History of Iranian Photography

کارکرد سیاسی، اجتماعی و اقتصادی هنرهای نوین (عکاسی و سینما) در عصر مشروطه (۱۲۸۵-۱۳۰۵ش)

هدف از انجام این پژوهش، بررسی ابعاد کارکرد هنرهای نوین عکاسی و سینما در عصر مشروطه (١٢٨٥ﺵ/١٩٠٦ﻡ-١٣٠٥ﺵ/١٩٢٦ﻡ) و نقش آنان در تغییر و تحولات این دوره از تاریخ ایران بوده است. این هنرهای نوین با جذابیتی که از خود برای مخاطبان ارائه می‌دادند، در این دوره از تاریخ ایران کارکردهای گوناگونی را از خود برجای گذاشته و در سرنوشت رخدادها و تغییر و تحولات این عصر مؤثر واقع شدند. سؤال مطرح شده در این پژوهش این است که کارکرد سیاسی، اجتماعی و اقتصادی هنرهای نوینِ عکاسی و سینما در عصر مشروطه به چه شکل بوده و چگونه در وقایع و رویدادهای این دوره بازتاب داشته است؟ مجموع داده‌های این پژوهش با روش توصیفی و تحلیلی نگارش شده است و نشان می‌دهد که عکاسی با پراکندن چهرۀ شاه در جامعه، گزینۀ دسترس ناپذیری شاه را از بین برده و او را در نظرها عادی جلوه داده و بخشی از قدرت وی را از دیدگان رعیت گرفته است. در ابتدای این دوره با اشاعۀ عکس نوز بلژیکی در لباس روحانیت به تسریع جرقه‌های مشروطه منجر شد و همچنین در پایان این عصر، اشاعه عکس احمد شاه با زن و کلاه فرنگی، سبب تظاهرات در چند شهر شده و به از صحنه خارج کردن قاجارها از حکومت ایران کمک کرد. این موضوعات به حساسیت جامعه در خصوص پوشش و مذهب و بهره‌برداری سیاسی از آن‌ها در وقایع اشاره دارد. فیلم‌های سینمایی، مکان و تفریح سینما نیز از آغاز این عصر مورد بهره‌برداری سیاسی قرار گرفت. نوین و متمایز بودن هنر عکاسی و سینما از هنرهای سنتی ایران موجب شد تا بیشتر جامعه را به چالش کشانده و در حوزۀ اجتماعی به رفتار و آگاهی‌های جدید منجر شود. این هنرها، افراد جامعه را در موقعیت تازه‌ای قرار می‌دادند و به دلیل آنکه ظرفِ وجودی‌شان توان حمل مظروف‌های گوناگونی را داشته، در جامعه گسترش و در پیوند با اقتصاد، انسجام بیشتری یافتند. رفتارهای اقتصادی شکل‌گرفته درخصوص عکاسی و سینما و ظرفیت و کارکردی که در این بخش از خود بر جای نهادند، پایه‌های آنان را در بازار و اقتصاد به خوبی نشان می‌دهند. در مجموع نهضت و عصر مشروطه، تنها در زبان و کلمات نوشتار و رسالات معنا نیافت؛ بلکه در زبان هنری و با خلق کارکردهای متنوع سیاسی، اجتماعی و اقتصادی حاصل از این هنرها، پیش‌تر از این عصر و با شدت بیشتر در همین عصر در گفتمان هنرهای نوینی مانند عکاسی، کاریکاتور، تئاتر و سینما، شکل گرفت

Political‚ Social and Economic Function of Modern Art (Photography and Cinema) in the Constitutional Era (1906–1926 AD)

