A Comparative Study of the Narrative Patterns in Isfahan School Painting and the Second Pahlavi Period

Iranian art has consistently been shaped by various external influences throughout its history. However, a crucial aspect of these influences is the enduring preservation of character and structure-specifically, the narrative pattern inherent in Iranian art. Historically, Iranian artists have assimilated structural, technical, thematic, and content related experiences from other cultures while maintaining their unique Iranian identity. This research aims to conduct a comparative study of the narrative pattern, a concept derived from structuralist narratology, in two significant historical periods of Iranian visual art: the reign of Shah Abbas I in Isfahan and the subsequent Pahlavi era. The significance of this study stems from the fact that Iranian painting during these two periods experienced substantial influences from European art, which in turn impacted subsequent artistic movements. Thus, we seek to address the fundamental question: What changes and transformations occurred in the narrative pattern of the Isfahan school of painting compared to that of the second Pahlavi period? Preliminary observations suggest that the modernism evident in the Isfahan school shares greater affinities with the pictorial traditions of Iran’s past, whereas the painting of the second Pahlavi period is characterized by confusion and distress. Employing a descriptive-analytical methodology alongside a comparative approach, this research utilizes documentary and library sources to develop a narrative model for the periods in question. The findings indicate that the narrative pattern in the works of modernist painters from the Isfahan school, when compared to their counterparts in the second Pahlavi period, exhibits a novel style and structure that aligns more harmoniously with the continuity of Iran’s pictorial traditions.