-------------- --------------
Volume 8, Issue 2 (Semi-Annual 2024)                   JIC 2024, 8(2): 243-263 | Back to browse issues page


XML Persian Abstract Print


Download citation:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:

Razani M, Danesh K. (2024). Studying the Effects of European Painting on the Murals of the Historical Sokias House in Isfahan, Iran. JIC. 8(2), 243-263. doi:‎10.61882/jic.8.2.314
URL: http://jih-tabriziau.ir/article-1-314-en.html
1- Faculty of Applied Arts, Tabriz Islamic Art University, Tabriz, Iran , m.razani@tabriziau.ac.ir
2- Faculty of Islamic Handicrafts, Tabriz Islamic Art University, Tabriz, Iran
Abstract:   (2082 Views)
During the reign of Shah Abbas, I and beyond, Isfahan emerged as a preeminent cultural and political center within Safavid Iran, shaped by the relocation of the capital, the resettlement of thousands of Armenians in the New Jolfa district, and increasing interactions with Europe. This period witnessed the rise of a vibrant capital adorned with architectural masterpieces, including mosques, palaces, bridges, and residences. The historic homes of New Jolfa, particularly the Sokias House, stand out for their intricate decorative schemes, which reflect a synthesis of Safavid architectural traditions and European artistic influences. This study examines the murals of the Sokias House, focusing on their stylistic connections to European painting, with particular emphasis on the engravings of the seventeenth-century French artist François Mazut. Through a combination of archival research, field observations, photography, and comparative analysis, this paper categorizes the house’s adornments and explores the broader impact of European art on Safavid mural painting. Limited access to primary sources necessitated reliance on secondary literature, travelogues, and firsthand documentation of the site. The findings underscore the profound influence of French gravure techniques on the Sokias murals, offering new insights into the cross-cultural exchanges of the Safavid era.

 
Full-Text [PDF 838 kb]   (171 Downloads)    
Type of Study: Original Research | Subject: 2
Received: 2023/12/25 | Accepted: 2024/07/2 | Published: 2025/03/17

