Layla and Majnun

Painting
Period: Zand or Qajar, Iran
Date: late 18th–second quarter 19th century
Medium: Oil on canvas
Dimensions: 36.5 in. high 33.75 in. wide (90.8 cm high 85.7 cm wide)
Kept in Metropolitan Museum of Art, New York, USA
Sources: [1],[2], [3]

نگاره‌ای از لیلی و مجنون - دوره زند یا قاجار - موزه متروپولیتن نیویورک

This month was so eventful to the extent that I have decided to post a romance related painting to honor what I experienced. I am not too sure, but this painting is either made during Zand or Qajar Dynasty. There are similarities between this work and four other works of Zand period that are kept in Brooklyn Museum: [3],[4], [5], [6]. This painting tells the story of Layla and Majnun, which is a love story from the Middle East, later adopted and popularized by the Persian poet Nizami Ganjavi. It is the third of his five long narrative poems. It is a tragic story of undying love much like the later Romeo and Juliet.

The Zandiyeh (Zand) dynasty was a dynasty led by Karim Khan Zand that ruled southern and central Iran. The beginning of Zand era was of relative peace and economic growth for the country. Some territories that were once captured by the Ottomans in the late Safavid era were retaken, and Iran was once again a coherent and prosperous country. The art of this era is remarkable and, despite the short length of the dynasty, a distinct Zand art had the time to emerge. Many Qajar artistic traits were copied from the Zand examples. Sadly, after the death of the first Zand ruler, the kingdom became unstable until Qajars brought to an end a long period of political instability after collapse of Safavids, reuniting Iranian territory after the disunity and warfare that characterized much of the eighteenth century. This period witnessed a transition from tribal to centralized rule. Iran became entangled in a web of superpower rivalry (between Britain and Russia) and suffered significant losses in the Caucasus. This prompted a program of modernization that resulted in an unprecedented influx of military, technological, and educational innovations from Europe. Artistic innovations in visual arts also followed based on earlier Zand art forms.

An Amorous Couple

Painting
Era: Zand or Qajar dynasty, Persia
Date: circa 1800
Material and Techniques: Oil on canvas
Size: 59.5 x 80 cm
Sold at Christie's auction
Source: [1]

In this work a man holding a wine cup sitting next to a woman. And there is an orange tree, and a flower pot in the background. There is not much information on this work, but it was either created in Zand or Qajar period.

18th Century Zand Dynasty Celestial Globe

Celestial Globe
Era: Zand Dynasty, Persia (1751-1794)
Dated:  1776 AD
Sold at Bonhams Auction, UK
Source: [1]

کره نجومی دوره زندیه قرن ۱۸ میلادی - حراجی بونامز

the finely engraved globe contains the position of 83 stars and their Persian names as well as the Persian names for the North and South Poles. The only known dated example securely attributable to the Zand period, it is an important addition to the small surviving group of Persian celestial globes. The use of gold and the very fine script indicate the possibility that this globe was made for the Zand ruler Karim Khan (1751-1779).

The Zand period is remarkable for its short length and high artistic productivity. Spanning only 44 years, and an incredible seven rulers, it was a period of relative peace and economic growth when many territories previously lost to the Ottomans were recaptured. The British established a trading post in the port of Bushehr, extending the influence of the British East India company in Iran. The art of this era is remarkable, producing a distinct school of painting, fine enamel work and calligraphy.

Celestial globes were used primarily for solving problems in celestial astronomy. Although known to have been used in Antiquity, the form of the celestial globe came into being in the Islamic world. Only 200 instruments remain in private and museum collection worldwide, the earliest dating to the 11th century.

Portrait of a Zand Prince

Painting

Period: Zand Dynasty, Persia

Date: 1794
Materials and technique: Oil on canvas
Possibly kept in Negārestān Museum, Tehran, Iran.
Size: 142 × 68 cm.

Sources: [1], [2], [3]

 نقاشی یک شاهزاده، احتمالا لطفعلی خان - دوره زند

This is a rare sample of a portrait of a Persian prince in Zand era by indication of his headgear. In few history textbook in Iran, the subject of this portrait has been considered to be Lotf Ali Khan Zand [3], the last Shah of this dynasty. Due to internal conflict in 18th century Persia, he was captured at war by his main enemy, the future Shah, Agha Mohammad Khan Qajar. 

It is reported that Lotf Ali Khan was blinded after being raped publicly by royal grooms. He was castrated in revenge by Agha Mohammad Khan. Lotf Ali Khan was imprisoned and tortured in Tehran for nearly three years before being choked to death.

2/24/2013: I finally found more information on this painting from an article about clothing in Safavid to Qajar Persia in Iranica: [3]. I will fix the post. 

Young Couple

Painting
Qajar or Pahlavi Era, Iran
20th century
Materials and technique: oil on canvas.
Dimensions: 20 x 20 cm
Collections of Olga Davidson
Source: [1]

نقاشی زوج جوان - کلکسیون اولگا دیویدسون

This painting depicts a couple. The digital archive (Women’s Worlds in Qajar Iran) at Harvard University does not provide any in depth information about this painting. The man's turban is similar to that of Zand period. My assumption is that this work was created in early Pahlavi era. One interesting observation about the female figure is that she doesn't have a unibrow like traditional Qajar paintings!

