ArtDayMe : The Raha Gallery Middle East Collection, with over two decades of dedicated cultural activity focused on the art of the region, houses a wide array of modernist and contemporary masterpieces by Iranian and Arab artists.

Among them is a renowned untitled work by the late Sadegh Tabrizi, created with mixed media on canvas, measuring 150 × 100 cm.

This painting belongs to the iconic series “The Romantic Horsemen,” widely recognized in the Iranian art scene and produced during the 1960s and 70s.

Sadegh Tabrizi [1938, Tehran – 2017, London] was a key figure of Iran’s modern art movement and a pioneer of the Saqqakhaneh School. His efforts in merging classical Persian miniature and calligraphy with the foundations of modern art gave rise to a unique and personal style. He was one of the first artists to elevate the aesthetic standards of calligraphic painting (Naqqashi-Khat) not only in Iran but across the Middle East.

In 1971, when Tabrizi was just 25, renowned French critic Michel Tapié viewed his work in Paris, described it as “Haute Art,” and became one of his collectors. Tabrizi is among the few Iranian artists whose works have appeared in over 100 international auctions and been exhibited in Art Fair Italy, Hill Gallery London, SoHo Manhattan, Artitude Paris, Art Expo China, and international exhibitions in Switzerland. His works are also held in major collections such as Grey Art Gallery at NYU, Han Art Museum (China), and the National Banks and Museums of Iran, including Bank Melli, Bank Sepah, Bank Pasargad, and Tehran Museum of Contemporary Art.

This particular painting by Sadegh Tabrizi, held in The Raha Gallery Middle East Collection, is a vivid embodiment of the fusion of tradition, myth, and modern form in contemporary Iranian art.

It offers a majestic display of visual ornamentation: a visual poem where traditional and modern elements converge. The figures are not merely characters in a story—they serve as symbolic vessels of history and mythology, recreating the aesthetic language of Iranian-Islamic culture.

Two horsemen, in regal, ornate attire, mounted on meticulously drawn horses, dominate the scene.

_A Symbolic Color Palette

The color scheme is rich, vibrant, and ornamental. Dominant hues include green, gold, blue, orange, and black. The use of gold leaf and lapis blue evokes traditional Persian tilework and religious calligraphy. The colors are intentionally symbolic:

• Green for spirituality and life

• Gold for grandeur

• Blue for serenity and wisdom

_A Multi-Layered Composition

The layout is intricate and multilayered, yet maintains perfect visual balance. The central figures are symmetrically arranged. Geometric motifs, decorative patterns, calligraphic elements, and arabesque designs swirl across the background, guiding the viewer’s eye. The framing reflects the traditions of Persian miniature, yet the visual construction is boldly modern.

_Calligraphic Elements

A hallmark of Saqqakhaneh painting is the symbolic use of calligraphy. Here, Arabic-Persian script appears in circular, square, and rhombus forms across the background and costumes. These geometric forms recall Islamic lattice windows and architectural ornament. The sword, a symbol of power and epic valor, sits in stark contrast to the peaceful, almond-eyed faces of the figures—a subtle tension between strength and serenity.

_Miniature Techniques with a Modern Edge

The mixed media technique is masterfully executed: acrylic, ink, gold embellishments, and possibly gold or metallic leaf have been used. The textures are layered and visually tactile. The precision of line and ornament connects the meticulousness of miniature painting with the expressive freedom of modern art.

_A Romantic-Epic Narrative

Despite its decorative richness, the painting conveys an emotional story: the two horsemen, gazing silently at one another, suggest a romantic or mythical encounter. The horses, swords, and regal costumes reinforce the atmosphere of archetypal Persian fantasy.

_The Painting’s Place in the Saqqakhaneh School

This work is a quintessential example of Saqqakhaneh painting—a genre defined by its use of spiritual, popular, and mystical symbols; the fusion of calligraphy and miniature; and a dazzling palette with gold to evoke sacredness and splendor.

Tabrizi’s painting, with its intricate colors and layered composition, articulates an Iranian aesthetic through a contemporary lens—honoring tradition without being confined by it.

His creation is a lyrical union of narrative, ornament, myth, and mysticism, elevated by a modern visual language and progressive technique. This work proudly belongs to The Raha Gallery Middle East Collection.