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An Analysis of Representational Approaches to the Mother and Child Theme in Paintings of the Early and Later Qajar Eras
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Ameneh Mafitabar *   |
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Abstract: (13 Views) |
Qajar painting is typically divided into two main phases corresponding to dynastic reigns: the first, known as "Royal Figurative Paintings," is associated with the rule of Fath-Ali Shah; the second, referred to as "Court Painting," developed under the stylistic influence of Naser al-Din Shah’s reign. Royal Figurative Paintings are characterized by strong stylization and a deliberate sense of theatricality and artificiality, whereas Court Painting leans more toward naturalism, partially influenced by photography. One of the recurring themes in Qajar painting is femininity, which often takes a maternal form through the depiction of a woman accompanied by an infant or child. This study aims to compare how the mother-and-child theme is visually represented in artworks from the two main Qajar periods. The central research question asks: how is the image of women constructed in “mother and child” representations of the first and second Qajar phases? Using a historical approach with a descriptive - analytical perspective with comparative approach and qualitative content analysis, the study examines sixteen selected paintings. Findings reveal that in the first phase, mother-and-child depictions—like those of other courtly women such as musicians or attendants—are highly theatrical and lack authentic maternal interaction. The infant or toddler is treated as an ornamental object, emphasizing female beauty, wealth, or erotic allure, rather than as an autonomous human subject. In contrast, although large-scale representations of women are rare in the second phase, female figures appear more frequently in Ruq‘ah miniature paintings. These works offer a more grounded portrayal of women aligned with the social reality of the emerging middle class. Unlike the indoor, idealized, and enclosed settings of the first phase, mother and child are now depicted in public or outdoor spaces such as markets and streets. This shift marks a transition in the visual portrayal of women—from an idealized, passive figure confined to the private sphere, to a socially engaged subject with an active maternal identity. The transformation reflects broader social changes in Qajar Iran, including urbanization, the rise of the middle class, expanded contact with the West, the establishment of girls’ schools, reconfiguration of family structures, and the growing public participation of women. Thus, second-phase Qajar painting not only reflects a technical shift in style, but also a conceptual redefinition of the roles of women and mothers within a society in transition.
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| Keywords: Royal Figurative Paintings, Second Qajar Period Painting, Fat’h Ali Shah, Naser al-Din Shah, Representation of Women, Mother and Child |
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Full-Text [PDF 1328 kb]
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Type of Study: Research |
Subject:
Special
Received: 2025/04/14 | Accepted: 2025/08/3
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