جستجوی مقالات مرتبط با کلیدواژه "تزیینات" در نشریات گروه "هنر و معماری"

Problem statement: 

After the establishment of industrial factories in the first Pahlavi era, the new noble social class that owned factories was added to the traditional noble families (i.e., tradesmen, courtiers, landlords, and government relatives) of Isfahan. Considering the developments of that era and the new demands of factory owners, tradesmen, and government relatives, a new pavilion-style architecture appeared in Isfahan’s noble houses, which are either destroyed or exposed to destruction, as they have no written documents. 

This study aimed to analyze and document Isfahan’s contemporary residential-architectural heritage based on house typologies.

The study method fell under historical-interpretive research and was based on field, documentary, and oral findings. For this, the typology of Isfahan’s pavilion-style houses in the first Pahlavi era was based on a combination of mass-space and ground deployment, space-entry elements syntax, and main and secondary axes of the building, façade, and decorations.

According to the findings of this study, pavilion-style houses in Isfahan during the first Pahlavi era are classified into three types: first, a space organized by a stairway (mostly two-way) in the center of the plan, with other spatial elements formed on either side; second, a space organized by a hall located in the center, with other spatial elements laid next to it; and third, service spaces on the ground floor separated by a corridor from other spaces. Here, the element of the corridor is located in the center of the plan, with other elements formed next to it. Findings also suggest that in the interior spaces of the studied houses, volume, diversity, and decorations have reduced compared to the Qajar era; however, the facades facing the courtyards and passageways include more decorations (brick, tile, and metalwork), with the decorations being more geometrically and realistically themed. Also, one can see the traditional materials of Isfahan used in those structures, as flat ceilings with wooden beams have replaced traditional arches.

This research has tried to recognize the designs and motifs used in windcatchers and openings of the old texture of Bastak in an innovative approach in order to show how the architects and residents of old buildings are able to use and combine different geometric patterns into beautiful formats, as a legacy left from their ancestors. The purpose of the present research is to identify, analyze, and investigate the frequency of decorative forms used in natural ventilation elements (windcatchers and openings) among the local buildings of Bastak. The data were collected through library and field studies (field observations and imaging) in a descriptive-analytical way with a non-random (targeted) sampling and interviews with 97 users of traditional buildings. These buildings mostly dated back to more than seventy years ago. The results obtained from this research showed that the type of decorative forms used among the elements of natural ventilation depended on the taste, choice, and financial status of home owners. Such naturalistic decorations (including geometric patterns, plants, and animal motifs) are generally located in different places. In windcatchers, they are in space between the highest part of the indentation of the mouth, the highest part of the mouth of the windcatchers entrance, the stem, and the crown. In openings, these patterns are seen in a mesh pattern with different patterns (geometric and plant ones), above the windows, and above doors. The execution on the openings of these windows was used as a symbol of native architecture in traditional buildings. Today, through understanding the aesthetic values of these patterns, architects and urban planners can use them in their designs as a part of urban fabric along with new technologies.

Safi al-Din Abu al-Fatah Ishaq, nicknamed "Shams al-Din" and known as "Sheikh Safi", is a mystic and poet of the seventh century AH. He is one of the famous mystics of Al-Jaito and Abu Saeed Ilkhani eras. He was born in 650 AH in a village called Kalkhoran (Kahrlan) near Ardabil. During his life, he was accompanied by great and knowledgeable people of that time, including Maulana Jalaluddin Rumi, Saadi Shirazi and others. After his death, the tomb of Sheikh Safi al-Din Ardabili was established by order of his son. A beautiful and precious box was also made by his order. This box is located under the dome of Allah (God) and in the mausoleum of Sheikh Safi al-Din, where it was his home and monastery. The engraving used on the box seems very attractive because of type of ornament using different techniques. The present study attempts to decipher geometric knots on the box with a different perspective. The purpose of this research is the structural analysis of geometric knots and the expression of transfer methods as well as the introduction of this type of knots and patterns to those interested in this type of art work. This research seeks to discover what salient features of the geometric knots used on this box. Furthermore, the current study deals with how these knots are drawn and what kind of drawing method they followed. The data of this research have been in the form of library-field (box photography). It is noteworthy that the analysis of the work has been done manually and software (Corel and Photoshop). The research method is descriptive-analytical, which is a qualitative and technical analysis. The results of this study show that the main knot of "Dah tond"(ten sharp) on this box has been implemented in a rotating manner and has been multiplied by a quarter. The method of being rotating and also the type of reproduction caused a series of other instruments such as termites (dolls), pubs, crackers, seeds (rhombuses), six loose, eight suns, six bands, etc., depending on the type of space as well as the design, is added to this knot in the final composition .

