نسخه های مصور

The present study deals with the analysis of modern medicine and its evolutionary aspects in Iran, Qajar Era with emphasis on pictorial manuscripts. Since health and treatment in Qajar Era was completely unorganized and unstable, introduction of modern medicine can be considered as a new chapter in the medicine history of Iran in the Era of Qajar. The data of this study were collected from among first- hand library sources. This research aims to answer this question: what was the position of modern medicine among the politicians and different spheres of society and what are the factors affecting this evolution. In order to answer the said question, it was supposed that a set of factors involved in the evolution and expansion of modern medicine including the influence of the thought of superiority of modern medicine, the superiority of new education in Dar Ul-Funun, the interest of Qajar kings in using foreign physicians, advantages and positive results of services of modern medicine to society such as hospitals, inoculation, quarantine and individual and public health. Alongside these factors, passage of time, demand and interest of Qajar society which composed of different spheres and pictorial medical manuscripts of Qajar era that contained artistic and aesthetic descriptions as well as anatomical and medical descriptions resulted in prosperity and expansion of modern medicine. The finding of the study, while approving the hypothesis, indicated that all of these factors helped replace traditional medicine with modern medicine during modernity in that era. However, traditional medicine continued its life alongside modern medicine. Therefore, through a descriptive analytical method, the researcher endeavored to answer the question: what were the factors affecting modern medicine by expressing the pictorial aspects and relationship between medical sciences and graphics in Qajar Era? And what were the factors affecting the evolution of modern medicine in Qajar society?
Did factors such as hospitals, modern clinics, healthcare preservation centers, quarantine, publications and financial power play a role in the process? Hence, the main goal of this study is to evaluate evolutionary aspects of modern medicine in Iran, Qajar era with emphasis on pictorial manuscripts as well as the changes in people’s outlook on preparation of infrastructures and acculturation to accept and develop the factors of this medicine. 

Visual art of the Qajar era was inspired by both the new technical developments such as photography and printing as well as the tradition of Persian painting of the previous schools that had developed new visual features. Along with this visual quality, the exposure of the artists to western traditions and the popularity of modernity caused the Iranian society to experience changes in its artistic identity and thus, new types of visual features emerged. These features depict a series of particular changes which distinguish them from the dominant worldview of the Persian painting in terms of appearance. This type of visual art creates different visual forms in comparison to previous instances of Persian painting by using different designs, new techniques and tools. Illustrated manuscripts of the Qajar era are a collection of unique documents that incorporate the art and culture of this period of time and are the readings of an authentic artistic statement of aesthetic aspects and identity layers. This paper mainly aims at classifying aesthetic features prevailing in the illustrations of the lithographed manuscripts as well as recognition and retrieving of the identity layers and presenting the priority of the identities in these illustrations. Considering the features of Iranian-Islamic art as well as the Western artistic characteristics prevalent through the Qajar era painting, it could be hypothesized that due to exposure to modernism, the visual art styles of the Qajar era are different in lots of visual and technical aspects as compared to the Persian painting tradition; however, due to the presence of some aesthetic features of Iranian-Islamic art, they might be considered the continuation of the same visual tradition. Study of the visual qualities and aesthetic aspects of a selection of Qajar-era individual documents and manuscripts which are considered as original artistic statements in this essay leads to the reading of the identity layers of this era which could be found both in art and culture of this period. In all cultures and countries, the definition of the concept of identity is associated with religion, ideology, political and social relations and history. In artworks, the identity has different layers and each layer has different aspects. Such identity might be examined in a different manner for each work of art which, in its own turn, might have several layers: one of them being stronger and more obvious than the others. Nonetheless, all the hidden layers of identity leave their trace on the outward manifestation of the identity layer in the artworks. Due to the specific social and political ambience of the country, popularity of Archaism (approaches to ancient Iran periods) as well as widespread relations with the west (through business, education, politics and etc.), Qajar reign is considered as one of the important eras of Iranian art; therefore, we can find several identity layers in the artworks of this Era. This paper chiefly intends to categorize the main aesthetic features in the illustrations of the lithographed manuscripts of Qajar era and also recognize and retrieve the identity layers therein. Subsequently, the priority of the identity layers of these illustrations shall be studied.  The study makes effort to answer these questions: What are identity layers in the visual art of Qajar Era and which identity layers appeared more frequently than others in Qajar Lithographed Folklore Manuscripts? The research has been conducted using descriptive-analytical method through the desk study of library sources as well as other valid ones such as the manuscripts. The statistical population includes 7 Lithographed Folklore Manuscripts created during the Qajar Era using a selective procedure (11 pictures were selected). The analyzed results indicate that the identity layers of the artworks of this era might be categorized into four: archaic, Persian-Islamic,westernization and Islamic-Shiite. Moreover, in each type of artworks created during the Qajar Era, some layers play a more important or a special role. In this case study (Folklore Manuscripts), the first and the most important layer is westernization to be followed by Persian-Islamic. The other layers (Islamic-Shiite and archaic) are less important and thus, imperceptible.

