Analysis of Yaser Khadishi’s Photos of the Historical Event of Agha Mohammad Khan’s Attack on Kerman based on the Concept of Absence

Photography has an inextricable link with it, the recording of elements and phenomena in reality has been intertwined with the nature of photography since the beginning, this link with reality brought photos closer to historiography than other cultural products, photos as copies and originals of The social and historical existence can be a direct and reliable source for obtaining many facts and historical sentences, this feature makes the photos a reliable document of what is really considered. For these historic photos, they find a document that requires the presence of the photographers in the heart of the historical or social event, the same chance to be present, but if the photographer cannot open such a chance, he can record the historical photo based on the historical texts. Instead of directly referring the photo to the event, the photographer uses the function of representation in photography, the photography that becomes reality in his mind and then he photographs it. Photographic representation is a concept which exceeds the image. In this photographic process, the concept of absence can be used to signify the negation and privacy of the presence of elements, objects and to enjoy them. With historical photographs, texts that show traces of the presence of something in the past, absence has a documentary purpose. The photograph uses absence as a post-modern concept to display various historical elements of the event because of absence. By examining Yasar Khadishi’s collection of photographs of the event of Agha Mohammad Khan Qajar’s attack on Kerman, in which he turned Kerman into the eye of history, with regard to the concept of absence, we can conclude that the photographer needs to be present in the heart of the social historical event in the contemporary artistic nature of photography. Nothing, it is not possible to use the concept of absence in his photos to present the apparent causes to the viewer in a deeper way, this concept cannot be made voluntarily, involuntarily or unconsciously in the photo, the concept of absence is a historical narrative within the frame of the photos, not based on the display of elements. The present and ready to be the photographer, who is read and understood by the spectator based on factors and phenomena outside the framework. The same thing makes the space of the photos poet and the audience without the presence of the photographer’s desired objects and elements in the frame, the photos for local mental thoughts and thoughts and start to read the effect of those types. In this mode, photography can free itself as an artist, let the imagination and thoughts of the photographer behind the camera fly, and produce me without worrying about breaking stereotyped and repetitive forms.