جستجوی مقالات مرتبط با کلیدواژه « Qajar Painting » در نشریات گروه « هنر و معماری »

Gesture is a tool by which a performer expresses his/her feelings, propensity, and personality. According to Michael Chekhov, the performer doesn’t embark on the basis of psychology to achieve his/her character but starts by using movement and Gesture. He alludes to a number of Gestures; Psychological Gesture, Archetypal Gesture, Daily Gesture and Nature-Inspired Gestures. These Gestures are quite rife in art works, and in everyday life. In this project, which has been achieved by descriptive analytics; by using Michael Chekhov’s views about Gesture, the paintings of the second half of Qajar’s era has been reviewed from pose recognition’s point of view and concentrates on the fact that which group of Gestures in the Iranian paintings of that era are recognisable according to Chekhov’s view point? On the one hand, the main hypothesis in this research is that there are a set of these Gestures in the paintings of the second half of the Qajar’s era that have cultural and social background, which influenced their shape and contents. In this research, first the concept of Gesture and body have been considered from the theorists’ point of view. Then, the paintings of the first and second half of Qajar’s eras and differences of these two artistic eras have been studied. Research findings show that all types of Gestures that Chekhov mentioned, is quite recognizable in the second-half of the Qajar’s era because the painter and Michael Chekhov both worked on the human nature, psychology and energy. Accordingly, both approaching towards Gesture is mostly psychological and sociological. Chekhov's approach is based on philosophical concepts based on Steiner's theories, as well as archetypal psychological concepts and the collective unconscious. Psychological and emotional aspects play a major role in the formation of Chekhov's psychological gestures. Also, the painter has not been indifferent to the psychological approaches in drawing the figure and gesture of people and also what can be seen first of all in his works are his social and historical approaches, which were formed under the influence of the socio-political conditions of Iran at that time. On the other hand, the people’s body and gesture in the paintings are closely related to the political, social and religious atmosphere around them, which has been influential in the design of figures and the content of gestures and is the most important factor in making all gestures, movements, behaviors and physical training. The ruling power has created a certain pattern of these behaviors, movements and gestures according to its own frameworks and has rejected other patterns. So people behave according to a defined and fixed gesture pattern. In many of the paintings of this period, factors such as location (indoor and outdoor environment), gender (female or male) and social class have been influential in the design of the figures. Location, gender, and class are very important factors in interpreting physical behaviors, gestures, and nonverbal communication between different groups during this period.

Problem Definition:

 Royal figurative painting, a style of Persian painting formed during the Zand era, continued until the end of the reign of the third Qajar Shah in Iran. This type of iconography received much recognition during the 37-year reign of Fath-Ali Shah and such artworks followed fixed rules. Given that visual symbols are further manifested comparatively, the main question of the study is as follows: How are the visual signs of affluence in the single royal figurative paintings of court women of the Zand and Qajar eras in comparison with the Iṣfahān school of painting?

This study aimed to investigate the visual signs of affluence in the single royal figurative paintings of the Zand and Qajar eras restricted to the feminine custom.

In this analytical-comparative study, stratified random sampling was used to select artworks from twelve royal figurative paintings to be studied in comparison with four miniatures from Iṣfahān school.

Unlike the iconographies of women in Iṣfahān school, generally depicted in a reclined position in external spaces with simple and minimum backgrounds; during the Zand era and the first half of the Qajar era, women were painted in sitting, standing, dancing, and occasionally reclined positions in internal spaces with various kinds of foods, drinks and animals as signs of possessing wealth. In contrast with the preceding era, this pattern is not only defined in the style of painting but also in the view of opulence on the one hand and the female gender on the other.

The visual art of the Naseri era is a mixture of the painting tradition of the first Qajar school and the confrontation with modern Western achievements, including the new medium of photography. In fact, the conceptual basis of the visual arts of this period can be seen as the product of the interaction of different forces that affect the issue of representation as well as the representation of gender. Although the representation of the human body and its gendered meanings is still a major concern in the visual art of the Nasserite era, these representations are fundamentally different from those of earlier periods. The main question of this research is to investigate the quality of gender representation in painting and photography of the Naseri period and the differences in essence of these two representation systems in presenting the image of gender. To answer this question, descriptive-analytical method as well as historical comparison has been used and to formulate and analyze the special capabilities and possibilities of photographic image in order to represent gender differently than painting, Szarkowski's ontological theory has been adopted. The statistical population of study are court portraits of the era of Fath Ali Shah and the collection of paintings and photographs of the period of Nasser al-Din Shah that are exemplary and have a prominent representation of gender. Findings show photography introduced a new system of representation of gender in the period, which has no precedent in Iranian painting. The camera provided a picture of gender through coordinates such as engaging with the "the thing itself", "detail", "time", "frame" and "vantage point", as opposed to the stereotypes of gender representation in painting; Realism instead of idealism.

