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| تصاویری(عکسهای) شهر خشک و کویری قم. اولین وبلاگ عکس و عکاسی (قم برعکس) ایران photos of Qom of Iran |
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خلاصه ای از سیر و تحولات عکاسی در ایران دربار قاجار بی شک مهمترین عامل ورود زود هنگام پدیده عکاسی به ایران است. موقعیت جغرافیایی ایران و وجود منابع سرشار آن عاملی بود برای برقرار ارتباط با دربار قاجار و به ویژه ناصرالدین شاه. این عامل اروپاییان را بر آن میداشت که چه در هیأت گروه های سیاسی و نظامی و چه به صورت فردی، برای کسب امتیازات و نیز دستیابی به مطامع و منافع مادی و شخصی به ایران سرازیر شوند. آنچه در این میان اهمیت دارد، گرمی بازار پیشکشهایی است که تقدیم امرا و پادشاهان میشده است. برخی از سخنان ژول ریشار فرانسوی قدیمیترین مدارکی است که در آن از عکاسی ایران سخن به میان رفته است و نشان میدهد که تنها پنج سال پس از اعلام رسمی فرآیند داگر به سال 1839 در پاریس، این شیوه تصویر برداری یعنی داگرئوتیپ به ایران راه یافته است. در چگونگی ورود و عام شدن عکاسی در ایران، ناگزیر از بررسی این امر در دو ساحت متمایزیم:
English TXT Until recently not much was known in the West about early photography in Iran. A well-documented list of Western photographers in nineteenth century Iran has still not been published outside of Iran and little is known about the important photographic collections in the country. During the last few years however, interest in Iranian photography has been growing and this has resulted in publications, exhibitions and the opening of museum photograph collections to a broad audience. A few years ago important photographic collections about Iran by famous photographers were, to many people's surprise, rediscovered in the archives of universities and museums in the Netherlands. These pictures are a source of information about nineteenth and early twentieth century Iran and the development of photography in this country. They give a good visual addition to what's already known about this from literature. The collections are open to the public, but until recently difficult to use, because catalogues were not available. This situation is slowly improving. In 1995 the University Library of Leiden dedicated an exhibition to the pictures of Iran in the Hotz photographic collection and in this book we have an enjoyable encounter with the Bosschart Collection. This last collection includes 179 photographs by Antoin Sevruguin, a popular photographer of late nineteenth century Iran. The collection makes clear why he was such a popular and respected photographer. In a miraculous way Sevruguin managed to visualise almost all aspects of Iranian society. Even after his death, the pictures of the originally Russian Sevruguin remained popular in the West and his studio, which for some years was continued by his daughters, was still strongly recommended. A sign of increasing interest in early photography in Iran is the publication by Yahya Zoka of Tarikh-e Akassi va Akasan pishgam dar Iran (History of Photography and Pioneer Photographers in Iran), Teheran, 1997, that contains many pictures and biographies of the famous Iranian pioneers in the field of photography. Sevruguin's oeuvre makes up an important section of this book and it shows that his name is not forgotten in Iran. Perhaps because he was born circa 1840 in the Russian embassy in Tehran and he spent some of his early years in the country, Sevruguin was a great admirer of Iran and the Iranians. After his education as a painter and following a course of photography with the famous Russian photographer Dmitri Iwanowitsch Jermakov in Tiflis, he decided to return to Iran, together with his brothers Emanuel and Kolia, to document all aspects of cultural life in Iran. This idea was not exceptional in the nineteenth century. Soon after the discovery of photography and the almost simultaneous appearance of sciences like archaeology, ethnology and geography, there was an enormous demand to collect information about these subjects. Photography, in a spectacular and exciting way, broadened the view of many nineteenth century persons. Until then people who didn't travel mainly had to rely on engravings to imagine cities, historical buildings, works of art and landscapes, that were far away from their own world. Immediately after its discovery photography was used on a large scale, because people realised the future benefits of this new medium, such as it being true to nature, sharpness, clearness and richness of detail. In Russia, where Sevruguin was living at that time, many photographers went out to make pictures of different ethnic groups. Societies even gave instructions on how they should do this: portraits of the whole face, the profile and the whole body were required for scientific purposes. The photographs emphasised and glorified the size and the ethnic plurality of the Russian Empire. Jermakov was also active in this field and probably inspired Sevruguin to do the same in Iran. Having the idea was maybe not exceptional, but the execution of their plan, the travelling to Iran and the making of the photographs certainly was and indicates perseverance, daring and sheer force of will. Travelling in the nineteenth century and before asked for elaborate preparations and organization. Good roads, transport, hotels and restaurants were not always present. Some areas were almost impassable, because of bandits or troublesome tribes. Travelling photographers furthermore had to cope with the burden of heavy and bulky equipment; next to camera and tripod they had to carry with them prepared glass plates, a dark room and chemicals. Travelling alone was not possible. The difficulties with developing and fixing 'were numerous and there was always the risk of the plates being damaged by transport accidents, sand or insects. Around 1870 Sevruguin and his brothers Kolia and Emanuel joined a big caravan to Iran and after their arrival settled in the city of Tabriz. After some time they opened a photographic studio in the Khiabon Ala ud-Dowleh (later Ferdowsi Avenue) in Tehran. Antoin was the artist and his brothers were the businessmen of the enterprise. In the course of his career Sevruguin managed to build up a collection of around 7.000 glass negatives. Photographs of this collection are to be found in the Bosschart Collection. This collection consists of pictures of shahs of the Ghajar dynasty and their relatives, pictures of ancient monuments, such as Persepolis and Naghs-e Rostam, of daily life, of ethnographical interest, of men and women