GENEALOGICAL ANALYSIS OF THE “THE ROYAL GREETING CEREMONY” (SAFE SALAM) MURALS PAINTED BY ABDULLAH KHAN IN NEGRESTAN PALACE IN TEHRAN

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MIRZAEIMEHR ALIASGHAR; HOSSEINI MEHDI

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Journal: HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA ) Year:2018 | Volume:23 | Issue:1 Page(s): 53-60

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Title

GENEALOGICAL ANALYSIS OF THE “THE ROYAL GREETING CEREMONY” (SAFE SALAM) MURALS PAINTED BY ABDULLAH KHAN IN NEGRESTAN PALACE IN TEHRAN

Author(s)

MIRZAEIMEHR ALIASGHAR | HOSSEINI MEHDI | Issue Writer Certificate

Keywords

SALAMQ1

ABDOLLAH KHANQ1

FATH ALI SHAHQ1

MURALSQ2

QAJAR’S PAINTINGQ1

Abstract

The MURALS of “Safe SALAM”, created by ABDOLLAH KHAN Esfahani)Active in the first half of the 19th century(,who was painter and architecture in FATH ALI SHAH Qajar era(1833-1871 A.D),he was commissioned by his patron to draw that painting on the walls of Golestan palace in Tehran,which is one of the numerated distinguished work of Qajar art. That was used as a model and pattern by others painter in the others wall painting palace, several citations with different scale and tools implemented on it. The question is, which obvious and covert values was made to the extend reputation and then a lot of citation of it. It is thought that, this painting was an appropriated responses to the needs of the society’s image of that period of time, that to the extent considered even, after the artist’s and his patron’s death was produced repeatedly. In this MURALS,118 faces had painted in tricuspid , which It seems the interior view of three sides of a cube. The sides walls of the palace shows the portrait of ambassador, heads of state and captains and the smaller and main wall shows” FATH ALI SHAH “ with his twelve sons,All characters faced toward the king And the strain on their own. this palace was destroyed in Pahlavi ‘s era and MURALS was disappearance, but the picture have left. It thought the secret of success of this painting should be the response to the image’s needs of those days. The difference between this painting with other works is the innovative theme and its exquisite structure .Also “ ABDOLLAH KHAN” was different with another artist because in the same time won the “Mema’ar- Bashi”( Architecture) and he own self built the “Negarestan” palace.so, obviously he had better understanding of spatial relationships have three- dimensional spaces and he suspension features of painting and architecture with each other, with this method more immediate impact on the audience is create. He used the exact calculation of the view’s.Angel, height observer, diffused light in the space and scales used, created a work that was unique in the history of Iranian’s painting from every direction. This article with genealogical approach, clarify that for creating a masterpiece art work, in addition it must be considered and observed the technical proficiency and the fundamentals of aesthetics, interaction with political discourse of power and propagation patronage is necessary, for example, in achieving fame across the Iran’s borders, the presence of cultural authorities, including: Sir Gore Ouseley from England and Pierre Ame’dee’ Jaubert from France and the other characters from Ottoman, Yeme Temporal and spatial extent of this research is the geography of Iran during Qajar and the methodology of the study isdescriptive- analytical. n, India played an important roles. The basic case study in this research is “The Royal Greeting Ceremony” ( Safe SALAM) MURALS painted by Abdullah Khan but the statistical society of this study inclusive all of the painting with royal greeting ceremony subject. Temporal and spatial extent of this research is the geography of Iran during Qajar and the methodology of the study is descriptive- analytical.

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APA: Copy

MIRZAEIMEHR, ALIASGHAR, & HOSSEINI, MEHDI. (2018). GENEALOGICAL ANALYSIS OF THE “THE ROYAL GREETING CEREMONY” (SAFE SALAM) MURALS PAINTED BY ABDULLAH KHAN IN NEGRESTAN PALACE IN TEHRAN. HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA ), 23(1 ), 53-60. SID. https://sid.ir/paper/146724/en

Vancouver: Copy

MIRZAEIMEHR ALIASGHAR, HOSSEINI MEHDI. GENEALOGICAL ANALYSIS OF THE “THE ROYAL GREETING CEREMONY” (SAFE SALAM) MURALS PAINTED BY ABDULLAH KHAN IN NEGRESTAN PALACE IN TEHRAN. HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA )[Internet]. 2018;23(1 ):53-60. Available from: https://sid.ir/paper/146724/en

IEEE: Copy

ALIASGHAR MIRZAEIMEHR, and MEHDI HOSSEINI, “GENEALOGICAL ANALYSIS OF THE “THE ROYAL GREETING CEREMONY” (SAFE SALAM) MURALS PAINTED BY ABDULLAH KHAN IN NEGRESTAN PALACE IN TEHRAN,” HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA ), vol. 23, no. 1 , pp. 53–60, 2018, [Online]. Available: https://sid.ir/paper/146724/en

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