جستاری در زندگی و آثار فتح‌الله شیرازی، قلمدان‌نگار روزگار ناصری

مقالۀ «جستاری در زندگی و آثار فتح‌الله شیرازی، قلمدان‌نگار روزگار ناصری» در نشریه مبانی نظری هنرهای تجسمی منتشر می‌شود.

نویسنده: مریم کشمیری، استادیار گروه نقاشی دانشگاه الزهرا

نشریۀ مبانی نظری هنرهای تجسمی، انتشار آنلاین از ۱۴ آذرماه ۱۴۰۳

 

چکیده

فتح‌الله شیرازی، نقاش زیرلاکی دورة ناصری با همة ارزشمندی، گوناگونی و گستردگی آثار، هنرمندی کم‌وبیش ناشناخته است. موضوع و گسترة پژوهش کنونی، رخدادهای زندگی و تاریخ درگذشت، مسیر بالندگی، روش کار، زمینه‌های نوآوری و سبک‌شناسی آثار او را در برمی‌گیرد. پژوهش در پی آن است که با گردآوری گزارش‌های پراکنده، بازیابی و دسته‌بندی آثار، به بازشناسی جامع و ژرف‌تری از آثار این هنرمند و جایگاه او در هنر عصر قاجار دست یابد. بررسی در بخش گزارش رخدادهای زندگی به روش مطالعه تاریخی و سندپژوهی پای‌بند است؛ و بخش دسته‌بندی و سبک‌ آثار مبتنی بر جستجوی آرشیوی‌ـ‌موزه‌ای، توصیفِ کارها، نقد و بررسی نمونه‌ها و تحلیل سبک‌شناسی پیگیری شده است. قلمدان‌نگاری، قاب آینه، انفیه‌دان، جعبه، نقاشیِ جلد، و چهره‌نگاره‌ها‌، زمینة اصلی آثار؛ و سبک شناختة او فرنگی‌سازی است. از دید سبک‌شناسی، کارهای فتح‌الله در چهار گروه جای می‌گیرد: ۱) سیاه‌قلم‌ها به‌ویژه بر بوم‌های روشن‌تاب نخودی و بیشتر با طرح گل‌وپرنده است؛ ۲) آثار تمام‌رنگی که در بیشتر نمونه‌های برجای‌مانده، چهره‌نگار و قاب‌بندی‌شده است؛ ۳) قلمدان‌هایی به‌شیوۀ سنتی، بیشتر بر بوم مرقش که یادآور سنت نقاشی زیرلاکی بزرگان شیراز مانند لطفعلی‌شیرازی است؛ ۴) قلمدان‌های ساده که شاید برای افراد غیردرباری با بهای کمتری پرداخت می‌شده است. این گروه با نقش‌های خلوت و ساده، به‌آسانی شناسایی می‌شود. کارهای او در زمینة قلمدان‌نگاری، جلد کتاب، قاب آینه و جعبه، نمونه‌های فاخر نقاشی عصر قاجار به شمار می‌رود و در بازار فروش آثار هنری، از دید ارزش مادی و خواهندگان نگهداری، جایگاه ویژه‌ای دارد.

واژگان کلیدی

فتح‌الله شیرازی، قلمدان‌نگاری، نقاشی زیرلاکی، هنر عصر ناصری، هنر قاجار

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Life and Artistic Styles of Fathollah Shirazi, Lacquer Painter during the Reign of Naser al-Din Shah Qajar

