Document Type : Original Article

Authors

• Abdol naser Khayat ¹
• Amir Maziar ²
• Seyed Hasan Soltani ³

¹ Ph. D. Candidate, Art Studies, Faculty of theories and art studies, Art University, Tehran, Iran.

² Assistant professor, Philosophy of Art, Faculty of theories and art studies, Art University, Tehran, Iran.

³ Associate Professor, Painting, Faculty of visual arts, Art university, Tehran, Iran.

Abstract

In examining the portraits of Qajar kings, we see profound changes in their representation patterns. So it is assumed that we are witnessing a transformation from icons to portraits. This article tries to examine the source of the differences between these two concepts from the perspective of using traditional patterns in contrast to using new patterns. For this purpose, images from Fath Ali Shah Qajar to Muzaffar al-Din Shah will be described, analyzed, and also compared with similar images in two other courts in the same era. The results show that in the era of Fath Ali Shah, according to a planned cultural policy, the image of "Shah Qajar" was represented by using a symbolic view of the position of power and relying on historical texts, beliefs, and cultural traditions. For three consecutive generations, the Qajar tribe engaged in internal power struggles with other rivals until it finally won the throne. But in the war with Russia, the Qajar military organization, which had a non-modern structure, was confronted with the relatively modern army of Tsarist Russia. Among the tribal communities, courage and fighting spirit were praised, and in this case, the role of the king-father as the highest official of these communities was very important. Considering the civil wars and the war with Russia, the emphasis on the display of royal weapons in a significant number of icons can be considered as the emergence of the aesthetics of war in works of art. During the reign of Mohammad Shah, the extreme use of symbolic markings was avoided. Facial features became closer to the subject's physical characteristics. Reducing the use of jewelry and the tendency to display Western features, including in clothing, are among the other tendencies seen in Mohammad Shah's portraits. The portraits of the fourth Qajar king have considerable variety; this diversity covers the period from adolescence to the last years of Nasser al-Din Shah's life, and in addition to the popular media of previous periods, it also includes lithographs and photography. Finally, likeness should be considered as a distinctive feature of representation patterns in the second half of the Naser al-din shah era. In addition to looking closely at the subject, the court artist has used photographic power in an attempt to capture the likeness. In the period of Muzaffar al-Din Shah, we see the complete rupture of the patterns of royal representation from all that the tradition of court painting had already determined in this field. For example, in one of the portraits of Muzaffar al-Din Shah, the use of any royal symbolism or the display of the smallest static symbols has been avoided. The court artist has recorded a passing moment of the walk of Muzaffar al-Din Shah and the Prime Minister. The result of this representation is in complete contrast with the iconic figures of the era of Fath Ali Shah. The king is depicted in his old age in the most ordinary way possible, regardless of any formal ceremony or royal luxuries and belongings.

Keywords

• Qajar court art
• representation pattern
• royal icon
• portraiture
• likeness