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Riza yi abbasi Stock Photos and Images
Iran: A youth kneeling and proffering a wine cup. Watercolour painting by Riza Abbasi (1565-1635), early 17th century. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī (c. 1565–1635) was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r.1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/iran-a-youth-kneeling-and-proffering-a-wine-cup-watercolour-painting-by-riza-abbasi-1565-1635-early-17th-century-riza-abbasi-riza-yi-abbasi-or-reza-e-abbasi-also-aqa-riza-or-q-ri-kshn-c-15651635-was-the-leading-persian-miniaturist-of-the-isfahan-school-during-the-later-safavid-period-spending-most-of-his-career-working-for-shah-abbas-i-r1587-1629-he-is-considered-to-be-the-last-great-master-of-the-persian-miniature-best-known-for-his-single-miniatures-for-muraqqa-or-albums-especially-single-figures-of-beautiful-youths-image344233969.htmlRM2B015X9–Iran: A youth kneeling and proffering a wine cup. Watercolour painting by Riza Abbasi (1565-1635), early 17th century. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī (c. 1565–1635) was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r.1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths.
Man with a Pitchfork. Riza-yi Abbasi (Iran, Isfahan, died 1635). Iran, Isfahan, dated July 11, 1634 (4 Safar, A.H. 1044). Manuscripts; folios. Ink and color washes on paper Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/man-with-a-pitchfork-riza-yi-abbasi-iran-isfahan-died-1635-iran-isfahan-dated-july-11-1634-4-safar-ah-1044-manuscripts-folios-ink-and-color-washes-on-paper-image464719176.htmlRM2J01P1C–Man with a Pitchfork. Riza-yi Abbasi (Iran, Isfahan, died 1635). Iran, Isfahan, dated July 11, 1634 (4 Safar, A.H. 1044). Manuscripts; folios. Ink and color washes on paper
The Lovers by Reza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, (c. 1565-1635), opaque watercolor, ink, and gold on paper, 1630 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-lovers-by-reza-abbasi-riza-yi-abbasi-or-reza-e-abbasi-c1565-1635-opaque-watercolor-ink-and-gold-on-paper-1630-image430726481.htmlRM2G0N80H–The Lovers by Reza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, (c. 1565-1635), opaque watercolor, ink, and gold on paper, 1630
Man in a Long-sleeved Coat, Riza-yi `Abbasi, ca. 1598 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-man-in-a-long-sleeved-coat-riza-yi-`abbasi-ca-1598-162571355.htmlRMKCDNBR–Man in a Long-sleeved Coat, Riza-yi `Abbasi, ca. 1598
Iran: Reclining woman. Drawing by Riza Abbasi (c. 1565–1635), 1595. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r.1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/iran-reclining-woman-drawing-by-riza-abbasi-c-15651635-1595-riza-abbasi-riza-yi-abbasi-or-reza-e-abbasi-also-aqa-riza-or-q-ri-kshn-was-the-leading-persian-miniaturist-of-the-isfahan-school-during-the-later-safavid-period-spending-most-of-his-career-working-for-shah-abbas-i-r1587-1629-he-is-considered-to-be-the-last-great-master-of-the-persian-miniature-best-known-for-his-single-miniatures-for-muraqqa-or-albums-especially-single-figures-of-beautiful-youths-image344233967.htmlRM2B015X7–Iran: Reclining woman. Drawing by Riza Abbasi (c. 1565–1635), 1595. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r.1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths.
The Lovers, Painting by Riza-yi `Abbasi, dated A.H. 1039/ A.D. 1630 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-the-lovers-painting-by-riza-yi-`abbasi-dated-ah-1039-ad-1630-162440759.htmlRMKC7PRK–The Lovers, Painting by Riza-yi `Abbasi, dated A.H. 1039/ A.D. 1630
Iran: Portrait of Persian miniaturist Riza Abbasi (c.1565-1635) by his student Mu'in, 1673. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī (c. 1565–1635) was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r.1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/iran-portrait-of-persian-miniaturist-riza-abbasi-c1565-1635-by-his-student-muin-1673-riza-abbasi-riza-yi-abbasi-or-reza-e-abbasi-also-aqa-riza-or-q-ri-kshn-c-15651635-was-the-leading-persian-miniaturist-of-the-isfahan-school-during-the-later-safavid-period-spending-most-of-his-career-working-for-shah-abbas-i-r1587-1629-he-is-considered-to-be-the-last-great-master-of-the-persian-miniature-best-known-for-his-single-miniatures-for-muraqqa-or-albums-especially-single-figures-of-beautiful-youths-image344233963.htmlRM2B015X3–Iran: Portrait of Persian miniaturist Riza Abbasi (c.1565-1635) by his student Mu'in, 1673. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī (c. 1565–1635) was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r.1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths.
Man in a Fur-Lined Coat. Artist: Painting by Riza-yi `Abbasi (Persian, ca. 1565-1635). Dimensions: H. 5 3/8 in. (13.6 cm) W. 2 1/2 in. (6.4 cm). Date: ca. 1600. The style and subject of this work are emblematic of the master painter Riza, who is best known for his paintings of languorous youths. The curving body of the young man, his delicately painted curls, and the garden setting are all typical of Riza's work in the early seventeenth century. His style and subjects reflect the taste of Shah 'Abbas' court at Isfahan, which was renowned for its luxurious palaces and gardens, and attracted v Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/man-in-a-fur-lined-coat-artist-painting-by-riza-yi-`abbasi-persian-ca-1565-1635-dimensions-h-5-38-in-136-cm-w-2-12-in-64-cm-date-ca-1600-the-style-and-subject-of-this-work-are-emblematic-of-the-master-painter-riza-who-is-best-known-for-his-paintings-of-languorous-youths-the-curving-body-of-the-young-man-his-delicately-painted-curls-and-the-garden-setting-are-all-typical-of-rizas-work-in-the-early-seventeenth-century-his-style-and-subjects-reflect-the-taste-of-shah-abbas-court-at-isfahan-which-was-renowned-for-its-luxurious-palaces-and-gardens-and-attracted-v-image213132486.htmlRMPAN0JE–Man in a Fur-Lined Coat. Artist: Painting by Riza-yi `Abbasi (Persian, ca. 1565-1635). Dimensions: H. 5 3/8 in. (13.6 cm) W. 2 1/2 in. (6.4 cm). Date: ca. 1600. The style and subject of this work are emblematic of the master painter Riza, who is best known for his paintings of languorous youths. The curving body of the young man, his delicately painted curls, and the garden setting are all typical of Riza's work in the early seventeenth century. His style and subjects reflect the taste of Shah 'Abbas' court at Isfahan, which was renowned for its luxurious palaces and gardens, and attracted v
Iran: A youth reading. Watercolour painting by Riza Abbasi (c. 1565–1635), c. 1625-1626. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r.1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/iran-a-youth-reading-watercolour-painting-by-riza-abbasi-c-15651635-c-1625-1626-riza-abbasi-riza-yi-abbasi-or-reza-e-abbasi-also-aqa-riza-or-q-ri-kshn-was-the-leading-persian-miniaturist-of-the-isfahan-school-during-the-later-safavid-period-spending-most-of-his-career-working-for-shah-abbas-i-r1587-1629-he-is-considered-to-be-the-last-great-master-of-the-persian-miniature-best-known-for-his-single-miniatures-for-muraqqa-or-albums-especially-single-figures-of-beautiful-youths-image344233966.htmlRM2B015X6–Iran: A youth reading. Watercolour painting by Riza Abbasi (c. 1565–1635), c. 1625-1626. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r.1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths.
The Lovers. Painting by Persian artist Riza-yi `Abbasi ca. 1565‚Äì1635 Opaque watercolor, ink, and gold on paper. dated A.H. 1039/ A.D. 1630. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-lovers-painting-by-persian-artist-riza-yi-`abbasi-ca-15651635-opaque-watercolor-ink-and-gold-on-paper-dated-ah-1039-ad-1630-image458812481.htmlRM2HJCM01–The Lovers. Painting by Persian artist Riza-yi `Abbasi ca. 1565‚Äì1635 Opaque watercolor, ink, and gold on paper. dated A.H. 1039/ A.D. 1630.
