#persianart — Public Fediverse posts

In "Royal Reception in a Landscape," opulence meets intricate storytelling. The vibrant feast, a symbol of wealth, juxtaposes the exclusion at its gates, inviting contemplation on courtly life and power dynamics. What narratives do these details reveal?
#PersianArt #Shahnama #ArtHistory
https://clevelandart.org/art/1956.10.a

In "Royal Reception in a Landscape," opulence meets intricate storytelling. The vibrant feast, a symbol of wealth, juxtaposes the exclusion at its gates, inviting contemplation on courtly life and power dynamics. What narratives do these details reveal?
#PersianArt #Shahnama #ArtHistory
https://clevelandart.org/art/1956.10.a

In "Royal Reception in a Landscape," opulence meets intricate storytelling. The vibrant feast, a symbol of wealth, juxtaposes the exclusion at its gates, inviting contemplation on courtly life and power dynamics. What narratives do these details reveal?
#PersianArt #Shahnama #ArtHistory
https://clevelandart.org/art/1956.10.a

In "Royal Reception in a Landscape," opulence meets intricate storytelling. The vibrant feast, a symbol of wealth, juxtaposes the exclusion at its gates, inviting contemplation on courtly life and power dynamics. What narratives do these details reveal?
#PersianArt #Shahnama #ArtHistory
https://clevelandart.org/art/1956.10.a

In "Royal Reception in a Landscape," opulence meets intricate storytelling. The vibrant feast, a symbol of wealth, juxtaposes the exclusion at its gates, inviting contemplation on courtly life and power dynamics. What narratives do these details reveal?
#PersianArt #Shahnama #ArtHistory
https://clevelandart.org/art/1956.10.a

“Portrait of a Persian Lady", ca. 1736-1737, unknown Persian artist, ink, opaque watercolor, and gold on paper, The Metropolitan Museum of Art, New York. #arthistory #persianart

From the website: "This folio depicts a lady seated on a balcony before an expansive landscape. The artist has used European techniques of modeling and shading in rendering the face, neck, and hands. The landscape in the background incorporates the use of perspective, a technique adopted by Iranian court painters in the mid-seventeenth century. A small date in white ink in the sky appears to read A.H. 1149/A.D. 1736-7, which places this work in the period of the Afsharid rulers of Iran."

“Portrait of a Persian Lady", ca. 1736-1737, unknown Persian artist, ink, opaque watercolor, and gold on paper, The Metropolitan Museum of Art, New York. #arthistory #persianart

From the website: "This folio depicts a lady seated on a balcony before an expansive landscape. The artist has used European techniques of modeling and shading in rendering the face, neck, and hands. The landscape in the background incorporates the use of perspective, a technique adopted by Iranian court painters in the mid-seventeenth century. A small date in white ink in the sky appears to read A.H. 1149/A.D. 1736-7, which places this work in the period of the Afsharid rulers of Iran."

“Portrait of a Persian Lady", ca. 1736-1737, unknown Persian artist, ink, opaque watercolor, and gold on paper, The Metropolitan Museum of Art, New York. #arthistory #persianart

From the website: "This folio depicts a lady seated on a balcony before an expansive landscape. The artist has used European techniques of modeling and shading in rendering the face, neck, and hands. The landscape in the background incorporates the use of perspective, a technique adopted by Iranian court painters in the mid-seventeenth century. A small date in white ink in the sky appears to read A.H. 1149/A.D. 1736-7, which places this work in the period of the Afsharid rulers of Iran."

“Portrait of a Persian Lady", ca. 1736-1737, unknown Persian artist, ink, opaque watercolor, and gold on paper, The Metropolitan Museum of Art, New York. #arthistory #persianart

From the website: "This folio depicts a lady seated on a balcony before an expansive landscape. The artist has used European techniques of modeling and shading in rendering the face, neck, and hands. The landscape in the background incorporates the use of perspective, a technique adopted by Iranian court painters in the mid-seventeenth century. A small date in white ink in the sky appears to read A.H. 1149/A.D. 1736-7, which places this work in the period of the Afsharid rulers of Iran."

“Portrait of a Persian Lady", ca. 1736-1737, unknown Persian artist, ink, opaque watercolor, and gold on paper, The Metropolitan Museum of Art, New York. #arthistory #persianart

From the website: "This folio depicts a lady seated on a balcony before an expansive landscape. The artist has used European techniques of modeling and shading in rendering the face, neck, and hands. The landscape in the background incorporates the use of perspective, a technique adopted by Iranian court painters in the mid-seventeenth century. A small date in white ink in the sky appears to read A.H. 1149/A.D. 1736-7, which places this work in the period of the Afsharid rulers of Iran."