This article attempts to study one of the Salam-e Nowruzi canvases of Fath-Ali Shah attributed to apprentices of Abdallah Khan (preserved in Robert Finan collection) in comparison with the Salam-e Nowruzi canvas of Naser al-Din Shah by Sani ol Molk (preserved in Golsetan Palace). Salam-e Nowruzi canvases of Fath-Ali Shah are usually defined in four-piece format. The reason for choosing Robert Finan’s case was that most studies have shown that the entourage on the side tablets of the main frame is pictured in a similar attire as the king in most cases of Saf-e Salam of Fath-Ali Shah. However, in some other cases such as the one under study here, the entourage is dressed differently reducing their similarity to Fath-Ali Shah. Nonetheless, the results of the studies show that Saf-e Salam canvas of Fath-Ali Shah repeats leveling by emphasizing the similarity of the king and the entourage in shape, color, and spatial orientation, particularly in the central frame. It is as if the presence of the king is repeated in others and only spatial location in the picture and the larger size to some extent have differentiated him from others. Indeed, contrary to the first hypothesis, the painter attains a kind of contrast by relying on leveling to a large extent and sharpening to a lower extent in order to achieve his main objective which is glorification of the king. On the other hand, similar to the first hypothesis, the painter attempts to highlight Sultan by emphasizing the difference of the king in shape, color, and size which are defined in the form of very large dimensions, countenance, exclusive attire, and the gold color in Saf-e Salam of Naser al-Din Shah. These differences are accentuated through distinguished location, placement on the peacock throne and of course different spatial orientation with full-face view. Moreover, the large size of Sultan is confirmed not only by the presence of the sons beside the throne but also the special layout format in the Naseri Salam-e Nowruzi canvas which is defined in seven-piece format. The difference is emphasized vis-à-vis other factors; however, when considered separately, it will appear as to fade the large dimensions of Fath-Ali Shah when compared in Saf-e Salam. Therefore, although leveling in the case of Fath-Ali Shah and sharpening in the case of Naser al-Din Shah become more influential, both are successful in exaggerating the status of the king by establishing a kind of difference between Sultan and the entourage. In addition to the testability of Gestalt view, it shows that the painters in the periods under the rules of Fath-Ali Shah and Naser al-Din, despite sharing a specific objective that is the glorification and adoration of the status of king, each achieved their objective by following different approaches in their representations. The painters of the period under the rule of Fath-Ali Shah, Abdallah Khan and his followers, highlighted the nuances by emphasizing leveling, whereas the painter of the period under the rule of Naser al-Din Shah, Sani ol Molk, focused on the differences and attempted accentuation altogether from the beginning.

Qajar painting influenced Iran’s painting with a new kind of illustrations originating from the past traditions. Art and cultural politics of Fath Ali Shah performs an obvious role amongst the influential agents and historical events in the era of Qajar paintings for a presentation of the concepts of power in the social, political and cultural arena. Fath Ali Shah’s patronage of the art alters painting’s direction as Iran’s painting moves to a new field of pictorial history. Thus the portrait and figure get special significance in the painting this period as respects the themes of painting have changed via the penetration and impression of the western art and culture, and the noblemen take possession of that to be part of their belongings. Its climax is clearly seen in the court noblemen portraits and figures that has originated from amalgamation and mergence of western and Iranian traditions .Those are portraits and figures that are for the peerage men, kings, princes, dignitaries and the king’s courtiers and attendants. To show women’s portrait starts from the Qajar dynasty, and their representation matters in this era’s pictures, and its presentation falls prey to change both in the shape and content. Women’s images were not widespread because of religious reasons and didn’t «boom» as much as men’s images. The purpose of this article is connected with cultural semiotics which analyse a woman’s portrait related to the period of Qajar paintings. And the female gaze is tantamount to the body function. This is a specific work of art because it is an image synthesized from several painting genres. This research interpreted pictorial elements in proportion together by an adaptive and analysis approach based on the shaped changes in this cultural and social period. We suppose that female gaze in this work of art, composed of several genres reflects changeable presence of the body’s action. The question is about the proportion between body and procession of the young woman’s look matching another details and elements of the image. Maybe the female gaze in this work was depicted as distinct from power of the male gaze. So this Qajar era painting provides an opportunity for different studying of this kind of pictures. Depicted portrait of the young woman contrasts with the separate images from women of this period of Qajar paintings. In conclusion should say that the representation and nature of the body was different in the images of this period. There is an exact relationship between the elements of the image, especially in case of the womanchr('39')s body that reflects a dominant female gaze. She was a court woman that has stood in the middle of the tradition and modernity. She shows the cultural tension of the Qajar era. Her female gaze predominated not only on the audience but also on all that by its proportion to other elements. There is a structural and formal relation between elements that demonstrates physical presence of her body and a different look.

