4 paintings

4 paintings
Kajar
Princesses
Iran
Early 20th century
Oil on canvas
80 x 40 cm

These four depictions of princesses are typical works of the Kajar period, during which Iranian painting increasingly opened up to European influences. The bright colors, the idealized faces and the sophisticated use of architectural elements such as curtains and archways are characteristic of 19th century courtly art. The portraits combine European perspective and illusion of depth with the traditional Iranian conventions of representation, in which ornamentation, two-dimensional colour and idealized typification continued to play an important role.
Three of the princesses are positioned in a curtain motif that stages them as if on a stage, while the fourth stands in an archway in front of a simple balcony with an implied view. These architectural elements not only serve as a framing device, but also lend the women depicted an elevated, almost enraptured presence – a tradition that can already be observed in 17th century Safavid painting.
The symbolism of the attributes lends the paintings a deeper meaning: the princesses with flowers stand for beauty, youth and transience, a metaphor often used in Persian poetry. The dancer embodies grace and entertainment, but also the proximity to music, an important part of courtly culture. The musician with the tambourine refers to the role of music in festive and ceremonial contexts, a motif that was already popular in earlier Persian miniatures.
Her clothing is sumptuous: long jackets over floor-length skirts, often accentuated with belts, richly embroidered and decorated with pearls and precious stones. The luxurious headdress, consisting of elaborate tiaras and precious ornaments, underlined her aristocratic status. Her physiognomy with narrow, almond-shaped eyes, dark, striking eyebrows and flowing dark hair corresponds to the ideal of beauty of the Kajar era, which differs greatly from the European ideals of the time.
Such paintings were often used as decorative elements in palaces, placed in niches or above doors and windows. They created an atmosphere of festivity and opulence, very much in the tradition of Safavid palace decorations, in which depictions of female musicians, dancers and courtly scenes were already common in the 17th century. The positioning of the figures in niches or under arches lent them an exalted position, which reinforced their significance as symbols of courtly culture, femininity and beauty.
These four portraits are therefore not only masterpieces of Qajar painting, but also a reflection of a fascinating era in which Persian art redefined itself between tradition and European influences.