Study and Analysis of Space and Color in the Religious Coffeehouse Paintings of Mohammad Modabber and Hossein Qollar-Aqasi

Abstract

Coffeehouse painting is a type of narrative oil painting with epic, religious, and festive themes that emerged during the Constitutional Movement era in Iran. Rooted in the traditions of folk and religious art, it developed in response to public demand and as an expression of reverence for popular beliefs. This artistic genre, though created by self-taught artists, was deeply influenced by Iran’s long-standing traditions of storytelling, elegy recitation, and passion plays (ta’zieh). During the Qajar era, specific conditions enabled the flourishing of this form of folk art in coffeehouses. The subject matter of coffeehouse painting is broad, encompassing religious, epic, romantic, and everyday life themes. This article focuses specifically on religious themes, particularly those related to the tragedy of Ashura and Imam Hussein (peace be upon him). While some scholars trace the origin of coffeehouse painting back to the reign of Shah Suleiman of the Safavid dynasty, others associate it with the period of Shah Tahmasp. With the official establishment of Shi'a Islam during the Safavid era and the public's increased awareness of the lives of religious leaders, several artistic works emerged centered on their lives. The heroic and tragic martyrdom of Imam Hussein and his loyal companions, a narrative that continuously stirred the emotions and actions of the public, led to the creation of a wide array of artistic expressions. Coffeehouse paintings were commissioned for various venues, including coffeehouses, Hosseiniehs, and Takyehs (spaces for religious gatherings). A shared feature among these venues was the direct interaction of the artwork with the general public. This study examines the works of Hossein Qollar-Aqasi and Mohammad Modabber, offering a comparative analysis of their religious paintings with a focus on space and color composition.