qajar

The Masoudieh Mansion stands as a significant testament to Tehran's architectural heritage, spanning both the Qajar and Pahlavi eras. Constructed during Naser al-Din Shah's period of urban expansion, beginning in 1284 AH, its strategic location near Topkhana Square (now Imam Khomeini Square) and the royal citadel underscores its historical importance. Encompassing an expansive area of approximately 30,000 square meters, the mansion, with its intricate inner and outer sections, reflects the substantial investment made by Masoud Mirza.Today, nestled within the heart of Tehran along a culturally and historically rich axis, the restoration and revitalization of this mansion holds the potential to significantly contribute to the preservation of the city's historical fabric. A thorough investigation of its historical transformations is crucial to understanding its evolution into the Qasr and Zol al-Sultan building.Tehran's identity is inextricably linked to its gardens. Historical accounts emphasize the role of these green spaces in not only beautifying the city but also safeguarding its inhabitants. However, the ongoing administrative use of the Masoudieh Mansion has led to substantial alterations, posing significant challenges to preservation efforts. While certain areas, such as the Seyyed Javadi building, have received dedicated attention, most sections have been treated in a manner similar to non-historical structures, hindering efforts to maintain their architectural integrity.

Methodes:

This research employs an interpretative-historical approach, combining archaeological excavations with historical document analysis, to delve into the transformative journey of the Masoudieh Mansion. By scrutinizing a diverse range of sources, including maps by Abdul Ghaffar and Noskov, aerial photographs from 1956 CE, historical texts, purchase documents, and materials from the Institute for Contemporary Historical Studies in Iran, this study aims to analyze how this complex was constructed and transformed until its designation as a cultural heritage site. Through the synthesis of these resources, this research endeavors to provide a comprehensive narrative of the mansion's construction history and its multifaceted functions over time.

Over recent years, the Masoudieh Mansion has undergone significant alterations to its structure and function due to administrative use. The neglect of its historical value presents a formidable challenge for restoration efforts. This research aims to determine the optimal approach to revitalizing this important site by leveraging documentation and archaeological evidence.The need for a thorough examination is underscored by extensive demolitions since the 1960s, which have obscured much of the mansion's original state. Identifying construction dimensions and tracking changes in usage are crucial for understanding authenticity and establishing a credible historical narrative.The research reveals that archaeological investigations at Masoudieh uncovered evidence predating the Naseri period, while also documenting architectural changes spanning over a century and a half. These findings shed light on ambiguities surrounding the site's history and lay the groundwork for its protection.A total of eleven trenches were excavated within the complex, revealing various architectural features, including central rooms, side rooms, cisterns, and water supply systems. The identified architectural periods are as follows:First Period: Remnants of three interconnected spaces likely constructed simultaneously with those in Trench II.Second Period: Modifications, including new additions to Trench I's central room.Third Period: Changes reflecting earlier architectural phases, such as wall constructions.Fourth Period: Creation of a wall separating interior spaces from external areas.Fifth and Sixth Periods: Restoration efforts featuring porticos in Mosheer al-Malaki's courtyard.Furthermore, significant cultural artifacts, such as pottery, tiles, and glass, were unearthed during these excavations, enriching our understanding of this historical complex.

The Nazemi neighborhood, which developed during Naseri's reign, encompassed key gardens such as Baharestan and Negarestan. As urban development progressed, these green spaces were integrated into Naseri's city walls. Following Naser al-Din Shah's death, ownership of the Masoudieh Mansion remained within the royal family until Reza Khan Sardar Sepah acquired it in 1342 AH (1963 AD) as a gift for the Ministry of Culture.After the Islamic Revolution, the mansion continued under the Ministry of Education's oversight, with an emphasis on literacy programs that elevated its significance within educational contexts. In 1377 AH (1998 AD), the Masoudieh Mansion was registered as a national heritage site under Iran's Cultural Heritage Organization. This transition marked a shift from its political role to a focus on its historical importance.The Masoudieh Mansion stands as a testament to significant social and political transformations throughout Iranian history, playing an essential role in shaping cultural narratives across various periods. Its preservation is not only crucial for maintaining Tehran's architectural heritage but also for fostering an understanding of Iran's rich cultural identity through time.

