نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی کارشناسی ارشد، گروه صنایع دستی، دانشکده صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران.
2 استاد، گروه صنایع دستی، دانشکده صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران.
3 دانشیار، گروه صنایع دستی، دانشکده صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران.
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The process of changes in human motifs in Iranian painting began with the naturalistic vision of Kamal al-Din Behzad in the Timurid period, was revived by Reza Abbasi in the late Safavid period, and continued by his students. It remained unfinished with the end of the Safavid Isfahan School until Mirza Agha Emami, a painter of the late Qajar and early Pahlavi periods, studied the works of painting of past schools and the experience of contemporary painting, and tried to integrate them together, creating a great transformation in Iranian painting. The present study has studied the visual characteristics of the human form in the works of painting by Mirza Agha Emami and Hajj Muswar al-Molk. The important issue is the representation of the visual characteristics of the works of painting that have emerged from past schools in the contemporary era. Accordingly, the purpose of this study is to seriously investigate how human motifs began to change in Iranian painting. The questions that are raised are: What are the characteristics of the human forms by Mirza Agha Emami and Hajj Muswar al-Molk? What are the similarities and differences between the human forms of the paintings of Mirza Agha Emami and Hajj Muswar al-Maliki? This research was conducted using an analytical-comparative method and the method of collecting field and documentary information. The results indicate that the human forms of the paintings of Master Mirza Agha Emami are the initiators of the process of Iranianizing Iranian painting seriously throughout the life of the painter, which includes new features including Iranian faces with gender separation, more realistic bodies, inducing emotions, more natural colors along with school processes, and repetitive and non-Iranian forms such as Semitic and Mongolian features have been eliminated as much as possible, which this process was also continued by Hajj Muswar al-Maliki (in a more developed and realistic form).
کلیدواژه‌ها [English]
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