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The social history of Iran in the Safavid era is one of the fields of study that still needs attention and revision due to the poverty of Iranian historiography. AND aND aNDThe establishment of political stability and the consequent growth of the cultural and artistic atmosphere in the Safavid era led to the growth of all types of art, including the emergence of prominent and influential artists on the flow of Iranian painting. Iranian painting, which was mostly focused on fictional, courtly or mythological effects, with a short history, reflected a part of the social life of the Safavid era in the paintings of the Shah Abbas era. Single portrait or single painting, although it started before the Safavids, in this period it was established in the works of Reza Abbasi (died 1044 AH), one of the most important painters of the Isfahan school.The present research deals with the representation of social elements in Reza Abbasi's one-faced paintings using historical and analytical methods, relying on library and museum sources. The research question is that, in the absence of attention of Persian historiographical sources to the social life of the Safavid era, what themes and social classes have been depicted in Reza Abbasi's monographs. The findings of this research show that Reza Abbasi, a master artist in the Isfahan school and who had a presence in the court and lived among people, was able to depict different social classes, gender, and occupations more than any other artists of his time

Problem Statement: Khamsah of Nezami is one of the greatest books of Persian literature, which has been highly regarded by the miniature artiste of different times due to its romantic and lyrical poems; beyond this, it provides a salient context for field of social history and presents the cultural status of women in specific historical eras. The visual lived reality illustrated by the women images in Khamsah of Tahmasebi, including customs, traditions and socio-cultural conditions of them in the Safavid era, can be well studied in these miniature paintings. these representations are in somehow expressing the conditions of daily life of women in their historical transition. Research Method To get the research aim, the theory of different fields` influences on creating artworks by Pierre Bourdieu was applied to discuss the extent of the influence of historical and social fields of Safavid in illustrating women images in Khamsah of Tahmasbi. However, the question here is that: 1. what aspects of women lives in the Safavid era are presented in the miniature paintings of Khamsah Tahmasbi and 2. which social and historical fields have been influenced by it? We conclude that the images of women in Khamsah Tahmasbi, due to the strict supremacy of the Shah and the Safavid court, the "court women" are mostly depicted and, contrary to the views of traditionalists, who believe in presentation of an imaginary world, many public customs and beliefs, or the realities of Safavid society are represented by them.

This research, by examining some paintings of the Tehran school in the contemporary period on the one hand, and reading the thoughts and philosophical views of the poet and mathematician Khayam Neishabouri of the 5th and 6th centuries A.H. on the other hand, aims to understand why and how To examine and research the placement of this poet’s poems and quatrains for the first time by painters of the Tehran school in the contemporary period. The hypothesis of the research in this article is that the artists of the Tehran school adhered to the traditional values and painting of Iran’s past during the modernism era in order to preserve their Iranian and Aryan roots as much as possible by linking to the past. The researched works include 9 paintings by contemporary painters, which belong to the Cultural Institute of Mustazafan Foundation Museums. Based on this, the method of collecting documentary and field information was done and the analysis of the data was also done based on the research, and finally, the conclusion was reached that the artists of the Tehran school, by reviving the traditional style and Iranian painting, returned to the past artistic methods. They stressed against the art of modernism, and by addressing Khayyam’s works and poems, for the first time, they sought to return to their Aryan roots and their past before the era of modernity and modernism.

Many historical illustrated manuscripts have used a fixed aspect of iconography for prominent characters to facilitate their recognition. This study aimed to analyze the pictorial pattern of Imam Ali's (PBUH) clothing, the design, form, and color in the paintings of the Khāvarān Nāmih's Manuscript, a sample of Turkoman school preserved in Golestan Palace. The results showed that the clothes of Imam Ali (PBUH) in the paintings consisted of a turban, cloak, and robe, which was the customary clothing style of his time, the conventional three-piece clothing. Moreover, depicting Imam Ali (PBUH) in the same clothes as other characters in the picture reflects his lifestyle as a normal person in society.

