<?xml version="1.0" encoding="utf-8"?>
<journal>
<title>2</title>
<title_fa>1</title_fa>
<short_title>3</short_title>
<subject>Literature &amp; Humanities</subject>
<web_url>http://art-studies.ir</web_url>
<journal_hbi_system_id>1</journal_hbi_system_id>
<journal_hbi_system_user>admin</journal_hbi_system_user>
<journal_id_issn>9</journal_id_issn>
<journal_id_issn_online>10</journal_id_issn_online>
<journal_id_pii>8</journal_id_pii>
<journal_id_doi>7</journal_id_doi>
<journal_id_iranmedex></journal_id_iranmedex>
<journal_id_magiran></journal_id_magiran>
<journal_id_sid>14</journal_id_sid>
<journal_id_nlai>8888</journal_id_nlai>
<journal_id_science>13</journal_id_science>
<language>fa</language>
<pubdate>
	<type>jalali</type>
	<year>1398</year>
	<month>9</month>
	<day>1</day>
</pubdate>
<pubdate>
	<type>gregorian</type>
	<year>2019</year>
	<month>12</month>
	<day>1</day>
</pubdate>
<volume>1</volume>
<number>1</number>
<publish_type>online</publish_type>
<publish_edition>1</publish_edition>
<article_type>fulltext</article_type>
<articleset>
	<article>


