Study of the structural elements of the Painting of the Great Darvish Curtain of the Qajar Period based on the Historiography of the Old and New Sections in the Astan Qods Museum

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Panjehbashi Elahe

Title

Study of the structural elements of the Painting of the Great Darvish Curtain of the Qajar Period based on the Historiography of the Old and New Sections in the Astan Qods Museum

Author(s)

Panjehbashi Elahe | Issue Writer Certificate

Keywords

Qajar

painting

curtain

vista

structure

Ashura

Abstract

Dervish curtain is a painting that deals with the events of Ashura and is different from acoffee house painting. The Dervish curtains were very large and were prepared for the officialmourning of the Shah. One of the best examples of a dervish curtain is in the Astan Quds RazaviMuseum. This painting has two parts and it is mentioned as the biggest painting curtain in Iranand has not been researched yet. The right part of the painting has very accurate coloring, composition and design features, but the left part of the painting was later added and haspaintings, engraving and coloring with visual value and lower quality. This painting has beenworked on in the old part based on the official Qajar painting criteria, viewing angle, symboliclanguage, axial movement of the figures, geometric ratios, image realism, multifaceted view, coloring, humanistic elements, animal and plant elements. Which is not seen in another periodadded to the work. The assumption of this research is the study of the structural elements andvisual features of this painting and the comparison of the two old and new parts in the painting. In this regard, the present study seeks to answer these two basic questions of what visual featuresand structural elements have been used in the Great Dervish curtain? What is the differencebetween structural and visual features in the old and new parts of the work? The content of thepresent study is qualitative and based on the analysis of structural elements in painting. Thispainting is based on descriptive-analytical methodology and library data collection method. The results indicate that the main and old part of the painting was worked by court paintersand has the feature of painting the official Qajar sculpture, and the other part is newer and lateradded to the work and has a lower image quality than the older part. The qualities are lower. Analysis and evaluation of visual elements and structural featuresincluding design, coloring, geometry and perspective, the viewing angle of this painting showsthat this painting has a different structure in the old and new sections and the old section hasa higher image quality. These include the focus point of the image, which in the old part hasa movement mode in the whole image, but in the new part is unclear. Analytical geometry inthe old part of the image is in the form of three main triangles based on the main figures ofthe image, but in the new part there is no specific geometry. The center of the image in theold part is Imam Hussein, s blessed head, but in the new part, the focal point is not seen in thepicture. In the old part, each narration is separated by a Qajar angel, but in the new part, thisseparation is not seen in the picture, and it is seen very clumsily with a few flowers, which isclear from under the color of the painting due to the erasure of the painting. In the old part, the view is multifaceted, but in the new part, the view can be seen from the side. In the old part, the color image is very clear, bright, symbolic and epic, but in the new part, it is used without distance, dark and without quality and carelessness. The design of human figures, the brilliant composition and the large volume of statues in the old part of the image is brilliant and unique, but in the new part of these statues are very scattered, without a clear composition. The design of the horse is very strong in the old part, but in the new part, it is very common. In the old part of the angels, the clothes of the angels, the decorations of the clothes, the effects of the court painting of the first period of Qajar show, but in the old part, these rules do not exist. Before the painting, the second painter probably «carved parts of the painting and added parts to the picture, such as flowers, and tried to connect the two parts. The inscription is around the picture with the poems of Mohtasham Kashani about The event of Karbala has been coordinated and the writings of Mohtasham, s calligraphy are clear from the picture due to the erasure of the color. This is one of the reasons why this part of the painting was later added. The two parts of the painting were characterized by symbolic language, viewing angle, axial movement of the figures, geometric ratios, visual realism, multifaceted vision, coloring, human, animal, plant elements in two different parts and in the old part has a higher quality and The new section, which was later added to the original painting, is of lower quality.

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APA: Copy

Panjehbashi, Elahe. (2021). Study of the structural elements of the Painting of the Great Darvish Curtain of the Qajar Period based on the Historiography of the Old and New Sections in the Astan Qods Museum. NEGAREH, 16(59 ), 43-59. SID. https://sid.ir/paper/1031941/en

Vancouver: Copy

Panjehbashi Elahe. Study of the structural elements of the Painting of the Great Darvish Curtain of the Qajar Period based on the Historiography of the Old and New Sections in the Astan Qods Museum. NEGAREH[Internet]. 2021;16(59 ):43-59. Available from: https://sid.ir/paper/1031941/en

IEEE: Copy

Elahe Panjehbashi, “Study of the structural elements of the Painting of the Great Darvish Curtain of the Qajar Period based on the Historiography of the Old and New Sections in the Astan Qods Museum,” NEGAREH, vol. 16, no. 59 , pp. 43–59, 2021, [Online]. Available: https://sid.ir/paper/1031941/en

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Scientific Information Database

ISSN: 2588-4824

Journal Paper

Study of the structural elements of the Painting of the Great Darvish Curtain of the Qajar Period based on the Historiography of the Old and New Sections in the Astan Qods Museum