The purpose of this study is to investigate the functional aspects of modern photography and cinema arts in the Mashruteh era (Constitutional Era) and its role in changes in this course of Iran’s history. These modern arts, with their charm providing for audiences, have put various applications in this course of Iran’s history and were effective in events and changes of this era. The question posed in this research is: how was the political, social, and economic function of modern photography and cinema arts in the Mashruteh era, and how has it had reflection in events of this period? Total data of this study has been prepared with analytical method and show that photography by spreading the image of the king (shah) in the community destroyed the king’s inaccessible option and showed him normal in views and took part of his power of the vassal’s eyes. In the beginning of this era, spreading the Belgian Neves photo with habit led to accelerated sparks of Mashruteh, and also at the end of this era, Ahmad Shah’s photo with a woman and pergolas caused protests in several cities and helped to remove Qajar from the Iran government. These issues refer to the sensitivity of the community about coating and the religious and political exploitation of them in events. Movies, cinema’s location, and leisure from the beginning of this era were politically exploited. Modernity and distinction of photography and cinema art of Iran’s traditional arts challenged most of the community, and in the social sphere, it led to new behavior and insights. These arts placed community members in new positions, and because their existence capacity was capable of carrying a variety of capacities, they were extended in society and, in connection with the economy, became more coherent. The shaped economic behaviors about photography and cinema and their capacity and function established in this part show their foundations on the market and economy well. Totally Mashruteh movement and era not only found meaning in language and writing words and essays, but also in art language, and by creating various political, social, and economic functions obtained from these arts, earlier this era and with more intensity in this era, in discourse of modern art such as photography, cartoons, theater, and cinema, was shaped.

رسانه عکاسی علاوه بر نشان دادن سویه‌های معنادار از جریا ن‌های هنری در طول زمان، توانایی نشان دادن غنای فرهنگی یک مرز و بوم را داراست. هر قوم و ملتی با اعتقادات ویژه و آداب و رسوم متفاوت خود، دارای فرهنگی خاص می‌باشد. همان طور که هر شئ تاریخی حامل پیامی در خود است، عکس‌ها نیز همانند یک زبانِ تصویری ناگفته‌هایی از تاریخ را بازگو می‌کنند که دربرگیرنده‌ی میراث تاریخی یک ملت هستند. هدف از این پژوهش گردآوری تصاویر مرتبط با این بازه است. همچنین به‌دنبال پاسخ به اینپرسش که عکس‌ها تا چه اندازه منعکس‌کننده‌ی تحوّلات اجتماعی آن دوره‌اند. در این مقاله، نگارنده ابتدا شروع به یافتن تصاویر مرتبط با این دوره نمود. روش پژوهش از نوع تاریخی  تحلیلی بوده و اطلاعات مرتبط به روش میدانی و اسنادی در مصاحبه با نهادهای مرتبط و افراد متعدد، همچنین با استناد به بایگانی‌های موجود در کتابخانه‌ها و مجموعه‌دارانِ شخصی جمع‌آوری شده است. دستاوردهای حاصل از پژوهش نشان می‌دهد چگونه با آغاز پادشاهی رضاخان، تحول در روند ظاهری زندگی به خصوص تغییر در نهادهای فرهنگی و آموزشی به‌واسط هی تحول در نظام اقتصادی و سیاسی ایجاد گردید. همراستا با این تحولات، شاهد توسعه در روند شهرسازی نیز هستیم. به مدد این تغییرات، عکاسی نیز گسترش روزافزون یافت و بر تعداد عکاسخانه‌ها افزوده شد. نتایجِ حاصل حاکی از آن است که عمده‌ی فعالیت عکاسان بر عکاسی از ابنیه‌های تازه تأسیس متمرکز بوده و با وجود اماکن تاریخی متعدد در شهر رشت، عکاسان تمایلی به تهیه‌ی عکس از مکان‌های تاریخی و طبیعت این شهر نداشتند.
واژگان کلیدی
تاریخ عکاسی ایران، عکاسی منظره شهری، عکس یادگاری، پهلوی اوّل، رشت

The duality of private-public arena is one of the important dualities of
women's historiography. The different forms of this duality can be seen in the
lives of women in the modern and also in Iran during the Qajar era, especially
in the photographs. In the Qajar period, taking pictures of women was very
slow, which was due to the patriarchal and religious nature of the Qajar era.
The problem of the present research is whether the entry of the camera into
the privacy of Iranian homes has changed the boundaries of this privacy (from
the Naseri era onwards) or not? In order to answer this question, the recorded
images of women in the period from the early stages of photography to Iran
until the constitutional revolution have been analyzed with a historical and
analytical approach. By examining the mass of women's photos, we will
finally come to the conclusion that due to its representative feature,
photography has been able to bring out the women enclosed behind the inner
walls to some extent, and the camera has been able to challenge the
boundaries of this duality by recording women's images and changed the
private space to some extent. This change may not be very significant
compared to the transformations of photographing men, but its analysis in the
Qajar era society shows that just being in front of the camera created a
challenge in their private lives .These pictures remained in private albums for
many years until the woman was finally revealed

