Safavid art - Knowledge (XXG)

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the founder of the dynasty and, because of this proximity, has a restrained diameter. It looks therefore a little diminished by its neighbouring monument. Tall in measurement, it contains three small superposed cupolas, and flaunts a ceramic decor divided into numerous registers to avoid monotony. The yellow colour of the decorative ceramic is, however, a totally new element. Also at Ardabil is attributed to Shah Tahmasp the Jannat Sara, an octagonal building with accessories and gardens much degraded in the 18th century (and greatly restored). Situated at the north-east of the tomb, it dates, according to Morton, to the years 1536–1540. Its main use is still debated, because it's mentioned as a mosque in European sources, but not in Persian ones, which raises certain questions. Was it planned to place here the tomb of Shah Tahmasp, actually interred at Mashhad? From this place come the famous carpets of Ardabil (see below).

515:(literally carpet gardens) of the same period. It contains baths, four covered walkways and three pleasure pavilions: the Gombad-e Muhabbat, the Iwan-e Bagh and the Chehel Sutun. The name of the latter, built in 1556, means "palace of forty columns", a name which is explained by the presence of twenty columns reflected in a pond. In the Persian tradition, the number forty is often used to mean a large quantity. This little construction at one point served as a place of audience, for banquets and for more private uses. It was decorated with panels painted with literary Persian scenes, such as the story of Farhad and Shirin, as well as hunting scenes, festivals and polo, etc. Floral bands surrounded these panels, based on models of Shah Tahmasp himself, to paint at his hours, or again of Muzaffar Ali or Muhammadi, thus used in the royal library. 1638:, who directed the kitab khaneh between 1597 and 1635, (having been transferred, in 1602, to Isfahan), is undoubtedly the greatest representative of this genre. The people illustrated on these album pages are most often elongated silhouettes, with little rounded heads. The subjects could be courtesans, servers of drinks being prominent, but also peasants and dervishes. Although Reza resisted European influence, right up to his death in 1635, other artists did not hesitate to draw inspiration from, or to copy, the engravings brought by merchants from the Netherlands. Other great painters of albums from this period were Safi Abassi, son of Reza, known for his paintings of birds, and Mo’in Musavvir, Muhammad Qasim and Muhammad Ali, his disciples. 1380: 1034: 469:, brother-in-law of Ismail, partially compensated for this lack of construction beginning in 1503. This governor of Isfahan, who lived more often at the court of Tabriz than in his city, left the reins to Mirza Shah Hussein Isfahani, the greatest architect of the period, who built there in particular the tomb of Harun-e Vilayat in 1512–1513. Described by a western traveller as a great place of "Persian pilgrimage" (as much for Muslims as for Jews and Christians), this monument is composed of a square chamber under a cupola, a completely traditional design. The cupola rests on a high drum, the 861: 1110:, most often datable to the 16th century. A series of pitchers with globular bellies also exists, mounted on a little ring-shaped base and having wide, short necks. Two of these (one in black jade inlaid with gold, the other in white jade) are inscribed with the name of Ismail I. The handle is in the shape of a dragon, which betrays a Chinese influence, but this type of pitcher comes in fact directly from the preceding period: its prototype is the pitcher of Ulough Beg. We also know of blades and handles of knives in jade, often inlaid with gold wire and engraved. 1215: 754:, the Georgian minister of Shah Abbas. It is contained in the continuity of Chahar Bagn. With its arcades, in the sides and in the base, it also offers the possibility of strolling on several levels, according to the height of the water. It serves, of course, as a means of passage, but also as a dam, to regulate the flow of the river. As one crosses it, the water seems like a grand fountain, thanks to the "emmarchements". At the side is a talar, the kiosk of mirrors, from which the sovereign could observe the river. 122: 1136: 892: 526:, presents a décor undoubtedly elaborated between 1565 and 1575, using a rare and very sophisticated technique: over a coat of red paint, the artist placed a white coating, and then scratched to allow motifs to appear in red silhouette—motifs reminiscent of those in books and on cloth. One finds there animal fights, throned princes, literary scenes (Khosrow and Shirin, Yusuf and Zuleykha), a game of polo, hunting scenes etc. One notices that the silhouettes curve and that the 462:. It was no doubt also he himself who designed his own tomb, even though it was created shortly after his death. Ismail is also credited with the restoration of the Masjed-e Jameh de Saveh, in 1520, of which the exterior decoration has disappeared, but of which the mihrab combines a use of ancient stucco and a delicate decor of arabesques in ceramic mosaic. Another mosque of Saveh, the Masjed-e meydan, received a similar mihrab, dated by inscriptions to between 1510 and 1518. 2753: 795:, then redecorated in the years 1870. According to a poem inscribed on the building and another by Muhammad Ali Sahib Tabrizi, it would have been created in 1647–48, and if some researchers believe that this building was constructed in several stages, the majority are inclined to think that it was built all at once, because it is quite coherent. It's a rectangular building, sporting columns which reflect in the ponds (chehel sotoun meaning "forty columns" in Persian). 618: 637:, who long studied it. One finds there traits characteristic of Iranian architecture, such as the taste for proportions in two levels: one level, the portico of the upper part (talar), or again the cruciform plan. The décor is often reminiscent of the contemporary book art, with Chinese clouds, birds in flight, and flowering trees portrayed in soft colours. The upper rooms, called music rooms, present a décor of little alcoves the shape of long-necked bottles. 840: 799: 964:

quatrains by Persian poets, sometimes related to the destination of the piece (allusion to wine for a goblet, for example) occur in the scroll patterns. One can also notice a completely different type of decor, much more rare, which carries iconography very specific to Islam (Islamic zodiac, bud scales, arabesques) and seems influenced by the Ottoman world, as is evidenced by feather-edged anthemions (honeysuckle ornaments) widely used in Turkey.

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16th century, that is, principally under Shah Ismail and Shah Tahmasp, are called "with medallion" because they are organized around a large central multi-lobed medallion sometimes called Shamsa, that is "sun", and the corner decorations each carry a quarter of a medallion which is strongly reminiscent of that in the centre. The most famous carpets of this type are the pair of carpets said to be of

726:. Its dimensions are colossal: 140 metres by 130, equalling a surface area of 18,000 square metres, about the size of three football fields. The plan is however much more orthodox than that of the mosque of Sheikh Luffallah: the mosque is rigorously symmetric, with four iwans and two cupolas, the minarets rising in front of the prayer room. In one part and another of the building are two 25: 1413:. This last is undoubtedly one of the most famous pieces of Safavid painting, which shows the strong prominence of Turkmen art in the treatment of very dense vegetation, like a carpet, and in the messing up of perspective. It is thought that it was when Shah Tahmasp returned to Tabriz in 1522 that work on this painting stopped in 1522, when, moulded by the influence of his masters 270:(August 22, 1514), marked a stopping point. The Safavid army, unfamiliar with firearms, suffered a painful defeat. Selim I entered Tabriz—from which he withdrew several months later because of internal quarrels—and annexed a large part of the Safavid territory. Shah Ismail, whose divine ascendance had been definitely set aside, withdrew from political life, while relations with the 706: 857:(the "eight paradises") is composed of a pavilion with eight little entities distributed around a large room under a cupola with four iwans. Small vaults crown the secondary rooms, decorated with mirrors which make the surfaces appear to be moving. The exterior decor, in ceramic, is remarkable for its extensive use of yellow. This building is dated to the years 1671. 1682:

monumental boulevard of Tchehar Bagh (or avenue of the four gardens) which crosses the city of Isfahan in a 3-kilometre stretch. Guardians of the ancient Iranian artistic tradition more than innovators, they carry out a refined and sumptuous art of the court, with an affected manner filled with great poetic charm. Their fall led to a rapid degeneration of art in Iran.

