350th Anniversary of Vank Cathedral

Compiled By: Firouzeh Mirrazavi

Deputy Editor of Iran Review

A ceremony was held in Isfahan capital city on Monday (20th October, 2014) to mark the 350th anniversary of construction of the Holy Savior Cathedral also known as Vank Cathedral. Vank Cathedral, also known as the Church of the Saintly Sisters, is the most visited cathedral in Isfahan. Vank means "cathedral" in the Armenian language. The ceremony was attended by Armenian Church Leader His Holiness Aram I, Archbishop of Isfahan province and southern parts of Iran Babken Charian and a group of Isfahan's Armenian residents and officials. During the service, Archbishop Charian recited Prayers of Lament and holy bread was distributed among worshipers.

Following the Ottoman war of 1603-1605, Armenians began to arrive in Iran in search of a new life under the Safavid King Shah Abbas I. Shah Abbas I, who settled tens of thousands of them in the Iranian provinces south of Aras River, also relocated Armenians, who had fled from the Ottoman massacre in Nakhchivan to Iran.

Nakhchivan suffered a lot during the 14th to 18th century wars between Persia and the Ottoman Empire. The city fell under Safavid rule in the 16th century. In 1604, when Shah Abbas I realized that the lands of Nakhchivan and its surrounding areas might fall into Ottoman hands, he decided to force the entire Muslim, Jewish and Armenian population of the city to leave their homes and move to Iran. The Armenian immigrants settled in Isfahan, the capital of the Safavid Dynasty, and populated the city's New Jolfa district, which was named after their original homeland in today's Azerbaijan Republic.

Upon entering Iran, Armenian refugees started building churches and monasteries to continue their religious activities in their new home. The first monastery in Jolfa was built in 1606 and included a little church called Amna Perkich, which means 'All Healing.' The little church was later expanded and turned into the magnificently designed Vank Cathedral, which was built 50 years later under the supervision of Archbishop David. One of the largest and most beautiful churches of Iran, the cathedral was completed in 1664. It includes a bell-tower, built in 1702, a printing press, founded by Bishop Khachatoor, a library established in 1884, and a museum opened in 1905.

The architecture of the building is a mixture of the 17th-century Safavid style with high arches and an Islamic-style dome. The cathedral has greatly influenced the architecture and decorative treatment of many churches in Iran and the Mesopotamian region. The main entrance of the cathedral is a large wooden door through which visitors enter the courtyard of the building. Upon entering the courtyard, one encounters two rooms that were once used as administrative offices, which helped Armenians process their paperwork. A large freestanding belfry stands in the cathedral courtyard and towers over the graves of Orthodox and Protestant Christians who have been buried along the wall before the entrance. Built 38 years after the main structure, the belfry leads into the nave.

On the right side of the belfry there is a large blue inscription surrounded by crucifix stones. The stones have been collected from the ruined churches of the Jolfa quarter. On a raised area to the left, a memorial has been set up in memory of the victims of the Ottoman massacre. Every year on April 23 Armenians gather by the memorial to light candles in honor of their martyrs. At a corner of the cathedral's courtyard, rooms and halls have been built to accommodate guests, the Isfahan archbishop and his retinue, as well as other Armenian religious authorities in Iran. Across the courtyard and facing the cathedral is a building, which houses the Vank library and museum.

The library contains more than 700 manuscripts and hard-to-find sources on Armenian and medieval European languages and arts. The Vank museum houses unique and priceless collections of various types of items gathered from across the Armenian world. Built in 1871, the museum contains numerous objects related to the history of the cathedral and the Armenian community of Isfahan, including the 1606 edict of Shah Abbas I establishing New Jolfa and prohibiting interference with, or the persecution of, Armenians and their property and affairs in the district. Exquisite Bibles are also part of the museum's dazzling collection. A seven-gram bible displayed at the museum is believed by some to be the world's smallest written text in seven languages.

