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تحلیلی بر کارت‌پستال‌های عصر قاجار به مثابه عرصه نمایش تصاویر عکاسی | ||
| مبانی نظری هنرهای تجسمی | ||
| دوره 7، شماره 2 - شماره پیاپی 14، دی 1401، صفحه 153-164 اصل مقاله (648.11 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2022.40944.1437 | ||
| نویسنده | ||
| محمد زرقی* | ||
| عضو هیات علمی و مدیر گروه عکاسی، دانشکده هنر، دانشگاه نیشابور، نیشابور، ایران. | ||
| چکیده | ||
| عکاسی در سال 1842م./ 1258ق. حدودا، سه سال بعد از اعلام رسمی اختراع عکاسی در جهان، وارد ایران شد. هرچند با اندکی تاخیر، از حدود سال 1858م./ 1275ق.، با آغاز آموزش نظاممند عکاسی در دربار می‌توان شاهد رونق عکاسی در بین اشراف و اندک طبقه مرفه جامعه بود. اما سال‌های بسیار طی شد، تا این پدیده وارد فرهنگ تصویری و زندگی عموم جامعه دوران قاجار شود. دلایل مختلفی بر فرازها و فرودهای جریان توسعه و عمومی شدن عکاسی در این دوران تاثیرگذار بوده؛ اما یکی از مهم‌ترین آن‌ها ورود کارت‌پستال‌های عکاسی به ایران بوده است. برای درک بهتر جایگاه بی‌بدیل کارت‌پستال‌های عصر قاجار در جریان دموکراتیزه کردن تصویر عکاسی در ایران، لازم است تاریخ تحولات اجتماعی عصر قاجار، عکاسی و چگونگی تعامل آن با وقایع جنبش مشروطیت مورد پژوهش قرار گیرد. این پژوهش سعی بر آن دارد تا با بهره‌مندی از روش تاریخی و رویکرد توصیفی تحلیلی و با کاربرد نظریه تاریخ اجتماعی به بررسی جایگاه کارت‌پستال‌های عکاسی دوران قاجار بپردازد. این مقاله ابتدا، به توصیف سرآغاز ورود کارت‌پستال‌ها به ایران و در ادامه، به بررسی انواع کارت‌پستال و دسته بندی‌های محتوایی، بصری و هدف تولید آن‌ها می‌پردازد. نتایج این پژوهش نمایان‌گر آن است که، کارت‌پستال‌ها نه تنها عکس و عکاسی را در ایران عمومی کردند، بلکه با تبدیل آن‌ها به یک بیانیه سیاسی اجتماعی و مذهبی، به عکسها ارزشی برای دیده شدن، دست به دست شدن و خرید و فروش شدن توسط مردم و ورود به فرهنگ تصویری جامعه ایرانی اعطا نمودند. | ||
| کلیدواژه‌ها | ||
| عصر قاجار؛ تاریخ عکاسی؛ مشروطه؛ ورقه پستی؛ کارت‌پستال؛ رسانه | ||
| عنوان مقاله [English] | ||
| An Analysis of the Qajar Era's Postcards as an Arena for Displaying Photographic Images | ||
| نویسندگان [English] | ||
| mohammad zarghi | ||
| Faculty Member at Department of Art, Neyshabur University, Neyshabur, Iran. | ||
| چکیده [English] | ||
| Photography entered Iran in 1842, about 3 years after the official announcement of the invention of photography in the world. Although with a little delay, from around 1858, with the beginning of systematic photography training in the court, we can witness the brightness of photography among the aristocracy and the few rich class of the society, but it took many years for photography to enter the visual culture and people's lives. Various reasons have influenced the ups and downs of the development and popularization of photography in this era, but one of the most important of them was the arrival of photographic postcards in Iran. In order to better understand the unique position of Qajar era postcards in the process of democratization of photographic images in Iran, it is necessary to research the history of Qajar era social developments, photography and how it interacts with the events of the constitutionalism movement. This research tries to investigate the position of photographic postcards of the Qajar era by benefiting from the historical method and descriptive analytical approach and by applying the theory of social history. This article firstly describes the beginning of the arrival of postcards in Iran and then examines the types of postcards and their content, visual categories and the purpose of their production. Various cultural, economic, social and political factors and contexts have been effective on the position of photography at the beginning of its entry into Iranian society, and by examining them, we can better understand the question of why the passion and enthusiasm for photography and photographic postcards in the West never happened in Iran. What is of interest and consideration in the current research, is the influential role of postcards and the constitutional movement on this trend. The research problem is what role did illustrated postcards play in the development of photography and social awareness in Iran during the Qajar era, and what path did they follow in popularizing the culture of photography compared to the West? In a way, this article tries to examine the importance of photographic postcards in the process of publicizing the photographic image by examining the position of photographic postcards. In this way, identifying and analyzing the status of postcards and their fundamental role in filling the empty space in the Image display arena and public awareness media in this inflammatory era is one of the basic topics of the present research; because the assumptions of the research are that only by taking a contextual look at the history of photography media and its role in each society and comparing the approach of other societies, according to the situation and equations of each society, we can have a clearer view of how this phenomenon works and the