Printed Sharvand news Vancouver September 1999
A glance to Iranian Miniature
An Article about Orange Pomegranate Collection
Ali Akbar Negahban
The Iranian miniature drives from the ancient miniature of china. When both Iran and china were under the occupation of the Mongol, these two countries made commercial and cultural relations. Consequently, inspiring from the Chinese artists, the Iranian miniature came to existing. The second stage of the evolution of the Iranian miniature took place during the Teymooryan dynasty. The Harat school appeared in this area. The most famous artist of this area Behzad, who illustrated the Shahnameh-ye Bysonghory. The main characteristic of this two era this being descriptive. The Iranian miniaturists inclined toward illustrating religious or poetical books as a result, painting become a part of those books. it missed its independence. Dwindled in size, the paintings become a subtitle describer of the books. Finally , the third evolution of the Iranian Miniatures occurred through the Safavid era. In that era, Isfahan became the capital of Iran, and the capital of Miniature Art as well. Many palaces, mosques, schools and bridges were built. Moreover artists from across the country gathered in Isfahan after the renaissance in Europe, political and cultural relationships between Iran and Europe where developed. Consequently painting came out of the many folds of books…However, on the first steps towards the independence, it served to decorate places, mosques and other architectural buildings. Eventually, impressed by European art, figurative sketches appeared. There are many single pages of figurative sketches available, painted in the style of Isfahani schools, signed by Reza Abbasi. The sketches imply a skillful artists. It was the first time that an artist sketched real people from the various social classes. recording a daily occurrence is` the theme of some of the sketches. This artists not only has been technically skillfull, but also has drawn the lines with a deep sense of philosophical vison to the existence. Reza Abbasi deems the line as an intermediator through which he can reach the inner tranquility. He meekly represents the themes and concepts derived from nature sites or his insights. After hundreds of years, a very different time Reza Doust has attempted to look at the world through Reza Abbasi’s eyes, faithful to his work.