فهرست مطالب elaheh panjeh bashi

Apart from the artistic and historical aspect, the works of art tell the transmission of cultural traditions and various cases in different periods. The study of these works can be examined in the field of depictions of women in the representation of women, the way they are covered and made up, and it is important for its conceptual and symbolic, decorative and visual features. Calligraphy, which flourished mostly in the Qajar period, is important in terms of artistic style and representation of women in a European way, and it is a suitable field for studies of changes in the recognition of visual characteristics, recognition of cultural changes, and the European representation of women of this period. The purpose of this research is to investigate and analyse the portraits of Qajar women and the female gaze as a part of the performance of the representation of women in the culture of  Qajar period. The study sample of this research is a qalamdan belonging to Kazem son of Najaf Ali, the Qajar calligrapher, sold in the Chiswick auction, which contains several women in the frame, and from this point of view, it is considered special and has a feminine attitude. The level of female gaze action among the elements of the western image in connection with other symbols such as gol-o morgh has a different meaning. The connection between the elements in the image of the qalamdan and the woman's, body shows the western cultural developments and the semantic view of women. The question of this research is how the female subject is represented in this lacquered qalamdan by Kazem son of Najaf Ali and what does it mean? The research method in this research is descriptive and analytical, using library sources and examining a museum sample of qalamdan, sold at the Chiswick auction in London, and it is a qualitative research. The results of this research show that the female subject is represented with European makeup and clothing and can be seen in frames surrounded by gol-o morgh Motifs. Women in this qalamdan and in the frames are depicted individually and as two people in separate frames. The most important feature of this frame is the bold presence of women in light frames on a dark background for emphasis. The desire for cultural changes and deconstruction in the representation of women is represented in the picture frames.The representation of women in the case study shows that due to cultural interactions, authentic Iranian arts have also been affected and western patterns have been implemented in these images. In the drawing of figures in Iranian pencil cases, the main characters are depicted in specific frames. Anthropocentrism and emphasis on the physical beauty of women can be examined in these images. The representation of women in this collection is important in the sense that it is a mixture of several types of paintings in a row, portrait painting and painting of gol-o morgh, the effects of western painting in the representation of women are influenced by western culture in makeup and clothing. It is one of the cultural and social developments of the Qajar period. The portrait of young women is placed as the most important part in the connection between the images and the background painting of Qalamdan. The human presence of women as a part of decorative arts in the Qajar period is the main focus of the painting of the Qajar period and is in connection with the art of Qajar court painting. Two portraits of women (picture 2) completely shows the characteristics of a portrait of a Qajar woman in European clothes. Well-groomed women who have done their hair and neck in a western style and are far away from the traditional woman represented in the pictures. A semi-open western dress that belongs to the aristocracy and shows the changes of a court woman influenced by western culture. Women's hair decorated with flowers is a symbol of beauty and elegance, women in these two main figures are considered a symbol of Western European culture. The women in these pictures as an active agent are a strong reflection of the social and cultural changes of the Qajar period, unlike the dance of the two genders, male and female, two females are dancing with each other, and the women's clothes have complementary colors and remind of the symbolic interaction. There is a proportionality between the portrait of the woman and its framing, the confinement of the woman in the limited framing space around it refers to the inner space of the house. These frames show a feminine space decorated with gol-o morgh around the frame.The painting around the space of the female frame encloses it and covers the charm of the female space. The dark colors make the display of the frame stand out and emphasize a nostalgic aspect of the paradise garden in the past and tradition. The space of qalmadan is surrounded by flowers and bushes and paintings of flowers and chickens, but basically these motifs are in the background and only women's faces stand out in the frame of the picture. The portrait of the women is located in the middle of the longitudinal and transverse frames, and the form of the placement of the frames is the direction of balance and their focus towards the frames of the women's faces. The background is painted almost dark and has colours that make the frames with bright colours more visible and more prominent to show the presence of female faces. The use of gol-o morgh in the court painting of the Qajar period in combination with painting of women is usual in Qajar paintings. In these female images, there is an authoritative look, unlike the court portrait female paintings, there is no staring at the audience, and the women’s three-quarter profile are drawn looking at the outer space or looking at each other in the main frame. The two portraits in the frame indicate the relationship between the body space and the gol-o morgh space around the female figures. The image of women in the frame is like a window or a window that is opened to the outside world. The young women's heads are turned towards each other. In the main frame, two women are staring at each other and are dancing and holding each other's hands, which reminds of a man and a woman and two lovers in western dance, but in this picture, two women are in each other's arms. And the man, according to the changes in the cultural context of Qajar painting, creates a mutual and opposite exchange of action, which shows the two lovers looking at each other in the woman's view in the picture frame, and actually creates a kind of break and violates all the laws of the past, and departs from the traditional view and represents a break with social traditions in all social cultural components in Qajar art. The woman is on the verge of entering a new space and world, and her body is in a break with the female limitations within the frame, which is represented differently and tries to show its change. It is the process of looking out of the frame of a woman. The presence of the female body in the image framing is the main theme and invites the audience from the outside into the image frame and the female world of the work. With the image of three frames of a woman, two women dancing with each other and in each other's arms, with western clothes and make-up, this frame represents a different gender identity and independence for Qajar women, and in the hidden layers of the meaning of the image, western cultural changes and depicts its influence in the Qajar world. In these frames, the woman shows her suspended state of presence and absence. A woman by the window, between being and not being enclosed in a frame and changing, shows the passing of traditions and entering the new world influenced by western culture. A woman is trying to find her identity and independence, breaking away from the traditional world of court women and trying to get out of the frame of the picture, the manifestation of the function of the female space dominates the whole representation of women in the picture, and in the frames of qalmadan, she shows herself individually and in pairs. The nature and structure of an image of the presence of women influenced by Iranian culture (gol-o morgh painting) and western painting (influenced by western makeup and clothing) shows a different genre of the presence of women in this collection, which shows the independent identity of women in the Qajar period and changes it reminds. The images that break the contrast with the traditional feminine space more than ideal feminine beauty.The portrait of young women with open and western clothes in this collection can be considered a powerful representation of women in the Qajar period and the attempt to change the space from inside to outside and to find a new identity. This qalamdan shows the way of female representation and western influences on its surface, which actually indicates the ideological and cultural functions of the Qajar society inside and inside it in a hidden way. The structural and formal connection of women in the picture frames, the connection with the painting space of gol-o morgh, the representation of a bird (morgh) looking at a flower bud (gol) can be a metaphor for the male gaze. The woman looks out of the window frame, the vast space that exists outside the feminine enclosed frame. The relation that has been created between the elements of gol-o morgh painting, the presence of women in the picture frames, reminds us of the relationship between Iranian and European meaning of women's world. The image of a woman between Iranian and European women, the feminine attitude about the qalamdan as the main subject in the image space is one of these. Framing around women is a metaphor of the outside world that women consciously tend to change like western clothes. All these concepts are signs of the changes in women's thinking in the Qajar period arising from social changes, the influence of Western culture in social studies, which has shown itself in the interpretation. It shows a different meaning in the eyes of women, which can be seen in the faces of these women on qalamdan. In studying the shape of the part where the ink is stored in the pencil case, it can be mentioned that it is made of silver and is in the shape of a fly, which is very realistic and drawn in detail.Applying a different space to women compared to previous works in the form of qalamdan is one of the important points in the study of this one. The effects of European culture in the painting of this painting can be seen in the framing and the way women are represented in their facial appearance, make-up and clothing, which was considered by the illustrator. The use of dark colours has tried to create a visual dimension in the picture frame and emphasize the subject of women in the picture frames. The painting has separate frames showing women as the main elements in the image. Paying attention to women's body and drawing its features, paying attention to the placement of women in the image frame, emphasizing human physical beauty and focusing on women as the main and central motifs, the central body in these paintings can be investigated. The nature and structure of qalamdan influenced by Iranian culture in the representation of women shows a different view of women, which reminds the independent female identity of the Qajar period. The images that, more than women's beauty and having the ideal face of women, break the confrontation with the male world and the desire to change it. The framed faces of young women in European clothes and naked in the upper part of the body can be considered as an attempt to change the inner space as an open space for women and to try to get out of the safe space and to find an identity. The way women are represented in this book and the display of western influences indicate the functions of ideological and cultural changes in the Qajar society. The structural and formal relationship of women in multiple frames of the image is related to the outer space. The woman looks out of the window frame from the inner and closed space, her gaze is on the vast space that is depicted outside the female enclosed frame. The relationship between the elements of gol-o morgh painting, the presence of women in the picture frames, reminds us of the connection between the Iranian and European forms of women. The Iranian-European woman and the feminine look at the space of this qalamdan reminds of the changing space and transformation of women in the Qajar period and the desire to break the framing space around women, all these concepts can be signs of changes in the world of women, not only in makeup, and cover. The representation of women in the frames of this book originated from social developments, the influence of western culture in the social demands of women, which is represented in the image and its components.

