Graphic master thesis
Visual communication orientation
Abstract:
The present study examines and analyzes the pictorial motifs of the historical house of Atrosh, Shiraz, with the aim of recognizing the cultural and aesthetic foundations of the remaining paintings from the house of Atrosh, Shiraz. And through the direct observation of the works and photography, the collection and analysis of works and image samples are done in accordance with the hypotheses of the research. The scope of the study is 30 tiled images in the Atroosh house belonging to the Qajar era and belonging to a merchant known as Atroosh. In the paintings of the house, collections of various literary, historical and religious themes are depicted, as well as numerous human motifs that we see the role of men in most of the images and the role of women, which has a special conceptual position. The result of the research is the recognition of various functions and the identification of various species and the position of humans in images.
Introduction
The city of Shiraz was one of the main centers of Iranian painting art during the Zand and Qajar eras, and by studying the remaining works from that era, we can reach a more complete understanding of Iranian painting in that era. Among the remaining paintings from this era, we can mention several historical houses, each of which reflects the cognitive and aesthetic stylistic features of Zand and Qajar era paintings in their own way. One of these houses is known as the house of Atroosh. The old house of Mr. Haj Mahmoud Atroosh known as the house of Haj Mirza Mohammad Ali Firozabadi is considered one of the most interesting and beautiful old houses of the Qajar period in terms of tiling and painting. It is located in Haji Bazaar at the end of Zanjekhaneh Alley, where exquisite samples of Qajar period tiling have been installed in the house of Atroosh, and it is considered one of the best examples of seven-color tiling of the Qajar period. The house of Atroosh is considered interesting and unique in terms of the shape and form of the tiling. The northern building includes a main hall in the middle and two courtyards on its sides on the upper floor, and a pond and two courtyards on the sides on the lower floor, which we will examine.
In this thesis, we will discuss the generalities of the research, information about the Qajar period, Shiraz during the Qajar era, the examination of the artworks of different parts of the building, including the tiling of the courtyard walls and paintings, and at the end, the results of the research and what themes were used in the pictures of the said house and that The position of different human, animal and plant species is discussed.
General research
1-1) Statement of the problem
During the Qajar period, Iran was strongly influenced by industrial developments and other European attractions, and the entry of their ideas and products was welcomed. The Qajar school of painting started from the Zand period and extended until the Qajar period and a little after that. This method has a special place as a coherent style and school in Iranian painting, which has all the thematic and practical features of a school of painting. This method was formed by combining the features of traditional Iranian painting with elements and European painting methods. Although works similar to this style were somewhat common in Iran from the Safavid period and were called "Frangizazi", but first in the Zand period and then in the Qajar period, it found its specific form. The southern and eastern walls and the facade of the northern building are tiled, and the exquisite tiled panels related to the Qajar period are installed on the southern and eastern walls and its reservoir, which is considered one of the best examples of seven-color tiling of the Qajar period.
The northern building is two-story, and ten integrated stone steps are installed in the northeast corner, which connects the courtyard to the building. In the northwest corner, there is a corridor that is connected to the western shoe rack of the building.Under the northern building, there are built-in cisterns and on the sides of the double cistern. Hozkhaneh is made of tiles, and the tiling is a special type known as Khatamsazi tiles. The plinths on the sides of the hozkhaneh also have special beautiful tiling, the stone plinths of the building on the north and west sides with a height of 2.5 meters have been prepared and installed from integrated stone pieces. It was considered interesting art of the Qajar period. The northern building includes a main hall in the middle and a two-story hall on its sides on the upper floor and a pond and a two-story hall on its sides on the lower floor, which we will examine.
In this thesis, according to the aesthetic principles of Qajar art, the artworks of different parts of the building are examined, including the tiling of the courtyard walls and paintings.
1-2) Research Background
The end of the names about the house of Atroosh has not been used, but since it is related to the Qajar period, there are materials about the Qajar, for example, in the field of criticism of the aesthetics of the Qajar period by Behnam Jalali Jafari, and about the history and civilization of Iranian culture, Ahmed Taj Bakhsh and Seyed Mohsen Javadi have written materials about the art of the Qajar period, as well as Shahrukh Moskob about the art of Iranian painting. Also, Yaqub Azhand has worked on Qajar painters. Gian Roberto Scarcia has books about Zand and Qajar art, Sheila Kanbai has books about Iranian painting, but there is no written record available about Atroosh house.
1-3) Research questions
1- Regarding the social and cultural conditions of Atrosh house during the Qajar era, what is the structure and cultural and aesthetic nature of its paintings?
2- How are visual elements such as the human role in the paintings of Atroosh house and where are they located?
1-4) Hypothesis
1- According to their cultural and social nature and function, the pictorial works of Atroosh house are worked in many types with different themes, all of them have a similar aesthetic structure and at the same time, each of them is in accordance with the purpose they pursue.
2- In the paintings of Atroush House, many species of humans, plants, and animals can be seen, among which humans have a prominent place, especially the illustrator has a special place in the paintings.
1-5) Research Objectives
Analysis of the aesthetic characteristics of the remaining paintings in the historical houses of Shiraz
Identifying the role and place of painting in the social life of the society. Qajar
Knowledge of different approaches to art in Darwan Qajar
1-6) Research method
The research method is descriptive and analytical. In this regard, the basis of the research is discussed based on the written documents and pictures left from the House of Atroosh history. The descriptive approach helps to examine the evolution process of Iranian painting in the paintings of the House of Atroosh, and its analytical nature is to search for the causes and why, as well as examine the aesthetic and stylistic characteristics of the paintings of the Atroosh House. The main method and basis of information collection in this research is in the form of a library, which will be examined in accordance with the main variables of the research, but in order to investigate And the explanation of the studied examples is done by field method and by observing the works, collecting and examining the image samples in accordance with the research hypotheses. In the library method, materials related to the main variables are studied by referring to databases and libraries. In the field method, according to the paintings left in Atroosh's house, the analysis of the works is done by direct observation. In fact, the method of collecting materials is a combined method, that is, library, definition, description, and comparison methods are used.
Theoretical foundations of the research
-1) The background of the emergence and formation of the Qajar government
And the type of orientation, use of elements and even color in artworks, attention to themes and concepts and even the use of symbols depends on the knowledge of this type of socio-political context.