چاپ سنگی

Statement of the issue: 

With the beginning of lithography in Iran (1249AH), the publication of books, especially on popular subjects, became popular, and this literary genre could reflect the culture and customs of the Qajar period. Based on the literature and literature on the origins of the Nabazian novels, the decision has been made. Literary works that can be based, in a decision-making way, on the meaning and concept of a better way to address the statement of Kennand. For example, in the possession of Dastan, a picture taken from the text of Dastan, send a narration from Dastan to the addressee. There is a source of inspiration between Dastan Neez Bahtrin and the creation of his ideas for the sake of his images. The existence of any relatable link between the text and the illustration of a well-illustrated book is an important matter to be noticed. In these colloquial expressions, as well as verbal literature, in folk and ethnic groups, and in the context of the hurricane of religious, social, political, sectarian, and ... the religious, social, political, and sectarian spirits of this community are different from the viewpoints and sources of an important context. For the sake of poems with phrases, etiquette, and figures of peoples in different historical periods of Danest. From the presence of these dastans in the evidence of Dara Boden imagination and Magrajoyi, the love of Wiseh in the Nazd Mardm Dashth and Darand, with the entry of the Sanji chapter in Iran, a picture of it for the books of the Pedah Pedah Kurd Ta in the general studies of its decision-making and generation and its chapter Az A commercial view is a directive pattern. Among the examples of lithographic illustrated books in the Qajar period is the folk tale of Dale Mukhtar, preserved in the Astan Quds Razavi library. This version was published in 1330 AH and has 23 pictures next to the text of the story. By examining the images of these constitutions and their creation, and the factors influencing their creation, through a formative criticism that is important to the extent that they are established in the course of any formation that has been established by more images. In the direction of this in the compositional criticism, the final text (picturesazi), the result of the integration of the Pechamton and the importance of dividing the reading may begin and at the end of this text the end of the question in the choice of the addressee of the decision to be written. These are images for the first time in this book of the decision of Gharfthand and related to the body of the book of Hstand. Ramand photographed a photograph of a photographer in Yemen, a photographer. Midhem decision.

Examining the process of formation, formation and creation of the images of the mentioned edition and analyzing the influential factors and norms (paratext) and how much the artist was influenced by the pretext of the images (text of the story).Research question: What are the stages of formation and creation of the illustrations of Dele Mokhtar's lithographic book (1330 AH) based on the approach of critical and constructive criticism and special writing on the written pre-text (narratives)?

data collection is based on library and archival study, descriptive-analytical research method and qualitative approach.

The artist was influenced by social, political, cultural, religious norms and the war between tradition and modernity in his daily life, and in his pictures, especially in the naturalistic painting imported from the West, he drew human and animal figures, and the clothing of people was completely Qajar and According to their social status and the space they were in, different designs and decorations were used for their clothes. According to the pre-text, the illustrator has designed different moods for the figures in different situations and has displayed different emotions by making changes in the facial expressions and body movements of the characters. In the pictures, the main role is played by the characters and the space creations are very limited. The correlation between the text and the image can be seen. Paratexts and existing norms have also played an important role in creating images.

In Persian literature, Ferdowsi's Shahnameh is a prime example that pays attention to the role and status of women. In most narratives, women are present alongside men in wars, governance, and other affairs. Throughout Iran art history, the Shahnameh has been illustrated by many painters. After the lithography introduction to Iran during the Qajar era, many illustrators produced lithographic versions of the Shahnameh, resulting in Shahnamehs with unique and beautiful images. In the images of the studied lithographic Shahnamehs, The level of women's presence is an issue worth considering. The main goal of this research is to identify and examine the status and level of women's presence in the lithographic Shahnamehs’ illustrations during the Qajar era (published in Iran in 1888, 1896, 1928, 1973, and 1943).This research is based on the following question: Which of the stories in the Shahnameh that feature women has received the most attention from illustrators? This research employs a descriptive-analytical method based on archival research (lithographic collections of the Astan Quds Razavi Central Library and the National Library). The analyzed images depict women with altered identities, conforming to the social and cultural norms of the Qajar era (such as patriarchal perspective). The remarkable roles and distinctive feminine characteristics such as allure, beauty, decision-making power and authority, are largely overlooked. Considering the cultural constraints of the time, artists have focused on representing female characters in only five stories (the union of Zal and Rudabeh, Siavash passing through fire, Esfandiyar’s sisters, Bahram-e Gur and Azadeh, and Barbad playing for Khosrow Parviz), conforming to the prevailing social norms.

Following the introduction of the printing industry and the publication of the first book using this method in Tabriz (1877 AD), this cultural industry spread to other cities in Iran, too. The purpose of this research is to identify the starting and central point of this industry in Mashhad and subsequently examine its period of activity, published works, activists, and individuals involved. This study has been developed using a historical method and a descriptive-analytical approach, utilizing documents and lithographic books from the Astan Quds Razavi. Based on new information, the active printing house in the Astan Quds Razavi complex was the first center for book publication using lithography in Mashhad. During this printing house’s operation period (1877-1925 AD), published twenty-eight books with diverse themes and visual characteristics, by the collaboration of various printing masters, scribes, painters, editors, and translators. Most of these works were published with financial support from individuals outside the printing house or at the expense of the authors themselves, indicating a lack of attention from most custodians and senior officials of the shrine in supporting this cultural field of Astan Quds Razavi during the Qajar period.

