Title: Safavid art
Content:   Safavid art is the art of the Iranian Safavid dynasty from 1501 to 1722, in present-day Iran and Caucasia. It was a high point for the art of the book and architecture; and also including ceramics, metal, glass, and gardens. The arts of the Safavid period show a far more unitary development than in any other period of Iranian art. The Safavid Empire was one of the most significant ruling dynasties of Iran. They ruled one of the greatest Persian empires, with artistic accomplishments, since the Muslim conquest of Persia.
Title: Persian art
Content:   Safavid art is the art of the Persian Safavid dynasty from 1501 to 1722. It was a high point for the art of the book and architecture; and also including ceramics, metal, glass, and gardens. The arts of the Safavid period show a far more unitary development than in any other period of Persian art, with the same style, diffused from the court, appearing in carpets, architectural tiles, ceramics, and manuscript illumination. When the Safavids seized the throne Persian art had become divided into two styles: in the east a continuation of Timurid styles, and in the west a Turkman style. Two rulers of the new dynasty succeeded in encouraging new styles that spread all over their territories: Shah Tahmasp I, who reigned 1524–1576 but lost interest 
Title: Safavid art
Content:  a rare and very sophisticated technique: over a coat of red paint, the artist placed a white coating, and then scratched to allow motifs to appear in red silhouette—motifs reminiscent of those in books and on cloth. One finds there animal fights, throned princes, literary scenes (Khosrow and Shirin, Yusuf and Zuleykha), a game of polo, hunting scenes etc. One notices that the silhouettes curve and that the taj, the headdress characteristic of the Safavids at the beginning of the empire had disappeared, following the fashion of the time. Among the scroll patterns are calligraphic representations of the quatrains of the poet Hafiz.
Title: Safavid art
Content:  nomadism of the sovereigns, implicated notable influence on the part of the Safavid centres. The manuscripts of this school are characterized by their margins richly decorated with the technique of encartage. Their bindings had a counter-plate with a large decoration of perforated leather and a plate with large rectangular plaques with animal motifs or arabesques, according to the ancient Timurid tradition. The painting used a harmonious palette, with airy compositions, but an absence of new models and the repetition of poncifs (pointillism?) creates a certain aridity. The school of Bukhara reached its peak between 1530 and 1550, and directly influenced Mughal art.
Title: Safavid art
Content:  evolutions between 1501 and 1525: the silhouettes became slimmer; the taj, the characteristic Qizilbash headgear, started to appear, with a red baton and twelve folds corresponding to the twelve imams of the Twelver Shi`ism. From 1525 forward, the workshops of Shiraz produced nothing but copies of the works of the royal workshops of Tabriz, then of Qazvin and Isfahan. Bukhara was not properly speaking a Safavid centre, given that the city was at the centre of an independent state led by the Uzbek dynasty Shaybanid from 1500 to 1598. But the nomadism of the artists, due to frequent political changes and to 
Title: Safavid art
Content:   Metallic art a gradual decline during the Safavid dynasty, and remains difficult to study, particularly because of the small number of dated pieces. Under Shah Ismail, one notes a perpetuation of the shapes and decorations of Timurid inlays: motifs of almond-shaped glories, of shamsa (suns) and of chi clouds are found on the inkwells in the form of mausoleums or the globular pitchers reminiscent   Ulugh Beg' jade one. Under Shah Tahmasp, inlays disappeared rapidly, as witnessed by a group of candlesticks in the form of pillars. On the other hand, one notices the appearance of coloured paste (red, black, green) to replace the multicolouration previously supplied by the inlays of silver and gold. One notes also the beginning of steelwork, in particular by piercings, to actualize the elements of plating of doors and of standards.
Title: Safavid art
Content: Tabriz ; Shiraz ; Bukhara Sultan Muhammad (1515–1522) ; Bihzad (1522–1540) ; Mir Musavvir Three centres were active in this period: Tabriz, capital of the Safavid empire from 1501 to 1548, again also used artists of the Ak Koyunlu ketab khaneh. The illustrations show a double heritage: that of the Ak Koyunlu and that of the Timurid dynasty. The latter benefitted from the taking of Herat in 1501, but did not really manifest itself until the year 1525. The various directors of the ketab khaneh are: Many great painters, such as Aqa Mirak, Mir Sayyid Ali or Dust Muhammad worked in the book-workshop, 
Title: Shahnameh of Shah Tahmasp
Content:  mythical motifs, they also depict everyday objects that would have been common in the Safavid period in Iran. This makes the miniatures unique to a specific time and place. The manuscript shows the fusion of the styles of the schools of Herat, where the Timurid royal workshops had developed a style of classical restraint and elegance, and the painters of Tabriz, whose style was more expressive and imaginative. Tabriz was the former capital of the Turkmen rulers, successively of the Kara Koyunlu and Ağ Qoyunlu, who had ruled much of Persia before Ismail I defeated them and began the Safavid dynasty in 1501. Dust Muhammad 
Title: Islamic art
Content:  The Iranian Safavids, a dynasty stretching from 1501 to 1786, is distinguished from the Mughal and Ottoman Empires, and earlier Persian rulers, in part through the Shi'a faith of its shahs, which they succeeded in making the majority denomination in Persia. Ceramic arts are marked by the strong influence of Chinese porcelain, often executed in blue and white. Architecture flourished, attaining a high point with the building program of Shah Abbas in Isfahan, which included numerous gardens, palaces (such as Ali Qapu), an immense bazaar, and a large imperial mosque. The art of manuscript illumination also achieved new heights, in particular in the Shah Tahmasp Shahnameh, an immense copy of Ferdowsi's poem containing more than 250 paintings. In the 17th century a new type of painting develops, based around the album (muraqqa). The 
Title: Safavid art
Content:  Under the Safavids, the art of the book, especially the Persian miniature painting, constituted the essential driving force of the arts. The ketab khaneh, the royal library-workshop, provided most of the sources of motifs for objects such as carpets, ceramics or metal. Various types of books were copied, illuminated, bound and sometimes illustrated: religious books – Korans, but also commentaries on the sacred text and theological works—and books of Persian literature – Shahnameh, Nizami's Khamsa,  Jami al-Tawarikh by Rashid-al-Din Hamadani, Timur nāmeh—encyclopedias and scientific treatises of Sufism. Paper, a Chinese invention arriving early in Iran (13th century), was always used. One notes the frequent use of coloured papers. Towards 1540, a marbled paper also appeared, which however rapidly disappeared again. The bindings were mostly 

Question: what type of artwork was created in the safavid empire?
Answer: architecture.
metal.
ceramics.
gardens.
book.
glass.