Tahmasebi Falnama is one of the illustrations of the Safavid era that contains topics such as concepts of Shi'a and the interpretation of good and evil, which is due to the submission of the Ahl al-Bayt. This manuscript was illustrated during the reign of Shah Tahmaseb. Shah Tahmaseb with the help of Shi'a scholars and the guidance of the greats such as Mohaqqeq Al-Karaki and Mohammad baqer Majlesi considered that one of the best ways to convey religious concepts was to recite texts and editions to Ahl al-Bayt's images. Therefore, he provided grounds for Shi'a development by supporting artists. Shah Tahmaseb intended to reinforce Shi'a thoughts and insights all over Iran through Shi'a concepts and imams’ visualization especially Imam Ali (as). This article answers these questions; What are Shi'a concepts in Tahmasebi Falnama figures? What are the signs and symbols of Imam Ali(as) guardianship in the manuscript? To answer these questions the following objective was considered: Identification and analysis of Falnama figures based on Shi'a concepts and signs of Imam Ali (as) guardianship. This paper used the library method and collecting subjects and analysis of Shi'a figures and symbols in the descriptive method.

Iran and China have had strong cultural and artistic interactions for thousands of years. These relations expanded after the Seljuks period and increasingly continued during the Mongol-Ilkhanate era. Roads came under a unified rule, and steppe nomads were influenced by cultures and civilizations in China, Central Asia, Iran, and the Caucasus. This process had a great impact on various arts, painting, and book decoration in the territory of Islamic lands, especially in “Iranzamin (Persia).” From the 14th century in the late Ilkhanate era, painting and book decoration with various scientific fields were used, especially in Persian historiography and literature also reached their peak in the Timurid and Safavid ages. The decline of the Abbasid Caliphate and dismantling the cultural and political barriers had a great impact on artistic creations and the interactions between art, Persian historiography, and literature in the establishment of the Tabriz School of Miniature Painting. Some Iranian components were influential in the creation of this style: Iranshahr's political thought, The Myth of Farrah-i Izadi, Persian mythology, history and narrative heritage of ancient Iran, etc. Those components were used in miniatures of books on historiography, literature, and the natural sciences. This research examines the adequate reasons for the usage of painting in the historiography and literature of the Ilkhanate era by the method of explanation in history and interdisciplinary research in cultural history, art history, and historiography.

According to the intertextuality approach and Bakhtin’s hypotheses, which were later expanded by Gérar Genette, no work of art is independent from other artistic works, and all of them bear a tight relationship with each other. A study of the shared elements of the literary and miniature styles of the Timurid period testifies to the existence of an intertextual relationship between these two prevalent artistic fields of that time. Following a descriptive-analytic approach, the present study aims to examine the literary and artistic works of the Timurid period and highlight the extent of the influence of literature over the art of miniature. The findings of the study indicate that the style of Persian literature has been employed as an introduction to the development of the miniature style of the Timurid period, and it is impossible to investigate the miniature works of this period without first learning about the common literary styles of that time.

Muslim miniature painters have taken on the issue of veiling in drawing up the faces and organs of women and men in a variety of ways. In the illustration of Shahnama in the Islamic era, despite his ancient stories, the issue of Women’s clothing has been raised. The miniature painters of the illustrated Shahnamas in the Safavid era have not treated the issue of Women’s clothing alike. The present study was to compare the veil of women in the miniature painting “Zal and Roodabeh's visit” to the Shahnamas of the Safavid era with the question of which of the miniature painting, the Women’s clothing has been more adhered to. The type of paper is fundamental and its method is descriptive-analytic and the necessary information is from library sources, and the observation of the Artworks is aimed at achieving the observance of religious orders among Safavid era painters. And recognizing the religious commitment of the artist to illustration has made this research necessary. According to the findings, in the miniature painting, belong to the version of the Shah Abbas II era, Due to the full body and head coverage, which is influenced by the fatwa of the Jurisconsult, the Women’s clothing has been observed more.

