Although Nastaliq script was used as a significant writing style along other six types of calligraphy until the mid-Safavid era, it was gradually more welcomed and turned into the most important script in the succeeding eras. "Rashida Shahnameh", written by Abdul Rashid Deylami, falls within the Shahnameh manuscripts in the Safavid era while "Davari Shahnameh", written by Mirza Mohammad Davari in Nastaliq script, is the last manuscript of Shahnameh in the Qajar era. The calligraphy styles performed in these two versions demonstrate a part of the history of calligraphy in Iran from which some of the changes and developments in script and calligraphy during the Safavid and Qajar eras can be detected. Resorting to library-museum resources, this study seeks to investigate the differences in writing styles, shapes of letters and words written in Nastaliq, and also the connections between the scripts and the graphics in the two aforementioned versions of Shahnameh, through a historical-comparative and analytical study. The results of the analyses reveal that the script of "Rashida Shahnameh" was directly influenced by the Miremad Style, prioritizing visual beauty over text readability, in which a continuous connection was established between written and textual spaces. Contrary to the popular tradition in manuscripts, Davari Shahnameh was not ordered by any rulers; rather, the artist's taste was the main cause of creating this manuscript and it also prompted fundamental changes among its audiences. Text readability, visual beauty, and lack of consistent connection between text and graphics were observed in this version of Shahnameh. Moreover, the letters and words, despite their similarity to the third-Qajar-era style (the Kalhor Style), are structured independently of it, and, seemingly, the corrections attributed to Kalhor, which are also seen in the works of some of his contemporary calligraphers, had been a prelude of Davari’s style.

Maces are a long-standing (old) and powerful tool used in hand to hand and group wars. In addition to the martial aspect, they have had ceremonial, ritual, and mythical aspects. Mace is one of the most ancient weapons in the world and one of the most widely used weapons of the Hindu and European heroes and gods, and has been mentioned as the gods and heroes warfare in Avesta and Islamic texts. Due to the development of warfare, maces of simple forms into transformed the various geometrical, spherical, conoidal, bladed, chained, zoomorphic, dimonic and anthropomorphic forms. Often it has a strong body of wood or metal, and a heavy head of copper, bronze, iron or steel. Maces with various sizes can be regarded as symbols of power. Now the question is that how was the formation process of war maces in illustrations of these three Shah names, Baysonghori, Tahmasbi and Rashida? The purpose of this study is to know the types, evolution and depicted version of war maces in illustrations of three mentioned shah names. The reason of the transformation of the maces was the belief of gods and heroes, climatic and social conditions and progress in the manufacture of war weapons. Maces show the bravery of heroes and to create fear in the enemy. Mythological stories and the ceremonial aspect of war maces have been illustrated by the illustrations in these Shahnamehs. The research method is descriptive-comparative and the data are collected by using library studies, documents, creditable scientific sites and museums.

The history of art, as the history of thought, emphasizes the point that by examining the artworks of each period and studying and analyzing them, one can understand the intellectual-cultural, economic and political situation of that society. The Safavid period, as one of the most important artistic periods in Iran, is no exception to this rule. The change of themes, dimensions, techniques, construction methods, and the emergence of personal styles in the artworks of the Safavid era indicate fundamental changes in the structure of society and art patrons in this period.
The Safavid period is a turning point in Iran's political-social developments after Islam, period which begins with the rule of Shah Ismail Safavi and reached the peak of prosperity with the reign of Shah Abbas arrive As in other fields The art of painting has also been influenced by the political, social, economic and religious developments of this period. Including these effects It is possible to point out the removal of the art of painting from the monopoly of the court Kind If until this period, the major works of painting in the workshop Royal or in the workshop produced by local rulers In this period, ordinary people of the society also commissioned painting works in single form leaf on brought and has become a new patron of art and artist are Another result of this situation is the freedom of the artists and the faster completion of the works, the style and pen, and the different techniques of the artists. A topic that today is very effective in the version Identification and separation of works without figures of artists from each other. In this research, two works with a single theme and an emphasis on the special pen of each artist, from two painters of the Safavid era, "Mohammed Ghasem" and "Mohammed Youssef" have been discussed. The chosen topic is "Taking Laughter". The images of this research are selected from Winsor's Shahnameh and Rashida's Shahnameh, after the narration of the picture, by putting these two works together and matching them Based on the work style of each artist and the comparison of processing and construction techniques, each artist's pen has been tried to be identified and the work style of each one explained. The main question of the research is the existence of the difference between the pen and the construction technique of Mohammad Qasim and Mohammad Youssef and its reasons, Ali in spite of Being a period in the Safavid era. This research is descriptive-analytical and study library documents And observation and analysis of the works has been done. In this study, the statistical population includes three pictures of the scene of the hanging of Zahak, which has been analyzed and compared qualitatively through deductive and inductive reasoning. Based on the findings The results of this research, due to the social, political and economic situation during the time of Mohammad Qasim and Mohammad Youssef, May Ability to distinguish between pen and technique The construction of these two artists P win, the main reason for which is the existence of a new class of patrons of artists in the Safavid era.

