Persian art - Knowledge

2082:. More important figures may be somewhat larger than those around them, and battle scenes can be very crowded indeed. Recession (depth in the picture space) is indicated by placing more distant figures higher up in the space. Great attention is paid to the background, whether of a landscape or buildings, and the detail and freshness with which plants and animals, the fabrics of tents, hangings or carpets, or tile patterns are shown is one of the great attractions of the form. The dress of figures is equally shown with great care, although artists understandably often avoid depicting the patterned cloth that many would have worn. Animals, especially the horses that very often appear, are mostly shown sideways on; even the love-stories that constitute much of the classic material illustrated are conducted largely in the saddle, as far as the prince-protagonist is concerned. Landscapes are very often mountainous (the plains that make up much of Persia are rarely attempted), this being indicated by a high undulating horizon, and outcrops of bare rock which, like the clouds in the normally small area of sky left above the landscape, are depicted in conventions derived from Chinese art. Even when a scene in a palace is shown, the viewpoint often appears to be from a point some metres in the air. 1187: 431: 1274: 1286: 1809: 1203: 325: 2548:, once thought to mostly date to the 15th and 16th centuries, are now thought to stretch over a wider period. Jade was increasingly appreciated from the Ilkhanid period. As well as wine-cups, there are a series of pitchers with globular bellies, 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 Ulugh Beg. We also know of blades and handles of knives in jade, often inlaid with gold wire and engraved. 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 2223: 1472: 1107: 2469: 2334: 70: 1444: 521: 62: 903: 2349: 1970: 1848: 1828: 597: 269:

of food, apparently thought to be as necessary for life in the afterworld as it is in this one. Ceramics of these shapes, which were painted, constitute a large proportion of the vessels from the cemetery. Others are course cooking-type jars and bowls with simple bands painted on them and were probably the grave goods of the sites of humbler citizens as well as adolescents and, perhaps, children. The pottery is carefully made by hand. Although a slow wheel may have been employed, the asymmetry of the vessels and the irregularity of the drawing of encircling lines and bands indicate that most of the work was done freehand.

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by Persian poets, sometimes related to the destination of the piece (allusion to wine for a goblet, for example) occur in the scroll patterns. A completely different type of design, much more rare, 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. New styles of figures appeared, 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

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

1122:. Hunting and battle scenes enjoyed a special popularity, and lightly-clothed dancing girls and entertainers. Representations are often arranged like a coat of arms, which in turn may have had a strong influence on the production of art in Europe and East Asia. Although Parthian art preferred the front view, the narrative representations of the Sassanian art often features figures shown in the profile or a three-quarter view. Frontal views occur less frequently. 5357: 1412: 1608:, nomads of Turkic origin from present-day Mongolia, appeared on the stage of Islamic history toward the end of the 10th century. They seized Baghdad in 1048, before dying out in 1194 in Iran, although the production of "Seljuq" works continued through the end of the 12th and beginning of the 13th century under the auspices of smaller, independent sovereigns and patrons. During their time, the center of culture, politics and art production shifted from 2257:, appeared lacquered bindings, which remain however very rare and highly valued in Iran. The decoration of page 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 manuscript to another, according to the period and centre of production. 5367: 4464: 2021: 40: 1382:

bright, vigorous, and of remarkable beauty, but also tell about Sogdian life. They reproduce, for example, the costumes of the day, the gaming equipment, and the harness. They also depict stories and epics drawing on Iranian, Near Eastern (Manichaean, Nestorian) and Indian themes. Sogdian religious art reflects the religious affiliations of the Sogdians, and this knowledge is derived mostly from paintings and

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art this is referred to as "illumination", and manuscripts of the Qur'an and other religious books often included considerable number of illuminated pages. The designs reflected contemporary work in other media, in later periods being especially close to book-covers and Persian carpets, and it is thought that many carpet designs were created by court artists and sent to the workshops in the provinces.

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market production and sale of art made it more commonplace and accessible to merchants and professionals. Because of increased production, many relics have survived from the Seljuk era and can be easily dated. In contrast, the dating of earlier works is more ambiguous. It is, therefore, easy to mistake Seljuk art as new developments rather than inheritance from classical Iranian and Turkic sources.

1020:. There are doubts whether this art can be called a "Parthian" art or that it should be associated with any particular regional area; there is no evidence that this art was created outside the middle-Euphrates region then brought to Palmyra for example. This art is better thought of as a local development common to the middle Euphrates region. Parthian rock reliefs are covered above. 188:

avoiding large examples, especially in sculpture. The general Islamic style of dense decoration, geometrically laid out, developed in Persia into a supremely elegant and harmonious style combining motifs derived from plants with Chinese motifs such as the cloud-band, and often animals that are represented at a much smaller scale than the plant elements surrounding them. Under the

2629:. Large murals of scenes of revelry, and historical scenes, were produced as murals for palaces and coffee houses, and many portraits have an arched top showing they were intended to be inset into walls. Qajar art has a distinctive style of portraiture. The roots of traditional Qajar painting can be found in the style of painting that arose during the preceding 1145:. They covered whole rooms and were accompanied by large quantities of reliefs in wood. The subjects are similar to other Sasanian art, with enthroned kings, feasts, battles, and beautiful women, and there are illustrations of both Persian and Indian epics, as well as a complex mixture of deities. They mostly date from the 7th and 8th centuries. At 701:). This was important in the modern understanding of these languages. Other Persian reliefs generally lack inscriptions, and the kings involved often can only be tentatively identified. The problem is helped in the case of the Sasanians by their custom of showing a different style of crown for each king, which can be identified from their coins. 2284:, or album. These allowed collectors with more modest budgets to acquire works by leading painters. By the end of the century complicated narrative scenes with many figures were less popular, replaced by sheets with single figures, often only partially painted and with a garden background drawn rather than painted. The master of this style was 1982:, the reintroduction of traditional tribal patterns, but also by the invention of modern and innovative designs, woven in the centuries-old technique. Hand-woven Persian carpets and rugs were regarded as objects of high artistic and utilitarian value and prestige from the first time they were mentioned by ancient Greek writers, until today. 2059:. Although there is an older Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant Persian 978:, which has produced the largest quantity of Parthian sculpture yet excavated. Even after the period of the Parthian dynasty, art in its style continued in surrounding areas for some time. Even in narrative representations, figures look frontally out to the viewer rather than at each other, a feature that anticipates the art of 1137:, which was barely, if at all, under the control of the central Sasanian power. The old city was abandoned in the decades after the Muslims eventually took the city in 722 and has been extensively excavated in modern times. Large areas of wall paintings survived from the palace and private houses, which are mostly now in the 1358:, but also had a large diaspora spread throughout Asia, especially in China, where their art was much appreciated, and influenced the Chinese. This influence on the Chinese ranged from metallurgy to music. Today, the Sogdians are best known for their paintings, but they had a distinctive sculpture and architecture as well. 1659:-based paste, rather than clay. Metalworkers highlighted their intricate hammered designs with precious metal inlays. Across the Seljuk era, from Iran to Iraq, a unification of book painting can be seen. These paintings have animalistic figures that convey strong symbolic meaning of fidelity, treachery, and courage. 1172:

over-elaborate amendments. Thus the decoration usually consists of solid and visual motifs from the mould (reliefs), with ribbed and deeply cut facets, although other techniques like trailing and applied motifs were practised. Sasanian pottery does not seem to have been used by the elites, and is mostly utilitarian.

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buildings. At the same time a process of "iranisation" took place, and construction according to previously established types, such as the "Iranian plan" mosques, was resumed. The art of the Persian book was also born under this dynasty, and was encouraged by aristocratic patronage of large manuscripts such as the

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In general, the designs tend to imitate those of Chinese porcelain, with the production of blue and white pieces with Chinese form and motifs, with motifs such as chi clouds, and dragons. The Persian blue is distinguished from the Chinese blue by its more numerous and subtle nuances. Often, quatrains

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Tahmasp I was for the early years of his reign a generous funder of the royal workshop, who were responsible for several of the most magnificent Persian manuscripts, but from the 1540s he was increasingly troubled by religious scruples, until in 1556 he finally issued an "Edict of Sincere Repentance"

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The art and craft of carpet weaving has gone through periods of decline during times of political unrest, or under the influence of commercial demands. It particularly suffered from the introduction of synthetic dyes during the second half of the nineteenth century. Carpet weaving still plays a major

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There are portraits of Fath Ali Shah in a very wide assortment of settings, from the armour-clad warrior king to the flower-smelling gentleman, but all are similar in their depiction of the Shah, differing only slightly, usually due to the specific artist of the portrait. It is only appropriate that

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Numerous types of pieces were produced: goblets, plates, long-necked bottles, spitoons, etc. A common shape is flasks with very small necks and bodies flattened on one side and very rounded on the other. Shapes borrowed from Islamic metalwork with decoration largely inspired by Chinese porcelain are

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from 1501 to 1722. It was a high point for the art of the book and architecture; and also including ceramics, metal, glass, and gardens. The arts of the Safavid period show a far more unitary development than in any other period of Persian art, with the same style, diffused from the court, appearing

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The surviving art of the Sasanians is best seen in its architecture, reliefs and metalwork, and there are some surviving paintings from what was evidently a widespread production. Stone reliefs were probably greatly outnumbered by interior ones in plaster, of which only fragments have survived. Free

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existed from 247 BC to 224 AD in what is now Greater Iran and several territories outside it. Parthian places are often overlooked in excavations, and Parthian layers difficult to distinguish from those around them. The research situation and the state of knowledge on Parthian art is therefore still

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people, for whom all possessions needed to be light and portable, and necessary objects such as weapons, finials (perhaps for tent-poles), horse-harness fittings, pins, cups and small fittings are highly decorated over their small surface area. Representations of animals are common, especially goats

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during the sixteenth century are famous for their elaborate colours and artistical design, and are treasured in museums and private collections all over the world today. Their patterns and designs have set an artistic tradition for court manufactories which was kept alive during the entire duration

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A rich civilization developed under these "little khans," who were originally subservient to the Yuan emperor, but rapidly became independent. Architectural activity intensified as the Mongols became sedentary, and retained traces of their nomadic origins, such as the north-south orientation of the

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of mounted heroes, hunting scenes, and seated rulers with attendants remained popular in pottery and metalwork, now often surrounded by elaborate geometrical and calligraphic decoration. The rich silk textiles that were an important export from Persia also continued to use the animal, and sometimes

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by the Muslim conquerors shows. But the only surviving fragments that might originate from Sasanid Persia are humbler productions, probably made by nomad tribes. Sasanid textiles were famous, and fragments have survived, mostly with designs based on animals in compartments, in a long-lasting style.