In 1842, three years after its announcement in Paris, photography, as a gift, was brought to Mohammad Shah Qajar’s palace by both England’s and Russia’s legations. It was later put into the hands of Naser al-Din Shah Qajar (r. 1848-96) and his courtiers as an object for entertainment and was used vastly. In Iran, we could regard photography as a tool, which was brought to the court unintentionally and without any previous inquiry from the king or royal family, although there could be the ideological and colonial goals for introducing the camera to Iran’s court by European states intentionally. The camera stayed for years in the palace and in the shah’s hands, the courtiers’, and other Qajar nobles’ and consequently too many photographs were taken and archived.  The photos` archive of the Qajar period is undoubtedly one of the largest visual treasures and an important part of Iranian history. If we consider this archive as a visual atmosphere, then it is possible to discuss ontological issues regarding it or analyze the essence and circumstance of this visual atmosphere from a critical point of view. If this visual atmosphere is named Visuality then we can ask what kind of visuality, why and how it was formed during the Naseri period, what functions could this visuality have had in the past, or even in future? We can regard visuality as a visual synonym for discourse. Foucault considers discourse as violence or a violent procedure that we frame phenomena (e.g., history) to study them. This procedure or method is the only way to legitimize historical events and to interrogate history. Such a position in relation to the history of photography in Iran can be considered as a fundamental study in this field; something that has been neglected almost in scholarly work on Iran’s history of photography. Genealogy as a historical methodology can make a suitable framework for this paper. The author justifies a possibility that the visuality of photography in the Naseri period is politically formed and articulated, albeit in the context of the traditional concept of politics. There were some reasons, such as the camera in the hands of the most important person in a country; taking the first photographs there; the establishment of the first house of photography in the palace for fixing the photography on a structure called government and palace; being formed in politics; and connecting with power relations. Yet we should consider politics and government based on their traditional concepts, and that is why the author can talk about the formation of political visuality in this period. Of course, one should not miss the political-orientalist view that can maintain its political, social and cultural functions even till now. Indeed the foreign photographers have paid more attention to the social subjects and generally the eastern-Iranian man; in other words, the view of orientalist is completely obvious in the documentary social photos taken by them for rulers, curators and later for those scholars whose job was to study about Iran.

One of the strategies available to scholars challenging the Western art-historical canon is the use of case studies of the careers of pioneering artists from the "periphery". This essay will tell the story of a long forgotten chapter of the history of Iranian modern art which has only recently come to light. Just before the 1979 revolution, one of Iran's young avant-garde painters, Nikzad Nodjoumi (b. 1941), was invited to provide a set of illustrations for a publication and translation of the Manichean text of the Arzhang by the Niavaran Cultural Center in Tehran. Nodjoumi chose to focus on the theme of the prophet and painter Mani (AD 216-274) and produced a series of 280 visually and politically compelling small-scale paintings on paper. The paintings utilized a variety of strategies to construct a distinctly Iranian form of Modernism. In this series, the artist sought to synthesize Manichean themes and forms and traditional Persian manuscript elements with the abstract forms and gestural techniques of Abstract Expressionism. His principal formal inspiration was a group of folios of Manichean illustrated manuscripts datable to the eighth-ninth centuries AD located in the Museum of Asian Art in Berlin. This essay will begin by investigating the historical and cultural context of the commission; discuss the importance of the legend of Mani in Iranian culture and manuscript illustration, as well as the relationship of image and text in traditional manuscript illustration; and compare these paintings with their Manichean models. By exploring the works of one individual painter, the essay will show how Iranian artists of the post-World War II era were inventing a modernism that was both local and global. Through a close reading of this artist's creative process, themes central to Modernism such as history, identity, and memory will be illuminated.

