Akademik Veri Yönetim Sistemi
Sanat Tarihi Dergisi, cilt.34, sa.2, ss.971-1003, 2025 (TRDizin)
ABSTRACT The Safavid dynasty, which represents one of the most significant periods in Iranian history, reached its political, economic, and social zenith during the reign of Shah Abbas I in the 17th century. The prosperity and achievements realized during his rule led to a remarkable flourishing of all branches of the arts. In this context, it can be said that Iranian art experienced a golden age under Shah Abbas’s patronage. A significant portion of the artistic accomplishments of this period is directly related to the single-leaf miniature works of Riza Abbasi, the chief court painter. Especially notable for their depictions of human figures, these works influenced the emergence of a new style in wall painting and introduced figural representations inspired by miniature painting. Through Riza Abbasi’s artworks, the visual iconography of Safavid society became more elaborate. Introducing new meanings and values to the human figure and distinguishing paintings from manuscript illustrations constituted innovative developments in miniature art. Riza Abbasi is recognized as the first artist to popularize miniature painting independently of literary texts, and his work encompasses depictions of individuals from various social classes. Following the relocation of the capital to Isfahan, Shah Abbas initiated extensive urban development projects, leading to the increased prominence of architectural decorative arts. The palaces built in the new capital during the 17th century were adorned with wall paintings that have retained their beauty and uniqueness thanks to the court painters. The wall paintings of the Chehel Sotoun and Ali Qapu palaces contain numerous unique portraits, among which the works executed in Riza Abbasi’s style form the focus of this study. These representations demonstrate the profound impact of Riza Abbasi and his students on Iranian art. The proliferation of wall paintings in his style also provided a model for architectural decoration in subsequent periods. During the reign of Shah Abbas II, the production of single-leaf miniatures continued and was supported by the Shah himself. It is known that many of the wall painters of this period were former students of Riza Abbasi. At the same time, European influence became more apparent; court painters showed increased interest in European naturalism, and by the end of the Safavid period, the Isfahan School underwent a stylistic transformation. The subjects of these wall paintings often include servants, courtiers, and young men and women enjoying nature. These wall paintings typically consist of tripartite compositions: the central panel features two or three figures, while the flanking panels depict single figures in banquet or landscape scenes. In some cases, Riza Abbasi’s miniature works are reproduced almost identically as wall paintings. This study employs a comparative method to examine how Riza Abbasi’s miniature style, centered on the human figure, influenced wall painting through his own work and that of his students. Ultimately, with the new artistic approach introduced by Riza Abbasi in the 17th century, the human figure emerged not as a secondary element but as the main subject in wall painting-just as in other branches of Iranian art-leading to the creation of numerous original works. Keywords: Safavid Period, Reza Abbasi, Miniature, Wall Paintings, Iranian Art.