Apart from its historical aspect, iconographic paintings can be one of the expressions of art, religion and art in different periods. One of the most important aspects of the importance of studying in these subjects is the transmission of religious traditions with an emphasis on Shiite painting in the representation of Hazrat Ali and Hassanin, which was repeated in different arts and with different visual qualities in the Qajar period. Apart from its visual and decorative features from a religious point of view, the emphasis on a religious role reflects a suitable context for the emphasis on the Shia religion and its interest in the Qajar period. The purpose of this research is to find out the evolution and the way of representation of Imam Ali (AS), the first Imam of Shiites, together with his two young children, who has been depicted many times in different arts, accompanied by two slaves or alone. The research questions are as follows: What visual changes can be seen regarding the representation of the faces of Imam Ali (AS) and Hassanin (AS) in the iconography of different arts? What are the structural features of these images and what are their similarities and differences in the images? The research method in this research is descriptive and analytical with a historical approach and the research is of qualitative type. The research was done by using library sources and examining museum samples, and the method

Apart from the historical aspects, Shiite themes are one of the manifestations of Qajar period art. The first important aspect of this issue is the permanence of these works and the transmission of Shiite, cultural and artistic themes in the Qajar period. Mirror frames were of special importance in the Qajar period, and small lacquered works and objects flourished in the Muhammad Shah period. In terms of artistic style, Mohammad Ismail is one of the skilled artists in this field in the Qajar period. This artist has two lacquer works on the theme of Hazrat Ali and his children, one of them is more anonymous and unknown. In terms of examining the style of this work, it is also important and identifying its characteristics is important. The purpose of this research is to find out the characteristics of Shiite works of Muhammad Ismail Esfahani and to identify two of his works with the single subject of Hazrat Ali and Hasnain, which are less known and studied. The main questions of the research are as follows: What are the visual and religious characteristics of the lacquered mirror frame of Hazrat Ali and Hasnain by Mohammad Ismail Esfahani? Comparing two works of the artist, what evolution of the artist's artistic style shows? What are the differences and similarities between two works with a common theme in the lacquered mirror frame of Mohammad Ismail? The research method of this research is of comparative type, the collection of information is of library type,

Today, no trace remains of the harem quarters of the Tehran Citadel, buildings that once served as the royal residence for Qajar kings and their wives. These spaces were where the royal family's domestic life unfolded, carefully guarded to prevent outside access. Consequently, the lives of the women who resided there were shrouded in mystery, hidden from public view. This secrecy sparked immense curiosity, particularly among foreign travel writers, who speculated about life within the harem. As a result, we only have limited pictures and maps to imagine its appearance, and there are few detailed descriptions of it. This article explores the structure of the citadel's harem and its interaction with the lives of its residents. By applying Rapoport's views, we found that the residents' lifestyle directly influenced the design and structure of the space, with the position of women playing a key role in shaping it. To address the article's central question, we focused on understanding the position and role of the king's wives within this unique environment. In this effort, we defined the concept of the harem and investigated the general status of court women, tracing the historical evolution of the harem system over time. We examined the evolution of the royal harem's structure based on primary sources, from the Karim-Khan Zand period to its eventual destruction during the Pahlavi dynasty. Through this investigation, we found that this section of the citadel developed into a glorified residence for the shah’s female associates during the reigns of Fath-Ali Shah and Naser al-Din Shah. This expansion was facilitated by the large number of wives they kept in their court and the financial resources available to support them. However, the glamour of the royal harem in the late Qajar period is less documented, largely due to the significant decline in royal income. In the final section, we identified key factors illustrating the position of the king's wives within the harem's dynamic and evolving structure. Ultimately, we concluded that the collective lifestyle of harem women contributed to its complexity and expansion. The divisions within this structure were shaped by the status of each court lady in relation to other women, the king, his mother, and the household's servants. Women of higher status enjoyed more privileges, including larger, more luxurious living spaces and a greater number of servants to attend to them. Residences for servants and eunuchs were carefully designed to support their responsibilities in serving and protecting the harem's women, ensuring the maintenance of their positions and status.