Safavid costumes, tapestries, European paintings brought back by Armenian merchants, embroideries and other valuable items from the Iranian-Armenian trading heritage are also part of the museum's unique archive. The Vank museum also houses an extensive collection of photographs, maps, and Turkish documents related to the 1915 massacre of Armenians by Ottoman kings. Vestments, monstrances, chalices and other sacramental objects have also been displayed at the museum.

The Vank printing house is known as the first of its kind in Iran and the Middle East. The first book published at Vank was about the lives of Armenian priests and monks, a few prints of which are now kept at the Vank museum. The early printing machine, which was built by Bishop Khachatoor, was replaced by a new one brought from Amsterdam in 1647. Later in 1844, an Armenian resident of Jolfa brought a printing machine from Europe, which is also housed at Vank Museum. The first book printed by the machine was the Psalms of David, which is now kept at Oxford's Bodleian Library.

The dun-colored brick exterior of the cathedral gives way to a stunning combination of Persian tiles, Byzantine gold and European-style frescos inside. The modern and plain exterior has a striking contrast with its gloriously decorated interior. The entrance ceiling is adorned with floral motifs and the top of the walls are covered with murals depicting events from the life of Jesus. The interior is adorned with paintings, gilded carvings and eye-catching tilework and the pendentives bear painted images of a cherub's head surrounded by folded wings. On the northern wall of the cathedral paintings of Judgment Day can be seen with heaven depicted above and hell below. The bottom parts of the interior walls are covered with paintings depicting Armenians being tortured by the Ottoman Turks. The double-layer brick dome is beautifully gilded and adorned with paintings and floral patters in its azure interior.

The paintings depict the Biblical story of the creation of the universe and man's expulsion from Eden. Eight windows surround the dome with biblical scenes painted between them. The creation of Adam and Eve, eating the forbidden fruit and the death of Able are among the stories painted between the windows. The narthex is also adorned with four paintings, which are surrounded with floral patterns and show tortures inflicted upon holy figures. The birth of Jesus, the Last Supper, the crucifixion of Jesus and the Ascension of Jesus are also among the biblical stories depicted in the paintings inside the cathedral. The paintings have been inspired by both old and new testaments and have been painted by Armenian masters and three monks, namely; Havans, Stepanus and Minas.

After the death of Shah Abbas I, his successor Shah Abbas II also paid close attention to Armenians and New Jolfa, which is located on the banks of the Zayandeh River and still houses a large part of the Iranian-Armenian community.

Iran's Armenian community grew in number as until 1933 immigrants and refugees continued to flock to Iran from the Soviet Union. They built churches, schools and various cultural, artistic and sports centers across the country and eventually became Iran's largest Christian community. Today, Iranian-Armenians have two seats in the Iranian Parliament (Majlis) and are the only minority with official observing status in the country's Guardian and Expediency Councils. Armenians also publish books, journals, periodicals, and newspapers, including the daily Alik. Many Armenians served in the Iranian army, and many died in action during the Iran–Iraq War. Due to Iran-Iraq War the number of Iran's 250,000 Armenians further decreased to its current 150,000. Today in Iran there are about 120,000 - 150,000 Armenians left. Half of which live in the Tehran area. A quarter live in Isfahan, and the other quarter is concentrated in Northwestern Iran or Iranian Azarbaijan. In addition to having their own churches and clubs, Armenians of Iran are one of the few linguistic minorities in Iran with their own schools.

*Photo Credit: Mehr News, Fars News, ISNA, Tasnim

Iranian Painting

Compiled By: Firouzeh Mirrazavi
Deputy Editor of Iran Review

The history of the art of painting in Iran goes back to the Cave Age.

Painted images of animals and hunting scenes have been discovered in the caves of Lorestan province. Those discovered by W. Semner on the walls of buildings in Mallyan Heights in Fars province belong to 5,000 years ago.

Illustrations discovered on earthenware in Lorestan, Sialk Mound in Kashan and other archeological sites prove that the artists of this region were familiar with the art of painting.

