IJMCR ISSN: 2321–3124
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Article Published In Vol.5 (Sept-Oct-2017)

Persian Allegory of Chinoiserie Motifs-Peonies, Lotuses, Clouds and Water

Author : Samina Zia Sheikh

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Persians adopted many Islamic and pre-Islamic art motifs because the region was provided with rich art heritage like Zoroastrian art of the Achaemenian period which adopted certain Babylonian techniques and forms but certainly altered them into something distinctly Zoroastrian. The gardens have an explicit customary and emblematic character in Persia. Iranian art was the source through which Chinese decorative motifs were circulated throughout the Islamic world. Although, for a long time, Chinese wares specially ceramics, had been expensive imports in Islamic lands. Only after 1250, Chinoiserie motifs were integrated into the decorative repertory, where they were applied as major elements of design. In Chinoiserie motifs, plant motifs, various patterns of vegetations and nature such as peonies, lotuses, clouds and water were constantly used to embellish environment as well as architectural settings and other objects from many centuries. Various plants appear in many dissimilar forms in later Persian arts ranging from single motifs to extensive patterns and natural representations. Stylized plant and natural motifs provided an impact of Persia’s possessing a direct symbolism and serving as models of paradise for the later Persians.

Keywords: Emblematic, Natural Motifs, Zoroastrian philosophy, Paradise, sense of mysticism, stylization.

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