伊朗的摄影史

The History of Photography in Iran

本文概述了摄影在伊朗的简要发展历史,并讨论了一些早期摄影的例子,以阐述伊朗业余和专业摄影师们如何使用这种新媒介来表现和记录他们自己以及他们的文化。19世纪的伊朗提供了一个独特的背景来探讨本文所说的"接触视觉",即一种由跨文化接触和传播而产生的摄影表现模式。本文将讨论:作为现代技术和艺术形式的摄影在恺加王朝后期的出现有何文化和政治含义?这种本土档案和东方主义之间的关系是什么?讨论旨在纠正许多西方艺术史学家和策展人的共同假设,即伊斯兰教禁止图像性的表现形式而迫使中东人无法拍摄自己;以及纠正文学家和文化学者中出现的一种认知倾向,即认为东方主义是一种单方面的表现形式,在这种表现形式中,欧洲人是主动的主体,中东人是被动的表现客体。

In this article,I provide a general history of the way photography was developed in Iran,and discuss some examples of early photography to elaborate the way amateur and professional Iranian photographers used the new medium to represent and document themselves and their cultures.Nineteenth-century Iran,I suggest,offers a unique context in which to explore what I call"contact vision,"that is a mode of photographic representation borne of cross-cultural encounters and circulation.Among the questions I address are:What were the cultural and political implications of the emergence of photography as modern technology and as art form during late Qajar dynasty?What is the relationship between this indigenous archive and Orientalism?My discussion of photography in Iran aims to offer a corrective both to the common assumption among many Western art historians and curators that Islamic prohibition against iconic representation prevented Middle Eastern people from photographing themselves and to the tendency among literary and cultural scholars who view Orientalism as a unilateral form of representation in which the European is the active subject and the Middle Easterner is the passive object of representation.