Early Safavid Painting combined the Traditions of Timurid Herat and Turcoman Tabriz to reach a peak of technical excellence and of emotional expressiveness which for many as the fint'st hour of Persian Painting.The Safavid dynasty lingered on until Nadirshah crowned himself in 1736, but was in decline after death of Shah Abbas I in 1629. Shah Safi I died in 1941 and was succeeded by Abbas II, who Reigned until 1666. He inherited his grandfather, interest in arts and appreciated fine things. Shah Sulayman I succeeded Abbas II in 1666 and reigned until his death in 1694. His successor sultan Husayn reigned to 1722, by which latter date the Afghans had occupied Isfahan.European Modes of representation in a novel and a pealing style the set the direction for later Iranian Painting on both small and large scale. Indeed at this period oil Paintings on canvas in this style were first produced in Iran. These European ideas could have reached Iran either directly from Europe or via India and Ottoman Turkey. European elements are more clearly seen in the works of Mu'in Mussavar, Mohammad Zaman, Shaykh Abbasi, Aliquli Jebadar, Shafi Abbasi, and Bahram Sofrahkash. This article survey European element in late Painting of Safavid Period.

Problem Definition: As a multifaceted medium, garden Paintings have included the social structure and power relations of the Safavids. The scientific challenge of the current research is to identify the ideology of the Safavid government in the hidden textual layers of garden Paintings, the components related to symbolism, and Iranian culture in the heart of the Safavid society. In the present research, the following questions are addressed: What components and symbolic elements are the social relations of the Safavid period narrated in the text of garden Paintings? How is the ideology and attitude of Safavid artists illustrated in garden Paintings? Objective: This research seeks to investigate and understand the relationship between the texts of Paintings related to the theme of the Iranian garden in the scope of the socio-cultural structures of the Safavid period. Research method: The current study is qualitative research using a descriptive-analytical method. The data collection is conducted through a library-based method. Results: Interactions and social and religious relations have been carried out through symbolic cultural domination to advance the goals and legitimize the Safavid ideology. In the textual layers of garden Paintings, painters have addressed the cultural and religious components representing relationships, national customs, court banquets, and Shia religion. Political and social events are represented in the form of mythological and religious narratives in the text of the Paintings. The art of multi-purpose and moving illustration in Paintings has become a powerful and focused medium at the service of the organized system of the Safavid court, and this artistic field has made the superior position of the king and the structure of the social classes of the Safavid government in the form of dynamic and animated images. Diversity in the design structure of gardens and collective spaces is one of the most significant achievements of artists in expressing the attitude, art, and knowledge of Safavid gardening. These Paintings have paid attention to the awareness and precision of court painters in expressing identity components and conveying effective messages to their audiences.

From the middle of the Safavid era, with the expansion of relations with the West, European landscapes were used in various ways in the composition of Paintings called “ FARANGI-SAZI” . In this article, by adopting a hermeneutic approach, the epistemological context necessary for the emergence of “ landscape Painting” as an independent genre in European Painting has been studied and then the transformation of these landscapes in late Safavid Painting has been “ analyzed” and “ interpreted” . The findings of the article indicate that the European landscapes in the Painting of that time were considered as “ Paragone” as a region next to or behind the main narrative, so the landscape continues its previous role as the “ background of the narrative” in the Persian Painting. This shows the continuation of the aesthetic tradition of Iranian Painting in Painting called FARANGI-SAZI. Despite the enthusiasm of patrons and painters for European landscapes, not many of the remained landscape Paintings of this era are done by Iraninan painters. The emergence of landscape Painting in post-Renaissance Europe required the establishment of a special form of the dialectic of reason and mimesis. In this dialectic, the mimetic aspect of the landscape shows the subject’ s effort to compensate for the growing alienation from nature, while this moment (imitation) in Iranian Painting has a narrative and conceptual direction and the “ gaze” of the painter depends more on the idea of “ Verbal Narrative” than on the objectivity of nature ahead.

