Made in Tehran (Iran) during Qajar era, between 1850s to 1860s.
The above portrait is attributed to Abu'l Hasan Ghaffari 'Sani ol Molk', a prominent artist from Qajar era. Son to Mirza Mohammad Ghaffari 'Kamal ol Molk' and a student of Mehr Ali (both renowned painters of their age), he joined the royal court in 1842 when Mohammad Shah was pleased by an oil portrait of himself made by Abu'l Hasan. Abu'l Hasan Ghaffari, commonly known by his title 'Sani ol Molk', is remembered for his artworks, especially for the portraits of notable figures which show a beautiful blend of Qajar stylization, represented in the form of traditional Iranian clothing and aesthetics with a touch of European realism, shown in the colouring of his subjects, making use of light and shade (see ref no.4) . The above painting is a portrait of poet Yaghma Jandaqi, famous name in Qajar Iran, as per the translation of the Persian/Farsi writing on the etched on the portrait (see ref no.1). Yaghma Jandaqi shown siting on a rug with repetive designs in black, squatted on his knees. He is wearing a light, yellowish, round necked Qajar era shirt, over which a wears a 'qaba/Jobba' (longcoat) in olive green. The qaba/jobba is adorned with simple linings, it's right flap overlapping the left. Over the qaba/jobba he wears a big 'kolijeh' (loose open front overcoat) which is light ocher in colour. On his head is a simple, tall, black 'Qajar hat' (see ref no.3 for clothing). In his left hand is a piece of written paper, probably a poetry while a pen rests in his right hand. He is seated against a wall, yellow-ocher in colour. The portrait is enclosed within an intricately designed border, which in turn is surrounded by a broader outer margin in maroon red. The overall portrayal of the subject shows the ambience of a poet taking a break from his daily pursuits to ve captured in a painting.
Sani ol Molk’s portrait of Yaghma Jandaqi presents a fascinating moment of artistic synthesis. The poet sits cross-legged on a patterned rug, dressed in the characteristic layers of Qajar court wear. A pale shirt forms the base, covered by an olive-green qaba, with a loose ocher overcoat draped over top. His tall black hat crowns the composition with quiet authority.
What makes this work compelling is how Sani ol Molk navigated two different artistic traditions at once. His training came from the Persian miniature world, yet by the 1840s, European painting techniques had become increasingly influential in Iran’s royal circles. The result shows both clearly. The overall structure feels entirely Persian, the way the figure sits, the decorative border design, the maroon frame surrounding everything. But the handling of light and shadow on the face, the volume given to the fabrics, the naturalistic approach to rendering his features—these belong to European realism.
Yaghma Jandaqi holds a manuscript in one hand and a pen in the other, caught in a moment of creative pause. There’s an introspection in the portrait that suggests the subject as a working poet rather than merely a famous name. The pale yellow-ocher wall behind him provides space without distraction. The painting succeeds because it refuses to choose between two worlds.