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Susa I style was very much a product of the past and of influences from contemporary ceramic industries in the mountains of western Iran. The recurrence in close association of vessels of three types—a drinking goblet or beaker, a serving dish, and a small jar—implies the consumption of three types

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Shortly after Susa was first settled 6000 years ago, its inhabitants erected a temple on a monumental platform that rose over the flat surrounding landscape. The exceptional nature of the site is still recognizable today in the artistry of the ceramic vessels that were placed as offerings in a

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was popular during this period. Themes that had become standard in Persian art by the 16th and 17th centuries included hunting scenes, landscapes featuring animals and horsemen battling lions. Literary scenes depicting animal fables and dragons also featured in the artwork of this period. Scholars

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As well as the figurative scenes in miniatures and borders, there was a parallel style of non-figurative ornamental decoration which was found in borders and panels in miniature pages, and spaces at the start or end of a work or section, and often in whole pages acting as frontispieces. In Islamic

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Although the Persians took artists, with their styles and techniques, from all corners of their empire, they produced not simply a combination of styles, but a synthesis of a new unique Persian style. Cyrus the Great in fact had an extensive ancient Iranian heritage behind him; the rich Achaemenid

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and his descendants. With his ascension, the bloody turmoil that had been the eighteenth century in Persia came to a close, and made it possible for the peacetime arts to again flourish. European influence was strong, and produced new genres like painted enamel decoration on metal, typically with

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Geometric Islamic architectural decoration in stucco, tiling, brick and carved wood and stone became elaborate and refined, and along with textiles worn by the rich was probably the main type of art that could be seen by the whole population, with other types essentially restricted to the private

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In ancient times the surviving monuments of Persian art are notable for a tradition concentrating on the human figure (mostly male, and often royal) and animals. Persian art continued to place larger emphasis on figures than Islamic art from other areas, though for religious reasons now generally

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Persian art under Islam had never completely forbidden the human figure, and in the miniature tradition the depiction of figures, often in large numbers, is central. This was partly because the miniature is a private form, kept in a book or album and only shown to those the owner chooses. It was

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Popular patronage expanded because of a growing economy and new urban wealth. Inscriptions in architecture tended to focus more on the patrons of the piece. For example, sultans, viziers or lower ranking officials would receive often mention in inscriptions on mosques. Meanwhile, growth in mass

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The Sogdians lived in architecturally complex abodes that resembled their temples. These places were decorated with remarkable paintings, an art in which the Sogdians excelled. Indeed, they preferred to produce paintings and wood carvings to decorate their own houses. Sogdian wall paintings are

249:. The vessels found are eloquent testimony to the artistic and technical achievements of their makers, and they hold clues about the organization of the society that commissioned them. Painted ceramic vessels from Susa in the earliest first style are a late, regional version of the Mesopotamian 1961:

have played an important historical role in reviving the tradition of carpet weaving after periods of decline. Rugs woven by the villages and various tribes of Iran are distinguished by their fine wool, bright and elaborate colours, and specific, traditional patterns. Nomadic and small village

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The Sogdians sought to portray both the supernatural and natural worlds. This desire "extended into portraying their own world." However, they did not "represent their mercantile activities, a major source of their wealth, but instead chose to show their enjoyment of it, such as the scenes of

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Because Sogdian artists, and patrons, were much attentive to social life, displaying it in their works, banqueting, hunting, and entertainment are recurrent in their representations. The Sogdians were storytellers: they loved to recount stories. Thus, their paintings are narrative in nature.

1370:, several characteristic of Sogdian metalwork have been established: with respect to Sasanian vessels, Sogdian productions are less massive, their shape differs from the Sasanian, as do the techniques employed in their production. Further, the designs of Sogdian productions are more dynamic. 1171:

and China, even appearing in elite burials from the period in Japan. Technically, it is a silica-soda-lime glass production characterized by thick glass-blown vessels relatively sober in decoration, avoiding plain colours in favour of transparency and with vessels worked in one piece without

2658:(1845–1940) came from a family of court painters, but also trained with a painter who had studied in Europe. After a career at court, he visited Europe in 1898, at the age of 47, staying for some four years. He was one of the artists who introduced a more European style to Persian painting. 2067:, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the 849:

Sassanian reliefs are concentrated in the first 80 years of the dynasty, though one important set are 6th-century, and at relatively few sites, mostly in the Sasanian heartland. The later ones in particular suggest that they draw on a now-lost tradition of similar reliefs in palaces in

1753:, the golden age of Persian painting began, and Chinese influence continued, as Timurid artists refined the Persian art of the book, which combines paper, calligraphy, illumination, illustration and binding in a brilliant and colourful whole. From the start paper was used, rather than 902: 1156:

A number of Sasanid silver vessels have survived, especially rather large plates or bowls used to serve food. These have high-quality engraved or embossed decoration from a courtly repertoire of mounted kings or heroes, and scenes of hunting, combat and feasting, often partially

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Metalwork saw a gradual decline during the Safavid dynasty, and remains difficult to study, particularly because of the small number of dated pieces. Under Shah Ismail, there is a perpetuation of the shapes and decorations of Timurid inlays: motifs of almond-shaped glories, of

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of Central Asia, even adopting their religion and languages. Yet their simple control of the world at that time, particularly in the 13–15th centuries, reflected itself in the idealised appearance of Persians as Mongols. Though the ethnic make-up gradually blended into the

1071:. The resulting Sasanian dynasty would last for four hundred years, ruling modern Iran, Iraq, and much territory to the east and north of modern Iran. At times the Levant, much of Anatolia and parts of Egypt and Arabia were under its control. It began a new era in Iran and 2252:

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

2652:. This is especially evident in the portrayal of Qajar royalty, where the subjects of the paintings are very formulaically placed with standardised features. However, the impact of photography greatly increased the individuality of portraits in the later 19th century. 2410:

was revived, using a different technique from the earlier production, and typically producing small pieces with a design in a dark copper colour over a dark blue background. Unlike other wares, these use traditional Middle Eastern shapes and decoration rather than

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In architecture, patterns in plaster were very popular, almost all now lost. Once the technique was developed these covered large surfaces and perhaps shared elements of their design with carpets and other textiles, also now almost entirely lost. Parthian

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in 260 AD, when Valerian became the only Roman Emperor who was captured as a prisoner of war, a lasting humiliation for the Romans. The placing of these reliefs clearly suggests the Sasanian intention to link themselves with the glories of the earlier

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Persian carpets and rugs of various types were woven in parallel by nomadic tribes, in village and town workshops, and by royal court manufactories alike. As such, they represent different, simultaneous lines of tradition, and reflect the

1565:) was produced, apparently for a sophisticated urban market. Gold and silver equivalents apparently existed but have been mostly recycled for their precious materials; the few survivals were mostly traded north for furs and then buried as 1186: 726:

Only one has inscriptions and the matching of the other kings to tombs is somewhat speculative; the relief figures are not intended as individualized portraits. The third from the left, identified by an inscription, is the tomb of

881:; not all sites with Persian reliefs are in modern Iran. Like other Sassanian styles, the form enjoyed a small revival under the Qajar, whose reliefs include a large and lively panel showing hunting at the royal hunting-ground of 1962:

weavers often produce rugs with bolder and sometimes more coarse designs, which are considered as the most authentic and traditional rugs of Persia, as opposed to the artistic, pre-planned designs of the larger workplaces.

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arriving early in Iran (13th century), was always used. There is frequent use of coloured papers. Towards 1540, a marbled paper also appeared, which however rapidly disappeared again. The bindings were mostly in tinted

2670:. Each ruler, and many of their sons and other relatives, commissioned official portraits of themselves either for private use or public display. The most famous of these are the myriad portraits which were painted of 2222: 2183:, the royal library-workshop, provided most of the sources of motifs for objects such as carpets, ceramics or metal. Various types of books were copied, illuminated, bound and sometimes illustrated: religious books – 536: 409:

of about 700 BC is a collection of objects, mostly in metal, perhaps not all in fact found together, of about the same date, probably showing the art of the Persian cities of the period. Delicate metalwork from

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whose career largely coincided with the reign of Abbas I, his main employer. Although he painted figures of old men, his most common subjects were beautiful young men and (less often) women or pairs of lovers.

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may be confused with Sasanian metalwork, and the two are still confused by some scholars today. However, they differentiate in technique and shape, as well as iconography. Thanks to the work of archaeologist

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panels in steel appear, for uses such as elements of doors, plaques with inscriptions, and the heads of 'alams, the standards carried in Shi'ite religious processions. Important shrines were given doors and

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left enduring results even when rulership separated. The courts of successive dynasties have generally led the style of Persian art, and court-sponsored art has left many of the most impressive survivals.