Iran: A young woman in a fur hat. Watercolour painting by Riza Abbasi (c. 1565-1635), c. 1620. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī, was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r. 1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/iran-a-young-woman-in-a-fur-hat-watercolour-painting-by-riza-abbasi-c-1565-1635-c-1620-riza-abbasi-riza-yi-abbasi-or-reza-e-abbasi-also-aqa-riza-or-q-ri-kshn-was-the-leading-persian-miniaturist-of-the-isfahan-school-during-the-later-safavid-period-spending-most-of-his-career-working-for-shah-abbas-i-r-1587-1629-he-is-considered-to-be-the-last-great-master-of-the-persian-miniature-best-known-for-his-single-miniatures-for-muraqqa-or-albums-especially-single-figures-of-beautiful-youths-image344248861.htmlRM2B01TX5–Iran: A young woman in a fur hat. Watercolour painting by Riza Abbasi (c. 1565-1635), c. 1620. Riza Abbasi, Riza yi-Abbasi or Reza-e Abbasi, also Aqa Riza or Āqā Riżā Kāshānī, was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I (r. 1587-1629). He is considered to be the last great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths.
Riza-yi-Abbasi 009 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-riza-yi-abbasi-009-134833857.htmlRMHRA5XW–Riza-yi-Abbasi 009
. Русский: Riza-yi-Abbasi. Спящая женщина. Казвин. 1595 муз. Саклера . 1595. 1066 Riza-yi-Abbasi 009 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/riza-yi-abbasi-1595-1595-1066-riza-yi-abbasi-009-image185549745.htmlRMMNTEGH–. Русский: Riza-yi-Abbasi. Спящая женщина. Казвин. 1595 муз. Саклера . 1595. 1066 Riza-yi-Abbasi 009
Art inspired by Man in a Fur-Lined Coat, ca. 1600, Attributed to Iran, Isfahan, Ink, opaque watercolor, and gold on paper, H. 5 3/8 in. (13.6 cm), Codices, Painting by Riza-yi `Abbasi (Persian, ca. 1565–1635), The style and subject of this work are emblematic of the master painter Riza, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-man-in-a-fur-lined-coat-ca-1600-attributed-to-iran-isfahan-ink-opaque-watercolor-and-gold-on-paper-h-5-38-in-136-cm-codices-painting-by-riza-yi-`abbasi-persian-ca-15651635-the-style-and-subject-of-this-work-are-emblematic-of-the-master-painter-riza-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463028006.htmlRF2HW8MXE–Art inspired by Man in a Fur-Lined Coat, ca. 1600, Attributed to Iran, Isfahan, Ink, opaque watercolor, and gold on paper, H. 5 3/8 in. (13.6 cm), Codices, Painting by Riza-yi `Abbasi (Persian, ca. 1565–1635), The style and subject of this work are emblematic of the master painter Riza, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
. Русский: Riza-yi-AbbasiСидящий юноша.(подписан Риза) ок.1625 British Museum ME 1920.0917.0298.3 . circa 1625. 1066 Riza-yi-Abbasi 008 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/riza-yi-abbasi-1625-british-museum-me-1920091702983-circa-1625-1066-riza-yi-abbasi-008-image185545044.htmlRMMNT8GM–. Русский: Riza-yi-AbbasiСидящий юноша.(подписан Риза) ок.1625 British Museum ME 1920.0917.0298.3 . circa 1625. 1066 Riza-yi-Abbasi 008
Art inspired by Man with Prayer Beads, mid-17th century, Attributed to Iran, Isfahan, Ink, transparent and opaque watercolor, and gold on paper, H. 4 1/2 in. (11.4 cm), Codices, Painting by Muhammad `Ali, In the mid-seventeenth century, followers of the famous Riza-yi 'Abbasi continued, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-man-with-prayer-beads-mid-17th-century-attributed-to-iran-isfahan-ink-transparent-and-opaque-watercolor-and-gold-on-paper-h-4-12-in-114-cm-codices-painting-by-muhammad-`ali-in-the-mid-seventeenth-century-followers-of-the-famous-riza-yi-abbasi-continued-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463027164.htmlRF2HW8KTC–Art inspired by Man with Prayer Beads, mid-17th century, Attributed to Iran, Isfahan, Ink, transparent and opaque watercolor, and gold on paper, H. 4 1/2 in. (11.4 cm), Codices, Painting by Muhammad `Ali, In the mid-seventeenth century, followers of the famous Riza-yi 'Abbasi continued, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Riza-yi-Abbasi 009. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/riza-yi-abbasi-009-image455481456.htmlRM2HD0Y6T–Riza-yi-Abbasi 009.
Art inspired by The Lovers, dated A.H. 1039/ A.D. 1630, Attributed to Iran, Isfahan, Opaque watercolor, ink, and gold on paper, Painting: H. 6 7/8 in. (17.5 cm), Codices, Painting by Riza-yi `Abbasi (Persian, ca. 1565–1635), The artist Riza yi 'Abbasi revolutionized Persian painting, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-the-lovers-dated-ah-1039-ad-1630-attributed-to-iran-isfahan-opaque-watercolor-ink-and-gold-on-paper-painting-h-6-78-in-175-cm-codices-painting-by-riza-yi-`abbasi-persian-ca-15651635-the-artist-riza-yi-abbasi-revolutionized-persian-painting-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463027813.htmlRF2HW8MKH–Art inspired by The Lovers, dated A.H. 1039/ A.D. 1630, Attributed to Iran, Isfahan, Opaque watercolor, ink, and gold on paper, Painting: H. 6 7/8 in. (17.5 cm), Codices, Painting by Riza-yi `Abbasi (Persian, ca. 1565–1635), The artist Riza yi 'Abbasi revolutionized Persian painting, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Riza-yi-Abbasi 008. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/riza-yi-abbasi-008-image455481475.htmlRM2HD0Y7F–Riza-yi-Abbasi 008.
Art inspired by Man in a Long-sleeved Coat, ca. 1598, Attributed to Iran, Ink on paper, H. 5 9/16 in. (14.1 cm), Codices, Riza-yi `Abbasi (Persian, ca. 1565–1635), This exceptionally fine drawing in red ink contains an all-but-faded signature, 'Riza', below the figure’s feet. The, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-man-in-a-long-sleeved-coat-ca-1598-attributed-to-iran-ink-on-paper-h-5-916-in-141-cm-codices-riza-yi-`abbasi-persian-ca-15651635-this-exceptionally-fine-drawing-in-red-ink-contains-an-all-but-faded-signature-riza-below-the-figures-feet-the-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463027332.htmlRF2HW8M2C–Art inspired by Man in a Long-sleeved Coat, ca. 1598, Attributed to Iran, Ink on paper, H. 5 9/16 in. (14.1 cm), Codices, Riza-yi `Abbasi (Persian, ca. 1565–1635), This exceptionally fine drawing in red ink contains an all-but-faded signature, 'Riza', below the figure’s feet. The, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
A Standing Man Holding a Pear in His Left Hand. Riza-yi 'Abbasi (attributed to) (Iran, Isfahan, died 1635). Iran, Isfahan, 1630-1640. Manuscripts; folios. Ink with gold and color washes on paper Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/a-standing-man-holding-a-pear-in-his-left-hand-riza-yi-abbasi-attributed-to-iran-isfahan-died-1635-iran-isfahan-1630-1640-manuscripts-folios-ink-with-gold-and-color-washes-on-paper-image464692857.htmlRM2J00GDD–A Standing Man Holding a Pear in His Left Hand. Riza-yi 'Abbasi (attributed to) (Iran, Isfahan, died 1635). Iran, Isfahan, 1630-1640. Manuscripts; folios. Ink with gold and color washes on paper
Art inspired by The Old man and the Youth, second quarter 17th century, Attributed to Iran, Isfahan, Ink, transparent and opaque watercolor, and gold on paper, 5 in. high 2.12 in. wide (12.7 cm high 5.4 cm wide), Codices, Painting by Riza-yi `Abbasi (Persian, ca. 1565–1635), Mounted on, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-the-old-man-and-the-youth-second-quarter-17th-century-attributed-to-iran-isfahan-ink-transparent-and-opaque-watercolor-and-gold-on-paper-5-in-high-212-in-wide-127-cm-high-54-cm-wide-codices-painting-by-riza-yi-`abbasi-persian-ca-15651635-mounted-on-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463027333.htmlRF2HW8M2D–Art inspired by The Old man and the Youth, second quarter 17th century, Attributed to Iran, Isfahan, Ink, transparent and opaque watercolor, and gold on paper, 5 in. high 2.12 in. wide (12.7 cm high 5.4 cm wide), Codices, Painting by Riza-yi `Abbasi (Persian, ca. 1565–1635), Mounted on, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Sleeping Youth (verso), Illustration from a Single Page Manuscript, early 1600s. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 21 x 12.4 cm (8 1/4 x 4 7/8 in.); overall: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/sleeping-youth-verso-illustration-from-a-single-page-manuscript-early-1600s-style-of-riza-yi-abbasi-iranian-opaque-watercolor-and-gold-on-paper-image-21-x-124-cm-8-14-x-4-78-in-overall-316-x-204-cm-12-716-x-8-116-in-image448098592.htmlRM2H10J94–Sleeping Youth (verso), Illustration from a Single Page Manuscript, early 1600s. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 21 x 12.4 cm (8 1/4 x 4 7/8 in.); overall: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in.).
