A Survey of Different Theories of The Veiled Face of Prophet of Islam in The Persian Paintings During Safavid Period (Tabriz and Qazvin- Mashhad Schools)

The hidden face of the Islam prophet (S.W) was first depicted in Safavid paintings. Before this period, however, the Islam prophet’s face had been portrayed completely. Scholars presented various arguments over the reasons that led to such a visual revolution in iconography. Thus, the present inquiry aims to address the raised questions what theories have been formed over the issue? And what are the influential factors that pave the way for depicting hidden faces? Since the hidden faces were seen first in Tabriz and then Qazvin schools of paintings, I collected my databases from these two schools. The inquiry uses a descriptive-analytical method and as library-based research has been carried out through careful analysis and evaluation of the existing literature and research on the subject. I classified the theories into three categories of theological-fiqhi-religious, literary-mystical, and historical-social-political theories. Reviewing critically all the theories reveals various reasons for depicting hidden faces. The reasons are as following: The idea of freedom of audiences in the visualization of Islam prophet’s face through their own imagination, I come to the conclusion that through covering the face of the prophet, This type of iconography in Islamic art transformed into a new tradition by which painters show respect to the Islam Prophet (SW) and sanctify his image. Moreover, the depiction of hidden faces is probably under the influence of the doctrines of the ḥurūfiyyah movement and the influence of the widespread believes of Qizilbashs and The importance of the issue of the sovereignty of Sheikh Safi al-Din in that era.