elaheh panjehbashi

Painting of the Qajar era has expanded meanings. One of these meanings is the existence ofthe main character with the archetypal theme of the hero archetype. This feature can be seen not only in large-scale oil paintings but also in the small miniature manuscripts of this period. Davari Shahnameh ( in Persian Shahnameh Davari) is one of the miniature manuscripts of the Shahnameh in this period, in which the hero archetype is prominent. One of the contemporary theories in this field is the morphological theory of Propp, in which this Russian analyst attempts to classify epic stories and their characters. Iranian culture has a deep relationship with the hero archetype and creates mythical heroes in Iranian literature. This issue is important in the manuscript of Shahnameh Davari as the last official and complete Iranian Shahnameh in the Qajar period. This research aims to study the hero archetype in the Shahnameh Davari manuscript in the Qajar period. According to the cultural changes of this period, the character of the hero is represented differently, and investigating it with Propp’s morphological theory can suggest a new meaning of this character in this period. The main question of the research is as follows: According to Propp’s morphological theory, how is the archetype of the hero redefined and interpreted in the paintings of Shahnameh Davari? The methodology in this paper is qualitative research to gather non-numerical data to produce insights, and Shahnameh Davari was studied by the descriptive-analytical method. Also, based on Propp’s theory, it explains the redefinition of the hero archetype as a mythological archetype. The results of the research clearly show that the archetype of the hero is particularly important in the version of Shahnameh Davari, and it is compatible with evolution and development in the morphology of the figures of this Shahnameh.

The Isfahan school of art is a prominent style of Persian miniaturist from the Safavid era. manuscript visualization such as the Shahnameh which is characterized by its epic themes and the presence of animal motifs, has drawn the attention of artists like Moin Mosavvar, who displayed remarkable skill and a unique perspective in depicting animals. Animal motifs were a significant aspect of the Safavid period Isfahan school's painting.Hence, the current research explores the elements and qualities of animal and mythological motifs, and how these motifs are combined in four Moin Mosavvar’s works.The main question is: In the four discussed works of Moin Mosavvarr, what are the visual components of the animal and mythological motifs?. Based on the results of this research, it was determined that by looking at the visual elements such as line, color, texture, rhythm, movement, and composition in the four specific illustrated works of the Moin Mosavvar, it was determined that the painter generally used to create compositions such as snails, spreads, and spirals in the pictures, he used visual elements such as curves and diagonals to create the illusion of movement and rhythm. Furthermore, the use of dark, light, warm, and cold colors has resulted in a visual quality of contrast while eye movement is taking place

Purpose:

 Therefore, the objectives of this article are: to study the reflection of humanistic cognitive concepts between the face and body parts performing an action in complex social scenes with different levels of social interaction and individual vs. social factors depicted in the pictorial scenes of Laki Qajar's pens. In Malik National Museum and also, the analysis of the cognitive concepts of iconography aims to investigate the human personality of these figures.The questions that are raised in this article are in the order that the human motifs illustrated on the Qajar era lacquerware are drawn at what different levels of social interaction and individual factors? What humanistic concepts do the iconography motifs of these pens often have, and how is the visual attention to these characters explained in the context of social and individual scenes?

Methodology:

 This article deals with the identification and study of illustrated iconography on the Qajar period lacquered pencils with the descriptive-analytical method and collecting information in a library manner according to the approach of humanistic cognitive concepts based on Bundesen's theory of visual attention.

Findings:

 In the analysis of the human figures of Qajar Period Laki Qalamdan, one should pay attention to humanistic cognitive concepts such as their personality. In addition, the study of the iconography of the Qajar period lacquerware shows that the drawn human motifs follow almost similar aesthetic patterns and are influenced by the arrival of European artistic ideas. As in the portrait design, an incomplete imitation of realism can be seen in the designs.

