The painting given above is adoption of an original Flemish engraving painted by Mohammad Zaman, a renowned painter and calligrapher from Safavid Iran. Apart from the original painting in the core, an important striking feature of the painting is the ornate border added to it by Fathallah Sanizada, a well-known artist from late Qajar period. The addition by Sanizada reflects the spirit of the Qajar rule in Iran i.e revival of the Iranian identity and pride in art, culture and polity, the process of which was spearheaded by rulers like Fath Ali Shah Qajar. The style used in decoration of the border is the classic 'Gul-o-Bulbul' or 'Flower and Bird' design' which flourished during the Safavid rule in Iran. When the Qajars came to power after long years of instability and conflict among different warring factions after the fall of the Safavids and later the Afsharids, an attempt was made by them to reconnect themselves to the ancient past of Iran and claim themselves of ancient rulers like the Achaemenids and the Sassanians who gave the country its identity and cultural mark. Art was one of the fields through which it was expressed. Many prominent artists turned back towards the miniature and painting styles of the Safavid period, Sanizada being one of them. The border here depicts the rich and intricate use of opaque colours, gold and ink, reflected in its resplendent, aesthetic beauty. The ornate medallion at the bottom center contains his name which reflects his prowess as a proficient calligrapher apart from being a painter. This piece of art was originally dedicated by Fathallah Sanizada to Vasuq al Dowleh, who was then the prime minister of the Qajar state of Iran. Much later after Sanizada's death, in the turbulent socio-political epoch of the ending years of Pahlavi rule in Iran, this painting and thus, this fascinating artwork by Sanizada was acquired by the Metropolitan Museum of Art at New York, USA.
This artwork depicts the biblical story of Abraham, who was commanded by God to sacrifice his son. Copied from a Flemish engraving, the centre of the artwork captures the climax of the story, where Abraham raises his weapon against his son, only to be stopped by an angel who explains that the whole ordeal was all a test of faith from God. This particular scene was popular in Iran through the 18th and 19th centuries.
Surrounding the painting is an ornate frame with a flower and bird (gul-o-bul-bul) design, signed by Fathallah Sani’zada. From the bottom inscription, it can be seen that the artwork was dedicated to the Iranian prime minister at the time, Vusuq al-Dawleh.
