Study of the structural components and meaning of the headstones in the shrine of Hazrat Suleiman (AS) in Shiraz during the Qajar period 

The tile painting of the story of the court of Hazrat Suleiman the Prophet (pbuh) and the demons is a rare example of a tile painting related to the head in a house of the Qajar period in Shiraz, which, in addition to its artistic and religious features, shows the connection between art, religion and politics in this period, and has not been introduced and investigated so far. Is. This rare head was offered at the Bonams auction in 2010 and displays the tradition of painting and the evolution of tile painting in the Qajar period. In the present research, it is important in terms of cultural and artistic investigations. Tiled gates of the Qajar period and especially of Shiraz city express the cultural and artistic features of this period and are important from this point of view. Head on the topic that was introduced in the Bonams auction and is complete; According to experts, the auction is an exceptional example. Despite these cases, no serious research has been done on the shape of the head in the content and content, and it shows the necessity of the current research and its innovation.

This research has been carried out in a descriptive-analytical way using library and survey resources. The header images are downloaded from the internet version. The statistical population of this research is the Qajar era tiled headland with the theme of Suleiman Nabi's court and they are analyzed using relevant criteria and in a logical and analogical way. The method of analysis is based on the examination of visual principles and rules used in the appearance characteristics of the door, based on logical and comparative analysis. In this research, its characteristics are studied.

 In the analytical study of the main part of the tile painting of Hazrat Suleiman (A.S.), which can be seen in the horizontal rectangle part of the work. Hazrat Suleiman has a government that no one after him was worthy of. By God's permission, he has mastered humans, birds, devils and demons. The Qur'an in verse 12-13 of Surah Saba recounts a corner of the greatness and vast facilities of the court of Hazrat Suleiman (AS) and says: "... and We tamed the wind for Suleiman, which sometimes travels the path of a moon in the morning and the path of a moon in the evening and the fountain of copper. We made the (melt) smooth for him, and a group of jinn worked for him by the permission of his Lord, and any one of them who disobeyed our command, we made him taste the torment of the burning fire, and they prepared for him whatever Sulaiman (a.s.) wanted. Temples, statues, large food containers like basins and fixed pots that could not be carried because of their size, and we said to them: O family of David, give thanks for all these blessings, but few of the servants are grateful..." (Surah Saba, verse 12-13). It is also stated in verse 20 of this surah: "He looked for the chickens and said: Why do I not see Hoddh? Is he absent?" It didn't take long that he came to the presence of Hazrat Suleiman (AS) and reported the excuse of his absence based on verses 23-26: "I have brought a certain news from the land of Sheba located in Yemen, I saw a woman who rules over the people of Yemen and It has a huge bed. That woman and her people prostrate to other than God and do not worship God, the God who has no deity but Him and is the Lord and owner of the great throne. (Surah Saba: 20) Also, in verse 35 from the language of Balqis, he says: "And I do not consider war right now, I am sending them a precious gift to see what news my messengers bring." At first, Balqis tested Solomon by sending expensive gifts. These two verses are the story of the words of the Queen of Sheba and the image that the artists of the Qajar period painted on the front of the court of Hazrat Suleiman. In this scene, Hazrat Suleiman is sitting on a blue and gold throne with a halo of light in the center of the picture and is taking a letter from Hudhud, the yellow circle represents Hudhud and a letter is flying at its tip The three elders who are shown in the picture with headbands and crowns and trays of golden gifts are the bearers of the gifts. Demons are seen on both sides of the image, black, spotted and with two wands in analogy on both sides of the image. Two lions are sleeping at the bottom of the throne of Hazrat Suleiman (a.s.) and two Simorghs are above his head. A peacock, another bird (nightingale) and a hooded owl can be seen with a letter in its beak, and two elves can also be seen linearly on the picture page. This is the main part of the Sardar, which deals with the verse of bringing gifts from the Queen of Sheba Balqis to Prophet Suleiman (AS).

In the art of the Islamic period, iconography and images of prophets and imams have been common. According to the existing examples, the art of tiling and engraving in the Qajar period and especially in the city of Shiraz was very important. In this article, a rare tiled dostun door head from the city of Shiraz, belonging to a house, was examined for its content and theme in the Bonams auction. This door somehow connects the religious and romantic themes in Qajar period tile work. This scene from the court of Hazrat Suleiman (AS) and tile iconography is one of the unique and less paid samples that has significant symbolic and artistic values and the writing according to his order shows that This issue was ordered directly by the owner of the house, the writing in the factory of master Ebrahim Mara introduces the artist of the work. The study of different parts of this headboard and columns shows that the initial theme of the headboard is based on the narration of the court of Hazrat Suleiman (pbuh) and the bringing of the letter by Hodhod, the importance of this bird, the bringers of the gifts of the Queen of Sheba, and it is repeated once in the headboard and four times in two pairs. Is. The presence of lions, birds, divan, and jinn in the image indicates the mastery of the Holy Prophet and his conversation with the animals and the surrounding of his rule over them. The secondary theme of the story refers to the love story of Hazrat Suleiman (AS) and Saba. Anthropomorphism, demonism, birdism, and romantic themes are depicted in the margin of the main image on the columns. Lion and sun drawing; red flowers; The landscape painting is similar to other examples of tile painting in the Qajar period. Sardar directly refers to the court of Hazrat Suleiman (AS) and Hodhud, but in the columns, the love story is depicted in a symbolic and allegorical way, and Hudhud as an influential role is the only role that is repeated both in Sardar and the columns. The subject of its religious and literary function and its connection with the features of Qajar period art has turned it into a unique and remarkable example.