Abstract

Fath-Allāh Šīrāzī, a painter of lacquer works during the reign of Nāsir al-Dīn Shāh Qājār (the fourth king of the dynasty; ruled 1848–1896), though a distinguished artist whose works hold significant artistic and economic value, remains relatively obscure. Little is known about his birth year or even the precise date of his death. Likewise, the details of his life events are unknown. Although newspapers were widely circulated during his lifetime in Iran (such as Ruz - Nāma ye Dawlat-e Aliya - ye Irān), and many nobles and prominent figures kept daily memoirs, Fath-Allāh’s name does not appear in any credible records of the period. Foreign diplomats and travelers to Iran also fail to mention him. It is likely that if he had not signed his works and added brief inscriptions inscriptions (for example, the parts of her own poems, or names of cusomers, etc), his very existence might have remained unknown. Based on part of his name, he is likely to have been born in Šīrāz (the capital of Fars Province in Iran). Inscriptions from him found inside the cover of a manuscript of Nasikh al-Tawarikh (by Mohammad Taqi Sepehr Kāšāni, esān al-Molk; 1801 - 1880) in the Royal Library of Golestan Palace, Tehran, suggest that he may have arrived in Tehran after the devastating earthquake of May 4, 1853 (25th of Rajab, 1269 AH). It remains uncertain how long he stayed in Tehran or if he returned to Šīrāz or moved elsewhere. There is also scant information about Fath-Allāh’s family. One book cover signed by Faraj Allah, son of Fath-Allāh Šīrāzī (Farajollah Ibn-e Fath–Allah), reveals the name of one of his sons. Additionally, a Qājār-era document (Al-Ma’athir wa al-Athar by by Mohammad - Hasan Khan Etemād al-Salṭana; 1843-1896) mentions another son, Mirza Ali, who worked in the court of Nāsir al-Dīn Shāh. However, there is no information available about other family members (wife, other children). Based on the signed works attributed to him, Fath-Allāh’s artistic career appears to have spanned roughly six decades. Since no works are found after around 1886 (1304 AH), it is presumed that he passed away sometime around then. His burial place remains unknown.
In addition to the lack of biographical details on Fath-Allāh, his stylistic categorization has also been largely unexplored. Some consider him a follower of the style of Lotf Ali Šīrāzi, a pioneering artist from Šīrāz, while others recognize his innovations. However, the existing classification of his works does not allow for these conclusions to be definitively drawn. This study, following an examination of parts of Fath-Allāh’s life, attempts to provide a more precise understanding of his artistic styles than previous research. Through the collection and classification of his signed and annotated works, the author aims to achieve a more comprehensive and profound recognition of Fath-Allāh’s stylistic execution and his place within the evolution of Iranian art. This categorization and analysis rely on archival research and investigation of international museum collections. Pen cases, mirror frames, boxes, book covers, and portraits are among the most prominent examples of his work, predominantly executed in a Europeanized style. Stylistically, Fath-Allāh’s works fall into four major categories:
1. Monochromatic Works: The first group comprises monochromatic works, typically identifiable by cream or ivory backgrounds. Most of these feature floral and avian motifs rendered in black and grey. This group demonstrates the artist’s skill with fine brushes and precise, thin lines. Some of these pieces, particularly those dedicated to the nobility, include gilded designs. Birds in these pen cases are highly diverse, and on some later pieces, rabbits appear. Fath-Allāh followed this same technique for book covers. For example, two Qur’an covers in the Malek Museum feature a consistent floral and bird motif within an oval frame, executed in black on a cream background and bordered by a wide band containing Qur’anic verses. The artist’s signature appears among the flowers, near the lower part of the work. Fath-Allāh applied this same approach to a pocket mirror frame, where the golden branches and black design on the cream background are executed with such mastery that it stands as one of the finest Qājār lacquer pieces.
2. Polychromatic Works: The second group consists of fully colored works, often portraying women and children; a few examples include European-style angels. The compositions on the pen cases in this group are segmented into multiple sections through circular framing, dividing the surface into individual scenes, each containing a separate motif. In addition to human and animal figures, these include urban and rural landscapes. Western influences are apparent in these works. The depictions of women and angels reflect 17th-century European styles, and some landscapes portray non-Iranian cities. Some pieces even depict semi-nude women, which contrasts with traditional Iranian imagery, indicating a marked European influence. A notable pen case in this group, made by Fath-Allāh for Nāsir al-Dīn Shāh, blends European artistic elements with traditional Iranian floral and bird designs and is currently housed in the Harvard Art Museums.
3. Traditional Iranian Lacquer Works: The third group reflects traditional Iranian lacquer painting styles more closely than the previous categories, bearing strong resemblance to pre-Qājār lacquer works, such as those from the Zand period. Some scholars believe these pieces echo the art of early masters like Lotf Ali Šīrāzi. The backgrounds are usually dark, mostly black, and feature special stones for a shimmering effect. The primary motifs consist of flowers and birds in the typical Šīrāzi style. This group displays less innovation and creativity compared to the previous categories. The flowers, such as roses, wild roses, and unopened buds, and the birds are depicted in standard poses, either in flight, perched on slender branches, or at rest.
4. Simple Works with Minimal Ornamentation: The fourth group includes simpler, minimally decorated works, often produced at a lower cost for non-royal patrons. The sparse motifs and limited use of inexpensive materials contribute to their affordability. Although fewer in number compared to the more elaborate and luxurious pen cases, these pieces are easily recognizable by their plain motifs and undecorated backgrounds. Bird and flower motifs are usually scattered, while the backgrounds lack traditional gilded branches and are covered in simple colors.
Fath-Allāh Šīrāzī’s artistic productions, including pen cases, book covers, mirror frames, and boxes, represent exquisite examples of Qājār-era painting. Not only were these works highly sought after during his lifetime and in the years following his death, but they also attract attention today. Analyzing the sale of Qājār artworks at major art auctions such as Sotheby’s and Christie’s, as well as the presence of his works in esteemed museums and collections such as the Metropolitan Museum, the British Museum, and private collections like the Nasser D. Khalili Collection, highlights the enduring significance of Fath-Allāh Šīrāzī’s art.

Key Words

Fath-Allah Shirazi, Lacquer Painting, Nasir al-Din Shah Era Art, Pen Case Painting, Qajar Art.

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