Statement of the problem: 

After the arrival of the lithography industry in Iran (1249 AH) under the support of Abbas Mirza Naib al-Sultaneh, a huge transformation took place in the field of illustration, as many artists produced extensive works in this field. At the beginning, how the lithography method works to produce illustrated versions was not very easy for artists, but over time, the artists, by gaining various experiences in this field, succeeded in producing noteworthy images, among them, Seyyed al-Shaara is one of the unknown artists. In the field of illustrations of stone printing books, only one of his works entitled Bahr al-Fawaed (Mathematical Principles) (published: 1324 AH) remains. There is not much information about this artist's life and artistic profile, but his illustrations indicate his mastery of design and composition skills. One of the issues that distinguishes the works of these artists from other available lithography works is the high quality of the images and masterful performance of this artist, because during his artistic career, most of the lithography works had declined in terms of quality and The images are simpler and more primitive compared to the beginning of the activity of the lithographic illustrators. For this reason, it is very important to examine and study the works left by this prolific but unknown artist.The aim of the research is to investigate the way of emergence and perspective features in the illustrations of Bahr al-Fawaed book by Seyyed al-Shaara.

In the current research, 16 narrative images of Bahr al-Fayed have been analyzed in a descriptive-analytical way.

According to the case study of Seyyed al-Shaara's illustrations in the book Bahr al-Fawaed, it can be found that this artist did not completely follow the deep-viewing methods of Iranian art and western linear methods, but in each picture, depending on the conditions and purpose, he used a self-made method to create depth. adopted in the image. Most likely, one of the possible reasons was the limitations of the stone printing technique. For example, in lithography, due to the removal of color and reliance on line, the artist is deprived of the possibility of creating a distinction and a point of attention with the help of color or strong light and shadows. As a result, it is possible that Seyyed al-Shaara has made exceptions in the perspective type of images due to the limitation of visual elements. In some cases, according to the common custom of Iranian art, when important people are drawn with magnification (spatial perspective), Seyyed al-Shaara has also used this method to draw war commanders in most cases. Of course, in the case of this artist's pictures, the purpose of the official perspective is not only to respect the status of individuals, and this method has also played the role of creating balance in the crowded compositions of Seyyed al-Shaara's works. However, in a special case like picture 14, despite the presence of Napoleon, who is a prominent figure, he has been depicted with very small proportions. There is a possibility that Napoleon in this image as a person who will fail, did not need magnification and official perspective. In some of the images, the people and equipment that were present in the distance are depicted with brief lines without details, which is reminiscent of the atmospheric perspective method. has not had, it should be noted that the limitation in the implementation of design details in much smaller scales than the common sizes in lithography could have been the reason for this problem in more distant parts. In some images such as image 6, it seems that the artist has not made a conscious and deliberate effort to create and design the principles and organization in depth, and has changed the sizes and distance and proximity of the elements with the sole purpose of filling the image and showing different events of the battle. In general, it can be said that Seyyed al-Shaara in Bahr al-Fawaed's illustrations shows a combination of Iranian and Western depth-viewing methods, although not in a purposeful way, but simply to create enough space for the characters and to achieve a balanced composition, the elements are drawn small or large. has done.

Statement of the problem: 

Stone printing was introduced to Iran from the Qajar period (1249 AH) and subsequently played an important role in art, especially in the field of narrative illustration. Among them, one of the works has the illustration of Masnavi al-Atfal book. This work, which was a summary of Maulvi's narratives, was modified by Miftah al-Molk during the Qajar period in line with school literature, illustrated by an artist named Mirza Mustafa in 1309, and then published (preserved in Astan Quds Razavi Library with registration number 35594).The purpose of the research: Masnavi al-Atfal, with its 44 images, is valuable among illustrated books, which largely reflects the beliefs and desires of the society of its time. This research aims to analyze the influence of the written text as well as the beliefs of the society, which Mirza Mostafa is considered to represent, by examining the selection of characters in the depiction of the narratives related to divine prophets and the comparison between the written text and the production illustration.

Research Question: 

The main focus of the current research is to answer this question, to what extent there is a connection in the depiction of the characters mentioned in the written text and subsequently its reflection in the visual text of the stories related to the divine prophets, as well as the commonalities and differences. To what extent is it from the point of view of character selection in the images?

This research was written based on the descriptive-analytical method, and among the 44 illustrations related to 39 stories, only 8 illustrations are related to 7 stories, which was based on an analytical-adaptive study in the history of art.

Based on the investigation, the findings indicate that the illustrator of Masnavi al-Atfal (Mirza Mustafa) illustrated the characters of the stories related to divine prophets to some extent in accordance with the characteristics mentioned in the stories of the book (loyalty to the original text). However, in parts beyond the poem and by using the norms governing the society and personal taste and ideas, he has depicted images next to the main characters of the story (increasing the visual characters) and sometimes by reducing some characters or choosing a specific part of the story, to The illustration of the mentioned event has been discussed (reduction of visual characters).

Statement of the problem: 

Stone printing was introduced to Iran from the Qajar period (1249 AH) and subsequently played an important role in art, especially in the field of narrative illustration. Among them, one of the works has the illustration of Masnavi al-Atfal book. Thiswork, which was a summary of Maulvi's narratives, was modified by Miftah al-Molk during the Qajar period in line with school literature, illustrated by an artist named Mirza Mustafa in 1309, and then published (preserved in Astan Quds Razavi Library with registration number 35594).The purpose of the research: Masnavi al-Atfal, with its 44 images, is valuable among illustrated books, which largely reflects the beliefs and desires of the society of its time. This research aims to analyze the influence of the written text as well as the beliefs of the society, which Mirza Mostafa is considered to represent, by examining the selection of characters in the depiction of the narratives related to divine prophets and the comparison between the written text and the production illustration.

Research Question: 

The main focus of the current research is to answer this question, to what extent there is a connection in the depiction of the characters mentioned in the written text and subsequently its reflection in the visual text of the stories related to the divine prophets, as well as the commonalities and differences. To what extent is it from the point of view of character selection in the images?

