نوع مقاله : مقاله پژوهشی
دانش آموخته کارشناسی ارشد تاریخ هنر جهان اسلام دانشکده هنرهای تجسمی دانشگاه تهران، ایران
عنوان مقاله [English]
As one of the religious buildings of the Qajar dynas ty, the tomb of Imamzadeh Ibrahim in Kashan features a number of remarkable murals that present the image of several winged figures who seem as guards depicted over religious figures. These Farvahars are to be found all over the murals painted on the inner side of the dome. The firs t section of this paper is dedicated to introducing the monument of Imamzadeh Ibrahim, the his tory behind murals in the Qajar dynas ty, and also the his toric city if Kashan. The second section of the paper considers the iconology of the winged figure depicted in the paintings of this monument with the purpose of recognizing the origins of this icon in the his tory of Iranian art and culture using the Erwin Panofsky method. The mos t noteworthy ques tion of this s tudy is to comprehend the concept behind the winged figure in this building, and explain why they have been depicted with a half-naked body over religious figures. The Panofsky method has been chosen as the theoretical framework in terms of its s tep-by-s tep accuracy ranging from description to interpretation. As a result of pursuing this s tudy path using the mentioned method, the author came to the conclusion that due to the eclectic nature of the Qajar culture, traces of a general tendency towards religion, Wes ternism, and antiquity can be observed in the works of art associated with this period in his tory. The Farvahars depicted in the murals painted on the inner side of Imamzadeh Ibrahim’s tomb in Kashan have also benefitted from this eclectic approach, and a combination of these three characteris tics can be observed in them. The concept of the guardian angel, which is recognized in the Shiite culture & popular belief as the helper and protector of the Prophet Muhammad (PBUH), the Imams (AS), and other people, has been rather influential on the abundance of illus trations of this figure during the Qajar period. Furthermore, the general desire to appeal to the Ahl al-Bayt, gaining reward in the Hereafter, and closeness to God has contributed to the endowment & vow of a part of an individual’s property for the development of religious tombs and their artis tic decorations. The cons truction and decoration of the monument of Imamzadeh Ibrahim by Khaleh Beygom and the endowment of the land & property of this lady for the cons truction of this tomb are among such examples. A form of naked and fat angels, under the influence of Wes tern painting and illus tration of Cupido (the God of Love), became popular in Iranian art. There are many similarities between these forms and the mentioned winged figures. The form of clothing and face of Imamzadeh Ibrahim’s winged figures is inspired by royal portraiture, the form of crowns of kings, and the clothing of Qajar women. Furthermore, according to the archaic tendencies in Qajar art & culture, the conceptual origin of the guardian angel can also be sought in pre-Islamic art & Zoroas trian beliefs with examples the likes of Izad Soroush, Farvahar, and the influence of the Greek era with figures such as Elahe (Goddess in Persian) Nikeh.