Conceptual photography is a type of photography that is designed to attract more attention to a message. Although the message is not explicit and clear, it requires more attention from the viewer to help them understand the scene and have a significant effect on them. The current research is focused on defining the nature of conceptual photography and examining its applications in the world of trade and business. With the development of digital tools, the world of advertising has also become more complicated in parallel, and the competition for the impact of products and services on the audience has grown strangely. Using its language, conceptual photography has had and continues to have a significant impact on the audience. For researchers in the field of photography and advertising, knowing the world of conceptual photography and its trends is crucial. The purpose of the current research is to answer the question of what conceptual photography is, what its requirements are, and what its applications in the advertising world can encompass.

What has been represented in family photos in Iran since Naser al-Din Shah’s day thus far, is not all that had happened in reality of the everyday lives of Iranian families, rather some topics and individuals have always been removed from the family photo’s context or have been marginalized. The article, by investigating absent and present signs in the context of family photos through social semiotics in the context of Iranian society, has answered the following questions:
Which signs are recorded in family photos and which signs are forgotten, or are intentionally deleted from the family photo context? What are the reasons for deleting or the absence of these signs in family photos؟ It is obvious that some absent signs in family photos can be attributed to the social, cultural and perceptual structures of any age. This article is a review of the literature of absence, and by indicating the relationship of absence with concepts such as presence, prohibition, death, and memory from the perspective of Roland Barthes, Susan Sontag, Christian Metz, and Jacques Fontani, categorizes and defines the signs of absence in family photos. The findings of the research indicate that there have been four types of prohibition in the course of family photos in Iran: thematic prohibition, discourse prohibition, presence prohibition, and media prohibition. In this case, the prohibiting power of social and cultural discourses in elimination and causing absence of individuals in the history of family photos in Iran, has had greater effects than other barriers.

Keywords

Family photo Dramatically Theory Absence Social Semiotics Discourse

Problem statement: Few studies have examined the role of documentary photography in the political, social, and cultural structures, in reflecting the events of the 1979 revolution and the war against Iraq, with social documentary, news, and war approaches. Research objectives: This article aimed to study the relationship between documentary photography and the events of this decade, and examine the quality of documentary photography in the ruling power policies by using some viewpoints of Lukács and Hauser. Research method: This qualitative research, used the descriptive-analytical method, and data were obtained from the written printed, and electronic literature. Conclusion: Studies showed that documentary photography in this decade influenced the political, social, and cultural structures and in turn was influenced by the policies and ideology of the ruling power. Using photographs by the ruling power for propagandapolitical purposes gave photography an institutional and ideological function and by the limitation socio-political sphere, photographers could not reflect the spirit of all dimensions of their era. Some factors, such as establishing publishing houses, printing photography books and magazines, establishing the photography field, and holding photography annuals and exhibitions, contributed to the development of documentary photography, and factors such as the limitation in the socio-political atmosphere, censorship and insecurity hindered its progress. Photographs that were in line with the ideology of the ruling political power or one of its idealisms were supported. According to the presented, documentary photography trend in the revolution and war period has been relatively in line with the views expressed by Lukács and Hauser.

One of the strategies available to scholars challenging the Western art-historical canon is the use of case studies of the careers of pioneering artists from the “periphery”. This essay will tell the story of a long forgotten chapter of the history of Iranian modern art which has only recently come to light. Just before the 1979 revolution, one of Iran’s young avant-garde painters, Nikzad Nodjoumi (b. 1941), was invited to provide a set of illustrations for a publication and translation of the Manichean text of theArzhangby the Niavaran Cultural Center in Tehran. Nodjoumi chose to focus on the theme of the prophet and painter Mani (AD 216–274) and produced a series of 280 visually and politically compelling small-scale paintings on paper. The paintings utilized a variety of strategies to construct a distinctly Iranian form of Modernism. In this series, the artist sought to synthesize Manichean themes and forms and traditional Persian manuscript elements with the abstract forms and g...

