This pen case is decorated with scenes from the Haft paykar (or Seven Images), one of five compositions that make up the Khamsa (Quintet) by the medieval poet Nizami of Ganja (ca. 1141–1209). This work narrates the life of the pre-Islamic Sassanian king Bahram V Gur, who is transformed from a pleasure-seeking prince into a wise and just king guided by law.
Unlike some other Western painters of the 19th century Jean Auguste Dominique Ingres never went to the East. His sketches of Persian miniatures are to make the décors in some of his “oriental” works as exotic as possible. Here are seven of such drawings which are now kept in Ingres Museum, Montauban, France.
For ages the battle of Rostam and White Deev has been one of the most popular subjects among Iranian book illustrators, tile-makers, and coffee-house painters.
Sani-al-Mulk’s illustrations for “One thousand and One nights” – (c. 1853).
Mirza Abol-Hassan Khan Ghaffari Kashani, also known as ‘Abol-Hassan the Second’ and ‘Sani-al-Mulk’, is considered the first teacher of European style of painting in Iran.
The painter and Illustrator Mohammad Tajvidi was born in 1925. After completing his studies at the School of National Arts, he took the position of assistant professor at the school. He was promoted to a senior professorship continued teaching until 1963.
Later he started making illustrations for hundreds of books. He died in Tehran in 1995 at the age of 70.
“The Scrapbook of Professions” is a collection of illustrations from the second half of the 19th century in Iran. It depicts various professions during Qajar period.
A collection of photos of young and up-and-coming artists in the 1969 Yearbook of Ettelaat.
The Qajar king, Fath-Ali Shah (1772 – 1834) loved to have his image on large scale canvasses, frescoes, and reliefs, showing the grandeur of his imperial appearance. Most of his oil painting portraits are painted by Mirza Baba and Mehr-Ali.
Murals in Tehran used to have mostly political and revolutionary themes but from the early 90s a new style of mural emerged, which is merely decorative.
A brief look at the European-looking characters in the Iranian “Ashura” passion plays, their role in the story, and their relationship to the recent invasion of the British embassy.
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