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In
the
presence
of
masters,
experts
and
scholars,
the last
session
of
painting
Congress
of
Isfahan
School
was held
on
Thursday,
December
14 at
Isfahan
University
of Art.
At
the
beginning,
Hesam
Aslani
presented
his
article
titled,
"The
Study of
Tempra
Method
in the
Wall
Paintings
of
Isfahan
School."
He said:
"With
the
replacement
of the
Safavids
state
capital
from
Qazvin
to
Isfahan
by the
Shah
Abbas I,
the
later
city
turned
to the
most
significant
economic
and
cultural
center
in Iran.
In terms
of
subject
matters,
the Wall
paintings
of this
era can
be put
in two
general
categories,
the
decorative
paintings
and
illustrative
paintings.
In
respect
to
technical
methods
of
painting,
employed
materials
the
works
can be
divided
into
three
sections
of color
painting,
tempera
and oil
painting."
Next,
Annie
Babyan
remarked
on the
art and
artists
of
Isfahan
wall
paintings
in No
Djolfa.
"The
circumstances
of 11th
century
A. H. in
Djolfa
led to
the
formation
of the
unique
school
of
painting
which
was the
combination
of
Armenian
native
art with
the
achievements
of the
Iranian
and
Western 
arts.
Among
the
migrated
Armenians,
they
were
many
artists
who
pursued
their
artistic
careers
in
Djolfa
and
established
the
cultural
and
artistic
foundations
of
Iranian-Armenians
works,"
she
said.
Following
the
session,
Ali-Reza
Khajeh
Ahmad
Attari
introduced
a
comparative
study of
the
works
created
by three
artists
belonging
to
Isfahan
School.
"I
intend
to
consider
the
touch of
brushes
of three
painters
which
includes
qalamgiri
of human
figures,
the
complexion,
and
formation
of
facial
elements,
naturalism
including
mountain,
cloud,
bushes
etc. in
these
works,
the
portrayal
of human
is the
evidence
of the
creators'
concern
for
their
subjects
and
their
understanding
of human
dimensions.
Also the
ornaments
used in
garments
and the
other
details
helps to
realize
the
works of
these
artists
much
profoundly,"
he
stated.
"The
Analysis
of
Decorative
Paintings'
Methods
in
Isfahan
School
in
Historical
Buildings
of
Isfahan"
was the
title of
the next
essay
introduced
by
Hussein
Aqajani.
After
that
Yaser
Hamzavi
accounted
for a
survey
on the
hidden
studies
of
Safavid
era.
"Generally
speaking,
whatever
introduced
as the
hidden
studies
is
actually
the
subject
for
research
and
scholarly
workings.
After
the
color is
ruined
and
removed
from
some
places
or after
clearing
some
pictures,
the
monochrome
designs
appear
in the
form of
drawing
without
sketch.
These
monochrome
designs
have
been
created
after
the
completion
of
fourth
layer in
ornaments
which
have
been
employed
dependening
on the
architecture,"
he said.
Behzad
Baba'ei
elaborated
on the
methods
for
tracing
the
remained
works of
Safavids
wall
paintings:
"The
uniqueness
of tiles
in Ali
Qapu
Palace
from one
hand and
the
measure
of the 
destruction's
suffered
by them
on the
other
hand
raises
the
significant
issue of
renovations
of these
paintings
in a
practical
method.
Meanwhile
by
utilizing
the
principles
of
scientific
restoration
and the
other
various
methods,
we
attempted
to find
a
direction
for
reconstructing
the main
work and
restore
the
paintings
which
have
been
severely
damaged.
In this
process
one of
the
paintings
on the
sixth
floor of
Ali Qapu
Palace
was
restored
and
reconstructed
with
this
method.
Furthermore
as well
as the
scientific
points,
the
research
focuses
on
theoric
and
aesthetic
aspects
of the
works
belonging
to this
era
which
have
been
remained
in Ali
Qapu and
Chehel
Sutun
palaces,"
he
stated.
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