Wall painting stands among the prominent art media for displaying royal themes in Qajar era. There were many murals in the palaces and buildings of that period which are now mostly destroyed, however descriptions or pictures of which are available in historical texts to study and observe. The royal (New Year) reception wall painting of Fath Ali Shah in Negarestan palace and that of Naser ad-Din Shah in Nezamiyeh mansion are two significant cases in this respect. These two wall paintings characterize special visual features which are representative of art language in the first and second half of the Qajar era. Here, there are two main questions to answer: (1) what special stylistic features of Qajar art have been represented in these works? (2) What criteria make the difference in their artistic discourse? The results of this research which is carried out through comparative and descriptive-analytical method, illustrate that each wall painting conveys a common sense of authority, absolute power and the great personal dignity of the ruler, and each one displays the great number of the monarch’s subjects and attendants as well. Yet, what distinguishes the two works from each other and at the same makes them the visual representative of their own period art is their “semantic” and “mimetic” aspects of representation. These two conceptual domains have been first reflected in idealized, conventional, and established formats, and stereotyped descriptions and representations of desires, with a tendency to homogeneity and uniformity (from the requirements of the semantic dimension of the artistic system of the first half of Qajar dynasty) in Negarestan mural, and then in the form of components such as objective representation, differences and distinctions, reducing the symbolic nature of arrays, the emergence of independent identities and strengthening the factor of individuality, and different appearances in Nezamiyeh mural (dimension of art simulation in the second half of this period1).

In this article, the reflection of romanticism in the poems of Shams Langroudi and its reflection in Qajar painting is focused upon. The research method is accomplished via library method within an analytical-descriptive framework. The hypothesis is a reflection on a number of the most significant components of romanticism in the poems of Shams Langroudi. By studying such poetry, it can be determined that Shams Langroudi despite having a long time distance with the masters of contemporary poetic romanticism, nevertheless shows attentiveness towards the components and features of this school. The capacities of this school have been used to express the concepts and notions of this field. Tendency to social romanticism, attention to nature, using the power of imagination to create original images, naturalism and expression of romantic and emotion-based themes are the most imperative components of romanticism that can be seen in Shams Langroudi's poems. Shams Langroudi has never convinced himself to use pure imagination in his poems; henceforth, his social and human thoughts are expressed by using the power of imagination. The poet does not tolerate oppression and inequality, however, to express this theme he uses symbols and elements of nature to demonstrate the deepest political concepts and the strongest criticism in the form of symbols and metaphors. Moreover, Qajar painting was a combination of new and old methods; in this sense, segments of Langroudi's poems including naturalism, romantic themes and social romanticism can be seen in Qajar painting.

 Research aims:

1- A study of the reflection of Romanticism in the poems of Shams Langroudi and Qajar painting 2- Analysis of the most important components of Romanticism in Shams Langroudi's poems and its reflection in Qajar painting.

1- What is the reflection of Romanticism in the poems of Shams Langroudi and Qajar painting? 2- How are the most important components of Romanticism in Shams Langroudi's poems reflected in Qajar painting?

