نوع مقاله : ترجمه
نویسندگان
1 دکتری تاریخ ایران اسلامی، دانشگاه پیام نور، تهران، ایران
2 استادیار، بنیاد ایرانشناسی، تهران، ایران.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
IN THE FIRST SURVIVING PORTRAIT OF FATH ALI SHAH (R. 1797-1834) AS THE Qajar sovereign, painted in 1213/1797-98, just after his accession, the young shah appears with a turban-like cap decorated with a plumed jiqqa (aigrette, fig. 1). The so-called Kayanid crown, a creation of his uncle and predecessor, Aqa Muhammad Shah Qajar (1785-97), is missing. In contrast to most other royal portraits of the later years, here in this majestic work by the master painter, Mirza Baba Shirazi, the shah poses on what appears to be a platform throne covered with a carpet, though at the time there was no Qajar royal throne in existence. The absence of the crown and the throne, the most conspicuous symbols of kingly authority, made the young Fath Ali Shah a crown-and- throne-less king (bī tāj va takht), a synonym for utter powerlessness in the Persian political culture.
The reason for the absence of the so-called "badges of sovereignty" (vaṣla-hă-i saltanat) in the symbol-conscious Qajar era (1785-1925)—an absence more telling than any official chronicle would care to reveal-must be sought not in the artist's taste or his royal patron's choice, but in the prevailing chaos and the struggle for political supremacy.
کلیدواژهها [English]
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