Re-thinking of the Concept of Power from the Point of view of Foucault in the Painting of King’s Iconography in the Works of Mehrali

In the Qajar period, “power” has been the focus of Qajar iconography, and is one of the topics that have been widely used. In the contemporary period we have witnessed the development of theories of theory and its relation to the art of painting over the last few decades. Ali is dealt with. Using the concept of power discourse, Foucault introduced a new way of analyzing his historical and social context and is now one of the most applied ideas for the analysis and study of paleontology and genealogy. The hypothesis of this study is the evolution of the meaning of power and its place in Qajar iconography and in the works of Mehrali. In pursuit of this question, Foucault’s theories of power and discourse are first explored, exploring the evolution of the position of power in Mehr Ali’s painting. The content of this study is qualitative and is based on descriptive-analytical methodology and library collection method. The results show that the display of power in Qajar art in the works of Mehrali paintings is in line with the political issues and the display of the Shah’s power and the painting has been used as a tool for displaying power in political discourse. At a glance at early Qajar paintings, one can find less art that is not involved in showing the power of Fath Ali Shah. Accordingly, the main focus of this research is on the profound developments that have taken place in the art of Qajar painting in the field of power in the first period, in the works of Mehr Ali, and which have influenced the Qajar period for many years. One can see how the aforementioned evolution continued and influenced Qajar art in the second period. With this explanation, the following article is based on the assumption of the transformation of the position of power and discourse in the works of Mehrali as the painter of the Qajar court. Power in the works of Mehrali paintings is in line with the social and political conditions of the Qajar era, and Hulat chose Mehrali because he painted most of the figurative paintings of Fath Ali Shah for sending in and out of Iran. He changed the laws of painting by Mirza Baba, and this must have been “with the consent of Fath-Ali Shah. The basis of this study is to answer the following questions: What political context does Shahr-e-Qajar use to show power?” What is the meaning of power in Foucault’s perspective in the works of Mehrali and the iconography of the Qajar and the discourse of power? To answer these questions, the first part of this article first examines Foucault’s theories and his ideas on power and discourse. In the second part of the article, the Qajar iconography and the works of Mehrali are discussed. Reflections on the transformations of power with the works of Mehrali paintings and the influences of the West and the transformation of power in his paintings The purpose of this study is to study the power of Qajar paintings in the works of Mehrali, the cause and necessity of this topic. In painting, Qajar is a political tool.