Mohammad Ali Dolatshah, the ruler of Kermanshah, is the eldest son of Fath Ali Shah Qajar. During his reign in Kermanshah, he left valuable services. In his court, art is as active as in the court of Tehran, and works of art such as lithography, painting, etc. can be seen. The subjects of these official and court works are influenced by Tehran. Research question: 1-What are the works of art left from the court of Dolatshah and what are their characteristics? 2-What is the similarity and connection with similar works of art in this period of Fath Ali Shah? Research method In this research, it is descriptive-analytical and using library resources and the study of samples of lithographs, paintings and painted signs and the method of analyzing the works is based on visual principles and rules used in the art of iconography of Fath Ali Shah. Results This study shows that the works of art left over from the era of Dolatshah were influenced by the formal art and court iconography of this period and were used as a historical document to record and to show his power. In all his pictures, he is seen with the posture of Fath Ali Shah and emphasizes his legitimacy to ascend the throne.In terms of the aim of this study, considering the importance of recognizing Mirza Mohammad Ali Dolatshah and his court in the field of works of art and that in many Persian sources the name Fath Ali Shah has been used incorrectly due to its resemblance to Fath Ali Shah Qajar, it was necessary to introduce Mirza Mohammad Ali Dolatshah. After the death of Mohammad Ali Dolatshah, his son Mohammad Hossein Mirza Heshmat al-Dawlah became the ruler of Kermanshah. The grant of various governments to Mohammad Ali Dolatshah by the Shah was for the purpose of removing the enmity of Mohammad Ali Dolatshah with Abbas Mirza to some extent. However, this dispute continued and the two princes in their dominions, namely Tabriz and Kermanshah, took constructive measures in the field of civil engineering and military power to face each other if necessary. In this regard, Dolatshah, in competition with Abbas Mirza, trained his forces by the Westerners, and also his court was a place of travel for Russian and British forces, and probably a statue of a painting has been prepared for this purpose, like the court of Tehran.Dolatshah, like his father, was aware of the value of art and used it to introduce himself politically and to show his power. He carefully and repeatedly applied the rules of the Tehran School of Iconography to his court in his works of art. In matching Dolatshah's face with Fath Ali Shah, these cases can be seen in the works of painting (iconography), statues and reliefs. These pictorial rules are in the form of exaggeration on the face and limbs, abstracts, abundant decorations, use of jewelry in the crown, clothes and accessories of Shah Qajar, which can be seen in all the arts related to Fath Ali Shah in various dimensions and sizes. In a comparative study of the statues of Fath Ali Shah and Dolatshah, it seems that Dolatshah has used the same path of imitation of the face and laws of Fath Ali Shah's court iconography in repeating his image. This statue of Mohammad Ali Dolatshah, which was painted with the awe and image of Fath Ali Shah, is one of the cases that show that the court was in contact with foreigners due to his importance. Due to the war between the Ottomans and Russia, he was known as an important and brave person in the Qajar court. His face, majesty, appearance and crown were influenced by the Qajar court's paintings of Fath Ali Shah. He tended to emphasize this similarity. Works of art during the Qajar period are associated with symbols of power and politics, and the main commissioners of art during this period were kings and princes. One of the most important princes during the Qajar period was Prince Mohammad Ali Dolatshah in Kermanshah. In all of  statues and lithographs of him, the laws of iconography have been very prominent in terms of form, execution and influence of the art of Fath Ali Shah's court on Dolatshah's court, and it seems to have been purposeful and for political reasons. Like Fath Ali Shah, Mohammad Ali Dolatshah was aware of the political value of the image and used its power to introduce himself as a worthy person in the Qajar court and objected to his non-election as Crown Prince and expressed this objection with images. The resemblance of his face to that of Fath Ali Shah, which has been repeatedly exaggerated, is also a reason for this claim. Tehran is important during the Qajar period and shows the support for art in his court and the political use of the image. The high similarity of the image of Dolatshah and Fath Ali Shah, the repetition of the rules of Fath Ali Shah's court iconography in Dolatshah's images, the use of various materials in the Tehran court such as paintings, jewelry statues and huge lithographs can be in line with this goal.

In Iranian painting types, one of the issues related to culture is emphasizing the realistic representation of clothing in terms of visual perception. The Safavid era artists have painted brilliant murals in the main hall of the Chehel Sotoon Palace in Isfahan, in addition to the display of royal glory. Due to the executive policy and the presence of foreign ambassadors in Iran during this period, part of the written history in travelogues has been reflected in paintings and murals. The importance of Safavid clothing in historical studies and its lack of independent investigation shows the necessity of the current research. This research seeks to answer these questions: How do the murals of the main hall of Chehel Sotoon Palace depict the dress of the Safavid period? What are the similarities or differences between the clothes in the murals and the historical descriptions of the Safavid period? And how are the structural components of the murals of Chehel Sotoon Palace in comparison with the clothing of this period? This research attempts to examine the drawings of women’s and men’s clothes and compare them with the written sources of the Safavid period. It also examines the features of the artists of the Safavid period. It also attempts to make a connection between the mural art of the main hall and the art of this period with previous periods to reveal the logical course of clothing developments in this period. This research employed a comparative method. The methods of data collection included library-field and the qualitative method was used for data analysis. The examination of the murals of the main hall reveals the characteristics of the clothing of this period and provides a detailed representation of motifs. The function of these representations is derived from real examples of clothing in this period and can be adapted to written sources. The findings of the present research show that there is an alignment between the written texts and the images of the murals and these works are examples of visual documents about the study of Safavid period clothing.