This research was written based on the descriptive-analytical method, and among the 44 illustrations related to 39 stories, only 8 illustrations are related to 7 stories, which was based on an analytical-adaptive study in the history of art.

Based on the investigation, the findings indicate that the illustrator of Masnavi al-Atfal (Mirza Mustafa) illustrated the characters of the stories related to divine prophets to some extent in accordance with the characteristics mentioned in the stories of the book (loyalty to the original text). However, in parts beyond the poem and by using the norms governing the society and personal taste and ideas, he has depicted images next to the main characters of the story (increasing the visual characters) and sometimes by reducing some characters or choosing a specific part of the story, to The illustration of the mentioned event has been discussed (reduction of visual characters).

Iranian archaism pursues a nationalist, patriotic, and identity-oriented perspective, and celebrates the Persian language, the components of national identity, and Iranian culture. This ideology pays special attention to Iranian heroes and mythologies. Iranian archaism dates back to Fath-Ali Shah Qajar’s reign and peaked during the reign of Reza Shah Pahlavi. Muzaffar al-Din Shah's reign also witnessed an abundance of these tendencies, to the extent that Hossein Pasha Khan, also known as Amir Bahador, a Qajar official who served as head of the royal guard, Muzaffar al-Din Shah's minister, and Mohammad Ali Shah's secretary of defense, commanded for an exquisite version of Ferdowsi's Shahnameh to be compiled. This version of Shahnameh eventually became one of the distinguished Qajar masterpieces reflecting archaic ideas. The book was compiled through lithography in Tehran and was titled Amir Bahadori’s Shahnameh after its commissioner and sponsor, Amir Bahador. Some versions of shahnameh are stored at Istanbul University, New York Library, Astan Quds Razavi, Central Library of Tehran University and National Library.The compilation of Amir Bahadori’s Shahnameh started in 1902 and took four years. This edition was tangibly distinct from the previous ones: First and foremost, the book is printed in a 23.43 cm format, which is one of the largest lithographic printing formats. Secondly, it is a work unlike any other edition of Shahnameh in terms of page layout since each page is allocated to one illustration covering the whole page. Moreover, the illustrations are stylized incredibly realistically and are compiled systematically. The introduction is written by Sadegh Farahani in 20 pages and is based on edition of Baysonghor’s Shahnameh. Each page is divided into six columns, with three verses or six hemistiches on each line. The book contains 50 illustrations, 13 of which were drawn by the prominent miniaturists of the period, including Mosaver al-Molk Mohammad Kazem, Hossein Ali, and Ali Khan Naghash. Emad al-Molk calligraphed this version in four volumes. Each volume concludes with a short biography of those involved in preparing the series as well as the date of calligraphy. Along with the Baysonghor’s and Shah Tahmasp’s Shahnamehs, this version is believed to be the most exquisite.This research answers these questions: 1- What signs and symbols of archeology are manifested in illustrations of Amir Bahadori's Shahnameh? 2- What were the sources of inspiration for the miniaturists of this Shahnameh? Thereby, a qualitative-quantitative analysis was conducted on data derived from 50 illustrations in Amir Bahadori’s Shahnameh, as well as their interpretation and comparison to their original sources. The data was collected by taking notes from the sources and by observing and reviewing the illustrations. The study draws on a descriptive-analytic method with the aim of conducting a visual analysis of archaism in the illustrations of this manuscript.The research was conducted through the following stages: First, the illustrations were classified into four tables. Then, the characteristics of the works of arts from the Achaemenid, Parthian, and Sassanid eras were studied to extract the artistic elements associated with these historical periods. Table 3 demonstrates how the illustrations were adapted from ancient Iranian works of art. Finally, Table 4 compares the features extracted from Table 2 and the artistic features of the lithograph version of Amir Bahadori’s Shahnameh. The findings are as follows:Amir Bahadori’s Shahnameh is a brilliant work from various aspects, including the manifestation of patriotic and nationalist ideas through the art of illustration. Similar to other art or non-art works of the time, this book has sought to restore Iran’s past glory and has tried to revive hope among Iranians. This version of Shahnameh manifests archaism in its illustrations through various components including national and patriotic motifs, narrative ambiance, three-dimensional settings of illustrations, figurative poses, the crowns of Achaemenid, Parthian, and Sassanid kings, Achaemenid and Sassanid reliefs, ribbons around the crown of Sassanid kings, and columns, vaults or domes similar to arches in Sassanid and Achaemenid palaces. The dynamism of the miniature characters, the narrative framework of the scenes, the three-dimensional tall Achaemenid columns and Sassanid vaults, the composition of figures, and the implementation of perspective principles are among the factors portraying the spirit of the spaces illustrated in this version of Shahnameh. The aforementioned are not only influenced by the Western artistic style, but also inspired by the creative components and elements of historical books such as Name-ye Khosrovan (the book of kings) and the works of Ajam. Name-ye Khosrovan book is a three-volume work on Iranian history, written by Jalal al-Din Mirza Qajar. The book can be considered the first to showcase a nationalist approach to Iranian history which was well celebrated during the Qajar era and served as a source of inspiration for the artists of the time. This was the first Persian history work of literature to describe Iran as a coherent historical institution and included the 900 years from the fall of the Sassanids to the rise of the Safavids into the history of Iran.