In paintings belonging to Achaemenid era, artists preferred profiles. The proportion and beauty of colors used in this era are remarkable. They lack shading and have the same tonal quality. In some cases, black stripes limited the colorful surfaces.

Mani, the Iranian painter, who lived about the 3rd century, was a skilled and expert painter. His paintings were thought to be miraculous.

The paintings of Torfan, discovered in the desert of Gall, a region situated in the Turkistan province in China, belong to 840 to 860 AD.

These mural paintings exhibit Iranian scenes and portraits. Images of tree also exist in these paintings. Paintings belonging to the Islamic period are quiet scarce and were created in the first half of the 13th century.

Iranian miniatures (fine and small drawings) came to Fife after the fall of Baghdad (1285 AD). Since the beginning of the 14th century, handwritten books were decorated with scenes from battlefields, feasts and hunting.

China has provided the most important incentive for the art of painting in Iran. There is a link between Buddhist Chinese and Iranian painters.

From the historic viewpoint, the most important evolution in Iranian art has been the adoption of Chinese designs and coloring, which were mixed with the specific conception of Iranian artists.

The extreme beauty and skill of Iranian paintings are difficult to describe. In the first century, after the emergence of Islam, Iranian artists began decorating books.

The cover and margins of books were adorned with designs passed on throughout centuries known as the “Art of Illumination”.

The art of illumination and book decoration made its path of progression under the Seljuk, Mogul and Teimurid reigns.

Paintings from the beginning of the Islamic period had the reputation of belonging to Baghdad school. These paintings do not possess the artistic stress. The miniatures of Baghdad school are not proportional. Portraits show light colors.

Artists of the Baghdad school, after years of stagnancy, were eager to create and innovate. This particular school had animals and illustrated stories.

Although the Baghdad school is to some extent superficial and primitive, the art of Iranian miniature, in the same period, was seen in every region in which Islam was propagated: Far East, Africa and Europe.

Among illustrated books in the Baghdad style, “Kelileh and Demneh” can be named. Images are painted larger than normal and are not proportional. Only few colors are used in these paintings.

Most of the handwritten books of the 13th century are enriched with images of animals, plants and illustrations from fables and stories.

An example of the most ancient Iranian miniature is the drawings on a book called “Manafe Al-Hayvan” (1299 AD). This book describes the characteristics of animals.

Natural history is narrated through ancient fables. Colors are bright and resemble the old style of the Baghdad school.

After the invasion of Moguls, a new school appeared in Iran. This school was totally influenced by the Chinese and Moguls, where paintings are minute, dry and motionless.

Mogul emperors, after the invasion of Iran, were impressed by the Iranian art and encouraged painters.

Among the characteristics of the Iranian art, which can also be observed in the paintings of Moguls, subtleties, decorative compositions and fine short lines can be observed. The style of these Iranian paintings is linear and one-dimensional.

Artists of the Mogul royal court emulated not only Iranian techniques but also their themes. A part of their work consisted of illustrating Iranian literary masterpieces such as “Shahnameh” of Ferdowsi. It’s one of the masterpieces of the Iranian art of painting preserved in the library of Golestan Palace in Tehran.

Contrary to Baghdad and Mogul schools, more works remain from Herat school. The founders of the style of painting associated with the Herat school were Teimur’s ancestors, and the school was named after the place where it was founded.

Art experts believe that during the Teimurid era, the art of painting in Iran reached a climax. During this period, outstanding masters such as Kamaluddin Behzad produced a new class of Iranian painting. The Teimurid period continued from 1370 to 1405 AD. In this period, the art of miniature and book illumination improved substantially and most famous painters gave life to their work in this period.

The book of “Khamseh Nezami” shows 13 excellent miniatures drawn by “Mirak”, the famous painter and calligrapher. They demonstrate the sensitive and artistic spirit of Baghdad’s paintings. This precious work is preserved in the British Museum.

One of the liveliest paintings of this book shows the construction of “Jozanag” palace. In this painting, masters and architects are busy building the palace. This miniature was painted in 1494 in Herat.

Behzad, the greatest painter of Herat School, expanded the delicate art of miniature.