Since the creation of Ferdowsi's Shahnameh, this work has attracted the attention of kings and Authorities and in different periods, by their command, the valuable manuscripts of that, have been made by the most prominent artists of every period. In the history of Iranian painting, three manuscripts of the Shahnameh have special significance: the Great Mongol Shahnameh related to the late Ilkhani era, Baysonghor Shahnameh belonging to the Timurid period and Shahnameh of Shah Tahmasp related to the early Safavid period. A number of pictures of all three manuscripts have images of royal buildings, that the painters have made great efforts and precision in accurately drawing structure of their buildings and decorations, especially tiles. The buildings have inscriptions that each reminds the inscriptions of their periods. The present research tries to answer these questions: What are the features of the inscriptions depicted in each of the three manuscripts, in terms of the type and color of the line, location, color and Background decorations? What changes have occurred in the course of a period to the next? Regarding the importance of images in archaeological research, the main purpose of the present research is survey of the evolution and comparison of the Inscription of royal monuments from the late Ilkhani to early Safavids based on the images of three manuscripts of Ferdowsi's Shahnameh. The Information is collected in the library and field method and the research method is descriptive- comparative and analytical. The findings of the research show that the building's Inscription During the late Ilkhani to the early Safavid period is more sophisticated and more diverse in terms of script, colors and decorative motifs. Considering that there are no significant examples of the ceremonial and royal monuments of the late Ilkhani to the early Safavid period, investigating the images of these three manuscripts can provide researchers with useful information about the design, color and location of the inscriptions.

Throughout Iran’s history, there have been governments, however large and small, of local rulers and rulers that have been the source of significant influences in the history of our country’s art and civilization. These local rulers are not well-known throughout history, among them the local government of Al Inju and then al-Muzaffar. After the collapse of the Ilkhanid dynasty in Iran, the regions of Kerman, Yazd, and Fars were presented with a competition between the two families claiming al-Inju and Al-Muzaffar. However, the period of the local rule of Al Inju and Al-Muzaffar is bed into significant artistic and cultural developments, which can be seen in Shiraz’s orthography. This is because the remaining copies of the book-layout of Al-Inju and al-Muzaffar are proving to this claim. The question is: What effects has Shiraz’s painting school had on the Iranian Painting art during Al-Inju and Al-Muzaffar? The method of this research is descriptive-analytical with library data collection. Case studies are paintings of Shahnameh version 733 AH in the Russian National Library in St. Petersburg and Shahnameh 731 AH in the Topkapi Museum of Istanbul, Turkey, and Shahnameh Qavam al-Din Hasan 741 AH, all belonging to the Al Inju period, as well as paintings of the 771AH Shahnameh, exists in the Topkapi Library of Istanbul in Turkey, as well as the Khamseh Nezami version, in the late 8th century related to the Al-Muzaffar period in the National Library of Paris. Studying the characteristics based on formal, structural, and themes of Shiraz Artography during the Period of Al-Inju and Al-Mozaffar, the effects of Shiraz Painting School on the art of painting are distinguished. Based on the results of this research, al-Inju’s paintings were under the effect of the tradition of old Iranian painting (reminiscent of Sassanid graffiti) and visualization of Ferdowsi’s Shahnameh and it’s martial scenes, and the use of specific tables for writing parts (calligraphy), the illustration of lyrical systems in the Period of Al-Muzaffar, the application of brilliant colors in the painting of Al Inju and Al-Muzaffar have had a tremendous impact on Iranian Painting in the later era.

Tahmasebi Fālnāmeh is one of the few Iranian works of art that bring together information from various sources and Iranian-Islamic ideals (Shiite and Sufi). The multiplicity of sources shaping the content of this book has led to the production of a work that is variegated and hybrid in its application of visual elements. Since artistic imagination is a crucial factor in the embodiment of reason in the tangible, it is possible to study how meaning is shaped in works of art through techniques inspired by the analysis of imagination. In this paper, one of the methods of imagination-oriented analysis proposed by Gilbert Durand has been adopted to analyze an illustration in Tahmasebi Fālnāmeh. The research data was obtained by observing and decomposing the image into its components. Also, the information required for analysis was also attained from library research before applying Durand’s imagination method of analysis. The results indicate that the artist of the illustration has drawn on all twelve structures explained by the Durand to express the theme of immortality in his portray of Resurrections Day.