Youth Holding a Pomegranate; Illustration from a Single Page Manuscript, c.1600-1650. This single painting of a youth holding a favored pomegranate reflects the style of the most gifted painter at the court of Shah ‘Abbas, Riza-yi ‘Abbasi, whose work inspired numerous adaptations and copies by other artists. In this painting, the youth is attired less extravagantly—with less gold thread than those in the two paintings nearby—presumably conveying a lower status. Gold thread was so expensive that rulers occasionally burned old fabrics for the monetary value of the gol Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/youth-holding-a-pomegranate-illustration-from-a-single-page-manuscript-c1600-1650-this-single-painting-of-a-youth-holding-a-favored-pomegranate-reflects-the-style-of-the-most-gifted-painter-at-the-court-of-shah-x2018abbas-riza-yi-x2018abbasi-whose-work-inspired-numerous-adaptations-and-copies-by-other-artists-in-this-painting-the-youth-is-attired-less-extravagantlyx2014with-less-gold-thread-than-those-in-the-two-paintings-nearbyx2014presumably-conveying-a-lower-status-gold-thread-was-so-expensive-that-rulers-occasionally-burned-old-fabrics-for-the-monetary-value-of-the-gol-image330136163.htmlRM2A53017–Youth Holding a Pomegranate; Illustration from a Single Page Manuscript, c.1600-1650. This single painting of a youth holding a favored pomegranate reflects the style of the most gifted painter at the court of Shah ‘Abbas, Riza-yi ‘Abbasi, whose work inspired numerous adaptations and copies by other artists. In this painting, the youth is attired less extravagantly—with less gold thread than those in the two paintings nearby—presumably conveying a lower status. Gold thread was so expensive that rulers occasionally burned old fabrics for the monetary value of the gol
The Old man and the Youth, Painting by Riza-yi `Abbasi, second quarter 17th century Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-the-old-man-and-the-youth-painting-by-riza-yi-`abbasi-second-quarter-162443946.htmlRMKC7XWE–The Old man and the Youth, Painting by Riza-yi `Abbasi, second quarter 17th century
Reza Abbasi, painting, Two Lovers, Vis and Rāmin, 1629-1630 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/reza-abbasi-painting-two-lovers-vis-and-rmin-1629-1630-image338659509.htmlRM2AJY7JD–Reza Abbasi, painting, Two Lovers, Vis and Rāmin, 1629-1630
Portrait of a Man. Artist: Attributed to Riza-yi `Abbasi (Persian, ca. 1565-1635). Dimensions: H. 8 3/8 in. (21.3 cm) W. 5 1/4 in. (13.3 cm). Date: ca. 1600. Despite the absence of a signature, this portrait of a man pulling a shawl around his shoulders bears many of the stylistic hallmarks of the artist Riza working at the court of Shah 'Abbas I around 1600. The rounded cheeks and slight double chin appear on many of Riza's paintings of youths, but the shape of the figure's small 'bee-stung' lips is nearly identical to that of several other figures from the same period. The fineness of the Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/portrait-of-a-man-artist-attributed-to-riza-yi-`abbasi-persian-ca-1565-1635-dimensions-h-8-38-in-213-cm-w-5-14-in-133-cm-date-ca-1600-despite-the-absence-of-a-signature-this-portrait-of-a-man-pulling-a-shawl-around-his-shoulders-bears-many-of-the-stylistic-hallmarks-of-the-artist-riza-working-at-the-court-of-shah-abbas-i-around-1600-the-rounded-cheeks-and-slight-double-chin-appear-on-many-of-rizas-paintings-of-youths-but-the-shape-of-the-figures-small-bee-stung-lips-is-nearly-identical-to-that-of-several-other-figures-from-the-same-period-the-fineness-of-the-image213260442.htmlRMPAXRTA–Portrait of a Man. Artist: Attributed to Riza-yi `Abbasi (Persian, ca. 1565-1635). Dimensions: H. 8 3/8 in. (21.3 cm) W. 5 1/4 in. (13.3 cm). Date: ca. 1600. Despite the absence of a signature, this portrait of a man pulling a shawl around his shoulders bears many of the stylistic hallmarks of the artist Riza working at the court of Shah 'Abbas I around 1600. The rounded cheeks and slight double chin appear on many of Riza's paintings of youths, but the shape of the figure's small 'bee-stung' lips is nearly identical to that of several other figures from the same period. The fineness of the
![. Azərbaycanca: Şah İsmayıl topların zəncirlərini kəsir . 16th century. Riza-i Abbasi "Shah Ismail at the Battle of Chaldiran" by Tarikh-i Jahangusha-yi Khaqan Sahibqiran Stock Photo](https://c8.alamy.com/comp/MMN7NP/azrbaycanca-ah-smayl-toplarn-zncirlrini-ksir-16th-century-riza-i-abbasi-quotshah-ismail-at-the-battle-of-chaldiranquot-by-tarikh-i-jahangusha-yi-khaqan-sahibqiran-MMN7NP.jpg ". Azərbaycanca: Şah İsmayıl topların zəncirlərini kəsir . 16th century. Riza-i Abbasi "Shah Ismail at the Battle of Chaldiran" by Tarikh-i Jahangusha-yi Khaqan Sahibqiran Stock Photo")
. Azərbaycanca: Şah İsmayıl topların zəncirlərini kəsir . 16th century. Riza-i Abbasi "Shah Ismail at the Battle of Chaldiran" by Tarikh-i Jahangusha-yi Khaqan Sahibqiran Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/azrbaycanca-ah-smayl-toplarn-zncirlrini-ksir-16th-century-riza-i-abbasi-quotshah-ismail-at-the-battle-of-chaldiranquot-by-tarikh-i-jahangusha-yi-khaqan-sahibqiran-image184863890.htmlRMMMN7NP–. Azərbaycanca: Şah İsmayıl topların zəncirlərini kəsir . 16th century. Riza-i Abbasi "Shah Ismail at the Battle of Chaldiran" by Tarikh-i Jahangusha-yi Khaqan Sahibqiran
Riza-yi-Abbasi 009 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-riza-yi-abbasi-009-134863803.htmlRMHRBG4B–Riza-yi-Abbasi 009
Riza-yi-Abbasi 008 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-riza-yi-abbasi-008-134863469.htmlRMHRBFMD–Riza-yi-Abbasi 008
Art inspired by Study of a Bird, dated A.H. 1043/A.D. 1634, Attributed to Iran, Isfahan, Ink, opaque watercolor, gold, and silver on paper, H. 4.25 in. x W. 7.25 in. (10.8 cm high 18.4 cm wide), Codices, Painting by Riza-yi `Abbasi (Persian, ca. 1565–1635), Paintings of birds are less, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-study-of-a-bird-dated-ah-1043ad-1634-attributed-to-iran-isfahan-ink-opaque-watercolor-gold-and-silver-on-paper-h-425-in-x-w-725-in-108-cm-high-184-cm-wide-codices-painting-by-riza-yi-`abbasi-persian-ca-15651635-paintings-of-birds-are-less-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463029071.htmlRF2HW8P8F–Art inspired by Study of a Bird, dated A.H. 1043/A.D. 1634, Attributed to Iran, Isfahan, Ink, opaque watercolor, gold, and silver on paper, H. 4.25 in. x W. 7.25 in. (10.8 cm high 18.4 cm wide), Codices, Painting by Riza-yi `Abbasi (Persian, ca. 1565–1635), Paintings of birds are less, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Youth Holding a Pomegranate; Illustration from a Single Page Manuscript, c.1600-1650. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 15.3 x 8 cm (6 x 3 1/8 in.); overall: 27.7 x 16.4 cm (10 7/8 x 6 7/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/youth-holding-a-pomegranate-illustration-from-a-single-page-manuscript-c1600-1650-style-of-riza-yi-abbasi-iranian-opaque-watercolor-and-gold-on-paper-image-153-x-8-cm-6-x-3-18-in-overall-277-x-164-cm-10-78-x-6-716-in-image448107198.htmlRM2H1118E–Youth Holding a Pomegranate; Illustration from a Single Page Manuscript, c.1600-1650. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 15.3 x 8 cm (6 x 3 1/8 in.); overall: 27.7 x 16.4 cm (10 7/8 x 6 7/16 in.).