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 repository of the codices preserved in Sheikh Ahmad-e Jami Mausoleum Complex in Torbat-e Jam County have yet neither been introduced nor studied. The objective of the present work is to describe and conduct a visual analysis of the ornamentations of five different Qurans selected from the aforementioned compilation from the Seljuk era to the Qajar era. The region of Jam, due to the spiritual presence of Sheikh Ahmad-e Jami, has constantly been considered of an enormously elevated status by the contemporaneous rulers in comparison to other states and counties of Khurasan. Buildings were constructed to commemorate and mark the resting place of Sheikh Ahmad-e Jami, and thus Sheikh Ahmad-e Jami Mausoleum Complex expanded through time to reach its present glory and magnificence. It was deemed as a necessity to conduct this research in order to introduce the valueless Quranic manuscripts and further elaborate on the masterpieces which were kept in the collection of Sheikh Ahmad-e Jami Mausoleum Complex, as well as to understand the course of the developments of the ornamental elements and to provide a visual aesthetic analysis of these Quranic manuscripts from the Seljuk to the Qajar era. Ergo, one may come to propose the following questions. Firstly, what are book design, ornamental elements, and scripts which had been utilized in these Qurans throughout the period of the 6th to 14th century AH? And, secondly, what are the points of similarity and difference between the arrays?The research method was per se descriptive and analytical. And, the methods of data collection included library research as well as documentary-based research, especially focusing upon representations of field study such as interview and photography. Statistical population of this research includes forty-one codices ranging from the Seljuk era to the Qajar era. The sampling in this case is of purposeful kind; and, from amongst the prime samples and instances of each era, one codex has been selected to be under scrutiny and study.The findings of the present work have shown that ornamentations and arrays of the foretold Qurans have been elucidated and demonstrated in the form of tabulation, heading of Surah, ornamental loop (Shamseh cornice (Sharafeh, gilding, interlinear gilding, symbol of the division of verse, symbol of ten verses (Ashar) and symbol of five verses (Khams). The scripts which had been used do also have an intriguing variety and diversity with regard to their position and status. Seljuk and Il-khanate Qurans have been without tabulation, and during the next eras, they had been tabulated with yellow, black and eventually azure colors. In the initial periods, the heading of Surah was tangled and its main color was gold; whilst in the next periods, the ornamentations became more organized and the main color turned into azure. In the Seljuk era, the heading of Surah was written in golden Muharrar script; and, in the upcoming Qurans, it turned into Venetian ceruse, and then was based upon gilding. From Qurans that belonged to the Il-khanate era onwards, ornamental loops and cornices were more represented, getting gold-covered more coherently and consistently in the Safavid era as well as the Qajar era.Ornamental techniques, gilding, and crenulation are more applicable compared to interlinear gilding and Girih tiles. Symbol of division of verse, symbol of the ten verses (Ashar) and symbol of five verses (Khams) have had significant simplicity in Qurans of the Seljuk, Safavid and the Qajar eras, whilst these very symbols have been depicted more delicately and intricately in Qurans of the Il-khanate and the Timurid eras. Ornamental Kufic and Thuluth scripts for heading of Surah, and Rehyan and Thuluth scripts for the body of Quran were applicable and practical until the Safavid era; and, from then on, Naskh script became more prevalent. The translation of verses was initially written in Naskh script and then turned into Nastaʿlīq script as in the Qajar era. Catalogues and/or identifications of most of the codices have been reviewed and recognized by the authors; moreover, multifarious problems with regard to the type of the script, ornamentation and the historical period of the Qurans have as well been revised, reformed and recovered.