	<language>fa</language>
	<article_id_doi></article_id_doi>
	<title_fa>از عاق پدر تا حاق پسر
کارستان هنری ابوالحسن مستوفی غفاری (حدود ۱۱۴۵-۱۲۱۲ هجری)</title_fa>
	<title>Life and achievements of Abu’l Hasan Ghaffari Mustawf</title>
	<subject_fa>هنرهای تجسمی</subject_fa>
	<subject></subject>
	<content_type_fa>پژوهشي</content_type_fa>
	<content_type>Research</content_type>
	<abstract_fa>این مقاله مبتنی بر فرضیه از سنت&#8204;باوری تا سنت&#8204;شکنی در امر نقاشی بود که در باب زندگی میرزا ابوالحسن مستوفی غفاری پیش کشیده شد. پدرش او را به دلیل پرداختن به نقاشی عاق کرد و او ناچار بدین سنت گردن نهاد و از نقاشی دست کشید و به مستوفی&#8204;گری پرداخت. ولی حاق و حقیقت وجود او با هنر نقاشی سرشته بود. از این رو در میانه زندگی باز به نقاشی برگشت و مرزهای سنت را شکست و در کنار مستوفی&#8204;گری به نقاشی هم پرداخت و قلم و قلم&#8204;مو را در هم آمیخت و بیشتر به هنر نقاشی شهره شد تا امر مستوفی&#8204;گری. ابوالحسن مستوفی غفاری در عرصه بین برافتادن صفویان و برآمدن قاجاریان زندگی می&#8204;کرد. هنرهای این فاصله زمانی چیزی جز تداوم هنر دوره صفوی در کسوت فرنگی&#8204;سازی و نشانه&#8204;هایی از نوآوری&#8204;های عصر جدید قاجاری نبود. در حقیقت ابوالحسن مستوفی غفاری علاوه بر این&#8204;که در کارستان هنری خود این زمانه هفتاد ساله را تصویر کرد و به نمایش گذاشت، بلکه تداوم سنت هنری را نیز به عهده گرفت. اعضای خانواده او بعدها از سنت دستاورد هنری وی بهره گرفتند و در هنر دوره قاجار سرآمد شدند. ابوالحسن مستوفی به چندین هنر آراسته بود. او در عین استادی و مهارت در نویسندگی و ترسل، طبع هنری توانگری در نقاشی داشت و در شعر و شاعری نیز خود را آزمود. در دربار کریمخان به کار استیفا و مستوفی&#8204;گری اشتغال داشت و در کنار نقاشان این دوره نیز صاحب&#8204;نام بود و از قرار معلوم در بعضی از پروژه&#8204;های هنری کریم&#8204;خان مشارکت داشت. در نقاشی پیرو شیوه&#8204;ای خاص از فرنگی&#8204;سازی بود که شباهت زیادی به آثار محمدعلی نقاش&#8204;باشی دربار نادرشاه داشت چهره&#8204;پردازی&#8204;های او از اعضای خانواده خود یا شاهان ایران شیوه&#8204;ای را پدید آورد که در آثار هنرمندان بعدی نظیر صنیع@الملک (ابوالحسن (ثانی) به تکامل رسید.</abstract_fa>
	<abstract>Although chiefly known as a historian and court secretary (Mustawfi), Abu&amp;#39;l Hasan Ghaffari apprenticed as a painter for ten years, but his father objected to his profession as a painter. Therefore, he apprenticed as a court secretary (Mustawfi) which profession of his family. He, then, entered the service of Karim Khan as court secretary. In this profession, he wrote Gulshan Murad, Chronicle of Zand Period. In this chronicle, he indicated to painters who have worked in the court of Karim Khan. These painters were Muhammad Sadiq, Muhammad Hadi, Muhammad Baqir and Aqa Zaman. It seems that Abu&amp;#39;l Hasan has worked with them on courtly projects, but who was master of Abu&amp;#39;l Hasan? Abu&amp;#39;l Hasans broad style perfectly interpret the ethos of his age. Under Afsharid period lived two distinguished painters: Muhammad Ali, the son of Muham- mad Zaman and Muhammad Ali, the grandson of Ali Quli Jabadar. Muhammad Ali the son of Muhammad Zaman, painter of lacquerwork but Muhammad Ali, the grandson of Ali Quli Jabadar was a laureate painter (Naqqashbashi) of Nadirshah court. It seems the Abu&amp;#39;l Hasan apprentice of this Muhammad Ali, because of the subject of his paintings and compositions. His style closely followes that employed by Muhammad Ali. In addition, Abu&amp;#39;l Hasan in his chronicle Gulshan Murad suggested to Muhammad Ali. According to his suggest Muhammad Ali&amp;#39;s death on 1269h., in the city of Sari in Caspian province. All these suggested that Abu&amp;#39; I Hasan has learned painting from Muhammad Ali Naqqashbashi. Furthermore, Muhammad Ali was the father and master of the Muhammad Bar court painter of Karim Khan Zand. The subjects of Abul Hasan&amp;#39;s paintings was portrait of his families and portrait of kings of Iran. His paintings, of coherent subject and style, indicates that they were made in Zand or Qajar court. This historical framework supports this view that these paintings were collected at the court in Shiraz or Tehran during the period of Karim Khan and Aqa Muham- mad Khan and this suggests that Abu&amp;#39;l Hasan, later, has gone to Qajar court. Aqa Muhammad Khan transfer artists from Zand court to his court. It is known, exactly, that Aqa Muhammad Khan commissioned illustration of Chalduran and Kamal war of Chehil Setum Palace to Muhammad Sadiq, one of Abu&amp;#39;l Hasan colleague in the Zand court. Muhammad Asif, known as Rustam al-Hukama, the historian of the Qajar period in his history Rustam al-Tawarikh listed court painters of Karim Khan Zand. He records the names of Muhammad Sadiq, Muhammad Baqir, Mirza Muhammad (Muhammad Hadi) Mirza Hasan (Abu&amp;#39;l Hasan Mustawfi) and Aqa Zaman. Mirza Hasan or Abu&amp;#39;l Hasan Mustawfi Ghaffari Kashani, Known from a number of watercolors of historical subjects. The contribution of Abu&amp;#39;l Hasan to the evolution of Persian painting in Qajar era cannot be ignored. His paintings provided the foundation for the apogee of life-size painting under the Qajar dy- nasty. Indeed, the great majority of Abu&amp;#39;l Hasan paintings produced during the last decade of twelfth cen- tury. Further, the return to the conventions of two-dimensionality characteristic of early Qajar paintings was initiated in paintings of Abu&amp;#39;l Hasan and other painters. It is said, the interest in the expression of emotion and psychological modes of Abu&amp;#39;l Hasan paintings influenced of thirteen century persian painting in the works of Abu&amp;#39;l Hasan Sani al-Mulk and his Pupils. Paintings of Abul Hasan can be divided into three groups Painting from portrait of his family and paintings from portrait of Persian kings and portrait from Zand Rulers. From first group portrait of Mu&amp;#39;zz al-Din Mustawfi Ghaffari and portrait of Abdu&amp;#39;l Mutaleb Ghaffari grandfather of Abu&amp;#39;l Hasan must be noted. From second group portrait of Nadir Shah in many verssion, and portrait of Shah Abbas II, and portrait of Jahan Shah Qara Quyunlu and so on, can be noted. From third group portrait of Karim Khan and other Zand Rulesr must be noted. The adaptation of Europeanized style (frangi-sazi) by Abu&amp;#39;lHasan Ghaffari is illustrated in his paintings from European compositions. Abul Hasan portraits were probably intended for inclusion in an album of historical personalities. In this article discussed all of achieve- ments and life of Abu&amp;#39;l Hasan Mustawfi Ghaffari in Zand and Qajar Periods.</abstract>
	<keyword_fa>ابوالحسن مستوفی غفاری, گلشن مراد, قاضی عبدالمطلب کاشانی, میرزا معزالدین محمد, محمد علی نقاش‌باشی.</keyword_fa>
	<keyword>Abu'lHasan Mustawfi, Farangi Sazi, Muhammaad Ali, Gulshan Murad, Karim Khan</keyword>
	<start_page>7</start_page>
	<end_page>18</end_page>
	<web_url>http://art-studies.ir/browse.php?a_code=A-10-90-1&amp;slc_lang=fa&amp;sid=1</web_url>


<author_list>
	<author>
	<first_name>Yaghoub</first_name>
	<middle_name></middle_name>
	<last_name>Azhand</last_name>
	<suffix></suffix>
	<first_name_fa>یعقوب</first_name_fa>
	<middle_name_fa></middle_name_fa>
	<last_name_fa>آژند</last_name_fa>
	<suffix_fa></suffix_fa>
	<email></email>
	<code>100319475328460087</code>
	<orcid>100319475328460087</orcid>
	<coreauthor>Yes
</coreauthor>
	<affiliation></affiliation>
	<affiliation_fa></affiliation_fa>
	 </author>


</author_list>


	</article>
</articleset>
</journal>
