واکاوی پوشاک جنگاوران در نقاشی شیرویه و سرهنگ سربینه حمام مهدی قلی بیگ مشهد
آرشیو
چکیده
بیان مسئله: در سیر شکل گیری حکومت ها، همواره طبقه جنگاور، یکی از ستون های مهم کشورداریبرشمرده می شود. در هر دوره ای با توجه به نوع بینش سیاسی و فرهنگ پوشش مردمان و همچنین شیوه نبردها، نوعی از پوشش نبرد برای جنگاوران شکل می گیرد و به عنوان یک نماد بصری در جهت شناسایی طبقه مزبور شناخته می شود؛ ازآنجاکه جنگاوران با رشادت های خودقهرمانان ملی می باشندموردتوجه هنرمندان برای خلق آثار هنری قرار می گیرند. هنر نقاشی قهوه خانه اینیز که در دوره مشروطه و در جهت تغییر دیدگاه عامه مردم ظهور می کنددر کنار موضوعات دیگر به موضوع جنگاوران و نمایش قهرمانان ملی می پردازد. سربینه حمام مهدی قلی بیکنیز نقاشی قهوه خانه ای با نام شیرویه و سرهنگ دارد که صحنه ای از قصه عامیانه ای از آذربایجان را نشان می دهد. . هدف پژوهش: هدف از پژوهش حاضر واکاوی تأثیر تاریخ موضوع در طراحی لباس جنگاوران در نقاشی شیرویه و سرهنگ سربینه حمام مهدی قلی بیک مشهد است. سؤال پژوهش : لباس های نبرد در نقاشی شیرویه و سرهنگ سربینه ی حمام مهدی قلی بیک تا چه میزان تحت تأثیر ریشه ی تاریخی موضوع نقاشی مزبور بوده است؟ فرض بر آن است که هنرمند به جای بسنده کردن به مد رایج پوشاک نظامیان عصر خویش تحت تأثیر ریشه ی تاریخی موضوع داستان شیرویه و سرهنگ، لباس رزم پیکره ها را ترسیم کرده است روش پژوهش : پژوهش پیش رو از حیث ماهیت، بنیادی-کاربردی وروش گردآوری اطلاعات، کتابخانه ای- میدانی است. نتیجه گیری : نتایج تحقیق بر این نکته اشاره دارد که هنرمند نقاش قهوه خانه ای با توجه به ریشه ی داستان شیرویه و سرهنگ به نمایش لباس نیرد در سربینه حمام مهدی قلی بیک پرداخته است. کلیدواژه ها: قاجار، نقاشی قهوه خانه ای، حمام مهدی قلی بیک مشهد، شیرویه و سرهنگ، لباس نبرد.Analysis of warriors' clothing in the paintings of Shiroviyeh and Colonel Serbineh Hammam Mahdi Qalibeg of Mashhad" .
In the course of the formation of governments, the warrior class is always considered one of the important pillars of statehood. Each period, according to the type of political vision and culture of people's clothing as well as the way of battles, a type of battle clothing is formed for warriors and is known as a visual symbol to identify the said class. Because warriors become national heroes with their bravery, they are a subject for creating works of art. The art of coffeehouse painting, which was formed in the constitutional period and in order to change the public opinion, also deals with the issue of warriors and the display of national heroes. Sarbineh Hamam Mehdi Qalibeg also has a painting of a coffee house named Shiroviyeh and Serhang, which shows a scene from a folk tale from Azerbaijan. Now the question is:: "To what extent were the battle costumes in the painting of Shiroviyeh and Colonel Sarbineh of the Bath by Mehdi Qoli Beg influenced by the historical roots of the subject of the painting?" It is assumed that the artist, instead of being content with the common fashion of military clothing of his era, drew the battle uniforms of the figures under the influence of the historical roots of the story of Shiroviyeh and the Colonel .The purpose of this study is to examine the influence of the subject's history on the design of warriors' costumes in the painting "Shiruyeh and Colonel Sarbineh Hamam" by Mehdi Qoli Bek of Mashhad. The upcoming research is fundamental-applied in nature and the method of collecting information is library-field. The results of the research point to the point that the coffee house painter artist showed the Nird dress in the bathroom of Mehdi Qoli Bey, considering the origin of the story of Shiroviyeh and the Colonel.Extended Abstract1. IntroductionThroughout the political history of states, the warrior class has always been one of the factors in maintaining governments with its power, so that many times, the warriors' defiance has led to the decline of power. The evolution of weapons of war has also changed the nature of battles. Hand-to-hand combat between soldiers is transformed into fighting on the frontlines and at long distances. The changing nature of war also