References
1. Afshar Mohajer, Kamran. (2005). The Iranian Artist and Modernism, Tehran: University of Art. [In Persian]
2. Aghajani, Hossein. (1980). Painting Restoration, Asar Journal, 1(2-4): 160-175. [In Persian]
3. Azhand, Yaqub. (2000). Innovation and Modernity in Safavid Art (1629-1722 AD), Honar-ha-ye Ziba (Fine Arts), 7(1018), Tir: 4-10. [In Persian]
4. Azhand, Yaqub. (2006). The Isfahan School of Miniature Painting, Tehran: Printing and Publishing Organization of the Ministry of Culture and Islamic Guidance & Academy of Arts of the Islamic Republic of Iran. [In Persian]
5. Bibliothèque nationale de France. (n.d.). Le monde dans un jeu. Retrieved from http://expositions.bnf.fr/jeux/grand/008.htm
6. Canby, Sheila. (2000). Farangi-Sazi: The Influence of Europe on Safavid Painting, Translated by Hamid Farahmand Boroujeni, Ravaq Journal, 3(5): 45-67. [In Persian]
7. Creswell, J. (1968). New Julfa: The Armenian churches and other buildings. Oxford, UK: Oxford University Press.
8. Diba, L. S., & Akhtiar, M. (1998). Royal Persian paintings: The Qajar epoch, 1785-1925. Brooklyn, NY: Brooklyn Museum of Art in association with I.B. Tauris Publishers.
9. Eshraghi, Firooz. (1999). Isfahan from the Perspective of Foreign Travelers, 1st ed., Isfahan: Atropat. [In Persian]
10. Goodarzi, Morteza. (2005). History of Iranian Painting from the Beginning to the Present, Tehran: SAMT. [In Persian]
11. Jahangiri, Mehdi. (1997). Conservation and Restoration of the Decorative Painting of the Southern Arch of the Central Hall of Sukias House, Bachelor's Thesis in Restoration, Isfahan University of Art, [Unpublished]. [In Persian]
12. Javaher Kalam, Ali. (1969). Zayandeh-Rud or the Historical Geography of Isfahan and Jolfa, 2nd ed., Tehran: Ibn Sina. [In Persian]
13. Javani, Ali Asghar. (2006). Foundations of the Isfahan School of Painting, Tehran: Academy of Arts. [In Persian]
14. Karapetian, Karapet. (2006). Armenian Houses of New Jolfa, Isfahan, Translated by Maryam Ghassemi Sichani, Tehran: Academy of Arts of the Islamic Republic of Iran. [In Persian]
15. Langer, A. (2013). European influences on seventeenth-century Persian painting: Of handsome Europeans, naked ladies, and Parisian timepieces. In A. Langer (Ed.), The fascination of Persia: The Persian-European dialogue in seventeenth-century art and contemporary art of Tehran (pp. 170-237). Zürich, Switzerland: Scheidegger & Spiess.
16. Maltese Cross Meaning: Cross of Saint John | Templar Cross. (2020, November 5). Retrieved from https://templar-cross.com/blogs/knights-templar-blog/maltese-cross-meaning
17. Massoudi Amin, Zahra. (2016). Farangi-Sazi in the Miniature Paintings of the Isfahan School: A Cultural Approach, Bagh-e Nazar, 13(38): 39-46. [In Persian]
18. Minassian, Leon. (2008). A Brief Look at the Old Houses of New Jolfa, Isfahan, Translated by Joseph Aghababian, Edited and Annotated by Mehdi Razani, Farhang-e Isfahan Journal, Nos. 41-42: 93-106. [In Persian]
19. Musée du Louvre. (n.d.). Les quatre parties du jour: Le midi. Retrieved from http://arts-graphiques.louvre.fr/detail/oeuvres/1/520552-Les-quatre-parties-du-jour-le-midi
20. Olearius, Adam. (1990). Travelogue, Translated by Hossein Kord-Bacheh, Vol. 2, Tehran: Ketab. [In Persian]
21. Pakbaz, Ruin. (2016). Encyclopedia of Art (Three Volumes), Tehran: Farhang-e Moaser. [In Persian]
22. Porta Polonica. (n.d.). Jeremias Falck. Retrieved from https://www.porta-polonica.de/en/Atlas-of-remembrance-places/jeremias-falck#mediathek-selector
23. Razani, Mehdi, & Pejman Almasi-Nia. (2013). Sukias House in New Jolfa, Isfahan: History, Architecture, Decorations, and Restorations, Biannual Specialized Journal of Restoration and Cultural Heritage, New Series, 1(2): 57-70. [In Persian]
24. Razani, Mehdi. (2010). A Study of Restoration Foundations in Iran (With a Look at the Historic House of David, the First Restoration School in Jolfa, Isfahan), Ganjineh, Scientific-Research Book on Iranian and Islamic Arts, Book 4. Tehran: Academy of Arts: 36-53. [In Persian]
25. Samanian, K. (2012). Sukias House and its wall paintings: Reflection of English-Armenian links in the Safavid period (1501-1736 AD) in Isfahan, Iran. Mediterranean Archaeology and Archaeometry, 12(1), 77-99.
26. Schwartz, G. (2013). Between court and company: Dutch artists in Persia. In The fascination of Persia (pp. 152-169). Zürich, Switzerland: Museum Rietberg Zürich and Verlag Scheidegger & Spiess AG.
27. Sedaghat Kish, Arash, Marzieh Piravi, Mohd Nasir Md Zain, & Mohammad Reza Emadi. (2020). A Study of the Influence of Imported Engravings on the Structure of Iranian Farangi-Sazi Paintings in the Safavid Era Based on the Views of Ernst Gombrich and Kendall Walton, Comparative Art Studies, 10(20): 15-30. [In Persian]
28. Sotheby's London. (n.d.). An illustrated copy of Nizami's Khamsa, copied by Wahabi Sajavandi, Central Asia, Andhizan, dated 1003-5 AH/1595-7 AD, the illustrations Isfahan, mid-17th century. Retrieved from http://www.sothebys.com/en/auctions/ecatalogue/2017/arts-of-the-islamic-world-l17223/lot.105.html
29. The Maltese Cross: A Symbol of Courage, Heritage, and Identity - Maltalink 2025. (2025, January 17). Retrieved from https://www.maltalink.com/maltese-cross-symbolism
30. The Maltese Cross: Its Origin and Importance to Malta. (2009, November 3). Retrieved from https://www.maltauncovered.com/malta-history/maltese-cross
31. Université de Rouen Normandie. (2023). Publications de l'équipe CEREDI. Retrieved from http://publis-shs.univ-rouen.fr/ceredi/index.php?id=1208
32. Ursus Books. (n.d.). Item 32454. Retrieved from http://www.ursusbooks.com/item,32454.html
33. Vatankhah, G., & Razani, M. (2008, November 14-16). Historic House of David-Isfahan: First Iranian School of Conservation & Restoration. International Conference of Islamic Arts and Architecture, Lahore, Pakistan.
34. Zoka, Yahya, & Gray Welch. (1994). Miniatures of the Iranian and Indian Schools (Life and Works of Mohammad Zaman), Tehran: Farhangsara Publications. [In Persian]
35. Porta Polonica. (n.d.). The Loving Couple, Autumn Season, Painter Engraver Attributed to François Mazut. Porta Polonica. https://www.porta-polonica.de/en/Atlas-of-remembrance- places/jeremias-falck#mediathek-selector
36. Porta Polonica. (n.d.). The Loving Couple, Summer Season, Painter Engraver Attributed to François Mazut. Porta Polonica. https://www.porta-polonica.de/en/Atlas-of-remembrance-places/jeremias-falck#mediathek-selector
37. Sotheby's. (n.d.). The Loving Couple, Lacquer Painting on the Cover of the Khamsa of Nizami copied by Wahhabi Sajavandi, inspired by the paintings of François Mazut. Sotheby's. http://www.sothebys.com/en/auctions/ecatalogue/2017/arts-of-the-islamic-world-l17223/lot.105.html
38. Mazut, F. (n.d.). Noon [Engraving]. In Les quatre parties du jour: Le midi. Louvre Museum. http://arts-graphiques.louvre.fr/detail/oeuvres/1/520552-Les-quatre-parties-du-jour-le-midi

Add your comments about this article : Your username or Email:
CAPTCHA

Send email to the article author


Rights and permissions
Creative Commons License This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

© 2025 CC BY-NC 4.0 | Journal of Islamic Crafts

Designed & Developed by : Yektaweb