A comparative study between standing paintings of Fath `Ali Shah Qajar signed by Mihr `Ali and Sogdian art

During the reign of Fath Ali Shah Qajar, Iranian`s Painting achieved a new step and excellent conditions caused revival of art. In order to display the king's power, some of painters such as Mihr `Ali, showed the simbolic king's figures by a narrow waist and broad shoulder like Rustam, Iranian champion. The resplendent royal portraits of Fath Ali Shah, the pre-eminent ruler of the Qajar dynasty, is an exemplary model of the extensive canon of life-size portraits commissioned by the monarch. Such paintings immortalised his rule of Persia, both internally to the Iranian populace and externally to overseas governments and royalty. Well-versed in the power of images, Fath Ali used painting to demonstrate his authority, wealth, and accomplishments. In fact, the sense of splendor, strength, and stability that these cultural productions projected present a very different picture from the one offered by historical facts. Fath Ali Shah’s Paintings were sometimes sent to foreign leaders as displays of the dynasty’s prosperity and cultural acuity. Artists often incorporated European techniques into their work. Frequently, however, some images decorated royal buildings at home, where they were intended to awe and impress visitors. Continuing an ancient Persian tradition, Fath Ali Shah`s portraits were venerated in much the same way that religious images were. Fat'h Ali Shah commissioned great numbers of lifesize portraits of himself and his sons, works which formed the backdrop to court ceremonies, the works, painted by Mihr 'Ali .He portrayed Fat'h Ali Shah in his many stately roles, and were intended to show his power as a ruler rather than to be realistic portraits. As a result, the works are heavily stylised, are painted in rich, deep tones, and are filled with symbols of power. The archaeological findings in the Sogdian state where located in the ancient Iran, have also displayed the collection of some artworks like handicrafts, coins and murals. Studies show that the features of Sogdian figural patterns are formed by jewelery, crown, narrow waist and broad shoulders. Comparing the visual and conceptual patterns used in the painting of Fath Ali-Shah Qajar that painted by Mihr`Ali and some Sogdian coins, wooden shields and mural paintings are the purposes of this comparative study.We try to answer these questions: What are the features of visual patterns used in the Qajar and Sogdian art? How to describe the similar concepts in these works? This visual research described a qualitative method of visual content analysis and the data have been gathered through a documental and librarian method. In order to compare the similar patterns used in two art periods, the notion of Khshathra Vairya is required. Khshathra Vairya has centeral role in Iranian ontology and Zoroastrian belief. It seems that recognizing the various aspects of Khshathra Vairya`s concepts help us to understand the artworks in two different periods.The most important finding is that the common visual and conceptual patterns used in the two art periods referr to revive the ancient Iranian philosophy and divine kingdom.