مصطفی لعل شاطری

Statement of the problem: 

After the arrival of the lithography industry in Iran (1249 AH) under the support of Abbas Mirza Naib al-Sultaneh, a huge transformation took place in the field of illustration, as many artists produced extensive works in this field. At the beginning, how the lithography method works to produce illustrated versions was not very easy for artists, but over time, the artists, by gaining various experiences in this field, succeeded in producing noteworthy images, among them, Seyyed al-Shaara is one of the unknown artists. In the field of illustrations of stone printing books, only one of his works entitled Bahr al-Fawaed (Mathematical Principles) (published: 1324 AH) remains. There is not much information about this artist's life and artistic profile, but his illustrations indicate his mastery of design and composition skills. One of the issues that distinguishes the works of these artists from other available lithography works is the high quality of the images and masterful performance of this artist, because during his artistic career, most of the lithography works had declined in terms of quality and The images are simpler and more primitive compared to the beginning of the activity of the lithographic illustrators. For this reason, it is very important to examine and study the works left by this prolific but unknown artist.The aim of the research is to investigate the way of emergence and perspective features in the illustrations of Bahr al-Fawaed book by Seyyed al-Shaara.

In the current research, 16 narrative images of Bahr al-Fayed have been analyzed in a descriptive-analytical way.

According to the case study of Seyyed al-Shaara's illustrations in the book Bahr al-Fawaed, it can be found that this artist did not completely follow the deep-viewing methods of Iranian art and western linear methods, but in each picture, depending on the conditions and purpose, he used a self-made method to create depth. adopted in the image. Most likely, one of the possible reasons was the limitations of the stone printing technique. For example, in lithography, due to the removal of color and reliance on line, the artist is deprived of the possibility of creating a distinction and a point of attention with the help of color or strong light and shadows. As a result, it is possible that Seyyed al-Shaara has made exceptions in the perspective type of images due to the limitation of visual elements. In some cases, according to the common custom of Iranian art, when important people are drawn with magnification (spatial perspective), Seyyed al-Shaara has also used this method to draw war commanders in most cases. Of course, in the case of this artist's pictures, the purpose of the official perspective is not only to respect the status of individuals, and this method has also played the role of creating balance in the crowded compositions of Seyyed al-Shaara's works. However, in a special case like picture 14, despite the presence of Napoleon, who is a prominent figure, he has been depicted with very small proportions. There is a possibility that Napoleon in this image as a person who will fail, did not need magnification and official perspective. In some of the images, the people and equipment that were present in the distance are depicted with brief lines without details, which is reminiscent of the atmospheric perspective method. has not had, it should be noted that the limitation in the implementation of design details in much smaller scales than the common sizes in lithography could have been the reason for this problem in more distant parts. In some images such as image 6, it seems that the artist has not made a conscious and deliberate effort to create and design the principles and organization in depth, and has changed the sizes and distance and proximity of the elements with the sole purpose of filling the image and showing different events of the battle. In general, it can be said that Seyyed al-Shaara in Bahr al-Fawaed's illustrations shows a combination of Iranian and Western depth-viewing methods, although not in a purposeful way, but simply to create enough space for the characters and to achieve a balanced composition, the elements are drawn small or large. has done.

Statement of the problem: 

Stone printing was introduced to Iran from the Qajar period (1249 AH) and subsequently played an important role in art, especially in the field of narrative illustration. Among them, one of the works has the illustration of Masnavi al-Atfal book. This work, which was a summary of Maulvi's narratives, was modified by Miftah al-Molk during the Qajar period in line with school literature, illustrated by an artist named Mirza Mustafa in 1309, and then published (preserved in Astan Quds Razavi Library with registration number 35594).The purpose of the research: Masnavi al-Atfal, with its 44 images, is valuable among illustrated books, which largely reflects the beliefs and desires of the society of its time. This research aims to analyze the influence of the written text as well as the beliefs of the society, which Mirza Mostafa is considered to represent, by examining the selection of characters in the depiction of the narratives related to divine prophets and the comparison between the written text and the production illustration.

Research Question: 

The main focus of the current research is to answer this question, to what extent there is a connection in the depiction of the characters mentioned in the written text and subsequently its reflection in the visual text of the stories related to the divine prophets, as well as the commonalities and differences. To what extent is it from the point of view of character selection in the images?

