Country of Origin- Tabriz, Iran, Qajar era, nineteenth century, as per the Arabic inscriptions on the portrait.
The above given painting is an artwork attributed to Abu'l Hasan Khān Ghaffārī , a renowned oil painter, miniature painter, book illustrator and lacquer artist of the Qajar era. Son of Mirza Muhammad Ghaffari, who was bestowed with the title 'Kamal ol Molk' (wonder of the age), he was the student of Mehr Ali, one of the finest court painters of Fath Ali Shah Qajar. During his apprenticeship, he gathered immense skills and in 1842, he painted an oil portrait of Mohammad Shah (Fath Ali's succesor) which secured him a position in his royal court.
In 1846, Abu'l Hasan was sent to Italy to learn about European painting styles. In 1850s, he returned to Iran. By then, Naser Al Din Shah had become the new ruler. In 1853, he played an important role in the making of the voluminous 'Hezār O Yak Šab', the Qajar era translation of 'One Thousand and One Nights'. With his excellence, Abu'l Hasan continued to rise high and in 1861 was bestowed with the title 'Sani ol Molk' by which he is commonly known. As per scholars like Layla Sharifi, Adham Zargham and Hoda Zabolinehzhad, with his return to Iran in 1850s, Sani ol Molk had also brought with him elements of European naturalism, mixing it with traditional Qajar style. This is visible in the portrait given among his other works.
The portrait above depicts Naser Al Din Shah seated on a European style chair. He wearing a green silk trouser with golden lines on sides, below which a white shoes probably of strained fabric. Above it he wears a silver white, patterned 'Qaba' (European style longoat) overcoated by a 'Kolijeh' (overvoat) patterned with red paisley or 'boteh' pattern. On the top, he wears a black 'Koleh' adorned by an aigrette feather bejeweled with diamonds(see the references of clothing in the third reference). The Shah is shown seated on clouds which add a surreal effect. On an overall, the Shah' portrayal shows a mix of European and Qajar styles.
The artwork attributed to Abu'l Hasan Khān Ghaffārī exemplifies the refined realism and technical sophistication of Qajar painting, blending the precision of Persian miniature traditions with the richness of oil painting. Its careful composition, delicate rendering of textures, and subtle treatment of light create a sense of elegance and lifelike presence. Beyond its visual appeal, the painting reflects the artistic ideals of the Qajar era, serving as both an aesthetic achievement and a valuable cultural record of nineteenth-century Iranian courtly art.
