Thirteenth International Conference on The Arts in Society

Abstract

Iran, before having any realistic approach in its art, was a land of deep conservative traditions in art. In the time of the advent of colonization in history, which accompanied the diplomats, military and technical advisers, merchants, travelers, and missionaries who flocked into 19th-century Persia, national artistic values experienced the obvious influence these people had on it. However, before the entrance of photography to the court, the impacts were mainly in the use of materials (for instance oil colour painting) or in the manner of execution (use of gradation instead of applying colours as totally flat surfaces of uniform intensity) rather than in outlook. The king’s decision to send students from Iran to west, namely Italy and France, and the existence of photography in court leading painters to paint like photographs created a more fundamental change that affected the norms of painting and its appreciation over the next several decades. Through photography king began not only to record himself, but also to see his real non divine face. Consequently, painting experienced a fundamental change in artistic values. The photograph had real ratios. King was so fascinated by it that ordered the photograph-like portraits to be produced. King aimed to depict a European portrait of himself too by using European objects regarded as modern power exhibiting elements to orient photographs. Most significant items were European chair and the military uniform king wore. Finally what is left of the new Persian king is some one who does not wish to be like his ancestors , a messenger of God to humans, rather a king with the new identity, more like a European one.