Akademik Veri Yönetim Sistemi
Journal of Iranian Handicrafts Studies (Honar-haye Sana'ee-ye Iran), cilt.7, sa.2, ss.117-128, 2025 (Hakemli Dergi)
Introduction
This study investigates the evolution of royal jewelry during the Qajar era through a comparative analysis of portraits of Fath-Ali Shah and Naser al-Din Shah. The examination of these 19th-century artworks reveals significant conceptual and visual transformations. The opulent attire and abundant jewelry of Fath-Ali Shah is in stark contrast with Naser al-Din Shah’s military uniform, reflecting societal shifts and the impact of Western artistic styles. Mirza Baba’s paintings exemplify the traditional style, while Kamal al-Molk’s works showcase the adoption of Western academic styles. These portraits effectively highlight the evolution of jewelry during the Qajar era, mirroring broader socio-artistic transitions within Iranian society.
Research Method
To explore the evolution of royal jewelry during the Qajar era, this study uses a qualitative method and is descriptive-analytic in approach. The central question examines the transformations in jewelry depicted in 19th-century portraits and their conceptual meanings. Data were collected through library research and analyzed comparatively, using Mirza Baba’s portrait of Fath-Ali Shah and Kamal-ol-Molk’s portrait of Naser al-Din Shah as primary sources. These portraits were chosen for their detailed representation of royal adornments. By comparing the jewelry in these portraits, the study aims to uncover the aesthetic, cultural, and political factors influencing the design and significance of royal jewelry in the 19th century. The research contributes to the understanding of the Qajar court’s artistic patronage and the role of visual representation in shaping royal identity and cultural values. This analysis provides insight into the socio-aesthetic context of Qajar visual culture.
Research Findings
This study analyzes the evolution of Qajar royal jewelry through a comparative examination of portraits of Fath-Ali Shah and Naser al-Din Shah. The portrait of Fath-Ali Shah employs allegorical representation, utilizing jewelry as symbolic ornamentation to project divine authority and imperial self-display. This approach potentially diverges from the accurate replication of actual pieces, focusing instead on idealized symbolism. In contrast, the portrait of Naser al-Din Shah, attributed to Kamal al-Molk, demonstrates a shift towards heightened realism, accurately depicting jewelry and reflecting a broader movement in the Naseri period towards naturalistic art. This transition bridges traditional Iranian painting with emerging modern styles, indicating an aesthetic evolution. A detailed comparative analysis highlights alterations in jewelry application and significance. Fath-Ali Shah’s jewelry emphasizes the symbolic divine power and imperial grandeur, comprising elaborate crowns, aigrettes, and decorative elements. These items serve to reinforce the king’s divinely ordained status and authority. Conversely, Naser al-Din Shah’s adornments focus on insignia, medals, and standardized accoutrements, signifying personal rank and achievement, aligning with the global norms of recognition and status. This progression indicates a significant cultural shift from symbolic, idealized portrayals to objective, realistic depictions. These aesthetic changes underscore a transition towards modernity and individualism within the late Qajar era, reflecting broader societal transformations in art and self-representation. The analysis provides insights into the evolving dynamics of power, cultural values, and artistic expression during a critical period of Iranian history, illustrating how royal portraiture reflects and reinforces shifting societal norms.