335:'s court. Abu'l-Hasan went to Europe to continue his education sometime between the 1820s and 1830s, although most of the information about his time abroad focuses on his two to three year stay in Italy. There are several possibilities for his motivations to go abroad. It is not clear if he paid his own way or if he was sponsored by the court. Yale professor of Iranian studies Abbas Amanat offers three theories. One of Amanat's theories is that he went to Europe using personal funds due to the state of Iran's financial constraints and changing court politics with the demise of the Āqāsī government. These changes meant that the court commissioned fewer and smaller paintings, making it difficult for a painter to earn a living. Amanat's second theory is predicated on changes in the court order when
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third theory is that he was influenced to go abroad by prominent
European artists in Iran at the time, including the Italian-French army engineer officer and watercolor artist Colonel F. Colombari. Some of Abu'l-Hasan's later watercolor portraits and a sketch of the crown prince in 1845 resemble the Colonel's style, suggesting that he had significant influence on him.
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399:, who made him chief court painter and gave him the title Sani al Molk, meaning "Craftsman or Painter of the Kingdom" or Artisan of the Kingdom According to Stanislaus State professor Staci Gem Scheiwiller, he distinguished himself with "lifelike portraits of dignitaries, which convey a profound psychological intensity, such as in his work
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subjects. Sani al Molk mostly used oil painting and watercolor to create the realistic images. According to scholar Staci
Scheiwiller, lithography can be in Arabic is "basma tasvir," which also means "painting after printed picture." The term suggests that Persian artists learned to reproduce photography with painting.
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Around 1862, Nasir al-Din Shah initiated a Royal Art School. As part of the school, Abu'l-Hasan taught a workshop in lithographic printing. The main goal of this workshop was to teach more students to bring images to the public, but the workshop also reproduced the work of famous
European artists and
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mujtahids and his troops were crushed in seven months. Furthermore, he argues that these events demonstrated the power of the press and that Abu'l-Hasan would harness the same power as director of the press later in his life. He returned to Iran in 1850. He continued to follow the
Persian pictorial
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became the Shah's tutor and chief of the army. Because the new court order likely included promoting modern artistic culture beyond the court and in the press, Abu'l-Hasan may have been terminated as a court painter and sent to Europe by the government to learn about the art of the press. Amanat's
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process. It contained representations of notable events, portraits of people from the royal palace, prints of inner spaces in the palace, and showcased Nasir al-Din Shah's daily activities. Bringing these images to the public allowed Nasir-al Din Shah to establish more of a relationship with his
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in
European languages. Scholars Mahyar Asadi and Azadeh Amjadi at the University of Fine Arts in Tehran, Iran believe that his work on this manuscript was influenced by previous Iranian painters during the reign of Caliph Noaman. They find many similarities in the depiction of the Caliph's son
410:, who said that Abu'l-Hasan earned this new title to his superior lithographic abilities. His main responsibility was to edit the weekly court newspaper, called the Ruznameh-ye Dowlat-e ʿAliyeh-ye Iran (The newspaper of the great government of Iran). The newspaper was printed using a
374:(1849). Two months later, Amanat says Abu'l-Hasan may have witnessed the collapse of the Roman Republic when French troops took control of Rome. Amanat points out that these events were similar to events at home in Iran, such as whenʿAlī Muḥammad challenged the
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66:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
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281:'s court. After being dismissed as a court painter, he went to Europe to study, most notably in Italy. When he returned to Iran, he became the Director of Printing and Chief Illustrator for
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452:(the study of origins) to discover that both sets of illustrations have very similar detailing in facial features, clothing, hands and feet. Today, the manuscript is preserved in the
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tradition, although according to art historian and curator Donna Stein, his style "is indicative of a modern character, unlike more stylized traditional
Persian painting."
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A. Amjadi , M. Asadi, (2020). A Comparative Study between the Images of Caliph and Shah in Sani ol Molk’s Art Works (Malek Zu-olmakan and Naser al-Din Shah Qajar),
263:; 1814–1866) was an Iranian painter, miniature and lacquer artist, and book illustrator. When he became the Chief Court Painter, he also became known as
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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commissioned Abu'l-Hasan to design and supervise 34 painters in the creation and illustration of the six volume manuscript
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Content in this edit is translated from the existing
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masters. In 1862, a public announcement of the opening of his art academy suggested that he studied works of Master
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Scholars agree that he was likely taught by his father Mīrzā Moḥammad Ḡaffārī before becoming a pupil of
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He is also well-known for his skillful and detailed depictions of hands, feet and facial expressions.
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and earned the separate title Chief Court
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Performing the
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In 1861, he was appointed as
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Court cultures in the Muslim world : seventh to nineteenth centuries
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in Tehran, Iran. The manuscript contains 1,134 pages and at least three
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Emami, Farshid. "Technologies of the Image: Art in 19th Century Iran".
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to the source of your translation. A model attribution edit summary is
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Two young lovers and a hairdresser. Sani al Mulk, 1843, oil painting,
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Abbas Amanat illuminates the possibility that Abu'l-Hasan witnessed
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Amanat, Abbas (2011). "Court Patronage and Public Space".
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Historical Photos, Paintings on Display at Tehran Exhibits
914:. Staci Gem Scheiwiller. London, UK: Anthem Press. 2013.
714:"Iran Chamber Society: Iranian Visual Arts: Sani-ol-Molk"
855:. W. B. Fisher. Cambridge: University Press. 1968–1991.
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manuscript, which can be viewed today in Tehran in the
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a machine-translated version of the Persian article.
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Portrait of Ardashir Mirza, 1854, gouache on paper.
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120:Iranian painter and miniature artist (1814–1866)
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226:Yahya Khan
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329:Mihr ʿAlī
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216:Khan
180:Iran
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166:Iran
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155:Born
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