The meaning of an illustrated story is to express a narrative formed by successive pictures, therefore, in other words, it is also Comic Strip. If we want to take a deeper look at the field of the story or illustrated narration, it can be said that their background goes back to the wall paintings of the cave dwellers and ancient paintings which, over time, in different societies, have become models for the transfer of concepts and knowledge through the use of text and pictures together, To the extent that people, whether literate or illiterate, could get more or less the author's message by looking at the manuscripts with the spice of the picture. Manga is a term to refer to a special type of illustrated story in Japan, which is a collection of sequential pictures and its roots go back to around the twelfth century. Similar to the existing background for Japanese manga, in the traditional artworks of Iran, in the same way, in most cases, text and pictures have served each other. The texts and sometimes the poems in some visual versions have been descriptive or narrators of events in some cases, it was not possible to read the work without the presence of the text, or it was difficult or impossible for the public to understand the text without the help and presence of the picture illustrated stories are still produced in Iran on a much smaller scale, but in a global comparison, it does not have a local appearance, or in other words, it does not carry Iranian traditional and cultural elements. For this reason, this research, with the hypothesis of the existence of a common visual basis in the illustrated stories of Iran and Japan, seeks to do so with a comparative study between the functions of the visual elements in the visual works of Iranian lithographs and Japanese manga. Osamu Tezuka's Buddha, which will reveal a lot of visual information, realizes the capabilities of Iranian works to produce contemporary illustrated stories as well as new artistic products such as animation and anime. The selection of two case examples in this research was because Japanese manga is printed in black and white due to its high popularity and cost savings. Also, Iranian lithographic works are black and white in most cases, not using the element of color in the two categories of works will make the matching of visual elements easier to some extent. Dealing with the topic of this research can be considered a clear example of the role of popular media in the successful preservation of some ancient cultural and artistic forms that are subject to being forgotten due to the review and influence of other works. It should be noted that research has also been conducted in line with the case examples in question, but these researches have not been comparative, referring to traditional Iranian works and comparing them with mangas, and for this reason, this research is new.

Myths and legends, as the aspects of each nation’s culture, have direct relationship with the nation’s creativity. Myth and art are two sides of the same coin and have similar origins and aims. The lithographed book’s illustrations, as an arena for the representation of popular art, add the social aspects to the Persian art. Religious illustration, which is intertwined with myths and symbols, creates some remarkable illustrations in the Persian lithographed books. We can find some notable samples of such creation in Tuhfat Al-Majalis. This book, which retells a bunch of miracles done by holy men, being full of marvels, seems a proper arena for the creation of imaginary beings’ portraits.This research, by monitoring the presence rate of imaginary beings in the lithographed copies of Tuhfat Al-Majalis, aims to understand the Tuhfat Al-Majalis illustrator’s attitude toward imaginary beings; if the artist fills his works of art by imaginary beings, in order to attract the thrill seeker reader, or vice versa; he avoids portraying imaginary beings; or showing loyalty toward the exact text of each miracle, he just illustrates the characters and elements which are mentioned in the text, neither more nor less. In order to study this, at first, we go through a brief introduction of the book; Tuhfat Al-Majalis. Then, the bibliography of the lithographed copies (the lithographed copies of Tuhfat Al-Majalis which are kept in the Tehran public libraries) would be represented. After that, the introduction of the three illustrators who had signed their works in these copies would stand. And at last, through a comparative study of miracles’ text and illustrations, we will find out if the Qajar artist has created an art work which goes beyond the miracles’ text.By studing the lithographed copies of Tuhfat Al-Majalis which are kept in the Tehran public libraries, this research represents 22 copies; 8 illustrated and 14 nonillustrated lithographed copies. By doing a comparative study of miracles’ text and illustrated images, the research concludes that the illustrators mostly prefer to illustrate the miracles’ exact texts. There are just few samples of creating an art work which is somehow beyond a visual translation of the miracle’s exact text. In fact, among all of the lithographed copies and dozens of stories studied, just in illustrating 5 miracles the Qajar artist, by omitting or adding imaginary beings, presents an illustration which differs from the exact miracle text’s visual translation. The Tuhfat Al-Majalis illustrator, doesn’t load the visual representation of the religious myth with angels and devils, but he just tries to picture the mythological story in the most intelligible way possible. In other words, each of story characters would be illustrated by the artist, if it is needed in order to create a more communicative illustration.

Statement Problem: folk literature has been the basis of visual presentation of narratives by illustrators for a long time. From the end of the Safavid period and the beginning of the Qajar period, this fortune and popularity increased, and the appearance of lithography, especially in illustrated form, was effective in spreading and publishing more and more of these stories. Among these cases, there is the story of the love between Nooshafrin and Prince Ibrahim. The origin of this prose folk tale is probably related to the Safavid period, but the author and the exact time of its composition are not known. However, its acceptability and popularity among the public has caused many copies of this story to exist in the form of manuscripts and lithographs. In this research, the characteristics and visual characteristics of 14 lithographic images without the name of the illustrator from the folk tale of Nooshafrin Gohartaj, version 1293 AH (stored in Astan Quds Razavi Library with registration number 41083) have been investigated. The purpose of the research: introducing and investigating the role of images in better expressing the meaning of the story and conveying it to the audience and how the image and the illustrated characters accompany the story line in the images of the 1293 edition of the story of Noush Afarin Gohartaj and subsequently examining the relationship between the illustrated characters and the text in the version It is based on the theory of text and image interaction. Research question: What is the relationship between the characters depicted in the story of Noush Afarin Gohartaj (lithographic version published in 1293 AH) with the trajectory of the narrative and what features are used in the said depictions, and in the meantime, the relationship between text and image based on the theory of interaction between text and image How is Marianikolaeva and Carol Scott? Research

The nature of the fundamental research is based on a quantitative approach, based on the descriptive-analytical research method, based on the theory of the interaction of text and image by Maria Nikolayeva and Carol Scott, and based on the direct observation of the manuscript and relying on library sources.