During the Safavid era, the artistic center moved to Tabriz and a few artists also settled in Qazvin. But the Safavid school of painting was established in Isfahan.

The miniature of Iran in this era was detached from the influence of the Chinese and stepped on a new road. The painters were then more inclined toward naturalism.

Reza Abbasi founded the Safavid school of painting and transformed the art of design, which is one of the most elegant Iranian arts. Miniatures created under the Safavid School were not exclusively aimed at decorating and illustrating books. The Safavid style is softer in form than those of the Teimurid school. Human images and their behavior are not vain and artificial; on the contrary, they are natural and closer to reality.

Safavid painters also displayed a special expertise in heural paintings. The most magnificent example of which can be seen in the palaces of Chehel-Sotoun and Aali Qapou.

In Safavid paintings, the splendor and the grandeur of this period are evident. The themes of the paintings focus on the life in royal court, the nobles, beautiful palaces, scenes of battles and banquets. Humans are drawn with flamboyant garments, handsome faces and glowing colors.

The art of painting, during the Safavid era, expanded both in terms of quantity and quality. In the works of this period, a greater freedom, skill and power can be seen.

Artists paid more attention to generalities and avoided unnecessary details, as seen in Herat and Tabriz styles. The smoothness of lines, the quick expression of feelings, and condensing the subjects are the characteristics of the Safavid style of painting.

After the end of the Safavid era, perspective and shading, a result of the European style, appeared in the Iranian paintings.

Safavid painters also displayed a special expertise in heural paintings. The most magnificent example of which can be seen in the palaces of Chehel-Sotoun and Aali Qapou.

In Safavid paintings, the splendor and the grandeur of this period are evident. The themes of the paintings focus on the life in royal court, the nobles, beautiful palaces, scenes of battles and banquets. Humans are drawn with flamboyant garments, handsome faces and glowing colors.

The art of painting, during the Safavid era, expanded both in terms of quantity and quality. In the works of this period, a greater freedom, skill and power can be seen.

Artists paid more attention to generalities and avoided unnecessary details, as seen in Herat and Tabriz styles. The smoothness of lines, the quick expression of feelings, and condensing the subjects are the characteristics of the Safavid style of painting.

After the end of the Safavid era, perspective and shading, a result of the European style, appeared in the Iranian paintings.

Paintings of Qajar period (16th century) show a combination of the classic European arts and Safavid miniature techniques.

Under the Qajars, a kind of painting known as Teahouse painting emerged. This was a new phenomenon in the history of Iranian art. These paintings featured the holy images of prophets, religious epics and the battles of the national warriors. Teahouses were gathering places for the ordinary people. In these places, narrators used to tell religious and epic stories from Ancient Persia.

Artists depicted the same stories on painting boards and the walls of these teahouses.

The most beautiful examples of this kind of painting are preserved in major museums of Tehran, and in private collections at home and abroad. Iranian paintings, through their richness, offer a special joy unlike anything else. They are connected with epic stories.

Iranian paintings are considered one of the greatest schools of art in Asia. Splendor and luminosity have not been better expressed in any other culture.

Master of Persian Miniature

Compiled By: Firouzeh Mirrazavi
Deputy Editor of Iran Review

While Iran has produced a number of eminent miniature painters, none has been so prolific in producing such consistently excellent work as Mahmoud Farshchian. Born in Isfahan on January 24, 1930, Farshchian grew up surrounded by architectural masterpieces that subliminally sharpened his awareness of proportion, color and form.

His masterpieces have been hosted by several museums and exhibitions worldwide.

 He's the most modernizer of the field of miniatures, an art form which was first established in Ancient Persia and later spread to China and Turkey and other Middle eastern countries.

At the age of five, it became evident that his life would be devoted to art and painting. His father, the owner of a leading carpet business, encouraged his interest in design.

While still in school, Farshchian was invited to learn painting from the famous masters of the time. After graduating from the Academy of Fine Arts in Isfahan, he traveled to Europe to study the works of western artists.

