جستجوی مقالات مرتبط با کلیدواژه « qajar period » در نشریات گروه « هنر و معماری »

Using the critical discourse analysis approach, the present research analyzes the most important theme of Shiite art, the narrative of Ashura and its related events, in paintings on tiles of Moaven al-Molk Tekyeh that date back to the Qajar period. This analytical approach investigates the visual language of the paintings on tiles as a social action related to the historical, political, social, and ideological factors of the two Shiite and monarchy discourses. Factors that are reproduced with special Shiite elements in the tile paintings of Moaven al-Molk Tekyeh. Shiite elements are a combination of beliefs, myths, and historical events of the Shias. The use of these Shiite elements has been effective in legitimizing the government of the rulers of the time. The research has aimed to analyze the discourses related to the reflection of Shiite thought in the paintings on tiles of Moaven al-Molk Tekyeh and to identify the elements and the function of the Shia discourse in the paintings on tiles considering the political and social developments of society in the Qajar era. The questions of the research have been what discourses led to the reflection of Shia thought in the paintings on tiles of Moaven al-Molk Tekyeh? and under the influence of what factors has this Shiite discourse in paintings on tiles taken place? The research method has been critical discourse analysis which is a qualitative research method. Additionally, Fairclough's views have been used as the theoretical basis of the research. Data were collected using library research and field study. The paintings on tiles were analyzed based on Fairclough's three-level critical analysis. The research community consists of 12 tile paintings related to Zeinabie of Moaven al-Molk Tekyeh, of which 3 tile paintings were selected in a purposeful way to analyze the most information related to the research questions. The results of the research indicate that based on the analysis of the critical discourse, the discourse of Shia is opposed to the discourse of monarchy in these tile paintings. The Shia discourse used Shia traditions to show this conflict in the existing conditions of the society. Shiite traditions were combined with Arab Shiite thought and Iranian identity. Shiite elements were reproduced in the form of behaviors and models of Shiite heroes. The artist expressed the political, social, and cultural issues of the Qajar period with an anti-colonial discourse. Shia critical discourse using the theme in the tiles showed the interaction and confrontation of Shia characters along with the negative consequences. In the framework of the Shia discourse, some social norms were reversed. The Shiite discourse in the structure and texture of Kashi paintings created its own story by choosing specific Shiite events. This choice of Shiite discourse was due to the presence of anti-royalty and critical discourse in the Qajar era and was reflected in the tile paintings.

In this article, the aim has been to analyze Kamal al-Molk's artistic decisions in the field of Iranian art in the Qajar era using the descriptive-analytic method. This analysis has been in four main periods of Kamal al-Molk's life, which include: 1- Examining Qajar art field before Mohammad Ghaffari arrived in Tehran 2- Examining Mohammad Ghaffari's position in the art field from the age of 12 until entering Nasser al-Din Shah's court 3- Examining the position of Kamal al-Molk in Nasser al-Din Shah's court 4- A study of Kamal al-Molk's character and position in the European art field. The main research question is: Could Kamal al-Molk learn the 19th century style instead of the 17th century style of painting during his cultural trip to Europe and bring that to Iran? In the study of the first period, it is determined which artists are present in this field and what impact they have each had on this field among other issues. Among the artists, we can mention Mohammad Sadegh, Abdullah Naghash, Mehr Ali, Mirza Baba Isfahani, Abu Trab, and Sani al-Molk. The studies in the second period are as follows: Identifying the famous artists of this period and also determining the influence of artists on the Qajar art field; the result of which has had a great impact on the artistic life and artistic future of Kamal al-Molk. Artists studied in this historical context include: Lotfali Shirazi, Mahmoud Khan Saba, Ismail Jalayer, and Mazin al-Dawlah. Another research that has been done in this historical context is the study of the role of Mazin al-Dawlah in the education of Kamal al-Molk and the choice of Mohammad Ghaffari's artistic style towards the style of realism. The third issue to be studied is the position of Kamal al-Molk in the art field of Nasser al-Din Shah. This historical context is one of the most important positions of Kamal al-Molk for him; positive things happened and it can be considered a turning point in Kamal al-Molk's life. In this field of art, there is a powerful nucleus in the center of the field that causes the field of art to become stronger and stronger, and this powerful nucleus is none other than Nasser al-Din Shah Qajar, who was a supporter of Kamal al-Molk. One of the important events that happened to Kamal al-Mulk in this period is that he is no longer a student of Dar al-Fonun school and in addition to gaining the position of a painter, he also becomes a professor. Of course, he had other students besides Naser al-Din