599: 743: 306: 778: 672: 1502:. Their bindings had a counter-plate with a large decoration of perforated leather and a plate with large rectangular plaques with animal motifs or arabesques, according to the ancient Timurid tradition. The painting used a harmonious palette, with airy compositions, but an absence of new models and the repetition of 1475:). In spite of the blockade imposed by this empire in 1512, the production did not weaken, which suggests that it turned towards other poorly-identified buyers, given the absence of local patronage. Under the influence of Tabriz, one notes the evolutions between 1501 and 1525: the silhouettes became slimmer; the 1673:, two very Europeanistic painters, the role of the illustrated book in the art of the book declined still further. A great activity of calligraphy and illumination was put into practice, with a true regrowth of interest for the former and an abundant style, very fine and rich in plant elements for the second. 1097:

Under Shah Tahmasp, inlays disappeared rapidly, as witnessed by a group of candlesticks in the form of pillars. This period also saw the appearance of coloured paste (red, black, green) to replace the multicolouration previously supplied by the inlays of silver and gold. This period saw the beginning

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The plan of the building, like its décor, demonstrates a grand coherence. The veneer of ceramic covers all the surface of the walls, but the back of the iwans is often neglected in favour of the façade. The dominant colour is blue, almost giving the impression of a blue mantle, and gives a sense of

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filling the octagonal passageway. Two minarets, now gone, magnified the great porch, while the decor of hazerbaf and the ceramic mosaic, concentrated on the facade, stayed in the Timurid tradition. The facade, punctuated by blind arches, is thus unified by basic decor, as was already the case at the

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in the district of Bakharz. Under the patronage of the brother of Braham Mirza, Ibrahim Mirza, they revitalized the school of Qazvin, employing artists such as Shaykh Muhammad, Muzaffar Ali or Muhammadi, specialized in drawings. The most famous manuscript that came out of these workshops is a copy

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It was in this period and particularly since Shah Tahmasp that the first carpets with floral decoration were created, in order to satisfy the taste of the Safavids. The difference between the carpets of the nomads and the floral ones is due to the role of the "master" (ostad), who draws the pattern

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The rapid development of the carpet industry in the Persian Empire during the Safavid period seems to be due to the sovereigns' taste for this art form. Ismail I, then Shah Tahmasp and Shah Abbas I are known for having been personally interested in carpet production. One has also supposed that the

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Based on accounts by travellers and other written sources, it appears that workshops for royal carpets existed in Ispahan, Kashan and Kerman. These workshops produced carpets for the palace and mosques of the Shah, but also to be offered to neighbouring monarchs or to foreign dignitaries, or pieces

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In general, the decors tend to imitate those of Chinese porcelain, with the production of blue and white pieces with Chinese form and motifs (curved marly, chi clouds, dragons etc.) In any case, the Persian blue is distinguished from the Chinese blue by its more numerous and subtle nuances. Often,

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benefited from his attention. In the latter place, one can cite the funeral tower of Shah Ismail, possibly ordered by this one, but which was undoubtedly created during the first years of the reign of Shah Tahmasp, even though no date is mentioned. It is situated right next to the funeral tower of

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from virtually all their positions in the royal household, the civil administration and the army, and be fully loyal to the Shah. These measures, including the heavy European reforms of the army, thanks to the British brothers Shirley, allowed the Shah to easily defeat the Uzbeks and to retake Herat

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took the place of the preceding generation. New grand calligraphers, Mir Ali ou Malik Dayalami appeared and gave birth to the "rule of the two quills", which defined identical rules for calligraphy and painting. Illumination and bookbinding evolved in parallel from the art of tapestry, given that

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It is generally accepted among specialists that it was the Safavids who transformed the carpet from production by artists assured by nomadic tribes to the status of a "national industry" of which the products were exported to India, into the Ottoman Empire and to Europe. During the Safavid period,

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With the closing of the Chinese market in 1659, Persian ceramic soared to new heights, to fulfill European needs. The appearance of false marks of Chinese workshops on the backs of some ceramics marked the taste that developed in Europe for far-eastern porcelain, satisfied in large part by Safavid

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The madreseh Madar-e Shah, or madreseh of the mother of the Shah, is on the Chahar Bagh and is dated 1706–1714. It carries no architectural innovation, and therefore evokes the stagnation of architecture of this period: a plan of four iwans and a dome reminiscent of the mosque of the Shah form

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and Tabriz). A new capital was thus set up beside the ancient city, organized around a meydan, a large place 512 metres long by 159 wide. On one side stands the Shah's mosque, on the other the Shah's oratory, called the mosque of Sheikh Lutfallah, while the pavilion Ali Qapu opens onto a large

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The years 1550–1600 were marked by numerous changes in the organization of the empire and therefore in the production of books among the Safavids. With the transfer of capital in 1548, the royal workshop moved, and it was Qazvin which took over the royal production. In any case, the provincial

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There are also carpets with the theme of hunting, an activity prized by the Shahs and requiring address, strength, and knowledge of nature. This theme is also linked to paradise and to spiritual activities, because the hunt often unfolds in a wilderness which can be reminiscent of the gardens of

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The production of carpets was strongly influenced by the leadership of the art of the book, which provided the patterns. Thus, on comparing them with bookbindings and illuminations, specialists have been able to discern a stylistic evolution. Thus, the majority of the carpets produced during the

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is received by Shah Tahmasp, then Vali Nadr Muhammad Khan, sovereign of Bukhara between 1605 and 1608, by Shah Abbas I, and finally, one finds an evocation of the taking of Kandahar by Shah Abbas II, which must have been added later, the city not having fallen until 1649. In the secondary rooms,

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The grand bazaar is connected to the old market on one side and to the meydan on the other. On the side opening onto the meydan, its high vault with protruding ribs encloses a multi-story structure, of which the upper part was reserved for the Shah's orchestra while in the lower part were found

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Also credited to Shah Ismail is a palace at Tabriz, his capital until 1555, of which nothing survives except a description by the Italian traveller Michele Membre, who visited Tabriz in 1539. According to him, it was composed of a garden surrounded by walls of stone and earth with two gates of a

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The period after the death of Shah Abbas was a long decline, partly due to the harem system, which encouraged intrigue and manipulation, often by the same new Caucasian layers in the Persian society. The reign of Shah Safi (reigned 1629–1642) was notable for its arbitrary violence and territorial

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from 1500 to 1598. But the nomadism of the artists, due to frequent political changes and to the nomadism of the sovereigns, implicated notable influence on the part of the Safavid centres. The manuscripts of this school are characterized by their margins richly decorated with the technique of

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The discovery, on the walls of houses of Kubacha, of ceramics of a very homogeneous style rapidly led historians to believe that there existed a centre of production in the city. This interpretation was however contested by Arthur Lane and many others after him, and seems today to be erroneous.

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Numerous carpets (between 1500 and 2000) have been conserved since the Safavid period, but the dating and establishment of the origin of these carpets remains very difficult. The inscriptions are a valuable indicator for determining the artists, the places of fabrication, the sponsors etc. In

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The Safavids were the last sovereigns to promote a Persian national art. Thanks to them, in present-day Iran a new art is taking flight, particularly notable in urbanism: Ali Qapu, Chehel Sutun have their treasure-troves in verdant parks laid out according to precise perspectives, such as the

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for its part was distinguished by a very particular production of relatively small carpets entirely of silk, with a blue or red base, showing fights between fantastic animals borrowed from the Chinese (kilins, dragons, phoenixes). As with the large carpets, those of the 16th century display a

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This mosque was the first to be constructed in the new Isfahan, before the grand mosque of the Shah. Its construction stretched over sixteen long years, but two dates (1616 on the dome and 1618 in the mihrab) tend to show that it was completed around 1618. The architect was Muhammad Riza ibn

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The decoration of the margins was realised in various ways: sometimes they were inserted in a different paper, (a tradition that appeared in the 15th century); sprinkled with gold, following a Chinese custom; or painted with colours or gold. The style of illustrations varied greatly from one

1634:, the number of illuminated and illustrated manuscripts dropped considerably, leaving mostly single works intended as album pages. The albums were created most often under the direction of a painter or calligrapher. They grouped together drawings, calligraphy and also ancient miniatures. 696:

The plan of this mosque is rather unusual, with a winding, intentionally dim entrance which leads to a prayer room completely covered by a dome and open to a grand portal. The absence of a court is notable. The décor consists of yellow marble, with niches arranged in the sides with rich

454:(northern Iran) into a dynastic centre and place of pilgrimage, embellishing the complex surrounding the tomb of Shaykh Safi and interring there the remains of his father in 1509. He is responsible in particular for the construction of Dar al-Hadith, a hall dedicated to the study of the 1600:. The ornamentation was bountiful, illustration was abundant in manuscripts and the colours were vibrant, although without much variation. The drawings represented people with round faces and long noses. The illumination remained very repetitive, and the calligraphy, most often 1864:

Researchers are divided about the attribution of Dar al-Hadith to Shah Ismail, but Sussan Babai notes the mention, in 1570, of an inscription with the titles of Shah Ismail on the facade. S. Babaie, “Building on the past: the shaping of Safavid architecture, 1501–1576”, in

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of very fine quality. They could be gilded and stamped with geometric, floral or figurative motifs, or embossed in blue. In the second half of the 16th century, they pierced the leather covers to allow the coloured paper or silk pages to be seen. In the same period, at

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From the end of the 16th and the beginning of the 17th century, that is with the coming into power of Shah Abbas, the medallion tended to disappear, since the corner decorations could already have been eliminated by the second half of the 16th century, as is shown by the

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too, are found numerous gallant scenes and figures on foot. One notes Western influences in the décor (the opening onto a landscape; similarities with the Armenian neighbourhood) and Indian influences (a horse represented tinted in henna; iwans covered with mirrors.)