The art of Painting has been intertwined with narrative from the beginning and has drawn various scientific, social, political and economic themes. One of the brilliant periods of this art was the period of Safavid rule (907-1136 AH). During this period, with the support of the government and other elders of the society and the establishment of royal workshops, this art reached its ultimate stance. In the meantime, due to the religious approach of the Safavid government, religious and political themes became the subjects of Painting. The issue that can be raised here is how to reflect the position and role of the leading officials of the Safavid period in the art of Painting of this period. This research has been completed via descriptive and analytical methods and by relying on the data of library resources. The findings of the study indicate that in this period, religious positions played an important role in cultural and political developments and consequently, this had a tremendous cultural impact on commonalities as religious positions played an important role in the political and social dimension. This change can also be seen in the surviving Paintings of this period.

The art of drawing in the field of Persian Painting includes countless Paintings, most of which are left over from the Safavid era. These drawings have been implemented in the form of preliminary drawings, copy drawings, or final drawings that represent mental or objective images. Thinking on these diverse aspects can point to the broadness of concepts related to the art of drawing. But, despite this breadth, a limited aspect of the concept of drawing has always been mentioned and generalized in Persian Painting Studies. However, in this context, it is possible to identify the diverse aspects of this art by referring to the artistic compositions of the Safavid era, such as artistic treatises and prefaces to the Muraqqa. This narrow view ignores the diverse aspects of drawing. Due to having specialized content, these sources can remind countless learned concepts about Iranian art. Attention to the mentioned texts provides knowledge of the art of drawing in terms of having diverse aspects, the richness of concepts and the expansion of the vocabulary. By analyzing the art texts of the Safavid era, researchers can discover the forgotten concepts and knowledge of Iranian art. These texts can reveal lost art forms, rediscover forgotten techniques. The importance of this research can be expressed in cases such as the distinction of drawing studies in the Iranian literature, the recognition as accurately as possible of the art of drawing, the discernment of its diverse forms, the distinguishing of other forms of this art and the reminder of specialized words related to the art and drawing through the return to the text of the arts of the Safavid era. In this regard, the present research aims to recognize the concept of drawing and its other diverse aspects, it benefits from a three-stage study process: 1-Understanding the meaning of the word drawing and searching for synonyms 2- Reviewing the content of text in artistic writings based on drawing-related concepts 3- Searching for examples related to these concepts. In the case of written sources, examples will be referred to those that were written in the Safavid era, and in the case of visual examples, drawings that are most related to the intended concept will be examined; also, the drawings that were implemented in the Safavid era. For this purpose, in the case of drawing, the intensity case sampling will be used. The above study’s route is accompanied by the following questions: 1. To what concepts of the art of drawing in connection with Iranian Painting do the art texts of the Safavid era refer? 2. What kind of drawings do these concepts include? The research methodology involves a historical-comparative approach. This method is used to interpret the evidence with the focus on the contexts and is divided into 18 types based on three characteristics of time, unit of study and data type. The present study is a fourth type. The fourth type of this method is in terms of time dimension to the past, the type of data is qualitative and the unit of study is related to a single nation that is in this study, the context of Persian Painting in the Safavid era (10-11th century AH), concepts related to drawing and Safavid court painters are considered respectively. Due to the written and visual nature of the sources, information collection is done in a library method through note-taking and image analysis in this process, internet databases have also be used to complete the information. The results state that the drawing’s foundation is based on the line element. This element that unites, leads to a variety of drawings. In other words, each of these drawings, according to the nature and quality of the line element, results in the formation of a variety of drawing art. These different types have benefited from the line element for a distinct purpose from each other. For this reason, they have a different name and term, each of which implies the concept of drawing and its fundamental characteristic. In these single-page drawings, the line element is of two types; non-independent and independent, and, according to this feature, represents mental or objective images. Therefore, the term "drawing" in Safavid art texts refers to the visual representation of forms using lines, often executed in a single color. This concept is closely linked to the terms "Tahrir", "Mosavvade" and "Qalam Siāhi". In Tahrir, often the line element runs without linear value and has subtle lines. In Mosavvade, the presentation of the pre-drawing is desired, and the lines are drawn in accordance with the selected sample. In Qalam Siāhi, the line element with a variety of thicknesses is used. Therefore, it includes various types of drawing, such as draft, practice, iteration, and final, which are associated with the features of pen elegance, visual balance of black and white, and executive skill.