Lady with a Fan, 11th century AH/AD 17th century. (Spuriously attributed to Riza-'i 'Abbasi (died 1044 AH/AD 1634). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/lady-with-a-fan-11th-century-ahad-17th-century-spuriously-attributed-to-riza-i-abbasi-died-1044-ahad-1634-image571916440.htmlRM2T6D174–Lady with a Fan, 11th century AH/AD 17th century. (Spuriously attributed to Riza-'i 'Abbasi (died 1044 AH/AD 1634).
Man in a Fur-Lined Coat, Painting by Riza-yi `Abbasi, ca. 1600 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-man-in-a-fur-lined-coat-painting-by-riza-yi-`abbasi-ca-1600-162556034.htmlRMKCD1TJ–Man in a Fur-Lined Coat, Painting by Riza-yi `Abbasi, ca. 1600
Chastisement of a Pupil dated A.H. 1014/ A.D. 1605–6 Painting by Muhammad Qasim In this drawing, two elderly dervishes witness a boy’s chastisement. School scenes such as this example often include figures burnishing paper and practicing calligraphy. The artist, Muhammad Qasim, was one of the proponents of the style developed by Riza‑yi 'Abbasi, known for its innovative use of line and wash colors.. Chastisement of a Pupil 446180 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/chastisement-of-a-pupil-dated-ah-1014-ad-16056-painting-by-muhammad-qasim-in-this-drawing-two-elderly-dervishes-witness-a-boys-chastisement-school-scenes-such-as-this-example-often-include-figures-burnishing-paper-and-practicing-calligraphy-the-artist-muhammad-qasim-was-one-of-the-proponents-of-the-style-developed-by-rizayi-abbasi-known-for-its-innovative-use-of-line-and-wash-colors-chastisement-of-a-pupil-446180-image458105485.htmlRM2HH8E65–Chastisement of a Pupil dated A.H. 1014/ A.D. 1605–6 Painting by Muhammad Qasim In this drawing, two elderly dervishes witness a boy’s chastisement. School scenes such as this example often include figures burnishing paper and practicing calligraphy. The artist, Muhammad Qasim, was one of the proponents of the style developed by Riza‑yi 'Abbasi, known for its innovative use of line and wash colors.. Chastisement of a Pupil 446180
Study of a Bird. Artist: Painting by Riza-yi `Abbasi (Persian, ca. 1565-1635). Dimensions: H. 4.25 in. x W. 7.25 in. (10.8 cm high 18.4 cm wide). Date: dated A.H. 1043/A.D. 1634. Paintings of birds are less common in the works of Riza-yi 'Abbasi than languorous youths and amorous lovers. Here, with naturalistic precision, he has used fine brushstrokes to render the nightingale's feathers in minute detail. The bird appears true-to-life and animated, although it is not proportional in relation to the trees in the background. An inscription on the left in black nasta'liq script contains the date Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/study-of-a-bird-artist-painting-by-riza-yi-`abbasi-persian-ca-1565-1635-dimensions-h-425-in-x-w-725-in-108-cm-high-184-cm-wide-date-dated-ah-1043ad-1634-paintings-of-birds-are-less-common-in-the-works-of-riza-yi-abbasi-than-languorous-youths-and-amorous-lovers-here-with-naturalistic-precision-he-has-used-fine-brushstrokes-to-render-the-nightingales-feathers-in-minute-detail-the-bird-appears-true-to-life-and-animated-although-it-is-not-proportional-in-relation-to-the-trees-in-the-background-an-inscription-on-the-left-in-black-nastaliq-script-contains-the-date-image212905987.htmlRMPAAKN7–Study of a Bird. Artist: Painting by Riza-yi `Abbasi (Persian, ca. 1565-1635). Dimensions: H. 4.25 in. x W. 7.25 in. (10.8 cm high 18.4 cm wide). Date: dated A.H. 1043/A.D. 1634. Paintings of birds are less common in the works of Riza-yi 'Abbasi than languorous youths and amorous lovers. Here, with naturalistic precision, he has used fine brushstrokes to render the nightingale's feathers in minute detail. The bird appears true-to-life and animated, although it is not proportional in relation to the trees in the background. An inscription on the left in black nasta'liq script contains the date
Dragon and Clouds ca. 1600 Attributed to Sadiqi Beg As the dragon emerges from the natural landscape, the sinuous line of its silhouette mimics those of its surroundings. In the late sixteenth century, the production of single‑page, finished drawings destined for albums increased; numerous pictures of dragons, either alone or in combat with men or other animals, were executed. This work is attributed to Sadiqi Beg, who, along with Riza‑yi 'Abbasi, was one of the pioneers of the calligraphic style of drawing in Iran.. Dragon and Clouds 457056 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/dragon-and-clouds-ca-1600-attributed-to-sadiqi-beg-as-the-dragon-emerges-from-the-natural-landscape-the-sinuous-line-of-its-silhouette-mimics-those-of-its-surroundings-in-the-late-sixteenth-century-the-production-of-singlepage-finished-drawings-destined-for-albums-increased-numerous-pictures-of-dragons-either-alone-or-in-combat-with-men-or-other-animals-were-executed-this-work-is-attributed-to-sadiqi-beg-who-along-with-rizayi-abbasi-was-one-of-the-pioneers-of-the-calligraphic-style-of-drawing-in-iran-dragon-and-clouds-457056-image458167994.htmlRM2HHB9XJ–Dragon and Clouds ca. 1600 Attributed to Sadiqi Beg As the dragon emerges from the natural landscape, the sinuous line of its silhouette mimics those of its surroundings. In the late sixteenth century, the production of single‑page, finished drawings destined for albums increased; numerous pictures of dragons, either alone or in combat with men or other animals, were executed. This work is attributed to Sadiqi Beg, who, along with Riza‑yi 'Abbasi, was one of the pioneers of the calligraphic style of drawing in Iran.. Dragon and Clouds 457056
Youth and Dervish second quarter 17th century While the inscription in the drawing assigns it to the celebrated artist Riza-yi 'Abbasi of the Isfahan school, it is more likely by a pupil following the typical calligraphic style of the master. From about 1610 on, figures in Isfahan drawings and paintings have heavy pear-shaped thighs and wide, round cheeks. The subject of a youth paired with an older man, often a dervish or a poet, illustrated the relationship of the spiritual guide or 'pir' and his disciple, the 'murid'.. Youth and Dervish 453895 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/youth-and-dervish-second-quarter-17th-century-while-the-inscription-in-the-drawing-assigns-it-to-the-celebrated-artist-riza-yi-abbasi-of-the-isfahan-school-it-is-more-likely-by-a-pupil-following-the-typical-calligraphic-style-of-the-master-from-about-1610-on-figures-in-isfahan-drawings-and-paintings-have-heavy-pear-shaped-thighs-and-wide-round-cheeks-the-subject-of-a-youth-paired-with-an-older-man-often-a-dervish-or-a-poet-illustrated-the-relationship-of-the-spiritual-guide-or-pir-and-his-disciple-the-murid-youth-and-dervish-453895-image458482795.htmlRM2HHWKDF–Youth and Dervish second quarter 17th century While the inscription in the drawing assigns it to the celebrated artist Riza-yi 'Abbasi of the Isfahan school, it is more likely by a pupil following the typical calligraphic style of the master. From about 1610 on, figures in Isfahan drawings and paintings have heavy pear-shaped thighs and wide, round cheeks. The subject of a youth paired with an older man, often a dervish or a poet, illustrated the relationship of the spiritual guide or 'pir' and his disciple, the 'murid'.. Youth and Dervish 453895
The Lovers dated A.H. 1039/ A.D. 1630 Painting by Riza-yi 'Abbasi The artist Riza‑yi 'Abbasi revolutionized Persian painting and drawing with his inventive use of calligraphic line and unusual palette. He painted The Lovers toward the end of a long, successful career at the Safavid court. The subject of a couple entwined reflects a newly relaxed attitude to sensuality introduced in the reign of Shah Safi (r. 1629–42). Here the figures are inextricably bound together, merged volumes confined within one outline.. The Lovers 451023 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-lovers-dated-ah-1039-ad-1630-painting-by-riza-yi-abbasi-the-artist-rizayi-abbasi-revolutionized-persian-painting-and-drawing-with-his-inventive-use-of-calligraphic-line-and-unusual-palette-he-painted-the-lovers-toward-the-end-of-a-long-successful-career-at-the-safavid-court-the-subject-of-a-couple-entwined-reflects-a-newly-relaxed-attitude-to-sensuality-introduced-in-the-reign-of-shah-safi-r-162942-here-the-figures-are-inextricably-bound-together-merged-volumes-confined-within-one-outline-the-lovers-451023-image458619687.htmlRM2HJ3X2F–The Lovers dated A.H. 1039/ A.D. 1630 Painting by Riza-yi 'Abbasi The artist Riza‑yi 'Abbasi revolutionized Persian painting and drawing with his inventive use of calligraphic line and unusual palette. He painted The Lovers toward the end of a long, successful career at the Safavid court. The subject of a couple entwined reflects a newly relaxed attitude to sensuality introduced in the reign of Shah Safi (r. 1629–42). Here the figures are inextricably bound together, merged volumes confined within one outline.. The Lovers 451023