This research was written based on the descriptive-analytical method, and among the 44 illustrations related to 39 stories, only 8 illustrations are related to 7 stories, which was based on an analytical-adaptive study in the history of art.

Based on the investigation, the findings indicate that the illustrator of Masnavi al-Atfal (Mirza Mustafa) illustrated the characters of the stories related to divine prophets to some extent in accordance with the characteristics mentioned in the stories of the book (loyalty to the original text). However, in parts beyond the poem and by using the norms governing the society and personal taste and ideas, he has depicted images next to the main characters of the story (increasing the visual characters) and sometimes by reducing some characters or choosing a specific part of the story, to The illustration of the mentioned event has been discussed (reduction of visual characters).

Statement of the problem: 

Stone printing was introduced to Iran from the Qajar period (1249 AH) and subsequently played an important role in art, especially in the field of narrative illustration. Among them, one of the works has the illustration of Masnavi al-Atfal book. Thiswork, which was a summary of Maulvi's narratives, was modified by Miftah al-Molk during the Qajar period in line with school literature, illustrated by an artist named Mirza Mustafa in 1309, and then published (preserved in Astan Quds Razavi Library with registration number 35594).The purpose of the research: Masnavi al-Atfal, with its 44 images, is valuable among illustrated books, which largely reflects the beliefs and desires of the society of its time. This research aims to analyze the influence of the written text as well as the beliefs of the society, which Mirza Mostafa is considered to represent, by examining the selection of characters in the depiction of the narratives related to divine prophets and the comparison between the written text and the production illustration.

Research Question: 

The main focus of the current research is to answer this question, to what extent there is a connection in the depiction of the characters mentioned in the written text and subsequently its reflection in the visual text of the stories related to the divine prophets, as well as the commonalities and differences. To what extent is it from the point of view of character selection in the images?

This research was written based on the descriptive-analytical method, and among the 44 illustrations related to 39 stories, only 8 illustrations are related to 7 stories, which was based on an analytical-adaptive study in the history of art.

Based on the investigation, the findings indicate that the illustrator of Masnavi al-Atfal (Mirza Mustafa) illustrated the characters of the stories related to divine prophets to some extent in accordance with the characteristics mentioned in the stories of the book (loyalty to the original text). However, in parts beyond the poem and by using the norms governing the society and personal taste and ideas, he has depicted images next to the main characters of the story (increasing the visual characters) and sometimes by reducing some characters or choosing a specific part of the story, to The illustration of the mentioned event has been discussed (reduction of visual characters).

During the Qajar era, visual elements such as paintings on Iranian pen cases (qalamdāns) underwent a transformation with the arrival of European painting. Pen-case painting, as one of the common artistic fields in this period, whose images were influenced by worldview, religious thoughts, beliefs, social and political relations and historical background, is one of the important fields for studying and discovering layers of identity found in Qajar art. Why and how the painters of the Qajar era employed the themes of the Christian world on the pen-case images is the main issue of the present research. The objective of the research is to analyze the formal and contextual impacts of the religious painting of the Christian world on the images of Qajar era pen cases. The main question is, "What effect did the European paintings of the Christian world have on the images of pen cases in terms of form and content, and what effect did they have on the visual attitude of pen-case painters of the Qajar era? The findings based on the descriptive-analytical method indicate that the images of the Qajar era pen cases were influenced by the religious painting of the Christian world in terms of form and content. From the form point of view, these effects include four main topics in implying perspective, dimension, applying shading, composition, and space arrangement, and from the point of view of content: joyful tidings, mother and child, sitting Virgin Mary, and saints, which were adopted from European images. Although the Qajar pen-case painter has used European works as models in terms of content, he has not been subject to symbols or narration, as European painters did, and has also used images adopted from the literature and folk tales on the surface of the pen cases in different frames. In some cases, these artists integrated the methods and characteristics of western works that were in line with their tastes into their tradition and created innovative works by combining old and new methods as well as combining western and Iranian painting traditions.