With the development of the concept of context, text is not just the criterion of context, and any interpretability phenomenon can be regarded as context. Therefore, any contextual phenomenon can be studied using text reading methods. The main question of the present research is studying the way of reflection of blue and white porcelain in Shah-Tahmasebi's Shahnameh based on Gonette's transtextuality theories. Accordingly, the main purpose of this research is examining the blue and white porcelain depicted in this Shahnameh, and finding documented samples in considered porcelain in the museum collection of Victoria and Albert, and analyzing their relationship from the perspective of Gonette's transtextuality theories. In this descriptive-analytical study, based on library sources and purposive sampling, it is tried to study and analyze the blue and white porcelain depicted in Shah-Tahmasebi's Shahnameh paintings with the samples in the Victoria and Albert Museum transtextuality. The most important result of the research is that based on the Gonett's transtextuality views, the relation of illustrations in Shah-Tahmasebi's Shahnameh as hypertext with the blue and white porcelain as pretext is of the same type. In other words, although Iranian painting has never been merely a representation and the painter›s world has been formed by his imagination, blue and white porcelains have been used as pretext based on Gerrard Gonette›s theories and assuming the hyper-text of the Shahnameh.

اکثر پژوهشهایی که بر روی آثار سیندی شرمن انجام شدهاند بر جنبه فمینیستی این آثار تمرکز دارند و موضوع مُد و زیبایی در آنها مورد غفلت قرار گرفته است. پژوهش حاضر با در نظر گرفتن جنبههای فمینستی و غیر قابل انکار آثار شرمن، به بررسی مُد و زیبایی در آثار او پرداخته است. برای این منظور در پژوهش حاضر با استفاده از چهار عکس از مجموعه مانند پسران، موضوع مُد و زیبای در آثار این هنرمند بررسی میشود. در جوامع پیشا طبقاتی؛ کارکرد آرایش، پوشش و لباس به جهت مشخص نمودن تعلق فرد به گروه و قبیله خود بود. حتی پس از به وجود آمدن تمدنهای شهری و برای سالیان طوالنی به جز در مواقعی که جامعه دچار تغییرات عمدهای نمیشد، لباس و پوشش ثابت میماند. با گسترش انقالب صنعتی، مد به شکل نوین خود را به نمایش میگذارد. در این دوران تمایل به کسب سود، مد با سرعت بسیار بیشتری دچار تغییرات میشود. با روی کار آمدن عکاسی، عکاسی مد به یکی از بزرگترین ابزارهای گسترش این صنعت بدل شد. در عکاسی مد با نگاهی مردساالرانه، بدن زن را به ابژه بدل میکند. ابژهای که در زیر نگاه خیره برای لذتی فالیک به وجود آمده است. سیندی شرمن در مجموعه مانند پسران تالش دارد تا نظام مردساالرانه حاکم بر مد را زیر سوال ببرد. با این مجموعه قصد دارد تا عکاسی مد را شالودهشکنی کند. وی زیبایی که در عکاسی مد به پس زمینه رفته و نگاه فالیک به پیش آمده است، را به چالش میکشد. او با اینکار، تعلیق مفهوم زیبایی را که در صنعت مد به وجود آمده به نمایش میگذارد

Problem Statement: The quality and meaning of life are continuously attached to the presence of elements, objects, things, people and concepts; the absence means denying and depriving the presence, has strengthen this concept, hence has been frequently presented in philosophy and art fields. The concept of absence as an art strategy has been presented at the context of many artworks, especially in the present century. In photographic contexts due to introducing the previous presence of things, ‘absence’ finds a referral function. But the main question here is that, how in the photographic contexts, we might be able to find the existence of historical narratives behind them, through the absence of elements and things? Research objective: Photographs as the ever-present contexts, whether on private albums or in art/ news studios, even on virtual social spaces, offer a variety of absences with different origins, and [therein] the historical analysis arising from it in these works would...

