The gradual opening of the foreign trade during the Shah Abbas Safavi era in the 17th century left a dramatic change in the life of the Iranian court. European ambassadors, and especially the East India Company officials, introduced the country for the first time as a gift to the Iranian court, and their numerous visits to the court have had a great impact on creating a new attitude to art in Iran. Until the late decades of the seventeenth century, although the style of landscape painting was very impenetrable among Iranian court artists, the works of these artists did not have a profound depth due to lack of sufficient understanding of the laws of object visualization and modeling with light and shadow. Experience of exposure of the Iranian society to the West and its art began in the middle of the Qajar era. The kingdom of Fathali Shah and Mohammad Shah, the beginning of the vast exportation of European goods to Iran, including paintings and artwork. The time of Nasir al-Din Shah was the peak of the massive import of the West, and the king's several trips to the countries of the "Far East". At the same time, foreign tourists also visited Middle Eastern countries to see and experience what the "mysterious East" was, and the cultural connections between Iranian society and its elites increased with European countries. [4] In the mid-nineteenth century, the most famous Iranian painter Abolhassan Khan Ghaffari, known as "Seni'Almolk", who had the unique ability to pinpoint the well-known faces of that time in Iran. He was a graduate of Rome and Paris, and created important works such as "Princess Ardeshir Mirza, Governor of Tehran" (now in the Louvre Museum). With this work he exhibited the first significant signs of the separation of Iranian art from ancient forms.