The narrative illustrations of the researched version have the characteristics of traditional Iranian painting, as well as the characteristics of Qajar paintings and the style of court portrait painting of this period, which was influenced by Western art. The images are absolutely at the service of the text and relatively moved along with the text and progressed with the relative or complementary relationship with the text, and of course, knowingly or unknowingly, there is a place left for the imagination of the audience to fantasize and role play. Key words: Narrative illustration, Lithography, Folk tales, Noushafrin Gohartaj, Text and image interaction theorycharacteristics of traditional Iranian painting, as well as the characteristics of Qajar paintings and the style of court portrait painting of this period, which was influenced by Western art. The images are absolutely at the service of the text and relatively moved along with the text and progressed with the relative or complementary relationship with the text, and of course, knowingly or unknowingly, there is a place left for the imagination of the audience to fantasize and role play. Key words: Narrative illustration, Lithography, Folk tales, Noushafrin Gohartaj, Text and image interaction theorynarratives by illustrators for a long time. From the end of the Safavid period and the beginning of the Qajar period, this fortune and popularity increased, and the appearance of lithography, especially in illustrated form, was effective in spreading and publishing more and more of these stories. Among these cases, there is the story of the love between Nooshafrin and Prince Ibrahim. The origin of this prose folk tale is probably related to the Safavid period, but the author and the exact time of its composition are not known. However, its acceptability and popularity among the public has caused many copies of this story to exist in the form of manuscripts and lithographs. In this research, the characteristics and visual characteristics of 14 lithographic images without the name of the illustrator from the folk tale of Nooshafrin Gohartaj, version 1293 AH (stored in Astan Quds Razavi Library with registration number 41083) have been investigated. The purpose of the research: introducing and investigating the role of images in better expressing the meaning of the story and conveying it to the audience and how the image and the illustrated characters accompany the story line in the images of the 1293 edition of the story of Noush Afarin Gohartaj and subsequently examining the relationship between the illustrated characters and the text in the version It is based on the theory of text and image interaction. Research question: What is the relationship between the characters depicted in the story of Noush Afarin Gohartaj (lithographic version published in 1293 AH) with the trajectory of the narrative and what features are used in the said depictions, and in the meantime, the relationship between text and image based on the theory of interaction between text and image How is Marianikolaeva and Carol Scott? Research

The nature of the fundamental research is based on a quantitative approach, based on the descriptive-analytical research method, based on the theory of the interaction of text and image by Maria Nikolayeva and Carol Scott, and based on the direct observation of the manuscript and relying on library sources.

The visual creation of Shiite narratives in line with its universal understanding is one of the topics that became increasingly popular during the Qājār period due to the collective will. Undoubtedly, one of the main reasons for this trend was the arrival of the lithography industry and the possibility of placing illustrations in parts of the text. Based on the surviving works, Ashura narratives are considered one of the most popular content types of illustrations in lithographic books. In the meantime, Mirzā ‘Ali-Qoli Kho’i (activity period: 1263-1272 AH) as the first known artist in this field, was often responsible for illustrating the first illustrated works in this field. The purpose of the present research, relying on the descriptive-analytical method, is to answer the question that among the Ashurā visual narratives of Asrār al-Shahāde by Borujerdi, which was published for the first time in 1268 A.H., the story of Deir and the Rāheb is to what extent influenced by the content roots of creation (early pre-text: narratives historical and hadith, the middle pre-text: Rawzat al-Shuhadā, the contemporary pre-text: Asrār al-Shahādeh) and in the meantime, how did Kho’i reflect on it? The findings indicate that Borujerdi’s seventh Majlis of Asrār al-Shahādeh entitled “In the Story of Deer and Rāheb” comprises four parts: (1. The arrival of the accursed Shimr at Deir and Deirani’s investigation of the condition of the heads of that group, 2. The Rāheb coming out of his house and seeing the prophets, 3. The arrival of the Amir al-Mu’minin and the conversation of the blessed head of the Seyyedo al-Shohadā with his mother, 4. Talking to the old Rāheb with the blessed head of Hazrate Seyyedo al-Shohadā and accepting Islam). According to the poetic narrative of the events and Kho’i has created 3 images related to the 1st and 3rd sections. In the meantime, the image of part 1 largely corresponds to the early pre-text and the images of part 3 correspond to the middle and mostly contemporary pre-text, so that this flow can be considered as the result of the popular beliefs and readings of the mass of the society, which has been accompanied by distortion.

The tradition of designing frontispieces has been transferred from manuscripts to lithographic books, but with a big difference that in the frontispieces of lithographic books, symbols that have different meanings have been used, and these symbols have caused the frontispieces in this books in addition to being decorative, also have expressions. Therefore, the combination of art and politics in these frontispieces is the main difference between them and their predecessors in manuscripts, and this feature has necessitated the study of these frontispieces in the present article. As a result, the purpose of this study is 1- to identify frontispieces with political (royal) symbols. 2- Examining the form of the two symbols of “crown” and “lion and sun” in these frontispieces and 3- Explaining how the process of using these two symbols is related to contemporary political developments. The first part of the present study has been done by the method of content analysis of historical texts and the second part has been done by the descriptive-analytical method. The results of studies show that the combination of art and politics in the frontispieces of lithographic books has been done through the use of government symbols, and among the symbols used in the titles, the two symbols “lion and sun” and “crown” have been used the most and the symbol of the “crown” has been used much more than the symbol of the “lion and sun” in the frontispieces, and the evolution of the use of these symbols shows that the further we go on the timeline, the less the symbol of the “lion and sun” and the more the symbol of the “crown” has been used and this is parallel to the political developments of the society in which we are gradually approaching the time of signing the constitutional law (1324 AH). As a result, the extensive use of the “crown” as a royal symbol in these frontispieces can be considered as an attempt to maintain the monarchy and legitimize the government and protect the position and throne, which has become more unreliable with the intensification of the constitutional revolution.