Statement Problem: folk literature has been the basis of visual presentation of narratives by illustrators for a long time. From the end of the Safavid period and the beginning of the Qajar period, this fortune and popularity increased, and the appearance of lithography, especially in illustrated form, was effective in spreading and publishing more and more of these stories. Among these cases, there is the story of the love between Nooshafrin and Prince Ibrahim. The origin of this prose folk tale is probably related to the Safavid period, but the author and the exact time of its composition are not known. However, its acceptability and popularity among the public has caused many copies of this story to exist in the form of manuscripts and lithographs. In this research, the characteristics and visual characteristics of 14 lithographic images without the name of the illustrator from the folk tale of Nooshafrin Gohartaj, version 1293 AH (stored in Astan Quds Razavi Library with registration number 41083) have been investigated. The purpose of the research: introducing and investigating the role of images in better expressing the meaning of the story and conveying it to the audience and how the image and the illustrated characters accompany the story line in the images of the 1293 edition of the story of Noush Afarin Gohartaj and subsequently examining the relationship between the illustrated characters and the text in the version It is based on the theory of text and image interaction. Research question: What is the relationship between the characters depicted in the story of Noush Afarin Gohartaj (lithographic version published in 1293 AH) with the trajectory of the narrative and what features are used in the said depictions, and in the meantime, the relationship between text and image based on the theory of interaction between text and image How is Marianikolaeva and Carol Scott? Research

The nature of the fundamental research is based on a quantitative approach, based on the descriptive-analytical research method, based on the theory of the interaction of text and image by Maria Nikolayeva and Carol Scott, and based on the direct observation of the manuscript and relying on library sources.

The narrative illustrations of the researched version have the characteristics of traditional Iranian painting, as well as the characteristics of Qajar paintings and the style of court portrait painting of this period, which was influenced by Western art. The images are absolutely at the service of the text and relatively moved along with the text and progressed with the relative or complementary relationship with the text, and of course, knowingly or unknowingly, there is a place left for the imagination of the audience to fantasize and role play. Key words: Narrative illustration, Lithography, Folk tales, Noushafrin Gohartaj, Text and image interaction theorycharacteristics of traditional Iranian painting, as well as the characteristics of Qajar paintings and the style of court portrait painting of this period, which was influenced by Western art. The images are absolutely at the service of the text and relatively moved along with the text and progressed with the relative or complementary relationship with the text, and of course, knowingly or unknowingly, there is a place left for the imagination of the audience to fantasize and role play. Key words: Narrative illustration, Lithography, Folk tales, Noushafrin Gohartaj, Text and image interaction theorynarratives by illustrators for a long time. From the end of the Safavid period and the beginning of the Qajar period, this fortune and popularity increased, and the appearance of lithography, especially in illustrated form, was effective in spreading and publishing more and more of these stories. Among these cases, there is the story of the love between Nooshafrin and Prince Ibrahim. The origin of this prose folk tale is probably related to the Safavid period, but the author and the exact time of its composition are not known. However, its acceptability and popularity among the public has caused many copies of this story to exist in the form of manuscripts and lithographs. In this research, the characteristics and visual characteristics of 14 lithographic images without the name of the illustrator from the folk tale of Nooshafrin Gohartaj, version 1293 AH (stored in Astan Quds Razavi Library with registration number 41083) have been investigated. The purpose of the research: introducing and investigating the role of images in better expressing the meaning of the story and conveying it to the audience and how the image and the illustrated characters accompany the story line in the images of the 1293 edition of the story of Noush Afarin Gohartaj and subsequently examining the relationship between the illustrated characters and the text in the version It is based on the theory of text and image interaction. Research question: What is the relationship between the characters depicted in the story of Noush Afarin Gohartaj (lithographic version published in 1293 AH) with the trajectory of the narrative and what features are used in the said depictions, and in the meantime, the relationship between text and image based on the theory of interaction between text and image How is Marianikolaeva and Carol Scott? Research

The nature of the fundamental research is based on a quantitative approach, based on the descriptive-analytical research method, based on the theory of the interaction of text and image by Maria Nikolayeva and Carol Scott, and based on the direct observation of the manuscript and relying on library sources.

Based on research approaches and fields, various information sources are available to researchers. Although access to a part of these resources sometimes faces limitations, refusing to pay attention to it will lead to defects in the results. In the meantime, the use of archival sources is considered one of the important topics in the field of research. One of the sources in this field is lithographic books. This industry entered Iran from the middle of the Qajar period (1249 AH) and in a short time it replaced lead printing and was used until the end of the Qajar period (1344 AH) and shortly after, due to the widespread acceptance of the society. In about a century, numerous works were published using this lithography technique, which were mostly reprints of works from previous eras or published by the authors of this era. The aim of the current research is to answer several questions about how many of the university theses written in Iran have focused on lithographic sources and the geographical distribution (city-university), the field distribution, the distribution of courses and its year, in what way and in the meantime, what approaches have prevailed in the use of these research sources?