Shah. During this period, sources state that Kamal al-Molk received a salary from Nasser al-Din Shah for the paintings he painted, which shows the progress and strength of Kamal al-Molk's position in the Qajar field of art. In this course, an independent and dependent discussion is presented. The dependent pole indicates Kamal al-Molk's dependence on the center of the field, and the independent pole indicates his lack of dependence on the center of the field. In this period of Kamal-ol-Molk's life, he is at the center of the field, because he is in the center of Naser al-Din Shah’s field, without whom, Kamal al-Molk would have lost his special place, and of course, this dependence on the central core of the field caused controversy, and giving in to the tastes of the court and the king was against the will of Kamal al-Molk. Kamal al-Molk did not even have the will to change the tastes of the courtiers and the king during this period and began working as a court painter. One of the instructions given to Kamal al-Molk during this period was to draw a picture of the king and his children in a realistic style. In that period, the presence of the image of the king on the billboards, banknotes and even newspapers showed the strength of the foundations of the monarchy. Based on findings and according to Bourdieu's theories, it can be said that considering that Kamal al-Molk was located in the dependent pole of Qajar art field, he had to accept the rules governing the art field. One of the most important events that took place in this period is the arrival of the camera in Iran, which itself has had a great impact on the work of all artists, including painters. The arrival of the camera in Iran became one of the reasons for the attention of artists and art lovers to the Realistic style. During the reign of Nasser al-Din Shah, painters were sent to Europe to study, and Kamal al-Molk was no exception. In this period, we also see his copies of paintings by artists such as Rembrandt and Thyssen. The first painter Kamal al-Molk came into contact with in Europe was Fantin Latour, whose style has also been influential in the choice of classical style and realism by Kamal al-Molk. He has also been considered in European societies during this period, so it can be said that Kamal al-Molk has also been present in the European art field.

Sheikh Abdul Hussein Mosque and Seminary is a place that best exemplifies the architecture and art of the Qajar era. Amir Kabir and Sheikh Abdul Hussein Tehrani worked together to build this mosque and school in Tehran’s Grand Bazaar. It remains a center for student education and promotion of Islamic culture even though it has been constructed for more than 150 years. The mosque and seminary’s architecture and decorations are both stunning and noteworthy, with numerous inscriptions from the Qajar, Pahlavi, and Islamic revolution eras installed in them. Despite the scattered notes and few articles that have dealt with this matter, the inscriptions and architecture of the Sheikh Abdul Hussein Mosque and Seminary have not been fully investigated, and there are still some vague details that require libraries and especially field research. The mosque and seminary’s status, style, and architecture are explained and examined in this article, and its inscriptions are examined. Descriptive and analytical methods are used to collect library and field information and process it. In the text, reference and citations are handled using the APA in-text method, and seven documents (architectural images and inscriptions) are utilized.

Tombstones of the Islamic period are among the valuable monuments that contain significant information not only from the perspective of artistic research and knowledge of the evolution of Islamic lines and inscriptions and the art of stone carving; Moreover, it has provided researchers with valuable information in various cultural, historical, religious, social, economic and literary fields. Therefore, in the present research, the tombstones of the Islamic period in the Borkhor region of Isfahan have been studied in a descriptive-analytical way in order to answer the following questions; 1- What were the decorative motifs of Borkhor tombstones in the Safavid to Qajar periods? 2- Which symbols, cultural, social and religious themes and artistic principles and standards did these motifs contain? Based on the results, plant motifs (bergamot, arabesque, cypress, date, lotus, multi-petaled flower), animal motifs (lion, deer, duck, pigeon, nightingale, peacock, hawk), objects (seal, rosary, comb, Ring, mirror, scissors, lock, water sprayer, cane), geometric (circle, square, rectangular, circular, oval, gabled, trapezoidal), sun and water pan are among the motifs used in Borkhor tombstones. Some motifs have an informative aspect and inform about the spiritual states, religious beliefs, moral characteristics, gender and social status of the deceased. Some had a symbolic aspect and were signs of the Garden of Paradise, death and nothingness and rebirth, endless and eternal time, the oneness of the creator and the created, Permanence of the soul and asking for good and blessings on the deceased, and some had a purely decorative aspect. The artistic elegance and composition system of motifs according to such things as the type of motif, morphological type, material, dimensions, stone surfaces, time period, the way of combining with other motifs, the presence or absence and the number of frames, shows different methods.