Riza-yi-Abbasi 008 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-riza-yi-abbasi-008-134833504.htmlRMHRA5E8–Riza-yi-Abbasi 008
Man in a Fur-Lined Coat ca. 1600 Painting by Riza-yi 'Abbasi The style and subject of this work are emblematic of the master painter Riza, who is best known for his paintings of languorous youths. The curving body of the young man, his delicately painted curls, and the garden setting are all typical of Riza’s work in the early seventeenth century. His style and subjects reflect the taste of Shah 'Abbas’ court at Isfahan, which was renowned for its luxurious palaces and gardens, and attracted visitors from all over the world. The painting is signed below the figure and to the right of the fruit Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/man-in-a-fur-lined-coat-ca-1600-painting-by-riza-yi-abbasi-the-style-and-subject-of-this-work-are-emblematic-of-the-master-painter-riza-who-is-best-known-for-his-paintings-of-languorous-youths-the-curving-body-of-the-young-man-his-delicately-painted-curls-and-the-garden-setting-are-all-typical-of-rizas-work-in-the-early-seventeenth-century-his-style-and-subjects-reflect-the-taste-of-shah-abbas-court-at-isfahan-which-was-renowned-for-its-luxurious-palaces-and-gardens-and-attracted-visitors-from-all-over-the-world-the-painting-is-signed-below-the-figure-and-to-the-right-of-the-fruit-image458123699.htmlRM2HH99CK–Man in a Fur-Lined Coat ca. 1600 Painting by Riza-yi 'Abbasi The style and subject of this work are emblematic of the master painter Riza, who is best known for his paintings of languorous youths. The curving body of the young man, his delicately painted curls, and the garden setting are all typical of Riza’s work in the early seventeenth century. His style and subjects reflect the taste of Shah 'Abbas’ court at Isfahan, which was renowned for its luxurious palaces and gardens, and attracted visitors from all over the world. The painting is signed below the figure and to the right of the fruit
Art inspired by Chastisement of a Pupil, dated 114 (A.H. 1014/ A.D. 1605–6), Attributed to Iran, Mashhad, Ink, watercolor, and gold on paper, Painting: H. 9 3/4 in. (24.8 cm), Codices, Painting by Muhammad Qasim (active ca. 1600–d. 1659), In this drawing, two elderly dervishes witness, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-chastisement-of-a-pupil-dated-114-ah-1014-ad-16056-attributed-to-iran-mashhad-ink-watercolor-and-gold-on-paper-painting-h-9-34-in-248-cm-codices-painting-by-muhammad-qasim-active-ca-1600d-1659-in-this-drawing-two-elderly-dervishes-witness-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463027076.htmlRF2HW8KN8–Art inspired by Chastisement of a Pupil, dated 114 (A.H. 1014/ A.D. 1605–6), Attributed to Iran, Mashhad, Ink, watercolor, and gold on paper, Painting: H. 9 3/4 in. (24.8 cm), Codices, Painting by Muhammad Qasim (active ca. 1600–d. 1659), In this drawing, two elderly dervishes witness, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Persian Couplets (recto); Sleeping Youth (verso), late 1500s-early 1600s. Under Shah Abbas, the tradition in which painting was employed to illustrate a literary work was all but abandoned. In its place came a new concern with single-page illustrations, such as this one, which have no specirfic content or meaning. They often illustrate albums of collections of verses about love and beauty, in which these themes often appear to serve as allegories of things divine. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/persian-couplets-recto-sleeping-youth-verso-late-1500s-early-1600s-under-shah-abbas-the-tradition-in-which-painting-was-employed-to-illustrate-a-literary-work-was-all-but-abandoned-in-its-place-came-a-new-concern-with-single-page-illustrations-such-as-this-one-which-have-no-specirfic-content-or-meaning-they-often-illustrate-albums-of-collections-of-verses-about-love-and-beauty-in-which-these-themes-often-appear-to-serve-as-allegories-of-things-divine-image330111844.htmlRM2A51W0M–Persian Couplets (recto); Sleeping Youth (verso), late 1500s-early 1600s. Under Shah Abbas, the tradition in which painting was employed to illustrate a literary work was all but abandoned. In its place came a new concern with single-page illustrations, such as this one, which have no specirfic content or meaning. They often illustrate albums of collections of verses about love and beauty, in which these themes often appear to serve as allegories of things divine.
Study of a Bird, Painting by Riza-yi `Abbasi, dated A.H. 1043/A.D. 1634 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-study-of-a-bird-painting-by-riza-yi-`abbasi-dated-ah-1043ad-1634-162431519.htmlRMKC7B1K–Study of a Bird, Painting by Riza-yi `Abbasi, dated A.H. 1043/A.D. 1634
Sleeping Youth (verso), Illustration from a Single Page Manuscript, early 1600s. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 21 x 12.4 cm (8 1/4 x 4 7/8 in.); overall: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/sleeping-youth-verso-illustration-from-a-single-page-manuscript-early-1600s-style-of-riza-yi-abbasi-iranian-opaque-watercolor-and-gold-on-paper-image-21-x-124-cm-8-14-x-4-78-in-overall-316-x-204-cm-12-716-x-8-116-in-image240417706.htmlRMRY3Y6J–Sleeping Youth (verso), Illustration from a Single Page Manuscript, early 1600s. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 21 x 12.4 cm (8 1/4 x 4 7/8 in.); overall: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in
The Old man and the Youth. Artist: Painting by Riza-yi `Abbasi (Persian, ca. 1565-1635). Calligrapher: Nur al-Din Muhammad Lahiji. Dimensions: 5 in. high 2.12 in. wide (12.7 cm high 5.4 cm wide). Date: second quarter 17th century. Mounted on an album page below a calligraphy signed by Nur al-Din Muhammad Lahiji, these two drawings form a single composition depicting an old man dressed as a dervish pursuing a youth with a wine bottle and cup. Although the drawings are ascribed to Riza-yi 'Abbasi, the quality of line here is more rigid and less sure than that of the master. The image of an old Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-old-man-and-the-youth-artist-painting-by-riza-yi-`abbasi-persian-ca-1565-1635-calligrapher-nur-al-din-muhammad-lahiji-dimensions-5-in-high-212-in-wide-127-cm-high-54-cm-wide-date-second-quarter-17th-century-mounted-on-an-album-page-below-a-calligraphy-signed-by-nur-al-din-muhammad-lahiji-these-two-drawings-form-a-single-composition-depicting-an-old-man-dressed-as-a-dervish-pursuing-a-youth-with-a-wine-bottle-and-cup-although-the-drawings-are-ascribed-to-riza-yi-abbasi-the-quality-of-line-here-is-more-rigid-and-less-sure-than-that-of-the-master-the-image-of-an-old-image212907211.htmlRMPAAN8Y–The Old man and the Youth. Artist: Painting by Riza-yi `Abbasi (Persian, ca. 1565-1635). Calligrapher: Nur al-Din Muhammad Lahiji. Dimensions: 5 in. high 2.12 in. wide (12.7 cm high 5.4 cm wide). Date: second quarter 17th century. Mounted on an album page below a calligraphy signed by Nur al-Din Muhammad Lahiji, these two drawings form a single composition depicting an old man dressed as a dervish pursuing a youth with a wine bottle and cup. Although the drawings are ascribed to Riza-yi 'Abbasi, the quality of line here is more rigid and less sure than that of the master. The image of an old