The method of this descriptive-analytical research and sampling is based on two databases approved by the Ministry of Science and academic and research centers (Irandoc and National Library) and the website of university libraries. However, the findings of the current research, like other quantitative researches based on the examination of samples, are not completely certain and there can be an error rate of 5-10 percent in it, because the primary and supplementary information recorded by a number of academic centers and students, sometimes It is accompanied by defects and mistakes.

Based on the case study of all theses extracted, the findings indicate that 43 university centers in 17 cities have written only 255 theses, among which Tehran with 15 universities and 183 theses. It is at the top of this statistic. The disciplines benefiting from 21 lithographic books and illustration with 115 theses have a noticeable distance from other disciplines. 1, 14, 223, and 17 theses have been written in associate degree, bachelor degree, master degree, and doctoral degree, respectively.

After the compilation of the Shahnameh, for several centuries, this work lacked visual arrays, and based on the latest findings, the first illustrated version of the Shahnameh was produced during the Ilkhanate period. Then, this movement was noticed by art patrons and book-making workshops in different regions of Iran, such as Shahnameh Baisangri and Tehamasbi in two different periods (Timurian, Safavid) are among the prominent examples of this domain. Meanwhile, although the pretext (Ferdosi's poems) is the same in both versions, the final text (Nagare) has different aspects. In this regard, the painting "Rostam's battle with the white devil" in Baisangari and Tehamasbi's Shahnameh (related to the story of Khan Havtam Rostam) has been examined as a case study due to the changes in visual expression, and subsequently, the concept of transformation in the perspective of structuralism as a theoretical framework can transform transformations. reveal the existing Based on the descriptive-analytical method, with the aim of comparing the structural transformation of the two paintings and achieving the depth of the story, the present research wants to address the question of how the painters have depicted the story of Rostam's battle with the White Devil by relying on the concept of transformation. Data collection in the current research is done using the library method, qualitative analysis method, and using the structural approach based on the concept of transformation. The findings indicate that both texts undergo a structural transformation in comparison with the poems of the Shahnameh (prologue). In this matter, reasons such as being influenced by political, military, social and religious norms such as the ideological conditions governing the time, the personal beliefs of the kings as patrons (supporters) and the ruling schools of painting (Herat school in Baisangari Shahnameh and Tabriz school in Tehamasbi Shahnameh) have been effective Also, the personal style of the two illustrators in the emergence of form and content features has caused a different reception from the pre-text in the creation of the final text. This indicates a kind of structural transformation in external and internal factors, such as the change of the hateful character of the white demon into an oppressed and pitiable character, the substitution of Baisanqormirza for the character of Rostam, the removal of other demons mentioned in the story in the version of Baysanqari, and the removal of characters such as Kikavus and his companions in The picture has been copied.

Nowadays, academic research is one of the topics that can have the potential to improve knowledge. Meanwhile, archival studies can be considered as among the areas that have not been given serious attention proportionate to their excellent research capacities. Using manuscripts, as one of the prominent scientific sources in science, is considered with different influence coefficients in each field. In the meantime, Islamic manuscripts have been the subject of relatively extensive research due to their content and apparent values. The present research is intended to answer a multi-faceted question as to how many of the university theses written in Iran have been based on manuscripts; the geographical dispersion (city-university); the field dispersion; the level of study dispersion and its chronology; in what way and, in the meantime, what approaches have prevailed in the use of manuscripts?

Research/Method Approach: 

The method of this research is descriptive-analytical and the sampling is conducted on the basis of two databases approved by the Ministry of Science and academic and research centers (IranDoc and National Library).

The findings indicate that 135 universities in 58 cities have undertaken to write 2707 theses, among which Tehran is ranked at the top with 22 centers. The fields benefiting from the manuscripts of 32 fields and Persian language and literature with 1160 theses have a noticeable distance from other fields. 2236 theses belong to the master's level and 471 theses belong to the doctoral level. From 1333 Sh/1954 AD to the fall of 1401 Sh/2022 AD, writing the thesis has annually undergone a significant difference, as one can refer to 1399 Sh/2020 AD with 246 theses and the 10 years, in which no theses were written focusing on manuscripts.