1657:(1632, Victoria and Albert Museum) are examples of the perpetuation of this tradition, which the provincial workshops abandoned less readily than the royal ketab khaneh. The school of Herst, notably, still regularly produces copies of great illustrated Persian texts. 873:

the major part of its architectural elements. The decor, highly geometric, is on the other hand a little different from that of the 17th century, with a palette dominated by yellow, green and gold, and a denser network of vegetation than that in the Shah's mosque.

1249:. It's the flowering of "vase carpets", which, as their name indicates, display a vase from which springs a floral arrangement. The garden, which is associated with paradise, equally gives place to a type of composition which appeared in the 17th century in 218:

It was however not until 1447 that the Safavid dynasty began to show its political ambitions, with the seizing of power by Sheikh Djunayd. A system of battles and alliances with the Turkmen tribes began, leading to the extinction of the dynasty of the

1585:, being blind, took little interest in books, ending the restart which had been set in motion. The renewal of the art of the royal book would only take place partially under Saha Abbas I the Grand, who ordered, as, it seemed, was the custom, a grand 486:, at the beginning of his reign (1524–1555) stayed rather inactive in architectural matters, contenting himself with restorations and embellishments, always along the lines of the dynasties which preceded him. In particular, the great mosques of 1150:", depicting animal and hunting scenes. Northwestern Iran, 16th century. Warp and weft: wool; pile: wool; knot: asymmetrical. The carpet once covered the floor of the collegiate church of Mantes-la-Jolie (Yvelines, France), hence its name. ( 551: 235:, then 12 years of age, took his place as leader of the movement in 1499. A vigorous propaganda was soon put in place, allowing an army to be recruited. In 1500, his 7000 soldiers defied the Turmken troops, 30,000 men strong, and in 1501, 433:

traditions, on the other hand his participation in architectural construction was almost nonexistent, no doubt because the Safavid conquest was carried out without major destruction. Thus, at Tabriz, the new capital, all the surviving

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Numerous types of pieces were produced: goblets, plates, long-necked bottles, spittoons, etc. Canteens can be noted with very small necks and bellies that are flat on one side and very rounded on the other: an example is found at

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The study and dating of ceramics under Shah Ismail and Shah Tahmasp is difficult because there are few pieces which are dated or which mention the place of production. It is also known that the most powerful personages preferred

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came into power. In 1534, Suleiman invaded Iran with a force numbering 200,000 men and 300 pieces of artillery. Tahmasp could only field 7,000 men (of dubious loyalty) and a few cannons. The Ottomans seized the Safavid capital

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the templates used were identical. In manuscripts, most often the paintings were double pages with no connection with the text, but images of servers of drinks, young women, princes, and dervishes filled the albums (muraqqa).

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two latter sovereigns were personally invested in the production of carpets, notably by the design of the motifs. During their reigns, the production of Persian carpets was the most prominent out of the whole Safavid period.

1330:, a Chinese invention arriving early in Iran (13th century), was always used, sometimes coloured or flecked with goldleaf in the margins. Towards 1540, a marbled paper also appeared, which however rapidly disappeared again. 1020:

During the same time period, new figures , influenced by the art of the book: young, elegant cupbearers, young women with curved silhouettes, or yet cypress trees entangling their branches, reminiscent of the paintings of

530:, the headdress characteristic of the Safavids at the beginning of the empire had disappeared, following the fashion of the time. Among the scroll patterns are calligraphic representations of the quatrains of the poet 168: 510:

At the end of his reign, Tahmasp organized the gardens of Sadatabad. This, like all Persian gardens, is divided in four by two perpendicular alleys and bordered by a canal, an arrangement found particularly in the

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The royal workshops of Tabriz were very influential, and the non-royal manuscripts, illuminated and illustrated, spread throughout the whole empire, distinguishing the provincial centres such as that of Shiraz.

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This series was produced over three centuries, in the course of which it evolved greatly, but always kept a hole in the bases for the hanging of the pieces. Schematically, one can distinguish three periods:

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The Chehel Sotoun is decorated with grand historic paintings, exalting the magnanimity or the courage in battle of various grand sovereigns of the dynasty: a battle scene with Shah Ismail; the Mughal sultan

1581:(book of wonders). Unfortunately, his short reign prevented a real renaissance, even if it did establish new foundations, marking the beginning of the proliferation of pages of albums. His successor, 1549: 1113:

Hardstone serves also to make jewels to inlay in metal objects, such as the great zinc bottle inlaid with gold, rubies and turquoise dated to the reign of Ismail and conserved at the museum of

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made on order for the nobility or ordinary citizens. Such sponsorship provided capital in the form of raw materials and provided a salary for the artisans for the duration of the weaving.

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shops and homes, organized by occupation. Ceramic mosaic decoration is evidence that the Shah had as much interest in architecture for civil purposes as for those of religion or pleasure.

2084: 1445:. The art of calligraphy was at that time dominated by a very prominent man, named "Zarrin Qalam", which means "golden reed pen", who excelled in the six canonical calligraphies. 1273:

medallion (carpet of the Gulbenkian Foundation), which disappeared in the following century. The Louvre and the Metropolitan Museum are each freely conserving an example.

1368:(the royal library-workshop). The illustrations show a double heritage: that of the Ak Koyunlu and that of the Timurid dynasty. The latter benefitted from the taking of 1533:

was in large part dismantled, following edicts of repentance published by the Shah for religious and economic reasons. The artists fled to provincial or foreign courts (

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had been deported to Persia en masse since the time of Tahmasp I. Trained with the best training and equipped with the best weapons, these soldiers would replace the

146:, architecture and also included ceramics, metal, glass, and gardens. The arts of the Safavid period show a far more unitary development than in any other period of 1372:

in 1501, but did not really manifest itself until the year 1525. The various directors of the ketab khaneh are Sultan Muhammad (1515–1522), Bihzad (1522–1540) and

3440: 831:, the Khaju bridge presents a structure which is similar but slightly more complex, with in a fan-shaped pattern, allowing for more spectacular water effects. 1079:

Metallic art underwent a gradual decline during the Safavid dynasty, and remains difficult to study, particularly because of the small number of dated pieces.

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for the weaving of special carpets: for example, the group of "Polish carpets" was undoubtedly knotted in Isfahan, but certain ones carry the arms of Poland.

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dating from these years with the signatures of Aqa Mirak et Abd al-Aziz), Shah Ismail II (1576–77) exercised a beneficial influence, ordering a grand

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production. This new destination led to wider use of Chinese and exotic iconography (elephants) and the introduction of new forms, sometimes astonishing (

3424: 2450: 1265:, and dated 1542–43. The Mantes carpet, dated to the second half of the 16th century and conserved at the Louvre, is equally of this exemplary calibre. 2732: 3477: 2378: 2081: 1487:. From 1525 forward, the workshops of Shiraz produced nothing but copies of the works of the royal workshops of Tabriz, then of Qazvin and Isfahan. 342:, and beyond. This reign, the highlight of the dynasty, supported flourishing commerce and art, notably with the construction of the new capital of 3397: 2674: 1922: 2307: 1056:

In the 18th century, multicoloured (cobalt, soft red , orangish-yellow), with influences from the art of the book and from Ottoman and Indian .

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Yves Bomati, Houchang Nahavandi, "Shah Abbas, empereur de Perse – 1587–1629", Perrin, 1998, "Prix Eugène Colas" de l'Académie française 1999,

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continued to flourish until 1620, but continued most often to recopy the models issued by the royal workshops of Tabriz, then of Qazvin and

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The Kubacha series remains very mysterious, and many centres of production have been proposed without any real resolution of the issue.