Creating manuscripts is one of the most important aspects of Islamic art which connected different arts during the history such as Gilding, calligraphy and painting. Among all the manuscripts, analects are samples designed by pictures and patterns. The subject of this research is to introduce pictorial analects of Qajar dynasty which is kept in Islamic parliament. The aim of this research is to survey the content and arts of these analects in the name of “Zobde Al’Montakhabin”. Therefore the research questions include: what is the poems content of this anthology? What kind of art is used in this anthology? The research shows that these analects include five chapters. The first chapter begins with some poems flattering Fatali Shah and then other chapters include poems of Sadi, Khaghani, Ibn Hesam etc. and some unknown Qajar poets writing about mysticism. Other arts including painting and gilding, volumes and arrays, such as the tables and epigraphs are used in this manuscript. According to the fact that this manuscript had not been dedicated to any king and its quality of designs and pictures is low, it cannot be considered a kingship one. Research method is descriptive and analytical, based on studying the manuscript and library studies.

Following development of lithography during Gajar ages, the picture of Iranian books was common in a modern method. one of Iran's past Art is, short - lived one hundred years old, is painting Lithography books. In the Qajar period in the early twentieth century, was formed. lithograph drawings than other forms of Iranian art show real- life implications of the public to effectively so that they are document the material culture and folk concepts that age. With the arrival of the printing industry in Iran And the spread and development of independent print press court workshops, Publishing publication and access to the masses of people, especially children, will provide. Among all children's books that are printed in the Qajar period, “Khale Suskeh” have Special Position because several times, is illustrated and printed. So that the culture and customs of this period reflects. In previous years, this book forms the image has been published. The story “khale suskeh” (that was read in School Houses for children)“poetry written in the form of a Mathnawi. This book, originally from China to the country that after scribe translated and published. principal structure is the myth of love and kindness. The hero of the story are animals and creature. Framework of the tale of a journey to find a husband And the hero (Khale Suskeh) for the husband to be familiar with different people And finally, the mouse will select as their ideal. After falling his wife in the soup pot, black Khale Suskeh's life, symbolically underscores the depth of their love. This article aims at introduction and study (review) of specification of images of lithographic copy of Khale Suskeh, and with Approach Analytical and descriptive To seek technical and visual attributes and features that will. Recognizing these features comes to the conclusion that version of the illustration and fine calligraphy and images of Persian painting has its roots in the tradition of illustration And enjoying of coherence and better coordination than the similar prototypes. It is probably one of the first common book of children's folk in lithography whose visual aspects have been observed considerably, so that it has inspired other painters in this field. Properties and visual effects in this version, most follow the same structure So that its roots goes back to ancient times, dates. The layout of the book is based on the traditional book layout Iranian And how to use visual elements and Other principles follows of the Foundations of Art courses prior art, such as the use of the line, drawing table, scribe, and the picture and artists With help of folk arts, a new value in the visualization, the story offers. This research is examines the technical characteristics and the book layout and Style features and pictorial principles(Atmosphere, Characterization and image processing) and Aesthetic principles(Lineament, Lighting and Texture, Composition, Unity, Balance, Diversity and Coordination) and Finally to understand the position of the image, other versions Khale Suskeh, has been studied and So that the special Scores is indicated.