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Portrait of an old man, a presumed self-portrait (detail). Metropolitan Museum of Art, New York. Farrukh Beg (Persian: فرخ بیگ; c. 1547 – after 1615), also known as Farrukh Husayn, was a Persian miniature painter, who spent a bulk of his career in Safavid Iran and Mughal India, praised by Mughal Emperor Jahangir as "unrivaled in the age."
"Bahram Gor with the Indian Princess," Mohammad Zaman, 1675/76 [1]. Farangi-Sazi (Persian: فرنگیسازی, lit. 'making in an Occidental manner') was a style of Persian painting that originated in Safavid Iran in the second half of the 17th century.
Qajar art refers to the art, architecture, and art-forms of the Qajar dynasty of the late Persian Empire, which lasted from 1781 to 1925. The boom in artistic expression that occurred during the Qajar era was the fortunate side effect of the period of relative peace that accompanied the rule of Agha Muhammad Khan and his descendants.
Median man in Persepolis Persian realist Gouache painting of the Qajar dynasty and soldiers in 1850-1851. The arts of Iran are one of the richest art heritages in world history and encompasses many traditional disciplines including architecture, painting, literature, music, weaving, pottery, calligraphy, metalworking and stonemasonry.
Two young lovers and a hairdresser. Sani al Mulk, 1843, oil painting, Golestan Palace Abu'l-Hasan Khan Ghaffari Kashani (Persian: ابوالحسن غفاری; 1814–1866) was an Iranian painter, miniature and lacquer artist, and book illustrator.
Qajar art was the architecture, paintings, and other art forms produced under the Qajar dynasty, which lasted from 1781 to 1925 in Iran . The boom in artistic expression that occurred during the Qajar era was a side effect of the period of relative peace that accompanied the rule of Agha Mohammad Khan and his descendants.
The Reza Abbasi Museum (Persian: موزه رضا عباسی ) is a museum in Tehran, Iran.It is located in Seyed Khandan. [1] The museum is named after Reza Abbasi, one of the artists of the Safavid era. [2]
The dominant tradition of miniature painting in the late Middle Ages was that of Persia, which had a number of centres, but all usually dependent on one key patron, whether the shah himself, or a figure either governing a part of the country from a centre such as Herat, where Baysunghur was an important patron in the early 15th century, or the ruler of a further part of the Persianate world in ...