This study examines the visual messages Iranian women shares on Instagram in order to perceive how they are represented on the social network. The research applies John Berger’s Ideological approach, and considers every single picture as a report on the users’ view about their personal and social identity. After an introduction about the investigated users, and a general and brief evaluation of their posts, some selected pictures is analyzed based on the ideological approach. Moreover, in the conclusion, we try to connect the research findings to the existing discourses about the women’s role and position in the Iranian society. Based on the Research findings, some pictures indicate a part of female users’ resistance against social pressures to be a normative woman. In return, other pictures show that some users represent themselves consonant with the common social norms and values in their visual narrative about their everyday life, and consequently reproduce and reinforce the hegemonic values of the Patriarchal system they have grown up in.

There have been conducted a few numbers of researches with protest-related subjects in visual arts in a span
between the two major unrests, the 1953 Coup and the 1979 Islamic Revolution. This study tries to investigate how the
works of Iranian visual artists demonstrate their reactions to the 1953 Coup and progresses towards modernization that
occurred after the White Revolution of Shāh in 1963. The advent of the protest concept has coincided with the presence
of Modern and Contemporary art in Iran when the country was occupied by allies during the Second World War. The
1953 Coup was a significant protest event that motivated some of the artists to react against the monarchy’s intention.
Although, poets, authors, journalists, and writers of plays were pioneer to combat dictatorship, the greatest modernist
artists of that time, impressed by the events after the 1953 Coup, just used their art as rebellious manifest against the
governors

رابطه‌ی تنگاتنگ عکاسی با واقعیت به‌عنوان واقع‌گراترین شکل بازنمایی، به آن قدرت اقناعی منحصربفردی بخشیده است. همین امر باعث می‌شود که عکس به ابزاری بی‌رقیب در انتقال پیام‌های سیاسی یا ترویج ایده‌های خاص در جامعه بدل شود. هرچند استفاده برنامه‌ریزی‌شده از عکاسی می‌تواند به پیشبرد منافع گروهی خاص بیانجامد، عکاسی در دست منتقدان و مخالفان وضع موجود نیز می‌تواند به ابزاری برای مبارزه سیاسی بدل شود. این مقاله می‌کوشد با تمرکز بر گفتمان‌های سیاسی پیش از انقلاب اسلامی در ایران، نشان دهد که چگونه عکاسی می‌تواند فراتر از فعالیتی هنری، به کنشی سیاسی بدل شود. بهره‌گیری از عکاسی با دو جریان واقع‌گرایی ایده‌آلیستی  و واقع‌گرایی انتقادی، به تقابلی میان دو گفتمان پهلویسم و جریان چپگرا در سال‌های منتهی به انقلاب منجر شد که در آن هر جریان سیاسی تلاش می‌کرد مفهوم مورد نظر خاص خود را به عکاسی الصاق کند و از طریق آن مشروعیت گفتمانی خود را به اثبات برساند.

Problem Statement: The quality and meaning of life are continuously attached to the presence of elements, objects, things, people and concepts; the absence means denying and depriving the presence, has strengthen this concept, hence has been frequently presented in philosophy and art fields. The concept of absence as an art strategy has been presented at the context of many artworks, especially in the present century. In photographic contexts due to introducing the previous presence of things, ‘absence’ finds a referral function. But the main question here is that, how in the photographic contexts, we might be able to find the existence of historical narratives behind them, through the absence of elements and things?
Research objective: Photographs as the ever-present contexts, whether on private albums or in art/ news studios, even on virtual social spaces, offer a variety of absences with different origins, and [therein] the historical analysis arising from it in these works would lead to a better understanding of the human social context. The research hypothesis here is that photograph as a historical context, when linked to and analyzed by the narratives surrounding it, would present the ‘absence’ as a means of denying the presence of suppressed forces in the social context, that potentially have the power to participate and alter the actions of every day’s life.
Research Method: was done based on the social history of the photographic contexts, as in this approach, behaviors, events and beliefs, besides being part of daily life context, are also important in the process of historical research.
Conclusion: Absence in the picture frame, is able to represent the latent power behind the different social classes; Moreover, the standpoint of elements related to absence within the historical context and its continuation at photograph scale will be discussed and explained the way that photography exploits the absence as a modern concept to represent a different content and various readings.

Article qui propose une lecture de quelques directions artistiques prises par le médium photographique contemporain et ses liens directs avec les technologies actuelles.