Munshi Nawal Kishore (1836-1895) was an Indian journalist, translator, scholar and publisher who, by publishing original and translated books in Persian, had an indisputable role in the promotion of Persian language and literature beyond the borders of Iran, especially in the Indian subcontinent. Many Persian books for the first time, and last time, have been published in India, in Nawal Kishore Publishing house. For about forty years Munshi Nawal Kishore was among the modernist and progressive publishers in India. The books of his publishing house had high literary value and helped to the expansion and excellence of knowledge and insight among the inhabitants of the Indian peninsula. Moreover, publishing hundreds of Persian books – some of which never republished in other Persian-speaking countries like Iran – and exporting them to these countries, helped to the expansion of Persian language and literature in Persian-speaking countries.Moreover, Nawal Kishore publishing house was a leading publisher in terms of book design and introduced a new style for the title pages of its books. Here, the cooperation between gilders and scribes (then “designers”) lead to eye-catching introduction pages for readers. The interesting point about these books is the unique embellishments and spectacular aesthetic structure of their title pages, which distinct them from other lithographed books. From its early days, this publishing house designed a special structure for the title pages of its books to present the book information, including the title, writer, publisher, publication date and place of publishing. This structure becomes a standard for the later Indian books.The purpose of the present study is focusing on the design of title pages in Persian books of Munshi Nawal Kishore Press, to investigate the contribution of these publications in book design in India. The statistical population of this research is 200 titles of Persian books, published between the years 1282-1326 AH. / 1865-1909 and now exist in the collection of National Library of Iran. These books are subject-free and their only feature is that they are visually examined and researched.This research seeks to answer the question that: what were the visual features of the title page that exists in the Persian lithographed books of Munshi Nawal Kishore Press? and this publication is in such a way that it has been obtained to build other systems of medical science books on the page. In this research, it is organized in three parts; after mentioning the background and research method, it is published in Munshi Nawal Kishore and then its feature is introduced visually and described in various sections. To clarify the issue, in some cases, examples of lithography in Iran have been provided. Moreover, to organize this study which is qualitative in terms of its data, and practical in terms of its goal, various sources like books, articles, archives, databases, and various tools such as observation and imaging and studying documents and library research have been used.The results of the study are presented in three sections: visual structure (praising God, book title, writer, publication date, place of publication, publisher), the way the book information is presented, and the embellishments. The innovations of these publications can be classified as follows:Dividing the title pages and assigning each section to one of the information in the book, including the remembrance of God, the title of the book, the name of the author, the date of publication, the place of publication and the publisher.Use of a range of abstract to figurative (plant) ornaments in the design of title pages.Use of poetic and humorous expressions that often contain words leading to circular letters. In this case, not only the audience enjoys reading the poetic phrases, but also visually sees the rhythm and order created by the scribe by repeating the circular letters.Other publishers of the subcontinent embodied the design of title pages because of the public acceptance of this visual and linguistic initiative, and this design method, founded by Newcastle Publications, became a model for designing title pages in Indian books. It should be noted that this special method was invented by Munshi Newelshour Publications and later by Indian publishers of Persian publications.This research reveals that Nawal Kishore publishing house has used various visual elements in the form of recursive embellishments around the pages.

Munshi Nawal Kishore's publication is an important center in India due to collecting and publishing many Persian and Islamic books and resolving the needs of many Muslim countries in the world and the Indian subcontinent. The name of its founder, Munshi Nawal Kishore, is always glorified in world of publications around the world. Since the 1840s a new style of lithography was created in India. This style is based on designing a title page, in the form of inscriptions, with significant features that make the page as valuable as a work of art. Thus, in this article, we aim to study the text of inscriptions with the content of praising God as a part of the title page's decoration in the Persian and Arabic books of Munshi Nawal Kishore publication. The article uses a descriptive-analytical method and library-based research has been carried out through careful analysis of the existing literature. The findings reveal that the inscriptions praising God in Arabic manuscripts only encompass Quranic verses and contain a variety of verses that is related to the message of the books. In the Persian books, on the other hand, the praising God is inscribed in Persian literary sentences which, based on the content and subject of the book, have added to the aesthetic aspects of the pages. Also, the elegance of the phrase structure of the inscriptions is admirable due to the skill of scribes in designing the letters’ composition coherently and its gentle and eye-catching rhythm as well as creating an imaginary and ethereal space. In addition to the Arabic books, the Quranic verses are used in Persian books, too.

The inclusion of the artist's name or signature in paintings has been common in Iranian art from 9th century. These signatures include information on the name, nickname, father's name, date and name of the patron of the artwork or artist, place of birth and residence, and are now among the few notable sources for researchers to know the artist and his work style. The tradition of signing the artworks continued in the lithographed books of the Qajar period after the illustrations of the manuscripts.  Although the illustrators’ signatures in the lithographic books were more than just mentioning their names, the signatures of Mirzā Ali-Qoli Khoee, the most important artist of this period, have features in terms of form and content that distinguish them from the signatures of many lithographers of his time.This research, which is qualitative in terms of approach and is classified as applied in terms of purpose, seeks to find the answer to the question of how Mirzā Ali-Qoli Khoee has left his mark in the images. This research is based on the comparison of more than sixty of his signatures in the lithographic books of the Qajar period and examines the signatures based on the content, shape and type of calligraphy.Initially, all identified signatures are divided into two major groups, calligraphic and non-calligraphic, and are examined from three perspectives: script, composition, place of registration and content. While the first group of signatures with the upper handwriting indicates the handwriting of a capable calligrapher, the second group consists of handwritten lines by a literate scholar. The excellent calligraphy he used in some of his later works, which is quite different from his calligraphy in the earlier illustrations, suggests that these signatures may have been made by a professional calligrapher by the request of Ali-Qoli.This research shows that Mirzā Ali-Qoli Khoee has always tried to use his signatures not only for registration and badge, not even as an element in image composition, but also as a sign of the artist's presence in the image. The recording of the signatures between two figures, along with the positive and sacred character and hidden in the crowd of visual elements, has caused the artist to appear in the roles of the listener, the believer and the silent observer in the images, respectively. In this way he refers to his religious beliefs and his interest in fascination with stories.Mirzā Ali-Qoli Khoee by carefully choosing the right place and the right words for the signatures, which are sometimes found in unconventional spaces such as the end of the book, places himself not as a book decorator, but in the guise of one of the book's creators, such as scribe, translator, author, publishes and publishes, and registers a person with ideas and opinions. His varied and unique signatures, along with his magnificent and influential illustrations in lithographed books, form an image of a creative, inquisitive, and committed artist in whose minds each book is a platform for rebirth and re-creation.

