International Journal of Innovative Research in the Humanities Vol.1, NO.3 , P: 91 - 110 Received : 19 July 2021 Accepted : 12 August 2021 Representation of Women in Iranian Painting (Case Study: Safavid and Qajar Paintings) Sama Moazami* recognizing the characteristics and Graduate of Master of Social Sciences, developments of the female image in different Kharazmi University, Tehran epochs of painting, and by referring to some
[email protected] works, we examined the images. In the works Shahla Bagheri Mayab of pre-Qajar painting epochs, women often had Associate Professor, Department of Social an exemplary and mythical status and has been Sciences, Kharazmi University, Tehran depicted in terms of unnatural design and its
[email protected] visual value has been like other elements of Robabeh Ghazali painting. But at the end of Safavid epoch, due Assistant Professor, Department of Costume to the connection with the West, we are Design, Al-Zahra University, Tehran witnessing a change in the type of attitude
[email protected] towards painting, and as a result there is a change in naturalistic in depicting the body of women, as well as in the formation of monographs, which led to a different image of Abstract women than before in Iranian painting. During Iranian painting has undergone many changes the Qajar epoch, due to the strong influences of during different historical epochs. These Western art and naturalistic methods and developments are due to factors such as social, painting techniques of the West, as well as political, cultural, religious and the tastes of using realistic painting of the West and the kings in relation to the Far East and the West.