نوع مقاله : مقاله پژوهشی
نویسندگان
1 عضو هیت علمی گروه صنایع دستی- دانشکده هنر دانشگاه بیرجند
2 عضو هیات علمی گروه صنایع دستی دانشکده هنر دانشگاه بیرجند
3 عضو هیت علمی گروه صنایع دستی دانشکده هنر دانشگاه بیرجند
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Qajar art has undergone fundamental changes in its important historical intersection, including the entry of industry and extensive communication with European societies. The art of tiling has also carried a part of traditions and methods, and at the same time, it has undergone major changes. The arrival of Europeans and orientalists and contact with Iranian society has added to the scope of these changes or given direction to them. The upcoming research aims to study the art of Qajar and especially the tradition of tile painting of the Qajar era based on a critical approach to the discourse of oriental studies and has addressed the following questions. How has Qajar period tile painting led to the reproduction of the discourse of Orientalism? And basically, what is the relation of the tiles displayed in the museums and collections of the Westerners to the components of the Orientalist discourse? The research is fundamental and descriptive-analytical. The critical discourse analysis method of "Norman Fairclough" is the basis of the research, and the critical approach to the discourse of Orientalism and the theories of "Edward Said" has formed the theoretical framework of the research. The results of the research show that an important part of the Qajar period tile painting, especially the works that were made to order, is related to the main components of orientalism, i.e. "asynchronization and imaginary east", "westernization" and "foreignization" to the representation. The discourse of oriental studies has been discussed. In this way, as an object of study in western museums, it has been significant for orientalists to display aspects that define Iranian art and society
کلیدواژه‌ها [English]
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