The human figure has been a common subject of visual arts. Many cultures represent human figures in different ways, giving rise to objects that have been made using a huge variety of materials and manufacturing techniques. Some figures appear in realistic execution and others in stylized or abstract one. Comparing objects made by different artists of the same culture reveals how figurative art often reflects cultural influences. People of different cultures choose to portray the human body in different ways. Such figures often exhibit not only different styles but also different poses. The posture of a figure or its stylized presentation may mean something significant to people of a particular culture, or it may reflect the personal preference of the artist or the patron. In different cultures the human body is treated in varied ways as a means of cultural expression. One of the important periods in the history of Persian painting is the Qajar era in which human figure in arts would take a significant position. Most famous of the Qajar artworks are the portraits that were painted of various Persian Shahs and courtiers. Qajar painting contains various themes the best of which is manifested in the Royal Portraiture. The prominent artworks of this school are those of rulers and princes mostly executed in certain principles. Such works from the court realm could be generally divided into three categories: standing, sitting and equestrian. Here it should be noted that the sitting portraits are of particular characteristics from the viewpoint of physical structures and poses. This matter later would be manifested in the field of folk portraiture and painting as well. The manifestation of the royal portraits in another field of portraiture, i.e. folk (sometimes called “non-royal” or even “low”) art, brings up some questions as follow: What are thestylistic similarities in the royal portraits of the Qajar period in comparison to those of the folk paintings? How are the postures and gestures of figures, especially in sitting poses, reflected? The results of the research demonstrate that Qajar courtly and folk portraitures, with human figure and idealization factor in the center, are indicative of a single style manifested in two themes. Here, figures are personalized and the subject stabilizes its presence on the work. In folk portraiture, sitting poses, mostly kneeled, are distinguished by characteristics such as the subject's distinction, individualization and personalization, while other courtly features such as muscled arms, broad chest and slim waist are left out so that the kingly aspects of works decrease. Furthermore, Qajar portraiture offers a new definition of the human form and figure in painting. In the present article, two main fields, i.e. royal portraiture and the religious folk art, have been studied. Meanwhile, the poses, postures, positions and physiques of portraits in each field have been analyzed. For this purpose, the structures and visual features of the works have been categorized. Then, the continuation of the royal style and its manifestation in folk portraits and other non-royal works has been examined.

Lacquer painting was used to decorate the book covers since the late Timurid period. This art became more prevalent in the Safavid and Zand eras, and reached its peak in the Qajar era. In this manner, Painting was done on objects of pulp (cover, pen box, mirror frame).After painting, the artist covers surface of the work with lacquer. Using this material, the painting colors remained between the layers of oil lacquer, so that the colors become more beautiful over time. The laquer material protected paintings from biological damage, pale coloration and maturation over time. Since Golestan Museum has a rich collection of lacquer works, and these works are one of the most valuable ones of their time, they have various technical and visual characteristics. This study aimed to determine an organization and set for these characteristics, so that it can indicate lacquer painting methods of the Qajar era. Moreover, it was tried to answer these questions: What are the technical and visual characteristics of lacquer works in Golestan Museum? Is it possible to indicate a collection of characteristics of the Qajar lacquer works based on the available works in Golestan Museum? This study used a descriptive-analytical methodology and library data to collect data. Therefore, observation and investigation of the lacquer works were the main incentives of the study. Statistical population under study was all the 39 works in Golestan museum, which were examined by descriptive-analytical approach. The most important results to be mentioned are presented here. Lacquer works of Golestan Palace were mostly made as ornamental .Lacquer painting of the Qajar era flourished well in the second half of the 13th century, and the main patterns used in the works were illumination, Gol o Morgh, landscaping, sculpture, and hunting. Lacquer painting can be divided into two groups in the area of illustration of the human body. In the first period from the beginning of the Qajar dynasty to the early days of the reign of Naser-al-Din Shah, images were designed based on the style of traditional Iranian painting aesthetics accompanied by brief effects of the European painting. The effects of photographic camera and the European realistic style were clearly observed in the works of the next period from the early days of the reign of Naser-al-Din Shah Qajar. Most of the animal’s pattern on the works was related to the bird’s images, and the most important plant patterns were devoted to the flowers’ images. There were some European painting effects in terms of subjects, painting style and composition in most of the works. Landscaping images have been designed to create perspective and background elements smaller than the sculpture. In some of Lacquer’s works, the writings have been used in conjunction with the images, in terms of their composition in harmony with the painting. Most of the writing was don with Nastaliq’s line and for reference. Illustration of man, especially the king, was quite important, and greatness and power of the Qajar court was the main aim of the representation of images.

