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This chapter surveys the formation of four major Persian painting schools after Islam and highlights key manuscripts of the Il-Khanid era. It traces the Abbasid (Baghdad), Seljūghī, Mongol (Il-Khanid), and Safavid phases, emphasizing how each absorbed foreign—especially Chinese—visual idioms while retaining Persian poetic and heroic content. Under the Mongols, royal ateliers in Maragheh and Tabriz produced the Compendium of Chronicle, Benefits of Animals, Kalila and Dimna, and The Book of Kings, whose horizontal compositions, silver highlights, Tang-style color, and Song-inspired landscapes crystallized the “Tabriz School”. Chinese cloud-and-dragon motives, free brushwork, and balanced figure placement were synthesized with Mesopotamian, Byzantine, and indigenous Persian techniques, creating a short-lived but influential hybrid style that set the aesthetic foundation for later Timurid and Safavid painting.

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Persian Painting Art Schools and Important Manuscripts in the Post-Islamic Era

  • 章节

  • 发表日期：

    2025年

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  • Nasrin Dastan

摘要

This chapter surveys the formation of four major Persian painting schools after Islam and highlights key manuscripts of the Il-Khanid era. It traces the Abbasid (Baghdad), Seljūghī, Mongol (Il-Khanid), and Safavid phases, emphasizing how each absorbed foreign—especially Chinese—visual idioms while retaining Persian poetic and heroic content. Under the Mongols, royal ateliers in Maragheh and Tabriz produced the Compendium of Chronicle, Benefits of Animals, Kalila and Dimna, and The Book of Kings, whose horizontal compositions, silver highlights, Tang-style color, and Song-inspired landscapes crystallized the “Tabriz School”. Chinese cloud-and-dragon motives, free brushwork, and balanced figure placement were synthesized with Mesopotamian, Byzantine, and indigenous Persian techniques, creating a short-lived but influential hybrid style that set the aesthetic foundation for later Timurid and Safavid painting.