150:. The Safavid Empire was one of the most significant ruling dynasties of Iran. They ruled one of the greatest Persian empires since the 1025:. One notes the use of beautiful yellows, and of the technique of lustre still present in some pieces in the 17th and 18th centuries. 697:

stalactites, and an outer layer of ceramic. The colouring of the exterior dome is quite unique, dominated by the colour of the earth.

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was not properly speaking a Safavid centre, given that the city was at the centre of an independent state led by the Uzbek dynasty

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addition, once a carpet has been made and has stayed in a particular place, it allows other pieces related to it to be identified.

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While the first Safavid Shah followed a rather intensive policy of restoration and conservation of the great Shiah places, such as

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by far over locally produced ceramics. Many locations of workshops have, however, been identified, although not with certainty:

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that calm was restored. He quickly signed an unfavourable peace with the Ottomans, to give himself time to establish an army of

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which will be reproduced by the knotters. The designs of the carpets of the nomads are themselves transmitted by tradition.

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Tile with young man. Earthenware, painted on slip and under transparent glaze. Northwestern Iran, Kubacha ware, 17th century.

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worked in the book-workshop, and produced great royal manuscripts. The first of which we have some trace is the unfinished

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monuments largely satisfied the needs of the Shah and his administration. It was nevertheless Ismail who made the city of

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Under Shah Ismail, metalwork continued the shapes and decorations of Timurid inlays: motifs of almond-shaped glories, of

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The first five are more certain than the last four, having been cited in the sources, but no one is absolutely certain.

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The Shah Mosque was built between 1612 and 1630 under the direction of the architects Muhibb al-Din Ali Kula and Ustad

3435: 3347: 3279: 2593: 2345: 2430: 1295:, the royal library-workshop, provided most of the sources of motifs for objects such as carpets, ceramics or metal. 1459:

and a very active provincial centre of the south of Iran. The artists were always the same as those employed by the

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in imitation of the gardens of the Shah, divided in rectangular parcels or squares by alleys and irrigation canals (

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behind him. This scorched earth policy led to the loss of 30,000 Ottoman troops as they made their way through the

68: 35: 3373: 3301: 2588: 2578: 2514: 151: 2425: 2420: 1622:(Seven Thrones) of Jami, and is marked by the profound originality of the creations of the official workshops. 1172: 683: 2445: 1435:. Other patrons employed artists of the royal ketab khaneh: prince Braham Mirza (1517–1549) had an album or 1214: 542:

The reign of Shah Abbas marked the explosion of Safavid architecture, with the construction of a new Isfahan.

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pleasure walkway (Chahar Bagh) and the grand bazaar led to the old mosque on Fridays. Two bridges cross the

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mosque of Yazd. The nearby mosque masjed-e Ali was completed in 1522 under the order of the same commander.

294:. Tahmasp avoided direct confrontation with the Ottoman army, preferring to harass it then retreat, leaving 2440: 121: 1666: 1319: 1090:

clouds are found on the inkwells in the form of mausoleums or the globular pitchers reminiscent of one by

142:

from 1501 to 1722, encompassing Iran and parts of the Caucasus and Central Asia. It was a high point for

3515: 3390: 2870: 2664: 2293: 1923:"COMPARATIVE SUSTAINABILITY OF BAZAAR IN IRANIAN TRADITIONAL CITIES: CASE STUDIES IN ISFAHAN AND TABRIZ" 1828: 1483:

headgear, started to appear, with a red baton and twelve folds corresponding to the twelve imams of the

1171:, where Persian carpets stimulated local production. Some Safavid carpets were also transported by the 1135: 995:

Among the petrographic ceramics one can distinguish four groups, each linked to a method of production:

717: 710: 192: 57: 1098:

of steelwork, in particular piercings, to actualize the elements of plating of doors and of standards.

629:

A rather tall building, opening on one side onto the meydan and on the other onto the Chahar Bagh, the

1261:

paradise. One of the finest is undoubtedly the apparently tabrizi carpet, currently conserved at the

3530: 3525: 3353: 3163: 2659: 2654: 2644: 2634: 2629: 2619: 2614: 2573: 2553: 2538: 2507: 2373: 1298:

Various types of books were copied, illuminated, bound and sometimes illustrated: religious books –

1005:

Tabriz (a centre which remains hypothetical, possibly with a workshop supported by royal beneficence)

402: 359: 313:

Twelve years of confusion followed the death of Tahmasp in 1576, and it was not until the arrival of

200: 125: 1163:

the export of carpets flourished, to destinations in Europe (sometimes via the Portuguese colony of

891: 630: 612: 603: 3117: 3074: 2624: 2603: 1582: 1523: 1262: 1239: 1140: 1072: 378:, a rebellion of Afghans would be enough in 1709 to lead the dynasty eventually to a fall in 1722. 267: 617: 3430: 3092: 3082: 2926: 2880: 2583: 1538: 1303: 792: 723: 351: 1562: 1008:

an unidentified centre which produced blues and whites imitating Wanli ceramic (kraak porcelain)

839: 798: 1715: 1234:, that is 1539–40 A.D. and signed "Work of the humble servant of the court of Mahmud Hashani". 791:

This building, of which the date is much disputed, was no doubt constructed under the reign of

650: 3494: 3064: 3059: 3041: 2998: 2752: 2481: 2404: 2399: 2272: 2243: 2223: 2208: 2191: 2174: 2157: 2131: 2066: 1905: 1732: 1608: 1405: 1288: 1282: 1114: 1107: 910: 657: 562: 555: 375: 314: 196: 143: 1981: 1955: 1840: 1816: 1783: 634: 3341: 3337: 3177: 3049: 3016: 2936: 2727: 2476: 2049: 1650: 1597: 1484: 1467:

and of grand poetic texts, destined for the most part for commerce with the Ottoman Empire (

1315: 984: 363: 299: 275: 561:

For the third time in the history of the Safavids, the capital of the empire changed under

3368: 3249: 3244: 3239: 3054: 2988: 2890: 2857: 2774: 2558: 2340: 2088: 1988: 1962: 1847: 1823: 1790: 1761:

Stanford Jay Shaw. History of the Ottoman Empire. Cambridge University Press. 1977, p. 77.

1641:

This taste for the album did not entirely put a permanent end to book illustrations. The

1334: 751: 447: 430: 177: 163: 139: 2101: 1537:

or Ottoman). Only Aqa Mirak resisted this series of departures. Other artists, such as

1342:, appeared lacquered bindings, which remain however very rare and highly valued in Iran. 82: 1361:

Tabriz, capital of the Safavid empire from 1501 to 1548, again also used artists of the

853:

One can still evoke two buildings of Isfahan, dating from the late Safavid period. The

645: 3317: 3221: 3107: 2983: 2885: 2842: 2837: 2486: 2222:(« Persian painting »), Sheila R. Canby, tr. M. Shayestehfar, Téhéran, 1992, 1670: 1631: 1569:

If the end of the reign of Shah Tahmasp was not very fruitful, (we know, however, of a

1396: 1311: 1244: 1196: 1145: 1130: 1068: 583: 295: 259: 1509:

The school of Bukhara reached its peak between 1530 and 1550, and directly influenced

266:

at the head of the Ottoman empire, which forbade the Shia religion, and the battle of

183: 3509: 3234: 3122: 3003: 2993: 2973: 2875: 2368: 1534: 1510: 1456: 1400: 1231: 1168: 991:, 17th century, inspired from 15th-century Chinese blue and white ceramic, the Louvre 973: 854: 845: 806: 783: 531: 366:. Disintegrated by feuds, civil strife, and foreign interference of most notably the 1230:, of which one, conserved at the Victoria and Albert Museum, is dated 946 since the 3482: 3127: 2830: 2820: 2812: 2649: 2316: 1373: 1188: 371: 220: 2006:

Florencio, p. 102; Tavernier, I, p. 397, 589; Chardin, III, p. 120.

203:

who gave it his name. The Safavids have greatly contributed to the spread of the

1053:

In the 16th century, two-coloured with turquoise glaze and motifs still in black.