Writing Shahnama was the custom and cultural policy of Iranian governors and also the art of book illustration in Isfahan school contains very beautiful samples and valuable pictorial of this Iranian great and national heroic work. RashidaShahname is one of the important and pictorial manuscripts of Safavid period، and belongs to 11th century of lunar hegira. Since its writing is relative to Abdol Rashid Dalimi، this Shahnama is known as Rashida Shahname. Motamedodole، head of the library and secretary of Fath Ali shah Qajar، in the lining page of book accompanying has customized this assignment ascription. While، adaptation and comparison of calligraphy method of Shahname Rashida with Abdol Rashid Deilami''s calligraphy (such as chehel-kallameh and Tohfat-ol-Araghein)، illustrates calligraphy differences of these works. On the other hand، historical evidences are disapproved with the accuracy of the hypothesis that says this book has been written by Abdol Rashid Dalimi. Base on this point، about these manuscripts without number، offering absolute view is difficult، and there is possibility of errors، so this paper tries to show that according to well- documented related to Abdol Rashid'' calligraphy characteristics with calligraphy of mentioned Shahnameh، calligraphy of this Shahnameh is not belong to Abdol Rashid Dalimi. In order to reach the goals of this article، comparative methods، has been used. So we’ve gathered various information about characteristics of calligraphy in above- mentioned version and considered them to find out، whether ascription of this calligraphy to Rashida is correct or not.

The drawing of Zahak is one of the subjects that have been the focus of painters.  In many Shahnamehs, including the Shahnameh of Tahmasabi and Rashida, this issue is depicted in a different way. The purpose is to compare the pictures with the text and with each other. Gerard Genet is one of the theorists who has researched in the field of narratology, he is one of the structuralists and has offered a comprehensive plan for examining narrative texts. In his theories, he has paid attention to examining three aspects of speech, i.e., tone, time, and mode. The main question in this article is how the story of Zahhak was represented in the two paintings of Tahmasabi and Rashida with the title of tie up Zahak according to Genet's point of view. In this research, the elements and components of the story and narration have been used, which include background color, characters, point of view, theme, atmosphere and time, and how they are placed in the body of the story and visual narrative as influential components. The research method was descriptive-analytical and library sources were used to collect the materials. From the results of the research, it has emerged that the sequence of time in the story is based on the events, but in the paintings it is formed based on the removal and highlighting and the use of the text of the poem to connect the events by the painter. In the image to tie up Zahak in the Shahname of Rashida, the painter has limited himself to one scene, but the image in Shahname of Tahmasbi has depicted several events, which has contributed to this sequence. On the other hand, several narrators are used in the text of the poem, but the limitations of the narrator are seen in the above images. In terms of aspect or angle of view, it is also open, it is in the hand of the poet, but the angle of view in the pictures is different from that of the poem due to its visualization. Each of the images has the possibility to show more events due to the focal length. In this regard, Tahmasabi's Shahnameh has shown more details and more figures due to the focal distance, which has caused more action in the events.

Iranian Domestic and Foreign Art Museums have numerous illustrated shahnama each of which plays an important role in analyzing the painting vicissitude of Esfahani School. In the meantime، Rashida Shahnama is one of the very important manuscripts now kept in Golestan Palace Museum in Tehran. This copy of Rashida Shahnama belongs to 11th Lunar Hegira with 93 unwritten depictions. All the depictions of this shahnama bear the general specifications of Esfahani School. In these depictions، visual and aesthetic elements of Esfahani School such as chorus، coloring، design، figures، sceneries، visual structure and executive techniques are seen. Since the depictions of this copy lack the signature of their creator، this paper emphasized that with the study of the exclusive specifications of each and every one of these painting، their creators may be identified. The main hypothesis of this paper is that the depictions of this Shahnama have specific identities distinguished from Esfahan School to the extent that they can be distinguished from other works of this era. In this paper، the executive style is called Esfahani، and the esthetics governing these works is analyzed.