Homes are the physical expression of the “way of life.” Family dynamics, the role of women, and social relationships are among the most significant social attributes that influence house layouts. The “women’s way of life” is especially remarkable, defining privacy and areas of the private and social life of women. Societies describe their private and social living areas depending on socio-cultural factors and values. This research aims to study the relationship between the way of life of women and the design of private and social domains in the houses of Khorram-abad during the Qajar period. The qualitative research approach and historical ethnography method were employed. Documentary methods, field studies, and interviews were used for data collection. The results show that the way of life of Lur women has influenced the layout of private and social domains of houses, highlighting the social domain in the architectural design of the historic houses of Khorram-abad during the Qajar period. Some areas of private life were less intimate and thus can be categorized as semi-private areas. Furthermore, some semi-private areas can be categorized as social living areas. In other words, women had created extended areas of private, semi-private, and social life by sharing some of their private and semi-private spaces with neighbors. In some cases, private areas served not only as female seclusion spaces but also as a setting for establishing family and social relationships.

The artistic achievement of the Qajar period is observable most of all in the colourful tile paintings of this period. The desire of the Qajar kings for luxury and displaying it with the glitter of colour and light on the tile background is supposedly a reason for the prosperity of the art of tiling in the Qajar period. The use of pictorial tiles in this period also flourished in the houses of nobles besides decorating palaces, assembly halls for ceremonies, and pavilions with tiles. One of its reasons is the expansion of the art of painting on tiles during the reign of Nasir al-Din Shah and its widespread popularity among the public. Shiraz besides Tehran was also one of the centres of production and use of various types of tiles in this period, whose effects have remained in the historical texture of this city. The diversity of these images reflects people's attitude towards various historical, cultural, and religious narratives, and reveals the changes in the depiction of tiles and their perception of meaning. The authors’ search in a number of these places, i.e., the houses of Atrvash, Hasani Ardakani, Saadat, Yazdian, Ziaian, Manteghinejad, Dokhanchi, Khalili, Qalamfarsa, Tavakoli and Salehi, shows a wide range of visual themes of this collection. Some of the mentioned houses have decorated tiles on the pediments. A common theme has been used in the pediments of some of these houses, among which are Saadat, Hasani Ardakani, Atrvash, and Yazdian houses. Coronation representation is the common theme of these houses, which reveals changes in the representation in comparison with Ardeshir's historical coronation painting of Ahura Mazda.Diadem is one of the most familiar subjects in the ancient bas-reliefs of Iran. The coronation scenes of Sassanid kings are among these: Ardashir I, Shapur I, Bahram I, Ardashir II, and Khosrow II. It seems that the prevailing political situation at the time of each of the Sassanid kings was an influencing factor in the production of such works, and the political institution mixed with religion to instil its superiority, maintain its centrality, and prevent chaos. Theocracy was among the warlike religious principles that have been associated with princes for a long time and were supposedly among the necessities of the royal position. This coronation motif inspired by the Sassanid period becomes also popular in the Qajar period, and the coronation of Ardashir I is more similar to the sample under study in this research in the structure and formal elements. Changes occur in the reproduction of this coronation scheme in the houses of the Qajar period. The manifestations of this transformation are more obvious in the pediment of the Hasani Ardakani house, like the removal or change of some visual components and elements.As for the position of pediment in the houses, which is the most important part of the facade of the house, the prevalence of such a motif and its changes can be an expression of the era’s prevailing thought. This research explains the coronation representation in the houses’ pediments and the effect of popular discourse and ideology in the Qajar period on the motif of pediment. Therefore, the present research answers the following questions: Why is the motif of the coronation of Ardashir I on the pediments of many houses and what effect did the changes in the image of the Hasani Ardakani house have on the perception of meaning? The work has been seen as a social production to reach an appropriate answer and get the hidden ideology in the mentioned tiling. Thus, we pay attention to the pictorial features of the painting, explain the hidden layers of the text structure, form, and colour, and then reveal the conventional meanings of the work’s dominant discourse and ideology. The pictorial tiles of Shiraz houses have attracted the attention of many researchers, but little research has been done on the coronation theme in the houses despite its importance in Iranian history. It seems that the way and reasons for the representation of such themes need independent research that can help to understand the ruling thought of the Qajar period, so our research can meet this need.The research was descriptive-analytical, and its data was collected by searching library and field sources. Visiting the historical texture of Shiraz and photographing the samples under study is another part of this study. Its statistical population consists of 4 Qajar houses in Shiraz, namely: Saadat, Hasani Ardakani, Atrvash, and Yazdian houses. The Hasani Ardakani house has been