MOGHOL SCHOOL (IRANIAN)

 


With respect to Iran's artistic tradition, three major historical periods can be defined. Following the Safavid and Taymourian periods, the third, and perhaps most eccentric, was the art of the Moghol Dynasty.
 
At the beginning of the seventh century, the Moghols advanced on Iran, decimating the countryside in the process and conquering all the lands between Baghdad in the far west and the Chinese coast in the far east. Iran and China, once divided by immense cultural and geographical barriers, were now principalities of the same royal court. The two cultures began a lively and thorough trade, as business relationships and Moghol commerce brought their distinct societies into closer contact.
 
During the period of Moghol consolidation, China itself was experiencing a renaissance of sorts, as art and other elements of "high culture" achieved greater prominence within Chinese society. Many prominent Chinese works, particularly of the Sung and Yvan schools, found their way to Iran, where the local artistic community gradually absorbed the influence of the Orient's detailed landscape and scenic artistry. As Iranian art experienced the influence of Chinese tradition, a period of brief cultural "imitation" ensued, in which, for example, Chinese elements such as the dragon were co-opted by Persian art designers.
 
However, as time and Moghol imperialism stabilized the cultural transactions between Iran and China, the artists of the Persian tradition accepted the influence of Chinese culture on their own terms, utilizing the specific techniques of Oriental painting in the cause of Iranian art. Later movements, such as the Baghdad School with its Islamic overtones, would discard Chinese influence altogether. Nevertheless, the Moghol period left an indelible mark on both the Chinese and Iranian traditions, one that would enrich each culture with the distinct beauty of the other.

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