Man with Prayer Beads mid-17th century Painting by Muhammad `Ali In the mid-seventeenth century, followers of the famous Riza-yi 'Abbasi continued his practice of producing drawings of single figures in a landscape for inclusion in albums. The jutting rocks, heavily drawn leafy plants, and delicate quality of line differ from Riza’s lighter, more subtle draftsmanship. This figure portrayed fingering his prayer beads may be a sufi, or mystic, or may simply be reciting prayers or the ninety-nine names of God.. Man with Prayer Beads 446568 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/man-with-prayer-beads-mid-17th-century-painting-by-muhammad-`ali-in-the-mid-seventeenth-century-followers-of-the-famous-riza-yi-abbasi-continued-his-practice-of-producing-drawings-of-single-figures-in-a-landscape-for-inclusion-in-albums-the-jutting-rocks-heavily-drawn-leafy-plants-and-delicate-quality-of-line-differ-from-rizas-lighter-more-subtle-draftsmanship-this-figure-portrayed-fingering-his-prayer-beads-may-be-a-sufi-or-mystic-or-may-simply-be-reciting-prayers-or-the-ninety-nine-names-of-god-man-with-prayer-beads-446568-image458045294.htmlRM2HH5NCE–Man with Prayer Beads mid-17th century Painting by Muhammad `Ali In the mid-seventeenth century, followers of the famous Riza-yi 'Abbasi continued his practice of producing drawings of single figures in a landscape for inclusion in albums. The jutting rocks, heavily drawn leafy plants, and delicate quality of line differ from Riza’s lighter, more subtle draftsmanship. This figure portrayed fingering his prayer beads may be a sufi, or mystic, or may simply be reciting prayers or the ninety-nine names of God.. Man with Prayer Beads 446568
Turkoman Prisoner ca. 1610 Numerous paintings and drawings of a Turkman prisoner with his hand and head in a type of stock, known as a 'palahang', were produced from the early 16th to the early 17th century. Here the figure is armed only with a dagger, not the sword, bow, arrows and mace of the prisoners in earlier versions. The windswept clouds, light brown, grey and white washes and calligraphic line of this drawing owe a debt to Riza–yi 'Abbasi, who worked in this style in the first decade of the 17th century.. Turkoman Prisoner 451957 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/turkoman-prisoner-ca-1610-numerous-paintings-and-drawings-of-a-turkman-prisoner-with-his-hand-and-head-in-a-type-of-stock-known-as-a-palahang-were-produced-from-the-early-16th-to-the-early-17th-century-here-the-figure-is-armed-only-with-a-dagger-not-the-sword-bow-arrows-and-mace-of-the-prisoners-in-earlier-versions-the-windswept-clouds-light-brown-grey-and-white-washes-and-calligraphic-line-of-this-drawing-owe-a-debt-to-rizayi-abbasi-who-worked-in-this-style-in-the-first-decade-of-the-17th-century-turkoman-prisoner-451957-image458588424.htmlRM2HJ2E60–Turkoman Prisoner ca. 1610 Numerous paintings and drawings of a Turkman prisoner with his hand and head in a type of stock, known as a 'palahang', were produced from the early 16th to the early 17th century. Here the figure is armed only with a dagger, not the sword, bow, arrows and mace of the prisoners in earlier versions. The windswept clouds, light brown, grey and white washes and calligraphic line of this drawing owe a debt to Riza–yi 'Abbasi, who worked in this style in the first decade of the 17th century.. Turkoman Prisoner 451957
Study of a Bird, dated A.H. 1043/A.D. 1634. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/study-of-a-bird-dated-ah-1043ad-1634-image365762928.htmlRM2C71X9M–Study of a Bird, dated A.H. 1043/A.D. 1634.
Youth Holding a Pomegranate; Illustration from a Single Page Manuscript, c.1600-1650. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 15.3 x 8 cm (6 x 3 1/8 in.); overall: 27.7 x 16.4 cm (10 7/8 x 6 7/16 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/youth-holding-a-pomegranate-illustration-from-a-single-page-manuscript-c1600-1650-style-of-riza-yi-abbasi-iranian-opaque-watercolor-and-gold-on-paper-image-153-x-8-cm-6-x-3-18-in-overall-277-x-164-cm-10-78-x-6-716-in-image240428221.htmlRMRY4CJ5–Youth Holding a Pomegranate; Illustration from a Single Page Manuscript, c.1600-1650. Style of Riza-yi Abbasi (Iranian). Opaque watercolor and gold on paper; image: 15.3 x 8 cm (6 x 3 1/8 in.); overall: 27.7 x 16.4 cm (10 7/8 x 6 7/16 in
The Lovers. Artist: Painting by Riza-yi `Abbasi (Persian, ca. 1565-1635). Dimensions: Painting: H. 6 7/8 in. (17.5 cm) W. 4 3/8 in. (11.1 cm) Page: H. 7 1/2 in. (19.1 cm) W. 4 15/16 in. (12.5 cm) Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: dated A.H. 1039/ A.D. 1630. The artist Riza-yi 'Abbasi revolutionized Persian painting and drawing with his inventive use of calligraphic line and unusual palette. He painted The Lovers toward the end of a long, successful career at the Safavid court. The subject of a couple entwined reflects a newly relaxed attitude to sensuality intr Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-lovers-artist-painting-by-riza-yi-`abbasi-persian-ca-1565-1635-dimensions-painting-h-6-78-in-175-cm-w-4-38-in-111-cm-page-h-7-12-in-191-cm-w-4-1516-in-125-cm-mat-h-19-14-in-489-cm-w-14-14-in-362-cm-date-dated-ah-1039-ad-1630-the-artist-riza-yi-abbasi-revolutionized-persian-painting-and-drawing-with-his-inventive-use-of-calligraphic-line-and-unusual-palette-he-painted-the-lovers-toward-the-end-of-a-long-successful-career-at-the-safavid-court-the-subject-of-a-couple-entwined-reflects-a-newly-relaxed-attitude-to-sensuality-intr-image212905882.htmlRMPAAKHE–The Lovers. Artist: Painting by Riza-yi `Abbasi (Persian, ca. 1565-1635). Dimensions: Painting: H. 6 7/8 in. (17.5 cm) W. 4 3/8 in. (11.1 cm) Page: H. 7 1/2 in. (19.1 cm) W. 4 15/16 in. (12.5 cm) Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: dated A.H. 1039/ A.D. 1630. The artist Riza-yi 'Abbasi revolutionized Persian painting and drawing with his inventive use of calligraphic line and unusual palette. He painted The Lovers toward the end of a long, successful career at the Safavid court. The subject of a couple entwined reflects a newly relaxed attitude to sensuality intr
Man in a Long-sleeved Coat ca. 1598 Riza-yi 'Abbasi This exceptionally fine drawing in red ink contains an all-but-faded signature, 'Riza', below the figure’s feet. The delicate style of the draughtsmanship, with lines of varying thickness and the hooked splutter of the pen to denote the fringe of the figure’s waist sash conform to Riza’s style of draughtsmanship from about 1590 to 1600. The figure’s Central Asian facial features suggest that he was one of the pilgrims that Riza observed when he accompanied Shah ‘Abbas I on his pilgrimage to Mashhad in 1598.. Man in a Long-sleeved Coat 447806 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/man-in-a-long-sleeved-coat-ca-1598-riza-yi-abbasi-this-exceptionally-fine-drawing-in-red-ink-contains-an-all-but-faded-signature-riza-below-the-figures-feet-the-delicate-style-of-the-draughtsmanship-with-lines-of-varying-thickness-and-the-hooked-splutter-of-the-pen-to-denote-the-fringe-of-the-figures-waist-sash-conform-to-rizas-style-of-draughtsmanship-from-about-1590-to-1600-the-figures-central-asian-facial-features-suggest-that-he-was-one-of-the-pilgrims-that-riza-observed-when-he-accompanied-shah-abbas-i-on-his-pilgrimage-to-mashhad-in-1598-man-in-a-long-sleeved-coat-447806-image458610416.htmlRM2HJ3E7C–Man in a Long-sleeved Coat ca. 1598 Riza-yi 'Abbasi This exceptionally fine drawing in red ink contains an all-but-faded signature, 'Riza', below the figure’s feet. The delicate style of the draughtsmanship, with lines of varying thickness and the hooked splutter of the pen to denote the fringe of the figure’s waist sash conform to Riza’s style of draughtsmanship from about 1590 to 1600. The figure’s Central Asian facial features suggest that he was one of the pilgrims that Riza observed when he accompanied Shah ‘Abbas I on his pilgrimage to Mashhad in 1598.. Man in a Long-sleeved Coat 447806
The Old man and the Youth, second quarter 17th century. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-old-man-and-the-youth-second-quarter-17th-century-image365762909.htmlRM2C71X91–The Old man and the Youth, second quarter 17th century.