Persian literature and Painting have a close relationship with each other from the beginning; scientific texts, Ferdowsi's Shahnameh, Nizami's poems, Saadi’s Bustan, Kalileh and Demeneh and many other instructive, mystical, romantic and epic texts of Persian literature are the main subjects of Persian Painting. Tabriz school of Painting in Safavid era, as one of the most prominent schools of Painting in Iran, is not separated from this trend. Valuable manuscripts were created in Tabriz based on various epic, lyrical and fictional literary texts.In order to interpret and understand Paintings in a more appropriate way, it is necessary to know the characteristics and distinctions of Persian Painting in every historical period, including the Tabriz school of Painting in Safavid era. The permanent link between Persian literature and Persian Painting is one of the most important gateways to the problem, which draws attention to the study of Persian Painting as a type of Intersemiotic translation or Transmutation.Intersemantic translation or transmutation, which was first proposed by Roman Jakobsen, means an interpretation of verbal signs by means of signs of nonverbal sign systems. Based on this concept and since a large amount of manuscripts that appeared in the history of Persian Painting, including the Tabriz school of Painting in Safavid era, are based on literary texts, a large percentage of Iranian Painting manuscripts can be considered as a type of Intersemiotic translation.The purpose of this research is to study the process of illustrating literary texts in Safavid Tabriz School based on the concept of Intersemiotic translation or Iransmutation. Another goal of this research is to recognize the factors affecting the mentioned process. The questions of this research are: 1. What are the mechanisms of the Transmutation of literary texts into Paintings of the Safavid Tabriz school? 2. What are the factors affecting the mentioned process?The method of this research is descriptive-analytical. The research data was collected by studying the documents available in the library. Among the Paintings of Tabriz school of Painting in Safavid era, nine cases have been selected in an improbable and purposeful way to check the validity of the presented qualitative issues. The data in this research is analyzed based on Roman Jakobsen's classification of different types of translation with a special look at Intersemiotic translation and Farzan Sejoudi's theories in layered semiotics (emergent approach to semiotics). After studying the process of Intersemiotic translation from the perspective of layered semiotics and obtaining the main mechanisms and factors affecting this process, the validity of the qualitative information presented will be evaluated on a set of samples that were purposefully selected from Tabriz school of Painting in Safavid era.The results of this research indicate that four general mechanisms are taking place in the Intersemiotic translation of literary texts into the manuscripts of Tabriz school of Painting in Safavid era: Repetition, Innovation, Reproduction and Deletion. Also, the influencing factors on the mentioned mechanisms are: First, the story basis of the literary text. The story in a literary text creates a limitation for painters. In the manuscripts without story, the artist, using the threads of the literary text, went above creating an image based on a specific story and created unique manuscripts for the first time in the history of Iranian Painting. In the manuscripts that have a specific story, the painters illustrated parts of the story, which is a good platform for illustrating historical issues and royal life. The second factor influencing the Intersemiotic translation process is the artist's creativity and cognitive knowledge. The third factor affecting the mentioned process is the change of media. The transformation of the visual medium of writing into the visual medium of a fixed image is one of the main changes. The last factor influencing the transmutation of sign systems in Tabriz school of Painting in Safavid era is intertextual relations. In addition to the relationship between verbal text and visual images presented in the four general mechanisms, other intertextual relationships are also important. Although it is difficult and even impossible to identify all types of intertextual relationships, the relationships between the Paintings of the Tabriz school and other schools of Painting are the main factor of some of the most important features of this school.The four mechanisms of the Intersemiotic translation process presented in this research and  the factors affecting the mentioned process can help researchers in similar studies in the field of visual arts, especially visual works related to literary texts.

