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:: Volume 4, Issue 16 (12-2015) ::
کیمیای هنر 2015, 4(16): 107-122 Back to browse issues page
Explanation of Ideal Realism in Qajar Royal Painting and its Proportion with Persian Traditional Painting
Aliakbar Jahangard *, Aliasghar Shirazi, Mehdi Porrezaiyan
Abstract:   (9136 Views)

Courtly Iconography is one of the most important schools of Qajar painting which, relying on new technical features and traditions of Iranian painting, achieved a new kind of visual character. There is a certain kind of ideal objectivity in Iranian painting which regards reality not a form visible by sight, but an ideal one. This ideal form is not necceserily the immaterial aspect of matters, but the nomen of every phenomen which is not seen by human.

But Qajar painting considers another type of image properties. These properties are important both in their formal qualities and in specific changes which they embed in themselves. This type of painting relies on formal traits and new material, creating different visual forms in appearance compared to miniature. But regarding the concept of reality in Islamic thought and visual traits of Qajar painting, two conclusions about this school may be deduced: first, in spite of its differences with miniature, by relying upon Islamic thought, this type of painting is actually the continuance of that tradition. Second, the dominant characteristics of Qajar painting can be placed into one category which is in accordance with the concept of foregoing reality

Keywords: Qajar era, royal painting, Iranian painting, ideal realism
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Type of Study: Research | Subject: Special
Received: 2016/01/17 | Accepted: 2016/01/17
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Jahangard A, Shirazi A, Porrezaiyan M. Explanation of Ideal Realism in Qajar Royal Painting and its Proportion with Persian Traditional Painting. کیمیای هنر 2015; 4 (16) :107-122
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