The art of gilding is one of the oldest common arts in Islamic countries. This art is considered one of the most influential arts in Iran and Afghanistan. Two works are adapted and studied in this research. The first work belongs to the period of Tabriz's painting style and the Turkoman school, and the second work belongs to the contemporary period of Afghanistan. The reason for choosing the topic is the existence of the “Dahan Azhdari” pattern in the two discussed periods with different structures and capabilities, which shows the influence of the Turkmen school on the contemporary art of Afghan gilding. The main problem of this research is to study the role of “Dahan Azhdari” as a main and influential role in gilding having a long history, and the gilding of Afghanistan in the contemporary period.  Tabriz school and the Turkmen style are considered independent styles from other periods of gilding art in Iran; according to the works of this period, the general features of the Ilkhanid period are as follows: the space between the lines in the gilding is filled with gold color; the variety of colors has increased and the rich colors of this school are influenced by Iranian art and green and blue colors are dominant; much precision is used in the designs, which is the result of the influence of Chinese painting.Through the Turkoman school’s gilding method, the gilding in the contemporary period of Afghanistan has become wider in terms of decoration, and there are open and closed texts different from the composition of the works of previous periods, and it is no longer limited by the analogy of the previous periods. Variation in decorations and types of overall form of gilding components is one of the other characteristics of contemporary Afghan gilding works. So in some works of gilding, even two similar components cannot be found in decorations and petals. The studied work of the Turkmen school gilding method in the present study is the gilded Badragh page from the book of Islamic arts. This work was in 1478. It was dedicated to Sultan Khalil, the eldest son of Uzvan Hassan, the ruler of Agh Quyunlu - who ruled for six months in Tabriz. The dimensions of this work are 120.3 x 13.5 cm, with ink, gold, and matte watercolor on paper. The main form of this work is bergamot in the center of the work. Around the bergamot, there is a closed text in the form of an analogy. After the closed text, two borders are engraved around it, and in the last part of the border, the porch is located on three sides of the border. There is a text in the center of Toranj, “Wa Al-Dhain Abul-Fath Sultan Khalil Bahadur Khaldullah Malika wa Sultana wa Afaz Ali Al-Alamin Yare wa Ehsana” in Nastaliq script, which indicates that this work was commissioned for Sultan Khalil. The most used colors in the work are azure, gold, black, and brown. The second studied work from the contemporary period of Afghanistan is Badragh page by Mohammad Yunus Jami. Mohammad Yunus Jami, calligrapher and gilder of contemporary Afghanistan in 1990 AD. He was born in the city of Herat. His father, who was a scholar and art lover, seeing his son's talent, sent him to the art workshop of master Abdul Jalil Tawana to benefit from the master's knowledge in 2003. This period can be considered as the sound that not only awakened Jami's artistic taste but also excited his soul. By entering the Faculty of Fine Arts of Herat University in 2009 he reached a new approach to art and was particularly influenced by the teachings of master Abdul Naser Swabi. At the end of this course, he made an effort to study and examine the tombstones of the Timurid period. It was as a result of these studies that he got special artistic inspiration. He took the works of the Timurid period as a model for his artistic works. Even though Jami has a taste for deconstruction, he is a follower of the Herat school. As can be seen in the works of the Tabriz style of the Turkmen school, some of the characteristics of the Herat school with a different language have been inherited. At the same time, the artist has created a special style in this area, which has increased its functionality and efficiency with the use of new designs, considering the originality of the traditional foundations. The work of the Badragh page of the contemporary period of Afghanistan, 27 x 42 cm, is made with gold color and handmade Ahar Mahreh Indian paper by Jalil Jokar. In the center of the lower side of the tangerine work in a rectangular frame, it has the overall shape of an altar and there is an inscription in the upper part of it. A border has been worked around these two central roles, and there is a border on the last three sides. The work mostly uses azure, gold, brown, and black colors, and red and turquoise colors are also used in some of its partial decorations. Below is the examination and application of the “Dahan Azhdari” pattern in a step-by-step manner, firstly, the spiral stem, then the general form of the pattern, and finally, its decorations.Research question The main question here is: what are the characteristics of the motif of “Dahan Azhdari” gilding in the Tabriz school and the Turkoman style, and the contemporary period of Afghanistan? What are the similarities and differences between the characteristics of the “Dahan Azhdari” motif in the gilding of both periods?Research MethodologyThe method of this research is of a qualitative type and it was carried out by a comparative method, and collecting information through a documentary (library) method. The sampling of the statistical population of the current research is a case study of two works: one from Tabriz school and the Turkmen style, and the second from the contemporary period of Afghanistan, where the application of the “Dahan Azhdari” motif in the gilding of the two works is discussed. The selection of both samples has been done according to their general similarities with other works of the same period.FindingsIn the results of this research, the estimation of the similar features of “Dahan Azhdari” motifs in the gilding of the Tabriz school and the Turkoman style and the contemporary period of Afghanistan is discussed, which shows the importance of these features due to its continuation in the contemporary period. Distinctive features of Afghanistan's contemporary style, which is considered a kind of innovation, are expressed. In response to the question of the similarities between the motif of the “Dahan Azhdari” in the Tabriz school of the Turkmen style and Afghanistan, it can be acknowledged that: the type of spiral on which the “Dahan Azhdari” is formed in both works is of the Archimedean type. The position of the “Dahan Azhdari” on the Archimedes spiral in both works is placed at the beginning, middle, and end of the spirals in the last three semicircles. In both works, there are three types of motifs: semi-symmetrical, asymmetric, and half motifs. In all three types, the arrangement and location of the repetition and rhythm in the decorations are the same due to the Turkmen style of Tabriz school, and Afghan schools. In the decorations of both works, there are three decorations similar to the curved tooth and band. There is no distinction in the general form of the tooth and curved in both works and it is completely similar to each other. In the section of the stanza, the placement of the stanza at the end of the motif in both works can be mentioned as a commonality. In response to the differences between the motifs of the mouthpiece in the two works, it can be stated that in the contemporary work of Afghanistan, the stem of the Archimedean spiral is wider than in the work of the Turkoman style, and due to the proximity of the five and a half circles, which have less space, the distance between the spirals is also less. The maximum number of semicircles in the contemporary work of Afghanistan is six and in the work of Iran, it is four. The internal sub-spiral in the Afghan work is finer and smaller than the main spiral, but in the Iranian work, the width of both stems is the same. In all three types of semi-symmetric, asymmetric, and semi-" “Dahan Azhdari”, the width of the beginning of the motif in the contemporary work of Afghanistan is more than that of the Turkoman style, and with a rhythm that has a greater acceleration from the narrow to narrow in width, its length is more than the work of the Turkoman style. In the part of tooth decorations in the contemporary Afghan work compared to the the Turkoman work, the overall shape of the “Dahan Azhdari” is smaller and it resembles a part of the curve; Because it is placed at the beginning of the decoration of the curve. The maximum number of curves in the contemporary Afghan work reaches nine; But in Iran, there are five, and the decorative form of the band is relatively independent and separate from the form of the motif in the Iranian work. In the Afghan work, the end of the spiral in the form of a band is placed at the beginning of the motif as a decoration.

One of the important findings during the archeological activities in Siraf port was decorative plasters, the use of which could be seen in the mosque, houses and on the tombstone of Siraf. The decorative richness of these plasters and a few researches related to the effect of Sasanian plastering art on Siraf plasters are among the reasons for selecting this research topic. The main purpose of this study is to identify the decorative types of plant and geometric motifs seen on Siraf plasters and examine their similarities and differences with those from Sasanian plaster motifs from Chal Tarkhan and Ctesiphon. Accordingly, the main questions of the research are: What are the plant and geometric motifs in Siraf influenced by Chal Tarkhan and Ctesiphon plasters and What structural components do they have in similarities and differences? This is a descriptive- analytical research done with a library study and a comparative approach was applied. During the excavations carried out by archaeologists in Siraf, plasters with various designs of plant and geometric motifs were found. Considering that the Siraf port was one of the important ports of the Persian Gulf during the Sasanian period until the early centuries of the advent of Islam, archaeological studies, historical and geographical sources, and available evidence showed that the designs used in Siraf plasters were inspired by Sasanian ones.