purposefully selected as a sample. The data is analysed qualitatively, taking into account the narrative and visual content of the work.The findings show that the extent of this motif in the houses of Shiraz is readable in the two discourses of archaism and despotism. The most important action in the Hasani Ardakani house tile painting is the coronation theme as an ideological action, as some interpretations propose. The motif of the pediment is important in the sense that it is worked on the forehead and in the highest position of the noble house. Because the motif is repeated in some other noble houses of Shiraz, such a theme is related to the ruling thoughts of the society, as a product through which the ideology of the ruling class is transmitted to the society. According to the investigations on the manner of make-up and clothing, the issue of the succession of the Qajar body instead of the ancient king can be considered as a ritual display of giving Khvarenah and as Petitio Principii of a historical narrative. We see in this picture the succession of the Achaemenid king or in general a king from ancient Iran and a Qajar king; both kings have rings in their hands and neither of them are the givers of Khvarenah or power. Rather, the rings have helped establish communication between the two kings. Diadem has also lost his previous mythological role and position and has only connected two rings like a turban. The formal changes of the diadem from two hanging bands that represent good and bad power to four hanging bands on each side show that the mythological thought hidden in the motif of the diadem and the ring has lost, in the Qajar period, its connection with the ancient roots. So, we can see, according to these two discourses, the hidden ideology in the discussed tile paintings as a display of power and an effort to instil legitimacy in the audience. The creation of a trans-temporal relation between the Qajar kings with the ancient Iranian past and the ancient kings who considered the position of kingship as a holy gift and appealed to sacred concepts and personalities to instil their legitimacy can be a reason for the production of the coronation theme in the Qajar era. However, the changes in the process of this representation have made changes in the meaning and narrative and have added different meanings to it according to the time of the creation of the work. Establishing a connection between the Qajar king and Izad or the ancient king, changing the form of the diadem, and using two rings of power manifest this transformation, which led to the suspension of the ancient meaning and concepts and revealed a turn in this process; turning from a religious position to the arena of myth and history. The display of such images in the highest part of the house can be associated with the importance of such depictions. The audience is confronted, in the tile painting of the Hasani Ardakani house, with a kind of succession between the Qajar king and the ancient Iranian king. Placing the king of ancient Iran on the same level as the king of Qajar can emphasize origin and lineage, identify the Qajar dynasty, and attribute them to the kings of ancient Iran. This motif is repeated in most of the houses of this period because the central signifier of this image is Iranian identity, which is given to the Qajar king through the king of ancient Iran.

The Qajar dynasty ruled over Iran for about 130 years (1796-1925). As the Qajar rule in Iran coincided with the Industrial Revolution in the west, traditional methods of textile production were gradually replaced with industrial manufacturing methods and similar imported textiles. However, handicrafts and conventional textile production and finishing supplied the domestic demands to a large extent for a long time. Textiles with “Mihrabi” (altar) and “Toranj-dar” designs, whose production was dependent on advanced weaving techniques such as Ikat or finishing processes including “Qalamkar” printing and “Ruduzi” (embroidery) because of the application of principle of axial symmetry (mirroring), were used to finish and decorate living spaces and shelters like houses, palaces, and camps in the Qajar period in Iran. This study aimed to examine textiles with mihrabi and Toranj-dar designs in this use. Accordingly, the main question was: What were the usual designs, motifs, uses, and production methods of textile hangings in living spaces in the Qajar period? Most previous studies have focused on frequent instances in clothing, highlighting the significance of studying textiles. Moreover, Mihrabi and Toranj-dar designs (used frequently in Qajar hangings according to the study hypothesis) were neither used in the clothing of the time because of the mirroring principle nor portrayed often in the numerous Qajar paintings - as a crucial area of research. Therefore, this study attempted to explore this neglected topic in depth using primary historical sources such as travelogues, pictures, and available images of tangible instances preserved at museums. In this descriptive-historical study, the data were collected through library research, indexing, and image analysis. Qajar travelogues by Charles Auguste Bontemps, Maurice de Kotzebue, James Justinian Morier, James Baillie Fraser, J. M. Tancoigne, Gaspard Drouville, Joseph Arthur de Gobineau, Mme Carla Serena, Heinrich Karl Brugsch, Ernest Orsolle, Henri Moser, Joannes Feuvrier, Charles James Wills, Henry d'Allemagne, Eugene Aubin, and Clara Colliver Rice were examined. Images and tangible instances at the National Museum of Iran, Golestan Palace, and Institute for Iranian Contemporary Historical Studies, and works preserved at museums abroad including the Victoria and Albert Museum in London, the Brooklyn Museum, the Cleveland Museum of Art, and Hamid Tavakoli’s private collection were analyzed. The retrieved instances were categorized and a total of 22 Qajar textile hangings with half (Mihrabi) and quadric (Toranj-dar) axial design were selected. Sixteen hangings had Mihrabi design