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ZAND & QAJAR PERIODS; PART 4 |
Persian Art
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Qajar tile-work is usually unmistakable. The repertory of the so-called cuerda seca tiles shows a completely new departure from that of the Safavid period. For the first time representations of people and animals form the main subject matter; there are hunting scenes, illustrations from the battles of Rostam (the hero of the national epic, Shah-nama) soldiers, officials, scenes of contemporary life and even copies of European illustrations and photographs. |
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Shiraz |
Simnan |
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The Qajar technique par excellence - again triggered by European influence, in this case Venetian glass- was mirror-work. Mugarnes cells faced with mirrors yielded an original and spectacular effect, as can be seen in the Golestan palace in Tehran or the Hall of Mirrors in Mashad's Holy Shrine. |
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The ceiling of Zinatolmolk Residence, Shiraz (Qajar era) |
Painting by Kamal al-Mulk showing the Hall of Mirrors, Golestan Palace Tehran, 1888. |
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In the field of applied arts, only weaving continued to have an importance that extended beyond the borders of Iran, and during the Qajar period, the carpet industry gradually revived on a larger scale. Although many traditional designs were retained, they were expressed in different ways, often smaller in scale than their Safavid prototypes, with the use of a brighter range of colours. |
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Detail of a magnificent 19th century Kerman Ravar carpet (Qajar era). |
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Conclusion: Throughout its development, Persian artistic achievement has normally been imperial in nature, with impressive majestic monuments or associated with royal patronage in book illustration. Countless painters, weavers, potters, calligraphers, metalworkers, stone masons etc. have produced some of the most beautiful works ever created, and contributed to the Persian artistic heritage that is known throughout the world. |
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Persian Art |
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Persian History |
Copyright © 1999 K. Kianush, Art Arena