The process of getting acquaintance with European culture which had begun in 18th century in Iran reached to its critical summit in 19th century (Qajar era). Travelling abroad, familiarity with modern ideas, and printing industry were some of the most influential causes which affected all aspects of Iranian life. The encounter of "East" and "West" as the main challenge of the time was reflected in Persian art and literature. This article explores dual oppositions on the Maqouee Palace mural painted on the ceiling of a palace in Iran. Cultural codes which were completely related to social situation and esthetic codes based on visual style of the time were examined. With the descriptivecomparative method, the article detected direct implications and circuitous connotations by comparing the main painting with other visual "texts". Foreign travels, biographies and newspaper articles also played a dominant role. After defining three possible connections between dual oppositions as antagonistic, relevant and dialectic, the most significant poles were chosen. Opposition of “West" and "East as the most momentous oppositions of Qajar era was reflected on the mural. Research Objectives: -Recognition of how the main challenges of Qajar era were reflected on the Maqouee Palace mural
-Discovering the main dual oppositions in Maqouee Palace mural related to the dominant discourse of Qajar era Research Questions: - How the main challenges of Qajar era were reflected on the Maqouee Palace mural?
- What are the main dual oppositions in the Maqouee Palace mural related to the dominant discourse of Qajar era?

A glance at the history of creating pictorial representations in the past societies indicates that prior to the invention of the photography and printing industry, the world around us was indeed suffering from the lack proper illustrations. Hence, the earlier societies should have also been in scarcity in terms of images since replication was impossible then. With the invention of photography camera and the subsequent boom in printing industry as the main factors in facilitating the reproduction of image, happened and spread after the reign of Fath-Ali Shah Qajar (1212-1250 SH / 1834-1797 AD); however, if we compare the legacy of image production remaining from the era of Fath-Ali Shah's reign with those of the preceding years, we find out a fundamental change in the volume of image production and its application. Of course, in this article, ‘image’ means the human figure and in particular the king's physiognomy, which is portrayed wearing various materials and tools. However, such iconography also contains images of chiefs, chieftains, governors and princes, and even from time to time, the image of maidservants and dancers, but their presence is secondary to that of the king. The images follow common aesthetic patterns, including calm faces with monobrows, languish eyes, bud-shaped mouths with beauty marks around the lips, with fit bodies and narrow waists, armed with all kinds of weapons such as dagger, mace, sword… (for men) and adorned with aristocratic jewelry and garments and expressionless countenance looking at distant landscapes.The more precise application of these patterns, which are deeply rooted in Iran's culture and literature, in Fath-Ali Shah’s image is due to the fact that hundreds of images of this handsome King have remained with almost ever the same portrait unaffected by the passage of time. These images are created using diverse tools, in different sizes with various applications. Some are on canvases or on the walls of palaces and mansions in large scales on while others are on penholders, containers and coins, even on jewelry and ornaments in very small sizes.Undoubtedly, such number of images have been carried out by artists of different professional expertise and have enjoyed the all-out support of the government and the King as its top authority. The diversity of images signifies a great management and wise interaction with painters.This paper intends to answer this main question that what purpose the government, and the King as its leader, sought in supporting the production and spreading of such images within the society. Evidently, more questions also arise that how the primary pattern of such images or royal representation was created and what were their specific features?In addition to elucidation of the aesthetic features and the theoretical foundations of the creation of these images, this study seeks to shed light on the hidden intentions of the government for dispersing such images.The research findings indicated that the newly established Qajar Government was aware of the necessity of propaganda for the consolidation and expansion of social influence on one hand and the importance of developing favorable interaction with the artists and supporting them on the other, promotes the artists' and the society's understanding of the image. Thus different types of pictures are produced with a variety of interpretations and applications.Apparently, the artists, while maintaining good relations with the head of the state, achieved a fresh understanding of the potential functions and hidden values of image, insofar as they might have 'discovered' its true value. Therefore, using Shah's icon as a sign of national unity and its propagation in various ways and modes, they used image in an unprecedented manner which included utilizing image as a ceremonial or royal gift; a model of beauty and fashion; a sign of the quality of goods as well as ritual and religious icons.The discovery of the values of image resulted in the emergence of, during Fath-Ali Shah’s rule, the first pictorial coins after the advent of Islam in Iran, the first bas-reliefs and even the first pictorial gravestones of the Islamic era. This research has employed descriptive-analytic method of research with the data collected through analyzing library resources and findings of field studies.

