@natasianart writes "This sixteenth-century painting was inspired by the snowy winters in Iran.

As if glancing out a window, we see swirling clouds, gently falling snowflakes, and accumulating snowdrifts covering a desolate landscape. In addition to the unusually sober palette of gray, mauve, pink, white, and brown, a pair of birds fluffs off their feathers in a barren tree, and two wolves crouch next to a crumbling tombstone, further… https://www.instagram.com/p/DTlAcCAjowW/?utm_source=dlvr.it&utm_medium=mastodon #PersianArt #SmithsonianAsianArt

#Art #PersianArt Inscribed tablets and clothing pins. On the left are: a will; a transfer of property; a confirmation of payment; a summons to supply palm branches to a temple; and an administrative text written under the rule of Seleukidas, a general under Alexander the Great, charged with ruling Persia.

On the right are pins to fasten one's clothes.

صنایع دستی ایران؛ میراثی زنده از هنر و فرهنگ ایرانی
در هر شهر و روستای ایران، اثری از هنر دست انسان‌هایی دیده می‌شود که عشق و اصالت را در قالب سفال، خاتم، مینا، قالی و فلزکاری متجلی کرده‌اند.
در این مقاله از آفرینه با فهرستی جامع از زیباترین صنایع دستی ایران آشنا شوید — آثاری که شایسته هدیه دادن و ماندگار کردن زیبایی‌اند.
👇
🔗 https://afarineh.com/blog/iran-handicrafts-list

#صنایع_دستی #هنر_ایرانی #آفرینه #هدیه_ایرانی #PersianArt #IranianHandicrafts #CulturalHeritage #HandmadeGifts #Afarineh

“Portrait of a Persian Lady", ca. 1736-1737, unknown Persian artist, ink, opaque watercolor, and gold on paper, The Metropolitan Museum of Art, New York. #arthistory #persianart

From the website: "This folio depicts a lady seated on a balcony before an expansive landscape. The artist has used European techniques of modeling and shading in rendering the face, neck, and hands. The landscape in the background incorporates the use of perspective, a technique adopted by Iranian court painters in the mid-seventeenth century. A small date in white ink in the sky appears to read A.H. 1149/A.D. 1736-7, which places this work in the period of the Afsharid rulers of Iran."

Portrait of Jalal al-Din Mirza, attributable to Abu’l Hassan Ghaffari Sani’ Al-Mulk, Qajar, Iran, 1859, oil on canvas, 49 x 35in. (124.5 x 88.9cm.), photo: Christie’s London, 21 Apr 2016. #arthistory #persianart

From the Christie’s lot essay: “Jalal al-Din Mirza (1827-72) was a son of Fath ‘Ali Shah Qajar (r. 1797-1834). He was a Qajar historian and freethinker and the author of the Nameh-i Khusravan, one of the earliest examples of modern Iranian historiography in the Qajar period…

The work of Abu’l Hassan demonstrates a change in the aesthetic of Qajar painting in the mid-19th century (Julian Raby, Qajar Portraits, exhibition catalogue, London, 1999, p.53). The artist began his career as a pupil of Mehr 'Ali, but none of his early works survive and it is therefore unclear as to whether his painting began in a style more typical of Fath 'Ali Shah's reign. He was appointed the naqqashbashi (chief painter) of the court of Muhammad Shah in 1842 (Yahya Zoka, op.cit., Iran, 2003, p. 21) and was sent to study in Italy and Paris, a factor which began to manifest itself in a European-influenced realism in his work that was new to Persian painting. The expressive power of his portraits - as demonstrated here - led Abu’l Hassan to the art of caricature and he became the illustrator to the court newspaper, Ruznama-i vugayi-i ittifaqiya. Alongside the more traditional depictions of Qajar nobles, he showed a capacity for the merciless caricature of their attendants and the religious classes (Julian Raby, op. cit., p.53).”