Qajar art, being in the process of transition from traditionalism to modernity, has characteristics in the field of content and material, which has made it attractive for studies. As one of the decorative arts of this period, the art of tiling is also of special importance. Golestan Palace is one of the oldest and most important royal buildings of the Qajar period, which has many tile decorations. The tiles of the eastern enclosure of the palace, like an illustrated notebook, have displayed the features and socio-political conditions of the Qajar era. Therefore, the study and investigation of these motifs sheds light on many issues related to the art of the Qajar period, and by knowing the characteristics of each, the existing research gap can be covered to some extent. In this regard, the aim of this research is to investigate and classify each of the motifs of the eastern enclosure of the palace and to analyze the meaning of each one in the form of a table. Based on this, the questions raised are as follows: 1. What are the visual elements and motifs used in the tile paintings? 2. What are the sources of inspiration and painting methods used by tile painters in the palace? The research method of the current research is qualitative and the method of collecting information is field (photographic) and library. The results of this research show that in the eastern area of the palace, the paintings are divided into eight general categories, birds, fruits, flowers, animals, women, narrative motifs, landscapes and buildings, each of which is influenced by photography techniques, coffee house paintings, stamps and postcards. They describe a story from the Qajar period. After categorizing the motifs, we found that the various and colorful tiles were painted with the principles of projection, and by observing the principle of perspective, shadow and light, they created great realism for the viewer.

The historical context of the city of Birjand in South Khorasan has significant architectural works from the Qajar and Pahlavi periods, which have been carried out until the end of a complete investigation on the motifs left from the Qajar period based on the concept of visual semantics. Based on this, in this research, which is done in a descriptive-analytical way with a historical nature, at first, all the Qajar buildings were identified and photographed by referring to the cultural heritage archives and field visits. Then, all the studied buildings were classified into four categories: gardens, private houses, houses, and schools, and one landmark building was selected from each category. The reasons for the selection were based on the building's index and soundness, the presence of numerous motifs and the non-change of motifs in different periods. Then, based on the approach of visual semantics of each role individually, semiology and etymology were done. Then again, all motifs of a building were analyzed and read meaningfully in their context (gardens, private homes, school houses) and the discourse space of the Qajar period (religious, social and political view) because in this approach only structural classification and semiology of fashion It is not an opinion, but a semantic analysis of motifs based on the viewpoint of the speaker and the discourse of the society. Based on this, it was found that the motifs of the Qajar period in the historical context of Birjand were carved based on the components of the motifs of ancient Iran, and the western motifs are less visible in it. Also, based on the semantics of the motifs and inscriptions obtained, it was found that the religious and social view of this region was based on the view of the Shia religion.

