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Humanities
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Social Sciences
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New legal studies
Representation of Women in Iranian Painting (Case Study: Safavid and Qajar Paintings)
Volume 1, Issue 3, 2021, Pages 91 - 110
1 Graduate of Master of Social Sciences, Kharazmi University, Tehran
2 Associate Professor, Department of Social Sciences, Kharazmi University, Tehran
3 Assistant Professor, Department of Costume Design, Al-Zahra University, Tehran
Abstract :
Iranian painting has undergone many changes during different historical epochs. These developments are due to factors such as social, political, cultural, religious and the tastes of kings in relation to the Far East and the West. This descriptive-analytical research, which is based on Fiske's semiotic approach and according to the views and theories of Stuart Hall's representation, uses a qualitative content analysis and visual reading and textual- pictorial data. The purpose of this study was to investigate the female element in terms of meaning and content in Iranian paintings and also to identify the causes and factors of changes in the social and cultural status of women in order to identify their true place in historical epochs. It also examines these images in Qajar and Safavid epochs due to their connection with the West, which was a kind of traditional and modern duality appeared in the social, cultural and artistic relations of the society and it has an influential trend on the status of women. In this study, by recognizing the characteristics and developments of the female image in different epochs of painting, and by referring to some works, we examined the images. In the works of pre-Qajar painting epochs, women often had an exemplary and mythical status and has been depicted in terms of unnatural design and its visual value has been like other elements of painting. But at the end of Safavid epoch, due to the connection with the West, we are witnessing a change in the type of attitude towards painting, and as a result there is a change in naturalistic in depicting the body of women, as well as in the formation of monographs, which led to a different image of women than before in Iranian painting. During the Qajar epoch, due to the strong influences of Western art and naturalistic methods and painting techniques of the West, as well as using realistic painting of the West and the symbolic and miniature aspects of Iran, a different art was formed in Iran.
Iranian painting has undergone many changes during different historical epochs. These developments are due to factors such as social, political, cultural, religious and the tastes of kings in relation to the Far East and the West. This descriptive-analytical research, which is based on Fiske's semiotic approach and according to the views and theories of Stuart Hall's representation, uses a qualitative content analysis and visual reading and textual- pictorial data. The purpose of this study was to investigate the female element in terms of meaning and content in Iranian paintings and also to identify the causes and factors of changes in the social and cultural status of women in order to identify their true place in historical epochs. It also examines these images in Qajar and Safavid epochs due to their connection with the West, which was a kind of traditional and modern duality appeared in the social, cultural and artistic relations of the society and it has an influential trend on the status of women. In this study, by recognizing the characteristics and developments of the female image in different epochs of painting, and by referring to some works, we examined the images. In the works of pre-Qajar painting epochs, women often had an exemplary and mythical status and has been depicted in terms of unnatural design and its visual value has been like other elements of painting. But at the end of Safavid epoch, due to the connection with the West, we are witnessing a change in the type of attitude towards painting, and as a result there is a change in naturalistic in depicting the body of women, as well as in the formation of monographs, which led to a different image of women than before in Iranian painting. During the Qajar epoch, due to the strong influences of Western art and naturalistic methods and painting techniques of the West, as well as using realistic painting of the West and the symbolic and miniature aspects of Iran, a different art was formed in Iran.
Keywords :
Representation, Woman Image, West, Qajar Period, Safavi Period
Representation, Woman Image, West, Qajar Period, Safavi Period
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