what type of artwork was created in the safavid empire
architecture metal ceramics gardens book glass
title: Safavid art text: Safavid art Safavid art is the art of the Persian Safavid dynasty from 1501 to 1722, in present-day Iran and Caucasia. It was a high point for the art of the book and architecture; and also including ceramics, metal, glass, and gardens. The arts of the Safavid period show a far more unitary development than in any other period of Iranian art. The Safavid Empire was one of the most significant ruling dynasties of Iran. They ruled one of the greatest Persian empires, with artistic accomplishments, since the Muslim conquest of Persia. The Safavid dynasty had its roots in a title: Safavid art text: (Syria, Egypt). In spite of the blockade imposed by this empire in 1512, the production did not weaken, which suggests that it turned towards other poorly-identified buyers, given the absence of local patronage. Under the influence of Tabriz, one notes the evolutions between 1501 and 1525: the silhouettes became slimmer; the "taj", the characteristic Qizilbash headgear, started to appear, with a red baton and twelve folds corresponding to the twelve imams of the Twelver Shi`ism. From 1525 forward, the workshops of Shiraz produced nothing but copies of the works of the royal workshops of Tabriz, then of Qazvin and Isfahan. title: Safavid art text: tradition that appeared in the 15th century); sprinkled with gold, following a Chinese custom; or painted with colours or gold. The style of illustrations varied greatly from one manuscript to another, according to the period and centre of production. Three centres were active in this period: Tabriz, capital of the Safavid empire from 1501 to 1548, again also used artists of the Ak Koyunlu ketab khaneh. The illustrations show a double heritage: that of the Ak Koyunlu and that of the Timurid dynasty. The latter benefitted from the taking of Herat in 1501, but did not really manifest itself until title: Safavid art text: of Shiraz (in the south) or Khorasan (in the east of Iran) continued to produce manuscripts, more or less rich. With the transfer of the capital from Tabriz to Qazvin in 1548, the "khetab khaneh" was in large part dismantled, following edicts of repentance published by the Shah for religious and economic reasons. The artists fled to provincial or foreign courts (Mughal or Ottoman). Only Aqa Mirak resisted this series of departures. Other artists, such as Siavush Beg the Georgian or Sadiqi Beg took the place of the preceding generation. New grand calligraphers, Mir Ali ou Malik Dayalami appeared and title: Safavid art text: Isfahan. The provincial workshop of Shiraz continued to flourish until 1620, but continued most often to recopy the models issued by the royal workshops of Tabriz, then of Qazvin and Khorasan. The ornamentation was bountiful, illustration was abundant in manuscripts and the colours were vibrant, although without much variation. The drawings represented people with round faces and long noses. The illumination remained very repetitive, and the calligraphy, most often "nastaliq", was copied from one to another. Most of the manuscripts were not signed. The workshops said to be of Khorasan were situated in Herat in the district of Bakharz. Under