The Herat school of Timurid era is regarded as one special period of art flourishing in Iran. Timur and his successors in the spite of their wars in lands of Iran, they continually attempted to patron various artists and bring them together in Herat, which was caused to rise of the Herat school at different art areas.Certainly, emerging artistic figures such as Behzad Kamal- Al-Din had been coming due to suitable social conditions in that period and patronages of Timurids princes. Under patronage of art-loving princes, Behzad invented in Persian miniature which is not only considered as innovation and creativity in the Herat school but also in Iran’s art history. In the paper, it has tried to thoroughly explore the prominent works of Behzad Kamal-Al-Din in the Herat school of miniature painting according to social and political conditions of the Timurid period, and to study their effects on the growth and evolution of the Persian miniature through introducing the features specific to each work. Outcome of many years attempts and creativity of Behzad Kamal-Al-Din put a good model for miniature painters at next periods, specially Safavid era to bring the Persian miniature into the own eminence.

Visual evidences are considered to be the most important documents in history and especially in the history of Iranian architecture. There are different types of painting that they could be used importantly to retrieve many of historical as well as artistic issues. On the basis of Herat Painting School, which have more realistic representation it is possible to retrieve architectural decoration of Timurid period. Accordingly, to reflect the architecture decoration in Persian miniatures of different miniature painting schools of Iran, Herat Miniature Painting School with an emphasis on Kamal Al-din Bihzad painting were selected and analyzed. Given the importance of this issue the present article tries to concentrate on the most characteristics of Timurid painting school. The main goal of this study is a detailed overview on Timurid architectural decoration portrayed by Behzad through comparing them with those of paintings which have worked on the monumental buildings.

Painting and drawing style period of Al Jalayer in the continuation of the current should be Illkhanate(School of Tabriz) examined. The main impact remained of the Illkhanate was style of Chinese painting here during Jallayerid polished. We believe with historical and descriptive approach - analysis of the painting and the painting of the period and its share in the formation of the painting school in Herat, Timuridperiod.The findings suggest that the Sultans, especially Sultan Owais and his son Sultan Ahmed Jalayer political Conflicts established with support from studios and artists have had a major role in the evolution of art of this period. Chinese style painting at this time, especially in the Baghdad School of adjustment and their flavor was Iran and other contemporary artists Jalayer and their students with the transition to the Timurid era art centers contribute to the formation of the Timurid period have been Herat school of painting.

Given its rich cultural dimension and influence over other arts, including painting, Iranian literature is one of the most distinctive contexts in the field of comparative literature. This field can explore the relationship between poetry and painting from two aspects: First, how an identical concept is manifested in both written and visual arts and, second, how written art or poetry could affect visual arts or painting. Ferdowsi’s Shahnameh is one of the cultural, mythological texts which goes beyond its initial coding system, becomes present in various epistemological and artistic realms, and affects them. One of the important themes in Iranian painting is the battle betweenDiv (Demon) and human beings. The present paper intends to investigate the form of Div in the painting schools of the Ilkhanid period to the end of the Qajar period and the reasons for differences in portraying it based on Paul Ricoeur’s theory. This study seeks to provide some answers to the following questions: 1) What are the formal characteristics and distinctive features of the image of Div in the different painting Schools between the Ilkhanid and the late Qajar periods? 2) How could the differences between the images of Div in the painting schools of the mentioned time interval be explained? The results of the study indicate that the images of Div in the paintings of this period have been drawn with animal features in the body of human beings. On the other hand, the existing differences in this regard originate initially in the metaphorical aspects of Shahnameh and then in the personal perception of painters and their understanding of the text, the artistic taste of their period and the school in which they have been trained, and the social, cultural, political, and gnostic conditions and necessities of their time. This study has been conducted following the descriptiveanalytic, comparative, and library methods.