The Shiite painting of the afterlife judgment from Tahmasbi's Falnama was written and painted in (967-962 AH) by order of Shah Tahmasb Safavi in Qazvin city. During his reign, Shah Tahmasab tried to stabilize Shiism. The iconologic reading of the Shiite paintings of Tahmasbi's Falnama can refer to the hidden meaning and values of the society of that period. The iconology approach deals with the content of the artwork in the context of a civilization. Erwin Panofsky (1892-1968) presented this approach in a methodical way and expressed three levels of meaning ( Pre - Iconographic Description , Iconographic Analysis , Iconological Interpretation ) for reading the artwork. The main purpose of this research is how to analyze the iconology of the afterlife judgment painting from Tahmasbi's Falnama with Erwin Panofsky's opinions and The secondary goal is to investigate the values of Shah Tahmasab's period, which the painter consciously or unconsciously reflected in the painting . Therefore , it is looking for answers to these questions : With its iconographic reading, the painting was influenced by what historical and religious texts ? What institutionalized values and beliefs of the society are reflected in the afterlife judgment painting ? This research is conducted in a qualitative and comparative - analytical manner , and the method of collecting materials was done in a library manner and with an iconological approach. Finally, it was concluded that due to the importance of establishing Shiism in Qazvin city, in the center of the painting, the role of establishing justice by Imam Ali on the Day of Judgment has been emphasized. Shah Ismail has been transformed in the form of the Prophet and Shah Tahmasab in the form of Hazrat Ali and has been depicted in the expression of succession, righteousness and justice; Also, Shah Tahmasab has used art and the position of a religious-mythical figure in people's belief to implement the laws he established in prohibiting sin and establishing his Shiism and legitimacy. This research is conducted in a qualitative and comparative - analytical manner , and the method of collecting materials was done in a library manner and with an iconological approach. Finally, it was concluded that due to the importance of establishing Shiism in Qazvin city, in the center of the painting, the role of establishing justice by Imam Ali on the Day of Judgment has been emphasized. Shah Ismail has been transformed in the form of the Prophet and Shah Tahmasab in the form of Hazrat Ali and has been depicted in the expression of succession, righteousness and justice; Also, Shah Tahmasab has used art and the position of a religious-mythical figure in people's belief to implement the laws he established in prohibiting sin and establishing his Shiism and legitimacy.

Court portrait paintings in the first Qajar period are mostly known with the faces of the king and courtiers, but part of the paintings of this period are painted images of women dancing and playing music. These images also follow the rules of court portraiture, but the portraiture of women independently has never been the goal of research. This type of painting, unlike court portrait painting, does not have a political or propaganda aspect and is used to decorate palaces with the standards and rules of court portrait painting, and it is painted without the artists' signatures. The purpose of this research is the analytical study of court portrait painting of women in the first Qajar period and its aesthetic criteria. The question in this research is as follows: what are the aesthetic criteria for portraying women in the first Qajar period? What are the similarities and differences with the official portrait painting of the court in this era?

The research method in this research is descriptive and analytical, using library sources and examining examples of portrait paintings of women and museum examples. Women in the first period of Qajar.

The results of this research show that the portrait painting of women in the Qajar period was an important part of the official court portrait painting in this era, the paintings have a decorative and idealistic aspect and have more diverse motifs and decorations. In the rules of aesthetics, idealism, the use of decorations and motifs, exaggeration in the facial expression has something in common with the official portrayal of the king and courtiers. In these paintings, according to the patterns defined in Iranian literature, women are young, beautiful, dancing, playing instruments and performing acrobatic movements.

The Tehran government building is one of the most valuable buildings in Iran during the Qajar period, which was built by order of Nasser al-Din Shah Qajar and was destroyed in the first Pahlavi period by order of Reza Khan. The first aspect of the importance of this issue is the structure of this building and its value in the art of religious mourning in the Qajar period, which determines the transmission of religious traditions and cultures, and its study can be a good ground for studying this building in Qajar period painting. The purpose of this research is to realize the importance of this building, its construction in the Qajar period and Kamal-ol-Molk painting as the only color document left of this building. The question of this research is how this building was built and what are its features? What are the characteristics of Kamal al-Mulk in the painting of government support? The research method in this research is descriptive-analytical and using library resources and the method of analyzing the works is based on the study of visual principles and rules used in the physical characteristics of the work. The results of this study show that this building and its structure was an important event in the Qajar period and one of the most important buildings in the capital that was destroyed in the first Pahlavi period. The color is from the inside of the support, and the few photos that remain are black and white, and Kamal al-Mulk'

In Manichaean paintings, the presence and role of man are very prominent. Manichaeans had special methods and principles for designing human faces; by borrowing from the faces of different lands and nations and integrating them with the imagination of his mind, Manichaean artists have tried to create different faces with different execution methods. Like Manichaean paintings, humans have an active presence in the paintings of early Islam, and the painters continued Manichaean’s way and method of drawing human portraits. Although there have been some changes in the portraiture of early Islam, the overall shape and features of the facial parts and, in some cases, the clothing of the figures, are the same as in the Manichean art style. This study tries to answer these questions: Manichean portraiture is influenced by the faces of which lands and nations, and what are its characteristics? What was the reason for drawing identical faces in Manichaean paintings? What features of the face and clothing of Manichaean paintings can be seen in the paintings of early Islam? The purpose of this study is to explore the characteristics of the face and clothing in Manichaean paintings and examine their similarities and differences with those of the Abbasid (Baghdad School), Samani, Ghaznavid, and Seljuk eras. The present study was done using a library-documentary study with a descriptive-analytical approach and a comparative approach. This study is of great importance because it raises new issues and makes new claims in terms of the stylistics of the art of painting in finding the origin of the art of painting and portraiture in early Islam (the Abbasid (Baghdad School), Samani, Ghaznavid, and Seljuq eras). Hence, this study aims to prove this hypothesis that the painting of early Islam was strongly and significantly influenced by the Manichaean style of portraiture. The results indicated that characteristics such as drawing identical faces, three-side angulation and oval shape of the face, lack of shading and simulating volume, small and elongated eyes, linear and slightly curved eyebrows, a small mouth and lips, a straight or arched nose, and hair arranged on the forehead are among the main characteristics of Manichaean portraiture, which were also used in the portraiture of early Islamic eras.