Conclusion:

 The results of the research show that based on Bundesen's theory of visual attention (TVA) and the analysis of motifs using color scan patterns, human personality is considered as an important factor in attracting visual attention in the iconography of the Qajar period lacquered wallets, and it depends on the type of activity and personality of the figure. Humans are related in social and individual scenes in the form of portraits

Historical manuscript paintings, such as those in the Khamsa of Nizami, convey an accurate understanding of the visual characteristics of objects used in their time. This research aims to study the carpet colours in various versions of the Khamsa of Nizami from the 10th century AH/16th century AD during the reign of Shah Tahmasp. Examining the colours of these carpets raises the question: What is the progression of carpet colours in the Khamsa paintings from this period, and what is their relationship to the surviving carpets of that era? The research method is descriptive-analytical, and information has been collected through library (documentary) sources. This study examines the carpet colours in Khamsa versions from the peak of Safavid art, a topic that has not been previously addressed. This research shows that the carpets in the Herat school paintings from the year 930 AH are predominantly red, black, and dark navy. The carpets in the Tabriz paintings around the year 946 AH feature the colours mentioned above as well as lighter shades of cream, green, and blue, while the carpets from the Shiraz school in the year 995 AH often display colours such as pink, blue, orange, and green. The dominant colours of the Herat school are associated with mystical and otherworldly concepts, while the colour concepts of the Shiraz school convey the vibrancy of earthly life, and the Tabriz school combines these two concepts. The visual characteristics of colour in carpets are largely similar in both the painting schools and carpet-weaving centres, yet, despite these similarities, they do not share identical origins of creation, indicating widespread interaction among artists across various regions of Iran.

During the reign of Fath-Ali Shah Qajar, court portrait painting influenced various art forms, including enamelwork. This study examines enamel art of that period, focusing on how it reflects the conventions of court portraiture to convey royal grandeur. Enamelwork of this era can be broadly categorized as decorative or functional. Using extant examples, this research investigates the degree to which enamel artists adhered to these established portrait traditions. The surviving pieces demonstrate a clear fidelity to these conventions, contributing to the objects' magnificence, a quality intentionally sought by patrons. Stylistic variations are also considered. This study aims to investigate the influence of Fath-Ali Shah's court portraiture on both decorative and functional enamel objects, a topic that has not yet been thoroughly explored. The central research question is: How is the influence of Qajar-era court portrait painting evident in enamel objects of the time? This fundamental research employs a descriptive-analytical methodology, relying on library resources and qualitative data analysis. It explores a relatively understudied aspect of enamelwork within the context of portraiture from this period.The findings reveal that the visual characteristics of court portraiture are consistently present in both decorative and functional enamel pieces, often in miniature form, mirroring other contemporary accessories. This consistency underscores the pervasive influence of Fath-Ali Shah Qajar's court portrait painting on the art of the era..

Panofsky is one of the most important researchers of the iconology approach.Iconology examines the meaning of the artwork.Panofsky distinguished three levels of meaning(pre-iconographic description,iconographic analysis,iconographic interpretation).in the reading of works of art the two painting of Imam Reza’s footsteps and the saving of people in the sea by him are fromTahmasabi’s Falnama,which was commissioned by Shah Tahmasib Safavi.The Safavids attributed their lineage to Imam Kazem.they paid special attention to his son,Imam Reza who played an important role in the influence of Shiism in Iran.The purpose of the  research is how to read the iconology of two paintings related to Imam Reza in Tahmasabi’s Falnama with Panofsky’s opinions.This research seeks to answer these questions, how is the iconology analysis of these two painting with Panofsky’s opinions?Considering the cultural and religious context of Shah Tahmasab period,what are the structural and visual characteristics of two paintings? What fundamental values of the period of Tahmasab do the iconologic analysis of these two paintings reveal?This research is conducted in a qualitative and comparative-analytical manner and the method of collecting materials is done in a library manner and with an iconology approach.it seems that the painter in the image of the steps by using the form of a footstool in the mihrab, is simultaneously reminding the three steps associated with the Muslim Qibla and, as a result, the principles of Shiite Islam,monotheism,prophecy and imamate.It is also a document because in that period,the footprints in Nishabur were the expression of the footsteps of Imam Reza.In the second painting the painter portrays Tahmasab in the form of Imam Reza the promoter of Shia in Iran, and refers to the incident of Humayun Gorkani’s request for help from Tahmasab.Finally subconsciously it refers to the fundamental values of Tahmasb’s period which are the important Shiite principles and the emphasis onTahmasb’s legitimacy