Tombs are important elements in the culture of Islamic Iran which are dispersed in throughout of Iran that by studying the architectural structure as well as the artistic and decorative elements used in them, a lot of knowledge can be obtained. The existence of Shiite governments and the migration of Sadat and Alawids into the plateau of Iran, has been one of the reasons for the expansion of such buildings. With the death or martyrdom of these people, those places became the focal point for the growth of Shiite thought as well as the uprising or uprisings for justice. Lavasanat and Rudbar Ghasran area, which is located in the north of present-day Tehran, has long been in direct contact with Rey area. Today, the metropolis of Tehran connects the two regions in the north and south. The present study is a comparison between some buildings in Lavasanat and Rudbar Qasran areas, and Rey area, which has been studied in terms of antiquity, type of materials, decorations and architectural styles. Data were collected by field and documentary methods and analyzes were presented in a descriptive - analytical method. According to studies, tower tombs can be seen in both areas, which are polygonal, ridged and multilateral. The plan, materials and shape of this tomb tower have similarities. Their materials are mainly carcass stone with gypsum mortar and mortar, and brickwork has also been used.The decorations of the building in the examples of Rey region, in the outer part of the building are in the form of arched and pointed arches along with the brick decorations in the corners. Also in Lavasan area, these decorations are in the form of arched and pointed arches. There are some old and historic caskets with the names of artists who have worked in both areas, and the name of the even kings, shows the continued importance and respect of these tombs as well as the close relationship of artists in both regions.

Mosques were established after Islam in different cities and different periods. In general, post-Islamic Iranian architectural methodology could be categorized under four styles, including Khorāssāni, Rāzi, Āzari and Isfahāni. The heyday of mosques construction in Iran occurred in the Rāzi style. This style reached its peak during the Seljuk period in the central plateau of Iran. In the meantime, the names of Ardestān and Zavāreh mosques besides the Isfahan Grand Mosque are among the most important buildings constructed in this style and period. A significant common element in these two mosques and the reason for choosing the two is that their architect as well as their geographical area was the same, and the year of construction of both buildings was close to each other. In this research, the decorative features of these two mosques have been examined, and by enumerating the features of Rāzi and Āzari styles, the relationship between the elements of the two mosques in these styles is examined. The research is based on descriptive-analytical methodology and the method of data collection based on library sources and field studies of the buildings. Results show that the decorative elements of Ardestān Mosque share more affinities with the Seljuk period and the Rāzi style, while the decorative elements of Zavāreh Mosque do with the Ilkhanid era and the Āzari style. Their common elements are mostly laid in their structures and their differences are more evident in the field of decorations.

Decorations have always been an integral part of Iranian architecture, which in some historical periods has been considered insignificant and sometimes very extreme in its use. Architectural decorations in the Qajar period have changed a lot due to the connection of this period with the West and imitation and influence of Western art, and many architects travel to Europe and Western countries in this period. For this reason, the Qajar period is considered the beginning of modernity in Iran. Western art and architecture in this period is slowly penetrating into the Islamic architecture of the Qajar period and this influence is gradually increasing. The purpose of this study is to identify the ornaments and additional elements to the Islamic architecture of Iran. The research method in this research was analytical and descriptive and the data collection method was documentary and library. The results show that in this period, elements such as gable roof, columns at the entrance, intricate bedding, mirror work, etc. have been added to the Islamic architecture of the Qajar period. The period is yellow and orange. The decorations in this period have decreased compared to the previous periods, especially the Safavid period, and in most of the buildings of this period, all types of decorations can be seen together.

The transition from a traditional house to a contemporary apartment has affected all aspects of the house at the levels of body, function, structure, meaning, and living culture. The role of ornamentation in the body of the house has also undergone these changes, and today it is added to the architectural work as an additional factor and with the aim of beauty; However, due to the principle of architecture, avoidance of futility and pay attention to proportion in traditional architecture, In addition to the aesthetic aspects, ornamentation had functional, structural, semantic and cultural capabilities. It was related to their context on both internal and external levels. This multi-layered connection, while avoiding futility and turning ornaments into applied art, provided a platform for timeless erosion. Therefore, there is a need for more detailed studies on these multiple capabilities and a review of the place of ornamentation in today's architecture. This study aims to provide a model for analyzing the position of ornamentation in the Iranian house, leading to a more detailed search at various levels of this concept. The main question is, what are the internal components of ornaments as an external manifestation, and how do its multiple capabilities complement each other at different levels? This qualitative research has presented a proposed model with the method of logical reasoning and based on documentary studies, and its results show that several internal factors influence ornaments as an aesthetic exterior; their inner capabilities are intensified at the levels of function, structure, meaning and culture, and with four components of the type of composition, necessity, communication with the carrier and reference state can be controlled in three scales: micro (communication with itself), medium (communication with the carrier) and macro (communication with the context). Therefore, this attitude towards ornamentation conveys a deeper content while supporting the external and aesthetic appearance. The passage of time does not cause erosion of the content of the work but provides its increasing value and immortality, which is one of the main reasons why the work is not temporary.

