Iranian art is one of the world’s richest cultural heritages. Every nation and civilization has its own artistic treasures, but Iran, as an ancient society, is the cradle of many world-renowned artists and arts.
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Iran has a long history in various artistic fields.Iranian art is part of the Iranian way of life. Iranians live by art, and they try hard to lead an artistic life, even if they are not actually artists. Crafts and arts in Iran are so popular that almost every Iranian home has at least one artist, or amateur professional, who is passionate about his or her special art department. Of course, the artistic fields in Iran are many and varied, but these are the next most popular areas of Persian art:
When you write, you encode concepts to transfer meanings. Calligraphy is the art that allows us to give free rein to our emotions and translate our thoughts and desires, through the most varied lines, words and letters. Persian calligraphy refers to a collection of writing styles in the Persian language, each with its own unique characteristics. It is directly related to poetry, the Quran and other literary works; in Iran, these literary works are often presented in Persian calligraphy styles, which gives them more importance and significance. Several calligraphy methods exist in Iran, the most well-known ones include Naskh, Nasta‘liq, Thuluth (Sols), and Shekasteh, with their approach and their faithful and masters of each method.
Painting also has a long history in Iran. Indeed, it is one of the most popular subjects of interest for Iranians since ancient times. Painted pottery and decorative artifacts reveal the Iranians’ interest in painting. We can see the evolution of several Iranian pictorial arts over the centuries. In contemporary Iran, the Persian miniature is a painting traditions among others, still relevant today, Mahmoud Farshchian is undoubtedly one of the most renowned artists. In the Persian miniature, objects are dreamlike representations of reality, whether they are part of the decor or a presence with its own character. Iranian miniatures are finally inseparable from a religious and mystical dimension which they carry, in the sense that they aim to represent mystical and religious feelings but also to transmit a spiritual energy.
This is an original architecture, particularly fascinating, among Iranian arts, it always attracts the attention of lovers of fine arts. Its originality stems from the interpenetration between architecture and culture. Iranian architecture is inspired by religious and mystical, geometric and aesthetic definitions. Mosques, sanctuaries, traditional dwellings and historic houses of Iranians, reflect this interpenetration. Thus, Gonbad is an Iranian architectural style symbolizes the heavens and the spiritual ascent toward God . The lowest parts of Gonbad are wide showing the diversity of creation, and they reduce as they rise representing the unity of all things in the divine. The wide lower part evokes the plurality of materials and creatures, of the material universe while the reduced upper part evokes the oneness of all things in God alone. Gonbad then makes buildings where the higher one climbs, the more one feels united with God, everything coming together in the unified divine being.
Like rock, metal, rap, pop, jazz and current trends, traditional Iranian music has its distinct sound worlds. The art of Iranian music encompasses numerous instruments and musical systems. Traditional Iranian music is made up of seven different musical systems (Dastgah), five vocal styles (“Avaz”), and numerous musical sub-branches known as “Gousheh”. All these musical systems differ from one another in their tonality. Some are cheerful, others sad, and while all express some form of joy or sadness, each does so differently. Each of these systems has its own preferred moment, when it’s easier to appreciate. For example, “Mahoor” is a traditional Iranian musical system similar to the “Major System” used to define musical chords in the West. Mahoor is a joyful musical system, to be listened to in the early hours of the morning. Musical productions in Iran are deeply rooted in these traditional musical systems, their sub-branches and their singing styles.
Theater, in the contemporary sense of the term, entered the world of Persian arts during the Qajar period. And so, theater arts, with their manifestly modern presence, developed within a modern Iranian theatrical art. Here, among other things, is what can be said about the theatrical life that, to this day, sustains enthusiasts, spectators and observers in various Iranian cities, especially where theaters exist, in Teheran. Unlike Western classical theater, traditional Iranian performance arts included forms such as, Naghali, Siah-Bazi, Kheimeh-Shab-Bazi and Ta’zieh. These techniques are very old, we know them – and Ta’zieh, for example, is part of a whole dramaturgy inspired, for example, by an event in Koranic history (of the Koran), the epic of Karbala and the martyrdom of Imam Hussein on the day of Ashura, while Naghali, known in Iranian theater, is merely a narrator who, uniquely, projects narratives that are often invented, and whose inspiration would be the subject of an extraordinary performance by the artist who would play the role of the sister or brother of the hero of the epic verse, poetic story or epic poem.
Weaving, of which carpets, Termeh weaving, Khatamkari, Minakari, Tazhib and Ghalamzani are the artisanal forms, uniting them with arts such as painting and calligraphy. Tazhib, for example, is the art of decorating book covers, writing papers or calligraphic paintings with gold and silver drawings and sketches; Khatamkari is the crafting of magnificent geometric designs in wood of all kinds, on objects as diverse as crates and chests. Minakari is the craft of decorating various types of plates with celestial blue motifs, and Ghalamzani is the art of artistically decorating metal objects.
Weaving, of which carpets, Termeh weaving, Khatamkari, Minakari, Tazhib and Ghalamzani are the artisanal forms, uniting them with arts such as painting and calligraphy. Tazhib, for example, is the art of decorating book covers, writing papers or calligraphic paintings with gold and silver drawings and sketches; Khatamkari is the crafting of magnificent geometric designs in wood of all kinds, on objects as diverse as crates and chests. Minakari is the craft of decorating various types of plates with celestial blue motifs, and Ghalamzani is the art of artistically decorating metal objects.
Termeh is renowned for its art of tightly woven silk and gold yarn.Termeh fabric is delicate that is woven by hand from two sets of warp and weft yarns in such a way that the weft on the back of the fabric is loose and the density of the weft is high. Its material is made of wool, wool or silk with authentic and traditional Iranian designs. The beginning of termeh weaving in Iran dates back to the early Safavid period, although some believe that the original birthplace of termeh is the heart of Central Asia and the highlands of Kashmir. Some also believe that termeh weaving began in Iran and then made its way to Kashmir. What can be said about this very delicate fabric is that the taste, and innovation of Iranians in the elegance of its texture, material and imaginative designs are unparalleled in the world. This art reached its peak of flourishing and development during the reign of Shah Abbas Safavi, when it became famous worldwide and became one of Iran’s export products.
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