and six had Toranj-dar design. The results of the qualitative study of texts and images demonstrated that the textile industry was fundamentally changed in the Qajar era by the industrial methods and extensive imported textiles. Nonetheless, domestic productions with conventional methods supplied most of everyday demands for textile from the royal court to the economically disadvantaged classes of the society. It can be concluded that handicraft workshops in cities like Kashan, Yazd, Mashhad, and Isfahan were active in golabatoon-duzi, abrisham-bafi, shawl-bafi, shaar-bafi, chelvar-bafi, cotton weaving, and other crafts in the early years of Qajar period in Iran. In the early decades of the 19th century, Iranian industries survived the insecure conditions after the fall of the Safavid dynasty and was revived when the Qajar rule was firmly established. However, political developments in this period along with Iran’s expansion of business relations put domestic crafts in a competition with the imported western goods. As small domestic industries were not able to keep up with them, the workshops shrank in number. According to credible historical documents, in mid-Qajar period and during the rule of Naser al-Din Shah, various textiles with different qualities were produced with traditional methods but sold in competition with imported textiles. As this trend continued and foreigners pushed to dominate the Iranian market, the advancement of domestic production was grievously hindered. Therefore, although handicrafts survived for the first fifty years of Qajar rule, Iranian traditional industries failed to prosper except in carpet weaving and other crafts whose products Europeans favored. Research on Qajar textiles has focused in used instances in clothing; however, some designs like Mihrabi and Toranj-dar that follow the principle of axial symmetry (in half and quadric form, respectively) have been neglected since they were considered unfit for the aesthetics requirements in clothing at the time. Furthermore, such designs are often known by loom weavings or with their use in mats like prayer rugs or “Boghcheh” (a kind of bindle used for packaging small-sized items), while textiles with axially symmetric designs were extensively used as hangings in living spaces in the Qajar period. This study indicated that textiles with Mihrabi design were largely used as louvers, curtains, brackets, wall hangings, and tent coverings. In addition to these uses, especially as louvers - although less than textiles with Mihrabi design - textiles with Toranj-dar design were used particularly as “Taqcheh” (niche) and mantelpiece coverings. Other designs such as “Ravai”, “Vagireh” (tangled), “Afshan” (scattered), “Muharramat” (striped), and “Katibeh” were also used for these purposes and some like Ravai and katibeh designs seem to be have been prominent as wall hangings (particularly during public mournings). Nonetheless, the historical written sources and analysis of images of instances showed that Mihrabi and Toranj-dar designs were more frequent in textile hangings, decorated in most cases with floral motifs. In Mihrabi design, human and animal forms were also used. In fact, textiles with Mihrabi design used as tent coverings and wall hangings foregrounded the human role and thus, the final product was more fit for the inner part of the living space rather than outside. on the other hand, Mihrabi and Toranj-dar textiles with floral and animal motifs were used both inside and outside the living space. Sometimes geometric motifs were used in Mihrabi and more frequently in Toranj-dar designs given the embroidery technique known as “Cheshmeh-duzi”. However, overall, floral motifs were more dominant and woven symmetrically. As the mirrored designs followed the principle of axial symmetry and avoided repetitive patterns all over the work, creating these designs was very difficult at the time of production, and when created during weaving, complex techniques such as embossing and Ikat were used. Therefore, the designs were often created with finishing processes such as Qalamkar printing and Ruduzi (embroidery) like Cheshmeh-duzi, Rashti-duzi (Rasht embroidery), and Golabatoon-duzi. The results of this study indicated that symmetrical (mirrored) designs as Mihrabi and Toranj-dar with floral motifs were the most frequent ones in the production and weaving of Qajar textile hangings used as louvers, curtains, wall hangings (particularly during ceremonies and feasts), and Taqcheh, mantelpiece, and tent coverings despite the use of other designs and motifs (even plain forms). Nonetheless, human and animal motifs were also used, although less frequently, in Mihrabi design and geometric motifs were used in both Mihrabi and Toranj-dar designs according to the weaving technique (Cheshmeh-duzi). Therefore, although other designs including Vagireh, Katibeh, and Ravai or even plain textiles were also used, Mihrabi and Toranj-dar designs with floral motifs or minor human and animal forms, particularly in Mihrabi design, were the most used textile hangings in living spaces during the Qajar period. They were supplemented by floral forms and sometimes animal motifs following the “Gereft-o-gir” (animal fight) motif or birds on branches of trees, for which Qalamkar printing was often used. In sum, textile hangings in various colors and qualities resulting from different production techniques were used in living spaces during the Qajar period in Iran. The textile hangings were used to refine the living space and the most frequent designs were Mihrabi and Toranj-dar, respectively, with the dominance of the floral motif. This article was extracted from the first author’s research project titled ''Analysis and Categorization of the Designs and Motifs on Qajar Textiles (1796–1925 AD)''. Approved by the Research Center of Traditional Arts in Research Institute of Cultural Heritage and Tourism organization (RICHT), this in-progress project aims to link University of Art in Tehran with the society and industry.