 Decoration is the most valuable part of Islamic Art. Decoration can reflect the religious beliefs and manifestations of culture and art of the Islamic period and with all the ups and downs it has had over the centuries, it has been able to expand significantly and leave lasting works through unique and unified expressions in different climates. Among all kinds of architectural decorations, tiling and painting are the most attractive among Muslim architects and are considered the most important and effective factors in the beauty and grandeur of Islamic buildings.

The main purpose of this study is to examine the decorative patterns of the two ‘Kabud’ (blue) mosques of ‘Mazar-e-Sharif’ and ‘Sultan Ahmed’. The unique decorations of the blue mosques are compared to clarify the similar and dissimilar items in the decorative designs used on the tiles, which are inspired by nature and ethnic and regional influences and are derived from the art of ancient Iran and Islamic Iran.

The results were obtained by comparing the decorative patterns of the two mentioned mosques using the descriptive and analytical methods with the help of the tables, written documents, and data analysis.

​​The origin of decorative patterns in the two buildings is rooted in Iran, but each region has used its own mechanism and creativity to localize the designs. The tiling decorations used in the two blue mosques of ‘Sultan Ahmed’ and ‘Mazar-e-Sharif’ are simple, with emphasis on the commands of Islam, and are abstracted from nature in a vegetal, geometric and symbolic manner. Along with beautification, they have meanings and show order, multiplicity, and unity, and add to the coherence of the spiritual atmosphere of the environment.

Problem statement:

 Kufic inscriptions of Islamic architecture are considered the ancient era masterpieces of Iran and the Islamic world. Some of the Caravanseries in Razavi Khorasan province are counted among superb monuments in terms of decorations and architecture. However, the antiquity of some of them has not yet been well analyzed. Monumental inscriptions are often the most outstanding architectural elements that can direct the researchers through their endeavors from various viewpoints. Therefore, we deemed it critical to review the inscriptions under the study in terms of the scripts, objectives, various calligraphy types, etc., and determine their impacts on the identity of the monuments of interest.

This study tries to comparatively review the inscriptions, scan the obscure ones, and correct the erroneous scanning of some others. In this spirit, the authors focused their efforts on presenting advice on the recreation of the inscriptions found at Robat (a small fortification built along a frontier) Mahi excavation site. They determined some of the monuments’ ages through a critical approach toward inscriptions scanning by employing the surviving texts and shreds of evidence.

The present study was conducted through survey and archeological research methods. First, the inscriptions were recorded using the survey investigations. Then it was attempted to accurately identify the events of the past to further clarify the historical, political, and economic identities of the monuments under investigation through library research, verification of the firsthand resources, evidence gathered by the past photographers, and then through data analysis and classification, following the historical approach.

This study revealed that the writing structure of the Kufic inscriptions was based on the early Kufic scripts with diverse writing styles and that the artists have employed the decoration factor in conveying their message. The placement of the inscriptions in the predetermined spaces is in abundant congruity and harmony with their associated monuments. A reason for inscribing the scripts has been to serve religious purposes. Some advice was then made for age determination of Caravanseries of Ziarat, Mahi, and Sharaf sites after scanning and reading some of the inscriptions.

