Tile work of the entrance portal of the Masjed-e Shah in Esfahan,
built by Shah Abbas between 1611 and 1629
P e r s i a n A r t
Tile work of the entrance portal of the Masjed-e
Shah in Esfahan,
built by Shah Abbas between 1611 and 1629
Persian art, now recognized as a distinctive branch of man's creative genius, is perhaps the best-known feature of Iranian civilization. Particularly in architecture, pottery, textiles and metal- work, it has influenced the arts of other nations from the Pacific to the Atlantic for at least three thousand years.
Archaeological discoveries are rapidly adding to our knowledge of pre-Achaemenian art in Iran. The Lorestan bronzes, discovered in large quantities in the twenties and thirties, are clearly, the work of a vigorous, horse-loving people, and are masterpieces of their kind, while the excavations in the seventies at Marlik and Hasanlu reveal that the early Iron Age cultures of northern Iran were just as talented in metalwork, especially gold, and pottery
The extent of the Achaemenian Empire led to the creation of a heterogeneous yet unified art, ideally suited to Iran's new role as a world power. Persepolis, Iran's greatest monument and one of the architectural wonders of the ancient world, contains elements borrowed from Babylon, Assyria and Egypt, but its grandeur and delicacy make it distinctively Persian. Both Greek and Byzantine architecture later leaned heavily on this Persian tradition.
In the Parthian and Sassanian periods, architecture developed along new lines, and two important features evolved. These were the "eyvan," a vaulted hall open at the front and closed at the back, and the squinch roof, by which the dome is supported across the corners of a square-walled structure. The "eyvan" later became a permanent feature of Islamic architecture and examples can be seen in most Persian mosques.
The decorative arts have always been important in Iran. Early mosques, such as those built in the Seljuq period, are often decorated by deceptively simple brickwork motifs, while the Timurid period saw the development of tilework, which became the most used decorative technique in later times, not only for mosques and palaces but in domestic architecture also.
All the arts enjoyed a spectacular revival under the Safavids. Their capital, Esfahan, is still one of the world's most beautiful cities, despite the ravages of time and war. The Safavids, particularly Shah Abbas the Great, also built or rebuilt hundreds of mosques, palaces, shrines and caravansarais all over Iran, many of which have survived virtually intact. The "minor" arts also flourished in this period.
With the advent of Islam, the arts of calligraphy and book illumination developed in Iran, beginning with the creation of beautiful copies of the Koran, and gradually extending to secular works, especially the Shahnameh, which were often written on fine parchment or skin and elaborately bound. Persian calligraphers adapted the Arabic script in several beautiful new styles, and even today a fine hand is considered essential for a truly educated man.
From these arts miniature painting developed, and after the Mongol invasion, which introduced some Chinese influences, a composite painting style, still essentially Persian, evolved. Persian miniature painting reached its peak in the fifteenth century, but the tradition continued until Safavid times and beyond.
The Qajar period saw the growth of a new school of painting, influenced by European trends and tending towards greater realism, while miniature painting found a new outlet in the decoration of lacquered pen-cases. Reza Shah Pahlavi and later Empress Farah Pahlavi encouraged a revival of the art, and there are today a number of talented miniaturists, most of whom work in Esfahan.
The Persian carpet needs no in troduction, as it is everywhere recognized as the finest floor covering ever devised by man. Hand-knotted from the besi wool dyed with natural materials, it is extremely durable, and the unbroken tradition of weaving and design give it a classic air that makes a Persian carpet blend serenely into any environment. Archaeological evidence suggests that its origins are extremely old, although only fragments have survived from pre-Safavid times. World- wide demand has intensified commercial pressure on the craftsman and merchant yet the Persian carpet is still produced in the traditional manner, and the resulit is not only a consumately beautiful work of art, but a practical household furnishing that actually appreciates in value year by year.
The unique heritage of Persian art and archaeology, like most aspects of Iranian life, has been deeply affected during the past half-century by Western influences, and not always for the best While the uncertainties of this transitional period are still reflected in the work of many artists, it appears more and more certain that the great tradition of the past are absorbing the new influences. In a number of artistic field confident new styles are emerging tha tblend foreign and Iranian motifs to create unmistakably Persian works of art.
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