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The Safavid artist Afzal al-Husayni, a student of Reza Abbasi, creates a striking composition in which the focus, in vibrant colors, is on two lovers, while the decorative background is obscured by golden foliage.<br/><br/> The woman is administering love burn marks on her lover's arm, which during the Safavid era were a sign of a lover’s sincerity and devotion.
Tabriz was capital of the Safavid Empire from 1501 to 1548, during which time many great painters, such as Aqa Mirak, Mir Sayyid Ali and Dust Muhammad produced magnificent royal manuscripts. Safavid art set the standard for painting, literature and architecture, as well as ceramics, metal and glass. While of course nourished by Persian culture, much Safavid art was strongly influenced by Turkish, Chinese, Ottoman and Western cultures. The royal workshops of Tabriz were very influential, and illuminated and illustrated manuscripts spread throughout the empire. When the capital was transferred from Tabriz to Qazvin in 1548, the court artists fled to foreign courts, mostly Mughal or Ottoman.
Tabriz was capital of the Safavid Empire from 1501 to 1548, during which time many great painters, such as Aqa Mirak, Mir Sayyid Ali and Dust Muhammad produced magnificent royal manuscripts. Safavid art set the standard for painting, literature and architecture, as well as ceramics, metal and glass. While of course nourished by Persian culture, much Safavid art was strongly influenced by Turkish, Chinese, Ottoman and Western cultures. The royal workshops of Tabriz were very influential, and illuminated and illustrated manuscripts spread throughout the empire. When the capital was transferred from Tabriz to Qazvin in 1548, the court artists fled to foreign courts, mostly Mughal or Ottoman.
Ismāʻīl (later known as Ismāʻīl II), was a son of the 2nd Safavid ruler Shah Ṭahmāsp I (1524-1576) and a diplomatic representative to the court of the Ottoman Sultan Suleiman I. He became the 3rd Safavid ruler of Iran in 1576 on the death of his father.