واقع نمایی از عکاسی تا نقاشی و چاپ سنگی دوران قاجار

دوران قاجار، دوران رویارویی سنت با تجدد است. ارتباط با دیگر کشورها و ورود اختراعاتی چون عکاسی به ایران، زمینه ساز تحولات بسیاری در فرهنگ و هنر این کشور شد. در این برهه از زمان، نقاشان و طراحان بسیاری، از امکاناتی که عکس در اختیار آن ها قرار می داد، بهره بردند. عکس به عنوان ابزاری جهت به تصویر کشیدن واقعیات چهره و اندام، کاربرد پیدا کرد و در رشد سبک تازه ای از هنر را تاثیر گذاشت. بنابراین در این پژوهش، به بررسی مستندات و تصاویر موجود از زمان قاجار پرداخته می شود. در این راستا، تحقیقاتی مجزا بر هر یک از شاخه های نقاشی، عکاسی و چاپ سنگی انجام گرفته است، اما کمتر به مقوله مقایسه و تاثیرات بصری عکاسی پرداخته شده است. در نتیجه، مساله اصلی پژوهش حاضر این است که عکاسی، پس از ورودش به هنر ایران، چه تاثیراتی بر واقع نمایی و پرتره نگاری در نقاشی و چاپ سنگی دارد. روش پژوهش در مقاله حاضر، تحلیلی توصیفی به همراه اسناد تاریخی می باشد. با مطالعات انجام شده، این نتیجه حاصل می گردد که عکاسی؛ بر جامعه هنری دوران قاجار بسیار تاثیر گذار بود، به نحوی که موجب شد، نقاشی و چاپ سنگی برآمده از عکاسی؛ حرکتی واقع گرا را به سوی جامعه ای مدرن در پیش گیرد که حاصل این امر، پرداخت دقیق جزییات در پرتره و پیکر نگاری هنرمندان این دوران است. این دقت در جزییات و تلاش برای شبیه سازی شخصیت ها، ارتباط تنگاتنگ عکاسی با نقاشی و چاپ سنگی را بیان می کند.

Verisimilitude: From Photography to Painting & Lithography during Qajar Era

Qajar era is the time of conflict between tradition and modernity. Iran’s relations with other countries and the arrival of inventions such as photography contributed much to the progress in the field of arts and culture of this country. Through portraying the real, existing facts, photography is the most important representative of the country’s modernity during this epoch of time. Photography in Iran was much welcomed and supported by the court artists and particularly the King himself to the extent that it made possible the review of many photographs taken by Naser adDin Shah Qajar and his fellow photographers. Many photographers worked in different fields with one of their favorite subjects being making photographs of prominent political figures. Taking note of human beings and illustrating figures became popular during the Qajar period and at this point, many painters and designers utilized the benefits that photography provided. Photo turned into an efficient means of portraying the realities of the face and body and created a new style of art.The stable nature of photos provided the time required for the exact simulation of the subject individual and gave the artist free hand to more precisely illustrate and attend to details. Losing its agesold identity, the traditional Persian art emerged in a more modern way in some works of painting and lithography in this specific era. It was in the artworks of this period that shading and perspective as well as depiction of human subjects and real scenes in paintings and prints drew near to those of the Western styles. The invention of photography significantly influenced the art of painting and printing of books and newspapers and, of course, established a new style of art such as decoration in photography. Perhaps such result would have not been achieved without the intervention of photography and the accurate and detailed replication of the appearance of the subjects would have been impossible. The fact that the reproduction of human dispositions and simulation of characters in paintings and works of lithography became so accurate indicates the ability of the illustrators to use photographs as a tool in creating their works. Studying the surviving documents and images of the Qajar era draws the attention towards the popularity of photography because so many works along with their photos have remained to date. Even in some cases, a single picture was used to create several works of art (painting or lithography). In some other cases, the teachers painted the faces and the students were given the task to do the rest of the job. In paintings and lithographs (of faces and figures), the court men and the king were depicted more than ordinary people which well points out that art was at the disposal of the royalty. The artist of the time was not that free to choose his subjects, but was allowed to follow his own imagination to design parts of the pictures such as the details of the outfits, background and even coloring. Qajar Art is the art of the royalty wherein to satisfy the taste of the court men, the lithographers and painters created artworks to portray the royal splendor. With the greatest meticulousness and delicacy, the artists attended to all the details of the picture and recreated them in the best and most natural way in their artworks. Such precision could be observed in figure paintings or in ‘Sharaf’ and ‘Sherafat’ newspapers. Therefore, having made its way through to Iranian art, photography left a profound impact on illustrating the pictures of the nobility and later on the ordinary men. The results of the studies conducted indicated that photo, in addition to affecting the simulation of portraits, was the founder of verisimilitude in the works of later artists.