The Study of the Iconographic Features in Lithographic version One Thousand and One Nights of the Qajar Period

The art of the Qajar period, by using the previous traditions and looking at Western naturalism and the literature of the rulers of this period, has introduced new features into the field of assembly ornamentations. These features include courtship, landscaping and perspective, and court iconography. This method became a new style in painting with these components. Its approaches were based on the understanding of Qajar aesthetics. After the arrival of the printing industry, lithographic illustrations continued in line with court iconography. One of the works that was copied in lithography during this period is the book One Thousand and One Nights; containing a collection of lyrical, epic, and folk themes, the book is closely related to the culture and worldview of mythology and lyrical literature. The issue raised here is the extent to which the re-creation of this printed version and its iconography of painting and art common in the Qajar period. This research has been done by descriptive and analytical method and relying on library data. The findings of the research indicate that the lithographic version of One Thousand and One Nights by Mirza Aligholi Khoei, with the revelation between traditional experiences and new approaches, has presented a new method in the Qajar Assembly.  

1. A study of the role and influence of court paintings in the lithographic version of the Thousand and One Nights of the Qajar period 1. Analysis of iconographic features in the lithographic version of One Thousand and One Nights.

Research questions: 

1. To what extent has Aliqoli Khoei, the author of the Thousand and One Nights of the Qajar period, been influenced by court paintings? 2. What are the characteristics of the iconography in the lithographic version of the One Thousand and One Nights of the Qajar Period by Mirza Aligoli Khoei?