The Windsor Shahnama is a large and marvelously illustrated book of epic of Persian King measuring 460 by 280 mm. The manuscript compromises 756 folios in fine nasta `lig script by Muhammad Hakim al-Husayni, in four columns of twenty-two lines to the page, occupying a space of 256 by 160mm. The manuscript is richly decorated and illuminated with wide margins throughout the volume with border design(in gold) of animals, birds and very delicate branches of flowers and plants. The manuscript was presented to Queen Victoria in 1839 by sultan of Heart, as a gift in response to the British backing of Afghan troupes against Iranian forces who had held siege of Kabul and were trying to make it part of their territory. Windsor Shahnama of 1648(corresponding to 1058 A. H.) is a complete book of epic of Persian Kings which has been supported and commissioned outside Royal Library workshops (ketabkhaneh) by Qarajaghay Khan, governor of Khurasan. The manuscript is illustrated with 148 very fine miniature paintings. As it is customary with traditional Persian painting, none of the miniatures is signed and there is no name of its possible illustrators in the frontispiece. The only exception is the episode Barzu and Afrasiyab lassoing one another, in which the name of Muhammad Yusuf can be decipher in lower part of the painting. However, Mr. B. W. Robinson and Dr. Eleanor Sims and Manijeh Bayani believe that major artists of this manuscript are Muhammad Yusuf and Muhammad Qasim, prominent painters of Isfehan School of late Safavid period. As far as structure, composition and technique, applied to these miniatures is concerned, there is a clear and close resemblance between Qarajaghay Khan Shahnama and Rashida Shahnama, of the same period, preserved in Golestan Palace Library, Tehran. In this paper Qarajaghay Khan Shahnama will be introduced and its relationship with Rashida Shahnama will be comparatively examined.Windsor Shahnama of 1648(corresponding to 1058 A. H.) is a complete book of epic of Persian Kings which has been supported and commissioned outside Royal Library workshops (ketabkhaneh) by Qarajaghay Khan, governor of Khurasan. The manuscript is illustrated with 148 very fine miniature paintings. As it is customary with traditional Persian painting, none of the miniatures is signed and there is no name of its possible illustrators in the frontispiece. The only exception is the episode Barzu and Afrasiyab lassoing one another, in which the name of Muhammad Yusuf can be decipher in lower part of the painting. However, Mr. B. W. Robinson and Dr. Eleanor Sims and Manijeh Bayani believe that major artists of this manuscript are Muhammad Yusuf and Muhammad Qasim, prominent painters of Isfehan School of late Safavid period. As far as structure, composition and technique, applied to these miniatures is concerned, there is a clear and close resemblance between Qarajaghay Khan Shahnama and Rashida Shahnama, of the same period, preserved in Golestan Palace Library, Tehran. In this paper Qarajaghay Khan Shahnama will be introduced and its relationship with Rashida Shahnama will be comparatively examined.

Religious jurists disagree about the father's guardianship over the adult virgin daughter mature or her independence in marriage. In the meantime, some contemporary jurists such as Ayatollah Javadi Amoli, in a middle opinion, have attached to the theory of sharing; it means the necessity of the guardian's permission and consent of the daughter in the marriage contract. The basis of this point of view is to consider some moral dos and don'ts, which considers the condition of the father's permission for a mature virgin as a precaution (not as a condition of correctness). The main issue in this research is to examine the moral foundations of the theory of participation of the guardian's permission and the consent of the Virgin mature, emphasizing the point of view of Ayatollah Javadi Amoli. The data collection method is library and the processing method is descriptive and analytical. The results of the research show that according to the first ruling, the virgin Rashida is independent in her marriage and the permission of the guardian is not a condition for the validity of the marriage; But according to the secondary ruling and to comply with some interests and moral corruption, the guardian's permission is necessary for the sake of caution.

One of the important and mythical characters of Ferdowsi's Shahnameh is Jamshid. In the Baysonqor’s and Tahmasp’s Shahnameh, a scene attributed to Jamshid is illustrated. Jamshid’s kingdom miniature in Baysonqor’s Shahnameh and Jamshid’s court miniature in Tahmasp’s Shahnameh are both visual representations of the content of Jamshid's kingdom and its king functions. The importance of the common theme in both of the Shahnameh paintings has led to the necessity of a comparative study. The purpose is to identify how Jamshid's personality is represented in the Jamshid’s kingdom miniature in Baysonqor’s Shahnameh and Jamshid’s court miniature in Tahmasp’s Shahnameh and understanding the similarities and differences between Jamshid's personality and Illustration type of two miniatures. The study was done to answer these questions: 1-How is Jamshid's personality represented in Baysonqor’s and Tahmasp’s Shahnameh miniatures and what are the features? 2- What cultural, political and social factors have led to more and more detailed and precise in Tahmasp’s Shahnameh painting than Baysonqor’s Shahnameh? In this research, library and documentary information have been studied with descriptive-analytical and comparative approach and the results show that is illustrated more details and visual elements in the Jamshid’s court miniature in Tahmasp’s Shahnameh and the number of these elements is less in the Jamshid’s kingdom miniature in Baysonqor’s Shahnameh. Also Jamshid’s government in Tahmasp’s Shahnameh is illustrated Authoritative, powerfully, luxurious and excellent and also the number of human elements in Baysonqor’s Shahnameh miniature is 15 and in Tahmasp’s Shahnameh miniature is 28 and the image of two demons.