Volume 7, Issue 2 (Semi-Annual 2023)
JIC 2023, 7(2): 29-39 |
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Vasigh B, Nikzad Talemi S. (2023). Investigating Wall Paintings in the Qajar Period in Imamzades in Beyhpish, Gilan, Using Panovsky's Iconology Method. JIC. 7(2), 29-39. doi:10.52547/jic.7.2.251
URL: http://jih-tabriziau.ir/article-1-251-en.html
URL: http://jih-tabriziau.ir/article-1-251-en.html
1- Architecture and Urbanism Faculty, Jundi_shapur University of technology, Dezful, Iran , vasiq@jsu.ac.ir
2- Architecture and Urbanism Faculty, Jundi_shapur University of technology, Dezful, Iran
2- Architecture and Urbanism Faculty, Jundi_shapur University of technology, Dezful, Iran
Abstract: (2686 Views)
Wall painting is one of the types of decoration that appeared in the Qajar period. Wall painting in this period is considered to be a continuation of the tradition of decoration in previous periods such as the Safavid and Zandiye periods, some of these wall paintings were done in Imamzadehs and others in coffee houses and other public places. The events of Ashura is one of the most important titles that has been considered for wall painting in different eras. In this research, an attempt has been made to investigate the wall painting with the theme of Ashura events in the tombs of eastern Gilan based on the Panofsky iconography method. The eastern part of Gilan, which was called Beypish in the past, is the origin of tomb wall paintings in Iran. The reason for this was the rule of the Alavi dynasty in Gilan. In this regard, this research seeks to find an answer to the main question: 1- What is the most important Qajar iconographic feature of Ashura event in Gilan region? To get the answer to this question, the famous wall paintings in some imamzadehs of Gilan province, including Lahijan city, which was in Beypish region, have been investigated.Iconology is a method of interpretation in cultural history and the history of the visual arts that uncovers the cultural, social, and historical background of themes and subjects in the visual arts. The primary level should correspond to the most basic level of understanding, i.e. the natural perception of the work.For the final level of interpretation, the observer not only receives and interprets the message contained within the representation, but also seeks to interpret it under an historical point of view, looking for social and cultural interrelations that might broaden the meaning. This level sees the art not only as isolated act, but as the product of historical, social and cultural conditions conducive to its creation. The results of this research show that painters have tried to portray the event of Ashura based on hadiths and traditions and love for the Prophet's family. Despite the characteristics of Qajar painting and the repetition of painting subjects from the historical events of Karbala, in every In Imamzadeh, the variety of paintings can be seen. It is worth mentioning that a series of characteristics to show the Imams and their Ahl-al-Bayt, as well as their enemies, are common in the wall paintings, and the characteristics that have viewed all aspects of the events of Karbala in the mentioned time frame.The analysis of the images shows that the painters used characters to represent Ashura. In this type of painting, using color, the person's position, the dimensions of the person's face and body, the type of clothes, etc., they have expressed the inner characteristics of people. The shape of the hat indicates a human or a jinn, as well as a person's belonging to the satanic and divine factions. Other images that refer to the way of life of the Prophet's family also express the individual in the same way through the use of color and their position. In the picture where people do not have faces, it is an attempt to emphasize The central characters of the narrative and this is a kind of innovation that has been done in other paintings by reducing the person's face in four graves.
Type of Study: Original Research |
Subject:
2
Received: 2023/02/14 | Accepted: 2024/04/6 | Published: 2024/04/21
Received: 2023/02/14 | Accepted: 2024/04/6 | Published: 2024/04/21
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