Upon his return to Isfahan, Farshchian began working in the Directorate of Fine Arts (affiliated to the Ministry of Culture and Art). He was later appointed to serve as administrator of National Arts. He joined the Faculty of Fine Arts of Tehran University as an art professor. It was there that he created many of his unique masterpieces.

Farshchian later moved to the United States and currently resides in New York. He took with him many of his works that were welcomed by Bibliotheque National, the British Library, Freer Gallery of Art, Metropolitan Museum and Harvard University.

His works continue to be exhibited in galleries and museums throughout Asia, Europe and the United States, as well as in private collections.

Receiving many awards throughout his life, including a doctorate in fine arts, Farshchian has won much praise from European academies and museums.

Farshchian’s distinctive style has given rise to a school of his own in painting. This school is marked by his wonderful creativity, his inspiring designs and his powerful lines and undulating colors.

His works are a pleasing combination of both nobility and innovation. His themes are rooted in classical poetry, literature, Qur’an, other divine books and his own deep imagination.

Some of his most outstanding works overflow with human affections and embodied in graceful figures.

While painting, Farshchian often listens to music and these beautiful rhythms set the mood for his bounding, splashing, sometimes wire-thin brush. His pictures urge us to listen with inner ears to the ‘sound’ of his lines and forms.

There is a rich interplay of birdcalls, trickles, cascades, gurgles, swoops and swooshes. His tempests, chilling blasts, raging fires and blood-curdling cries are expressed so artfully that they never cross the threshold of horror. So graceful is the whiplash that it cannot sting.

Farshchian has told many tales on canvas in his unique expression of what he calls ‘sur-naturalism’.

Farshchian is the founder of his own school in Iranian Painting, which adheres to classical form while making use of new techniques to broaden the scope of Iranian painting. He has brought new life to this art form and has freed it from the symbiotic relationship it has historically had with poetry and literature, to give it an independence it had not previously enjoyed.

His powerful and innovative paintings are dynamic, expansive and vibrant canvases with an appealing fusion of the traditional and the modern, which are constituents of his unique style of painting.

Farshchian’s work “Shams and Rumi,” has been inspired by one of Rumi’s poems. Special colors have been used in the painting to feature the mystical and spiritual relationship that existed between Shams and Rumi. The painting took two months to complete in the U.S. and was unveiled at the Farshchian Art and Cultural Complex in Isfahan on August 2, 2007.

The design of the Zarih (the box-like latticed enclosure which is placed on top of the tomb), roof, door and cellar in the shrine of the 8th shiite Imam, Ali ibn Mus'ar-Reza in Mashhad and his membership in the committee supervising the construction of the glorious shrine, is another artistic work of the master.

Unveiled in 2001, the Farshchian Museum is nestled in the central gardens of Sa’dabad Palace located in Tehran. It is surrounded by various other museums exhibiting historical Persian artifacts and modern artworks.

These museums are housed in monuments located in a lush landscape dating back to late Qajarid and the first Pahlavid rule. All have been restored and transformed into modern museums.

Farshchian was allocated this museum due to his tremendous contributions to the world of art. Open six days a week to the public, it contains several galleries, which exclusively exhibit early and contemporary original works by Farshchian.

Art students visit the museum daily to study his paintings that have also been reproduced in art textbooks, while tourists from all over the world arrive for a firsthand viewing of these stunning works of fine art.

Origin of Persian Miniatures




















Persian miniature is a richly detailed miniature painting which depicts religious or mythological themes from the region of the Middle East now known as Iran. The art of miniature painting in Persia flourished from the 13th through the 16th centuries, and continues to this day, with several contemporary artists producing notable Persian miniatures. These delicate, lush paintings are typically visually stunning, with a level of detail which can only be achieved with a very fine hand and an extremely small brush.

Persian miniature is a small painting, whether a book illustration or a separate work of art intended to be kept in an album of such works. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts, which probably had an influence on the origins of the Persian tradition.

