Document Type : Original Article
Author
Assistant Professor, Textile and Clothing Design Department, Faculty of Applied Arts, University of Art, Tehran, Iran
Abstract
Royal figurative painting is the painting style of the first half of the Qajar era that actually dawned in the late Safavid era and lasted up to the reign of Mohammad Shah, although its culmination was during the reign of Fath ali Shah. The present study aims to analyze and examine royal figurative paintings depicting two individuals as couples. Thus, the research question is : How is it possible to classify the couple portraits of the first half of the Qajar era from the perspective of content? Results of the present comparative- analytical study of 18 samples collected through stratified probability sampling indicate that in most remaining examples, couple portraits demonstrate a man and a woman in superior and commensurate positions, embracing each other while sitting, standing, or lying. There may be times when one is standing while the other is sitting; nonetheless, the plan, along with the other details such as their clothes and ornaments on their clothes, indicate their equal social status. Others, which are fewer in number, show two women of equal status, such as a princess or a musician, in a way that all the elements of the image are symmetrical and at their service. In this respect, there have been few equal men. In other numerous accounts, which can be classified as a prince/ princess and a servant, in some cases, a princess is accompanied with a female servant and in other cases with a steward.The composition of the portraits and details such as the clothing and accessories of the individuals reveal that many of the works that have been interpreted to be portraits of lovers are in fact portraits of princesses accompanied by a male servant. The other noteworthy point is that although princesses have been portrayed to have both male and female crew, the servants of princes have been illustrated to be exclusively male, and no maidens are thus portrayed accompanying princes. Besides, a young son in the arms of his mother or by his father's side are among the other themes depicted in this type of royal figurative paintings, albeit in fewer quantities. Therefore the couple portraits of the first half of the Qajar era can be classified into portraits of sweethearts, companions, princes / processes, and their servants, and of course, parents and children. Yet, it is rare to see a relationship between mother and child or two women. Moreover, little can be stated about the embodiment of a father and child (son) relationship and the company of two men; the latter may be discussed with more skepticism. There has not been a record of an illustration with a prince and a female servant, or a father/ mother and a daughter.
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