The analysis of the relationship between aesthetic experience and religious experience under the concept of liminal experience has been re-evaluated by scholars like Erika Fischer. From Fischer’s perspective, although not all liminal experiences can be classified as aesthetic, those liminal experiences aimed at inner transformation and possessing specific transformative characteristics share notable similarities with religious experiences. Accordingly, this paper addresses how these two types of experiences intersect in relation to one of the distinguishing features of Islamic art that emerged during the Qajar period, namely, Shiite iconography. Religion is not only represented in explicitly religious texts but can also be mediated through texts that, by definition, are not religious. This includes works that engage with or describe religious experiences or, more broadly, religious practices. Many aspects of Islamic art may possess this dimension, but this article focuses specifically on Shiite iconography during the Qajar period, which had not previously appeared in Islamic lands in this form. The central question is: how do aesthetic and religious experiences intersect in the context of Qajar Shiite iconography?According to Fischer’s definition, aesthetic experience constitutes a form of "liminal experience." All religious experiences, as long as they do not involve a transcendental reality or entity, can also be considered aesthetic experiences. The term "liminality" refers to the duality, confusion, or disorientation experienced during the intermediate phase of a transitional ceremony—akin to the experiences of pilgrimage or attendance at a mosque or church. During this phase, participants no longer remain in their pre-ceremonial state but have not yet transitioned into the post-ceremonial state. The first stage, or the pre-liminal phase, is characterized by separation; the intermediate or liminal phase involves transition; and the third stage, the post-liminal phase, signifies reintegration into society.From this viewpoint, the classical demarcation between artistic and ritual performances becomes untenable because, when this state is interpreted as liminal for the audience, the artistic and religious aspects of their experience converge. However, it is essential to determine precisely when and how this liminal state emerges. The liminal condition manifests in two ways: first, through emergence, and second, through autopoiesis. Broadly speaking, autopoiesis refers to a self-generative action inherent in the essence of the artwork, which creates an autopoietic loop during the artistic event. The second liminal state relates to the collapse of dualities, particularly the dichotomy between reality and art. Essentially, these dualities enable the liminal experience.In other words, aesthetic experience, as a form of liminal experience, is specifically applicable to the performing arts and theatrical performances. However, the question arises whether this concept can also be generalized to other artistic disciplines and even to non-artistic domains such as rituals and ceremonies. Ultimately, aesthetic and liminal experiences align due to the transformative effects of the autopoietic feedback loop, wherein the liminal experience transforms its subject. Despite this alignment, there is a non-essential difference between the two: in both types of liminal experiences (religious and artistic), the audience experiences a state of ecstasy. For instance, one can imagine the position of an observer of Ta’ziyeh (Shiite passion plays) versus a theatrical performance.Broadly, the liminal experience serves two purposes collective transformation (primarily collaborative) and physical-emotional metamorphosis. As a liminal experience, aesthetic experience involves a temporary transformation of the audience, often achieved through a transitional process. The objective of the aesthetic, then, may be understood as fostering active engagement in this transformative journey. When aesthetic experience is imbued with religious connotations, the audience interprets its scope as being connected to the sublime. On this basis, aesthetics relates to the materials, forms, and tools utilized by the artist in presenting an artwork or artistic event, as well as the perception it evokes by stimulating the audience's senses, imagination, and emotions. Consequently, when aesthetic experiences are regarded as liminal experiences, they bear similarities to religious experiences, such as mystical or revelatory ecstasies.In summary, what individuals with specific intellectual backgrounds or beliefs label as religious experience can generally also be interpreted as an aesthetic experience. This phenomenon can be assessed in many ritualistic dimensions of Shiism in Iran, particularly in one of its most innovative aspects—Shiite iconography. The commonality between religious and aesthetic experiences lies in their shared liminality. The visualization of religious beliefs and practices in Iranian Shiism gained a new dimension with the advent of images, particularly during the Qajar period. Aesthetic sensory experiences, due to their epistemic and emotional significance, have transformative effects on observers of rituals and are, therefore, valuable.During this period, for the first time in Islamic tradition, religious icons featuring predominantly Shiite themes emerged. These icons are significant in a particular sense because they delineate their role in facilitating religious actions. Consequently, they pave the way for equating an aesthetic experience with a liminal-religious experience. The image thus became a religious icon, treated with reverence and mystery, and was perceived as demanding respect. For example, several memoirs and records from this period note the veneration and near-sacred regard afforded to depictions of Qajar rulers and imams. The majority of the Shiite community during the Qajar era expressed a desire to see such images, which were painted based on descriptions they had heard. This visual depiction reinforced mental visualization. In other words, what religious texts failed to articulate was expressed visually, serving as a tangible representation of religious imagination in society.With the rise of this iconographic tradition, a new dimension of religious duty emerged alongside the artistic and aesthetic aspects of iconography. These icons served as tools for worship and protection against calamity. The function of gazing upon a sacred figure or icon was grounded in a comprehensive theology centered on the concept of "imamate." It can thus be asserted that this phenomenon significantly influenced the religiosity of the Qajar populace. Despite this, Shiite iconography ultimately shaped a specific interpretive community of Shiites in Iran through its stable repetitions and conventions. The continued popularity of the imaginative depictions of Shiite imams can be attributed to their integration into public and religious spaces, where these visual media acquired new functions and remain influential in contemporary Shiite culture in Iran.The visual culture of Qajar Iran, which utilized court iconography to represent the absent among the populace as a commemorative and unifying element, established a cultural framework that facilitated the transfer of images into spaces of worship. This facilitated the transformation of such imagery into a medium of devotion, enabling it to gain new significance within the broader culture of Shiism in Iran.In conclusion, Fischer’s interpretation of the nature of the liminal experience clarifies the conditions under which a connection between aesthetic and religious experiences can be established. In this framework, given the inherent expansiveness of these two types of experiences and the nature of the transformation they engender, the shared liminal quality can be observed in many artistic and ritual events. Fundamentally, the concept of liminality entails a staged transformation, which suffices to serve as a common feature of religious and aesthetic experiences. From this perspective, many experiences regarded as religious can also be considered aesthetic. To examine the practical implications of this connection in the audience’s engagement with Qajar Shiite icons, the devotional function of these icons underscores this intersection, answering the central question of this study: how aesthetic and religious experiences converge as liminal experiences. Thus, with the emergence of this iconographic style in Iran, the concept of such experiences can be articulated more concretely, offering fertile ground for future research into the nature of religious and liminal experiences in religious art.

