in a very forceful way. you can call it the first great work of persian literature after the islamic conquest, when persian had begun to be written in the arabic alphabet. it preserved much of the vocabulary and grammar of middle persian, which was the language used by the sasanians. the rulers of islamic iran, from the 14th century onwards, became very interested in the shahnameh. it almost became a necessary part of the equipment of a future ruler, to be given a shahnameh, which provided as a model for the kings of the present based on what had happened in the past. and of course, at the same time, it preserved of the ideas of iran as a country with an enormously long history. in the 19th century, the v&a began to collect evidence for world architecture through photography. but of course, the tile work
but of course, the tile work monuments of isfahan presented a problem because photography is in black and white, and their patterns are based on colour. so it was the idea to get paintings made of the tile work in isfahan. this exhibition has given us the opportunity to show some of these larger paintings for the first time in a very long time where you have three of the samples of the interior domes of isfahan have been raised on huge mounts. they are only triangular shapes, because the design was repeated around the dome.
which was the language used by the sasanians. the rulers of islamic iran, from the 14th century onwards, became very interested in the shahnameh. it almost became a necessary part of the equipment of a future ruler, to be given a shahnameh, which provided as a model for the kings of the present based on what had happened in the past. and of course, at the same time, it preserved of the ideas of iran as a country with an enormously long history. in the 19th century, the v&a began to collect evidence for world architecture through photography. but of course, the tile work monuments of isfahan presented a problem because photography is in black and white, and their patterns are based on colour. so it was the idea to get paintings made of the tile work in isfahan. this exhibition has given us the opportunity to show some of these larger paintings for the first time
and of course, at the same time, it preserved of the ideas of iran as a country with an enormously long history. in the 19th century, the v&a began to collect evidence for world architecture through photography. but of course, the tile work monuments of isfahan presented a problem because photography is in black and white, and their patterns are based on colour. so it was the idea to get paintings made of the tile work in isfahan. this exhibition has given us the opportunity to show some of these larger paintings for the first time in a very long time where you have three of the samples of the interior domes of isfahan have been raised on huge mounts. they are only triangular shapes, because the design
through photography. but of course, the tile work monuments of isfahan presented a problem because photography is in black and white, and their patterns are based on colour. so it was the idea to get paintings made of the tile work in isfahan. this exhibition has given us the opportunity to show some of these larger paintings for the first time in a very long time where you have three of the samples of the interior domes of isfahan have been raised on huge mounts they are only triangular shapes, because the design was repeated around the dome. and so, in order to communicate it, you just needed one thin slice of it which lets you see the relationship between the triangles and a complete dome.