Several features about Persian miniatures stand out. The first is the size and level of detail; many of these paintings are quite small, but they feature rich, complex scenes which can occupy a viewer for hours. Classically, a Persian miniature also features accents in gold and silver leaf, along with a very vivid array of colors. The perspective in a Persian miniature also tends to be very intriguing, with elements overlaid on each other in ways which sometimes feel awkward to people who are accustomed to the look and feel of Western art.

Originally, Persian miniatures were commissioned as book illustrations for Persian illuminated manuscripts. Only the wealthiest of patrons could afford these illustrations, with some Persian miniatures taking up to a year to complete. Eventually, people also began collecting these works of art on their own, binding them into separate books. Many of these collections fortunately survive to this day, along with other examples of Persian art such as Iran's famous pile carpets.

The Persian miniature was probably inspired by Chinese art, given the very Chinese themes which appear in some early examples of Persian miniatures. Many of the mythological creatures depicted in early Persian art, for example, bear a striking resemblance to animals in Chinese myth. Over time, however, Persian artists developed their own style and themes, and the concept of the Persian miniature was picked up by neighboring regions.

Many museums of Asian art have Persian miniatures in their collections, and it is well worth visiting to see examples of this distinctive art form in person. Persian miniatures also merit undivided attention; the longer one looks at a Persian miniature, the more details and themes emerge. The study of a single miniature can take up an entire day, as more and more details unfold, and many museums conveniently have detailed guides to the figures and themes in their Persian miniatures so that visitors can learn more about what they are seeing.

Miniature painting became a significant Persian form in the 13th century, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature in Turkey, and the Mogul miniature in the Indian sub-continent.

Though at various stages it has been affected by Chinese and Eastern influences, Persian miniature art has developed its own distinctive features. Iran’s miniature artists are recognizable for their emphasis on natural and realist motifs. Also worth noting is the Persian technique of “layering” perspectives to create a sense of space. For example, in the miniature piece at right, the variety of views is noticeable in the arrangement of objects: birds inhabit both the foreground and background of the piece, with the floral objects positioned in between. This gives the viewer a sense of three-dimensional space and the ability to focus on certain aspects of the piece to the exclusion of others.

Content and form are fundamental elements of Persian miniature painting, and miniature artists are renowned for their modest, subtle use of color. The themes of Persian miniature are mostly related to Persian mythology and poetry. Western artists discovered the Persian miniature around the beginning of the 20th century. Persian miniature uses pure geometry and a vivid palette. The allure of Persian miniature painting lies in its absorbing complexities and in the surprising way it speaks to large questions about the nature of art and the perception of its masterpieces.

The history of the art of painting in Iran, goes back to the cave age. In the caves of Lorestan province, painted images of animals and hunting scenes have been discovered.

In the paintings of Achaemenid era, profile work was preferred by the artists. The proportion and beauty of colors of this era are remarkable. The colors are shadeless, and have the same tune. In some cases, black stripes limited the colorful surfaces.

The paintings of “Torfan”, discovered in the desert of “Gall”, a region situated in the Turkistan province in China, belong to 840 to 860 AD.

These mural paintings exhibit Iranian scenes and portraits. Images of tree branches also exist in these paintings. The most ancient paintings of the Islamic period, are quite scarce, and were created in the first half of the 13th century.

China, perhaps since the 7th century, as an artistic center, has been the most important incentive for the art of painting in Iran. Ever since, a relation has been established between Buddhist Chinese painters and, Iranian artists. From the historic viewpoint, the most important evolution in Iranian art has been the adoption of Chinese designs and coloring that were mixed with the specific conception of Iranian artists. In the first centuries, after the emergence of Islam, Iranian artists began adorning books.

The preface and the margins of books were adorned. These designs were passed on to the next centuries, together with precise principles and rules, which is known as the “Art of Illumination.”

Paintings from the beginning of the Islamic period had the reputation of belonging to Baghdad school.

Miniatures of Baghdad school have totally lost the style and methods of the usual paintings of the pre-Islamic period.