Lacquered boxes, during the Qajar period, known as Qapan boxes due to their practical use, were functional items painted and adorned with various themes. Custom functional boxes were of higher quality and importance, made to order for the royal court. One of these exquisitely painted boxes is preserved in the British Museum. The main subject of the painting spans the length of the rectangle, depicting the Throne of Solomon (PBUH), while the secondary subject is the width of the box, illustrating a royal hunting scene. This box is one of the rare, and intact examples belonging to the early Qajar period, and its identification can serve as a complete and rare specimen to understand this art in the Qajar period. The question of the present research is “What themes have been painted in different sections inside and outside this box, and how are the themes of the images related to each other”? The aim of the present study is to examine the structure of the painted scale box with the theme of the Thrown of Solomon (PBUH), which includes the structure and themes worked on both inside and outside and familiarizes us with this type of box and its practical aspect.

This research is qualitative and descriptive-analytical, utilizing library (documentary) methods for data collection. The statistical population of the present study is a mirrored box numbered 192705251 in the British Museum, belonging to the Qajar period. Data collection was conducted using library methods and tools such as note-taking and downloading internet versions of images. The purposeful sampling method was chosen by examining the lacquered painted scale box depicting the Thrown of Solomon (PBUH).

The findings of the present study indicate that this painted box demonstrates the integration of artistic achievements and life, introducing religious themes as the main subjects depicted on the box. The paintings on this box share stylistic similarities with other aspects of the box, but differ in terms of content, having been selected and executed with consideration of the box's functional aspect. The semantic relationship of the themes inside and outside the box is different from each other, but they share the same artistic style. In this box, three themes are observed: On the lid of the box, the religious theme of the Thrown of Solomon, on the sides of the box, the cultural theme of hunting during the Qajar period, and inside the box, the mystical theme of Flower and Bird and the decorative elements of Iranian art.

The themes used in various parts of the box have been influenced by the art of Qajar court painting. The systematic design and the use of images for the box, the use of hunting motifs for the box's horizontal and vertical borders, and the use of traditional Iranian motifs for the box's interior divisions are among these intentionally selected themes, clearly reflecting the art of the Qajar period.

Painting is one of the most important decorations for buildings in the Qajar period. One of the distinctive characteristics of the tiling of this period is the use of various patterns and colors. This research deals with tiles from the Victoria and Albert Museum in England, which are more limited in terms of variety of designs and colors compared to the tiles of this period, and have a specific number and cover the time range of 1870-1850; It is glazed and is unique to Tehran without the artist's name. The use of these tiles has been limited to the floor in most cases and the wall in other cases. There are 154 Qajar tiles in the collection of the Victoria and Albert Museum, which were purchased by the broker "Victoria and Albert Museum", some of which are floor tiles, which are called modern Qajar tiles.

Method and Research: 

The present research method is qualitative and descriptive-analytical, and the data were collected using library resources and images were taken from museum specimens.

The results of this research in the examination of the modern tiles of the Qajar  period show that these tiles have a simple design and pattern and are divided into three ranges and are more simple than the tiles of this period in tile work. Simple design and color in the first spectrum, use of limited colors in combination with motifs in the geometric space in the second spectrum, use of more variety of designs and colors, attention to detail and dealing with flower and vase motifs are the characteristics of the third spectrum tiles in This is the course

Painting influenced by Iranian literature and history is one of the manifestations of the relationship between art and literature, which has always had a special place in Iranian culture. The study of these works can lead to new readings in the field of image studies with regard to social implications. The scene of the meeting of "Laili and Majnoon" is one of the most prominent scenes of the love story in Khamseh Nizami, which has been depicted many times by Iranian artists. The purpose of this research is to read iconologically and find out the analysis of Lili's personality in some paintings of the meeting between Lili and Majnoon. Introducing and analyzing the visual features that have received less attention is one of the development goals of this research. The research question is as follows, based on reading iconology from Panofsky's point of view; How is the character of Lily represented by Qajar era artists? The research method in this research was descriptive-analytical and using library resources.