Qalam and Qalamdan, which are essential tools for dissemination of knowledge, emerged along with development of civilization. As an ancient art, Qalamdan making has a significant role in Iranian culture. Qalamdan making in Iran was flourished during the Safavid and Qajar periods. During this period, Iranian Qalamdan painting was also influenced by the European style. Currently, exquisite Iranian Qalamdans are scattered in great museums of the world. The present study tends to answer the following questions: 1) What is the variety and shape of the Qajar Qalamdans in the Hermitage Museum? 2) What motifs and decorations are used to decorate the selected Qalamdans of the Qajar period?. The present study discusses the background of Qalamdan making and lacquer painting in Iran and Qalamdan painting themes in the Qajar period. Finally, conclusions are drawn from the findings by examining and analyzing the motifs and decorations of 35 Qajar Qalamdans kept in the Hermitage Museum. This study is descriptive-analytical in terms of nature and method, and a documentary method is used to collect data.The Qalamdans of the Hermitage Museum are classified in two general categories in terms of shape: 1) sliding; 2) lidded. The number of sliding Qalamdans is more than the lidded Qalamdans. All the sliding Qalamdans have round heads, which have two different cutting methods 1) dragon fire; 2) oval. Dragon fire cutting method is more common than oval. The lidded Qalamdans also have a transverse cut. The theme of decorations of Qalamdans is diverse; among them landscape, bird-and-flowers, and angelica are the most frequent, which can be seen in the form of one subject or a combination of several subjects on one Qalamdan.

Plaster motifs in the architecture of the historical house of Boroujerdi have been used not only for decoration of the house but as symbols to convey certain concepts. The diversity used in these plaster works is very impressive and expresses the valuable architecture of its era in the city of Kashan. In many historical houses of Kashan, which mainly belong to the Qajar period, stucco motifs can be seen in different areas of the house. This grand house, the house of Boroujerdi, has one of the highest ranks in terms of the abundance and multiplicity of motifs. The main goal of this research is to document as much as possible about one of the most important arts of the Qajar era, plaster art. As the first step, we classified the plaster motifs Based on their form and design. Secondly, we counted the motifs and recorded their locations. Finally, we investigated the hidden symbolic concepts in each motif. The present research was conducted using descriptive statistics and content analysis based on field observations, and matching the data with the concepts obtained from library studies. In this study, various information-gathering techniques such as observation, survey, imaging, and coding were used. Our observation discovered a great diversity of plaster motifs picturing objects, plants, fruits, animals, people, and extraterrestrial beings (Jinn). In addition, there were some filling motifs in the background including Khotai motifs. We were able to find 450 figures scattered in 8 locations, including the entrance, alcove, the north side of the courtyard, the decorative gable, the main hall, and the east and west rooms next to the main hall. The motifs concepts were taken from ancient myths, religious beliefs, professions, and occupations. However, a number of motifs are also created under the influence of Western art.

The physicality of historical houses in Iran have always been affected by various factors of their context, e.g., cultural factors, religious beliefs, rituals, religious approaches, social security and climate comfort, all of which affecting the quality of indoor spaces and formal characteristics in various ways. The orientation of the house, materials and consumables, decorations, hierarchy, geometry, scale, light and illumination are among these characteristics. This paper compares and evaluates the influence of cultural and climatic factors on the architecture of historical houses of the Qajar era in the cold-mountainous and hot-dry climates of Iran. The research method is descriptive-analytical-comparative, through library and field studies. To do so, four Qajar houses with central courtyard and block forms were selected in the key cities of the above climates to compare their contrasting forms, and the way physical and spatial components are affected by different factors. The comparison shows that the form, hierarchies, orientation and use of natural materials are among the indicators influenced by cultural factors in both climates. In the hot and dry climate, the cultural factor most effective on the scale of the house and the functions of the spaces, with materials, compositions, façade and ornaments having also benefited from the climate, while in the cold and mountainous climate, the scale and function having fruitfully been affected from the climate.

