The Integration of Art and Politics in the Portraiture of Shah Ismail I from the Safavid Era to the Qajar Period

The ascension of Shah Ismail I, the founder of the Safavid dynasty, in the 10th century AH brought about significant transformations in the political, social, religious, and artistic realms, a shift towards realism and the reflection of personal emotions in portraiture became prominent, aiming to convey values and power through the art of portraiture.This research aims to identify and examine the portraits of Shah Ismail I and the reasons for the continuity of his portraiture in subsequent periods.The research question:What are the characteristics of the portraiture of Shah Ismail I?Why has the portraiture of Shah Ismail I continued into the periods after the Safavid era? The research employs a descriptive-analytical and historical method, utilizing data obtained through library research and field studies.The statistical population includes 51 portrait works of Shah Ismail I, not only from the Safavid era but also spanning centuries after the collapse of the Safavid dynasty under subsequent rule. Shah Ismail I's portraiture, beyond depicting the physical features of his face, served the purpose of promoting and solidifying his royal authority and propagating the Safavid government. These portraits were used as tools to showcase the stable rule of the Safavid kings and justify their power in comparison to others. In some instances, the depiction of Shah's portraits by foreign governments symbolized his power and grandeur, serving as symbols of political relations.The portraits vividly capture Shah Ismail I's physical attributes, portraying him as a charismatic and well-built man with red hair, fair skin, and a serious and determined face.Typically depicted in formal royal attire with crown and throne, his portraits symbolize power, splendor, and praise. These artworks not only reflect his physical appearance but also act as powerful tools for preserving Safavid history and culture, legitimizing subsequent Safavid kings and Shia governments. The earliest known portrait of Shah Ismail is a miniature painting from the 16th century. It depicts the young Shah wearing a turban and a long robe, with a sword at his side. The painting is notable for its realistic depiction of the Shah's features, including his sharp nose and dark eyes. In the 17th century, portraiture of Shah Ismail became more stylized. Paintings of the Shah often depict him as a larger-than-life figure, with idealized features and a regal bearing. This shift in style reflects the growing power and prestige of the Safavid dynasty.The study and analysis of Shah Ismail I's portraits during the Safavid era reveal that this artistic expression served not only as a representation of the ruler's physical appearance but also as a potent tool for promoting the Safavid government and conveying cultural values. The characteristics of Shah Ismail I's portraiture, including charm, splendor, and authority, have endured as symbols of the stability and elevation of Safavid rule.The persistence of these portraits in later periods, can be attributed to political, historical, and identity-driven reasons, emphasizing the authenticity and legitimacy of Shah Ismail I as a significant historical figure in Iran. The Qajar dynasty, which ruled Iran from 1794 to 1925, continued the tradition of depicting Shah Ismail as a heroic figure.However, Qajar portraits of the Shah often incorporate Western influences, such as the use of perspective and shading.The Iranian painter perceives their goal in portraying Shah Ismail I as documenting the facial features and outward characteristics of the monarch. They strive to depict the king's face with precision and realism.In contrast, European artists view their objective in portraying Shah Ismail I as creating a beautiful and impactful work of art. They employ various artistic techniques to achieve this goal, such as the use of light and shadow, vibrant colors, and intricate compositions.The portraiture of Shah Ismail I by Iranian and European artists results in different artistic works, pursuing distinct goals, styles, and artistic techniques. In Iranian portraiture of the king, the face is depicted in a three-quarter view with vivid and intense colors, bold and thick lines, and a simple and focused composition. On the other hand, the European portraiture style presents the king's face in a half-profile view, using soft colors and symmetrical compositions. These artists pay closer attention to precision and realism in facial depiction, presenting a more detailed portrayal of the natural features and emotions of Shah Ismail I.In conclusion, the continuity of Shah Ismail I's portraiture beyond the Safavid era serves not only to perpetuate cultural and historical influences but also to showcase the enduring cultural impact of the Safavid ascendancy. The portraits act as a testament to the ruler's charisma, power, and historical significance, contributing to the portrayal of Iran's rich cultural and political heritage. The portraits of Shah Ismail Safavid are important works of art that provide a glimpse into the history and culture of Iran. They are also a testament to the power of portraiture to capture the essence of a person and a time.