Glassmaking is one of the oldest, most valuable and growing arts throughout history which has long been the manifestation of outstanding and unique glass works that show the level of interest, mastery and skill of glass artists in Iran. Glassmaking as one of the most prominent arts in Iran, has continued to shine throughout history despite the vicissitudes. Glassmaking as one of the glorious arts of Iran during the Islamic era entered a new phase with the advent of Islam. The Iranian glassmakers in the 3rd and 4th centuries AH have created unique and valuable designs, some of which have survived over time. In the aforementioned centuries, glassworks were not simple, but glassmaker artists created works in the form of text and various decorations by using the rich experiences of their predecessors and new methods of making and decorating glass. Jugs are of the functional utensils among these glassworks. The purpose of this research is to study Iranian glass jugs with a focus on the general structure of components, forms, patterns and ornaments under the title of morphology which is a science in the field of literary studies currently used in other fields including art studies. The term morphology was first coined by the Russian researcher and anthropologist Vladimir Propp. Morphology literally means studying and recognizing shapes and faces. That is, the study of the components of an object and their relationship to each other and to the whole structure of that object. This approach was first introduced in the field of literary criticism and is now applied in artistic fields where it is possible to examine and recognize the components of these types of glass and to give a general overview of the shapes of the works for further comparison. Morphology does not only mean determining the form and shape of works, but it also generalizes to recognizing and classifying works, determining the fixed and variable elements of each work, and in a broader dimension, extracting the morphological pattern, and the scientific comparative study of works by reviewing components of each effect. It is noted that fixed elements are those constantly present in the work, but variable elements appear in different forms and cause diversity. It is to claim that morphological studies of any period can be of a great step in examining the development and historical evolution of form and decoration in the field of works of art. Considering that the basis of criticism in art with any approach is focused on the form of the work of art, a general picture of the shape of the works can be achieved and thus they can be examined and refined from this perspective. The present study seeks to answer the basic question of “what are the visual features of Iranian glass jugs in the 3rd and 4th centuries AH? According to the available sources, the samples found from the jugs in the given period are 24 in total, the related data of which has been collected from library sources. The research method used here is descriptive-analytic and the given samples are evaluated and analyzed qualitatively upon the morphological approach. Drawn upon the results, glass jugs are composed of fixed elements of tank, opening and handle. Appendages on the handle, neck, base, ornaments and motifs are the variable components of these jugs. The glass jugs tank is made in tear, parabolic, meat grinder, cylindrical and syncretic forms with narrow, cylindrical and wide openings. The handle is connected to the beginning, middle or end of the tank through the opening. The glass artist prominently considers an appendage on the handle of most glass jugs. A simple and flat base was observed in the bottom of all the parabolic and tear jugs. Glass ornaments and jugs can be traced in two categories of pure and iconic abstracts including geometric, non-geometric, written, animal and plant motifs. One third of these works lack decorations and motifs.

Zandieh era, which was the era of comfort and tranquility of the people of Iran, is the time to reconstruct art and transitional phase between Safavid and Qajar. Karim Khan's art and architecture is a mix of Iranian Architecture Who seeks to find their own language to praise civilization and the art of the ancients and to continue the traditional architecture to flourish the art of architecture and native engineering techniques. The architectural design of the buildings of this period was a combination of the Safavid architecture and the memorials that remained of Persepolis. In particular, it can be said that Zandieh architecture is in fact the same Safavid era architecture, which has been implemented in a simpler and more abstract manner. In the era of Zand, Karim Khan, as a popular sovereign, sought to reach Slobby, which has a popular aspect. And with this view, the construction and decoration of buildings is very diverse in this period. In view of this, the purpose of this article is to study and analyze the architecture of the body and its decorations in the Zandieh period with a special look at the construction of the Divankhaneh with a cultural and functional approach to the effect that has not been overlooked. Although this work is a feature of the architectural index of that era. The main question raised is whether the architectural design of the mansion is selected according to its use and has cultural and environmental characteristics. The role of society and culture in shaping the architectural design of the effect and how it influenced the cultural foundations in the formation of architecture and decor. The research methodology is descriptive and analytical, and the findings show that the cultural perspective of society and the government's view (Karim Khan Zand) has changed considerably in this period. These changes have influenced the design of spaces with a friendly and ethnographic view. In Zandieh's art, visual signs are more of a cultural sign (semantic) which has had the deepest influence from the ancient patterns, concepts and tendencies of the community. The focus of interior decoration and the lack of use of decorations in the exterior, is an attempt to simplify the appearance and splendor which is expressed as a cultural interest in the formalities of the hierarchy of interior space. In the process of creating the architectural structure of the work, the impact of the social origin and its motivation is very effective. Attention to the audience of the work and the given to it according to the environmental perspective in the construction of works. Therefore, it can be said that strengthening the sociological perspective in examining the courses of architecture can provide a way for a deeper understanding of some of the existential causes of the emergence of their forms and structures. This is particularly understandable in the debate about the decorations of the Divan khane Mansion. The art of Zandieh's period is very impressive, and decorations and construction includes a variety of beauty.

