A Comparative Study of Modern and Original Iranian Art from the Perspective of Oleg Grabar and Jalil Ziapour

The expansion of Iran-Europe relations in the seventeenth century in the Safavid era, introduced Iranians to modern art, especially the technique of painting and oil. But the works that were produced lacked depth due to a lack of knowledge of the laws of modeling and light and shadow. The importation of goods and works of art began widely from the time of Qajar, especially during the time of Nasser al-Din Shah (ibid.). The importation of goods and works of art began widely from the time of Qajar, especially during the time of Nasser al-Din Shah (ibid.). Simultaneously with the fact that Sania Al-Molk was teaching painting in his painting studio in Golestan Palace, photography also entered the country and convinced the artists of their determination to make it more objective. Kamal al-Mulk also returned from Europe in 1911 and established the space of Kamal al-Mulk's naturalism on the country's art history for decades. It took twenty years for the Saqakhaneh neo-traditionalist ideology to replace it. There are differences between early Qajar and late art. Because in the late Qajar period, government support for court art decreased and their attention to the European style of art opened the way for modern artists to enter the Iranian art market and their exchanges with European currents. While several studies on modern art in Iran have been conducted and each has presented results, but the views of Oleg Grabar as well as the views of Jalil Ziapour, about modern art are significant for several reasons. Grabar is a researcher in the field of Islamic art studies who has presented works based on the seven methodological axes of Orientalism, Archeology, Collection, Art History, Architectural History, Social Sciences and Contemporary Innovations in the Field of Practice and Theory. He believes that Islam and Islamic traditions have been merely cultural components along with other historical and social components in the formation of Islamic art and architecture. On t