These primitive and innovative paintings do not possess the necessary artistic stress. The miniatures of Baghdad school are not proportional. Portraits show the “Sami” race and light colors are used. Artists of the Baghdad school, after years of stagnancy, were eager to create and innovate. The particular views of this school, is in drawing animals and illustrating stories.

Although the Baghdad school, considering the pre-Islamic art, is to some extent, superficial and primitive, but the art of Iranian miniature, in the same period, was widespread in every region in which, Islam was propagated: Far East, Africa and Europe.

Among illustrated books in the Baghdad style, “Kelileh and Demneh” can be named. Images are painted larger than normal and are not proportional. Only few colors are used in these paintings.

Most of the handwritten books of the 13th century are enriched with images of animals, vegetables, and illustrations from fables and stories.

An example of the most ancient Iranian miniature is the drawings of a book called “Manafe-alHayvan” (1299 AD). This book describes the characteristics of animals. The natural history is mixed and narrated through the ancient fables in this book.

Diverse subjects of this book, require numerous images that are so important in familiarizing the reader with the Iranian art of painting. Colors are bright and laying step after the old style of the Baghdad school.

After the invasion of Moguls, a new school appeared in Iran. This school was totally under the influence of the Chinese and Mogul style. These paintings are all minute, dry, motionless, and pure, in the Chinese style.

Mogul emperors, after the invasion of Iran, were impressed by the Iranian art and encouraged the painters, initiating the former kings of Iran. Among the characteristics of the Iranian art which can also be observed in the paintings of Mogul style, we can enumerate, subtleties, decorative compositions, and fine short lines. The style of the Iranian paintings is linear and not dimensional. Artists in this field have demonstrated a particular creativity and genuineness.

Artists of the Mogul royal court honored not only the techniques but also Iranian themes. A part of their work consisted of illustrating Iranian literary masterpieces such as “The Shahnameh” of Ferdowsi.

Contrary to Baghdad and Mogul schools, more works remain from Harat school. The founders of the style of painting called the Harat school, were Teimoor’s ancestors, and the school was named after the place in which it was founded.

Art experts believe that during Teimoor’s era, the art of painting in Iran, had reached a climax. During this period, outstanding masters, such as Kamal-ul-Din Behzad, contributed a new touch to the Iranian painting.

During the Safavid era, the artistic center was moved to Tabriz. A few artists also settled in Qazvin. However, the Safavid School of painting was established in Isfahan.

The miniature of Iran, in the Isfahan of Safavid era, was detached from the influence of the Chinese out and stepped on a new road. The painters were then more inclined towards naturalism.

Agha Reza Reza-e Abbasi (also Reza Abbasi) (1565 - 1635) was the most renowned Persian miniaturist, painter and calligrapher of the Isfahan School, which flourished during the Safavid period under the patronage of Shah Abbas I.

Miniatures created under the Safavid School, were not exclusively aimed for adorning and illustrating books. The Safavid style is softer in form than those of the Teimoorian School, specially the Mongolian. Human images and their behavior are not vain and artificial, in the contrary quiet natural, and close to reality.

In Safavid paintings, the splendor and the grandeur of this period is the main attraction. The themes of the paintings are about the life in the royal court, the nobles, beautiful palaces, pleasant goodness, scenes of battles and banquets.

Humans are drawn in sumptuous garments, handsome faces and elegant statues colors are glowingly bright.

Artists paid more attention to generalities and, avoided unnecessary details, as used in Harat and Tabriz styles. The smoothness of lines, the quick expression of feelings, and condensing the subjects are the characteristics of the Safavid style of painting. Since the end of the Safavid era, perspective and shading, a result of the European style, appeared in the Iranian paintings.

Paintings of the Qajar era, are a combination of the classic European arts and Safavid miniature techniques. In this period, Mohammad Gaffari Kamal-ul-Molk, pushed forward the European classical style of painting in Iran. Under the qajars, a kind of painting known as the “Teahouse” painting found its place. This kind of painting is a new phenomenon in the history of the Iranian art.