The use of the printing industry in Iran and India caused the cultural and artistic exchanges of these two lands to expand more than before, along with the spread of the Persian language and literature. In this way, the images of lithographed books provided a new visual medium for artists to be able to reflect social developments and changes in addition to illustrating the glorious texts of Persian literature. The first lithographed edition of Shāhnāmeh was published in Bombay in 1262 (1846 AD) and only five years later, the images and text of this Shāhnāmeh were a model for the publication of the first Shāhnāmeh in Tehran in 1267 (1850 AD). This work, illustrated by ‘Ali-Qoli Khoiee, an excellent illustrator of the Qajar period, is in many ways similar to India's first edition. However, in many cases, the Iranian artist has tried to reflect the characteristics of his work and the Qajar society in the pictures and to cover the Iranian dress in the Indian pictures. The goal of this research, which is to look at the cap in two lithographed editions of the Shāhnāmeh in India and Iran, is to figure out what changes ‘Ali-Qoli Khoiee made in the details and form of the caps in his images for the Shāhnāmeh compared to the images of the first printed Shāhnāmeh in India, and what design innovations he made. The result of this research shows the recognition and enlightenment of the use of caps and the use of their types to distinguish people in different social classes. While the high variety of caps in ‘Ali-Qoli's Shāhnāmeh assemblies and careful drawing of details distinguish ‘Ali-Qoli's work artistically from that the Bombay artist, these images provide a better introduction to the characters in the images.

The Kufic script is one of the first scripts of the Islamic era, which was the most widely used script in writing religious texts, coins, pottery, and inscriptions and building decorations in the first centuries. This script evolved in the middle of the second century AH and the styles derived from it were used in some applications such as inscriptions and some Qurans from the fourth century to the early seventh century. After that, with the further prosperity of the cursive scripts, its use was very limited and it wouldn’t be written except for amusement. The Qajar era was a period of widespread prevalence of Nasta`liq, Naskh, and Shikasta Nastaʿlīq scripts in Iranian manuscripts. However, there are few manuscripts and lithographic books that were written in Kufic script by someone named Zayn al-Ābidīn Sharīf Safavī (1282-1333 AH), an Iranian writer, proofreader and author. In addition to writing these works, Zayn al-Ābidīn has taught the Kufic script in a treatise entitled “Risāli ihyā` al-khat” and has explained his method of work in it. The tendency to revive the Kufic script might be assessed in terms of antiquity and a return to the past in this period. This was an applied research in terms of purpose and qualitative in terms of data analysis and sought to find an answer to the question of how Zayn al-Ābidīn Safavī used the Kufic script in writing his three printed works, i.e. Duʿā Sabāḥ 1317 AH, Qur`an 1312-1322 AH, and another version of Duʿā Sabāḥ 1322 AH, and what innovations he resorted to overcome the limitations of this script.Results of this research in the section on the elements indicate that the writer’s use of the method of early Kufic writing (in all three books) and Eastern Kufi, in some pages of the Qur’an 1312-1322 AH. He was bound to the rules of the original Kufic script in combining lines in Duʿā Sabāḥ 1317 AH, but in combining the calligraphy of the other two versions, he used innovative methods such as italicizing, vertical writing, and overwriting at the end of the lines to overcome the limitations of the Kufic script. Although it was common in other scripts, it was unparalleled in writing Kufic script. He sometimes used ingenious combinations by overwriting words within the text of the Qur’an for stunt, which is noteworthy.Examining the script and the sayings of Zayn al-Ābidīn, we find that he had at least three visual sources: a page from a Kufi Qur’an mentioned at the end of the Duʿā Sabāḥ, possibly a page from the Eastern Kufi Qur’an (Sackler Museum), or a copy of Sifāt al-Shīʿa (dated 391 AH, Amini collection), and stone inscriptions and rings.The manuscript, which was considered a novelty, contained additional texts that were not common in Qur’an writing tradition: from the addition of Muzaffar al-din Shāh’s permission to the text of the “Risāle-ye ihyā` al-khat” and the flow of Qur’anic writing. In general, the Qur’an and Duʿā Sabāḥ of Zayn al-Ābidīn were based on a research. He referred to his available works to know the Kufic script, and was able to extract the singular forms and composition of the original Kufic and the eastern and decorative Kufic. He gathered information about the types of readings and talked about it at the beginning of his book. He also paid attention to the difference between the numbering of verses by people of Basra and Kufa and has adjusted the text of the version based on both methods. Following the tradition of the time, he has also included various interpretations in the margins of the version and has provided a comprehensive version to the readers in general.The Qur’anic script has a relatively different structure compared to the two books of Duʿā Sabāḥ. While the writer in writing the Qur’an tried to be committed to the early Kufic script, according to himself, Ali ibn abī Ṭālib script, in writing the Qur’an he not only explicitly used the two methods of Kufic writing, i.e. the early Kufic and the Eastern Kufic, but also tried to innovate and somehow showed off his art.The method of writing the Kufic script in the printed books under discussion, which is inspired by early and Eastern Kufic and some of the writer’s innovations based on the structure of Naskh and Nastaʿliq scripts, caused this script to be known among the people in a short period of Qajar rule. However, perhaps the turmoil of the cultural situation in the late Qajar era or perhaps Zayn al-Ābidīn’s prediction in the introduction to the Qur’an, this method of writing did not find any follower in later years and was forgotten after the death of Zayn al-Ābidīn.