As soon as lithography industry entered Iran, many lithography printing houses were established in Tehran, Tabriz, and other cities and the first lithography printing house was founded in Mashhad by Astan Quds Razavi. From the activity period of the AQR’s lithography house (1294-1344 AH), twenty eight books were identified that most of them bear the name of their scribes on the first and last pages. This study that used the descriptive-analytical method aimed to see that when the Astan Quds Razavi entered this new printing industry, how many active scribes of different parts of AQR interacted with this printing house as a burgeoning cultural sector and the reasons of the convergence and divergence among them. The results of exploring the archived documents -apart from the stylistic and aesthetic issues- show that from amongst the many scribes active in the administrative and cultural parts of Astan Quds Razavi, during the activity period of lithography printing house of the institution, a very limited number of them cooperated with this printing house. This convergence is seemingly in line with personal interests, economic benefits, and other possible issues and the divergence of many of the scribes can be interpreted by the help of the conflict between tradition and modernity. That is, the lithography printing produced a big bulk of books in a very short period of time at a very low cost. Consequently, the growth and expansion of this activity (modernism) resulted in a lower status of AQR’s scribes (tradition). Therefore, the divergence among AQR’s scribes can be considered an impeding factor beside the increasing number of productions of AQR’s lithography printing house on the one hand, and making a negative attitude towards the products of this center among the cultural trustees of AQR on the other hand.

The visual creation of Shiite narratives in line with its universal understanding is one of the topics that became increasingly popular during the Qājār period due to the collective will. Undoubtedly, one of the main reasons for this trend was the arrival of the lithography industry and the possibility of placing illustrations in parts of the text. Based on the surviving works, Ashura narratives are considered one of the most popular content types of illustrations in lithographic books. In the meantime, Mirzā ‘Ali-Qoli Kho’i (activity period: 1263-1272 AH) as the first known artist in this field, was often responsible for illustrating the first illustrated works in this field. The purpose of the present research, relying on the descriptive-analytical method, is to answer the question that among the Ashurā visual narratives of Asrār al-Shahāde by Borujerdi, which was published for the first time in 1268 A.H., the story of Deir and the Rāheb is to what extent influenced by the content roots of creation (early pre-text: narratives historical and hadith, the middle pre-text: Rawzat al-Shuhadā, the contemporary pre-text: Asrār al-Shahādeh) and in the meantime, how did Kho’i reflect on it? The findings indicate that Borujerdi’s seventh Majlis of Asrār al-Shahādeh entitled “In the Story of Deer and Rāheb” comprises four parts: (1. The arrival of the accursed Shimr at Deir and Deirani’s investigation of the condition of the heads of that group, 2. The Rāheb coming out of his house and seeing the prophets, 3. The arrival of the Amir al-Mu’minin and the conversation of the blessed head of the Seyyedo al-Shohadā with his mother, 4. Talking to the old Rāheb with the blessed head of Hazrate Seyyedo al-Shohadā and accepting Islam). According to the poetic narrative of the events and Kho’i has created 3 images related to the 1st and 3rd sections. In the meantime, the image of part 1 largely corresponds to the early pre-text and the images of part 3 correspond to the middle and mostly contemporary pre-text, so that this flow can be considered as the result of the popular beliefs and readings of the mass of the society, which has been accompanied by distortion.

The arrival of the printing industry in Iran during the Qajar period (1294/1833) is considered to be among the turning points, which created a significant change in the production and publication of written works. With the spread of this type of printing in Iran and the subsequent establishment of the early printing houses in Tabriz, Tehran and later on in other cities, the process of works needed by society was accelerated and the previous restrictions on access to books were largely removed. Subsequently, many printed books with different themes and at a very low cost compared to manuscripts became available to various social strata. In the meantime, one of the most important issues is to know how the lithographic printing houses worked in this period. The present research is intended to answer the question as to what has been the technique used in lithographic printing houses of the Qajar period (basic requirements, technical features and executive factors) - regardless of the analysis of the structures governing the society, content study, features and the reason behind the production of the published works as well as identification of the people active in this field and their advocates?

Research/Method Approach: 

The structure of this research is organized on the basis of descriptive-analytical method and on library, documentary, and archival study with an interdisciplinary approach.