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Chinese imitation drawings emerged in 15th century Persian art. Scholars have noted that extant works from the post-Mongol period contain an abundance of motifs common to Chinese art like dragons,

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reliefs, metalwork, decoration of palaces, glazed brick masonry, fine craftsmanship (masonry, carpentry, etc.), and gardening. Most survivals of court art are monumental sculpture, above all the

642:, typically placed high beside a road, and near a source of water, is a common medium in Persian art, mostly used to glorify the king and proclaim Persian control over territory. It begins with 2078:

The tradition grew from book illustration, illustrating many narrative scenes, often with many figures. The representational conventions that developed are effective but different from Western

140:. At different times, influences from the art of neighbouring civilizations have been very important, and latterly Persian art gave and received major influences as part of the wider styles of 2608:, which lasted from 1781 to 1925. The boom in artistic expression that occurred during the Qajar era was the fortunate side effect of the period of relative peace that accompanied the rule of 2694:

this particular Shah be so immortalized in this style, as it was under his rule as the second Qajar shah that the style truly flourished. One reason for this were the stronger and stronger

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and other purely religious works are not known to have been illustrated in this way, though histories and other works of literature may include religiously related scenes, including those

5726: 5332: 316:, small figures of worshippers, gods and animals, shallow reliefs, and some large statues of rulers are all found. There are a small number of very fine gold vessels with relief figures. 865:

are generally smaller and more crude, and not all direct royal commissions as the Sasanian ones clearly were. At Behistun an earlier relief including a lion was adapted into a reclining

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have not found evidence of Persian drawing before the Mongol invasions but hunting, combat between men and animals and animal fables are believed to be Persian or Central Asian themes.

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grown in a cave; there are literary mentions of other colossal statues of kings, now lost. The important Sasanian rock reliefs are covered above, and the Parthian tradition of moulded

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on the population, although it became the language used by scholars. Turkic peoples became increasingly important in Greater Iran, especially the eastern parts, leading to a cultural

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From this dispersal of the royal workshop there was a shift in emphasis from large illustrated books for the court to the production of single sheets designed to be put into a

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Surviving Sasanian art depicts courtly and chivalric scenes, with considerable grandeur of style, reflecting the lavish life and display of the Sasanian court as recorded by

5736: 990:. Great attention is paid to the details of clothing, which in full-length figures is shown decorated with elaborate designs, probably embroidered, including large figures. 1304: 810:

The seven Sassanian reliefs, whose approximate dates range from 225 to 310 AD, show subjects including investiture scenes and battles. The earliest relief at the site is

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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.

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continued and developed Roman glass technology. In simpler forms it seems to have been available to a wide range of the population, and was a popular luxury export to

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traditions, including the art of the period. Nevertheless, there were also other influences on art of the period that came from as far as China and the Mediterranean.

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The Sogdians were especially talented in metalworking, and their work in this field inspired the Chinese, who were among their patrons together with the Turks. The

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style; he reclines on a lion skin. This was only uncovered below rubble relatively recently; an inscription dates it to 148 BC. Other reliefs in Iran include the

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A Persian miniature is a small painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a

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The most characteristic feature of the "Parthian" art is frontality which is not a special feature of Iranic or Parthian art and first appeared in the art of

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Many Sogdian paintings were destroyed during the several invasions they suffered in their land. Of the works which survived, some of the best known are the

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in a broadly Greco-Roman style have survived, and these were probably widespread in other elite settings, perhaps made by craftsmen from the Greek world.

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423–404 BC) respectively. A fifth unfinished one might be that of Artaxerxes III, who reigned at the longest two years, but is more likely that of

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Canepa, Matthew P., "Topographies of Power, Theorizing the Visual, Spatial and Ritual Contexts of Rock Reliefs in Ancient Iran", in Harmanşah (2014),

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in the 16th century this style was used across a wide variety of media, and diffused from the court artists of the shah, most being mainly painters.

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When the Safavids seized the throne Persian art had become divided into two styles: in the east a continuation of Timurid styles, and in the west a

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was collected by the elite and more highly valued than the local productions; Shah Abbas I donated much of the royal collection to the shrines at

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that is the source of the stylistic depiction of the human figure in Persian art during the Middle Ages. These same Mongols intermarried with the

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are characterized by their specific weaving techniques and use of high-quality materials, colours and patterns. Town manufactories like those of

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thousand or more graves near the base of the temple platform. Nearly two thousand pots were recovered from the cemetery most of them now in the

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Soucek, Priscilla P.. 1987. "Persian Artists in Mughal India: Influences and Transformations". Muqarnas 4. BRILL: 166–81. doi:10.2307/1523102.

3179: 3115: 2911:"Luristan" remains the usual spelling in art history for the bronzes, as for example in EI, Muscarella, Frankfort, and current museum practice 5651: 5646: 3368: 241:

of Susa corresponds to Uruk; Early, Middle and Late Susa II periods (3800–3100 BCE) correspond to Early, Middle, and Late Uruk periods.

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Roxburgh, David J.. 2003. "Micrographia: Toward a Visual Logic of Persianate Painting". RES: Anthropology and Aesthetics, no. 43. : 12–30.

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are part of the rich and manifold tradition of Persian weaving. Persia was famous for its textiles at least as early as for its carpets.

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script painted on a base of white slip. These vessels would typically be inscribed with blessings or proverbs, and used to serve food.

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produced by the countries of the so-called "rug belt", the Persian carpet stands out by the variety and elaborateness of its designs.

896:#5–19; Assyrian #20–21; Achaemenid #22–30; Late/Post-Achaemenid and Seleucid #31–35; Parthian #36–49; Sasanian #50–84; others #85–88. 4492: 2009: 1553:

spheres of the rich. Carpets are recorded in several accounts of life at the time, but none remain; they were perhaps mainly a rural

3403: 484:

drinking vessel, horn-shaped and usually ending in an animal shape, is the most common type of large metalwork to survive, as in a

1471: 502: 477:

gold work, which inscriptions suggest may have been a specialty of the Medes, was for instance in the tradition of earlier sites.

5271: 1106: 488:. There are a number of very fine smaller pieces of jewellery or inlay in precious metal, also mostly featuring animals, and the 1651:

painting, which only began in China slightly later, and in Europe in the 18th century. This and other types of fine pottery use

818:, with a further four Sasanian rock reliefs, three celebrating kings and one a high priest. Another important Sasanian site is 171:

of 550 BC–330 BC for most of the time a large Iranian-speaking state has ruled over areas similar to the modern boundaries of

5403: 4730: 3759: 3351: 3016: 2524:'s jade one. Under Shah Tahmasp, inlays disappeared rapidly, as witnessed by a group of candlesticks in the form of pillars. 2452: 2412: 2203: 4996: 4951: 4239: 3848: 3822: 3515: 2261:

attempting to outlaw miniature painting, music and other arts. This greatly disrupted the arts, with many painters such as

1350:

Sogdian art refers to the art, architecture, and art-forms produced by the Sogdians, an Iranian people who lived mostly in

945: 767:

336–330 BC), last of the Achaemenid dynasts. The tombs were looted following the conquest of the Achaemenid Empire by

1258: 4363: 3626: 1792: 492:

has a wide selection of types. Small pieces, typically in gold, were sewn to clothing by the elite, and a number of gold

149: 3453: 2052: 237:

with Sumerian motifs, and monumental architecture, is found at Susa. Susa may have been a colony of Uruk. As such, the

69: 4696: 4654: 4605: 4591: 4557: 4543: 4515: 3276: 3246: 3004: 2884: 2846: 2819: 2756: 1697:

swept through the Islamic world. After his death, his empire was divided among his sons, forming many dynasties: the

1411: 1161:. Ewers, presumably for wine, may feature dancing girls in relief. These were exported to China, and also westwards. 366:. They include a great number of ornaments, tools, weapons, horse-fittings and a smaller number of vessels including 3479: 17: 4609: 3449: 2139:. Two rulers of the new dynasty succeeded in encouraging new styles that spread all over their territories: Shah 1978:

part in the economy of modern Iran. Modern production is characterized by the revival of traditional dyeing with

719:. The horizontal beam of each of the tomb's facades is believed to be a replica of the entrance of the palace at 2342:

bathing in a pool, a favourite scene, here from 1548. The silver used to paint the stream has oxidized to black.

1083:

standing sculptures faded out of popularity in this time as compared to the period under the Parthians, but the

997:

in the 20th century provided many new discoveries. The classical archaeologist and director of the excavations,

4914: 4887: 4843: 4813: 4795: 4758: 4671: 4577: 4529: 3979: 1902:

of the Persian Empire up to the last royal dynasty of Iran. Exceptional individual Safavid carpets include the

885:, and a panel, still largely with its colouring intact, at Taq Bostan showing the shah seated with attendants. 485: 1985:

Although the term "Persian carpet" most often refers to pile-woven textiles, flat-woven carpets and rugs like

5291: 4750: 4485: 61: 4869: 842:

have groups of Sassanian reliefs, the former including the oldest, a large battle scene, now badly worn. At

970:

very patchy; dating is difficult and the most important remains come from the fringes of the empire, as at

4822: 4725:

Hillenbrand, Robert. Islamic Art and Architecture, Thames & Hudson World of Art series; 1999, London.

289:

from circa 2300 BC or the early 2nd millennium BC, the earliest rock reliefs of Iran. They are located in

1119: 1084: 1045: 2024: 1969: 1670:

became an important artistic medium, often used as part of the decoration of other works in most media.