3199: 3008: 2978: 2797: 2783: 2779: 2717: 2530: 2038: 1635: 1618: 1192: 1022: 897: 828: 690: 322: 223:

who reigned up to that time over the region of Tabriz, across from those of the

147: 24: 1887:

A. H. Morton, « The Ardabil Shrine in the Reign of Shah Tahmasp I »,

1050:

In the 15th century, two-coloured with green glaze and motifs painted in black.

3488: 3472: 2847: 2702: 2687: 2239: 1542: 1460: 1362: 1302:, but also commentaries on the sacred text and theological works—and books of 954: 902: 705: 519: 443: 224: 208: 3450: 3185: 2787: 1691: 1604:, was copied from one to another. Most of the manuscripts were not signed. 1494: 1480: 1419: 1392: 1307: 1180: 1091: 587: 483: 439: 334: 330: 326: 282: 271: 1526:(in the east of Iran) continued to produce manuscripts, more or less rich. 1464: 598: 550: 247:) to be the religion of state and had the first coins struck in his name. 3455: 3229: 3112: 3102: 2865: 2722: 1346:

manuscript to another, according to the period and centre of production.

1184: 1118: 917: 727: 470: 435: 367: 339: 255: 244: 236: 232: 228: 204: 173: 742: 397: 305: 154:, and with this, the empire produced numerous artistic accomplishments. 3153: 3132: 2712: 1930:

International Journal on Technical and Physical Problems of Engineering

1558: 1490: 1437: 1355: 1176: 931: 815: 566: 499: 495: 455: 451: 426: 422: 414: 406: 343: 291: 263: 251: 129: 2207:, (exposition New York 2003-2004 and Milan 2004), Skira, 2003, 340 p. 3357: 3205: 3137: 3087: 2957: 2952: 2931: 2916: 2707: 1593: 1452: 1384: 1339: 1323: 1269: 1250: 1151: 1014: 942: 925: 802: 578: 574: 570: 491: 487: 466: 355: 287: 240: 1529:

With the transfer of the capital from Tabriz to Qazvin in 1548, the

1354:

Three centres were active in this period, namely Tabriz, Shiraz and

777: 671: 625:" Stone Paste; painted and polychrome glazed (cuerda seca technique) 1291:

painting, constituted the essential driving force of the arts. The

231:. Haydari, the successor of Djunayd, was quickly killed, and Shah 3195: 3158: 3097: 2911: 2825: 2682: 1612: 1548: 1472: 1468: 1425: 1378: 1369: 1327: 1299: 1213: 1134: 1067: 1032: 983: 890: 859: 838: 797: 776: 741: 704: 670: 644: 616: 597: 549: 459: 458:, similar to the old Dar al-Huffaz, which served for reciting the 418: 396: 304: 182: 167: 2921: 2697: 2692: 936: 523: 212: 2503: 2289: 2285: 554:

Sketch of the meydan by G. Hofsted van Essen, 1703, library of

274:

Turkmen deteriorated. The settlement of the Portuguese at the

2499: 1554: 1164: 18: 1423:. He also commissioned other exceptional works, including a 827:

The second large bridge of Isfahan, built 50 years after the

750:

Datable to 1608, this bridge was constructed by the order of

607:

and arcades of the meydān, Isfahan, beginning of 17th century

358:

and particularly the Jews, a situation which continued under

243:

in the north-west of Iran, proclaimed the rite of imamism (

2205:

Hunt for paradise, courts arts of Safavid Iran 1501 - 1576

667:

The mosque of Sheikh Lutfallah, or the oratory of the Shah

354:

marked the beginning of religious intolerance towards the

191:

The Safavid dynasty had its roots in a brotherhood called

2261:

Swietochowski, Marie Lukens & Babaie, Sussan (1989).

2156:, (exposition Paris 1997), BNF, Paris, 1997, 239 p. 980:

Between the reign of Shah Abbas and the end of the empire

2173:, New York : AMS Press, 1975, 1 vol. (xii–126 p.), 1322:, Timur nāmeh—encyclopedias and scientific treatises of 633:

pavilion was no doubt built in two stages, according to

1463:, and produced volumes in small formats, copies of the 321:. These fully loyal converted slave soldiers of ethnic 1417:

and Sultan Muhammad, he got work started on his great

1409:

commissioned by Ismail for his son Tahmasp, including

1878:

Dating of the tomb is possible due to an inscription.

1287:

Under the Safavids, the arts of the book, especially

586:, leading to an Armenian section taking the name of 281:

After the death of Shah Ismail, his 10-year-old son

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Musée du Louvre 569:, a city in a more centralized location than 409:and a part of the complex associated with him 338:in 1598, then Baghdad in 1624, and the whole 8: 1029:An exceptional case: the ceramic of Kubacha 1017:, octagonal plates, animal-shaped objects). 693:, a great Persian painter and calligrapher. 278:sparked a flourishing commerce with Europe. 3425:Islamic Art: Mirror of the Invisible World 3037: 2764: 2543: 2522: 2508: 2500: 2308: 2294: 2286: 1921:Assari, Ali; T.M. Mahesh (December 2011). 1752:. University of Texas Press. 1989, p. 145. 1716:"ART IN IRAN ix. SAFAVID To Qajar Periods" 1506:(pointillism?) creates a certain aridity. 939:(based on a cistern at the British Museum) 2188:The golden age of Persian art 1501 - 1722 1891:12, 1974, pp. 31-64, 13, 1975, pp. 39–58. 1739:. 1989. University of Michigan, p. 313. 109:Learn how and when to remove this message 3478:Oriental carpets in Renaissance painting 2379:Safavid conversion of Iran to Shia Islam 120: 3398:Heaven on Earth: Art from Islamic Lands 2145:Encyclopédie de l’Islam, vol. IX, Brill 2037:The word is derived, in fact, from the 1707: 2242:, tr. Arabali Sherveh, Téhéran, 1995, 1904:, British Museum Press, 2002, 192 p., 1630:During the reigns of Shah Abbas I and 1589:on transferring the court to Isfahan. 689:Husayn, and the calligrapher possibly 2082:The carpet of the Metropolitan Museum 7: 2336:List of mothers of the Safavid shahs 2190:London, British Museum Press, 2002, 494:and Isfahan, and the sanctuaries of 47:adding citations to reliable sources 3405:Hajj: Journey to the Heart of Islam 922:Kubachi (for architectural ceramic) 2238:(« Persian painting »), 887:Under Shah Ismail and Shah Tahmasp 14: 3306:Museum for Islamic Art, Jerusalem 1220:Khalili Collection of Islamic Art 746:The Allaverdikhan bridge at night 309:The Allaverdikhan bridge at night 211:, those who consider the twelfth 2751: 1770:Andrew J. Newman, Safavid Iran: 1387:(Safavid Iran, mid 16th century) 1218:Medallion carpet, 16th century, 23: 1411:Raksh defends a sleeping Rustam 34:needs additional citations for 2269:The Metropolitan Museum of Art 1841:Article « Abbas II » 1784:Article « Çaldiran » 1441:) made for him by the painter 1195:. European orders came to the 928:(moulded monochromatic pieces) 1: 2171:History of Shah Ismail Safawi 2026:The golden age of Persian art 1902:The Golden age of Persian art 1817:Article « Abbas I » 1774:, IB Tauris (March 30, 2006). 1391:Many great painters, such as 3463:Mathematics and architecture 1971:. Accessed October 18, 2006. 1607:The workshops said to be of 1517:1550–1600: Transition period 641:The Qaysarieh (grand bazaar) 2346:Safavid dynasty family tree 2143:« Safawides » in 1807:Nahavandi and Bomati p. 283 1772:Rebirth of a Persian Empire 1653:or again the manuscript of 1592:The provincial workshop of 989:Plate decorated with dragon 388:Index: Safavid architecture 3552: 1280: 1128: 970:Victoria and Albert Museum 763:Shah Abbas Mosque in Ganja 759:Shah Abbas Mosque, Yerevan 756: 715: 681: 655: 610: 385: 161: 138:is the art of the Iranian 3446:Influences on Western art 2749: 2472:Ottoman–Safavid relations 896:Plate decorated with two 382:Architecture and urbanism 199:around 1301, with Sheikh 187:Map of the Safavid empire 152:Muslim conquest of Persia 2421:Military of Safavid Iran 1793:, Michael J. McCaffrey, 1750:Islam: Origin and Belief 1645:for Shah Abbas, the two 1583:Shah Mohammed Khodabanda 1173:Dutch East India Company 738:The Allaverdikhan bridge 684:Sheikh Lotf Allah Mosque 215:hidden like his leader. 2203:S. Canby, J. Thompson, 1561:(The Book of Omens) of 805:from the Chehel Sutun: 734:unity to the ensemble. 676:Sheikh Lotfollah Mosque 3536:Islamic art by country 3436:Indo-Saracenic Revival 2431:Persian–Portuguese War 2102:""Coffin of Imam Ali"" 1665:With the emergence of 1566: 1388: 1320:Rashid-al-Din Hamadani 1222: 1155: 1076: 1038: 992: 905: 869: 850: 810: 788: 747: 713: 679: 653: 626: 608: 558: 482:Like his predecessor, 410: 310: 188: 180: 176:, the founder of the 132: 3391:Empire of the Sultans 2451:Georgian-Safavid Wars 2362:Ideology and religion 1829:Encyclopaedia Iranica 1737:Iran, a Country study 1552: 1479:, the characteristic 1382: 1217: 1138: 1071: 1036: 987: 894: 866:madreseh Mādar-e Shah 863: 842: 835:The end of the period 801: 780: 745: 718:Shah Mosque (Isfahan) 708: 674: 648: 620: 601: 553: 400: 308: 262:, but the arrival of 186: 171: 124: 3521:Safavid architecture 3354:Arab World Institute 3164:Ottoman illumination 2465:Other related topics 2426:Ottoman–Persian Wars 2374:Ideology of Safavids 1994:Encyclopædia Iranica 1968:Encyclopædia Iranica 1853:Encyclopædia Iranica 1796:Encyclopædia Iranica 1697:Safavid architecture 1667:Ali Qoli Djebbeh Dar 829:Pol-e Allahverdikhan 621:Safavid Tile Panel " 315:Shah Abbas the Great 201:Safi-ad-din Ardabili 126:Naqsh-e Jahan Square 43:improve this article 2446:Mughal–Persian Wars 2154:Splendeurs persanes 1982:Article Chāhār Bāgh 1980:Savory, Roger M., " 1350:1501–1550: Heritage 1277:The art of the book 1263:Museo Poldi Pezzoli 1106:We know of several 787:, 1647–48?, Isfahan 768:Under Shah Abbas II 678:, Isfahan, interior 3431:Aniconism in Islam 3369:Toronto (Aga Khan) 3326:Khalili Collection 3191:Geometric patterns 2599:Bahmani and Deccan 2441:Persian–Uzbek wars 2087:2007-09-30 at the 2015:Vārzi, p. 58. 1987:2008-05-04 at the 1961:2008-03-09 at the 1867:Hunt for paradise… 1846:2006-10-19 at the 1822:2010-01-20 at the 1789:2008-01-18 at the 1655:Khosrow and Shirin 1567: 1455:is the capital of 1389: 1304:Persian literature 1223: 1191:as well as to the 1156: 1108:hardstone carvings 1102:Work in hard stone 1077: 1039: 993: 945:(cited by Chardin) 906: 870: 851: 811: 789: 748: 724:Ali Akbar Isfahani 714: 680: 654: 627: 609: 577:(which is between 559: 478:Under Shah Tahmasp 411: 350:retreats; that of 311: 254:, deeper into the 195:which appeared in 189: 181: 158:Historical context 144:Persian miniatures 133: 3503: 3502: 3172: 3171: 3027: 3026: 2999:Hardstone carving 2896:Chinese influence 2747: 2746: 2733:Stucco decoration 2497: 2496: 2436:Russo-Persian War 2414:Military and wars 2405:School of Isfahan 2106:www.metmuseum.org 1733:Helen Chapin Metz 1720:iranicaonline.org 1611:were situated in 1553:"Coffin of Imam ' 1406:Tahmasp Shahnameh 1289:Persian miniature 1283:Persian miniature 1139:Detail from the " 911:Chinese porcelain 773:The Chehel Sotoun 658:Bazaar of Isfahan 556:Leiden University 393:Under Shah Ismail 119: 118: 111: 93: 3543: 3342:Majorelle Garden 3038: 2871:Hispano-Moresque 2765: 2755: 2564:Anatolian Seljuk 2544: 2524: 2517: 2510: 2501: 2477:Gunpowder Empire 2310: 2303: 2296: 2287: 2282: 2250: 2230: 2202: 2185: 2168: 2151: 2142: 2129: 2116: 2115: 2113: 2112: 2098: 2092: 2079: 2073: 2059: 2053: 2035: 2029: 2022: 2016: 2013: 2007: 2004: 1998: 1978: 1972: 1952: 1946: 1945: 1943: 1941: 1927: 1918: 1912: 1898: 1892: 1885: 1879: 1876: 1870: 1862: 1856: 1850:, R. M. Savory, 1838: 1832: 1826:, R. M. Savory, 1814: 1808: 1805: 1799: 1781: 1775: 1768: 1762: 1759: 1753: 1748:Emory C. Bogle. 