led to changes in the clothing of warriors. Due to political changes and subsequent cultural changes, the clothing of soldiers also took on a different structure from previous periods during the Qajar period. On the other hand, in the aforementioned period, with the formation of the Constitutional Court, coffeehouse painting emerged, bringing art to the masses. Places such as coffeehouses, baths, etc., where a crowd of common people were present, became a platform for displaying coffeehouse painting. Epic stories that influence the public's perception, with a religious, national, and indigenous focus, are part of the themes of these paintings. The Mehdi Qoli Beg Bath in Mashhad, which was built during the Safavid period, also has paintings in the style of a coffee house and belongs to the Qajar period. The painting of Shiroviyeh and Colonel Sarbineh Hamam, which depicts a folk tale from Azerbaijan, shows the scene of the battle of Shiroviyeh, the hero of the story, with two rivals. Their battle attire and their fighting style indicate a structural difference in battle and battle attire from the Qajar period, so the artist was not influenced by his living environment and other factors were involved in the creation of the work.2. Research MethodologyThe current research is fundamental-applied in nature and the data collection method is library-field.3. Research FindingsThe investigation revealed that in the Safavid era, embroidered clothing was used in battles. His footwear is also high-heeled boots. His opponent is wearing a head covering, a loincloth, forearm bands, knee pads, and a thigh band similar to the Shirovyeh in the same scene, and his footwear is also boots, like the Shirovyeh. On the other side, Shiroviyeh is wearing a helmet. His clothing consists of a khaftan, a pant, a forearm brace, and a knee brace, although the khaftan has a different design and is golden yellow. His footwear is also boots. The figure of the colonel, whose name is also written next to it, is wearing a helmet similar to Shiroviyeh. In the Safavid period, due to the recognition of Shiism, religious prayers were carved on the four mirrors, but only geometric patterns are seen on the four mirrors of the Colonel. This distinction of the patterns on the four mirrors can be derived from the different religious vision of the Qajar rulers. The use of four mirrors for the Shiroviyeh opponent can be a symbol of the Shiroviyeh's superior power, which required the opponent to use cover to protect themselves from impact.4. ConclusionThe artist has used historical Safavid clothing as a historical tool to better illustrate the concept of the story of Shiroviyeh and the Colonel. In this case, the symbol is responsible for instilling the concept.Authors’ContributionBlokbashi, Ali. (1995) How the graceful architecture of the coffee house was formed. In the book of proceedings of the first congress on the history of architecture and urban planning of Iran, vol. 1. Tehran: Cultural Heritage Organization of the country.Jafarpour, Milad and Mahyar Alavi-Moghaddam. (1991). A comparative study of ritual and warlike elements in the Shahnameh and Samak-Ayyar. Literary essays. (175) 51-84.Chalipa, Kazem and Mustafa Goodarzi and Ali Asghar Shirazi. (2011). Reflections on National and Religious Themes in Coffeehouse Painting. In Negreh Quarterly. (18) Summer. pp. 69-81.Chitsaz, Mohammad Reza. (2014). History of Iranian Clothing from the Beginning of Islam to the Qajar Period, in Comprehensive History of Iran. Center for the Great Islamic Encyclopedia. Vol. 19. 521-666.Sodavar Diba, Leila. (2004). Safavid and Qajar Clothing. In Encyclopedia Iranica. Translated by Peyman Matin. Tehran: Amirkabir. 193-236.Sheikhi, Alireza and Mina Dashtbani, (2018). A Reading on the Mural Paintings of Mehdi Qoli Beik's Bath in Mashhad. Fine Arts-Visual Arts Journal. (23). 1. Spring. pp. 39-52.
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