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Information Journal Paper

Title

A Study on the Visual Origins of Saqā tā lā r paintings (With an Emphasis on Lithography)

Pages

  5-30

Abstract

 The main problem of this research is the quality of influencing some traditions as parda, glass gilding, tea-house painting, wall paintings in sacred monuments as well as the lithograph books on the emergence of the Saqā tā lā r paintings in Qajar period, Mā zandarā n, Iran; Saqā tā lā r is a wooden building found exclusively in this area of the country. The research purpose is finding the historical relationships between these artistic genres more accurately. They have been not profoundly referred as the origin and the root of the Saqā tā lā r paintings. The Peter Chelkowski's theories on the narrative paintings and Painting recitation, their roots and origins, the challenges existed about the exact date of making the first sample of narrative religious wall paintings in Iran would be helpful in this regard. Two significant groups of religious and non-religious themes have been represented simultaneously in the context of Saqā tā lā r paintings. This synthesis seems to be slightly incongruent at first glance so that we cannot remember any similar examples of being gathered these different motives in their introduced origins. It is why the synthesis is considered to be a unique and unprecedented case. For this reason an extensive study on all these artistic genres, their background, their first samples, contents and themes and also their relations with the Saqā tā lā r building would be necessary. The research hypothesis is the possibility of the exact representation of the lithograph illustrations in the Saqā tā lā r paintings. At first glance, we can see a lot of similarities between the illustrations of lithograph books and the motives on the Saqā tā lā r building, in terms of both the visual features and themes. The authors assess the seventeen painted and dated Saqā tā lā r in addition to the above said origins, in terms of their dates, their involved people as well as their themes through an historical approach. The research method is the qualitative content analysis of historical resources along with the field work in Mā zandarā n province and its villages. The certain result of the study indicates the significant similarity between the most of Saqā tā lā r paintings and the illustrations of Qajar lithograph books as well as the presence of a considerable extent of Saqā tā lā r themes in them; however, the absence of colour in lithograph books is the only difference between the two. Also, with regard to Saqā tā lā r buildings, their location, their certain relations with the religion and the other religious buildings around them, the specific paintings, the particular colors and their specific techniques of drawing these motives, one might observe a set of the unique features here which have been continuously invariant among all the influences mentioned above. In addition, they are belonged to a certain period of time and have been constructed and painted by a specific group of people; All these issues might give a unique identity to Saqā tā lā rs we can name them an artistic "Style". Finally, the historical data indicates a kind of relationship between the founders of these buildings and the Qajar capital and court which might make doubt about the authenticity of some presumptions.

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    APA: Copy

    KARIMI, MASOUMEH, & Ghorbannejad, Razieh. (2020). A Study on the Visual Origins of Saqā tā lā r paintings (With an Emphasis on Lithography). JOURNAL OF VISUAL AND APPLIED ARTS, 12(26 ), 5-30. SID. https://sid.ir/paper/377499/en

    Vancouver: Copy

    KARIMI MASOUMEH, Ghorbannejad Razieh. A Study on the Visual Origins of Saqā tā lā r paintings (With an Emphasis on Lithography). JOURNAL OF VISUAL AND APPLIED ARTS[Internet]. 2020;12(26 ):5-30. Available from: https://sid.ir/paper/377499/en

    IEEE: Copy

    MASOUMEH KARIMI, and Razieh Ghorbannejad, “A Study on the Visual Origins of Saqā tā lā r paintings (With an Emphasis on Lithography),” JOURNAL OF VISUAL AND APPLIED ARTS, vol. 12, no. 26 , pp. 5–30, 2020, [Online]. Available: https://sid.ir/paper/377499/en

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