1746: 1740: 1730: 1724: 1723: 1712: 1557:", Folio from a 1541:the Georgian or 1383:A heavily armed 1316:Jami al-Tawarikh 1248: 1149: 901:, v. 1500, 709:Entrance to the 649:Entrance to the 623:Garden Gathering 538:Under Shah Abbas 300:Zagros Mountains 276:Strait of Hormuz 114: 107: 103: 100: 94: 92: 51: 27: 19: 3551: 3550: 3546: 3545: 3544: 3542: 3541: 3540: 3506: 3505: 3504: 3499: 3468:Moorish Revival 3416: 3410: 3378: 3295:Calligraphy Art 3261: 3254: 3216: 3168: 3142: 3069: 3033: 3023: 2989:Enamelled glass 2962: 2941: 2900: 2852: 2807: 2768:Regional styles 2756: 2743: 2669: 2640:Sudano-Sahelian 2547:Regional styles 2533: 2528: 2498: 2493: 2460: 2456:Defensive walls 2409: 2383: 2357: 2341:Safavid dynasty 2319: 2314: 2279: 2260: 2257: 2255:Further reading 2233: 2220:Negārkari irāni 2217: 2200: 2183: 2169:Ghulam Sarwar, 2166: 2149: 2140: 2127: 2124: 2119: 2110: 2108: 2100: 2099: 2095: 2089:Wayback Machine 2080: 2076: 2065:, Gründ, 1999, 2061:Enza Milanesi, 2060: 2056: 2036: 2032: 2023: 2019: 2014: 2010: 2005: 2001: 1989:Wayback Machine 1979: 1975: 1963:Wayback Machine 1954:Savory, R.M., " 1953: 1949: 1939: 1937: 1925: 1920: 1919: 1915: 1899: 1895: 1886: 1882: 1877: 1873: 1863: 1859: 1848:Wayback Machine 1839: 1835: 1824:Wayback Machine 1815: 1811: 1806: 1802: 1791:Wayback Machine 1782: 1778: 1769: 1765: 1760: 1756: 1747: 1743: 1731: 1727: 1714: 1713: 1709: 1705: 1688: 1679: 1663: 1628: 1563:Ja'far al-Sadiq 1519: 1485:Twelver Shi`ism 1352: 1335:morocco leather 1285: 1279: 1268:The village of 1242: 1143: 1133: 1127: 1125:Persian carpets 1104: 1086:(suns) and of 1066: 1031: 982: 889: 884: 879: 837: 825: 775: 770: 765: 752:Allahverdi Khan 740: 720: 703: 701:The Shah Mosque 686: 669: 660: 643: 615: 596: 548: 540: 518:In the city of 480: 395: 390: 384: 331:Armenian origin 290:, and captured 178:Safavid dynasty 166: 164:Safavid dynasty 160: 140:Safavid dynasty 115: 104: 98: 95: 52: 50: 40: 28: 17: 12: 11: 5: 3549: 3547: 3539: 3538: 3533: 3528: 3523: 3518: 3508: 3507: 3501: 3500: 3498: 3497: 3495:Topkapı Scroll 3492: 3485: 3480: 3475: 3470: 3465: 3460: 3459: 3458: 3453: 3443: 3438: 3433: 3428: 3420: 3418: 3412: 3411: 3409: 3408: 3401: 3394: 3386: 3384: 3380: 3379: 3377: 3376: 3371: 3366: 3361: 3350: 3345: 3334: 3329: 3318:British Museum 3314: 3309: 3302:Islamic Museum 3298: 3287: 3282: 3277: 3272: 3266: 3264: 3256: 3255: 3253: 3252: 3247: 3242: 3237: 3232: 3226: 3224: 3218: 3217: 3215: 3214: 3208: 3203: 3193: 3188: 3182: 3180: 3174: 3173: 3170: 3169: 3167: 3166: 3161: 3156: 3150: 3148: 3144: 3143: 3141: 3140: 3135: 3130: 3125: 3120: 3115: 3110: 3105: 3100: 3095: 3090: 3085: 3079: 3077: 3071: 3070: 3068: 3067: 3062: 3057: 3052: 3046: 3044: 3035: 3029: 3028: 3025: 3024: 3022: 3021: 3020: 3019: 3013:Stained glass 3011: 3006: 3001: 2996: 2991: 2986: 2984:Damascus steel 2981: 2976: 2970: 2968: 2964: 2963: 2961: 2960: 2955: 2949: 2947: 2943: 2942: 2940: 2939: 2934: 2929: 2924: 2919: 2914: 2908: 2906: 2902: 2901: 2899: 2898: 2893: 2888: 2883: 2878: 2873: 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1956:Allaverdi Khan 1947: 1913: 1900:Sheila Canby, 1893: 1880: 1871: 1857: 1833: 1809: 1800: 1776: 1763: 1754: 1741: 1725: 1706: 1704: 1701: 1700: 1699: 1694: 1687: 1684: 1678: 1675: 1671:Muhammad Zaman 1662: 1659: 1627: 1624: 1518: 1515: 1432:Iskandar Nameh 1397:Mir Sayyid Ali 1351: 1348: 1281:Main article: 1278: 1275: 1197:Persian Empire 1131:Persian carpet 1129:Main article: 1126: 1123: 1103: 1100: 1065: 1062: 1058: 1057: 1054: 1051: 1030: 1027: 1010: 1009: 1006: 1003: 1000: 981: 978: 958: 957: 952: 949: 946: 940: 934: 929: 923: 920: 888: 885: 883: 880: 878: 875: 836: 833: 824: 821: 809:and his court 774: 771: 769: 766: 739: 736: 716:Main article: 702: 699: 682:Main article: 668: 665: 656:Main article: 642: 639: 611:Main article: 595: 592: 584:Zayandeh River 547: 544: 539: 536: 479: 476: 394: 391: 383: 380: 296:scorched earth 260:Ottoman empire 159: 156: 117: 116: 31: 29: 22: 15: 13: 10: 9: 6: 4: 3: 2: 3548: 3537: 3534: 3532: 3529: 3527: 3524: 3522: 3519: 3517: 3514: 3513: 3511: 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1482: 1478: 1474: 1470: 1466: 1462: 1458: 1457:Fars Province 1454: 1450: 1446: 1444: 1443:Dost Muhammad 1440: 1439: 1434: 1433: 1428: 1427: 1422: 1421: 1416: 1412: 1408: 1407: 1402: 1401:Dust Muhammad 1398: 1394: 1386: 1381: 1377: 1375: 1371: 1367: 1364: 1359: 1357: 1349: 1347: 1343: 1341: 1336: 1331: 1329: 1325: 1321: 1317: 1313: 1309: 1305: 1301: 1296: 1294: 1290: 1284: 1276: 1274: 1271: 1266: 1264: 1258: 1256: 1252: 1246: 1241: 1240:Mantes carpet 1235: 1233: 1229: 1221: 1216: 1212: 1208: 1204: 1200: 1198: 1194: 1190: 1186: 1182: 1178: 1174: 1170: 1169:Mughal Empire 1167:) and to the 1166: 1160: 1153: 1147: 1142: 1141:Mantes carpet 1137: 1132: 1124: 1122: 1120: 1116: 1111: 1109: 1101: 1099: 1095: 1093: 1089: 1085: 1080: 1074: 1070: 1063: 1061: 1055: 1052: 1049: 1048: 1047: 1043: 1035: 1028: 1026: 1024: 1018: 1016: 1007: 1004: 1001: 998: 997: 996: 990: 986: 979: 977: 975: 974:Winter Palace 972:, another at 971: 965: 961: 956: 953: 950: 947: 944: 941: 938: 935: 933: 930: 927: 924: 921: 919: 916: 915: 914: 912: 904: 900: 899: 893: 886: 881: 876: 874: 867: 862: 858: 856: 855:Hasht Behesht 848: 847: 846:Hasht Behesht 841: 834: 832: 830: 822: 820: 817: 808: 807:Shah Abbas II 804: 800: 796: 794: 793:Shah Abbas II 786: 785: 784:Chehel Sotoun 779: 772: 767: 764: 760: 755: 753: 744: 737: 735: 731: 729: 725: 719: 712: 707: 700: 698: 694: 692: 685: 677: 673: 666: 664: 659: 652: 647: 640: 638: 636: 632: 624: 619: 614: 606: 605: 600: 593: 591: 589: 585: 580: 576: 572: 568: 564: 557: 552: 545: 543: 537: 535: 533: 529: 525: 521: 516: 514: 513:tapis-jardins 508: 504: 501: 497: 493: 489: 485: 477: 475: 472: 468: 465:Dormish Khan 463: 461: 457: 453: 449: 445: 441: 437: 432: 428: 424: 420: 416: 408: 404: 399: 392: 389: 381: 379: 377: 373: 369: 365: 361: 360:Shah Suleiman 357: 353: 352:Shah Abbas II 347: 345: 341: 336: 332: 328: 324: 320: 316: 307: 303: 301: 297: 293: 289: 284: 279: 277: 273: 269: 265: 261: 257: 253: 248: 246: 242: 238: 234: 230: 227:installed in 226: 222: 216: 214: 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New York: 2263: 2235: 2219: 2204: 2201:(in English) 2187: 2184:(in English) 2170: 2167:(in English) 2153: 2152:F. Richard, 2144: 2122:Bibliography 