1386:. Through these artifacts, it is possible to "experience the vibrancy of Sogdian life and imagination." 888:

The standard catalogue of pre-Islamic Persian reliefs lists the known examples (as at 1984) as follows:

4137: 2086:

therefore possible to be more free than in wall paintings or other works seen by a wider audience. The

1530: 1175:

Carpets evidently could reach a high level of sophistication, as the praise lavished on the lost royal

794:, killed in battle, lies beneath it (other identifications have been suggested). This commemorates the 4859: 3440: 2674:, who, with his narrow waist, long black bifurcated beard and deepest eyes, has come to exemplify the 1647:, painted in enamels with figures on a white background. This is the earliest pottery anywhere to use 916:. Achaemenid tombs above, Sassanian reliefs below. The tombs, from left to right, probably belong to: 5396: 4234: 3565: 1504: 1060: 30: 1118:

ambassadors. Images of rulers dominate many of the surviving works, though none are as large as the

5081: 5013: 4989: 4478: 4229: 3176: 3111: 2583: 2527:

Coloured paste (red, black, green) inlays begin to replace the previous inlays of silver and gold.

2520:

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

1482: 1324: 3365: 3005:

Edward Lipiński, Karel van Lerberghe, Antoon Schoors; Karel Van Lerberghe; Antoon Schoors (1995).

2474:

Tile with young man. Earthenware, painted on slip and under transparent glaze. Northwestern Iran,

4969: 4956: 3520: 3484: 3408: 2712: 2277:

when he was in exile in 1546. Others found work at the provincial courts of Tahmasp's relations.

1678: 1512: 1491: 1009:, but also in Iran up to the Buddhist India followed the same principles. He called this artwork 450: 98: 4764: 4619: 3360: 596: 5191: 4893: 4783: 4706: 4625: 4600:(catalogue of British Museum exhibition), 2005, University of California Press/British Museum, 3915: 2212: 2091: 2056: 2032: 1724: 1720: 1709:

in northern Iran and southern Russia, the latter two converting to Islam within a few decades.

442: 4799: 4720: 3749: 3266: 2836: 2809: 308:

art, from the south and west of modern Iran shared many characteristics with the neighbouring

4563: 2874: 2748: 2742: 2079: 1923: 1633: 1515:. The political structure was complex, with effective power often exercised by local rulers. 282: 261: 4629: 3236: 1529:

and related arts. Most of the ceramic artefacts discovered in Nishapur are preserved in the

1459: 790:(an earlier emperor who paid Shapur tribute) holding Shapur's horse, while the dead Emperor 378:

who have given their name to the area. They probably date to between about 1000 and 650 BC.

5772: 5767: 5389: 4638: 4319: 3905:

Gruber, throughout; see Welch, 95–97 for one of the most famous examples, illustrated below

2648:

is seen to be very realistic in Qajar painting, the depiction of human beings is decidedly

1715: 827: 774:

Well below the Achaemenid tombs, near ground level, are rock reliefs with large figures of

663: 628: 161: 2666:

Most famous of the Qajar artworks are the portraits that were made of the various Persian

2327:

of the Prophet by Sultan Muhammad, showing Chinese-influenced clouds and angels, 1539–43.

355: 8: 5311: 5206: 4982: 4399: 4381: 4215: 3413: 2671: 1853:

Jug, 15th century, gilt-bronze with silver inlay, probably styled for the European market

1667: 1507:, which was complete by 654, and the Arab conquerors soon gave up attempts to impose the 998: 768: 694: 681:

Behistun is unusual in having a large and important inscription, which like the Egyptian

435: 290: 394:

or sheep with large horns, and the forms and styles are distinctive and inventive. The "

5131: 5126: 5021: 4688: 4394: 4324: 4293: 4270: 3026: 2609: 2339: 2216: 2188: 1522: 783: 712: 605: 399: 342:

Luristan bronzes (rarely "Lorestān", "Lorestāni" etc. in sources in English) are small

309: 1362: 5611: 5366: 5251: 5226: 5141: 5121: 5071: 5041: 5031: 4910: 4902: 4883: 4839: 4809: 4791: 4754: 4736: 4726: 4692: 4667: 4650: 4601: 4587: 4573: 4553: 4539: 4525: 4511: 4367: 4275: 4252: 4220: 3975: 3755: 3272: 3242: 3012: 2880: 2842: 2815: 2752: 2564: 2545: 2379: 2176: 2144: 2068: 2040: 1915: 1907: 1727:, probably commissioned by his son. New techniques in ceramics appeared, such as the 1394:

banqueting at Panjikent. In these paintings we see how the Sogdians saw themselves."

1250: 1176: 800: 778:

kings, some meeting gods, others in combat. The most famous shows the Sassanian king

698: 671: 402:

is common but typically highly stylized. Some female "mistress of animals" are seen.

395: 329: 168: 2549: 2370: 1863: 253:

ceramic tradition that spread across the Near East during the fifth millennium B.C.

5541: 5536: 5337: 5216: 5211: 5091: 4778: 4288: 4257: 2638: 2270: 2208: 2106: 2064: 2051:. The techniques are broadly comparable to the Western and Byzantine traditions of 1994: 1818: 1758: 1648: 1434: 1418: 1402: 1383: 1333: 1138: 987: 878: 826:

or Persian heavy cavalryman, about twice life size, probably representing the king

795: 690: 686: 667: 659: 347: 294: 157: 89: 4965: 4947: 4849: 3348: 1098: 1040: 5696: 5616: 5446: 5436: 5231: 5186: 5166: 5156: 5056: 4960: 4788:

Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art

4659: 4451: 4446: 4441: 4428: 4409: 4354: 4344: 4210: 4191: 4144: 3969: 3372: 3355: 3183: 3006: 2811:

The Archaeology of Elam: Formation and Transformation of an Ancient Iranian State

2707: 2682:. While the portraits were executed at various points throughout the life of the 2634: 2309: 2249: 2128: 2072: 1897:

and its various peoples. The carpets woven in the Safavid court manufactories of

1894: 1878: 1775: 1590: 1508: 1398: 1056: 983: 966: 962: 874: 870: 862: 835: 787: 609: 367: 337: 189: 3844: 3818: 3525: 2956:

Frankfort, 343-48; Muscarella, 117 is less confident that they were not settled.

1028:

continued the Achaemenid style, but in the best the animals at the terminal (or

941: 5661: 5621: 5596: 5501: 5256: 5171: 5151: 5036: 5026: 4831: 4415: 4404: 4349: 2722: 2266: 2198: 1903: 1872: 1838: 1814: 1770: 1766: 1644: 1605: 1582: 1164: 979: 913: 882: 822:

with several reliefs including two royal investitures and a famous figure of a

704: 651: 613: 571: 466: 439: 371: 351: 180: 65:

Half of a "Salting carpet", Safavid, in wool, silk and metal thread, about 1600

50: 3918:, "illumination" usually covers both narrative scenes and decorative elements. 3618: 2678:

image of the great Oriental Ruler. Many of these paintings were by the artist

2187:, but also commentaries on the sacred text and theological works—and books of 5761: 5741: 5706: 5591: 5576: 5566: 5526: 5466: 5451: 5360: 5301: 5236: 5201: 5136: 5116: 5106: 5066: 5051: 5046: 4339: 4329: 4183: 3720:

Ettinghausen et al, 128–129, 162, 167; Soucek; Piotrovsky & Rogers, 50–62

3435: 2683: 2655: 2601: 2587: 2568: 2155: 2136: 1934: 1782:

local populations, the Mongol stylism continued well after, and crossed into

1663: 1546: 1476: 1367: 1295: 815: 682: 675: 527: 489: 313: 238: 234: 230: 145: 54: 43: 4880:

Persian Miniature Painting, and its Influence on the Art of Turkey and India

3845:"UNESCO Representative List of the Intangible Cultural Heritage of Humanity" 3819:"UNESCO Representative List of the Intangible Cultural Heritage of Humanity" 2687: 2273:

instead; these two were the trail-blazers, headhunted by the Mughal Emperor

1973:

The Hunting carpet made by Ghyath ud-Din Jami. Wool, cotton and silk, 154234

5581: 5561: 5521: 5491: 5486: 5456: 5441: 5431: 5261: 5221: 5196: 5176: 5111: 5086: 5076: 5061: 4850:"Carpets i. Introductory survey; the history of Persian carpet manufacture" 4818: 4306: 3555:

Nishapur: Pottery of the Early Islamic Period, Wilkinson, Charles K. (1973)

2679: 2626: 2605: 2572: 2475: 2459: 2395: 2262: 1886: 1762: 1706: 1698: 1694: 1542: 1355: 1235: 1095:

decoration to buildings continued, also including large figurative scenes.

1052: 1006: 994: 956: 921: 843: 744: 406: 386: 250: 176: 153: 133: 113: 4666:, Pelican History of Art, 4th ed 1970, Penguin (now Yale History of Art), 3598:

Ettinghausen et al, 166–171; Soucek; Piotrovsky & Rogers, 78–84, 64–73

2633:

empire. During this time, there was a great deal of European influence on

256: 5641: 5606: 5556: 5546: 5516: 5506: 5476: 5471: 5461: 5370: 5181: 5146: 5101: 5096: 5005: 4642: 4468: 4199: 2717: 2675: 2498: 2420: 2358: 2285: 2163: 2122: 2035:, exquisitely decorated borders were an integral part of the work of art. 1979: 1946: 1938: 1882: 1779: 1744: 1586: 1574: 1566: 1525:, especially the 9th and 10th centuries, was one of the great centres of 1345: 1264: 1072: 803:. There are three further Achaemenid royal tombs with similar reliefs at 791: 716: 670:, is on a far grander scale, reflecting and proclaiming the power of the 655: 639: 390: 286: 226: 141: 129: 46: 4927: 3489: 2132:

in carpets, architectural tiles, ceramics, and manuscript illumination.

2020: 5601: 5531: 5496: 5426: 4934: 2645: 2490: 2444: 2407: 2143:, who reigned 1524–1576 but lost interest in art after about 1555, and 2115: 2005: 1990: 1942: 1930: 1911: 1834: 1783: 1732: 1601:

and Nishapur were both centres of production for this kind of pottery.