En posant la question « Où va la photographie ? », on s'intéresse à la fois à la photographie en tant qu'oeuvre, résultat d'une ou plusieurs prises de vues, et à la fois à son support, sa matérialité, sa technique. Où va la photographie en tant qu'oeuvre d'art ? Comment évolue la technique photographique depuis l'avènement du numérique ?

تاريخ هنرعكاسى نزد ارمنيان به دلايل جغراسياسى و تاريخى،محدودهاى به گستردگى جهان
دارد. باوجود اينكه اين مقوله كمتر مورد تحقيق پژوهشگران قرارگرفته،ميراث هنرى به جاى
مانده ازعكاسان ارمنى نيمة دوم سدة نوزدهم تا نيمة نخست سدة بيستم ميلادى، جايگاه مهمى
را براىهنرمندانعكاس ارمنى در دنياى هنر كسب كرده است.
پراكندگى ارمنيان در دياسپوراى ارمنى شامل حال هنرمندان اين قوم نيزبوده. اينان،
خواسته يا ناخواسته،درمقاطعى مهر برجستة خود را  بر تا ركهن رو فرهنگ مكانى زده اند كه
در آن مىزيستهاند. برخى ازهنرمندان عكاس ارمنى، به حكم سرنوشت، مجبور به تغييرنام
خانوادگى ياهمانند ديگرارمنيان رانده شده ازمام وطن محكوم به كتمان هويت واقعى خود
بوده اند. ازاين بين مى توان به عكاسان ا رمنى ساكن استانبول اشاره كرد كه درقلمرو امپراتورى
عثمانى،ازكرانة  بسفرتاكشورهاى گوناگون ميانرودان،ازبانيان بىرقيب هنرعكاسى منطقه به
شمار مىرفتند.

This is a Persian translation of "Ethical photojournalism in the age of the electronic darkroom" by Nigel Warburton.

In this chapter Nigel Warburton argues that digital photography marks a qualitative change, potentially establishing a new relationship between the object, the image and the viewer. He argues that photographic conventions are transformed precisely because of the loss of the direct, physical, causal connection between object and image. He acknowledges, of course, that manipulation and fakery have been
around since the dawn of photography, but he suggests a number of reasons for believing that the moral questions are now posed more acutely. In other words, we now have even stronger reasons for being sceptical about the claim that ‘seeing is believing’. The physical, causal link in analogue photography between events and the recording of events no longer obtains. The new ways of taking, processing and
publishing (digital) images have therefore greater moral significance.

کارکرد اقتصادی عکاسی و عکس در عصر مشروطۀ ایران (۱۲۸۵-۱۳۰۵ش)

سال ها قبل از عصر مشروطه و به خصوص در عهد ناصری و مظفری پایه های اقتصادی عکاسی و عکس در بازار
ایران به آرامی شکل گرفته بود. با آغاز انقلاب و نهضت مشروطه خواهی ایران (١٢٨٥ﺵ/١٩٠٦ﻡ) شاهد هستیم که این هنر برای پاسخ به عکس های درباری قاجار که سال ها نگاه ها را به خود مشغول داشته بود در کنار این حرکت مردمی قرار می گیرد و تا پایان این دوره (١٣٠٥ﺵ/١٩٢٦ﻡ) بر نقش و تنوع کارکردهای سیاسی، اجتماعی و اقتصادی خود می افزاید. در این پژوهش قصد داریم تا با روش توصیفی و تحلیلی به واکاوی کارکرد اقتصادی هنر عکاسی در دوره مورد بحث پرداخته تا در کنار سایر کارکردهای این هنر بتوان به شناختی بهتر از تاریخ گفتمان هنرهای نوین در ایران دست یافت. به تبع سؤال اصلی مطرح شده در این پژوهش این است که کارکرد اقتصادی هنر عکاسی و محصول آن یعنی عکس ها طی این عصر چه بود؟ و چگونه در گردش مالی و پولی این دوره قرار گرفته است؟ فرضیه ای که به ذهن می رسد این گونه می باشد که با اقبال عکاسی از ابتدای این دوره و شریک شدن بیشتر رعیت و یا مردم در تجربه جهان مدرن، گرایش به این هنر در ایران افزون شده و با پیشرفت های عکاسی و آمدن ابزار و دوربین های جدید، انگیزه خرید را در جامعه بالا برده و همین موضوع به اشاعه آن در جامعه یاری رسانده است. یافته های این پژوهش نشان می دهد هنر عکاسی پایه های اقتصادی خود را با کارکردهای متنوع و در ارتباط با سایر اجزای بازار در ایران بیش از پیش پیدا می کند و این کارکرد اقتصادی در کنار کارکردهای سیاسی و اجتماعی این هنر به صورت اندام وار به یکدیگر پیوند خورده و گفتمان هنرهای نوین در ایران منسجم تر شکل می گیرد