Given the cessation of the activities of the lithographic printing houses since the late Qajar period and the lack of reference in primary sources to the technique of this type of printing, according to a single available evidence (a painting of a printing house in 1264/1847 by Mīrzā ‘Alī-Qulī Khu’ī), the findings suggest that that basic requirements such as printing machine, stone, ink and paper have had a significant role in the operation of the printing house and based on the order rate and the extent of the printing house, and an average of eight people (a printing master, a sheet liner, a wheel turner, an ink worker, an ink maker, a stone polisher, an acid producer, and a bookbinder) have been working on a regular basis and two people (a scribe and a painter) working on a non-in-person basis in interaction with the management of the printing house. In the meantime, the printing method was that of a flat mode and the execution stages had a fixed and recurring process. Consequently, access to manpower and raw materials has fluctuated the speed and quality of publication. In order to remove ambiguity and reduce diversity of views and unsubstantiated opinions, the present research consistently examines the lithographic technique of the Qajar period with a scientific and analysis-oriented approach, which can be considered as the closest summary to this type of printing.

Several printing houses were established in Tabriz, Tehrān, and other cities with the arrival of lithography in Iran (1249 AH.). The first lithographic printing house (Chāpkhāne-yi Sangi) was established in the Astān Quds Razavi complex in Mashhad with a delay of about 50 years (1294-1344 AH.) and numerous works with different religious, literary, jurisprudential, and historical themes were published in cooperation with authors, translators, publishing professors, and sponsors. The present study aimed to rely on the descriptive and analytical method to find the first printed book in Mashhad, the active people in printing the first printed book, as well as the physical and content features of the book. The findings based on archival studies indicated that the first printed book in Mashhad using lithography technique was published in Astān Quds Razāvi printing house (the first printing house in Mashhad) in 1294 AH. This book entitled Muntakhab al-Qasāyed contains a collection of poems by 'Ali Rāqem Mashhadi who was one of the calligraphers and poets in Mashhad and then the book was prepared to be published. Meanwhile, the people such as Motamen al-Mulk, Mirzā Rafi, and Ismāil Tājer Heravi participated as the activists and supporters of publishing this work. Among the physical features of this book, there are bookbinding, size, paper, calligraphy, and in-text arrangement (motifs of page and title (Sarloh), tabulation (Jadvalbandi), Lines around the page (Kamand) etc.) which are relatively appropriate features as the first printing experience in Mashhad. In terms of content, although the placement of poems consecutively has no coherent sequence, the three sub-branches of praise, virtue, and citation of the bravery and sufferings of Imāms (AS) and their families, as well as the praise of trustees, rulers and political-military activists in Khorāsān and sometimes other regions and the praise of scholars of literature and culture can be distinguished by reading the text.

One of the topics in the analysis of the artistic life of the Qajar period is the use of lithographic images in books with religious themes. As observed in Asrar Al-Shahadahby Ismaeil Boroujerdi. The Ten Meetings of this work were illustrated for the first time by Mirza Ali-Qoli Xu’i in 1889 version (Artistic activity period 1884-1893). The present descriptive and analytical study based on artistic-historical approach aims to see to what extent has Xu’i been aware of Islamic traditions as an intellectual background for creating the last image (the journey of Mahdi (pbuh) with Gabriel to the Throne). Based on the results, Xu’i's narrative knowledge has played a very important and effective role in his attitude towards the depiction of this parliament, along with other factors such as the effectiveness of the original text (Asrar Al-Shahadah, including introductory explanations and poems), political, social and cultural norms and other issues. Based on interdisciplinary insight, it is realized that this work cannot be considered merely a source of imagination. The adaptation of Islamic traditions (preface) as the theme inspired by the illustrator in the creation of the image (text) proves this view to a large extent.

One of the forgotten issues in the context of the distortions of the Karbala incident is the influence of visual elements on the continuation and strengthening of this trend. These distortions, which appeared in the reports of the book "Rawdat al-Shuhada", influenced by the previous works, to a large extent in a consolidated form, continued extensively in the Marathi courts during the Qajar period with the advent of lithography and ease of publishing the book. One of the capabilities of lithography was the use of in-text illustrations related to events (translation of written discourse into visual discourse).The purpose of the present study, relying on descriptive-analytical method, is to answer the question that Mirza Aliqoli Khoi's illustrations of Qasem Ibn Al-Hassan (AS) with the sons of Azraq Shami, in Toofan Al-Baka, Mourning Code and Asrar Al-Shahadeh, as a visual discourse And to what extent have they contributed to the continuation and strengthening of this distorted report? Findings indicate that the images (text) while influencing the existing pretexts and especially the shrine of the martyrs, has spread this distorted report, so that this trend can be influenced by the norms and beliefs of society and artistic authority, to Creating an epic image of Qasim (AS) as well as showing the power of illustration in relative contrast with other types of Karbala memorial ceremonies.

