. International studio. d fondljher pictures. Yet the fatuity of seeking actualljto imitate these was virtually gone from Iran ereBihzad himself laid down the brush. Of the groupworking in eminently national st\ le, who came tothe fore in Bihzads later years, the earliest ol highgifts was Mirak, a native of Ispahan, some 200miles south from the Caspian. Dreaming cagerK .as a boy, of receiving lessons from Bihzad. Inaccordingly proceeded to Herat, his dream beingduly realized there. And probably through thekind services of his distinguished preceptor, Mirakcame under the friend I \ notice ol Hu
. International studio. d fondljher pictures. Yet the fatuity of seeking actualljto imitate these was virtually gone from Iran ereBihzad himself laid down the brush. Of the groupworking in eminently national st\ le, who came tothe fore in Bihzads later years, the earliest ol highgifts was Mirak, a native of Ispahan, some 200miles south from the Caspian. Dreaming cagerK .as a boy, of receiving lessons from Bihzad. Inaccordingly proceeded to Herat, his dream beingduly realized there. And probably through thekind services of his distinguished preceptor, Mirakcame under the friend I \ notice ol Husayn MBut on the annexation of Khorassan by Ismail, theyoung artist went to Tabriz, and it was in thattown the bulk of his lifes work was done. Mirak occasionally, though onh occasiosigned his pictures, these suggesting in general asunny temperament, saj like thai ol As with the Frenchman, there was withthe Persian a tense preoccupalhe was enamoured of deline ures M \ 1< C H 1 9 Iwentj -Jive inceROACioriAL. RESTING ON A TRIP And thus also drawing Persian—xvii centi ry presenting gracefullines. He liked an in-terior as a setting forHis group of people, orhe would figure them infront of a his interiors recallthose of Lavrcincc, hisbuildings those ofPiranesi. The art ofLavreinceconstitutes aprecise record of do-mestic decoration, aspracticed in France inthe closing [700s, theart ol Mirak a precise1e<1 ud ol the same, aspracticed in Persia inthe opening decades ofthe sixteenth Mirak would per-petuate the inherentbeauty of each separatearticle in a room, furni-ture or utensilsa building, his prime interest was in the intrinsic architectural beauty. He would perpetu- orthodoxate this faithfully as ever Piranesi did, e\ en unto an artistthe slightest Bihzad beforehim, Mirak drew illus-trations to the poemsof Nizami. For beit noted, the famousPersian painters werehardly ever concerned,as so many of theablest Japanese mas-ters wer
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
