“A Study of Artistic Styles in Safavid Paintings in Herat during the 10th century AH - 16 AD” A Comparative Archaeological and Artistic study

This research is concerned with studying the artistic style of illuminated paintings of manuscripts and Albums attributed to the city of Herat during the Safavid era and rediscovering Persian art there through more specification of its artistic features. The artistic works of the Safavid era there can be divided into two stages, the first being the royal stage and the second being the stage of Khorasani paintings in the Herat workshops and their development at the hands of the artist Muhammadi. The city of Herat is the eastern gate of Khorasan province and the only art center that has witnessed the different stages of the Safavid painting both early and after the diminished royal care and the advent of the evolution and subjectivity of the painting. The research assumes that the city continues to produce manuscripts torn with paintings on the Timorid art style with the emergence of new Safavid art formations and to reach the sophisticated heroic portrayal that we can address through artists such as Mohammadi and Habibullah as well as the so-called concrete art style in Herat.

One of the most striking features of the stage, illustrated in many drawings and paintings of the Harat school in the Safavid era, reflected in the local heritage of the city, one of which was the human drawings on religious and civic buildings, both in the city of Herat and in other Iranian cities in the Safavid era; As we saw at Stone's ignorance palace in Isfahan in the Safavid era of Shah Abbas II.

The study assumes the effective of artistic patronage on the artistic features of Herati Painting during the Safavid rule not only from the princes of the Safavid House but also from the warlords of the Qasilbash. The study also reviews features of Indian influences on painting in Herat and how it had become a clear artistic feature in its artistic production for Illustrated manuscripts and albums.