The role of social changes in the formation of Qazvin school of painting

Any artful production can be understood on the context of the society and its position and function. The Qazvin school is one of the Iranian painting schools of the Safavid period, which was formed in 955 AH when the capital was changed from Tabriz to Qazvin. In the process of its formation and evolution until 1006 AH, has experienced important social and political events, which shows the necessity of a sociological look at this school. The aim of the current research is to determine the role of reflection of social changes in the emergence of Qazvin school of painting, with sociological analysis and from the perspective of reflection theory. Therefore, it seeks answers to these questions: 1. How did the social, economic and cultural developments take place during the Safavid period? and 2. What is the reflection of these developments in Qazvin painting school? The research method is based on the objective, fundamental and based on descriptive data collection. The data of the research was collected by the method of sampling from the sources and also by observing the wall paintings of the Safavid Qazvin State Government House. Data analysis was done qualitatively based on comparison, analysis and classification. The results showed that the painting of the Safavid period in Qazvin has many differences compared to the previous periods. These differences include dynamic figures and soft distance and flexibility of lines, brushstrokes and shadows with linear value, creating a living and real space, enlivening the world around the human body by recreating natural movements, special feelings of affection and romance in nature and garden display. , the design of face painting and diversity in the type of clothing and facial expressions of people, the creative use of colored ashes and changes in the theme. From a sociological point of view, an important part of these changes is the result of the change of the three institutions of power, religion and artistic circles. Before the invention of the printing industry, the institution of power, the rich and the courtiers, and at the head of it the king, was the most important patron and supporter of artists. In the era of Shah Tahmasb, the support of artists was not stable and continuous, which caused the reduction of painting and gilding of manuscripts, and instead painting of buildings, wall painting, and one-face painting became popular. Besides the power, new supporters were also found, including financiers close to the court, princes and merchants, who had their own worldview in the production and ordering of works of art. In the Safavid era, the institution of religion, especially the Shiite religion, gained a lot of power, as a result of which, many manuscripts were written and illustrated with Shiite topics and themes and stories and stories of the Prophets. The changes in the artist's artistic environment and the orders of art lovers, the creation of painting workshops and the production of manuscripts, show a change in the attitude and the prevailing discourse in the institution of art circles. This change in attitude led to the creation of paintings with different colors and numerous themes. The sociological analysis of Qazvin school of painting shows that the paintings of this period have significant differences with the paintings of other periods. Among the most important differences, we can point out the following: 1- Change in themes and content: the individual bodies of this school and their actions and roles all show the development of society, the introduction of the government pyramid of the Safavid society - in which the Shah was at the head, and in order There were courtiers, nobles and nobles, merchants and common people. Also, the dominant ideology and the orders of art lovers can be seen in a different form in the Qazvin School's monographs and monographs along with changing the themes. 2- Beliefs, tendencies, values and beliefs of the artist in the production of works of art are such that the artist is referred and introduced by his works. 3- The change of patrons of art caused a change in the discourse and attitude of artistic circles, and this caused the spread of single-figure paintings and single-faces and the production of independent single-figures.