According to historical sources, (Khātam) inlay is one of the wooden arts of Iran, beginning of which may be considered in the Al-Muzaffar period based on the inlay that remains preserved in the Metropolitan Museum. Remaining pieces from the Safavid era, namely entrance doors, particularly in palaces, as well as chairs, suggest that this period has been notably one the glorious eras of this art in Iran. The centre of producing these works in the Safavid era was Isfahan city, though later it was replaced by Shiraz which became the only remaining centre of this craft. This art has achieved valuable achievements in each period, some of which have continued to this day. Among the works of inlay left from the past, there are unique masterpieces, an important part of which is related to the Qajar period. The aim of this study was to explain the marquetry inlay method and to analyze its continuity in order to answer the following questions: 1. What are the technical characteristics of the marquetry inlay method? 2- What factors are effective in the continuation of the marquetry inlay from the Qajar period to the recent decade? One of the technical features of the marquetry inlay method is the creation of color diversity in inlaying, which has been achieved with the help of inlay blades. In this research, the descriptive-analytical research method and its methodological approach are based on a constructivist approach. One of the most important factors in the continuation of this method is the parehiy inlay, the use of which has also been under the influence of factors such as the variety of raw materials, as well as ease and speed in construction. For this purpose, the effects of the marquetry inlay index from the Qajar period to the recent decade have been studied despite the limited number of works of statistical samples which include 3 works preserved in the World Heritage Collection of Golestan Palace, Ostad Saba Museum and Reza Abbasi Museum, 2 works preserved in the Research Institute of Traditional Arts and 1 work preserved in the private collection of Victoria and Albert, which has been purposefully selected. In this research, the research method is descriptive-analytical. The collection of materials was based on library studies and field observations. The results of the analysis show that the marquetry inlay method, which is one of the important achievements of Qajar inlay, has been influenced by the emergence of parehiy inlay. Also, the variety of colors resulting from the variety of raw materials in the inlay and the emergence of a barrier as a protector and maintainer of the inlay have provided the continuation of this method until the last decade. One of the most important findings of this study, in addition to defining the characteristics of the last achievements of the Qajar period, has been the analysis of how marquetry inlay has continued so far. The results of studies showed that not only the Qajar period was one of the most important and influential historical periods in inlay, but also the achievements that were added to inlay in this period have continued until now and this point has caused the dynamism of this art. The data of this research have been collected by library and field methods (observation and interview). Due to the limitations of writing, instead of scientific citation, the method of producing science has been used in many cases. In this regard, while collecting library information, more field methods are used and by referring to the works and directly observing their analyses, analysis and exact characteristics are extracted without any prejudice. Thematic features in this research require the use of historical methods for analysis. The studied samples are 6 inlaid works, which are also decorated in the style of mosaic inlays and are preserved in domestic and foreign museums. The sampling method is selective and purposeful. The analysis of information and data, used in this research, has been done qualitatively. The most important achievements of Qajar period inlaying are Parhati inlay, Toglo Morvarid inlay and marquetry inlay method. One of the most important factors in the continuation of these achievements, which has caused the dynamism of this art, can be the variety of raw materials, while other significant factors include variety and the emergence of innovations in the use of containers that have appeared in the mosaic inlay. In addition, the inlay, which is one of the most important achievements of the Qajar period, has led to the continuation of the mosaic inlay method until now.

Azerbaijan,with a long history of culture and art,is one of the regions in Iranthat meritsarchitectural study. For this purpose, we should not limit our study to the present-day borders of Azerbaijan.Instead,it is important to note that in the not-so-distant past, there wasan exchange of artistic and architecturalideas, motivations, and craftspersons with its neighboring lands including Aran (Republic of Azerbaijan). In the realmof Islamic architecture, the physicality of mosquesholds a distinctive position because of their correspondence toconsistentbehavioral patterns. Therefore,a typological study can be carried outnot inside political boundaries but within the extent of cultural boundaries. The ultimate purpose of this research is to reach a typology of mosques of Tabriz and Baku built during the Qajar era according to their physical characteristics. For this purpose, the descriptive-analytical research method was used and data collection was done by library research and field studies. In this article, a total of 28 historical mosques and their important features in both citiesareintroduced, and next,they are classified according to these features and the composition of their physical elements.The characteristics of each typology are discussed next. The mosques in these areas can be classified into three types: dome-chamber mosques, dome-chamber and colonnaded mosques, and hypostylemosques. The hypostyle type can only be foundin Azerbaijan, while the other two typescan be found in both regions.

