The Development of figural representation in Neyshabur Murals: Sasanian, post-Sasinan and Central Asian Type

The present study examines the Figural representation and drawing in Neyshabur Murals in the ninth and tenth centuries: these murals include some wall paintings and drawings from Vineyard Tepe, Qanat Tepe and Sabzpushan. In total, this collection represents three artistic and temporal phases in the Neyshabur mural: the first, and presumably the oldest, is Vineyard Tepe, which has more similarity to the contour type of Sasanian art. In this manner, which has many counterparts in metal artworks, stone reliefs and plaster sgrafitto, the focus is on the quality of the line; these works usually are colorless and drawing-like. In the second phase, there are Sabzpushan murals that feature the brush work and their distinction from the earlier group in stylization and painting. On the other hand, these have origins in Sasanian formal arts and then in the early Islamic period, as in Samarra. The third phase or type is of Qanat Tepe works that represent the artistic elements and influences of northeast Iran and Central Asia; moon face, arched eyebrows and almonds and narrow eyes in physiognomy. The delicate delineation of Sabzpushan Murals is characteristics. These artistic devices may reflect the presence of artist immigrant from Central Asia in Neyshabur. The "hunter" mural in Qanat Tepe could be the most magnificent evidence. In this process, the linear, colorless and somehow formal Sasanian-like or post-Sasanian-like figural representation manner of early Islamic era are transferred from Vineyard Tepe style, which is the mediator between these two phases, to a dynamic manner that is distinguished by powerful delineated and realistic representation of the human figure.