in their specific dresses from for example Kourdestan and Lourestan, as well as pictures of Armenians. Also to be found in this collection are 'erotic' or so called 'harem images' of women with bare legs, making music, laying down or dancing. All pictures have, as was usual, a negative number, scratched into the glass. In the earlier pictures these numbers are quite large, later they become much smaller and put in inconspicuous places such as stones, a tree or the hem of a coat. Sevruguin also used an impress, or he put his signature in the negative. The Bosschart Collection tells us as much about Sevruguin as about hisclients and their wishes or demands, because Sevruguin was a highly commerical photographer. Many of his photographs were staged and specially made for tourists, as nineteenth century travellers usually didn't take pictures themselves, but tended to purchase them locally to compile a souvenir album of their journeys. As travellers didn't have much of an objective image of Iran, but a Western image, much influenced by romantic orientalism, commercial photographers were keen to provide them with images fitting these views. Sevruguin too obliged his clients by highlighting some aspects of Iranian culture, such as the life of women, religious and cultural customs, festivities and methods of punishing. He made imagesof men and women in a variety of dresses, colourful people with different religious backgrounds, and with occupations that were considered being typically Eastern. So in his pictures we find carpet-weavers, felt-makers, street-dealers, criminals being punished, beggars and tribesmen. Sevruguin managed to get access to all layers of society, maybe because he lived in Tehran for many years and was married to an Iranian Armenian wife, with whom he had seven children. But most likely because he was such a skilled professional and this was appreciated by many. Due to his special portrait photographs he became an official court- photographer of Nasser ud-Din Shah and his successors, including Reza Shah (1925-1941). Next to the shah and his family many notables from the Tehran elite and important tribal chiefs were his customers. Not only tourists and private persons were interested in Sevruguin's work; there were museums and researchers purchasing his work. His pictures are to be found in many scientific publications of the time and when his name is mentioned it's likely to be spelled wrongly. This was often to his disappointment, although his artwork was recognized at international photographic exhibitions, where he received awards and medals, as happened at the exhibitions in Brussels in 1897 and in Paris in 1900. The shah honoured him with the title 'Khan' and decorated him with the Sun and Lion. The medals of Brussels and Paris and his title he showed on his photographic papers. In Tehran people would usually refer to him as 'Antoin Khan' and because of his admiration and affection for Iran he would himself add 'Parvarde-ye-Iran' (nourished by Iran) to his name. Not really present in the Bosschart Collection are examples of his journalistic photographs in which he gave an image of political life in Tehran. Famous are his pictures of the funeral of Nasser ud-Din Shah and the execution of criminals or political activists and later of the revolution. His photographs have a unique and remarkable atmosphere and diffusion of light, for which he had a special interest and which is often very clearly present. His studio portraits are characterized by a diagonal or a heavenly light, that sometimes gives to the portrayed a devote expression. Also his outdoor-pictures have a free and natural atmosphere, because of the way he used the light. Although exposure time was relatively long and some outdoor pictures were clearly staged, they almost seem to be snapshots. Next to photography Sevruguin had a keen interest in painting and the study of traditional Iranian painting. It's known that he was an admirer of the work of the miniature painters Behzad and Reza-Abassi, and of the European painters, especially the Impressionists and most of all the Dutch seventeenth century painter Rembrandt. The paintings of the latter probably had a profound influence on his own work. Unlike the 'repoussoirs' such as carpets, cloths or screens with Western decorations, tables and curtains used by every photographer, the way he made use of the light was unique amongst the Western photographers in Iran. In the year 1908 -a year full of political unrest and fights- the Sevruguin family was confronted with difficulties, because of connections with the constitutional movement. The family had to take refuge at the British embassy. Although being a Russian Sevruguin preferred the British embassy above the Russian, because the latter supported the reactionary movement. Many houses of supporters of the constitution were looted and the house next to Sevruguin's studio was bombed. This caused mayor damage to his collection of glass negatives: only 2.000 out of 7.000 glass negatives could be saved. After this event Sevruguin stopped his expeditions into the countryside for taking pictures and he restricted himself to studio-work. He aimed for perfection and tried to record the personality of the portrayed. At the time of Reza Shah's government the remaining glass negatives were confiscated because according to the shah they visualised and represented an outdated Iran. This meant the end to a once lucrative enterprise. Sevruguin died aged in his...............(book SEVRUGUIN'S IRAN) ذکر مطالب با نام گردآورنده و ذکر ماخذ (وبلاگ عکس قم) بلامانع است ارسال به: |
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به وبلاگ عکس هنري خبري قم خوش آمديد. در اين فتوبلاگ قصدم بر اين هست که فقط به عکس هاي مربوط به حوادث، اماکن تاريخي مذهبي يا چشم اندازهاي شهر قم بپردازم. برای تنوع، سعی خواهم کرد از دیگر نقاط دیدنی کشور هم عکس هایی بگذارم که خیلی محدود خواهد بود. عضو انجمن عکاسان قم هستم، متولد 61و 8 سالي هست که عکاسي رو به صورت جدي و البته آماتوري(آزاد) دنبال ميکنم. سعی میکنم با کمترین امکانات به بهترین نتیجه برسم. برای پیشنهاد سوژه، انتقاد و پیشنهاد در زمینه عکسها، با اس ام اس و با شماره تلفن 09193505839 تماس بگيرید. (ارسال رایگان عکس های وبلاگ به صورت فول اسکرین، بدون آرم) نظرات و انتقادات سازنده شما دوستان عزیز موجب بهبود کار وبلاگ خواهد شد. در صورت تمایل، از آرشیو عکس های قبلی شامل صدها عکس از قم و دیگر نقاط دیدنی ایران (عموما از قم) دیدن نمایید. پیروز باشید
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