Persian Couplets (recto); Sleeping Youth (verso), late 1500s-early 1600s. Style of Riza-yi Abbasi (Iranian). Ink, gold and opaque watercolor on paper; image: 21 x 12.4 cm (8 1/4 x 4 7/8 in.); overall: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in.); text area: 21 x 12.4 cm (8 1/4 x 4 7/8 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/persian-couplets-recto-sleeping-youth-verso-late-1500s-early-1600s-style-of-riza-yi-abbasi-iranian-ink-gold-and-opaque-watercolor-on-paper-image-21-x-124-cm-8-14-x-4-78-in-overall-316-x-204-cm-12-716-x-8-116-in-text-area-21-x-124-cm-8-14-x-4-78-in-image240417710.htmlRMRY3Y6P–Persian Couplets (recto); Sleeping Youth (verso), late 1500s-early 1600s. Style of Riza-yi Abbasi (Iranian). Ink, gold and opaque watercolor on paper; image: 21 x 12.4 cm (8 1/4 x 4 7/8 in.); overall: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in.); text area: 21 x 12.4 cm (8 1/4 x 4 7/8 in
Chastisement of a Pupil. Artist: Painting by Muhammad Qasim (active ca. 1600-d. 1659). Dimensions: Painting: H. 9 3/4 in. (24.8 cm) W. 6 5/16 in. (16 cm) Page: H. 13 5/8 in. (34.6 cm) W. 9 in. (22.9 cm) Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm) Frame: H. 21 5/8 in. (55 cm) W. 16 3/4 in. (42.5 cm) D. 1 3/16 in. (3 cm). Date: dated 114 (A.H. 1014/ A.D. 1605-6). In this drawing, two elderly dervishes witness a boy's chastisement. School scenes such as this example often include figures burnishing paper and practicing calligraphy. The artist, Muhammad Qasim, was one of the pr Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/chastisement-of-a-pupil-artist-painting-by-muhammad-qasim-active-ca-1600-d-1659-dimensions-painting-h-9-34-in-248-cm-w-6-516-in-16-cm-page-h-13-58-in-346-cm-w-9-in-229-cm-mat-h-19-14-in-489-cm-w-14-14-in-362-cm-frame-h-21-58-in-55-cm-w-16-34-in-425-cm-d-1-316-in-3-cm-date-dated-114-ah-1014-ad-1605-6-in-this-drawing-two-elderly-dervishes-witness-a-boys-chastisement-school-scenes-such-as-this-example-often-include-figures-burnishing-paper-and-practicing-calligraphy-the-artist-muhammad-qasim-was-one-of-the-pr-image213083129.htmlRMPAJNKN–Chastisement of a Pupil. Artist: Painting by Muhammad Qasim (active ca. 1600-d. 1659). Dimensions: Painting: H. 9 3/4 in. (24.8 cm) W. 6 5/16 in. (16 cm) Page: H. 13 5/8 in. (34.6 cm) W. 9 in. (22.9 cm) Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm) Frame: H. 21 5/8 in. (55 cm) W. 16 3/4 in. (42.5 cm) D. 1 3/16 in. (3 cm). Date: dated 114 (A.H. 1014/ A.D. 1605-6). In this drawing, two elderly dervishes witness a boy's chastisement. School scenes such as this example often include figures burnishing paper and practicing calligraphy. The artist, Muhammad Qasim, was one of the pr
Man with Prayer Beads, Painting by Muhammad `Ali, mid-17th century Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-man-with-prayer-beads-painting-by-muhammad-`ali-mid-17th-century-162562725.htmlRMKCDABH–Man with Prayer Beads, Painting by Muhammad `Ali, mid-17th century
Chastisement of a Pupil, Painting by Muhammad Qasim, dated 114 (A.H. 1014/ A.D. 1605–6 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-chastisement-of-a-pupil-painting-by-muhammad-qasim-dated-114-ah-1014-162407633.htmlRMKC68GH–Chastisement of a Pupil, Painting by Muhammad Qasim, dated 114 (A.H. 1014/ A.D. 1605–6
Portrait of a Man ca. 1600 Attributed to Riza-yi 'Abbasi Despite the absence of a signature, this portrait of a man pulling a shawl around his shoulders bears many of the stylistic hallmarks of the artist Riza working at the court of Shah ‘Abbas I around 1600. The rounded cheeks and slight double chin appear on many of Riza’s paintings of youths, but the shape of the figure’s small 'bee-stung' lips is nearly identical to that of several other figures from the same period. The fineness of the artist’s brushstrokes on which his contemporaries remarked is evident in the soft fuzz of the figure’s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/portrait-of-a-man-ca-1600-attributed-to-riza-yi-abbasi-despite-the-absence-of-a-signature-this-portrait-of-a-man-pulling-a-shawl-around-his-shoulders-bears-many-of-the-stylistic-hallmarks-of-the-artist-riza-working-at-the-court-of-shah-abbas-i-around-1600-the-rounded-cheeks-and-slight-double-chin-appear-on-many-of-rizas-paintings-of-youths-but-the-shape-of-the-figures-small-bee-stung-lips-is-nearly-identical-to-that-of-several-other-figures-from-the-same-period-the-fineness-of-the-artists-brushstrokes-on-which-his-contemporaries-remarked-is-evident-in-the-soft-fuzz-of-the-figures-image458585836.htmlRM2HJ2AWG–Portrait of a Man ca. 1600 Attributed to Riza-yi 'Abbasi Despite the absence of a signature, this portrait of a man pulling a shawl around his shoulders bears many of the stylistic hallmarks of the artist Riza working at the court of Shah ‘Abbas I around 1600. The rounded cheeks and slight double chin appear on many of Riza’s paintings of youths, but the shape of the figure’s small 'bee-stung' lips is nearly identical to that of several other figures from the same period. The fineness of the artist’s brushstrokes on which his contemporaries remarked is evident in the soft fuzz of the figure’s
Sleeping Youth (verso), Illustration from a Single Page Manuscript, early 1600s. In the late 1500s, a new artistic aesthetic developed under the socially and economically conscious Shah ’Abbas I (reigned 1587-1629), who established Isfahan as the grand capital of Iran, improving its infrastructure and foreign trade with Europe, especially for the export of raw silk. Made for patrons in the marketplace, landscape paintings began to feature isolated figures in pastoral and daily life settings on single pages, replacing the idealized court paintings made for shahs. Here, the sleeping youth Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/sleeping-youth-verso-illustration-from-a-single-page-manuscript-early-1600s-in-the-late-1500s-a-new-artistic-aesthetic-developed-under-the-socially-and-economically-conscious-shah-x2019abbas-i-reigned-1587-1629-who-established-isfahan-as-the-grand-capital-of-iran-improving-its-infrastructure-and-foreign-trade-with-europe-especially-for-the-export-of-raw-silk-made-for-patrons-in-the-marketplace-landscape-paintings-began-to-feature-isolated-figures-in-pastoral-and-daily-life-settings-on-single-pages-replacing-the-idealized-court-paintings-made-for-shahs-here-the-sleeping-youth-image330120040.htmlRM2A527DC–Sleeping Youth (verso), Illustration from a Single Page Manuscript, early 1600s. In the late 1500s, a new artistic aesthetic developed under the socially and economically conscious Shah ’Abbas I (reigned 1587-1629), who established Isfahan as the grand capital of Iran, improving its infrastructure and foreign trade with Europe, especially for the export of raw silk. Made for patrons in the marketplace, landscape paintings began to feature isolated figures in pastoral and daily life settings on single pages, replacing the idealized court paintings made for shahs. Here, the sleeping youth
Study of a Bird dated A.H. 1043/A.D. 1634 Painting by Riza-yi 'Abbasi Paintings of birds are less common in the works of Riza-yi 'Abbasi than languorous youths and amorous lovers. Here, with naturalistic precision, he has used fine brushstrokes to render the nightingale’s feathers in minute detail. The bird appears true-to-life and animated, although it is not proportional in relation to the trees in the background. An inscription on the left in black nasta'liq script contains the date of the painting and the painter’s name. This painting is one of the latest works by the artist. Listen to exp Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/study-of-a-bird-dated-ah-1043ad-1634-painting-by-riza-yi-abbasi-paintings-of-birds-are-less-common-in-the-works-of-riza-yi-abbasi-than-languorous-youths-and-amorous-lovers-here-with-naturalistic-precision-he-has-used-fine-brushstrokes-to-render-the-nightingales-feathers-in-minute-detail-the-bird-appears-true-to-life-and-animated-although-it-is-not-proportional-in-relation-to-the-trees-in-the-background-an-inscription-on-the-left-in-black-nastaliq-script-contains-the-date-of-the-painting-and-the-painters-name-this-painting-is-one-of-the-latest-works-by-the-artist-listen-to-exp-image458149164.htmlRM2HHADX4–Study of a Bird dated A.H. 1043/A.D. 1634 Painting by Riza-yi 'Abbasi Paintings of birds are less common in the works of Riza-yi 'Abbasi than languorous youths and amorous lovers. Here, with naturalistic precision, he has used fine brushstrokes to render the nightingale’s feathers in minute detail. The bird appears true-to-life and animated, although it is not proportional in relation to the trees in the background. An inscription on the left in black nasta'liq script contains the date of the painting and the painter’s name. This painting is one of the latest works by the artist. Listen to exp
Portrait of a Man, ca. 1600. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/portrait-of-a-man-ca-1600-image374712736.htmlRM2CNHHWM–Portrait of a Man, ca. 1600.