In the production of any work of art, illustrators are undoubtedly influenced by a set of pre-texts and paratexts, which often appear in the text (image) for a variety of reasons with a variable effect factor, as such trend is examined in the Qajar period (simultaneously with the arrival of the lithography industry). During this time, many books were illustrated, during which Tufan al-Boka' was reprinted several times due to the growing popularity of the audience. Relying on the descriptive-analytical method, the main question raised is the extent to which Mirza Ali-Qoli Xu’i (Activity period 1847-1855), as one of the first artists known in the field of illustration of lithographic books, was influenced by the norms of the society in the creation of the Karbala Ashqis Qisas Majlis by Mukhtar in Tufan al-Boka'. The findings from the study of individual versions of Tufan al-Boka' by Xu’i (7 lithographic versions: 1849, 1852, 1854, 1856a, 1856b, Dateless a, Dateless b) indicate that regarding the existing pretexts of this event as a written discourse (base: Early Century Sources, contemporary: Tufan al-Boka'), they considered the nature of three norms (judicial: corporal punishment, military: military cover and tools, political: court iconography), and were distributed and welcomed using the image, as a dynamic media, seeking to connect the audience more with this event with a special attitude and analyzable based on the theory of reflection and shaping - first by showing everyday topics and then, while visually replacing Fath Ali Shah with Mukhtar, he intended to gain relative acceptance for the ruling power. In the production of any work of art, illustrators are undoubtedly influenced by a set of pre-texts and paratexts, which often appear in the text (image) for a variety of reasons with a variable effect factor, as such trend is examined in the Qajar period (simultaneously with the arrival of the lithography industry). During this time, many books were illustrated, during which Tufan al-Boka' was reprinted several times due to the growing popularity of the audience. Relying on the descriptive-analytical method, the main question raised is the extent to which Mirza Ali-Qoli Xu’i (Activity period 1847-1855), as one of the first artists known in the field of illustration of lithographic books, was influenced by the norms of the society in the creation of the Karbala Ashqis Qisas Majlis by Mukhtar in Tufan al-Boka'. The findings from the study of individual versions of Tufan al-Boka' by Xu’i (7 lithographic versions: 1849, 1852, 1854, 1856a, 1856b, Dateless a, Dateless b) indicate that regarding the existing pretexts of this event as a written discourse (base: Early Century Sources, contemporary: Tufan al-Boka'), they considered the nature of three norms (judicial: corporal punishment, military: military cover and tools, political: court iconography), and were distributed and welcomed using the image, as a dynamic media, seeking to connect the audience more with this event with a special attitude and analyzable based on the theory of reflection and shaping - ...

A large number of currents were created in the Qajar period press including the beginning of critical illustration with socio-political approaches with the growth of the free thought approach and the constitutional revolution. Kashf-al-Asrar, as the first critical illustrated publication in Mashhad, was among the local press during the reign of Ahmad Shah (1909-1925), the first version of which was published in Tehran during 1913. Upon the visit of Abolghasem Parvardin (Moayed al-Sharia Gilani), as its founder and director, the second year of publication continued in Mashhad since late September 1914 which coincided with the First World War. The second year continued for six months until the February 3, 1914 with publishing 17 issues using lithographic and lead printing methods to produce images and text in the Toos publishing house. The present descriptive and analytical study aims to assess the themes, approaches, and objectives of the illustrations in Mashhad Kashf-e-Asrar publication. Based on the findings in the available numbers from the second year (3-17), the editor of Kashf-al-Asrar sought to criticize the performance of ministers and members of parliament, display the dissatisfaction of the masses with their performance, and demonstrate the problems such as opioid use, revocation of publications, and limited representation of special agents. In addition, the publication’s anonymous illustrator was tasked with expressing this attitude and approach in the form of a visual discourse to understand all sections of society, especially the illiterate. 