Portrait of Jalal al-Din Mirza, attributable to Abu’l Hassan Ghaffari Sani’ Al-Mulk, Qajar, Iran, 1859, oil on canvas, 49 x 35in. (124.5 x 88.9cm.), photo: Christie’s London, 21 Apr 2016. #arthistory #persianart

From the Christie’s lot essay: “Jalal al-Din Mirza (1827-72) was a son of Fath ‘Ali Shah Qajar (r. 1797-1834). He was a Qajar historian and freethinker and the author of the Nameh-i Khusravan, one of the earliest examples of modern Iranian historiography in the Qajar period…

The work of Abu’l Hassan demonstrates a change in the aesthetic of Qajar painting in the mid-19th century (Julian Raby, Qajar Portraits, exhibition catalogue, London, 1999, p.53). The artist began his career as a pupil of Mehr 'Ali, but none of his early works survive and it is therefore unclear as to whether his painting began in a style more typical of Fath 'Ali Shah's reign. He was appointed the naqqashbashi (chief painter) of the court of Muhammad Shah in 1842 (Yahya Zoka, op.cit., Iran, 2003, p. 21) and was sent to study in Italy and Paris, a factor which began to manifest itself in a European-influenced realism in his work that was new to Persian painting. The expressive power of his portraits - as demonstrated here - led Abu’l Hassan to the art of caricature and he became the illustrator to the court newspaper, Ruznama-i vugayi-i ittifaqiya. Alongside the more traditional depictions of Qajar nobles, he showed a capacity for the merciless caricature of their attendants and the religious classes (Julian Raby, op. cit., p.53).”

Portrait of Jalal al-Din Mirza, attributable to Abu’l Hassan Ghaffari Sani’ Al-Mulk, Qajar, Iran, 1859, oil on canvas, 49 x 35in. (124.5 x 88.9cm.), photo: Christie’s London, 21 Apr 2016. #arthistory #persianart

From the Christie’s lot essay: “Jalal al-Din Mirza (1827-72) was a son of Fath ‘Ali Shah Qajar (r. 1797-1834). He was a Qajar historian and freethinker and the author of the Nameh-i Khusravan, one of the earliest examples of modern Iranian historiography in the Qajar period…

The work of Abu’l Hassan demonstrates a change in the aesthetic of Qajar painting in the mid-19th century (Julian Raby, Qajar Portraits, exhibition catalogue, London, 1999, p.53). The artist began his career as a pupil of Mehr 'Ali, but none of his early works survive and it is therefore unclear as to whether his painting began in a style more typical of Fath 'Ali Shah's reign. He was appointed the naqqashbashi (chief painter) of the court of Muhammad Shah in 1842 (Yahya Zoka, op.cit., Iran, 2003, p. 21) and was sent to study in Italy and Paris, a factor which began to manifest itself in a European-influenced realism in his work that was new to Persian painting. The expressive power of his portraits - as demonstrated here - led Abu’l Hassan to the art of caricature and he became the illustrator to the court newspaper, Ruznama-i vugayi-i ittifaqiya. Alongside the more traditional depictions of Qajar nobles, he showed a capacity for the merciless caricature of their attendants and the religious classes (Julian Raby, op. cit., p.53).”

Portrait of Jalal al-Din Mirza, attributable to Abu’l Hassan Ghaffari Sani’ Al-Mulk, Qajar, Iran, 1859, oil on canvas, 49 x 35in. (124.5 x 88.9cm.), photo: Christie’s London, 21 Apr 2016. #arthistory #persianart

From the Christie’s lot essay: “Jalal al-Din Mirza (1827-72) was a son of Fath ‘Ali Shah Qajar (r. 1797-1834). He was a Qajar historian and freethinker and the author of the Nameh-i Khusravan, one of the earliest examples of modern Iranian historiography in the Qajar period…

The work of Abu’l Hassan demonstrates a change in the aesthetic of Qajar painting in the mid-19th century (Julian Raby, Qajar Portraits, exhibition catalogue, London, 1999, p.53). The artist began his career as a pupil of Mehr 'Ali, but none of his early works survive and it is therefore unclear as to whether his painting began in a style more typical of Fath 'Ali Shah's reign. He was appointed the naqqashbashi (chief painter) of the court of Muhammad Shah in 1842 (Yahya Zoka, op.cit., Iran, 2003, p. 21) and was sent to study in Italy and Paris, a factor which began to manifest itself in a European-influenced realism in his work that was new to Persian painting. The expressive power of his portraits - as demonstrated here - led Abu’l Hassan to the art of caricature and he became the illustrator to the court newspaper, Ruznama-i vugayi-i ittifaqiya. Alongside the more traditional depictions of Qajar nobles, he showed a capacity for the merciless caricature of their attendants and the religious classes (Julian Raby, op. cit., p.53).”