Mural painting is one of the prominent and noble arts of the Qajar period, which was formed in the form of painting on surfaces such as tiles, plaster and wood. Attention to antiquarianism and religious issues in this period led to the creation of works in which the role of Ahriman and Demon drew most of the attention of artists and rulers of the time. Patterns that can be investigated not only in regards to their narrative aspect but also in terms of morphology. The purpose of this research is to investigate the shape and anatomy of the images of demons in the public art of wall paintings of the Qajar period. By examining 14 selected samples from Qajar wall paintings through documentaries and field data in a qualitative manner, based on a descriptive-analytical approach and visual sources, the authors intend to answer the following question: What kind of thoughts and beliefs is the cast and body of the demon in the general art of the Qajar period based on? The findings show that the motifs that adorned public buildings such as shrines, baths, and religious buildings in the Qajar era did not have a scary and dark image. In other words, the idea of a demon in people’s minds being imagined as a formidable, terrifying and scary creature, suddenly changed and it was seen as a gentle, harmless, compassionate, humorous, smiling creature, sometimes with female erotic organs and even being well-dressed beings who were decorated with beautiful colors and even hung ornaments on themselves. This was an expression of traditionalism in women’s social life in this period. The findings of the research show that the four concepts of women, nature, primitive and alien transcendental beliefs underwent deep changes in the mind and thought of Iranians during the Qajar period.

Demons have been widely present in the culture of Iranian legends. They are also present in the Iranian version of religious legends. One of these is the story of Suleiman, in which Iranians narrate the presence of demons among the servants of that prophet. Although there is no specific and established form of these beings, but the summation of definitions in Iranian texts makes it conceivable with some dos and don'ts. Paintings flourished as an art industry in the Qajar period, and its body became an arena for performing art and expressing the feelings and thoughts of artists. Images of epic, romantic scenes, natural landscapes, Islamic geometric motifs, etc. were engraved on them. These works were often accessible to a wide range of age groups. Although the lower economic classes of society have had limited access to them.The important thing about some of these works was the existence of images of supernatural beings whose retelling in folklore or literary stories could create a feeling of extreme fear for the listener; How about displaying their images on decorative dishes. Although in the previous centuries, the use of these motifs was seen on metal containers or other items, but the use of those images on household utensils gained a significant boom in the Qajar period. Although in the religion of Islam, the word of revelation has spread to the other world and it is said that some jinns have heard the word of revelation and have accepted it. Or, in the unofficial literature of the Shia religion, there is talk of the jinn's sympathy with the martyrs of Karbala; But this point is much stronger in the case of Solomon. This prophet extended the scope of his spiritual rule to the intangible world, apart from humans and animals, and jinns and demons were devoted to his service and helped him in fulfilling his wishes. From this point of view, Prophet Suleiman's rule is an example of an ideal rule, where the spirit of the world calmed down, the beasts stopped enmity, and the terrifying creatures became tolerant of humans. The aim of the present study is to identify how to depict supernatural creatures in Solomon Nabi's court by Qajar lacquer artists, and the question arises that "on what principles did Qajar artists depict supernatural creatures in lacquer paintings?" From the qualitative method and their examination and measurement with 5 lacquer paintings of the Qajar period, they have come to the conclusion that in this period, Iranians' understanding of the divan has undergone major changes as follows: a large part of the demons with female characteristics, behavior and clothing painted and included in the ranks of harem women and the rest have lost their malevolent and demonic characteristics and are seen in a state of pure passivity, harmlessness and helplessness has redefined the traditional role of women, and in such an environment, the character roles, values and concepts of the previous boundaries have been lost, and they have dissolved into each other.