1130: 1088: 1076: 1068: 823: 819: 804: 760: 720: 708: 624: 567: 543: 512: 508: 470: 446: 375: 359: 144:. This article covers the art of Persia up to 1925, and the end of the 112:

heritages in world history and has been strong in many media including

4586:, British Museum Objects in Focus series, 2012, British Museum Press, 3751:

From Yuan to Modern China and Mongolia: The Writings of Morris Rossabi

200: 5586: 5511: 5412: 3445: 2695: 2595: 2521: 2193: 2140: 2087: 1919: 1754: 1702: 1625: 1598: 1487: 1329: 1193: 1168: 1126: 1115: 917: 775: 752: 137: 2792:

The Royal City of Susa: Ancient Near Eastern Treasures in the Louvre

2777:

The Royal City of Susa: Ancient Near Eastern Treasures in the Louvre

1966:

rugs are the best-known type of carpet from this line of tradition.

1585:

saw the creation of epigraphic pottery. These pieces were typically

1110:

Sasanian decoration on the underside of a silver vessel, 7th century

293:. These reliefs are thought to have influenced the later Achaemenid 5636: 2649: 2553: 2528: 2391: 2179:

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

1950: 1750: 1652: 1643:

Innovations in ceramics from this period include the production of

1621: 1609: 1554: 1518: 1231: 1146: 1142: 929: 925: 866: 839: 834:; the pair continued to be celebrated in later Persian literature. 779: 736: 728: 601: 548: 411: 382: 218:

has been dated to c 5000 BCE. Susa was firmly within the

117: 3648:

Volov, Lis (1966). "Plaited Kufic on Samanid Epigraphic Pottery".

1557:

at this period. Very highly decorated metalwork in copper alloys (

1125:

One of the few sites where wall-paintings survived in quantity is

4333: 2630: 2614: 2403: 2383: 2281: 2274: 2235: 2151: 2047: 1954: 1898: 1690: 1656: 1629: 1613: 1570: 1538: 1526: 1311: 1158: 1064: 1029: 1017: 1002: 949: 889: 858: 831: 643: 632: 553: 415: 343: 278: 125: 121: 2600:

Qajar art refers to the art, architecture, and art-forms of the

2001: 1833:

Bowl with a hunting scene from the tale of the 5th-century king

1314:

dish with the favourite subject of the king hunting, 7th century

854:. The rock reliefs were probably coated in plaster and painted. 473:(see below for the few but impressive Achaemenid rock reliefs). 39: 4118:

Canby (1993), 119–124; Piotrovsky & Rogers, 154-161; Scarce

4109:

Canby (1993), 117–124; Piotrovsky & Rogers, 177-181; Scarce

2690:

in which the distinctive features of the ruler are emphasized.

2613:

flowers that clearly draw on French and other European styles.

2428: 2399: 2387: 2305: 2301: 2254: 1963: 1958: 1867:

Detail of a Persian Animal carpet, Safavid period, 16th century

1683: 1562: 1534: 1373: 1351: 1337: 1291: 1227: 1208: 1150: 1134: 1092: 1025: 851: 575: 481: 462: 458: 419: 246: 74: 4974: 2579: 1340:. From the palace’s "Red Hall", late 7th or early 8th century. 735:

522–486 BC). The other three are believed to be those of

685:

repeats its text in three different languages, here all using

620: 2667: 2324: 2244: 2230: 2184: 2159: 2060: 1986: 1594: 1558: 1464: 971: 398:" motif, showing a human positioned between and grasping two 219: 5381: 4860:"Art in Iran x.1, Art and Architecture of the Qajar Period" 4685:

Representations of the Prophet Muhammad in Islamic painting

4596:"Curtis and Tallis", Curtis, John and Tallis, Nigel (eds), 4168:

Canby (1993), 119–124; Scarce; Piotrovsky & Rogers, 154

2698:

that the Qajar rulers were nurturing with European powers.

2533: 2063:

in the 13th century, receiving Chinese influence after the

1799: 1617: 1212: 1059:, which ruled from the 3rd to 7th centuries AD, before the 975: 893: 811: 647: 579: 493: 363: 305: 222: 215: 209: 172: 662:

in southwest Iran, and continues under the Assyrians. The

3946: 3944: 3942: 3046:

Canepa, 53 and throughout. Canepa, 63–64, 76–78 on siting

1503:

Persia managed to retain its cultural identity after the

1032:) are more naturalistic, probably under Greek influence. 583: 109: 4768: 4715:

Herrmann, G, and Curtis, V.S., "Sasanian Rock Reliefs",

530:, which has lost its inlays of precious stones or enamel 3008:

Immigration and emigration within the ancient Near East

2000:

In 2010, the "traditional skills of carpet weaving" in

29:"Art of Persia" redirects here. For the TV series, see 4524:, 1995, Yale University Press Pelican History of Art, 3939: 3067: 3065: 3063: 3061: 229:. An imitation of the entire state apparatus of Uruk, 2991: 2989: 1735:), and Chinese influence is perceptible in all arts. 103: 3619:"Bowl Inscribed with a Saying of 'Ali ibn Abi Talib" 2175:

Under the Safavids, the art of the book, especially

1632:, all in Iran. Seljuq palace centres often featured 1087:(r. AD 240–272) is a major exception, carved from a 4570:

The Penguin Encyclopedia of Classical Civilizations

4010:

Canby (1993), chapter 2; Blair & Bloom, 170–171

3058: 2747:(5th ed.). Boston: Houghton Mifflin. pp. 1215:, 5th or 6th century, once with polychrome painting 1001:, realized that the art of the first centuries AD, 57:

era, c. 1800, a revival of an ancient Persian type.