Portrait of Jalal al-Din Mirza, attributable to Abu’l Hassan Ghaffari Sani’ Al-Mulk, Qajar, Iran, 1859, oil on canvas, 49 x 35in. (124.5 x 88.9cm.), photo: Christie’s London, 21 Apr 2016. #arthistory #persianart

From the Christie’s lot essay: “Jalal al-Din Mirza (1827-72) was a son of Fath ‘Ali Shah Qajar (r. 1797-1834). He was a Qajar historian and freethinker and the author of the Nameh-i Khusravan, one of the earliest examples of modern Iranian historiography in the Qajar period…

The work of Abu’l Hassan demonstrates a change in the aesthetic of Qajar painting in the mid-19th century (Julian Raby, Qajar Portraits, exhibition catalogue, London, 1999, p.53). The artist began his career as a pupil of Mehr 'Ali, but none of his early works survive and it is therefore unclear as to whether his painting began in a style more typical of Fath 'Ali Shah's reign. He was appointed the naqqashbashi (chief painter) of the court of Muhammad Shah in 1842 (Yahya Zoka, op.cit., Iran, 2003, p. 21) and was sent to study in Italy and Paris, a factor which began to manifest itself in a European-influenced realism in his work that was new to Persian painting. The expressive power of his portraits - as demonstrated here - led Abu’l Hassan to the art of caricature and he became the illustrator to the court newspaper, Ruznama-i vugayi-i ittifaqiya. Alongside the more traditional depictions of Qajar nobles, he showed a capacity for the merciless caricature of their attendants and the religious classes (Julian Raby, op. cit., p.53).”

Portrait of Jalal al-Din Mirza, attributable to Abu’l Hassan Ghaffari Sani’ Al-Mulk, Qajar, Iran, 1859, oil on canvas, 49 x 35in. (124.5 x 88.9cm.), photo: Christie’s London, 21 Apr 2016. #arthistory #persianart

From the Christie’s lot essay: “Jalal al-Din Mirza (1827-72) was a son of Fath ‘Ali Shah Qajar (r. 1797-1834). He was a Qajar historian and freethinker and the author of the Nameh-i Khusravan, one of the earliest examples of modern Iranian historiography in the Qajar period…

The work of Abu’l Hassan demonstrates a change in the aesthetic of Qajar painting in the mid-19th century (Julian Raby, Qajar Portraits, exhibition catalogue, London, 1999, p.53). The artist began his career as a pupil of Mehr 'Ali, but none of his early works survive and it is therefore unclear as to whether his painting began in a style more typical of Fath 'Ali Shah's reign. He was appointed the naqqashbashi (chief painter) of the court of Muhammad Shah in 1842 (Yahya Zoka, op.cit., Iran, 2003, p. 21) and was sent to study in Italy and Paris, a factor which began to manifest itself in a European-influenced realism in his work that was new to Persian painting. The expressive power of his portraits - as demonstrated here - led Abu’l Hassan to the art of caricature and he became the illustrator to the court newspaper, Ruznama-i vugayi-i ittifaqiya. Alongside the more traditional depictions of Qajar nobles, he showed a capacity for the merciless caricature of their attendants and the religious classes (Julian Raby, op. cit., p.53).”

Witness the dramatic clash of valor in "Isfandiyar slays Arjasp." This stunning Persian miniature captivates with intricate details and a vibrant setting. What emotions does this powerful scene evoke in you?

#ArtAppreciation #PersianArt #Shahnama
https://clevelandart.org/art/2013.314

Witness the dramatic clash of valor in "Isfandiyar slays Arjasp." This stunning Persian miniature captivates with intricate details and a vibrant setting. What emotions does this powerful scene evoke in you?

#ArtAppreciation #PersianArt #Shahnama
https://clevelandart.org/art/2013.314

Witness the dramatic clash of valor in "Isfandiyar slays Arjasp." This stunning Persian miniature captivates with intricate details and a vibrant setting. What emotions does this powerful scene evoke in you?