Shahanshahname is one of the Qajar-age illustrated manuscripts composed by Fath Ali Khan Saba in the first half of 13th century. This text is composed for explaining the Qajar king Fath Ali Shah’s conquests and the history of this dynasty. There are many version of the Shahanshahname in different libraries. In this research, the version 15234 of the Parliament library will be investigated. The mentioned version has 24 pictures without any signature or identification. The main goal of this research is to introduce the Saba’s Shahanshahname and to identify its illustrator. This research tries to answer this question that whether the illustration of the Shahanshahname version 15234 in parliament library was done by Mohammad Hassan Afshar? This research is analytic-descriptive and comparative in terms of the methodology. The data were collected through library sources and the images and pictures available in parliament library. The results obtained, imply that the illustrations were done by Mohammad Hassan Afshar, which is concluded based on the comparative analyses of designs and the composition of illustrations in the mentioned book and the Mosaja’e version 5998 in the Malek museum.

This study shows that the art works of painting flowers and birds along the Safavid and Zand is located at the previous edition. The visual elements of art to organize his own identity and culture. This type of painting means a close relationship with Iran and prose with common signs such as flowers, birds, tree. This article examines the bird motif in paintings Lotfali pays Shirazi during the Qajar period. Shirazi chicken in the works of the visual image is what position? What are the similarities and differences with the previous edition? This research method is analytical and data collection of documents (library) is. Lotfali analysis shows that the chickens in his paintings have a symbolic and conceptual relations with other elements of the image and the flowers are. His works inspired by the art of flowers and birds in Safavid and Zand higher quality in terms of performance and variety in the show chickens for awake, asleep and are hunting license.

One thousand and one night is the most important manuscript in qajar era. it`s importance stem from some artistic and creative characteristics, which make this collection very distinguishable among others in it`s own age and even another eras. This comparative study is done through descriptive –analytic method. by this method considering some common traits among cinematic works and these paintings have been possible. The narrative form of these paintings is required an attempt to make the viewer ready to confront cinematic images before the entrance of film -taking camera and then film production to iran. Demonstrating realistic aspects, narration and peak points, time and animation, image composition, three process of making artistic works (pre-production, production, after-production), showing individual characters, storyboard, mis-en-scene (selecting and choosing the furniture and appropriate placing of characters and so on so for),relation between calligraphy and image and adaptation and it`s source, lighting are special common attributes between this two mediums Which are so controversial. Displayinag realistic aspects, liken artist`s eyes to a visor which is able to record even a tiny anthropological signs. In these paintings, various clothes of men and women and also the style of domestic decoration and furniture has been painted, in Naser-al-din king period. In these painting we can find some social behaviours like marriage ceremony. As such as a director choose the persuasive moments for making a movie more attractive, in this collection painter select the dramatic moment. In these kind of narrative paintings, the viewer are able to survey the rate of aproximity and distance between adaptation source and this expressive medium. Some paintings are like a first draft or storyboard for being animated in the next process. In some kind of paintings movement can be implied through some painterly tacticts. Processes of making this manuscripts took 6 years and it was done by a grouping activity and appropriate condition. 34 painters accompanied together in this project with particular tasks like a film –making staffs. Despite the presence of various painters, it would be assertive to say that sani-ol-molk is more decisive than others in determining how to make this project, because in some of his personal works at the same time we can find some prominent tactful artistic traits (for example in abd-ol-samad prince). In this paintings, also there is a special attention to explanation of scenes through writing like the tradition of presenting the explanation of the scenes in some shots in silent movies. It should be articulated that there is an admirable interest to create some fantastic and freak creations like science-fiction movies. This similarities lead us to some advantages, there is potential force for being animated in this unique paintings. The capacitiy of Iranian art and artists for progressing and going beyond the paintingmedium is another. Also sani-ol-molk`s view has had outstanding effect on these traits. As a result in narrative paintings always less or more there will be some similarities to cinematic characteristics, but in this manuscript threre are lots of common traits.

This article by focusing on a painting of Sani –ol- Molk, entitled "Dialogue Harun al-Rashid, and J. Barmaki " in “The Thousand and One Nights” book has been studied and investigated the factors affecting on its formation. Sani-ol- Molk in this book based on the life of Iranians on the early reign of the Naser-e-ddin Shah has depicted Naser-e-ddin shah instead of Harun al-Rashid, and Amir Kabir instead of J. Barmaki. With historical evidences and evaluation of visual symptoms was trying to answer this question Why Sani ol-Molk has replaced characters? Due to the murder of J. Barmaki by order of Haron, another time the murder of Amir Kabir has been occurred in a same way. Similarities between the two ministers in their authorities of the chancellery, marriage, death and its effects after their murder, were the reasons that caused to finding out, maybe the similar fate of the two ministers, has forced the painter to replacement.