Customs were among the principles of Sufi mysticism. Observing customs was a measure of disciples' adherence to Sufism and, consequently, preserving the tradition of the Prophet and the Imams. In Sufi thought, specific customs governed every behavior, and their implementation played a crucial role in the acceptance or rejection of Sufis within the circle of mystics. Practicing customs was, in fact, a permit for a Sufi's survival in the guise of mystics, and deviating from them led to exclusion from the Sufi circle. The accurate transmission of customs was also a significant concern that preoccupied the minds of Sufi masters across various eras, as the origin of customs lay in Quranic verses, Hadiths, traditions, and the conduct of the Prophet and the Infallibles. Any negligence in practicing or narrating these customs was considered a sacrilegious error. This study, after explaining the definitions and importance of "adab" in mystical texts, demonstrates the differences among various customs. The article is conducted using a descriptive-analytic method. Initially, the term "adab" had a limited, aristocratic, and exclusive meaning, but the influence of Islam and the spread of Sufism led to its evolution and eventual elevation in meaning. The results of this research show that prominent masters such as Ayn al-Qudat, Aziz al-Din Nasafi, and Rumi focused more on the spiritual aspect of customs than their outward appearance, thus taking a lenient stance towards observing their external aspects. In contrast, other Sufis like Baharzi, Suhrawardi, and Kashani did not spare any detail in expressing customs and did not neglect caution. Sufi thoughts during the Safavid era also found explicit expression in the Painting of the second Tabriz school. Research Objectives: To study Islamic Sufism from the perspective of customs. To examine the mutual influence of Islamic Sufism and Islamic Painting (Tabriz School of Painting). Research Questions: What are customs in Islamic Sufism? What is the influence of Islamic Sufism on Islamic Painting?

The impact of European Painting on Persian Painting from mid Safavid era, is one of the early signs of the Iran’s cultural encountering Modern West. This impact causes a trend in Persian Painting even lasting to contemporary era. Studying appearance of this trend can illustrate a mode of Iranian’s cultural encounter with “The Modernity”. It seems that the projection of “space” in this trend, is the focal point of this encountering. In first layer, this essay is to describe the form of impact of Persian Painting from modern illustration of space. This description is limited to Paintings from 1628 A.D (year of Shah Abbas death) to 1722 A.D (fall of the Capital of Isfahan). In next layer this essay interprets this form of encountering. In other word, this essay quests about “How” and “why” of this encountering respectively in the first and second layers. In First layer formal analysis of rendering the linear perspective in Persian Painting showed that this technique was incorrectly and regionally implemented here and main current of Persian Painting in this time, has a “synthetic” or “dual” space. However, perspectival space is a unified and universal space, this space set beside the residue of traditional space of Persian miniature Painting that is originally based on a fluid perspective and in which “the particular” is dominant. When this setting appeared in Persian Painting, learning perspective techniques was possible in Iran, but there was a historical obstacle or more exact, an ontological obstacle for correct and complete learning and using of this technique.In second layer, using hermeneutic phenomenology approach, it is shown that this space is a “conflicting synthesis” which illustrates non-compensable ontologies encountering. It seems that this technique (Linear perspective) was detached from its ontological context and interred into a different context in which wasn’t able to expand and apprehend. Perspectival space is corresponding to the concept of space that Modern physics already is based on. The Science that justly represents the mathematical character of Modern ontology. But this ontological context was not existed in Safavid era. Besides, the Modern conception of space wasn’t existed in philosophy and physics of that era. And generally, the historical ontology didn’t prepare the required context for changing the concept of place as a qualitative concept to the concept of space which is a quantitative one. It can be said that before establishment of mathematical and technical projection of “Being”, this technique was entered into space of Persian paining as a commodity or an instrument. This reception associates with mode of encountering with “the Modernity” in which technological instrument’s receptions is prior to its projection of Modern ontology. Thus “the Non-simultaneity” can be distinguished in rendering of linear perspective in space of Persian paining. This means that liner perspective appeared in the space of Persian Painting in Safavid era, the “age” that it didn’t belong to. “The Non-simultaneity” can be seen as the dominant mode of encountering with the Modernity‎ in the history of Persian Painting since mid-Safavid era.

Iranian Moslem painters have observed the divinely world through the world beauties; aimed at finding out the worldly instances and understanding the eternal realities. These beliefs have affected the portraiture in Iranian traditional Painting; therefore, despite of the western Painting, the Iranian Painting has been rarely served the creation of the iconography. Regarding the above mentioned points, the portraits in Iranian traditional Painting are unique, while they have been painted based on specific patterns. This methodology led some researchers to a fault judgment; so that they have observed the portraits as similar and rigid ones. However, the Iranian traditional portraiture has been affected by different social factors. In this article, social development indicators, from the Sassanid to the Safavid era, has been studied and the major developments in portraiture has been analyzed. Iranian artists, in addition to applying traditional rules and patterns, they also experienced their own personal styles. Turning towards western art, made artists to ignore the traditional method of portraiture, as a result, this kind of art changed its direction towards realism. In this article the historic, descriptive and comparative methods have been used.