The main aim of the research is to recognize the criteria of the authenticity of contemporary mosques based on the obtained criteria. Recognizing the originality to improve the development process of mosques and modeling for the design of future mosques or their development plan.

The research method is the identification and extraction of indicators, reasoning, and analysis of examples using the opinions of a focused group of experts, and scoring based on indicators.

The characteristics of the authenticity of the mosques were set in two dimensions, content and body. Content characteristics, such as the use of familiar historical symbols and elements of nature (light and water) as well as respect for community and human privacy and the symbolic divine dimensions of the space to express the sacred nature of mosques. It includes the user pattern and the exact type of structure. In none of these cases should one judge the superiority of the past or today with prejudice, but rather the criterion of its comprehensive usefulness in the mental and physical benefit of the audience.

The analyses show the differences and commonalities of the factors of the authenticity of the mosque. Mosques that had more body manifestation in content aspect at the general of the design of the mosque, were more original. But mosques that have emphasized symbols in terms of content, and they had a weak manifestation of content in the body, were in the middle category. Also, merely sustainable architecture, emphasizing the transformation of symbolic forms and deconstruction in the design, regardless of the content dimensions, has not increased the originality.

Problem definition: 

The minaret is one of the special decorative-functional elements in religious buildings and has an ancient background in pre-Islamic Iranian architecture. During the Seljuk period, which is one of the most important eras in the history of Iran, minarets of different dimensions and sizes were constructed in the city of Isfahan with beautiful decorations of brickwork, tile, plastering and inscriptions, which evoke dazzling majesty and beauty. These minarets have different uses and each of them has provided an appropriate context for the creativity and artistry of its founders and architects. The present research explores the decorative pattern types of these minarets.

The aim of the present study is to recognize the decorative patterns of the minarets belonging to the Seljuk period in Isfahan.

The present study has been conducted based on an analytical-comparative approach and the data has been collected in a combinative (library-field) manner.

The present achievements indicated that the minaret construction has become increasingly important in the Seljuk period in Isfahan and in most of the examined ones, various decorative designs have been implemented using brickwork technique, which are important in terms of the aesthetic visual elements further to the practical aspects.

Iran’s society at Qajar period faced new political, economic and social conditions that caused peoples immigrations from rural to urban areas that caused the necessity of housing growth at that time. Although, some conditions including communicating with western countries such as Russia or Osmania and travels of Iranian rulers and training Iranian student at abroad countries and etc. effected buildings architecture and surely their ornaments, that these changes were more obvious at construction of palaces and dwellings specially the houses of wealthy people. This article focuses on the ornaments that are used at the main room of the houses (their halls) that has been structed at Qajar period; the reason for selection of houses hall to check their ornaments was because of this rooms importance that host the guests of a home; you can see ornaments decorating other parts of house like the entrance space, the façade and the small rooms at the both side of building; but the most beautiful ornaments has been used to decorate the main room of the house. The most ornaments can be divided to paintings at walls and ceiling, Orosi windows decorating with colored glasses, plaster works at ceilings and walls, mirror pieces applies at ceiling or frame of windows and even walls that has been studied at the houses selected in this article. The houses to be studied at this article are chosen among the houses remained from Qajar destiny at Tabriz city, the reason of choosing Tabriz city for researching about its houses at that period was the importance of that city at Qajar time, at that time Tabriz was considered as the second capital of Iran and because of the trading relations with Osmania’s and Tsarist Russia and even a city where princes were have been leaving there it has accepted influences on buildings architecture and their ornaments. The houses that has been studied at that essay are chosen among Qajar house that their hall ornaments are preserved or restored; Behnam’s house, Nikdel’s house, Salmasi’s house, Saraflar’s house, Heydarzadeh’s house and Amirnezam’s house are the houses that their halls ornaments are analyzed at that article; the methods that used to develop this article was by studding historical references and field studies; so it can be concluded by analyzing the results that ornaments at the houses were built more recently at Qajar period like Behnam,Nikdel and salmasie’s houses were mostly based on elegant schemas through paintings on wall and ceilings but by the time pass, the houses that were constructed at the second half of Qajar dynast’s reign like Sarflar, Heydarzadeh and Amir nezams houses didn’t decorated by such painting schemas, instead of that new sort of ornaments based on mirror works has been started to be used to decorate the halls space; and some ornamental elements such as Orosi windows and plaster works on ceiling and walls were mostly invariant through the time at the houses were built at that period.