3971:Persian Drawings in the Metropolitan Museum of Art 3144:Herrmann and Curtis; Keall for the six at Bishapur 2986: 1918:is a lost Sasanian carpet for the royal palace at 1541:. Ceramics produced at Nishapur showed links with 1475:Basin, Copper with gold and silver, c. 1350–1400, 961:The art of the Parthians was a mix of Iranian and 214:Evidence of a painted-pottery civilization around 4508:The Making of the Artist in Late Timurid Painting 3516:"The Sogdians at Home - Art and Material Culture" 1929:Carpets woven in towns and regional centres like 1757:as in Europe. It was the Mongol ethnicity of the 5759: 4614:Downey, S.B., "Art in Iran, iv., Parthian Art", 814:, from about 1000 BC. About a kilometre away is 3974:. Metropolitan Museum of Art. 1989. p. 3. 2625:Painting now adopted the European technique of 2357:, a typical miniature intended for an album by 2094:, after 1500 usually without showing his face. 175:, and often much wider areas, sometimes called 4957:Exhibition: "Persian Miniatures & Pottery" 4664:The Art and Architecture of the Ancient Orient 4598:Forgotten Empire – The World of Ancient Persia 3747: 3383:Keall for Bishapur; see Harper for other sites 2770: 2768: 2308:fends off a tiger. Probably an early work by 1578:human, figures of their Sasanid predecessors. 1063:was completed around 651. In 224 AD, the last 5397: 4990: 4486: 3589:Ettinghausen et al, 105–116, 159–163, 165–166 3264: 3088: 3086: 2644:While the depiction of inanimate objects and 1498: 1249:The so-called "Coupe de Chosroès", metal and 4522:The Art and Architecture of Islam, 1250–1800 3234: 3031:: CS1 maint: multiple names: authors list ( 2431:, octagonal plates, animal-shaped objects). 578:— eternally fighting bull (personifying the 542:Similar armlets in the "Apadana" reliefs at 277:The rock reliefs of the mountain kingdom of 4073:Blair & Bloom, 178; Canby (2009), 84-87 3878:Canby (1993), Chapters 3 and 4 respectively 3741: 3513: 2814:. Cambridge University Press. p. 318. 2765: 5404: 5390: 4997: 4983: 4894:"Art in Iran ix, Safavid to Qajar Periods" 4836:Chinese Ornament: The Lotus and the Dragon 4773:Luschey, Heinz, "Bisotun ii. Archeology", 4745:Jones, Dalu & Michell, George, (eds); 4493: 4479: 3641: 3473: 3471: 3364:; Canby (1993), 9; Harper; many photos at 3083: 2872: 1486:Part of a 15th-century ceramic panel from 857:The rock reliefs of the preceding Persian 354:which have been found in large numbers in 312:, though it was often less sophisticated. 3804: 3802: 3800: 3798: 3796: 3509: 3507: 3325: 3323: 3321: 3319: 3317: 2355:Youth kneeling and holding out a wine-cup 2010:UNESCO Intangible Cultural Heritage Lists 1922:, and the oldest significant carpet, the 1467:Inscription, 10th century, 35.2 cm across 389:. They represent the art of a nomadic or 4948:Collection: "Arts from Persian and Iran" 4804:Piotrovsky M.B. and Rogers, J.M. (eds), 3546:Ettinghausen et al, 105, 133–135; Soucek 2898: 2896: 2838:Approaching Monumentality in Archaeology 2578: 2563: 2497: 2369: 2221: 2154:, cloud-bands, gnarled tree trunks, and 2105: 2019: 1968: 1906:(now in London and Los Angeles) and the 1862: 1677: 1481: 1470: 1458: 1372: 1323: 1105: 1097: 1039: 940: 619: 595: 429: 323: 255: 199: 68: 60: 38: 4806:Heaven on Earth: Art from Islamic Lands 4687:, in Gulru Necipoglu, Karen Leal eds., 4520:Blair, Sheila, and Bloom, Jonathan M., 4055:Canby (2009), 101-104, 121-123, 137-159 3468: 3260: 3258: 2834: 2443:Plate, 16th century, imitating Chinese 1877:Carpet weaving is an essential part of 1454: 1279:Vases with dancing beauties, c. 300–500 297:, about a millennium and a half later. 272: 14: 5778:Ancient Near East art and architecture 5760: 4870:"Art in Iran vii, Islamic Pre-Safavid" 4647:Islamic Art and Architecture: 650–1250 3793: 3616: 3504: 3395: 3314: 3212:Downey; Cotterell, 173–175; Rawson, 47 3101:Herrmann and Curtis; Canepa, 62, 65–68 2740: 2127:Safavid art is the art of the Persian 1682:Frieze tile depicting a dragon, 1270s 5385: 4978: 4928:https://www.jstor.org/stable/20167587 4838:, 1984, British Museum Publications, 4707:"History of Art in Iran, v. Sasanian" 3851:from the original on 22 November 2015 3825:from the original on 22 November 2015 3647: 3268:The Roman Near East, 31 B.C.-A.D. 337 2893: 2807: 2803: 2801: 2734: 2539: 2219:, or "Night Journey" of the Prophet. 2112:Plate decorated with two pomegranates 846:a king offers a flower to his queen. 782:on horseback, with the Roman Emperor 4952:University of Michigan Museum of Art 4935:https://www.jstor.org/stable/1523102 4823:"Art in Iran i, Neolithic to Median" 4790:, 1988, Metropolitan Museum of Art, 4510:, Edinburgh University Press, 2019, 4159:Scarce; Piotrovsky & Rogers, 154 3514:Bellemare, Julie; Lerner, Judith A. 3428: 3255: 3223:Dura and the Problem of Parthian Art 3092:Cotterell, 162; Canepa, 57–59, 65–68 2789: 2774: 2661: 2015: 946:Bronze statue of a Parthian nobleman 381:The bronzes tend to be flat and use 4882:, 1983, University of Texas Press, 3962: 3748:Morris Rossabi (28 November 2014). 3173:Reliefs rupestres de l' Iran ancien 3011:. Peeters Publishers. p. 119. 2402:(moulded monochromatic pieces) and 2227:A Young Lady Reclining After a Bath 2170: 319: 160:is its most ancient surviving art. 150:Iranian modern and contemporary art 93: 24: 4920: 4645:and Marilyn Jenkins-Madina, 2001, 3477: 3401: 3135:Herrmann and Curtis; Canepa, 74–76 2828: 2798: 2617:on wood is used in a similar way. 2493:wine bottle, 2nd half 17th century 2233:1590s, a single miniature for the 1328:Detail from the painted murals of 1075:, which in many ways was built on 552:with griffin handles are given as 526:One of a pair of armlets from the 25: 5789: 4941: 3456:from the original on 20 July 2020 2620: 2536:grilles in silver and even gold. 1533:in New York City, and museums in 786:bowing to him in submission, and 469:capitals and other sculptures of 374:, possibly related to the modern 204:Pottery Vessel, 4th millennium BC 152:, and for traditional crafts see 5365: 5356: 5355: 4536:Shah Abbas; The Remaking of Iran 4462: 4198: 4138:"Kamal-al-molk, Mohammad Gaffari 3675:Hillenbrand (1999), p.91; Soucek 3666:Hillenbrand (1999), p.89; Soucek 3629:from the original on 8 July 2015 2744:An Encyclopedia of World History 2741:Langer, William L., ed. (1972). 2483: 2467: 2451: 2436: 2347: 2332: 2317: 2294: 1846: 1826: 1807: 1791: 1442: 1426: 1410: 1303: 1284: 1272: 1257: 1242: 1220: 1201: 1192:Sections of wall-paintings from 1185: 901: 582:), and a lion (personifying the 560: 535: 519: 501: 385:, like the related metalwork of 5004: 4162: 4153: 4130: 4121: 4112: 4103: 4094: 4085: 4076: 4067: 4058: 4049: 4040: 4031: 4022: 4013: 4004: 3995: 3953: 3930: 3921: 3914:In the terminiology of Western 3908: 3899: 3890: 3881: 3872: 3863: 3837: 3811: 3784: 3775: 3732: 3723: 3714: 3705: 3696: 3687: 3678: 3669: 3660: 3610: 3601: 3592: 3583: 3572:from the original on 2015-06-10 3558: 3549: 3540: 3386: 3377: 3341: 3332: 3305: 3296: 3285:from the original on 2016-11-17 3228: 3215: 3206: 3197: 3188: 3177:online summary of his list here 3165: 3156: 3147: 3138: 3129: 3118:from the original on 2016-03-03 3104: 3095: 3074: 3049: 3040: 2998: 2977: 2968: 2959: 2950: 2941: 2932: 2923: 2855:from the original on 2019-12-17 2794:. New York: Abrams. p. 29. 2779:. New York: Abrams. p. 26. 2374:Flask, 2nd half of 17th century 2269:moving to India to develop the 1993:, and embroidered fabrics like 1662:The Persians gradually adopted 948:from the sanctuary at Shami in 830:mounted on his favourite horse 664:Behistun relief and inscription 650:rock reliefs, such as those at 591: 5727:British Indian Ocean Territory 5323:British Indian Ocean Territory 4552:, 1993, British Museum Press, 4538:, 2009, British Museum Press, 4064:Canby (2009), 162-163, 218-219 3702:Piotrovsky & Rogers, 78–93 3693:Piotrovsky & Rogers, 64–73 2914: 2905: 2866: 2783: 2215:, and shorter accounts of the 2031:(c. 1500–1550). As in Western 1449:Detail of the Penjikent murals 425: 179:, where a process of cultural 13: 1: 5411: 4909:, Thames & Hudson, 1976, 4751:Arts Council of Great Britain 4534:Canby, Sheila R. (ed), 2009, 4174: 3684:Hillenbrand (1999), Chapter 4 3450:Encyclopædia Britannica, Inc. 2075:in the Indian sub-continent. 1926:was possibly made in Persia. 1689:During the 13th century, the 195: 3790:Blair & Bloom, Chapter 5 3754:. BRILL. pp. 661, 670. 