The mosque is one of the important socio-cultural symbols in the Islamic Iran. One of the important mosques is Vakil mosques, where different designs have been used in the decoration of Haft Rang (seven-colored) tiles. The purpose is to investigate the impact of changes in socio-cultural perspectives of governments on the design of Haft Rang tile. What effect the socio-cultural perspective has had on the design of mosque designs and what is the nature of design changes in the Haft Rang tiles in these mosques? The research method is descriptive-analytical. The results show that the patterns in the seven-colored tile during the Zand period are influenced by the Zandi Ethnic-Illyrian view and are associated with simplicity and beauty. These patterns are drawn in an abstract way and have less variety in terms of design and color. In contrast, the designs in the Qajar period are influenced by the westernize perspective and are very colorful and rich, reflecting nature realistically. Repairs made in the Qajar period introduced this type of design and color to the Vakil Mosque, causing changes in the structure of Haft Rang tile designs. Therefore, it can be said that the difference in socio-cultural attitudes in different eras will have an important impact on changing artistic perspective.

The courtyard has been one of the main spaces in houses, particularly in traditional architecture of Iran, that has played a significant role in the spatial organization of houses. The main question of this research is: What is the relationship between the spatial organization of historical houses with single-courtyard and double-courtyard, and the number of courtyards? The aim of this research is to discover the relationship between the number of courtyards (single-courtyard and double-courtyard) and the spatial organization of historical houses. The required information for this research has been gathered through library resources, documents from the Cultural Heritage Organization, and field observations. The study employs a descriptive-analytical method with a qualitative approach to analyze the case studies. The statistical population consists of (20) single-courtyard and double-courtyard historical houses from the Qajar period in Tabriz. This research was conducted in three stages: In the first stage, the influential factors in the spatial organization of historical houses were introduced. In the second stage, the houses plans were analyzed based on the factors derived from the theoretical framework of the research. In the third stage, the data obtained from the analysis of the samples were compiled and concluded. The study specifically examines the main and selected spaces of the houses, including the entrance, courtyard, Tanabi (main hall), rooms, Iwan (a type of porch), and stairs. Various factors influence the spatial organization of historical houses, and this research focuses on those related to the research topic. One of these factors is the geometry of spatial layout; the study of historical houses architecture often shows that the courtyard is usually a central space, with other spaces and functions arranged around it. Therefore, central and radial layout patterns are more prevalent in studies focused on courtyards. Besides the central and radial layout patterns, the geometric pattern of the spaces around the courtyards, which reflecting the geometric form of the built fronts around the courtyard, is also influential and worth examining in the geometry of spatial layout. Another influential factor in the spatial organization of historical houses is axes. Based on studies, it can be stated that movement axes (internal and external), visual axis, and symmetry axis are the main influential axes in the spatial organization of historical houses. Another factor is hierarchy; in historical houses, hierarchy is more about spatial hierarchy and access hierarchy. According to studies, it can be stated that the elongation of courtyards, the depth of spaces relative to the entrance, and permeability are influential in the spatial and access hierarchy.In summary, it can be stated that in single-courtyard and double-courtyard houses, various factors such as the geometry of spatial layout (based on central and radial layout patterns, and the geometric pattern of the spaces around the courtyards), axes (based on internal and external movement axes, visual axis, and symmetry axis), and spatial and access hierarchy (based on elongation of courtyards, depth of spaces relative to the entrance, and permeability) collectively indicate a specific type of spatial organization, related to each of the two mentioned types. The research findings show that although these factors are similar in some cases, they also create differences in the spatial organization of single-courtyard and double-courtyard plans. For instance, the study of the geometry of spatial layout shows differences in the arrangement of spaces relative to the courtyard, differences in massing and the number of built fronts around the courtyard, the degree of introversion relative to the type of courtyard, and etc. The study of axes indicates differences in movement paths and internal spatial relationship, differences in the direction of visual axes, the manner of symmetry observance, and etc. The study of hierarchy shows differences in the division of the house's areas, differences in the placement of spaces at various depths relative to the entrance based on their function, and etc.

