Muhammad Qasim (attr. to, c.1575–1659), "A Young Woman with a Cat," ink, pigment, and gold on paper, c.1590; photo: Christie's. #iran #persianart ##persian #cat #middleeast #art #arte #paintings #peintures #museum #artgallery
Muhammad Mahdi (Iran, 18th century), "Flower Study"; State Hermitage Museum, Saint Petersburg. #iran #persianart #flowers #flowerpainting #art #arte #botanicalart #botanicalillustration #museum #artgallery
Decided to be lazy and draw the ancient 17th century Persian Jewish Woman from Esfahan out of support for Iranian people.
#jewishart #judaism #jewish #persianart #freepersia #ancientpersia #freeiran #iranianprotest #iran
#ToteBag 🎉 Just Sold!
The #PersianNewYear Still Life Ornamental #Nowruz Eggs design has been picked up! 🥚🌸
Inspired by the beauty of the Haft-Seen tradition
Thank you for supporting #taiche 🙏✨
#HaftSeen #NowruzEggs #PersianArt #SpringCelebration
www.amazon.com/dp/B0GRR5N4X...
This Safavid silk carpet from the 1500s contains about 800 knots per square inch.
Part Persian court art, part Chinese inspiration, and an astonishing display of technical skill.
#PersianArt #History
📷 MetMusuem
Safavid stallion, c.1601.
Painted by Habiballah of Sava, this Arabian horse reflects the elegance prized in Persian court culture — small head, arched “swan” neck, and lavish saddlecloth in the saz style.
#History #PersianArt
📷 MetMuseum
Reza Abbasi (Iran, 1565 – 1635), "A Seated Youth," pigment on paper, c.1630. #iran #persia #persian #outofiran #iranianart #persianart #middleeast #art #arte #museum #artgallery
Two women stand side by side against a dark, plain backdrop, shown nearly full length and front-facing in a formal, symmetrical arrangement. Their skin is light olive to fair, their faces rounded and idealized, and their features closely matched, reinforcing the sense that they may be sisters or paired court beauties. Each has arched, joined brows, almond-shaped dark eyes, small rosebud lips, and a tiny beauty mark. They wear richly ornamented garments covered with jewels, pearls, and patterned textiles, with elaborate headdresses and veils that frame the face and shoulders. One holds a cut-crystal decanter; the other holds a stemmed goblet, both rendered with reflective highlights. Their posture is upright and poised, with minimal movement, emphasizing display and status over individual psychology. The painting is both likeness and type as the women appear intimate and paired, yet they also function as an idealized vision of elite Qajar femininity. The extraordinary attention to jeweled clothing and imported European glassware signals wealth, cosmopolitan taste, and courtly refinement in 19th-century Iran. The composition feels ceremonial like an image of adornment, social rank, and visual pleasure. The mirrored presentation invites comparison between the two sitters while also flattening them into a unified icon of beauty. That tension between individuality and stylized convention is part of what makes Qajar portraits so compelling today. The work also opens questions about gendered representation: who was painted, for whom, and visual codes of prestige for women’s images. Because many paintings of women from this period were unsigned and undated, attribution remains anonymous. The work is identified through style and details of dress, features, and technique. The Met dates it to the early 19th century and notes it as a Qajar-period painting from Iran, with the handling of facial features and costume placing it in the second quarter of the century.
“Sisters” by Unknown Qajar artist (Iranian) - Oil on canvas / c. 1835–1845 - Metropolitan Museum of Art (New York) #WomenInArt #QajarArt #IranianArt #TheMet #PortraitOfWomen #IslamicArt #art #artText #artwork #arte #IranianArt #IranianArtist #PersianArt #IslamicArt #QajarArt #MetropolitanMuseumofArt
@natasianart writes "This sixteenth-century painting was inspired by the snowy winters in Iran.
As if glancing out a window, we see swirling clouds, gently falling snowflakes, and accumulating snowdrifts covering a desolate landscape. In… http://dlvr.it/TQNnR3 #PersianArt #SmithsonianAsianArt
Yalda Night: A City Born from a Pomegranate
#Iran
#Persian
#YaldaNight
#PersianArt
#SurrealCity
#PomegranateCity
#CinematicArt
#AIArt
#DigitalSurrealism
#FestivalOfLight
#NightAesthetic
#PersianCulture
A woman with luminous chalky-white skin sits gracefully side-saddle on a blue horse, enveloped in a field of intense cobalt blue. Her long black hair flows beneath a red ribbons, its edges lifting as if stirred by sound. White calligraphic lines glide across her robe and the horse’s body like illuminated script, evoking Persian nastaliq forms while blending language and ornament. A slender column rises at the right edge, topped by a tiny bird that seems ready to sing—a subtle emblem of voice and spirit. Cradled in her lap, a pale, long-necked lute-like instrument, reminiscent of a Persian setar yet abstracted in form, its soft curve echoing the line of the animal’s body and binding sound to movement. Turquoise and indigo layers blur any horizon, and accents of scarlet red at her lips, ribbons, and reins pulse gently within the blue’s serenity. The result feels weightless, suspended between motion and stillness. This untitled work exemplifies Iranian artist Nasser Ovissi’s lifelong synthesis of Persian heritage and modern abstraction. Born in Tehran in 1934, Ovissi trained in Rome before developing an international career that joined Saqqakhaneh symbolism with contemporary aesthetics. His recurring subjects of women, horses, birds, and calligraphic forms embody grace, imagination, and continuity. In Persian visual culture, blue connotes transcendence while white script becomes both prayer and pattern as the musician represents inner voice and the horse conveys strength and loyalty. The composition’s interplay of vertical calm and diagonal melody invites reflection on harmony between tradition and innovation. Critics have described Ovissi’s art as “a dialogue between poetry and painting,” a phrase that resonates here. Now held in the Raha Gallery Middle East Collection in Tehran, this painting stands as a lyrical testament to cultural endurance where brushstroke, language, and sound merge into one radiant act of creation.