The nature of narratology in the field of picture, since it has a distinctive appearance compared to other visual areas of the narrative, is clearly different from other fields. The difference between a pictorial narrative, such as a painting or a miniature, and literary or cinematic narratives is in the momentary nature of its presentation. In such a way that there is no time sequence in their narrative. In a general definition, narratology is the study of narrative and narrative structure, as well as the methods that affect human perception when faced with it. The origin of narratology goes back to Aristotle's theories about the science of speech. Nevertheless, it is accepted that modern narratology was initiated by the Russian formalists, especially Vladimir Propp and Mikhail Bakhtin's theories of heteroglossia, dialogism, and chronology, first introduced in his book; The Dialogic Imagination: Four Essays (1975). In general, the narrative has been proposed as a description of two separate events, and theorists have been discussing the form and context of narratology for a long time. Meanwhile, Tahmasbi Shahnameh is one of the most well-known collections of narrative paintings in Iranian culture and art, which has a strong link with the classical literature of Iran and expresses the stories and events of the Shahnameh in the form of pictorial narration.Tahmasabi Shahnameh illustrations are one of the examples of visual reading of the Shahnameh narration in the form of pictures. In this research, it identifies the path of transformation between pictorial text and literary text of Shahnameh through the narratological analysis of one of Tahmasbi Shahnameh miniatures titled "Zahhak: The legend of the Serpent King", and since one of the most used motifs in this illustration is the horse, therefore, this article emphasizes on this motif. In this article, taking into account that the essence of narrative studies is in the field of imagery, which is different from other visual fields of narrative, an attempt has been made to analyze and examine the image of Zahhak Mardosh, emphasizing the role of the horse motif. Zahak Mardosh's painting of Tahmasabi Shahnameh, which belongs to the Safavid period, is one of the examples of visual expression and narrative painting. Due to the abundant use of the role of the horse in this painting, the role of the horse has been emphasized in the analysis of its visual narrative. In this picture, which refers to the tying of "Zahhak" in a cave, it represents the story of "Zahhak: The legend of the Serpent King" in Ferdowsi's Shahnameh from the perspective of visual media. The fact that a story can be told in different media is one of the basic claims of narratology, and in this article, he tries to analyze the visual narrative of this picture by examining two active and responsive elements in this picture. In general, visual narration originates from the assumption that individual images are capable of evoking stories or implying meaning, but for storytelling in the strict narratological sense, a specific path must be determined, which can be achieved by creating semantic bases from two factors: the active and responsive. Therefore, in order to find semantic implications during the analysis of the narrative of visual expression, attention should be paid to this issue. So far, the studies on the visual format of narratives have been limited to studies on the structural composition and coloring and the relationship between the components of the visual elements of the image, and less attention has been paid to the concepts of the semantic implications of the images based on the theories of narrative theory. Considering the few studies in this field, the necessity of research in this case requires that more attention should be paid to the discussion in this field. In this way, the purpose of this article is to study the narrative role of the horse in the painting of "Zahhak: The legend of the Serpent King" by using visual cognitive narrative analysis to identify the two elements of the active and responsive parts and to identify the signs of the pictorial narrative and to find the visual semantic implications of the text of this story in this painting. This article is focused on the different way of expressing the visual meaning of this painting with the literary text of Shahnameh. It should be noted that since one of the most widely used motifs in this painting is the motif of a horse, the motif of a horse is considered one of the important visual elements in relation to the semantic implications in the narration of this story. The nature of this research is of a basic type that has used the descriptive-analytical research method and examines the role of the horse in the painting of "Zahhak: The Legend of Serpent King" in the Tahmasbi Shahnameh. The aim of the research is to identify and analyse images and how they relate to the narrative text in Ferdowsi's Shahnameh. In addition, in the context of the destination, a picture with the same title is considered in the Shahnameh of Shah Tahmasab. Finally, they are compared in two different mediums of Iranian literature and painting. The research questions are: To what extent are the signs of the pictorial narration of the Miniature of "Zahhak: The Legend of the Serpent King" in Tamasabi Shahnameh compatible with the expressive signs of the Shahnameh? How has the meaning transformation in the process of transforming the text of this narration into a picture in the miniature of "Zahhak: The Legend of the Serpent King"? In this way, in the first part of this article, the analysis of the visual narration of the story of "Zahhak: The Legend of the Serpent King" is discussed, and then, the perception of semantic implications from the visual media in this image is examined. In the other part, the structural analysis of the narrative is done, in order to analyze this image, hypothetical lines have been drawn in connection with visual elements and the relationship between these elements has been identified. In this way, two active and responsive parts were defined and the position of each element in these two parts was determined. Therefore, the layers of Shahnameh narrative in this painting are extracted based on two components: active and responsive part. In this way, in the narrative analysis of "Zahhak: The legend of the Serpent King", two active and responsive factors were identified, which are simultaneously with the narration of the story, these elements, which are parts of the trajectory of "Zahhak: The legend of the Serpent King", with the constant variable of the visual expression of the story, which is the role of the horse. They have established a close relationship. In such a way that in the visual reading of the components of the composition of the picture from the painter’s point of view, the main core of the picture is drawn on top of the picture, in a way that dominates the role of other elements. The role of horse motif has also been introduced as an active factor in the story line of this narrative, which in the study of composition and colouring of this motif role, has connected with the responsive elements which are the scenes of the story. Therefore, the role of human elements has been introduced in this picture as a part of the responsive elements. The results show that in the representation of hypothetical vectors in the illustration of "Zahhak: The Legend of the Serpent King", this miniature is divided into two active and responsive parts, which connect the components of the picture horizontally, vertically or diagonally. Therefore, the horse motif as an active factor gives shape to the components in the image. In the end, in extracting the layers of Shahnameh's narrative in pictorial form, in addition to the represented visual elements of the story, attention has also been paid to the type of interactive elements in the form of two active and responsive agents.

Problem Definition: 

The Art of Court Portrait Painting is one of the Main arts of the Qajar Period, Which Continued Until the Period of Muzaffar al-Din Shah. The Focus of the Current Research is the Study of the Art of Court Portrait Painting during the Period of Muzaffar al-Din Shah and the Examination of Various half-length and full-length examples presented by him. Based on this, in this Research, the Main Question of the Current Research is as follows: What are the Structural and Content Characteristics of the Portrait Paintings of Mozaffar al-Din Shah Qajar period?

Knowing the Paintings of the Qajar Period as a Part of Iranian art is one of the Goals of this Research. Research

The Present research is Descriptive-Analytical and has been Carried out Using library Sources and Museum Image Samples.

The Current Research Shows that the Integration of Art and Politics in the Paintings of Mozaffaruddin Shah Qajar period Through the use of Symbols of Power in the Images is a Continuation of the Pictorial Traditions of the Previous periods. The Extensive use of Portrait Painting Throughout the Qajar Period can be Seen as an Attempt to legitimize the Monarchy, Some of These Paintings are Half-Length and Some are Full-Length Portraits, and the Influence of Western Realistic Photography and Nature Can be Seen in the Paintings.

One of the examples of religious painting in the Qajar period is the Ghadirakhm painting in the Astan Museum of Hazrat Masoumeh, which is a lasting painting in the field of religious iconography and transmission of religious traditions in the Qajar period. In this painting, the emphasis on the realistic representation of the Ghadir Kham event has been one of the important roles in the magnificent display of this religious event. In this little-known painting by Haji Farsi, in the Gham Museum, numbered 900, it reveals to us the pictorial tradition of the Ghadir event along with the art of Fajjar's court iconography. The study of this work shows that the artist has tried to show the characteristics of court portraits of kings and their devotion to the Shia religion and the important event of Ghadir by realistically depicting the incident of Ghadir and linking it with Qajar court portrait painting. The main focus of the painting is on the incident of Ghadir, which is seen more than the pictures of the kings. The depiction of the incident of Ghadir has a pictorial concordance with the characteristic of court portrait painting. The purpose of this research is to study the painting of the Ghadir event, which has not been introduced and researched so far, and it deals with the characteristics of court portrait painting in the margin of the work and focusing on the Ghadir event. The main questions of the research are as follows: What are the characteristics of showing the Ghadir event in the center of the image? What was the decorative function of depicting the Qajar kings in the way of iconography on the sidelines of the Ghadir incident? The research method in this scientific research is descriptive-analytical, using library resources and a field study of a museum example of the work in Qom Museum, and the method of analysis is based on the principles and rules of visual art used in painting. The present research is one It analyzes the Ghadir event and its relationship with Qajar painting from religious and meaningful aspects. The results of the present research show that in this painting, in addition to the representation of the important event of Ghadir, in addition to the display of court iconography, the visual characteristics of the work correspond to the characteristics of Qajar court iconography painting and the devotion of the important kings of Iran from the past to the Qajar period to Shiism and Ali. It displays A.