hidden strain of the social life of every society. The local and time frame of the research is focused on the first "photographic" postcards from the time when photography entered Iran until the end of the Qajar rule. The statistical population includes all photographs and photographic postcards of this era, available in private or government (published) archives, books, magazines and reliable foreign and domestic websites. Based on the available findings, photographic postcards in this era are divided into 3 categories: Postcards with the subject of Constitutionalists: This group of postcards, which also play an important role in the current research, includes the largest number of photos remained from the constitutional era. Photos of armed or unarmed people gathering in sit-ins, single or four-person photos of fighters with weapons, photos of those killed in the revolution alone or with their comrades, photos of the dead soldiers of the government, the display of conquests and victories and finally the formation of National Consultative Assembly of Iran and its representatives and members, the display of the inaugurations of the celebrations related to the constitutional revolution, such as the year of the first and second celebration of the constitutionalism, as well as different photos decorated with engravings and collages, which contain a special message, are the subject of the photos in this category. Government postcards In general, the number of these postcards are significantly less than the postcards of the Constitutionalists, and this group can be divided into the following based on the subject: Photos of Qajar kings, especially Mohammad Ali Shah, who shows himself as an angry and strong ruler. Photos of the execution, torture and chaining of criminals and constitutionalist fighters with the aim of creating terror in the hearts of freedom fighters and their followers. Photos of officials, leaders and government officials of the Qajar government individually or together with group photos of soldiers. Photos of courtiers attending ceremonies and historical events. Decorative, popular and touristic postcards A part of decorative and touristic postcards in this era through printing photos of Nasser al-Din Shah's entertainments and travels, harem women, people's daily jobs and activities, architectures and historical buildings, cities and their landscapes, etc. have been formed. Also, part of these cases are the postcards that were sent by Iranians living outside of Iran to their relatives in Iran. In addition, decorative postcards with purely commercial purposes were also prepared and reproduced in Iran by photographers and manufacturers. Postcards in Iran entered the country at the same time as the political upheavals of the constitutional revolution. Although photography was introduced and used in the Qajar court about 60 years before the introduction of postcards to Iran, but until the end of Nasser al-Din Shah's rule and the beginning of the constitutional movement, it was the monopoly of the court and the wealthy class of society, and few of the common people were aware of the nature of photography. Weakness in the regular and up-to-date publication of newspapers and the limitation of printing photographic images in them, along with 95% of the country's population who were illiterate, caused photos and postcards to become a media and communication tool. To narrate and inform the events of the constitutional revolution to the society of the Qajar era. In this process, the photographic postcards of the constitutionalists have played a significant role in breaking the court's monopoly on photography and creating a deep transformation in the subjects, content and goals of photographs, as well as photographers and their audiences in Iranian society. Although photography in the early decades of its arrival in Iran was a luxury phenomenon and exclusive to the Qajar court, but later with the spread of postcards and the freedom fighters of the constitutional movement benefited from it as a platform for public display of the events and ideals of the revolution, photographs became a factor for political and social changes and developments. Postcards not only popularized photos and photography in Iran, but also by turning photos into a political, social and religious statement in the society, they gave them a value to be seen, to be exchanged and to be bought and sold, and the ability to become a visual symbol of freedom and victory. | ||
| کلیدواژه‌ها [English] | ||
| Qajar Era, History of Photography, Constitution, Letter, Postcard, Media | ||
| مراجع | ||
URLs:
URL1. https://www.ajammc.com/2017/12/20/harvard-technologies-image-art-iran/ URL2.https:// www.balkanphila.com URL3. https://www.postalmuseum.org URL4. www. tambrestan.com/index.php?id_cms=127&controller=cms/(1397/4/1) URL5. www.thenelsoncollection.co.uk | ||
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