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.

Like other aspects of modernity, photography in Iran began during the Qajar era and flourished during the reign of Naser al-Din Shah. The images captured during this period, including historical sites, landscapes, professions, customs, and particularly authentic Iranian craft arts, hold significant value and importance. Throughout history, these images have preserved Iranian identity and enabled future generations to examine historical and social developments and to understand various aspects of Iranian culture. Therefore, one of the best contexts for studying the status and functions of craft arts during the Qajar period, creating an essential component of Iran’s cultural identity, is the photographs left from this era. Analyzing and examining the role of craft arts in these images offer a fresh perspective on their functions in the Qajar era and enhance the understanding of photography as a cultural and artistic element as photography in Iran has evolved primarily based on a unique visual culture, societal living styles, and an underlying culture.

This research aims to analyze the visual aspects of craft arts in photographs from the Qajar era and to investigate the cultural and social functions of these elements in the photography of the time. It seeks to answer the following questions: What are the impacts of incorporating Iranian craft arts on the visual aspects of Qajar photographs? What are the cultural and social functions of these craft arts in Qajar photography? This study is fundamental and qualitative. The research method is descriptive-analytical with data collection conducted through library and documentary methods. Images were selected from 115 Qajar photographs taken by Iranian and non-Iranian photographers from various accessible sources. The aim was to cover different social classes of the Qajar era and the diversity of craft arts. To achieve the research objectives, this study conducted a brief review of the inception of photography during the Qajar period along with an analysis of Iranian craft arts present in photographs, the composition, and the visual arrangement of elements.

The various forms of Iranian craft arts in the Qajar era, including carpets and kilims, different types of textiles, leather, felt-making, calico printing, pen box making, glass and pottery workshops, brasswork, jewelry making, and woodworking for furniture, are traceable in the surviving images from this period. To cover different social classes and various types of craft arts in the photographs, the images were studied in three groups: the nobility and courtiers, ordinary people and professionals, and women. The craft arts depicted in the images of the nobility and courtiers include luxury items such as textiles with bottejeqqe patterns, paisley, books and pen box, vases with specific Iranian motifs, carved tables and chairs, carpets, and rugs. The application of these elements in the images serves more than just the purpose of capturing the individual’s face and expressions; it is a means of recording and conveying the individual’s identity and social status. Factors such as the high cost of photography, technical limitations, poverty, illiteracy, and cultural resistance restricted photography within affluent classes. Most craft arts in the images of ordinary people were functional with many of these individuals depicted as the main creators of Iranian craft arts. In examining the images of women, the use of craft arts is reflected in valuable jewelry and textiles featuring elaborate embroidery such as zari and golabetoon embroidery as well as termeh. Additionally, in some images, women are shown engaged in handicraft professions, including needlework and carpet weaving. The analysis of the composition and of the visual arrangement of individuals and elements in these photographs reveals the use of vertical and horizontal axes, adherence to the principle of symmetry, and the application of indigenous visual traditions in Iranian pictorial arts. This allows Qajar photographers to convey specific meanings and concepts in their works. The application of Iranian craft arts in Qajar-era photographs, through the creation of an Iranian ambiance in these images, helped establish a distinct identity rooted in Iranian culture. This situation makes photography a culture-building medium. The cultural beliefs and values of the Iranian people have always manifested in craft arts, forming a unique visual taste that significantly influences the acceptance or the rejection of new artistic phenomena such as photography. Thus, undoubtedly, the display of craft arts in Qajar photographs reflects the nobility’s pride in the art of their ancestors and the ancient history of Iran and enhances public awareness of the value of handicraft works. Moreover, the craft arts depicted in these images have improved the global understanding of Iranian culture and art and influenced artistic movements worldwide.

