Comparison and Analysis of Zand and Qajar Iranian Painting with Shah Zeydholyshrine Murals (original) (raw)
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Invested with Life: Wall Painting and Imagery before the Qajars. Iranian Studies , Vol 34, 2001.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. restricted to non-figural and geometric designs in the public sphere, and strictly limited to small-scale narrative illustrations of manuscripts in the private sphere. By contrast, Qajar Iran witnessed the development of large-scale figural painting. Such a decisive break with Islamic tradition-where religious and social beliefs were primarily expressed through textual and calligraphic means-indicates that Iran possessed a distinctive, strongly visual culture. Nevertheless, Qajar painting has been perceived in the past as an offshoot of European easel painting.
An Investigation of Painting Backgrounds in the Paintings of the First and Second Qajar Period
Bagh-e Nazar Journal, 2023
Problem statement: One of the most important aspects of Qajar art that has not received so much attention is the background of paintings of this period. The background of an artwork may follow certain patterns and rules that constitute the problem of leading research. Research objective: To understand the patterns, rules, and role that the background plays in the paintings of the first and second Qajar periods and also to answer the question of what patterns or rules the artists of each period used to create the background of the works. Research method: Based on the objective, this research is a basic theoretical study and descriptive and analytical. Thirteen samples of Qajar period paintings were purposively selected, and the data related to the mentioned questions were extracted, classified, analyzed, and adapted. Conclusion: The results show two general methods in the painting background of the two periods. In the painting backgrounds of the early period, there are mainly geometric patterns and landscapes inspired by European paintings from memory. In the second period, painting backgrounds represent real Iranian space in a realistic and naturalistic method. Differences in the teaching methods of the two periods have caused differences in the works. Therefore, despite the use of European elements, the backgrounds are mainly influenced by Iranian elements in the first period while in the second period, there is a complete domination of Western methods and elements.
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IMPACT OF WESTERN ART ON IRANIAN QAJAR PERIOD HOUSES' STUCCO IN GILAN PROVINCE
The stucco art in Iran has a long history and from the Elamite structures. Like many other arts throughout the history, the use of stucco has had a growing trend and besides using it as mortar, it was used for covering and embellishing the structures. Also, during the Qajar era, European countries, Qajar art and architecture adopted many influences and as a result, an Iranian Western fusion style in the stucco art appeared. This paper investigate in the city of Rasht and the influences that it has received from the European art. The Silk House of Rasht is one of the invaluable remnants from the Qajar era in which many exquisite stucco and mirror works have remained. styles like raised stucco, the use of rosette bud motifs, and the use of flower and vase patterns in which the flowers are dangling and spreading out of the vase.
Persian Painting in the Eighteenth Century: Tradition and Transmission
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Iranian artists, like artists all over the world, draw their inspiration from a variety of sources, whether indigenous or foreign, modern or historical. O ne o f these sources, the illustrations contained in lithographed books o f the Qajar period, and their use in contemporary Iranian art, is the topic of this essay. Constituting an indigenous historical practice, lithographic illustrations of the Q ajar period have remained a mine of inspiration for Iranian artists for several decades and, if my assumption proves right, will increasingly continue to do so, as public awareness o f the wealth of this historical material grows. The following presentation of this topic is divided into three parts: First, I provide a short sketch of the history of lithographic illustration in Iran, from its beginnings in the middle o f the nineteenth century to its decline and the termination of its primary existence in the middle of the twentieth
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The reign of Saljuqian in Iran is considered as a flourishing era of Islamic-Iranian culture. In the Saljuq period, Iran art has experienced and underwent some changes as long as the presence of these evolutions as keystone in Iranian traditional arts have played a significant role in arts such as architecture, painting, pottery and etc. Since the effect of the Saljuq art has been so impressive, even it is not considered as a renaissance period, it can be accounted as one of the significant period in Iranian art. The purpose of this study is to point out some features of the Saljuq art through using descriptive-analytical approach, and to examine some aspects of arts including architecture, pottery, and textile in this period. What is more, the outcomes of the present paper reveal that with regard to the Saljuq architecture, mosques have been formed by nave, dome, and four-porch courtyard derived from Khorasan architecture art. The eminent buildings of this period are Jameh Mosque o...