3738:Blair & Bloom, Chapter 3 3521:Freer, Sackler - Smithsonian 3485:Freer, Sackler - Smithsonian 3409:Freer, Sackler - Smithsonian 2506: 1673: 1494:background to an inscription 1035: 936: 164:is covered at that article. 7: 4680:, Ernest Benn, London, 1930 4136:A. Ashraf with Layla Diba, 3607:Ettinghausen et al, 125-127 3311:Harper; Cotterell, 177–178; 2841:. SUNY Press. p. 123. 2701: 2365: 2101: 1738: 1319: 1267:head of a king, 4th century 1120:Colossal Statue of Shapur I 1085:Colossal Statue of Shapur I 1046:Colossal Statue of Shapur I 627:; the "knight" is probably 414:II times has been found at 328:Horse bit cheekpiece with " 225:cultural sphere during the 104: 10: 5794: 4966:Exhibition: "Arts of Iran" 4691:, Volume 26, 2009, BRILL, 4001:Blair & Bloom, 165–182 3887:Canby (1993), Chapters 5–7 3392:Harper; Cotterell, 189–190 2879:. I.B.Tauris. p. 13. 2873:Wiesehofer, Josef (2001). 2835:Osborne, James F. (2014). 2593: 2120: 2038: 1870: 1858: 1742: 1531:Metropolitan Museum of Art 1499:Before the Mongol conquest 1343: 1251:carved semi-precious stone 954: 877:king in shallow relief at 570:in Persepolis—a symbol in 335: 207: 28: 5715: 5675: 5419: 5351: 5310: 5270: 5012: 4907:Royal Persian Manuscripts 4649:, Yale University Press, 2938:Muscarella, 116–117; EI I 2929:Muscarella, 115–116; EI I 2559: 2502:Bronze ewer, 16th century 1505:Muslim conquest of Persia 1377:Sogdian silk, 7th century 1234:of a musician playing an 1102:Silver plate, 6th century 1061:Muslim conquest of Persia 666:, made around 500 BC for 586:) representing the Spring 108:) has one of the richest 5482:East Timor (Timor-Leste) 5072:East Timor (Timor-Leste) 4568:Cotterell, Arthur (ed), 4548:Canby, Sheila R., 1993, 3238:Iconography of Religions 2728: 2584:The Doshan Tappeh Street 2340:Khusraw discovers Shirin 2304:sleeps, while his horse 1749:During the reign of the 1693:under the leadership of 1666:after the conquest, and 486:fine example in New York 457:Achaemenid art includes 5737:Cocos (Keeling) Islands 5333:Cocos (Keeling) Islands 4970:San Diego Museum of Art 4784:Muscarella, Oscar White 4765:"Sasanian Rock Reliefs" 4626:Muscarella, Oscar White 3916:illuminated manuscripts 3869:Canby (1993), Chapter 2 3781:Canby (1993), Chapter 3 3441:Encyclopædia Britannica 2713:List of Iranian artists 2057:illuminated manuscripts 2033:illuminated manuscripts 1786:and even North Africa. 1513:Turko-Persian tradition 1211:relief with confronted 1055:was produced under the 604:over the Roman Emperor 465:, double animal-headed 346:objects decorated with 300: 3950:Blair & Bloom, 171 3896:Gray, 25-26, 48-49, 64 3404:"Sogdian Metalworking" 3265:Fergus Millar (1993). 3175:, 1983, Brussels, per 3171:Vanden Berghe, Louis, 3112:"Vanden Berghe #27–29" 3055:Luschey; Canepa, 55–57 2591: 2576: 2503: 2375: 2240: 2213:Rashid-al-Din Hamadani 2118: 2036: 2008:were inscribed to the 1974: 1885:. Within the group of 1868: 1798:Luster-ware bowl from 1725:Great Mongol Shahnameh 1721:Rashid-al-Din Hamadani 1686: 1495: 1479: 1468: 1378: 1341: 1111: 1103: 1049: 952: 751:465–424 BC), and 635: 617: 454: 333: 265: 205: 78: 66: 58: 4769:http://www.livius.org 4630:"Bronzes of Luristan" 4100:Canby (2009), 160-161 3235:H. T. Bakker (1987). 3162:Downey; Canepa, 59–60 2808:Potts, D. T. (1999). 2641:colours predominate. 2582: 2567: 2501: 2413:Chinese-inspired ones 2373: 2225: 2109: 2080:graphical perspective 2029:Advice of the Ascetic 2023: 1972: 1914:). Much earlier, the 1866: 1723:, and the Demotte or 1681: 1634:Seljuk stucco figures 1485: 1474: 1462: 1376: 1327: 1294:with female head and 1109: 1101: 1067:king was defeated by 1043: 944: 623: 599: 433: 418:and still earlier at 332:" motif, about 700 BC 327: 283:Anubanini rock relief 262:Anubanini rock relief 259: 203: 72: 64: 42: 5652:United Arab Emirates 5247:United Arab Emirates 4898:Encyclopædia Iranica 4874:Encyclopædia Iranica 4864:Encyclopædia Iranica 4854:Encyclopædia Iranica 4827:Encyclopædia Iranica 4775:Encyclopædia Iranica 4741:Encyclopædia Iranica 4717:Encyclopædia Iranica 4711:Encyclopædia Iranica 4683:Gruber, Christiane, 4639:Richard Ettinghausen 4634:Encyclopædia Iranica 4616:Encyclopædia Iranica 4240:World Heritage Sites 4149:Encyclopædia Iranica 4037:Canby (1993), 91-101 3528:on 11 September 2021 3492:on 11 September 2021 3452:10 September 2012 . 3416:on 11 September 2021 3361:Encyclopædia Iranica 3153:Canepa, 59–61, 68–73 2571:in 1798, painted by 1455:Early Islamic period 1298:, c. 600–700, silver 273:Lullubi rock reliefs 162:Iranian architecture 148:; for later art see 5677:States with limited 5274:limited recognition 4028:Canby (1993), 83-88 4019:Canby (1993), 77-86 3959:Canby (2009), 19-20 3729:Canby (1993), 25–27 3623:Harvard Art Museums 3071:Herrmann and Curtis 2983:Muscarella, 125–126 2920:Muscarella, 112–113 2790:Aruz, Joan (1992). 2775:Aruz, Joan (1992). 2686:, they adhere to a 2672:Fath Ali Shah Qajar 2110:Chinese-influenced 2071:in Turkey, and the 1668:Persian calligraphy 1589:vessels with black 999:Michael Rostovtzeff 993:The excavations at 769:Alexander the Great 511:griffin capital at 291:Kermanshah Province 4903:Welch, Stuart Cary 4878:Titley, Norah M., 4735:Keall, Edward J., 4368:Miniature painting 4360:Visual art history 4143:2015-12-10 at the 3711:Hillenbrand, p.100 3617:McWilliams, Mary. 3566:"Nishapur pottery" 3478:Lerner, Judith A. 3402:Lerner, Judith A. 3371:2018-03-11 at the 3354:2015-11-16 at the 3347:Marshak, Boris I, 3182:2016-03-03 at the 2995:Cotterell, 161–162 2610:Agha Muhammad Khan 2592: 2577: 2546:hardstone carvings 2540:Hardstone carvings 2504: 2376: 2241: 2189:Persian literature 2119: 2092:depicting Muhammed 2037: 1975: 1869: 1687: 1523:Islamic Golden Age 1496: 1480: 1469: 1379: 1342: 1112: 1104: 1050: 953: 807:, one unfinished. 743:486–465 BC), 729:Darius I the Great 713:Achaemenid dynasty 636: 618: 455: 434:Restored colossal 400:confronted animals 334: 310:art of Mesopotamia 266: 206: 79: 67: 59: 5755: 5754: 5719:other territories 5379: 5378: 5316:other territories 4808:, 2004, Prestel, 4798:, 9780870995255, 4747:The Arts of Islam 4731:978-0-500-20305-7 4699:, 9789004175891, 4584:The Oxus Treasure 4572:, 1993, Penguin, 4506:Balafrej, Lamia. 4503: 4502: 4127:Canby (1993), 123 4091:Canby (2009), 123 4082:Canby (2009), 237 3761:978-90-04-28529-3 3018:978-90-6831-727-5 2974:Frankfort, 344-45 2662:Royal portraiture 2380:Chinese porcelain 2177:Persian miniature 2069:Ottoman miniature 2041:Persian miniature 2016:Persian miniature 1916:Baharestan Carpet 1908:Coronation Carpet 1716:Jami' al-tawarikh 1437:, 5th–8th century 1433:Sogdian banquet, 1421:, 5th–8th century 1363:Sogdian metalwork 1177:Baharestan Carpet 801:Achaemenid Empire 697:(a later form of 672:Achaemenid empire 654:(circa 2000 BC), 638:The large carved 546:, also bowls and 396:Master of Animals 356:Lorestān Province 348:bronze sculptures 330:Master of Animals 281:, especially the 169:Achaemenid Empire 102: 77:, 13–14th century 16:(Redirected from 5785: 5732:Christmas Island 5717:Dependencies and 5420:Sovereign states 5406: 5399: 5392: 5383: 5382: 5369: 5359: 5358: 5328:Christmas Island 5014:Sovereign states 4999: 4992: 4985: 4976: 4975: 4763:Ledering, Joan, 4678:Persian Painting 4660:Frankfort, Henri 4550:Persian Painting 4495: 4488: 4481: 4467: 4466: 4465: 4202: 4179: 4178: 4169: 4166: 4160: 4157: 4151: 4134: 4128: 4125: 4119: 4116: 4110: 4107: 4101: 4098: 4092: 4089: 4083: 4080: 4074: 4071: 4065: 4062: 4056: 4053: 4047: 4046:see Welch, 95-97 4044: 4038: 4035: 4029: 4026: 4020: 4017: 4011: 4008: 4002: 3999: 3993: 3992: 3990: 3988: 3966: 3960: 3957: 3951: 3948: 3937: 3934: 3928: 3927:Canby (1993), 83 3925: 3919: 3912: 3906: 3903: 3897: 3894: 3888: 3885: 3879: 3876: 3870: 3867: 3861: 3860: 3858: 3856: 3841: 3835: 3834: 3832: 3830: 3815: 3809: 3806: 3791: 3788: 3782: 3779: 3773: 3772: 3770: 3768: 3745: 3739: 3736: 3730: 3727: 3721: 3718: 3712: 3709: 3703: 3700: 3694: 3691: 3685: 3682: 3676: 3673: 3667: 3664: 3658: 3657: 3645: 3639: 3638: 3636: 3634: 3614: 3608: 3605: 3599: 3596: 3590: 3587: 3581: 3580: 3578: 3577: 3562: 3556: 3553: 3547: 3544: 3538: 3537: 3535: 3533: 3524:. Archived from 3511: 3502: 3501: 3499: 3497: 3488:. Archived from 3475: 3466: 3465: 3463: 3461: 3432: 3426: 3425: 3423: 3421: 3412:. Archived from 3399: 3393: 3390: 3384: 3381: 3375: 3345: 3339: 3336: 3330: 3327: 3312: 3309: 3303: 3300: 3294: 3293: 3291: 3290: 3262: 3253: 3252: 3232: 3226: 3219: 3213: 3210: 3204: 3201: 3195: 3192: 3186: 3169: 3163: 3160: 3154: 3151: 3145: 3142: 3136: 3133: 3127: 3126: 3124: 3123: 3108: 3102: 3099: 3093: 3090: 3081: 3078: 3072: 3069: 3056: 3053: 3047: 3044: 3038: 3037:; Cotterell, 162 3036: 3030: 3022: 3002: 2996: 2993: 2984: 2981: 2975: 2972: 2966: 2963: 2957: 2954: 2948: 2945: 2939: 2936: 2930: 2927: 2921: 2918: 2912: 2909: 2903: 2900: 2891: 2890: 2870: 2864: 2863: 2861: 2860: 2832: 2826: 2825: 2805: 2796: 2795: 2787: 2781: 2780: 2772: 2763: 2762: 2738: 2487: 2471: 2455: 2440: 2351: 2336: 2321: 2298: 2271:Mughal miniature 2209:Jami al-Tawarikh 2171:Arts of the book 2147:(r. 1588–1629). 