"Battle Scene" Iran (Persia), tempera/gouache...
"Battle Scene" Iran (Persia), tempera/gouache...
"Battle Scene" Iran (Persia), tempera/gouache...
"Battle Scene" Iran (Persia), tempera/gouache...
"Battle Scene" Iran (Persia), tempera/gouache...
"Battle Scene" Iran (Persia), tempera/gouache...
"Battle Scene" Iran (Persia), tempera/gouache...
"Battle Scene" Iran (Persia), tempera/gouache...
"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850
"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850
"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850
"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850
"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850
"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850
"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850
"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850
"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850

"Battle Scene" Iran (Persia), tempera/gouache on paper, Qajar School, circa 1850

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"Battle Scene" Iran (Persia), Qajar School, circa 1850

Tempera/gouache on paper
Dimensions: 27 × 19.5 cm (image), 38.5 × 25 cm (support)

Condition as shown in the photographs. The edges are cracked and torn, with old repairs, etc.

The work belongs to the tradition of Persian painting of the Qajar period (1789–1925), characterised by a synthesis of late Safavid miniature convention with visual influences arising from contact with Ottoman and European art. The composition shows a mounted combat scene, a motif recurrent in the iconography of the period, associated both with the illustration of epic manuscripts (the Shāhnāmeh, „The Book of Kings”) and with work made for the urban decorative art market of the nineteenth century.

The figures, dressed in armour and brightly coloured caftans, are rendered with stylised features, large almond eyes and prominent moustaches, in the spirit of Qajar portrait convention. Notable is the central figure, mounted on a pink horse with a richly ornamented saddle, who dominates the scene through the raised gesture of the arm, suggesting military command or a heroic act. The saturated palette, dominated by red, yellow and black, heightens the drama of the encounter.

The background, with blue mountains and undulating clouds, maintains the convention of the symbolic Persian landscape, without naturalistic perspective, heightening the narrative and decorative character of the composition. The presence of stylised flowers in the field and of schematically rendered flowing water belongs to the ornamental register of the miniature tradition.

This painting reflects the dual function of Qajar art: on the one hand the continuation of an illustrative tradition centuries old, and on the other the adaptation to the taste of collectors and of the new urban classes of 19th-century Iran, who valued heroic scenes and idealised portraits.

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