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About the Story
In the collection of the Museum for Islamic Art in Berlin, a nineteenth-century Iranian painting has captivated the restorers, curators, and fellows alike. Its imagery balances the familiar and the celestial motifs, exudes charm, and exemplifies the artistry of Qajar era visual culture in Iran. The Qajar era refers to the period of Qajar rule in Iran from 1789 to 1925.
Common Visual motifs like the pairing of roses and nightingales (gol o bolbol) stem from Persian literature and evoke themes the love, beauty, and transcendence. Scattered across painting’s design, the motifs reveal poetic allusions that connect cultural memory with nineteenth-century artistic brilliance. Perhaps once gracing a family home near Tehran, this painting now encapsulates layers of history, cosmology, and identity within its details.
In 2027, this painting will be exhibited to the public in the halls of the Pergamon Museum in Berlin for the first time since the Museum for Islamic Art reunited Berlin’s collections of Islamic Art and Architecture. It invites viewers to explore connections between heritage and identity. This painting embodies a blend of common poetic images that reflect the intricate and symbolic nature of Iranian art. The painting’s composition evokes comparisons to Persian carpets, in which pattern and design offer more than mere ornament and possibly connect the painting to its surrounding architectural spaces.
Although the painting presents numerous themes that may be explored in greater detail, this story focuses exclusively on the portrayal of feminine forms and celestial elements.
Threads of Heaven and Earth
In traditional Iranian interiors, ceilings often mirrored the patterns of the carpets below to create a visual dialogue between the heavens above and the earth beneath. This interplay, often described as "Heavens and Earth" (Arš o Farš), suggests that this painting may have once been paired with a matching carpet, uniting spatial and symbolic elements in harmony. For reference, a well-known example exists Mirror Hall (Talār-e Āyeneh) from the Qajar Era Royal Residence, the Golestan Palace.
The Mirror Hall (Talār-e Āyeneh) in Golestan Palace features One hundred ten matching panels ("ghab") in its ceiling and carpet. The ceiling's intricate mirrorwork was completed first, and the carpet was subsequently woven to replicate its design, reflecting the Iranian emphasis on the unity of "Heavens and Earth" (Arš o Farš). Kamal-ol-Molk’s painting beautifully captures this alignment. Credit: Encyclopaedia Iranica - Kamal-al-Molk.
References in Ancient Iranian mythology
The composition of the painting mirrors the design of traditional Iranian carpets, evoking the sacred imagery of the holy city of Varjamkard in Iranian culture. This cosmic perspective is rooted in ancient Iranian mythology, particularly the legendary city of Varjamkard described in the Avesta (Avestā), the sacred Zoroastrian text. The Avesta is a collection of hymns, prayers, and cosmological teachings, and forms the foundation of Iranian spiritual and mythological heritage. Varjamkard is depicted as a heavenly sanctuary of eternal springs and flowing waters, as symbols of creation, renewal, and the cyclical rhythms of life. Much like Persian carpets depicting paradise gardens, the painting transforms its surface into a microcosm of this universe.
Every detail reflects this narrative of interconnectedness: floral motifs, flowing Eslimi patterns, and celestial figures are not just artistic elements but metaphors for the union of the earthly and the divine. This rich symbolism reflects the mythical and poetic dimensions central to nineteenth-century Iranian culture, making the painting both a visual masterpiece and a profound representation of cosmic ideals.
Whispers of Grace: The Feminine Form in Iranian Art
The portrayal of women in the Qajar-era painting offers a glimpse into the nuanced representation of femininity in Persian art. The depiction of partially revealed female figures, adorned with intricate motifs, reflects a sophisticated portrayal of beauty, elegance, and vitality. These representations transcend mere physicality, symbolizing cosmic harmony and divine beauty. The representation of nude or semi-nude women in Iranian art is not a novelty of the Qajar era but has precedents in earlier traditions. Perhaps a ‘surprising example is the 1411 Shiraz manuscript, created under the patronage of Eskandar Sultan, renowned for its exquisite Nastaliq calligraphy and intricate miniatures. One of its notable illustrations shows women bathing in a celestial pool under a golden sky.
These figures, with their exposed torsos delicately adorned with fine jewelry, embody a recurring motif in Iranian art: the feminine form as a symbol of cosmic harmony and divine beauty.
The nudity of these figures challenges conventional notions of modesty in Iranian art. While European artistic influences during the Qajar period introduced new perspectives on naturalism and individual portraiture, the representation of female figures in this context cannot be reduced solely to external inspirations. Works like the Shiraz manuscript and other pre-Qajar examples highlight that celebrating the feminine form has long been integral to Iranian art.
The Sun at the Heart of Creation
At the center of the painting is a radiant sun motif, symbolizing the universe’s cosmic heart. This placement echoes the designs of "lion carpets" (gabba-ye shiri), where the sun dominates as a source of light and order, while lions in the corners embody earthly power and divine protection.
In Iranian cosmology, the sun is imbued with feminine qualities: nurturing, life-giving, and central to creation and renewal. This symbolism aligns with Mithraic traditions, an ancient Iranian religion centered on Mithra, the deity of light and cosmic order. In Mithraic thought, the sun represents a vital celestial force that governs life and ensures harmony in the cosmos. The feminine, often associated with light, embodies creation and cyclical rhythms, reflecting the natural and cosmic balance integral to this worldview.
The painting’s radiant sun mirrors these attributes, underscoring the shared cosmic roles of the surrounding figures as sources of vitality, balance, and harmony. This interplay between the earthly and the divine invites viewers to reflect on the interdependence of beauty, fertility, and transcendence within Iranian intellectual and artistic traditions.
Outlook
In Berlin, the painting’s journey from a private household treasure to a public museum artifact reflects its evolving role in cultural heritage. Recontextualized for international audiences, its celestial motifs and intricate designs now contribute to a broader global narrative of Iranian art, presenting not only aesthetic beauty but also enduring cultural significance.
As part of the Pergamon Museum’s new permanent exhibition, this painting will continue to inspire visitors and foster cross-cultural understanding and dialogue. Its inclusion underscores the museum’s commitment to preserving Iranian heritage and ensuring that the narrative of cultural exchange endures for future generations. The painting stands as a testament to the resilience of art, its ability to transcend borders, and its power to connect histories, identities, and communities.
About the Author
Azar Emami Pari is a PhD student in Art Education at the University of Passau, specializing in Persian art, with a particular focus on the Safavid and Qajar eras. Her research explores the visual culture of these periods and examines innovative approaches to teaching and understanding Persian art in contemporary contexts.
This story is part of the project "Crossroads Iran (ایران: محل تلاقی)", supported by the Ludwig Foundation through the Friends of the Museum for Islamic Art. The project explores and highlights narratives with Iran at the crossroads of cultural exchange and artistic influence. It aims to connects museum objects with archival photos, making them accessible through stories and videos on the online portal.
Acknowledgments
I would like to express my heartfelt gratitude to Jutta Maria Schwed, Dr. Margaret Shortle, Ariasp Dadbeh, and Toraj Joule for their invaluable support and insights throughout this work. Their expertise, encouragement, and thoughtful contributions have greatly enriched this project.
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