In each period, the storyline of the stunningly illustrated edition of Shahnameh, involving sociological meaning, has been illustrated according to the different social perspectives and the personal style of artist. An analysis of composition and the visual concept of the motifs helps identify the the style and sociological features of each artist's painting.In order to limit the scope of the study, Rakhesh motif is selected, and the purpose of this research is to discover the features of visual structure to examine the composition and visual structure of the Rakhsh motif on emphasizing the paintings of the Rostam's seven trials to recognize social perspectives and the personal style of artist. The main research questions are: How is these paintings unique in their composition, lins, coloring of Rakhesh in the paintings of the Rostam's seven trials in Tahmasbi's Shahnameh, and what are the similarities and differences in the different social perspectives of artists?In the present study, the research method is descriptive-analytical and using library resources. The results of this study show that the Rakhsh as the main motif in these paintings is different in terms of shape and decoration, and also, has similarities. Artists have tried to combine this motif in expressing the visual theme of Rostam's seven trials. It indicates the symbolic aspect of Rakhsh in the social perspectives of the artists and indicate a conceptual connection with the Shahnameh literature and other visual elements in the paintings.

Iranian painting has deep roots with religious beliefs, has been greatly influenced by mysticism and is reflected in painting.Iranian painting has a beauty in which it has a special spiritual purity and elegance. In the Islamic period, due to the proximity of artists to mystics, a great change took place in the formation of the content of works of art. In the formation and development of Islamic arts with mystical themes, Iranian mystics and Sufi and Shiite sects played a major role. From the Timurid period , manuscripts were not just expressions of text; The artists have cleverly made references to some social and political issues in their works,to the best of their ability. Since Iranian art has deep roots with religious beliefs, it has been greatly influenced by mysticism and has been reflected in painting and can be seen in the works of two famous artists. The role of Sufis and their actions is one of the commonalities of the paintings of two artists, Behzad (painter of Herat school) and Sultan Mohammad (painter of Safavid school).These paintings are saturated with mystery.In the study of paintings,considering the foundation of Behzad's realism, and loyalty of Sultan Mohammad to this subject,the paintings are studied comparatively from the perspective of this world following the rituals and ceremonies that show Sufi deeds.  The similarity of these two images of artists in drawing Sufis reinforces the suspicion that Sultan Mohammad considered the image of Behzad's dervishes and drew a different image with his own point of view. The painters were faithful to Sufi customs in order to narrate the image of the Sufis, and in depicting postures and gestures, they painted them in dervishes' clothes with long sleeves. Sultan Mohammad has been faithful to Behzad's painting of Sufis, but due to the fusion of Sufism and politics in the Safavid era and the distance of Sufis from the world of mysticism, the hidden comedy of Sultan Muhammad in opposition to Sufism has been formed. The purpose of this study is a comparative comparison of the works of these two artists with a view to Sufism in Iranian painting.The question of this research is what visual changes are seen in Sufi painting with a short time interval? And what are the visual similarities and differences between these two paintings? The research method in this research is historical-comparative and uses library sources to compare the two images of Dervishes and their meaning.The results of this study show that Sultan Mohammad was faithful to Behzad's painting in depicting Sufis, but due to the integration of Sufism and politics in the Safavid era and the distance of Sufis from the world of mysticism, a humorous aspect has been added to the work.The results of this study show that Sultan Mohammad was faithful to Behzad's painting in depicting Sufis, but due to the integration of Sufism and politics in the Safavid era and the distance of Sufis from the world of mysticism,a humorous aspect has been added to the work.

Inanimate nature is one of the subjects that can be seen in paintings in the first Qajar period, but it has been less seen in the iconography of the court of formal art of this period. Inanimate nature is seen as an independent subject in the margins of early Qajar paintings. This painting is decorative and can be seen both independently and in combination with female iconography. In the painting of inanimate nature, colorful food and fruits are depicted on colorful tablecloths, and sometimes animals such as cats, rabbits and partridges are seen next to the tablecloth. The purpose of this study is to find out the characteristics of inanimate nature painting in the first Qajar period and its visual features in combination with other subjects in this period. Question: What visual features does inanimate nature painting have in the art of the first Qajar period? How to work independently and in combination with other elements? The research method in this research is descriptive-analytical and using library resources and reviewing samples of paintings of the first Qajar period and the method of analysis is based on the study of visual principles and rules used in the art of inanimate nature in painting. The results of this research show that the inanimate nature in the paintings of this period has been worked both independently, which is a limited number with specific features, and has been combined with sculpture, especially of women and animals.

The horse is one of the most important components of the heroic elements in Polo game scenes in Shahnameh, which has been highly regarded by artists. Thus, the horse motif is at the center of the polo game illustration. This article focuses on content analysis of visual features of the horse motif and visual factors affecting Polo game illustration with emphasis on three miniatures of Tahmasebi Shahnameh. Therefore, in the present study, using the research method of descriptive-analytical and library resources, it answers the question here: What techniques did artists use to create Polo Game illustrations?
Based on research results, in Polo Game illustrations, a clear representation of the artist's visual output has been applied to the narration of Shahnameh with a proper and organized mood. Hence, the horse motif, which plays a key role in combining the visual elements of polo game scenes, loyalty at the same time to the text, has a special place, and the arrangement and composition of the visual elements of the miniatures are depicted based on the centrality of this motif.

Marriage ceremonies and rituals, courtship ceremony, dowry, yeshiva, hannabandan and Iranian marriage customs in the manuscript of Qajar period in the sixth Majlis painting which is studied in Bonams collection.The purpose of this research is to find out the Iranian wedding series in the six mentioned paintings and to know about the marriage ceremony in this era and its reflection in the painting with visual characteristics of this era. The question of the research is, what ceremonies and stages did marriage have in the Iranian culture of the Qajar period and how is it depicted in the discussed paintings? How is its reflection depicted in the six Majlis of this research? What visual characteristics can be seen in these Qajar manuscript paintings with the theme of marriage? The research method in this research is descriptive-analytical and by using library sources and examining the samples of Bonams auction paintings, the analysis and method of analysis of the works is based on written sources about Iranian marriage and its ceremonies and the reflection of this culture with the visual principles and rules used in the painting of the Qajar era.The results of this research show that the traditional Iranian marriage in the Qajar period had various customs and ceremonies from the beginning to the end, and this ceremony is depicted in this rare copy of the Qajar painting and is decorated with poems by Hafez and Saadi related to the subject of the picture.