“Untitled (بیعنوان)” by Nasser Ovissi / ناصر اویسی (Iranian) – Mixed media on canvas / c. 2010s – Raha Gallery Middle East Collection (Tehran, Iran) #WomenInArt #IranianArt #PersianArt #art #artText #artwork #RahaGallery #MiddleEasternArt #BlueskyArt #MixedMediaArt #ModernArt #Ovissi #NasserOvissi
A young dancer steps forward on one foot and the other pointed red slipper lifted. She wears a fitted rose-pink jacket with a deep V neckline and narrow cuffs edged in gold; a long chain drops from her neck to a gold pendant that rests at her waist. Above a short, wine-red overskirt patterned with curling gold tendrils, a broad teal-and-gold sash drapes diagonally, its folds echoing the swing of her movement. Beneath, a vertically striped skirt in turquoise and brown falls to the ankles, parted to reveal layers: a pale cream undergarment stenciled with small floral stars and a pink inner robe trimmed in gold. Her hands are raised with bent wrists and delicately posed fingers, signaling measured rhythm. Long, dark hair streams in loose waves; a few braids frame a luminous light-toned face with kohl-rimmed almond eyes, faint cheek flush, and soft red lips. A low gold crown set with pearls and a feathered aigrette rests over her center-parted hair. She moves across a parchment-colored ground dotted with plants and stones. Created in Isfahan toward the latter part of the Safavid dynasty, this single-figure album leaf (muraqqaʿ) exemplifies Muʿin Musawwir’s refinement: elongated proportions, poised gesture, and meticulous costume detailing in opaque watercolor heightened with gold. As successor to the celebrated Reżā ʿAbbāsī, Muʿin shaped the courtly taste of the later 17th century, producing artwork prized for intimate viewing that circulated alongside calligraphy and poetry, functioning as visual counterparts to lyric verse. Here, choreography becomes arabesque art through the dancer’s angled wrists, pendant chain, and streaming hair to create motion. The restrained setting places emphasis on presence, while jeweled headpiece, sash, and patterned textiles signal urban sophistication. Within Safavid culture, images of dancers, musicians, and lovers offered a cultivated idiom of grace and wit; this leaf crystallizes that ideal with particular clarity.
“Young Woman Dancing” by Muʿin Musawwir (Iranian) – Opaque watercolor and gold on paper / 1670–1690 – The Israel Museum, Jerusalem #WomenInArt #art #artText #artwork #dancer #Musawwir #IsraelMuseum #watercolor #BlueskyArt #WomanDancing #IMJ #artBSKY #IranianArtist #IranianArt #PersianArt #1600s
This rectangular painting shows a richly stylized woman posed beside a golden horse against a dark background. She wears patterned gold garments with floral designs and a tall white headdress. Her pale face, framed by black hair, is marked by long, darkly lined eyes and flushed cheeks. In one hand, she grasps a round gold vessel accented with green and red, while her other hand lifts a small golden cup close to her chin. The horse’s head leans closely toward her, its bridle drawn in curling golden lines that echo other calligraphic swirls and decorative flourishes floating across the canvas. Born in Tehran in 1934 and trained in Rome, Nasser Ovissi emerged as a leading figure in Iranian modernism, bridging Western painterly abstraction with Persian visual traditions. His work often features archetypal women, horses, and vessels as symbols of continuity, beauty, and cultural identity. “Saghi”” reimagines the timeless Persian figure of the sāqī, a cupbearer invoked by classical poets such as Hafez as the one who brings not only wine but also spiritual ecstasy, divine love, and the promise of renewal. The woman’s dual gesture of holding a golden flask and raising a cup makes her both vessel and pourer, a guardian of the intoxicating gift. Her richly patterned gold garments and luminous headdress echo manuscript illumination, while the horse recalls the power and nobility of Persian court imagery. Ovissi’s style is strongly shaped by the Saqqakhaneh movement of Iranian modernism, which emerged in the 1960s. Artists in this circle fused Shi’a shrine iconography, Persian calligraphy, and folkloric motifs with Western abstraction to create a distinctly Iranian modernist voice. While not strictly part of the movement, Ovissi’s mature work, including “Saghi,” carries its spirit forward. By blending ornamental flatness, symbolic archetypes, and luminous gold, he creates a neo-traditional modernism that bridges Iran’s cultural memory with a global art language.