Economic Function of Photography and Photo in Iran's Constitutional Era (1906–1926 AD)

Long years before the Mashrooteh era and particularly during the reign of Nazareth and Mozaffari economic foundations of photography and photo in Iran’s market had shaped slowly. With the beginning of the revolution and Iran's Mashrooteh movement (1285 solar calendar/ 1906 AD) we see that this art, in order to reply to Qajar court’s photos which had engaged the attentions to itself for years, is placed alongside this grassroots movement and until the end of this era (1305 solar calendar/ 1926 AD) increases the role and variety of its political, social and economic functions. In this study, we intend to explore the economic function of photography during the discussed period with a descriptive and analytical method, so as to obtain a better understand of discourse history on modern arts in Iran, among other functions of this art. Consequently, the main question raised in this study is that in this era what was the economic function of photography and its product, i.e. photos? And how has been in financial and monetary circulation of this era? The hypothesis comes to mind is such that with the interest of photography since the beginning of this period and people’s participation in the experience of the modern world, the tendency to this art has been increased in Iran and with the advancements of photography and emergence of new tools and cameras has raised the purchase motivation in society and this issue has helped to its promotion in Iran. The findings of this study show that; photography art finds its economic foundations with various functions and in connection with the other components in the Iran’s market more than ever and this economic function alongside political and social functions of this art have linked to each other and discourse of Iran's modern arts is shaped more coherent.

Unveiling the Veiled
Royal Consorts, Slaves and Prostitutes in Qajar Photographs

Photo exhibition curated by: Dr. Pedram Khosronejad
Associate Director for Iranian and Persian Gulf Studies, Oklahoma State University

A special Exhibit and Panel Discussion as part of the UCSB Conference on:

"Slavery and Sexual Labor in the Middle East and North Africa"
Mosher Alumni House, McCune Library, UC Santa Barbara.

Saturday October 20th 2018
Co-sponsored by: The Iranian Studies Initiative, UCSB, the Middle East Studies Program, SBCC and the International Qajar Studies Association (IQSA)

This article explores the emergence of fine art photography in Iran during the 1960s and 1970s, bringing to the fore the significance of Ahmad Aali and his early photographic works for this transformation. It sheds light on the confluence of the main trajectories that paved the way for the formation of fine art photography in Iran, firstly by exploring historical practices of photography, secondly by addressing the influences of transforming political and social agendas after World War II on photographic developments, and finally by underlining the involvement of photography in the artistic sphere of that time. Central to the latter is Aali's contribution to theoretical discourses about photography as an artistic medium and the major role he played in the first photographic exhibitions in art spaces. In that perspective, this article argues for the pivotal role of Ahmad Aali in bridging the gap between photography and art for the first time in Iran's long history of photography. It analyses Aali's photographic works exhibited during the 1960s and 1970s to comprehend the circumstances of the emergence of fine art photography in Iran, and does so by discussing the modernist aesthetics in photography that emerged at the time. Going beyond Aali's regional importance, it examines his conceptual approaches to overcoming the 'static realism' and the limitations of the medium. Aali's novel photographic concepts of space and time that emerged therefrom should be accorded their full autonomy and uniqueness in the (rewriting g of a narrative of art history on their very premises. This article thereby seeks to support a critique of the narrow epistemo-logical boundaries of the discipline of art history and its resulting marginalization of locally developed art forms and concepts.