نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنر، دانشگاه آزاد اسلامی واحد تهران مرکز
2 عضو هیأت علمی وابسته گروه نقاشی، دانشگاه ازاد اسلامی واحد تهران مرکزی، تهران، ایران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Murals of the Qajar era particularly in the historical houses are considered a valuable treasure of cultural, religious, and social concepts of this era. These figures have often been depicted with specific accuracy and elegance. These are symbols of the beliefs and worldviews of the people of that era and can be studied as a visual document to recognize developments in Qajar art and architecture. The Qoreyshi House in Amol, as one of the most outstanding samples of this era, containing varied murals full of symbolic concepts provides a unique opportunity for semiotic analysis. This research tries to reveal the relationship between figures and Qajar's religious, cultural, and social beliefs with the goal of deeper investigation of hidden meanings and concepts in various layers of mural figures in this house. Murals analysis in this research is higher than a mere description. It seeks their hidden meanings and symbolic implications to obtain a comprehensive perception of the artistic and religious views of artists and audiences of that era. The questions of this research are: 1-What concepts are observable in murals of Qoreyshi House in Amol? 2- What is the semantic load of the figure layers in the Qoreyshi House in Amol based on the visual semiotics approach? The methodology of this research is descriptive-analytical. The sampling method is selective with a sample size of four general murals, which themselves have twelve minor figures. In addition, it was qualitatively analyzed using a visual semiotics approach based on implicit and explicit implications. The mural figures of Qoreyshi House in Amol include animal, plant, symbolic, human, and hunting classifications where the peacock figure implies preventing Satan from entering the building, the rabbit figure implies bringing enemies to their knees, the woodpecker figure implies protecting the trees, and the comb figure implies generally human protection, respectively. There is an explicit implication to the role of a life tree in plant classification in the form of a cedar tree and a vase pattern. The life-tree figure is a symbol of the Tuba tree, and using vase figures motivates sensory stimulation in the eyes of the audience on the exterior of the building. Dragon in the classification of symbolic figures implies neutralization of negative force, the sun goddess implies the divinity and essence of the Almighty, and the bird-woman implies angels and archangels. The human figure of a hunter-man reflects the daily life of the native artists, and the lion and deer fighting in the figures classification is a symbol of the power and glory concept. The results showed the figures' impressibility from Iranian cultural and religious beliefs and social classes of the Qajar era. Regarding the cultural and artistic importance of the Qajar-era buildings, their protection is essential. Therefore, it is suggested to get inspired by the decorative figures of these buildings in contemporary art to protect this heritage and connect the past and present.
کلیدواژه‌ها [English]
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