی تایید می‏ کند، و هم‏چنین نشان می‎‏دهد که وی سبک هنری ویژۀ خود را در آثار متاثر از عکاسی نیز با همان کیفیتِ آثارِ دیگر دنبال نموده است.

the study of impact of photography on figure paintings of abol-hasan ghaffari (sani-ol-molk)

the role of the human figure as a major visual element had a brilliant presence in various artworks of persian art a long time. the structure and form of presenting human motifs although has experienced a variety of changes in over time, it has always maintained a fixed aesthetic attitude based on the idealistic representation of the human form. this particular kind of aesthetic insight that was the point of contact and sharing of all the masterpieces of persian painting throughout iranian painting history from the early 11th century ah through new social and cultural conditions, and extensive communication with the western nations is gradually decreased and european naturalism influenced in persian painting. the process of naturalism in the art of the qajar period followed with increasing intensity, on the other hand in the first half of the qajar period, the art of figure painting, which had flourished and expanded as an independent way of expression after the decline production of manuscripts and the prevalence of portrait painting, became particularly popular has been expanded and used as a powerful tool for propaganda and royal power. but this trend has evolved with the increasing influence of western art and the arrival of new media technologies, in particular the photography and lithography, in the qajar second half, and gradually the importance and prosperity of persian painting and figurative painting is reduced. in the midst of these changes, the leading and notable artist named abolhassan ghaffari, who is called sani-ol-molk, emerges. in his artworks, a new insight into the art of figure painting, influenced by western art style and photography technology is observed. in the present research which has a qualitative essence and analytical approach and is practical in target attempted to study the impact of photography on persian painting in the qajar era, with particular emphasis on the artworks of an artist. therefore, the present research is a case study and its samples have been selected purposefully and qualitatively. accordingly, by studying on samples of sani-ol-molk’s artworks, the features of the artist’s figure painting, how using the photography media has been analyzed. the results of these studies confirm the artist’s use of the photograph in his work, and at the same time show that he has followed his own artistic style in the works influenced by the photography as well as in his other works. in his figure paintings combine the realistic and photographic look - mostly in the face - and a personal point of view and illustrative look, mainly in clothing and figure. however, even in the his portrait paintings affected by the photography, can also be seen as signs of a personal and illustrated techniques, so far as the persistence of the artist on the application of this kind of special look in some cases, the quality of simulation and facial realism has been negatively impacted.