2109:. Retrieved 2105: 2096: 2077: 2062: 2057: 2045: 2041: 2033: 2025: 2020: 2011: 2002: 1992: 1976: 1966: 1950: 1938:. Retrieved 1933: 1929: 1916: 1901: 1896: 1888: 1883: 1874: 1866: 1860: 1851: 1836: 1827: 1812: 1803: 1794: 1779: 1771: 1766: 1757: 1749: 1744: 1736: 1728: 1719: 1710: 1680: 1664: 1654: 1646: 1642: 1640: 1629: 1617: 1606: 1601: 1591: 1586: 1578: 1574: 1570: 1568: 1530: 1528: 1520: 1508: 1503: 1499: 1489: 1476: 1451: 1447: 1436: 1430: 1424: 1418: 1410: 1404: 1390: 1374:Mir Musavvir 1366:ketab khaneh 1365: 1360: 1353: 1344: 1332: 1314:'s Khamsa, 1297: 1293:ketab khaneh 1292: 1286: 1267: 1259: 1254: 1236: 1227: 1224: 1209: 1205: 1201: 1189:Kochi, India 1161: 1157: 1112: 1105: 1096: 1087: 1083: 1081: 1078: 1064:Metallic art 1059: 1044: 1040: 1019: 1011: 994: 988: 966: 962: 959: 907: 898:pomegranates 895: 871: 865: 864:Door in the 852: 844: 826: 823:Khaju Bridge 812: 790: 782: 749: 732: 721: 695: 687: 661: 628: 622: 602: 560: 541: 527: 517: 512: 509: 505: 484:Shah Tahmasp 481: 464: 425:in Iraq and 412: 401:The tomb of 348: 318: 312: 283:Shah Tahmasp 280: 249: 221:Kara Koyunlu 217: 190: 135: 134: 105: 96: 86: 79: 72: 65: 53: 41:Please help 36:verification 33: 3531:Iranian art 3526:Persian art 3415:Principles, 3383:Exhibitions 3336:Marrakech ( 3332:Los Angeles 3300:Jerusalem ( 3262:collections 3213:Calligraphy 3093:Indo-Muslim 3075:Calligraphy 3009:Mosque lamp 2967:Other media 2886:Mina'i ware 2775:Bangladeshi 2531:Islamic art 2150:(in French) 2141:(in French) 2128:(in French) 2042:pairideieza 2039:Old Persian 1636:Reza Abbasi 1619:Haft Awrang 1579:Ajayibnāmeh 1539:Siavush Beg 1255:chahar bāgh 1243: [ 1193:Netherlands 1144: [ 1023:Reza Abbasi 843:Ceiling of 711:Shah Mosque 691:Reza Abbasi 421:(1508) and 403:Shaykh Safi 364:Shah Husayn 237:Shah Ismail 148:Iranian art 136:Safavid art 3510:Categories 3489:Stilfragen 3417:influences 3289:Istanbul ( 3222:The garden 3178:Decoration 3147:Other arts 3042:Miniatures 2927:Embroidery 2881:Lustreware 2740:Decoration 2703:Mashrabiya 2611:Indonesian 2278:0870995642 2240:Basil Gray 2234:(Persian) 2218:(Persian) 2186:S. Canby, 2111:2018-12-14 2024:S. Canby, 1936:(9): 18–24 1703:References 1643:Shah Nāmeh 1587:Shah Nāmeh 1575:Shah Nāmeh 1543:Sadiqi Beg 1461:Ak Koyunlu 1420:Shah Nameh 1363:Ak Koyunlu 903:the Louvre 757:See also: 563:Shah Abbas 444:Aq Qoyunlu 386:See also: 376:Portuguese 323:Circassian 225:Ak Koyunlu 209:Shia Islam 207:branch of 197:Azerbaijan 162:See also: 69:newspapers 3451:Grotesque 3364:Singapore 3348:Melbourne 3186:Arabesque 2615:Malaysian 2400:Miniature 2369:Safaviyya 1940:7 January 1692:Qajar art 1632:Shah Safi 1571:Fāl Nāmeh 1500:encartage 1495:Shaybanid 1481:Qizilbash 1393:Aqa Mirak 1308:Shahnameh 1181:Sri Lanka 1092:Ulugh Beg 868:, Isfahan 849:, Isfahan 728:Madrasahs 651:Qaysarieh 588:Nea Julfa 440:Jalayirid 335:Qizilbash 272:Qizilbash 268:Chaldiran 193:Safaviyeh 99:June 2022 3456:Moresque 3316:London ( 3260:Museums, 3245:Paradise 3230:Charbagh 3211:See also 3113:Nastaliq 3103:Muhaqqaq 3034:the book 2946:Woodwork 2905:Textiles 2866:Fritware 2738:See also 2723:Muqarnas 2718:Mocárabe 2675:Elements 2085:Archived 2063:Le tapis 2028:, p. 48. 1985:Archived 1959:Archived 1844:Archived 1820:Archived 1787:Archived 1686:See also 1609:Khorasan 1602:nastaliq 1598:Khorasan 1524:Khorasan 1185:Malaysia 1175:towards 1119:Istanbul 948:Bordabas 918:Nishapur 631:Ali Qapu 613:Ālī Qāpū 604:Ali Qapu 594:Ali Qapu 471:muqarnas 436:Ilkhanid 417:(1508), 368:Russians 340:Caucasus 327:Georgian 258:and the 256:Caucasus 245:Twelvers 239:entered 229:Anatolia 205:Twelvers 3473:Mudéjar 3374:Tripoli 3352:Paris ( 3322:V&A 3250:Persian 3240:Ottoman 3154:Muraqqa 3133:Thuluth 3118:Persian 3065:Persian 3060:Ottoman 3032:Arts of 3017:Shabaka 2891:Persian 2858:Pottery 2843:Turkish 2838:Persian 2813:Carpets 2802:Ottoman 2798:Turkish 2792:Safavid 2780:Persian 2713:Minaret 2688:Banna'i 2660:Umayyad 2655:Timurid 2645:Swahili 2635:Ottoman 2630:Moorish 2620:Iranian 2594:Bengali 2574:Fatimid 2569:Chinese 2559:Ayyubid 2554:Abbasid 2388:Culture 2324:Dynasty 2050:Persian 1735:, ed., 1616:of the 1577:and an 1559:Falnama 1504:poncifs 1491:Bukhara 1438:muraqqa 1356:Bukhara 1228:Ardébil 1177:Jakarta 1115:Topkapi 1073:Pitcher 1015:hookahs 1002:Mashhad 951:Gambrun 932:Mashhad 882:Ceramic 816:Humayun 635:Galieri 567:Isfahan 546:Isfahan 500:Ardabil 496:Mashhad 456:Hadiths 452:Ardabil 448:Timurid 431:Timurid 427:Mashhad 423:Samarra 415:Karbala 407:Ardabil 356:Dhimmis 344:Isfahan 319:ghulams 292:Baghdad 264:Selim I 252:Baghdad 130:Isfahan 83:scholar 3358:Louvre 3338:Museum 3285:Ghazni 3270:Berlin 3235:Mughal 3206:Zellij 3138:Tughra 3088:Diwani 3083:Arabic 3055:Mughal 3050:Arabic 2958:Minbar 2953:Khatam 2937:Suzani 2932:Soumak 2917:Damask 2848:Prayer 2831:Motifs 2728:Sitara 2708:Mihrab 2665:Yemeni 2625:Mamluk 2604:Mughal 2482:Abbasi 2275: 2246: 2226: 2211: 2194: 2177: 2160: 2134: 2069: 2046:pardis 1908: 1677:Legacy 1651:Nismai 1594:Shiraz 1535:Mughal 1511:Mughal 1465:Qur'an 1453:Shiraz 1429:and a 1415:Behzād 1340:Shiraz 1324:Sufism 1312:Nizami 1300:Korans 1270:Kashan 1251:Persia 1152:Louvre 1084:shamsa 943:Shiraz 926:Kerman 803:Fresco 579:Tehran 575:Qazvin 571:Tabriz 565:: to 492:Shiraz 488:Kerman 467:Shamlu 374:, and 288:Tabriz 241:Tabriz 233:Ismail 174:Ismail 85: 78: 71: 64: 56: 3275:Cairo 3200:tiles 3196:Girih 3159:Hilya 3128:Taliq 3108:Naskh 3098:Kufic 2994:Glass 2979:Brass 2974:Music 2912:Batik 2876:Iznik 2826:Kilim 2788:Qajar 2784:Early 2683:Ablaq 2650:Tatar 2584:Hausa 2487:Abazi 1926:(PDF) 1647:Divan 1613:Herat 1513:art. 1473:Egypt 1469:Syria 1426:Hamsa 1385:Uzbek 1370:Herat 1328:Paper 1247:] 1232:Hijra 1148:] 532:Hafiz 524:iwans 460:Quran 419:Najaf 372:Dutch 172:Shah 90:JSTOR 76:books 3291:Arts 3280:Doha 3123:Sini 2922:Ikat 2761:Arts 2698:Jali 2693:Iwan 2273:ISBN 2244:ISBN 2224:ISBN 2209:ISBN 2192:ISBN 2175:ISBN 2158:ISBN 2132:ISBN 2067:ISBN 1942:2013 1906:ISBN 1889:Iran 1669:and 999:Lias 955:Nain 937:Yazd 781:The 761:and 520:Nain 498:and 446:and 362:and 329:and 213:imam 62:news 2821:Gul 2395:Art 2048:in 1991:". 1965:". 1649:of 1555:Ali 1477:taj 1399:or 1326:. 1318:by 1257:). 1165:Goa 1117:in 1094:'. 1088:chi 877:Art 573:or 528:taj 405:of 45:by 3512:: 3356:, 3340:, 3324:, 3320:, 3304:, 3293:, 2790:, 2786:, 2613:/ 2271:. 2104:. 1932:. 1928:. 1718:. 1471:, 1395:, 1358:. 1310:, 1306:– 1245:fr 1187:, 1183:, 1179:, 1154:). 1146:fr 1121:. 976:. 730:. 590:. 534:. 490:, 442:, 438:, 370:, 346:. 325:, 128:, 3360:) 3344:) 3328:) 3308:) 3297:) 3202:) 3198:( 2804:) 2800:( 2794:) 2782:( 2523:e 2516:t 2509:v 2309:e 2302:t 2295:v 2281:. 2114:. 2091:. 2052:. 1997:. 1944:. 1934:3 1722:. 1565:. 1376:. 112:) 106:( 101:) 97:( 87:· 80:· 73:· 66:· 39:.

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