Manichaean paintings are the visual language of the Manichaean religion, every Manichaean painting has mystical themes depicted by human figures. Human roles that are classified by the Manichaeans with different titles and positions. The arrangement and placement of each human body on the drawing page is displayed based on their position and rank in different scales and modes. Examining and recognizing human figures in Manichaean paintings can help identify the structural features of this valuable art because composition, rhythm balance, movement and geometry, which are important elements of visual structures, are tied to human figures in Manichaean paintings. The aim of this study is to find out the structural features of Manichaean paintings. The questions of this research are as follows: 1. What elements owe the structure of Manichaean paintings? 2. What are the features of Manichaean paintings in structural and composition? Research method in this descriptive_ analytical study, library resources have been studied and samples of Manichaean paintings on paper have been reviewed. The method of analyzing the works is based on the study of the visual principles and rules used in the appearance features of Manichaean painting. The results of this study show that human elements play a major role in the structure of Manichaean paintings and usually change based on the position of the scale and the sitting position of the figures. The size and placement of each body in the sections of each page of the drawing is not based on the principles and rules of perspective and images do not have depth, but nevertheless the drawings have a special balance and coordination and have a desirable visual weight.

Decoration in Islamic art and architecture has been one of the main pillars in archiecture and has always been one of the most importan aspects of art throughout history. These decorations in mosques and religious places are glorious, beautiful and exaggerated. One of these examples is the tomb of Khajeh Abdullah Ansari in Herat and belongs to the Timurid period. The decorations of this building include tiling, brickwork, bedding, stonework and caving. In this articale, the authors try to introduce the design, colors and tiles of the northern house of prayer and the mirror house of the tomb of Khaje Abdullah ansari are mentioned and the characteristics of this place are mentioned, and apply the decorations of the prayer house and the mirror house and answer these questions: What are the similarities and difference between the designs and designs of the house mirror in terms of colors and decorations and the prayer house of the Khajeh Abdullah Ansari? The research is historical – comparative and the method of collection information is library and preparing images in the field. At the end of this study, it is found that these two places in the tomb of Khajeh Abdulla Ansari in Herat, Afghanistan, have similarities nd differennces in terms of color scheme of decoration, shape of geometric and motifs.

The physical similarity between the Menhirs from the Iron Age II (586–1000 BC) in the Shaharyeri historical site in Meshginshahr, Ardabil province, and Saint-Sernin Aveyron in the south of France is a significant issue that has not been addressed thus far. This research seeks to study the similarities between these Menhirs, which originated from similar burial rituals commonly held in these two areas.

The main objective is to study the physical similarity between the two Menhirs at the historical sites of Shaharyeri and Saint-Sernin Aveyron. The sub-goal is to compare the similarities and differences between these Menhirs, recognize their nature, and study the culture and burial ritual of the ancient Turks (Ushaghalari School) in the west of Iran. Therefore, this study draws the researchers’ attention to the other aspects of art.

This study employed the comparative-historical method. All documents were collected through library research and Shaharyeri’s pictures were compiled by the authors through field research.

The results of this study show that the similarities between Shaharyeri and Saint-Sernin Aveyron’s Menhirs are due to the Bicameral Mind, or the evolution of neural structures underlying human perception. So, the human mind evolved through mental inspiration and attained a common mental consciousness, and these same thoughts and awareness have led to the emergence of similar artistic works across the world. Despite quite a distance, these artworks have similarities in general and differences in details.

A scale is a measuring instrument that traditionally consists of one or two cups. Weights that are made based on weight units, both heavy and hot, were used to measure weight. Scales are one of the oldest measuring instruments. Qapani scales were very important in the Qajar period and were used in different sizes and scales for different applications. One of the arts of this period is to place the cap in lacquered boxes. Five boxes - Lacquer painted lacquer in the Qajar period at the Bonhams auction in England are the subject of this research. Studying and recognizing this box - painted scales based on scattered reports raises the following questions: What was the use of these scales with lacquered painted boxes? What are the designs of these boxes? The purpose of this study is to study and introduce this box - Qapan scales that have not been mentioned in domestic and foreign studies. The method of this research is descriptive-analytical and the method of collecting information is library. In search of an answer, it is determined: Weight and measurement in the box - Qapan in the form of a box is a branch of the science of measuring and weighing different objects, which is placed in a small size and in a box for ease of use, and for the beauty around Inside it is painted with various subjects. The quality of the images of these paintings with subjects such as Fath Ali Shah and his sons and the painting of the whole box shows that it was not for normal use and was for practical use in the court. The scale is a tool for weighing the mass of objects and based on two-balance. . Balance or scales were also widely used in the Qajar period. These scales were much more complex than ordinary and simple types. These scales had a lever, two cups and a hand and a number of weights. These scales have weights and are used for small objects. Its soles are brass and steel and have weights from 7 to 12 pieces. A study of the five Qapan boxes introduced at the Bonhams Auction in the United Kingdom shows that these boxes are engraved with a variety of themes, including the king and courtiers, the old man and the prince, Mary and Christ, and the theme of flowers, plants, and ornaments, and at the same time integrate with The visual features of Qajar painting are of the highest quality. On one of the boxes, gold paint has been used and one of the boxes has an inscription with Ferdowsi poems. Two weights of the scales are written by Hassan and Hashemi, and it is not clear whether the box has a name or not. At Bonhams auction, the quality of the box-caps is mentioned as high, courtly and very exquisite. The study of these boxes shows that these boxes were practical and were portable for weighing with weights in different scales.

During the Qajar period, one of the brilliant artists was Mahmoud Khan, the king of poets, who was one of the prominent masters in painting urban landscapes. His works have different backgrounds considering his time and he is known as one of the pioneers of modern painting in Iran. Mindfulness, lighting, viewing angle, geometric connection between levels are the prominent features of his paintings. The purpose of this article is conducting an analytical study of the effect of photography on the landscapes by Mahmoud Khan Malek al-Sho'ra. The general questions in this article are as follows: 1- What are the visual features of landscapes in the works of Mahmoud Khan Malek al-Sho'ra? 2- Were the works of Mahmoud Khan Malek al-Sho'ra influenced by photography? In which sections are these influences evident? 3- The influence of Western and Iranian painting can be seen in which parts and visual elements of Mahmoud Khan Malek al-Sho'ra's works? The content of the present study is qualitative and the method of collecting information is library-based, and analyzing the landscape works of Mahmoud Khan. This research has been done by descriptive-analytical method. The importance of urban landscapes in the works of Mahmoud Khan during the Qajar period is due to the fact that he shows the new Tehran and new buildings in Tehran during the Qajar period, and his works document the buildings and landscapes of Tehran in this period. The results of this study show that Mahmoud Khan is one of the leading artists in the field of modern painting in Qajar era Iran. He shows a different type of landscape painting in the Qajar period with the influence of photography in his paintings. The important point in Mahmoud Khan's architectural paintings is the absence of human beings, kings and courtiers, and only dealing with buildings and landscapes. These paintings show the location of buildings and structures, their composition and the combination of Iranian and European art. In the backgrounds of Mahmoud Khan's works, the paintings and drawings of the earlier Qajar period can be seen in fine and segregated geometric surfaces. Mahmoud Khan's paintings of buildings show his scientific and mathematical mind as well as his knowledge of geometry and perspective. In the second half of the Qajar period, he is the point of balance between Iranian and European art. His inquisitive mind is reflected in his precise naturalization, which is evident in the provided pictures, as well as in his European view in paintings and perspective, seen from above, and punctuation. In his paintings, high skill in perspective, in-depth and accurate representation and high quality, soft and bright light, clear and correct perspective can be seen by the audience. He paints the Qajar era Tehran, which is moving towards modernization. Mahmoud Khan was aware of the principles and rules of landscape painting, form and use, one-point and two-point perspective, and he used them masterfully in his works. His knowledge of mathematics, model making of buildings, has certainly played an important role in the artist's precise artistic vision and its reflection in painting. His paintings have a photographic style and a different vision, creative mind, diversity and modernity in painting, and poetic naturalization which show his eye-catching and poetic choice of bright colors. His landscape paintings have the power of innovation, elegance, skill, and boldness in painting, that consciously use the style of realism and the combination of Iranian and European art as well as the evolution of aesthetics. He makes a difference in Qajar painting, which shows his artistic genius and philosophical vision. Iranian spirit, perspective and the effects of Westernism, and the influence of Iranian painting can be seen in his paintings and works of other painters in this period of gardens and the palaces that depicted royalty like the work of Yahya Ghaffari, son of Sani al-Mulk and Abu Turab Ghaffari, but none of them had the power and skill of Mahmud Khan, and none of them worked with watercolor technique so brilliantly and beautifully with such a great process. Most of their works were designed and produced in lithography, so the colorful nature of Mahmud Khan's watercolor works and his knowledge of color set him apart from the others. It distinguishes him from his generation. The most important part of his artistic activity is magical lighting, subtle and rich processes and spots, and original and brilliant painting. At a time when artists were mostly courtiers and worked in sculpture and portraiture, he turned to inanimate nature, landscape painting and design of the interior and exterior of buildings, and chose a theme as the main subject of his painting. While other artists had been the fringes of their craft, he achieved a personal and different style in the art of watercolor painting that is not seen in the paintings of other artists. His works, while being influenced by Iranian art, have a different feature, and that is generalization versus partiality in Iranian art.

