پرتره هايي ماندگار، از عكاس گمنام قاجار

Memorable Portraits by Unknown Qajar Photographer

ميرزا سيدعلي خان مستوفي ملقب به اعتماد حضور فرزند ميرزا سيدعلي اكبر مستوفي، يكي از عكاسان پركار، اما گمنامِ دوره قاجار است. علي رغم به جاي ماندن عكس هاي نسبتاً زيادي از وي در آلبوم خانه كاخ گلستان، مجموعه اسناد تصويري كتابخانه مركزي دانشگاه تهران و بر روي طاقچه هاي بسياري از منازل قديمي ايراني، كمتر نام و نشاني از وي در منابع مختلف تاريخ عكاسي ايران يافت مي شود. موضوع اغلب عكس هاي ميرزا سيدعلي، رجال دولتي، صاحبان القاب و مناصب هستند كه در آتليه شخصي عكاس با سبك و سياقي خاص به عنوان سندي براي دربار قاجار عكاسي شده اند. بسياري از اين عكس ها به قلم نقاشان چيره دست آن دوران نقاشي و به صـورت چاپ سنگي در روزنامه هاي «شـرف» و «شـرافت» چاپ و منتشر شده اند. پرتره نگاري هاي بسيار به جاي مانده از وي و ناشناخته ماندن اين عكاس دليلي بر بررسي و مطالعه آثار اوست. اين پژوهش با استناد به منابع كتابخانه اي و تصـويري، به روش اسنادي- توصيفي انجام گرديده است و روش گردآوري اطلاعات، كتابخانه اي و مشاهده اي بوده است. سعي بر اين بوده است كه با توجه به منابع بسيار محدود اطلاعاتي مكتوب از وي و كاوش در تصاوير به جاي مانده، كليت آثار، ويژگي ها و راه و روش عكاسانه اش با درنظرگرفتن جنبه كاربردي آثارش كه اكثراً پرتره نگاري هستند، با دقت بررسي شود.

Mirza Seyedalikhan Mostofi، entitled Etemad-e Hozoor the son of Mirza Seyedaliakbar Mostofi، is considered as one of the most active but anonymous photographers during Qajar era. In spite of large number of his works in galleries of Golestan palace، the collection of pictorial documentaries in central library of Tehran University and on the niches of most of old houses in Iran، there is not much popularity for his name in different photography history of Iran. Most of his works subjects are governmental officials، nobles and appointed people which have been taken in his private studio in a particular style. Some of these photos have been drawn by well-known painters and published in a lithography form in Sharaf and Sharafat newspapers that are two known newspapers in the Qajar era. We have found about five hundred of his works available now. Most of his photographs have been taken indoor، in his private studio and a few numbers of his works have been taken outdoor. His subjects are governmental officials but in some collections we can see photos of regular peoples and even poor people. No portrait from shah has been founded in his works but there is a photo of a women that seems to be the shah's wife. Except this one، other portrait sitters are males. He had made his studio by himself and had paid the costs by himself. Later، by understanding his skill from the shah، he selected to manage the royal photography studio and take portraits from governmental officials. This could be understood from series of photographs that have same titles and same method. His technique was wet collodion and his photographs has been taken in a studio with textile back ground and some decorations that are obviously artificial. The most important point in his photographs is that he seems to use same clothes in his studio for different subjects. The clothes and a significant sword are used in a series of portraits that make us believe that he was the was the first photographer that supplied his studio with some accessories to be used in the photographs for different persons. Most of his works are framed by special cardboards. His name is printed in English on these frames and all of the portraits have a subtitle that seems to be written by the photographer explaining the situation، name and posts of the portrait sitters. His photographs has less artistic or aesthetic value and can be mostly classified as practical photographs. In this study، his photographic technique and his particular style in portraiture is studied.There are a lot of portraits taken by him but he is still anonymous because his works haven’t yet been studied. This research relying on visual and library documents was performed through an explanative- documentary method. Data was collected by observation and library methods. We have tried to investigate all his works، traits and photograph taking methods with regard to very limited resources of information written by him.