The incorporation of craft arts in images from this period was one of the key factors that enabled photography in the Qajar era to fulfill its mission as a novel and distinctive phenomenon in creating and recording images and transmitting them to future generations. The results of this study indicate that the craft arts in the composition of Qajar photography scenes, in addition to their visual functions based on the distinctive Iranian pictorial tradition and decorative aspects, also possess significant cultural and social functions: providing Iranian identity to the photographs, using photography as a culture-building medium, fostering alignment with public taste, and enhancing the public’s relationship with the emerging phenomenon of photography, improving global recognition of Iranian culture and art through the transfer of photographs to Europe, increasing the attention of rulers and ordinary people toward valuable craft arts, influencing global artistic movements, and ultimately playing a role in transmitting concepts and representing the identity and status of different social classes during the Qajar era.

During the Qājār period, and especially during the reign of Fatḥ-ʿAlī Shah, the image of the Shah was one of the most important subjects of court painting, and a considerable amount of painting was dedicated to the Shah. One of the most important images of this period, which can be seen in various art media, is the image of Fatḥ-ʿAlī Shah hunting. The study of the repetition of the image of the king hunting in different works of art and different places; from political, religious and social point of view, is important according to the political conditions of Iran in this era. Since the image of hunting and hunting ground has been important as a ritual and educational function among the people of Iran since the past, the purpose of this article is to examine the theme of royal hunting and the reasons for using this theme in visual media and historical written sources of the era of Feth Ali Shah, rather than using the historical method. - Analytical and comparative method to understand the concept of hunting image in documentary and library form. To answer this question, what are the obvious and hidden semantic layers of the theme of hunting based on the historical and visual sources of Fatḥ-ʿAlī Shah's era? In this respect, it is necessary to understand the cultural and political context of the period. Because cultural and artistic works always seek to study, explore and understand the relationships between all the phenomena and social manifestations of that society. Since art plays a role in creating legitimacy in society and the visual memory of the people, by examining Fatḥ-ʿAlī Shah's approach to the ways of representing popular beliefs through hunting, it was concluded that Fatḥ-ʿAlī Shah was fully aware of the role of art and literature and their effects in society. Considering the conditions of Iran due to the pressure of foreign forces who wanted to colonies Iran, he benefited from the image of Royal hunting as a powerful medium to strengthen nationalism and create national identity in the society and its influence on the international communities.

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 story of Abraham’s sacrifice is one of the common chapters between the three religions of Judaism, Christianity, and Islam, and despite the differences in the narrative, the essence of the story is based on one important axis: “Sacrifice”. This scene has attracted the attention of many painters due to its narrative and dramatic importance, and these paintings can be found mainly in the religious or historical versions of the Timurid and Safavid eras. One of the basic questions of this article is: What is the dramatic capacity and pictorial conflict in the images of the altar and what dramatic elements are used for the pictorial conflict of the pictures. Depending on the tense moment of sacrifice, these elements may be focused on tying or suspending or even untying the show. One of the main goals of this article is to read Ishmael’s altar as a dramatic scene, which, like any other scene, is a place where the emotions, doubts of the characters and their conflict with each other are confronted. The method used in this article is descriptive-analytical; And the data were gathered using library resources and viewing pictures on the website of museums and libraries. In line with such a reading of the scene of the sacrifice of Abraham, firstly, the narrative elements of the conflict in this famous scene were identified and then, each element was examined in the statistical community of written images. Some of these approaches help to read, explain and understand every picture as a “text” whether pictorial, literary or theatrical. In the paintings discussed in this article, we witness the dramatic crisis, suspension and unraveling that has been implemented in each picture and the painter has drawn them with the help of the body postures of the figures, the objects of the scene and even the geographical location of the altar scene in each painting. The artist intends to draw a dramatic crisis with the help of the body expressions of the figures, such as Ismail’s closed eyes or hands, or the moment of Ismail’s tuft of hair being grabbed by Abraham. The use of objects such as knives or blindfolds has doubled the dramatic tension of the altar scene. In addition to the presence of key characters, the drawing of the figure of Satan was the artist’s preparation to show doubt in this fearful scene. The geographical location of the altar scene, which is depicted as a mountainous region or a plain with flowers and greenery, is an expression of the altar scene as a dramatic scene or a manifestation of the sacred.