Karim Khan Zand on Horseback

Painting
Zand Period, Persia.
Date: late 18th century.
Materials and technique: gouache heightened with gold on paper.
Size: 28.2 cm x 23 cm.
Sold at Sotheby's auction.
Source: [1]

تصویر کریم خان زند سوار بر اسب - حراجی ساتبی

Again, this work is attributed to Abu'l Hasan Ghaffari Mostafawi Kashani who was the great uncle of another famous painter called Sani' al-Molk. [2] This painting depicts Karim Khan Zand holding a bow in his right hand while riding a horse. Based on this painting, my assumption is that the Zand ruler was left handed. Also, it is interesting that the bow and arrow were still used in Persia in the late 18th century. To learn more about the art of Zand Era click here. [3]

Karim Khan Zand With His Horse

Painting & illustration
Zand Period, Persia.
Date: 1794.
Materials and technique: gouache heightened with gold on paper.
Size: 20.3 cm x 29 cm.
Sold at Christie's auction.
Source: [1]

تصویر کریم خان زند و اسبش - حراجی کریستی

This is another rare sample of art work in Zand Era, which shows the Persian monarch Karim Khan Zand wearing a turban and jewelled aigrette pictured in Isfahan in front of Ali Qapu Palace. He ruled Iran from 1750 to 1779 and is considered to be among the most generous Persian kings. He never styled himself as king. Instead, he used the title Vakil e-Ra'aayaa (Representative of the People). A young groom is also seen in the illustration washing the tail of a grey horse.  There is also one strange thing about this painting. It is mentioned that it was inscribed in the hand of Abu'l Hasan Ghaffari. After much research I realized that they are two Persian artists named Abu'l Hasan Ghaffari, who were related as matter of fact. [2] The younger and more famous one who is called Abu'l Hasan Ghaffari II or titled Sani’ al-Molk lived in Qajar period. He was a great nephew of the older painter. This painting was apparently created by the older Abu'l Hasan Ghaffari. [3]

Karim Khan Zand And His Courtiers

A detail of Persian ruler Karim Khan Zand from an 18th century painting from Iran.

Classification: Painting.

Period: Zand Era, Persia.

Materials and technique: Oil and metal leaf on canvas.

Dimensions: 129.5 x 276.8 cm.

Kept in: Agha Khan Museum, Toronto, Canada

Sources: [1], [2], [3]

تصویر کریم خان زند و درباریان. بر خلاف نقاشی‌های دوران افشار و قاجار سادگی‌ کریم خان در این تصویر مشهود است

In contrast to the Afsharid or Qajar imperial enthronement scenes of Nadir Shah (r. 1736-47 AD) and Fath Ali Shah (r. 1798-1834 AD) both of whom are decoratively depicted in full regalia, there are few indicators that this is an imperial image. Karim Khan wears a Zand turban but no official regalia. The informality of this casual smoking portrait relates to the style of his rule. Karim Khan Zand’s strong shoulders, the deferential posture of his courtiers, the monumentality of the columned porch and the sheer size of the painting itself convey the power of his rule and the stability he brought to Iran. It is possible that this painting commissioned after  Karim Khan's death. The images below only show parts of the full painting. - The museum's website

Erotic Miniature of Zand Period in Persia

Painting
Era: Zand Period, Persia
Date: late 18th Century
Dimension: 13.5 x 21.5 cm.

Sold at Christie's Auction

Source:  [1]

نقاشی اروتیک دوره زندیه. قرن ۱۸ میلادی

Gouache heightened with gold on paper, with two couples in amorous embrace, light staining, mounted on card with colored margins.

Helmet With Talismanic Inscriptions

Helmet
18th century, Persia (Iran)
Medium: Steel; damascened with gold
Dimensions: H. 24.8 cm. Diam. 19.1 cm.
Kept in Metropolitan Museum, New York, USA.
Source: [1], [2], [3]

کلاهخود مزین به دعا‌ و آیات قرآنی- قرن هجدهم میلادی

Although this helmet was a serviceable military object, it was probably used as an accessory of a parade armour. Forged from watered steel and damascened in gold with talismanic inscriptions, it contains an invocation to 'Ali, the son-in-law and cousin of the Prophet, and calls upon him for protection against harm and danger. The verses are distinctly Shi'i, and commonly found on objects from the Timurid through the Qajar periods in Iran and Central Asia. 

A Zand Watercolor of a Seated Prince

Painting
Zand Period, Persia
Date: 18th century
Materials and technique: gouache on paper
Size: 24.7 x 15.2 cm
Sold at Christie's auction.
Source: [1]

This painting shows a kneeling man with a blank inscription space above and below, with a border of gilt flowers on a red ground, a further border of gilt flowers on a blue ground, mounted and framed.