The invention of photography in the 19th century in France coincides with the ruling of the Qajar dynasty in Iran, which lasted from 1785 to 1925. The early cameras were brought to Iran not a long time after their invention in Europe; Iranian aristocrats, court men, princes and even the king began to take photos. Photo albums deeply changed the traditional vision of Iranian artists with fundamental shifts occurring in visual arts. Many paintings were directly copied from photos with some omitted or added details. On the other hand, the print industry not only allowed ordinary people to access significant amounts of texts and images, but also caused fundamental changes in the methods of artistic expression. Many newspapers were published in this period and the printed press influenced the spread of the ideas of the Constitutionalist as well as royal messages to the public. Coming from a family of artists, Abu-TorabKashani was a famous court painter. He illustrated about one hundred and fifty lithographic works for a newspaper called Sharaf, which had a distinguished status among State papers. The drawings were mainly portraits court men. He also illustrated many familiar monuments and landscapes. It is evident that Abu-Torab Ghaffari was strongly inspired by photos and usually took advantage of them for his artistic purposes. Exploring ways in which Abu-Torab utilised photos in his illustrations is the main aim of this research. The research method is descriptive based on the intertextual approach of Gerard Genette. It was Julia Kristeva in the 1960s who first used the term ‘Intertextuality’, to indicate any relation between different texts.Thereafter, Gerard Genette expanded on Kristeva, and called the relation between a text and others as ‘transtextuality’, andclassified it into five categories of which intertextuality was only one. A selection of relevant exampleshas been collected here, and their similarities and differences have been explored. Kashani applied methods such as elimination, addition, relocation, detailing, and sharpening for creating a new work of art derived from photos.

The main problem of this research is the quality of influencing some traditions as parda, glass gilding, tea-house painting, wall paintings in sacred monuments as well as the lithograph books on the emergence of the Saqātālār paintings in Qajar period, Māzandarān, Iran; Saqātālār is a wooden building found exclusively in this area of the country. The research purpose is finding the historical relationships between these artistic genres more accurately. They have been not profoundly referred as the origin and the root of the Saqātālār paintings. The Peter Chelkowski's theories on the narrative paintings and painting recitation, their roots and origins, the challenges existed about the exact date of making the first sample of narrative religious wall paintings in Iran would be helpful in this regard. Two significant groups of religious and non-religious themes have been represented simultaneously in the context of Saqātālār paintings. This synthesis seems to be slightly incongruent at first glance so that we cannot remember any similar examples of being gathered these different motives in their introduced origins. It is why the synthesis is considered to be a unique and unprecedented case. For this reason an extensive study on all these artistic genres, their background, their first samples, contents and themes and also their relations with the Saqātālār building would be necessary. The research hypothesis is the possibility of the exact representation of the lithograph illustrations in the Saqātālār paintings. At first glance, we can see a lot of similarities between the illustrations of lithograph books and the motives on the Saqātālār building, in terms of both the visual features and themes . The authors assess the seventeen painted and dated Saqātālār in addition to the above said origins, in terms of their dates, their involved people as well as their themes through an historical approach. The research method is the qualitative content analysis of historical resources along with the field work in Māzandarān province and its villages. The certain result of the study indicates the significant similarity between the most of Saqātālār paintings and the illustrations of Qajar lithograph books as well as the presence of a considerable extent of Saqātālār themes in them; however, the absence of colour in lithograph books is the only difference between the two. Also, with regard to Saqātālār buildings, their location, their certain relations with the religion and the other religious buildings around them, the specific paintings, the particular colors and their specific techniques of drawing these motives, one might observe a set of the unique features here which have been continuously invariant among all the influences mentioned above. In addition, they are belonged to a certain period of time and have been constructed and painted by a specific group of people; All these issues might give a unique identity to Saqātālārs we can name them an artistic "Style". Finally, the historical data indicates a kind of relationship between the founders of these buildings and the Qajar capital and court which might make doubt about the authenticity of some presumptions.

Nastaliq script has gradually fluctuated from the beginning until the middle of Qajar era. Simultaneously with the prevalence of lithographic printing in cities of Iran, some changes were made in shape of letters thanks to limitations of this emerging industry for writing Persian texts. While majority of calligraphers persisted to use their traditional writing style, a few number of artists such as Kalhor, however, developed a new method which resulted in creation of a special style appeared in the third period of Qajar era. The present study, analyzing library sources and also applying field research techniques, has endeavored to compare the shape and structure of letters and words of Nastaliq script in lithographic print of SafarName –ye- Khorasan (book of voyage to Khorasan) and manuscript of SafarName –ye- Qom (book of voyage to Qom) in comparativedescriptive method. The findings show that Kalhor's transcription of SafarName –ye- Khorasan, which has been written with the pen angle of 64°, includes more lines per page and the beginnings of lines and also proper names have been indicated in it by some marks. The readability of the script has been considered in the process of writing the mentioned work and the features of writing style in third period of Qajar are obviously manifested in it. Moreover, the shrinking form of letters and words, which has been of Kalhor's innovations reflecting the impacts of new method of lithography, is also found in the manuscript of SafarName –ye- Qom. These and other similar reforms attributed to Kalhor or created by the effects of lithographic printing, are found in other contemporary calligraphers' works as well and have been a prelude to dominating writing style of the third period of Qajar era.