Seated Man in the Wilderness first half 17th century Drawings of kneeling figures in landscape proliferated in the first quarter of the seventeenth century in Iran. Often, but not exclusively, the figures are men drinking, reading poetry or holding a flower or fruit, as in this work. Intended for inclusion in an album, the drawing may have faced another work of a related subject, perhaps a person receiving the fruit proffered by the kneeling man. The figure's pear-shaped thighs and the line of variable thickness recall works by Riza-yi 'Abbasi (fl. 1589–1635).. Seated Man in the Wilderness 44 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/seated-man-in-the-wilderness-first-half-17th-century-drawings-of-kneeling-figures-in-landscape-proliferated-in-the-first-quarter-of-the-seventeenth-century-in-iran-often-but-not-exclusively-the-figures-are-men-drinking-reading-poetry-or-holding-a-flower-or-fruit-as-in-this-work-intended-for-inclusion-in-an-album-the-drawing-may-have-faced-another-work-of-a-related-subject-perhaps-a-person-receiving-the-fruit-proffered-by-the-kneeling-man-the-figures-pear-shaped-thighs-and-the-line-of-variable-thickness-recall-works-by-riza-yi-abbasi-fl-15891635-seated-man-in-the-wilderness-44-image458592140.htmlRM2HJ2JXM–Seated Man in the Wilderness first half 17th century Drawings of kneeling figures in landscape proliferated in the first quarter of the seventeenth century in Iran. Often, but not exclusively, the figures are men drinking, reading poetry or holding a flower or fruit, as in this work. Intended for inclusion in an album, the drawing may have faced another work of a related subject, perhaps a person receiving the fruit proffered by the kneeling man. The figure's pear-shaped thighs and the line of variable thickness recall works by Riza-yi 'Abbasi (fl. 1589–1635).. Seated Man in the Wilderness 44
Drawing with Flowers, Butterflies, and Insects dated A.H. 1059/A.D. 1649–50 Shafi' 'Abbasi was an artist at the court of the Safavid ruler, Shah 'Abbas II (1642–1666) in Isfahan. Inspired by European botanical prints circulating in Isfahan at the time, his sensitively rendered flower compositions included images of birds, butterflies, and other insects. Unlike his father, the renowned painter, Riza-yi 'Abbasi, whose works are largely figural, Shafi' focused on nature. He launched a genre of botantical compositions, which became widely admired in Iran and flourished well into the late 19th cent Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/drawing-with-flowers-butterflies-and-insects-dated-ah-1059ad-164950-shafi-abbasi-was-an-artist-at-the-court-of-the-safavid-ruler-shah-abbas-ii-16421666-in-isfahan-inspired-by-european-botanical-prints-circulating-in-isfahan-at-the-time-his-sensitively-rendered-flower-compositions-included-images-of-birds-butterflies-and-other-insects-unlike-his-father-the-renowned-painter-riza-yi-abbasi-whose-works-are-largely-figural-shafi-focused-on-nature-he-launched-a-genre-of-botantical-compositions-which-became-widely-admired-in-iran-and-flourished-well-into-the-late-19th-cent-image458000207.htmlRM2HH3KX7–Drawing with Flowers, Butterflies, and Insects dated A.H. 1059/A.D. 1649–50 Shafi' 'Abbasi was an artist at the court of the Safavid ruler, Shah 'Abbas II (1642–1666) in Isfahan. Inspired by European botanical prints circulating in Isfahan at the time, his sensitively rendered flower compositions included images of birds, butterflies, and other insects. Unlike his father, the renowned painter, Riza-yi 'Abbasi, whose works are largely figural, Shafi' focused on nature. He launched a genre of botantical compositions, which became widely admired in Iran and flourished well into the late 19th cent
The Old man and the Youth second quarter 17th century Painting by Riza-yi 'Abbasi Mounted on an album page below a calligraphy signed by Nur al-Din Muhammad Lahiji, these two drawings form a single composition depicting an old man dressed as a dervish pursuing a youth with a wine bottle and cup. Although the drawings are ascribed to Riza-yi 'Abbasi, the quality of line here is more rigid and less sure than that of the master. The image of an old man yearning for a youth finds parallels in Persian mystical poetry. The line of poetry above the drawings refers to the virtue of a young male on the Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-old-man-and-the-youth-second-quarter-17th-century-painting-by-riza-yi-abbasi-mounted-on-an-album-page-below-a-calligraphy-signed-by-nur-al-din-muhammad-lahiji-these-two-drawings-form-a-single-composition-depicting-an-old-man-dressed-as-a-dervish-pursuing-a-youth-with-a-wine-bottle-and-cup-although-the-drawings-are-ascribed-to-riza-yi-abbasi-the-quality-of-line-here-is-more-rigid-and-less-sure-than-that-of-the-master-the-image-of-an-old-man-yearning-for-a-youth-finds-parallels-in-persian-mystical-poetry-the-line-of-poetry-above-the-drawings-refers-to-the-virtue-of-a-young-male-on-the-image458491686.htmlRM2HHX2R2–The Old man and the Youth second quarter 17th century Painting by Riza-yi 'Abbasi Mounted on an album page below a calligraphy signed by Nur al-Din Muhammad Lahiji, these two drawings form a single composition depicting an old man dressed as a dervish pursuing a youth with a wine bottle and cup. Although the drawings are ascribed to Riza-yi 'Abbasi, the quality of line here is more rigid and less sure than that of the master. The image of an old man yearning for a youth finds parallels in Persian mystical poetry. The line of poetry above the drawings refers to the virtue of a young male on the
Persian Couplets (recto); Sleeping Youth (verso), late 1500s-early 1600s. Style of Riza-yi Abbasi (Iranian). Ink, gold and opaque watercolor on paper; image: 21 x 12.4 cm (8 1/4 x 4 7/8 in.); overall: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in.); text area: 21 x 12.4 cm (8 1/4 x 4 7/8 in.). Under Shah Abbas, the tradition in which painting was employed to illustrate a literary work was all but abandoned. In its place came a new concern with single-page illustrations, such as this one, which have no specific content or meaning. They often illustrate albums of collections of verses about love and beau Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/persian-couplets-recto-sleeping-youth-verso-late-1500s-early-1600s-style-of-riza-yi-abbasi-iranian-ink-gold-and-opaque-watercolor-on-paper-image-21-x-124-cm-8-14-x-4-78-in-overall-316-x-204-cm-12-716-x-8-116-in-text-area-21-x-124-cm-8-14-x-4-78-in-under-shah-abbas-the-tradition-in-which-painting-was-employed-to-illustrate-a-literary-work-was-all-but-abandoned-in-its-place-came-a-new-concern-with-single-page-illustrations-such-as-this-one-which-have-no-specific-content-or-meaning-they-often-illustrate-albums-of-collections-of-verses-about-love-and-beau-image448061745.htmlRM2H0XY95–Persian Couplets (recto); Sleeping Youth (verso), late 1500s-early 1600s. Style of Riza-yi Abbasi (Iranian). Ink, gold and opaque watercolor on paper; image: 21 x 12.4 cm (8 1/4 x 4 7/8 in.); overall: 31.6 x 20.4 cm (12 7/16 x 8 1/16 in.); text area: 21 x 12.4 cm (8 1/4 x 4 7/8 in.). Under Shah Abbas, the tradition in which painting was employed to illustrate a literary work was all but abandoned. In its place came a new concern with single-page illustrations, such as this one, which have no specific content or meaning. They often illustrate albums of collections of verses about love and beau
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