Due to the lack of support from the Safavid court, we witnessed the migration of some of the artists to the Ottoman court. These conditions created a suitable basis for the development and growth of the Ottoman art based on the artistic achievements of Iranian schools in the newly established workshops in Istanbul. Implementing a comparative-analytical method, in this research, the extent of the influence of the Ottoman school from the Tabriz school and the similarities and differences of them based on the available graphic dimensions in the paintings of these two schools are investigated examining Shah Tahmasb’s Shahnameh and Soleymannameh. The results show that in the first half of the tenth century (AH), the activities of Iranian immigrant artists in Topkapi's workshops have had significant effects on the Ottoman paintings, and the artists of this school were able to adapt to the valuable Persian art and combine it with their native art to achieve a glamorous method of national style.

The purpose of the present study is to examine the types, components, forms and designs of the women clothing in the Ilkhanid era. Apparently, clothing represents the ethnic, social and human identity of a person. Investigating the types of clothing in various eras could be one of the most valuable sources to recognize and understand the mentality of different masses in a society. The historical review of the women clothing in order to preserve the dignity of the Moslem women in Iran post-Islam era seems very important, especially in the eras when Iran was dominated by the foreigners. This study tried to examine the women clothing in the Ilkanid era using available Mongol historical and literary texts. It also aimed at providing a more comprehensive picture of the women clothing by examining the travel accounts and the remaining typographic works of that time. The research used micro history approach and the data were gathered using library resources.

The great Mughal emperors of India, with their fortunes, were considered to be the most important advocates of art, especially art, during their time in the Muslim world. Due to the political, social and economic conditions in India, many painters from different lands, including Iran, migrated to the court of the Mughal kings of India. This led to India's art, especially painting, to be influenced by Iranian art. India's land was the first Islamic country to accept and be very impressed with Western art. This interaction and opposition to Indian artists, in their ancient artistic style Which is available in the Agenta cave complex, has led to the emergence of new and integrated styles in Islamic art. The art of painting in the land of India began from the period of Zahir al-Din Babar, and during the Akbar Shah, he reached his artistic peak, and he continued after him, but with the reign of Orangebe the advent of art was declining. The purpose of this study was to show the impact and The influence of the arts of ancient, Iranian and western Indian art in the Indian Mogul empire has been shown. The results show that Iranian art, and then Western art, had the greatest impact on the art of Indian painting of the Mongol period, although this effect ultimately leads to artistic contrast In the realm of the Great Mughal government of India. This research seeks to answer the question of the influence of Persian, Hindi, and Western painting What was the result of the Great Diocese of the Mongols of India? Also, the study of the impact and influence of the Mogul empire in India is one of the innovations of this research. The research method in this paper is descriptive and analytical.

A part of the core concept of the Iranian images manuscript, particularly from the 10th century onwards are focused on representation of the themes of interest and emphasis to Shi’ism. In the meantime, Fālnāma-yi Tahmāsbī manuscript, which was produced during the dominance of Shi’ism discourse in the reign of Shah Tahmāsb, is a manuscript worth deliberation both in terms of theme and concept. It seems that the approach of the painters of this manuscript has been inclined toward representing the Islamic and Shi‘ī themes and contents based on the beliefs and traditions concerning Shi’ism discourse. Thus, this article is intended to thematically describe and analyze the images of this manuscript in line with the beliefs, traditions, and narrations of Shi’ism discourse. The findings of this research show that a selection of doctrines and important events of Islam and Shi’ism, the Qur’anic and religious stories that somehow represent the reality and righteousness of Shiism are illustrated in Fālnāma-yi Tahmāsbī manuscript. The important point is that there are some noteworthy signs, symbols, and pictorial preparations used in some of the images of this manuscript representing the beliefs and discourses of Shi’ism discourse that make it outstanding among religious manuscripts.

The fall of Tabriz after the loss at Chaldoran (1514 AD. / 920 AH.) paved the way for looting the major part of material and moral wealth of Safavid capital. Meantime, considerable number of artist elites of Tabriz had been transplanted to Ottoman territories. This compulsory migration transmitted the accomplishments of Safavid Tabriz Miniature School, the heir of artistic schools of Herat, Jalayerids, and Turkmen to the Istanbul School. Some of these miniaturists such as Sha Quli, the painter, and his students had created and flourished a new style called Saz. This research will review the historical events which are related to the transmission of Tabriz School miniaturists into Istanbul and study the role of these artists in formation of an evolution in the Ottoman miniature art.