1- Ph.D. in Islamic Art, Faculty of Art, Tarbiat Modarres University, Tehran, Iran.
2- Assistant Professor, Research in Art Department, Faculty of Art and Architecture, University of Sistan and Baluchestan, Iran. ,Mghasemi1505@arts.usb.ac.ir
3- MA in Graphics, Al-Zahra University, Tehran; Lecturer of Eram Institute of Higher Education, Shiraz, Iran.
4- MA Student of Carpet History, Architecture and Art Faculty, Kashan University, Iran.
2- Assistant Professor, Research in Art Department, Faculty of Art and Architecture, University of Sistan and Baluchestan, Iran. ,
3- MA in Graphics, Al-Zahra University, Tehran; Lecturer of Eram Institute of Higher Education, Shiraz, Iran.
4- MA Student of Carpet History, Architecture and Art Faculty, Kashan University, Iran.
Abstract: (30 Views)
During the Qajar period (1785-1925), a different and special artistic style was developed, which emphasized on masculinity and femininity in the portraits of people in an exaggerated way. In the art of this period, the standards, ideals, and norms of female beauty underwent many changes that were influenced by the policies and procedures of the time. The beginning of this trend and its roots, like other related trends, go back to the Safavid era (1501-1722), but flourished under Naser ad-Din Shah Qajar into a new mode. The image and subject of western women, which appeared in Qajar art in the form of a new concept, was the product of encounter with the West and the change in attitudes and paradigms of the time. The manifestation of this new trend and concept, in addition to the capital of Iran (Tehran), can be seen in other cities such as Shiraz and its buildings’ decorations. The Nasir al-Molk House, as a noble building belonging to the governor of Shiraz, is a clear example of being influenced by the trend of Occidentalism and the decorative view of the farangi woman. The present study seeks to answer the following questions: To what extent were images of foreign women used in the Nasir al-Molk House and what is the quality of their execution? And what was the perspective and purpose of the representation of these women and how can it be studied today? The results of the research show that the multiplicity and diversity of the “myth of foreign woman” in royal buildings, and specifically the Nasir al-Molk House in Shiraz, was due to the dominance of Occidentalism in the art of the Qajar era and a will towards adapting and assimilating to this new model in that period, so that the dual effects of this myth have been manifested in the building’s ornaments to its best.
Article number: 15
Type of Study: Research |
Subject:
Visual Arts
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