The Study and Analysis of The Prevailing Elements and Patterns in The Background of The Works of Mirzababa, A Qajar Painter
Keywords:Qajar Art, Mirzababa, Backgrounding, Iconography, Book Decoration
The Qajar period is the beginning of many important and long-lasting developments in Iran's contemporary era. Among these developments, we should mention the changes in Iranian arts and the aspects that these arts had with them. Planning and backgrounding were among the aspects that entered Iranian painting with the entrance of Western art elements. Mirzababa was one of the most important painters of the first Qajar period, and the way he used these elements became an unwritten and frequently used pattern among artists. The purpose of the present article is to analyze the background of his works and to understand his backgrounding. The research is a theoretical and a descriptive-analytical research. The statistical population of the research consists of the works of Mirzababa and because the number of works that have reached us is limited, the sample size is all of his works. The research data show that Mirzababa had been backgrounding according to the type of art or used medium. Backgrounds have a general pattern or contractual elements that have an interior, exterior, or a combination of both spaces rather than the used medium.
Adamova, A. T. (2007). Iranian paintings of Armitage treasure. Translated by Zohreh Faizi. Tehran: Academy of Arts.
Afhami, R. & Masoumi Badakhsh, N. (2016). The effects of painting and cultural factors on the type of foreground and background of the Qajar period. The art effect, (16), 27-7.
Alimohammadi Ardakani, J. (2013). Synchronization of Qajar literature and painting. Tehran: Yasavoli.
Dehkhoda, A. A. (1998). Dehkhoda dictionary. Volume 6. Tehran: University of Tehran.
Diba, Layla S. & Ekhtiar, M. (1998). Royal Persian Painting the Qajar Epoch1785-1925, Broklyn, New York: I.B. Tauris Publishers.
Falk, S.J. (2014). Qajar iconographers. Translation: Alireza Baharlou. Tehran: Figure.
Flore, W.& Cheklowski, P.& Ekhtiar, M. (2002). Painting and painters of the Qajar period. Translation: Yaqub Azhand. Tehran: Shahsvand Baghdadi tribe.
Goodarzi, M. (2015). History of Iranian painting from the beginning to the present. Tehran: Samt.
Jalali Jafari, B. (2003). Qajar painting, critics and aesthetics. Tehran: Kavosh Ghalam.
Karimzadeh Tabrizi, M. A. (1984). Biography and works of ancient Iranian and some famous Indian and Ottoman painters. Volume 3. London: Mustofi.
Khalili, N. (2003). Tendency to the West in Ottoman, Qajar and Indian art. Tehran: Carang.
Khalili, N. (2007). Lucky works. Translated by Soodabeh Rafiei Sakhaei. Tehran: Carang.
Lal Shateri, M. (2016). Western influence in Iranian painting from the beginning of Qajar rule to the end of the Nasseri era. History and Historical Researches in Islamic Iran, (19), 200-185.
Naderi Alam, A. & Chelipa, K. (2010). A study of the evolution of painting, especially landscape design, in the calligraphy from the Safavi period to the end of the Qajar period. Negare Quarterly, 16(4), 55-43.
Pakbaz, R. (2000). Iranian painting from ancient times to today. Tehran: Narestan.
Pakbaz, R. (2011). Encyclopedia of Art. Tehran: Contemporary Culture.
Panjeh Bashi, E. (2008). The superiority of the image of Fath Ali Shah in the Louvre Museum. The mirror of his imagination, 2(111), 13-6.
Panjeh Bashi, E. (2019). Study of Mirzababa's painting as a painter in the Qajar period. Graphic and Painting Research, 2(3), 84-68.
Qelichukhani, H. R. (2009). Dictionary of calligraphy and idioms. Tehran: Rozaneh.
Raby, J. (1999). Qajar Portraits, London, New York: I.B. Tauris Published.
Rajabi, M. A. & Shafizadeh, P. (1999). Qajar aulic (official) paintings, showing the glory of the image. Shahed University, 4(6), 69-59.
How to Cite
Copyright (c) 2021 Journal of History Culture and Art Research
This work is licensed under a Creative Commons Attribution 4.0 International License.All papers licensed under Creative Commons 4.0 CC-BY.
- Share — copy and redistribute the material in any medium or format
- Adapt — remix, transform, and build upon the material for any purpose, even commercially.
Under the following terms:
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.