2114:, v. 1500, 2073:Mughal miniature 2065:Mongol conquests 1850: 1830: 1817:, 11th century, 1811: 1795: 1731:(a variation on 1705:in Iran and the 1649:overglaze enamel 1446: 1435:Penjikent murals 1430: 1419:Penjikent murals 1414: 1403:Penjikent murals 1307: 1288: 1276: 1261: 1246: 1224: 1205: 1189: 1139:Hermitage Museum 905: 879:Shikaft-e Gulgul 796:Battle of Edessa 687:cuneiform script 668:Darius the Great 660:Eshkaft-e Salman 564: 539: 523: 505: 362:in west-central 320:Luristan bronzes 295:Behistun reliefs 264:, circa 2300 BC. 158:Rock art in Iran 107: 97: 95: 21: 18:Persian painting 5793: 5792: 5788: 5787: 5786: 5784: 5783: 5782: 5758: 5757: 5756: 5751: 5720: 5718: 5711: 5692:Northern Cyprus 5680: 5678: 5671: 5462:Burma (Myanmar) 5415: 5410: 5380: 5375: 5347: 5315: 5306: 5287:Northern Cyprus 5273: 5266: 5008: 5003: 4961:Brooklyn Museum 4944: 4923: 4921:Further reading 4848:Savory, Roger, 4832:Rawson, Jessica 4499: 4469:Iran portal 4463: 4461: 4456: 4452:Kurdish cuisine 4447:Caspian cuisine 4442:Balochi cuisine 4433: 4420: 4386: 4373: 4311: 4298: 4280: 4262: 4244: 4225: 4192:Culture of Iran 4177: 4172: 4167: 4163: 4158: 4154: 4145:Wayback Machine 4135: 4131: 4126: 4122: 4117: 4113: 4108: 4104: 4099: 4095: 4090: 4086: 4081: 4077: 4072: 4068: 4063: 4059: 4054: 4050: 4045: 4041: 4036: 4032: 4027: 4023: 4018: 4014: 4009: 4005: 4000: 3996: 3986: 3984: 3982: 3968: 3967: 3963: 3958: 3954: 3949: 3940: 3935: 3931: 3926: 3922: 3913: 3909: 3904: 3900: 3895: 3891: 3886: 3882: 3877: 3873: 3868: 3864: 3854: 3852: 3843: 3842: 3838: 3828: 3826: 3817: 3816: 3812: 3807: 3794: 3789: 3785: 3780: 3776: 3766: 3764: 3762: 3746: 3742: 3737: 3733: 3728: 3724: 3719: 3715: 3710: 3706: 3701: 3697: 3692: 3688: 3683: 3679: 3674: 3670: 3665: 3661: 3656:(1966): 107–33. 3646: 3642: 3632: 3630: 3615: 3611: 3606: 3602: 3597: 3593: 3588: 3584: 3575: 3573: 3564: 3563: 3559: 3554: 3550: 3545: 3541: 3531: 3529: 3512: 3505: 3495: 3493: 3480:"Orlat Plaques" 3476: 3469: 3459: 3457: 3434: 3433: 3429: 3419: 3417: 3400: 3396: 3391: 3387: 3382: 3378: 3373:Wayback Machine 3356:Wayback Machine 3346: 3342: 3337: 3333: 3328: 3315: 3310: 3306: 3301: 3297: 3288: 3286: 3279: 3271:. p. 329. 3263: 3256: 3249: 3233: 3229: 3220: 3216: 3211: 3207: 3202: 3198: 3193: 3189: 3184:Wayback Machine 3170: 3166: 3161: 3157: 3152: 3148: 3143: 3139: 3134: 3130: 3121: 3119: 3110: 3109: 3105: 3100: 3096: 3091: 3084: 3079: 3075: 3070: 3059: 3054: 3050: 3045: 3041: 3024: 3023: 3019: 3003: 2999: 2994: 2987: 2982: 2978: 2973: 2969: 2964: 2960: 2955: 2951: 2946: 2942: 2937: 2933: 2928: 2924: 2919: 2915: 2910: 2906: 2901: 2894: 2887: 2871: 2867: 2858: 2856: 2849: 2833: 2829: 2822: 2806: 2799: 2788: 2784: 2773: 2766: 2759: 2739: 2735: 2731: 2708:Persian pottery 2704: 2696:diplomatic ties 2664: 2635:Persian culture 2623: 2598: 2562: 2542: 2509: 2494: 2488: 2479: 2472: 2463: 2456: 2447: 2441: 2368: 2361: 2352: 2343: 2337: 2328: 2322: 2313: 2310:Sultan Mohammed 2299: 2250:Morocco leather 2243:Muslim Spanish 2173: 2129:Safavid dynasty 2125: 2104: 2043: 2018: 1895:history of Iran 1879:Persian culture 1875: 1861: 1854: 1851: 1842: 1831: 1822: 1821:or Central Asia 1812: 1803: 1796: 1747: 1741: 1676: 1509:Arabic language 1501: 1457: 1450: 1447: 1438: 1431: 1422: 1415: 1399:Afrasiab murals 1348: 1322: 1315: 1308: 1299: 1289: 1280: 1277: 1268: 1262: 1253: 1247: 1238: 1225: 1216: 1206: 1197: 1190: 1057:Sasanian Empire 1048:, r. AD 240–272 1038: 984:medieval Europe 967:Parthian Empire 959: 939: 934: 933: 932: 911: 906: 836:Firuzabad, Fars 788:Philip the Arab 689:: Old Persian, 610:Philip the Arab 600:The triumph of 594: 587: 565: 556: 540: 531: 524: 515: 506: 496:have survived. 428: 340: 338:Luristan bronze 322: 303: 275: 212: 198: 190:Safavid dynasty 37: 23: 22: 15: 12: 11: 5: 5791: 5781: 5780: 5775: 5770: 5753: 5752: 5750: 5749: 5744: 5739: 5734: 5729: 5723: 5721: 5716: 5713: 5712: 5710: 5709: 5704: 5699: 5694: 5689: 5683: 5681: 5676: 5673: 5672: 5670: 5669: 5664: 5659: 5654: 5649: 5644: 5639: 5634: 5629: 5624: 5619: 5614: 5609: 5604: 5599: 5594: 5589: 5584: 5579: 5574: 5569: 5564: 5559: 5554: 5549: 5544: 5539: 5534: 5529: 5524: 5519: 5514: 5509: 5504: 5499: 5494: 5489: 5484: 5479: 5474: 5469: 5464: 5459: 5454: 5449: 5444: 5439: 5434: 5429: 5423: 5421: 5417: 5416: 5409: 5408: 5401: 5394: 5386: 5377: 5376: 5374: 5373: 5363: 5352: 5349: 5348: 5346: 5345: 5340: 5335: 5330: 5325: 5319: 5317: 5308: 5307: 5305: 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4698: 4697:90-04-17589-X 4694: 4690: 4686: 4682: 4679: 4676:Gray, Basil, 4675: 4673: 4669: 4665: 4661: 4658: 4656: 4655:0-300-08869-8 4652: 4648: 4644: 4640: 4637: 4635: 4631: 4627: 4623: 4621: 4617: 4613: 4611: 4607: 4606:9780714111575 4603: 4599: 4595: 4593: 4592:9780714150796 4589: 4585: 4581: 4579: 4575: 4571: 4567: 4565: 4561: 4559: 4558:9780714114590 4555: 4551: 4547: 4545: 4544:9780714124520 4541: 4537: 4533: 4531: 4527: 4523: 4519: 4517: 4516:9781474437431 4513: 4509: 4505: 4504: 4496: 4491: 4489: 4484: 4482: 4477: 4476: 4474: 4473: 4470: 4460: 4459: 4453: 4450: 4448: 4445: 4443: 4440: 4439: 4437: 4436: 4430: 4427: 4426: 4424: 4423: 4417: 4414: 4411: 4408: 4406: 4403: 4401: 4398: 4396: 4393: 4392: 4390: 4389: 4383: 4380: 4379: 4377: 4376: 4369: 4365: 4361: 4358: 4356: 4353: 4351: 4348: 4346: 4343: 4341: 4338: 4335: 4331: 4328: 4326: 4323: 4321: 4318: 4317: 4315: 4314: 4308: 4305: 4304: 4302: 4301: 4295: 4292: 4290: 4287: 4286: 4284: 4283: 4277: 4274: 4272: 4269: 4268: 4266: 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The 960: 957:Parthian art 922:Artaxerxes I 912:Panorama of 887: 856: 848: 844:Barm-e Delak 809: 773: 764: 756: 748: 745:Artaxerxes I 740: 732: 725: 703: 680: 637: 592:Rock reliefs 547: 479: 475: 456: 453:, 486–425 BC 407:Ziwiye hoard 404: 387:Scythian art 380: 341: 304: 287:rock reliefs 276: 267: 243: 213: 186: 177:Greater Iran 166: 154:arts of Iran 134:metalworking 114:architecture 85: 81: 80: 47:rock reliefs 31: 26: 5773:Iranian art 5768:Persian art 5679:recognition 5597:Philippines 5542:South Korea 5537:North Korea 5427:Afghanistan 5371:Asia portal 5272:States with 5192:Philippines 5132:South Korea 5127:North Korea 5022:Afghanistan 4779:Online text 4721:Online text 4643:Oleg Grabar 4620:Online text 4400:Calligraphy 4382:Handicrafts 4147:, 2010–12, 3349:"Panjicant" 2718:Sogdian art 2646:still lifes 2421:Reza Abbasi 2359:Riza Abbasi 2286:Reza Abbasi 2164:Chinoiserie 2123:Safavid art 1839:mina'i ware 1759:Chaghatayid 1745:Timurid art 1645:mina'i ware 1587:earthenware 1575:iconography 1567:grave goods 1521:during the 1346:Sogdian art 1265:Silver-gilt 1073:Mesopotamia 963:Hellenistic 871:Hellenistic 869:in a fully 792:Gordian III 717:sarcophagus 656:Kul-e Farah 640:rock relief 631:mounted on 572:Zoroastrian 426:Achaemenids 391:transhumant 227:Uruk period 142:Islamic art 130:calligraphy 86:Iranian art 82:Persian art 73:Star-tile, 34:(TV series) 5762:Categories 5657:Uzbekistan 5632:Tajikistan 5552:Kyrgyzstan 5532:Kazakhstan 5447:Bangladesh 5437:Azerbaijan 5252:Uzbekistan 5227:Tajikistan 5142:Kyrgyzstan 5122:Kazakhstan 5042:Bangladesh 5032:Azerbaijan 4915:0500270740 4892:Welch, A, 4888:0292764847 4844:0714114316 4814:3791330551 4796:0870995251 4759:0728700816 4672:0140561072 4578:0670826995 4530:0300064659 4395:Embroidery 4364:Modern art 4325:Literature 4294:Irreligion 4271:Philosophy 4175:References 3981:0870995642 3576:2015-10-14 3460:23 January 3366:warfare.ml 3289:2017-09-08 3194:Rawson, 45 3122:2015-11-30 2859:2019-03-18 2491:Lustreware 2445:Kraak ware 2408:Lusterware 2116:the Louvre 2053:miniatures 1912:Copenhagen 1835:Bahram Gur 1784:Asia Minor 1743:See also: 1733:lusterware 1729:lajvardina 1573:. 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