خوانش بیش متنی طراحی فرش قاجار (نمونه موردی فرش کرمان با مضمون رقص الهه و ساتیر)
آرشیو
چکیده
بیان مسئله: عوامل مختلفی مانند ورود گسترده دوربین عکاسی، تأسیس چاپخانه ها و چاپ کتاب های تصویری، ورود آثار و حضور هنرمندان غربی، بازار بزرگ غرب با سلیقه متفاوت و سفارش های جدید، باعث رواج تصویرگرایی در طراحی فرش ایران شد. یکی از نمونه های نادر تأثیر تصویرگری غربی بر طراحی فرش ایرانی، فرش بافته شده با مضمون «رقص الهه» در دوره قاجار است که طراحی آن از یک نقاشی و گوبلنی متعلق به ناصرالدین شاه (نگهداری شده در تالار کاخ گلستان) الهام گرفته شده است. هدف پژوهش: در این پژوهش هدف بررسی شیوه تأثیرپذیری طراحان فرش ایرانی از هنر غرب در نمونه مورد نظر و شناسایی ساختار طراحی فرش های تصویری دوره قاجار می باشد. سؤالات پژوهش: پژوهش حاضر با هدف پاسخ گویی به سوالات زیر انجام شده است: شیوه تأثیرپذیری طراحی فرش در اثر موردنظر پژوهش بیشتر به کدام گونه از بیش متنیت تمایل دارد؟ در این فرآیند، چه تغییراتی در طراحی اثر موردنظر ایجاد شده است؟ روش پژوهش: این پژوهش از نوع توصیفی-تحلیلی بوده و گردآوری اطلاعات به روش مطالعات اسنادی، منابع کتابخانه ای و مشاهده آثار موزه ای صورت گرفته است. پژوهش از لحاظ هدف، بنیادی و از لحاظ چیستی، کیفی محسوب می شود. جامعه هدف، فرش رقص الهه است. برای پاسخ به سؤالات پژوهش، از رویکرد بیش متنیت ژرار ژنت بهره گرفته شده است. نتیجه گیری: نتایج نشان می دهد که تأثیر طراحی فرش ساتیر و رقص الهه (بیش متن) از طراحی گوبلن ناصرالدین شاه (پیش متن) بر اساس گونه شناسی بیش متنیت ژنت، در دسته جایگشت (ترانسپوزیشن) و تراگونگی با کارکرد جدی قرار می گیرد. تراگونگی های ایجادشده در بیش متن شامل تغییرات در شکل، ترکیب بندی و رنگ است. هنرمند طراح فرش در خلق یک بیش متن جدید و مستقل، نگاه تقلیدی صرف نداشته و آگاهانه از اثر الهام گرفته است.Hypertextual analysis of Qajar carpet design (A case example of Kerman carpet with the theme of goddess and satyr dance)
Intertextual Reading of Qajar Carpet Design
(Case Study: A Kerman Carpet Featuring the Dance of the Goddess and Satyr)
Hana
Kazemian MA in Art Research, Faculty of Engineering and Technology, Islamic Azad University, Qaemshahr Branch, Mazandaran, Iran.
Abstract
Research Problem:
The art of Persian carpet weaving before the Safavid period had unique characteristics; however, during the Safavid era and its cultural exchanges with the West, like other Iranian arts, Persian carpet art underwent significant transformations in structure and content. From this period onwards, various factors such as the expansion of photography, the establishment of printing houses and the production of illustrated books, the influx of Western artworks, and the presence of Western artists in Iran contributed to the spread of Western art, gradually introducing figuration into carpet design.
The Qajar period marked a close cultural, social, economic, and political connection with the West. The art of carpet weaving was not exempt from the influence of Western art, undergoing fundamental changes in size, design, and weaving methods. Traditional Iranian motifs such as flowers, shrubs, and boteh-jegheh were replaced by portraits of famous individuals, scenes from the Shahnameh, religious themes, and Western-oriented content. Contrary to tradition, designers of pictorial carpets employed realistic and objective images instead of abstract or imagined motifs. Qajar pictorial carpets were influenced by various cultural, social, and artistic factors of the period (Table 1). Moreover, the establishment of numerous carpet workshops in Tabriz, Kerman, Mashhad, Kashan, and other cities, along with the direct or Turkish-mediated export of carpets, led to the growing popularity of European-oriented designs and the widespread production of pictorial carpets, unlike in earlier periods. The large number of such carpets from the Qajar era justifies the need for thorough investigation, which will in turn reveal the characteristics of carpet art, design, motifs, and other elements of this period.
Research Objective:
This study aims to investigate how Iranian carpet designers were influenced by Western art through a case study and to identify the structural features of pictorial carpet design during the Qajar period.
Research Questions:
The research aims to answer the following questions:
In the examined artwork, which type of transtextuality (hypertextuality) is more prominently reflected in the carpet design?
What specific changes occurred in the design during this process of influence?
Research Methodology:
This research is developmental in type, qualitative in nature, and employs a descriptive-analytical method based on Gérard Genette’s hypertextuality theory. Data was collected through library research using first-hand sources. Measurement tools include tables, illustrations, and qualitative comparisons of information extracted from books, articles, and theses. Sampling was conducted using purposive qualitative selection. The statistical population consisted of approximately 20 high-quality pictorial carpets from the Qajar period, from which one sample was selected for detailed qualitative analysis in line with the objectives of the study. During the analytical process, the study first introduces the pretext and hypertext bodies, and then identifies and presents the relationships between them in terms of intersemiotic, interdiscursive, and diachronic connections. Finally, based on Genette’s dual criteria—relationship and function—the hypertext is evaluated. The transformations occurring in the hypertext compared to the pretext are carefully identified and analyzed.
Conclusion:
Iranian art has always followed a dynamic and evolutionary path, influenced by other civilizations from its earliest periods to the present. This study examined how the design of an Iranian pictorial carpet (hypertextual body) was influenced by a European tapestry (pretextual body), employing Gérard Genette’s approach to hypertextuality. In response to the first research question, the study concludes that the design and motifs of the hypertext exhibit transformation about the pretext and, functionally, belong to the category of serious transformation. Therefore, within Genette’s typology, the relationship falls under the transposition or serious transformation category.
In response to the second question, three main types of transformation are identified: form, composition, and color. Although the Iranian artist was inspired by a Western pretext, he did not merely imitate but used his creativity to produce a new and independent hypertext. In other words, the artist's influence was not purely mimetic; he sought to go beyond the pretext, drawing upon Iranian painting traditions and his social context to create a culturally grounded work. The transformations resulting from the differing cultural, artistic, and social backgrounds of the pretext and hypertext led to substantial changes. These changes not only produced an original and independent work but also generated a meaningful hypertext connected to the culture and society of the time. The artist also alludes to cultural, artistic, and social features of the society in which the work was created—for example, the use of Iranian faces, Iranian-style perspective, and floral motifs to fill negative space, all reflecting the aesthetics of Iranian painting. In conclusion, although the carpet under study was influenced by a non-Iranian, Western work, through deliberate adaptation it became a new creation that continues the legacy of Iranian painting and cultural tradition.
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