Among the visual signs in epic books that are used in battles and sometimes in mourning ceremonies is the flag. Flag or Alam is one of the signs that can reveal the religious and political thinking of an era. Therefore, by examining the sign in the paintings, the cultural, social, and political contexts of each period are revealed. The signs on the flag and Alam are sometimes symbolic and allegorical and can be a symbol of a family sign and derived from a special traditional and historical thinking. Since flags and Alam are basically the sign of a particular state or people, their presence in the paintings is of particular importance. Therefore, it seems that the motifs and pictures used in Alam and even the smallest details of Alam are not without influence in introducing the identity of that people or nation. Considering the importance of the flag in each period, it seems that the shape and color of the flags used in the Shahnameh of Davari were not without reason, and the examination of these motifs can express their thoughts about a nation or group in the Davari Shahnameh. In the Shahnameh of Davari, most of the flags of this Shahnameh are decorated with lions and suns, as well as the pole or the head of the flags in the pictures of this Shahnameh are sometimes in the form of dragons, birds, cedars, plant, and hand motifs. Meanwhile, the motif that is more interesting than other motifs is the hand or paw motif. Since the flags represent a special group to which this element belongs, and considering that the Shahnameh deals with pre-Islamic narratives, the question is, what is the reason for using the shape of the hand in the pole or the head of the flags?  What is the effect of the symbol of the hand in flags and flags on understanding the meaning?
This research is based on the descriptive-analytical nature and is based on the fundamental goal. The analysis of the images is based on the iconological approach. In the Shahnameh of Davari, out of a total of 68 images, 28 images have Alam and flag motifs. In the meantime, in 19 pictures, signs are seen with symbols of handprints, and the analysis has been done on these 19 signs with emphasis on the tops of the Alam. Also, research information has been prepared in a library manner. The findings of the research show that in the illustrated Alam of Davari Shahnameh, which was done by Lotf Ali Shirazi, There are hand marks on most of the Alams or flag ; So according to the time of creation of the work and the discourse of the Qajar period. It seems that the use of hands in these flags and Alam indicates the helping hand of Hazrat Ali (AS) or, according to Drovil, the hand of Hazrat Abbas or Hamsa. If any of the mentioned cases are accepted, it can be said that the use of the hand in the flag or Alam in the Shahnameh of Davari shows the support of Islam for the fighters in the Field. The use of the lion and the sun, which becomes the national emblem, shows the place of the ancient discourse in this period. There fore, it seems that by combining these two roles, Darfashi expresses a Darfashi that shows both the prosperity of ancient Iran and Islam. Anyone who has this door somehow has both Islamic power and Iranian power. Lotf Ali has created a text in which most of his heroes have such characteristics. According to the reviewed texts and the description of the Ghorian war, it seems that this thought was widespread in the Qajar period, consciously or unconsciously. Therefore, the hero and victor of the field in most of the images of Davari Shahnameh is the one who carries a flag in the shape of a "hand". Due to the prevalence of Ta'ziyya in this era, the painter had a Shiite interpretation of the paintings. Even though the story of the Shahnameh is depicted from ancient Iran, it is the presence of the hand that gives the hero extra power.Therefore, the liberating and helping force for the hero of the narratives is the hand of Hazrat Abbas and an Islamic force. Although archaism is one of the dominant discourses in this era, but the influence of ta'zih and mourning ceremonies has caused this element to be included in pre-Islamic narratives as well. Therefore, the painter introduces someone who is victorious in his paintings, who has the Islamic power more than he has any religious influence. In a way, the painter considers the Islamic force that emphasizes Shiism to be the support of the heroes of the Shahnameh and ancient Iran.

In ancient Iran, particularly during the Sassanid era, petroglyphs were one of the most effective methods of displaying the government's authority, aims, and ideals. Until the Qajar period, which coincided with the rule of Fath-Ali Shah, this artistic tradition was revived and used to demonstrate regal authority following the formalization of Islam. Sculpting prominent governmental motifs was part of Fath-Ali Shah Qajar's approach to archaism, which, while incorporating the art of the Sasanian Empire, reveals the Qajar monarchs' approach to Iran's ancient past and their reconstruction in a new manner. This article intends to analyze the petroglyphs of the Qajar period and how the prominent figures of the Qajar period were influenced by the Sasanian period and the archaism trend. This descriptive-analytical research based on library sources indicates that Fath Ali Shah, impressed by the grandeur and durability of the Sasanian petroglyphs that have demonstrated the authority of the Sasanian kings over the years, commissioned the construction of such works to ensure the political integration and survival of the Qajar dynasty. It is supported by similarities in role-playing and displaying the king's status.