Textile industry reached great prosperity during Sassanid Empire. Sassanid fabrics were appreciated due to the quality and unique designs. Decorative patterns of Sassanid textiles are contained geometric, plant, human and animal motifs and among all of them, animal motifs are the most notable ones. The present study investigates the expressive, mythical and visual aspects of animal motifs of Sassanid fabrics, thereby answering these questions: How are bird and quadruped motifs illustrated on fabrics? What is the color of these motifs? And what are the other ornaments that used on textiles? The study is done by analytical-descriptive method by historical approach and the information is accumulated by means of library method. The authors attempted to identify and classify animal motifs of remained fabrics and inspect the importance of the existence of these ornaments. In this article, nine images of limited samples of Sassanid fabrics have been analyzed in terms of visual and cultural-roots features. In general, the results define that, the animal motifs of Sassanid design included quadrupeds and birds which are drawn by simple lines and geometrical shapes. Overall, artists tend to use animals which had spiritual and mythical massages. Quadruped patterns include ram, horse, lion and hog. Additionally, bird patterns contain eagle, peacock, rooster and duck. We can see both figurative and abstract motifs with primarily colors which have been mostly used. The drawings have been done by geometric and delicate lines, also artists used plant and geometrical shapes to design animals' bodies.

During the Qajar period, one of the influential painters was Mirza Ali Akbar Khan Natanzi, known as Mazin al-Dawlah, a resident of Kashan. Mazin al-Dawlah, a student of the great artist of the Unger era, was educated at Paris School of Fine Arts. Due to Mazin al-Dawlah’s significant role and teaching in Dar al-Fonun as well as his upbringing of students such as Mirza Abutrab Ghaffari, Ismail Jalayer, Musur al-Molk and Kamal al-Mulk, his life and works are worth discussing. To this end, first the teaching of academic painting in Dar al-Fonun in the Qajar era and Mazin al-Dawlah’s role are examined. The purpose of this study is to find out the role of Mirza Ali Akbar Khan Mazin al-Dawla's teaching in Dar al-Fonun as well as the mentioned artists. The research question is: what was the role of Mirza Ali Akbar Khan Mazin al-Dawlah as a teacher and painter in the Dar al-Fonun school? Research deploys a descriptive-analytical method involving library resources and museum samples. The results of this study show that the Dar al-Fonun school and the teaching of painting have played an important role in the development of Qajar art, and Mazin al-Dawla- as a manager, teacher, and talented artist- has proved so important to this growth. He, as a master in the field of landscape painting and artistry, has been influenced by European academic art and accordingly trained a brilliant generation of Iranian painters. He established the Western style of academic painting in Iran in the Qajar era. His teaching and management experience in Dar al-Fonun as well as his training of the brilliant generation of painters along with his teaching of French and of music have made this artist a legendary figure in the Qajar period that is unrepeatable

Dervish curtain is a painting that deals with the events of Ashura and is different from a coffee house painting. The Dervish curtains were very large and were prepared for the official mourning of the Shah. One of the best examples of a dervish curtain is in the Astan Quds Razavi Museum. This painting has two parts and it is mentioned as the biggest curtain painting in Iran, and has not been researched yet. The right part of the painting has very accurate coloring, composition and design features, but the left part of the painting was later added and has paintings, engraving and coloring of lower quality and visual value. This painting has been worked on in the old part based on the official Qajar painting criteria, viewing angle, symbolic language, axial movement of the figures, geometric ratios, image realism, multifaceted view, coloring, humanistic elements, animal and plant elements, which are not seen in the subsequently added new part. The assumption of this research is the study of the structural elements and visual features of this painting and the comparison of both the old and the new parts in the painting. In this regard, the present study seeks to answer these two basic questions of what visual features and structural elements have been used in the Great Dervish Curtain? What is the difference between structural and visual features in the old and the new parts of the work? The content of the present study is qualitative and based on the analysis of structural elements in painting. This painting is based on descriptive-analytical methodology and library data collection method. The results indicate that the main and old part of the painting was worked by court painters and has the feature of Qajar official figurative painting, while the other part is newer, and having been later added to the work, displays a lower image quality compared to the older part.The qualities are lower. Analysis and evaluation of visual elements and structural features, including design, coloring, geometry, perspective, and the viewing angle of this painting show that it has a different structure in the old and the new sections, and the old section has a higher image quality. These include the focus point of the image, which in the old part has a movement mode in the whole image, but in the new part is unclear. Analytical geometry in the old part of the image is in the form of three main triangles based on the main figures of the image, but in the new part there is no specific geometry. The center of the image in the old part is Imam Hussein's blessed head, but in the new part, a focal point is not seen in the picture. In the old part, each narration is separated by a Qajar angel, but in the new part, this separation is not seen in the picture, however it is seen very clumsily with a few flowers, which are clear from under the color of the painting due to the erasure of the painting. In the old part, the view is multifaceted, but in the new part, the view can be seen from the side. In the old part, the color of the image is very clear, bright, symbolic and epic, while in the new part, it is dark and used inadvertently without distance and quality. The design of human figures, the composition and the large volume of figures in the old part of the image are brilliant and unique, but in the new part, these figures are very scattered, without a clear composition. The design of the horse is very strong in the old part, but in the new part, it is very common. In the old part of the angels, the clothes of the angels, and the decorations of the clothes depict the effects of the court painting of the early Qajar period, but in the old part, these rules do not exist. Before painting, the second painter probably "carved parts of the painting, added elements, such as flowers, to the picture, and tried to connect both parts. The inscription is around the picture with the poems of Mohtasham Kashani about the event of Karbala has been coordinated and the writings of Mohtasham's calligraphy are clear from the picture due to the erasure of the color. This is one of the reasons why this part of the painting was later added. Both parts of the painting were characterized by a symbolic language, viewing angle, axial movement of the figures, geometric ratios, visual realism, multifaceted vision, coloring, human, animal, and plant elements, while the old part has a higher quality and the new section, which was later added to the original painting, is of a lower quality.