Academic Dissertation in Master Degree in Painting
Abstract
The category of reality and realism in art is one of the most complex concepts that has always had many definitions and interpretations. Throughout the history of Iranian painting, along with literature, a kind of lyrical and poetic atmosphere and exemplary and idealistic descriptions have dominated the images, and over the years, slight changes have been seen in the framework of the structure of traditional painting. Most of the previous researches have mentioned the tendency to arrange and deal with everyday work and activities only in the case of the Herat school, and there is no full reference to the works of the Qazvin school as a distinct and independent style. In this research, it has been tried to analyze the characteristics of realism in the works of Qazvin school of painting and examine its roots and contexts. To achieve this goal, the descriptive-analytical method has been used and library and visual sources have been taken into consideration. As a result of this research, it is clear that the realism in the painting school of Qazvin is different from the previous examples and shows a more popular and popular form more clearly. It is also clear that the cultural, political and historical conditions governing Qazvin of that land had a direct influence on the creation of this type of realism in the works.
Keywords: everyday life, folk, Qazvin, painting, realism.
Introduction
Despite the existence of themes and the legendary and imaginative atmosphere governing the tradition of Iranian painting, painting in the Qazvin school is more than this ideal and ideal atmosphere. The former tradition of the former court has moved away and even more than the realism existing in Herat, it has focused and approached the normal themes of the daily life of the people, villagers and ordinary people. Reality and realism is a very complex category that has been discussed a lot. Therefore, in the first chapter, we discuss the definitions of this topic and the opinions of thinkers about it. In the general definition, realism generally means reflecting the real and objective environment and paying attention to displaying its details, far from fantasy and idealism. which records normal and real events of everyday life, normal people and themes related to work and life. Therefore, the relationship between the artist and the context in which he records events becomes so important that even this issue has been discussed under the title of a certain school of thought in Europe. Therefore, in this chapter, we have a brief reference to it and the opinions of the elders in this regard, and to understand this category, the context of the artwork, the social position of the artist in the society, artistic patrons, special culture and common people in the society are examined. Because the main origin of this category was in Europe, realism in European art and literature was investigated in the next chapter, during which official literature and its contrast with folk and carnival literature, how to make heroes and the subjects of realistic works, stage setting in realism and romanticism works, diversity and how the concept of realism in painting, as well as realist painters are discussed. In the next chapter, we enter the subject of realism in Iranian literature and art, which deals with the relationship between literature and painting, the historical context of literature, official and popular culture, and the course of realism in the history of Iranian painting. In the next chapter, realism in the Qazvin school of painting is studied, in which the historical, political, social and cultural background of Safavid Qazvin and the artistic patrons of that time, the characteristics of the Qazvin school, the works of the Qazvin style, the analysis of realism and its form in Qazvin paintings are discussed. Qazvin distanced himself from the idealistic, mythical, idealistic and courtly atmosphere of the former Iranian painting tradition and became more popular and focused on mystical, moral themes and ordinary everyday events and public culture and villagers and ordinary people of the society. Therefore, realism is one of the most characteristic features of painting in the Qazvin school. Previously, there was an atmosphere of realism in the works of the Herat school, this method of payment was found in some of the more imaginative works of the Tabriz school and again in Qazvin with a new approach (more realistic and popular). In the previous researches related to this subject, it was only mentioned in passing, and no serious analysis was done on it. In these paintings, the images of the elderly and middle-aged are depicted with a kind of caricature-leaning realism. One of the remarkable features of the Qazvin school is the production of single-leaf figures or single faces in the form of drawings and designs.One of the remarkable features of the Qazvin school was the production of single-leaf figures or single faces in the form of paintings and designs, in which the background of natural landscapes and daily life was recorded. This type of painting was obviously the independent activity of the artist in the society and among the people, which for the first time introduced a form independent of the court and its tastes to the tradition of painting. This trend started when the court stopped supporting art. And on the other hand, with the spread and prosperity of commerce and the development and expansion of the urban life of the non-courtly middle class, they established independent urban workshops and supported art. Therefore, the art of painting became popular among the people and was adapted to the tastes and tastes of the common people or nobles outside the court. From the point of view of sociology, art is created in direct interaction with the context of society and social dialogues, and the normal events of daily life and popular traditions have a direct effect on it. Art in the Qazvin school was more and more connected with the life and traditions of ordinary people and found a new structure, which later led to the formation of the Isfahan school and a fundamental change in the Iranian painting process. This shows the special importance of these works that have been neglected in researches. By creating urban painting workshops independent of the court, which brought art closer to popular tastes. A kind of realism appeared in Zahor's works, which, apart from Behzad's realism, was more in tune with the common people. Neglecting and not paying attention to this feature in this period leads to insufficient understanding of the works and how this unique structure and atmosphere is in the history of Iranian painting. In the previous researches, this important category was not given the necessary attention and it was not addressed with this approach, and this could be in the direction of paying more attention to the stylistics of these works. Research issues and questions: How is the reflection of realism in the works of the Qazvin school? Why has this tendency been created in the Qazvin school? Social conditions What was the Iranian society like in Qazvin during the Safavid period?
What role did the cultural, political, and social environment play in creating this realistic atmosphere in the paintings of the Qazvin school?
What are the characteristics of this type of realism and what is its distinguishing feature?
Hypotheses:
The cultural, political, and economic conditions in Safavid Qazvin were such that it caused The lack of court support for painters, a middle class of the society independent of the court, from ordinary people, who had reached relative economic power, supported the art of painting.
The non-court support of art in that land led to the independence of the painting space from the court art and its becoming more popular and the formation of a kind of realism in the works of the Qazvin school. The everyday normal, the ordinary people of the society and the villagers, and even the simplicity in color and form and composition, the multiplicity of elements and the more realistic treatment in them, which is an indicator and far from the ideal and ideal atmosphere that governs Iranian painting.
Research objectives:
Examination of realism in the Qazvin school of painting and its distinguishing feature.
How is the tendency towards this order in the school Qazvin.
Description and analysis of the relationship between social, political, and cultural contexts and trends in this order in Qazvin
Attention to the special atmosphere and stylistics of these works in Iranian painting and better recognition and understanding of these works, in which the spirit of the times flows more and more in this period. About the Qazvin school of painting, there are some of the books mentioned in the sources and also:
Examination of the approach of realism in the school of the Safavid period / Hadi Yadgari / Supervisor: Mohsen Al-Rasgi / Tarbiat Modares University / July 2018:
This researcher has stated that in Iranian painting, the artist's attention has always been focused on the world of examples. This trend became less prominent during the Safavid period, and this was one of the factors that brought painting closer to everyday life and reflecting objective realities. Another factor that caused this closeness is the decrease in the support of art educators in some parts of this era, which gradually and forcibly brought painting from the art that was in the service of the court to the common people.