With the advent of the lithography industry in Iran during the Qajar era, a host of books were published. In this period, the addition of illustrations related to the contents was one of the needs of publishers. This paper tries to investigate the level of correspondence between paintings of arch angels (Raphael, Michael, Gabriel and Azrael) in the lithographic print of the book “Ajib al-Makhlough wa Gharāeb al-Mojoudāt” (1264 AH version) and Quranic verses and Islamic traditions using a descriptive-analytical method. The findings suggest that the illustrator of this book, Aligholi Khoei, has drawn the figures of these angels for their visual beauty inspired by artistic learning one the one hand and for adaptation with Quranic verses and sources of narratives from a religious approach on the other, though in some cases they are influenced by social norms and beliefs. However, the analytical review of illustrations based on existing reports demonstrates that Khoei is largely influenced by Islamic traditions so that religiously inspired illustrations cannot be considered as the only source of artistic imagination.

According to thereligious narratives, Jinn is an immaterial creature that which occupies a lower position and to its inorganic intelligence and existence in the hierarchy of the  universe,  than humans and higher than animals. According to theIslamic narratives, a group of Jinns believed to the Holy Prophet (PBUH) after his revelation (Bi’that) and became Muslim. After the death of the Holy Prophet (PBUH), they followed the Imams (PBUt) and when necessary, expressed their readiness to sacrifice. Reports on the presence of a group of them in Karbala to support Imam Hussain (PBUH) can be considered as an example the meeting of a  A group of Jinns with Imam Hussain (PBUH) in Karbala is a topic that was of interest to illustrators and artists of Qajar era and led to creation of some images in this area. Through  method and content analysis of images, this present article seeks to answer the question that to what extent the images in Toofan-al-Bokae lithography in Naseri era (regardless of histirical reliability/lack of reliability) (1264-1313 AH) are consistent with Islamic narratives.we  also try  resolves some ambiguities regarding the presence of Za’far.

The era of Sultan Husayn Bayqara is recognized as the period of prosperity of public utility activities. While the onset of these activities dates back to the Timurid Empire (1370-1507), they were considerably expanded in Khorasan during the Bayqara administration and due to the approaches of his special minister, Amir Ali Shir Nava'i. This descriptive and analytical research was conducted to assess the scope and impact of public utility activities of Sultan and Nava’i using historical contents of that time. According to the results, these measures were considerably taken by Sultan and his court, especially his minister, based on the policies of the Shah and his court. These issues involved most areas, including religion, education and welfare. In this respect, Sultan and his court members dedicated efforts to taking these measures in line with earning a high-level and political-social status sometimes based on pure intensions, dissatisfaction with general inequality, acquiring internal satisfaction, and in some cases, fame-seeking.

In the first era of Abbasid caliphate (132-232 after hijrah), considering the policy of taking advantage of Iranians in governing affairs, the ground for the presence of people and Iranian households in caliphate system was provided. The favorable action and efficiency of Iranians in the official positions led to giving the ministry position to some of them. One of the Iranian ministers in this era is Abu Ayyub Muriani (154 After Hijrah) who was present about 17 years in Mansoor’s court and active in relation to the policy making and the other caliphate affairs. This article is to investigate the role of Abu Ayyub Muriani as well as his strategy as an Iranian bureaucrat in Abbasid caliphate system via the descriptive-analytical method and utilizing the library sources. The findings of the study indicate the distinction of Muriani in the position of ministry compared with the other Iranian ministers such as Abu Salama Kallal and Khaled e- Barmaki
Muriani presented the services like giving advice to caliphate in time of his ministry; moreover, he was seeking for his personal benefits by conspiring against the other contemporary authorities and finally, he left a kind of exclusive domination and authority in his actions

Today, national identity is one of the important issues in developmental programs of any country. Meanwhile, the ministry of education plays an important role in introducing the national identity as the most important unit that grants identity to the community. In this regard, one of the influential academic courses is history, which shows the past identity of a society to make it tangible and understandable in a group of community members who are in the age range of finding their identity. This study is a descriptive and analytical research performed to determine the symbols of national identities of Iran and Afghanistan in the 10th and 11th-grade history books in the field of literature and humanities. In addition, it was aimed to show the level of attention to this issue and the consequences of lack of attention to highlighting these symbols. Results obtained by quantitative analysis using SPSS version 18 demonstrated that the national identity symbols of Iran and Afghanistan presented in the mentioned books had a mutual origin in terms of culture and history and included the flag, national anthem, religious celebrities, national celebrities, customs, literary books, historical works, and buildings. Evidently, the level of using national identity symbols was higher in history books of Iran at each grade, compared to the history books of Afghanistan. Among the symbols, the most attention has been paid to national celebrities and historical works and buildings of the two countries.