Manifestism is one of the important movements of the Sassanid period and Manifest painting forms a part of Iranian art history. Knowledge of Manichaean religion and art reveals a part of ancient Iranian culture and rituals. The religious beliefs of the Manichaeans have been manifested in the form of symbols and codes in their paintings. Symbolic motifs in Manichae paintings include human motifs, animal motifs, plant motifs, geometric motifs, and mixed motifs. This study is aimed to identify common symbolic and decorative motifs between Manichaean and Sasanian works. The research question is raised as follows: Which of the symbolic and decorative motifs in Manichaean paintings are similar to Sasanian works in implementation and theme? This study raises new issues and claims in the rooting of Manichaean painting art and tries to prove the hypothesis that Manichaean art was significantly affected by the art of the Sassanid period. In previous studies, researchers have pointed out some common motifs between Manichaean and Sasanian art. However, in this study, more samples have been studied to identify and solve some ambiguities and complexities that existed in Manichaean art from Turfan Oasis. This study has been done using a library-documentary study and descriptive-analytical method and with a comparative approach between Manichaean and Sasanian art. By studying Manichaean paintings and Sassanid works, it can be said that there are motifs such as pearls, lotus flowers, ducks, grapes, and pomegranates, and some decorative motifs such as Khatai motifs and wavy bands in Manichaean paintings, which are found in the artworks of the Sassanid period. The studied samples in Manichaean paintings have many similarities with Sasanian works in terms of appearance. In terms of meaning and concept, there is not much similarity between them in terms of partial theme. However, in terms of the overall theme, they have something in common in terms of linking Manichaean and Sasanian motifs with myths.

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

The sword is considered as a symbol of strength and courage, and clinging to the sword of Imam Ali Zulfiqar is considered a symbol of clinging to his power. In the Qajar period, the name of that Imam was mentioned directly and indirectly with Shia writings, including Prayers, poems, epithets, and two Shahadas of his name. In this research, in a case study, four swords are discussed, in which Shia writings are used specifically and clearly to decorate, and the matter of continuing to reflect Sharia in art is emphasized. The purpose of this article is a case study of Shiite writing on four swords of the Qajar period and the study of its decorations and the relationship with Shiite calligraphy, which shows the continuity of this directly and indirectly. The main question of this research is how is the decoration method based on Shiite themes in the configuration of the four Qajar swords under discussion? The research method of this research is qualitative and of a descriptive-analytical type and based on the principles and rules used in the study of the decoration of Qajar swords with Shiite content with an emphasis on the poems and prayers. The results of this research show that art and politics during the period of Fath Ali Shah Qajar (1212-1250) have an unbreakable bond with each other and the Qajar kings, especially Fath Ali Shah (1250-1212) tried to introduce themselves as followers of Shiism and in this way, they used the tools of art. The use of Ali's name and Shiite themes such as poems and prayers, clinging to power and the sword of that Imam symbolically refer to power and fighting; Mentioning the name and titles of that Imam can be seen directly and indirectly despite the limitation in the writing space of the sword blade, which shows the importance of this matter.

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

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

The art of pen case-making has long-standing ties with Iranian culture. Qajar era, this craft reached its zenith as artisans elevated it to new heights of perfection, surpassing the previously prevalent use of metallic pen cases. Qajar painting sought to achieve a harmonious balance between the contrasting elements of Iranian and European art. This endeavor, particularly prominent in the first half of the 13th century AH, led to a brief yet remarkable synthesis, significantly influencing pen case decoration of the time. Fathollah Shirazi is among the most prominent lacquer painters and pen case decorators of the Qajar period. The most notable motifs in his works include floral patterns, especially Gol-o-Morgh (flowers and birds). He often utilized captivating designs framed by scenic compositions with borders adorned with roses. This research aims to study the Gol-o-Morgh motif in Fathollah Shirazi’s paintings. The main research questions are: How have the influences of Gol-o-Morgh paintings on Fathollah Shirazi's pen cases shaped the art of the Qajar era? What are the distinctive visual characteristics of Gol-o-Morgh motifs in Fathollah Shirazi's pen cases? The research adopts a qualitative approach and employs an analytical-descriptive method. Data was collected through documentary (library) sources. The analysis of Qajar pen cases reveals that Shirazi’s designs prominently include painted Gol-o Morgh motifs. The designs on these pen cases exhibit depth influenced by European painting styles. However, Shirazi’s hybridized Farangi-Ma'ab (Europeanized) school distinguishes itself from his contemporaries. His pen case decorations are characterized by realism and a naturalistic approach, reflecting his inclination toward realism, aligned with an understanding of the mystical meanings of these visual elements rather than mere ornamental abstraction or symbolic representation.

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

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

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

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

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

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

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

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

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

Problem Definition: 

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

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

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

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