Throughout various historical periods, human societies have observed religious structures as significant cultural artifacts, which have endured as objective representations. This heritage, while being respectable for every nation and the followers of every religion, through the continuation and repetition of traditions and beliefs, is instructive and opens the way for other nations to find the culture of that nation. Several factors affect the formation of the architectural body of these buildings, the knowledge of which can help in the architectural design of contemporary identity-giving buildings. Therefore, the present study aims to investigate and analyze the architecture of Qajar period religious buildings in Mazandaran and Gilan, to understand the causes of the formation of the architecture of these two types of buildings, with physical differences that can be generalized to all the religious buildings of this region studied. The current research is descriptive and content analysis in nature. The method of collecting information is documentary and field so the most important tools for collection are library sources such as documents of the General Directorate of Cultural Heritage and field observation of the tombs of Mazandaran and the tombs of Gilan. is to identify and determine their general characteristics and design patterns. Statistical community, Qajar period ritual building in the northern region of the country; They include the Blessed tombs of Gilan Province and Saqanfars of Mazandaran Province. The samples were selected and analyzed based on the architectural characteristics. The statistical population of historical monuments of Gilan and Saqanfar of Mazandaran is four each; These buildings include 4 Saqanfar Kijatakiyeh, Ledar, Firouzjah, and Hamza-Kala-Shesh-Pol in Mazandaran and 4 mausoleums of Agha Sayyed Mohammad Yemeni, Chaharpadshah, Seyyed Musa Ibn-e Jaafar (AS), and Nasir Ali Kia Ibn-e Imam Musa Al Kazem (AS) in Gilan. The required information has been collected in documentary and field form and described and analyzed in a comparative context. The findings of the research indicate that the climate and consequently the native architecture of the region is the most important factor shaping the architecture of these two types of buildings. In the selection, it has been tried to ensure that the buildings are standing and are chosen with architectural differences so that they can be generalized to all the religious buildings of this region in the Qajar period. In this research, the architecture of Qajar period religious buildings in Mazandaran and Gilan, including four tombs and four Saqanfar, was investigated and analyzed to find the causes of their formation from the perspective of architectural features. For this purpose, the influence of history, climate, and ritual issues were investigated. In terms of historical period; The time frame of the creation of the paintings that were carved on the surface of the walls of the tombs of Gilan and the top of the wooden boards of the Saqanfars of Mazandaran, and the architecture of these two types of buildings were both during the Qajar period. The architecture of this period is derived from both Western and ancient Iranian architecture, indicating the absence of a specific architectural style in the buildings of this period, except for government buildings and palaces. From a local perspective, the Saqanfars were constructed in the Mazandaran region, and the tombs were built in the Gilan region. When examining the local architecture, it is evident that the climatic conditions, customs, and specific beliefs of each region have influenced the architecture of these two types. The influence of religious beliefs is evident in the shrines and monuments built by humans to fulfill their religious duties. The harmony of the facial, bodily, and structural aspects of the building in these regions can be understood in relation to the customs and religious beliefs of the local people through these two building types. These types of buildings act as the identity card of the ethnicity and cultural identity of the people of that region, and sometimes in its formation, economic and social relations with the natural environment and cultural symbols, rituals, and beliefs of the people of the region are reflected. According to the analysis and investigation of the main factors of the use of each of the architectural elements in these two buildings, it can be said that the structural differences between these two types of religious buildings are caused by the context in which these two types of buildings are built. Climate is the most significant reason for the difference in the architecture of these two types of buildings, and religion is second in importance.

Problem statement:

 Like any other government in Iran, the Qajar dynasty required authority and legitimacy for its establishment and existence. The structure of government and political power of this dynasty was organized on the basis of positions and ranks, at the head of which was the king, and at the next hierarchical level, there was mulūk al-ṭawāʾif (feudal). The artworks of the Qajar period, especially the high ones at the court, can in one way or another be the reflection or product of these non-objective features and currents. The tile panel of the fireplace in “Shangri La Museum” (USA), a piece of artwork with special visual and conceptual components, is an example that sheds light on these features. 

The purpose of this article is to study the features of this tile panel in terms of images and visual techniques and to examine the content of these characteristics based on the legitimacy and the hierarchy of power in the Qajar era.

This research is qualitative employing a descriptive-analytical approach.

The results of the research accentuate these points that, in addition to the practical and decorative aspects, the above-mentioned work portrays the political-governmental supports of the Safavid government and antiquarianism as legitimizing factors in the form of an image. The array of people at three consecutive levels represents the structure and levels of power in this period. The level includes the main core of power, the entertainers (the royal court), and the military.