The Reflection of Romantic and Mystical Narratives in Qajar Tile Paintings: A Case Study of the Works of Ali Muhammad Isfahani

Paydarfard, Arezoo; Esmaili, Zahra

doi:10.22034/chs.2025.495551.1050

The Reflection of Romantic and Mystical Narratives in Qajar Tile Paintings: A Case Study of the Works of Ali Muhammad Isfahani

Document Type : Original Article

Authors

Arezoo Paydarfard ¹

Zahra Esmaili ²

¹ Assistant professor, Department of Carpet, Faculty of Art, University of Birjand, Khorasan Jonoubi, Iran

² MA Graduate in Islamic Art (Historical Studies), University of Birjand, Khorasan Jonoubi, Iran

https://doi.org/10.22034/chs.2025.495551.1050

Abstract

The Qajar period should be considered as one of the most significant and innovative eras in the history of Iranian art, an age in which traditional artistic heritage and emerging modern currents converged. The tile paintings of this period not only show the aesthetic taste and technical mastery of artists but also serve as a medium for reflecting literary themes and narrative traditions. Among the diverse themes used, romantic and mystical narratives have a particularly prominent position. Ali Muhammad Isfahani, one of the most distinguished artists and tilemakers in this era, utilized his expertise in painting and tilework to produce works that harmoniously integrate khatayi and eslimi patterns and Persian miniature painting. Accordingly, this study seeks to address two primary questions: First, which romantic and mystical narratives are reflected in Qajar tile paintings? Second, what visual techniques and stylistic features did Ali Muhammad Isfahani employ to depict these themes? The present article is an attempt to analyze the role of romantic and mystical narratives within the tile paintings of this artist. Using a descriptive-analytical approach, this study draws on library and archival resources. The findings show that Isfahani, by merging his skills in painting and tile painting, has been able to visualize the themes of the classical Persian literature, particularly narratives from Nezami’s Khamsa in the form of tile paintings. Using varied geometric compositions such as oval and rectangular frames, adherence to principles of perspective, and the creation of visual depth, he has been able to reflect romantic and mystical narratives in his works artistically and effectively.

This research addresses two primary questions: 1. Which romantic and mystical narratives were depicted in Qajar-era tile paintings? 2. Through which visual elements did this tile artist reflect these themes in his tile paintings? While substantial historical research exists in this field, there is limited academic documentation analyzing the technical characteristics and compositional features of Qajar tile painting, as well as the aesthetic approach in Ali Mohammad's works.

This paper aims to examine the romantic and mystical narratives in Qajar-era tile painting and analyze the aesthetic approach of Ali Mohammad Esfahani in these works. The research methodology is historical-descriptive, with data collected through library research and archival documentation.

The findings reveal that Ali Mohammad Esfahani, a prominent artist of the period, utilized his expertise in both painting and tile work to create pieces that reflected classical Persian literary narratives, particularly emphasizing storytelling from Nezami's Khamseh and focusing on the climactic moments of these stories. Furthermore, Ali Mohammad Esfahani, drawing on his mastery of painting, effectively depicted romantic and mystical narratives in his tile works through the use of geometric designs such as oval and rectangular frames, while applying principles of perspective and depth. This paper examines how these narratives were reflected in Qajar-era tile painting, with a particular focus on the works of Ali Mohammad Esfahani.

Keywords

Tile painting

Qajar era

Romantic and Mystical narratives

Ali Muhammad Isfahani

Composition

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