#ArtAppreciation #PersianArt #Shahnama
https://clevelandart.org/art/2013.314

Marvel at "Krishna Lifting Mount Govardhan" #ClevelandMuseumofArt - a beguiling illustration from a Persian translation of the Bhagavata Purana, circa 1625. Do you know the epic tale it depicts?
#ArtHistory #EpicTales #PersianArt
https://clevelandart.org/art/2006.203

Marvel at "Krishna Lifting Mount Govardhan" #ClevelandMuseumofArt - a beguiling illustration from a Persian translation of the Bhagavata Purana, circa 1625. Do you know the epic tale it depicts?
#ArtHistory #EpicTales #PersianArt
https://clevelandart.org/art/2006.203

Marvel at "Krishna Lifting Mount Govardhan" #ClevelandMuseumofArt - a beguiling illustration from a Persian translation of the Bhagavata Purana, circa 1625. Do you know the epic tale it depicts?
#ArtHistory #EpicTales #PersianArt
https://clevelandart.org/art/2006.203

Marvel at "Krishna Lifting Mount Govardhan" #ClevelandMuseumofArt - a beguiling illustration from a Persian translation of the Bhagavata Purana, circa 1625. Do you know the epic tale it depicts?
#ArtHistory #EpicTales #PersianArt
https://clevelandart.org/art/2006.203

Mohammad Ariyaei

Born in 1987 in Ispahan, Iran, Ariyaei grew up with the stories of his grandmother who practised Sufism and mysticism. Her tales would inspire his imagination and influence his art which often includes poetry within his otherworldly creations.

#mohammaariyaei #art #artist #persianartist #iranianartist #persianart #artworld #acrylicpainting #acrylic #acrylicart #worldofart #artaroundtheworld #selftaughtartist

Mohammad Ariyaei

Born in 1987 in Ispahan, Iran, Ariyaei grew up with the stories of his grandmother who practised Sufism and mysticism. Her tales would inspire his imagination and influence his art which often includes poetry within his otherworldly creations.

#mohammaariyaei #art #artist #persianartist #iranianartist #persianart #artworld #acrylicpainting #acrylic #acrylicart #worldofart #artaroundtheworld #selftaughtartist

Mohammad Ariyaei

Born in 1987 in Ispahan, Iran, Ariyaei grew up with the stories of his grandmother who practised Sufism and mysticism. Her tales would inspire his imagination and influence his art which often includes poetry within his otherworldly creations.

#mohammaariyaei #art #artist #persianartist #iranianartist #persianart #artworld #acrylicpainting #acrylic #acrylicart #worldofart #artaroundtheworld #selftaughtartist

Mohammad Ariyaei

Born in 1987 in Ispahan, Iran, Ariyaei grew up with the stories of his grandmother who practised Sufism and mysticism. Her tales would inspire his imagination and influence his art which often includes poetry within his otherworldly creations.

#mohammaariyaei #art #artist #persianartist #iranianartist #persianart #artworld #acrylicpainting #acrylic #acrylicart #worldofart #artaroundtheworld #selftaughtartist

"Two Young Men in an Erotic Embrace," unknown Persian artist, c. 1866-99.

Happy Coming Out Day! This Persian painting shows us that homosexuality wasn't as verboten in other cultures, as this painting attests.

From the Rijksmuseum, Amsterdam. Because of course it would be.

#Art #PersianArt #HomosexualityInArt #MenEmbracing #Gay #ComingOutDay

"Two Young Men in an Erotic Embrace," unknown Persian artist, c. 1866-99.

Happy Coming Out Day! This Persian painting shows us that homosexuality wasn't as verboten in other cultures, as this painting attests.

From the Rijksmuseum, Amsterdam. Because of course it would be.

#Art #PersianArt #HomosexualityInArt #MenEmbracing #Gay #ComingOutDay

"Two Young Men in an Erotic Embrace," unknown Persian artist, c. 1866-99.

Happy Coming Out Day! This Persian painting shows us that homosexuality wasn't as verboten in other cultures, as this painting attests.

From the Rijksmuseum, Amsterdam. Because of course it would be.

#Art #PersianArt #HomosexualityInArt #MenEmbracing #Gay #ComingOutDay

"Two Young Men in an Erotic Embrace," unknown Persian artist, c. 1866-99.

Happy Coming Out Day! This Persian painting shows us that homosexuality wasn't as verboten in other cultures, as this painting attests.

From the Rijksmuseum, Amsterdam. Because of course it would be.

#Art #PersianArt #HomosexualityInArt #MenEmbracing #Gay #ComingOutDay

"Two Young Men in an Erotic Embrace," unknown Persian artist, c. 1866-99.

Happy Coming Out Day! This Persian painting shows us that homosexuality wasn't as verboten in other cultures, as this painting attests.

From the Rijksmuseum, Amsterdam. Because of course it would be.

#Art #PersianArt #HomosexualityInArt #MenEmbracing #Gay #ComingOutDay