“Saghi (Cupbearer)” by Nasser Ovissi (Iranian American) - Oil on canvas with gold / 2000 - Jordan National Gallery of Fine Arts (Amman, Jordan) #WomenInArt #art #IranianArt #artText #JNGFA #NasserOvissi #Ovissi #PersianArt #Saqqakhaneh #BlueskyArt #ModernArt #Iranian #JordanNationalGalleryofFineArts
Trying some new stuff to work into my own style 🤗
#art #sketching #sketchbook #artstyle #drawing #graphicart #illustration #persianart
qom carpet-based design made with processing. red and blue carpet with floral and vegetal inspired designs.
Qom carpet design made with @processing.org
#persianart #generativeart #processing
From the museum: “ This folio depicts a lady seated on a balcony before an expansive landscape. The artist has used European techniques of modeling and shading in rendering the face, neck, and hands. The landscape in the background incorporates the use of perspective, a technique adopted by Iranian court painters in the mid-seventeenth century. A small date in white ink in the sky appears to read A.H. 1149/A.D. 1736–7, which places this work in the period of the Afsharid rulers of Iran.”
“Portrait of a Persian Lady", ca. 1736-1737, detail, unknown Persian artist, ink, opaque watercolor, and gold on paper, The Metropolitan Museum of Art, New York. More info in ALT. #arthistory #persianart
Learn drawing techniques inspired by our Western, Eastern and Islamic collections. This workshop on Sunday 10 August will explore architecture depicted in Persian manuscripts.
🎟️FREE, no booking required, available for the first 20 participants.
#LoveDublin #PersianArt #DrawingWorkshop
My new YouTube channel!
For my first video: tipping up pictorial space
youtu.be/a-VGd_AEJNo
#art #arthistory #picasso #pictorialspace #colormovementtheory #letstalkaboutart #painting #oilpainting #chagall #matisse #chineseart #chinesepainting #persianart #persianpainting
Can anyone tell me about this antique possible textile. I heard it may be in the Devangali language. #antique #antiques #persianart #india #indiaart #devangali #museum #art
"Fortress of the Sun"
A bold graphic ode to desert resilience — ancient towers meet modern roads in this stark, timeless contrast.
#DigitalArt #MiddleEasternArchitecture #MinimalistArt #PersianArt #IranianIllustration #ModernHeritage #FortressArt #procreate #procreateart #abstract
Mafia Boss Persian Cat Funny Warning Design for Cat Lovers
www.redbubble.com/shop/ap/1700...
#PersianCat #MafiaCat #CatGodfather #CatHumor #MafiaBossCat #FunnyCatArt #CatBoundaryWarning #PersianArt #MafiaCatLife #CatCostumeArt #PersianBoss #CuteCatDesign #KittyInSuit #CatComics #CatLoversUnite
"The Six Horsemen" c.1685, Mughal Empire (India/Persia)
#mughalart #mughalempire #indianart #persianart #arthistory #17thcenturyart #antiqueart #vintageart #handdrawn #traditionalart #fineart #mughalpainting #horseart #equestrianart #historicalillustration #antiqueillustration #inkdrawing #dailyart
Mo Rasoulipour shares the beauty of Iranian culture and its history. Make sure to watch the full long-form interview.
#Iran #Iranian #IranianAmerican #IranianArt #History #Art #PersianArt #PersianHistory #IranianHistory #eranshahr #mythical #monsters #culture #fantasticbeasts #podcast #middleeast
Listen to the latest episode of the bent Fig Media podcast. Available on #spotify #apple and other major social media and podcast apps.
spotifycreators-web.app.link/e/gUI3TtHkNOb
#Iran #Iranian #IranianAmerican #IranianArt #History #Art #PersianArt #PersianHistory #IranianHistory #eranshahr
Video of the drawing process. Tutorial by James Julier on YT.
#procreate #pokemon #pokémon #pokemonart #pokemondrawing #persian #persianart #Snobilikat #procreatedrawing #procreatepainting #landscape #savanna #river #sunset #sunrise #sun #tree #art #digitalart
Persian dreaming - inspired by James Julier (YT)
#procreate #pokemon #pokémon #pokemonart #pokemondrawing #persian #persianart #Snobilikat #procreatedrawing #procreatepainting #landscape #savanna #river #sunset #sunrise #sun #tree #art #digitalart
*Sharing some old art here from now on because I'm building another social account from scratch again*
A four panel comic I did back in 2022. I love this character so much and I'm still proud of the composition and the colours. ( ꈍᴗꈍ)
#comic #persianart #persian
