Climax and Wane of the Art of Painting in the Safavid dynasty

The art of painting as one of the attention worthy reflections of the cultures and civilizations of nations has an age as long as the human history. In our land of Iran, where has an ancient history of culture and civilization, this art has a long background. Reviewing the history of painting art’s ups and downs in Iran, it can be seen that this art has not been stable, but also while effecting and being affected by other civilization centers during ages and centuries, this art has walked the evolution path. On the other hand, evidences indicate that at the time of entering the historical eras, in addition to common efforts, the governing families of Iran each tried to advance, popularize and direct this art in their own way, as the works left from various historical periods of Iran relating to different dynasties shows the degree of these families’ desire and interest for the art of illustration Although painting in Iran has passed the path of progression and perfection in the ancient times and has achieved particular successes, but by entering Islam in Iran, like other aspects of culture and civilization, this art were also fundamentally changed and it was tried to use the art of painting as a tool for expressing belief values and as a tool for promoting1 and insisting on those values and beliefs. With a glance to different Iran’s painting works during the Islamic era, it can be well seen that aside from all the variety seen in this art, it has its own form, content and message. And although the Iranian Muslim painters were from different ethnicity they reflected a belief unity in their artistic works, as they shared one belief basis, and they made the field of this art as a tool for expressing their mutual religious beliefs and feelings. However, it must be accepted that this is a relative concept and in some periods of Iran’s history, we have observed the deflection of the art of painting from this path.Among the later governments of the Islamic era, in some dynasties, the art of painting has passed the path of progression and perfection more than former periods, dynasties such as: Ilkhanate dynasty, Timurid Empire, and specially the Safavid dynasty – as the first national unity oriented government in the Islamic Iran – which in these periods, Iran’s art of painting have always kept its distinction and particular difference, and the efforts of painters during these times have evolved Iran’s art of painting so much that could even highly impact the art of painting in neighboring nations.Samarkand and Herat at the time of Timur, Shahrokh, Baysonqor and Sultan Hussein and his scientist vizier named Amir Alishir Navai2 were the centers of art and skilled painters and artists, and this period is known by the painting high rank and famous master named Behzad .In the Safavid era, the skill of painting found an enormous popularity and glory and its beautiful and colorful flowers started blooming, as the rulers of this dynasty had a particular care for the art of painting and put much effort and contributions in its popularization. Specially, Tahmasp I (1551 to 1605) and Shah Abbas the great (1606 to 1659) put the most effort in this task and they encouraged and motivated the artists.At the time of Shah Abbas Safavi, the royal mansion of Isfahan and its precious palaces were made beautiful by verses, patterns and images which the sample and its remnants can be seen in the Chehel Sotoun palace and other glorious mansions and buildings of Isfahan. But it was at this time when another painting showed itself against Iran’s painting, and that was the European painting which was recognized among Iranian masters. For instance, in the Chehel Sotoun palace, there are some patterns and images that show the European ambassadors and legates at the time of meeting Shah Abbas and also indicates battle fields and war uproars and it seems that they show the patterns of France’s palace and letters