Abstract
In the Qajar period, the relationship between the visual elements and the composition of the paintings follows certain precise principles that are consistent with the art of Laquer painting. In Persian lacquer the base is almost always of papier-mâché. The surface was thinly coated with a fine plaster, or gesso, and upon this the painter executed his design in the miniature-painting technique of the time. The whole was then covered with a layer of transparent lacquer or varnish, which not only protected the painting, but enriched and mellowed the colors. The difference between the iconography of the Qajar period and the previous period is that folk themes are prevalent and their types are found in tiling, oil painting, Laquer, and Lithography. The main questions of the study are: 1- How is the Qajar period illustrated on the Laquer artworks from the iconography approach? 2- What are the intertextual elements in the Qajar iconography on Lacquer’s artworks? The main problem of research is about iconographic reading of the icons in the Qajar period Laquer painting. For this purpose, in this article, two exemplary examples of artworks with emphasis on iconography have been analyzed. The research method is descriptive-analytical. The purpose of this research is to identify the role of the common themes of the Qajar period in the iconography of these works. In order to achieve this goal, it is necessary to identify literary, historical and artistic sources. Identifying sources and gathering information has been in a library manner. Data analysis has been qualitative. The research hypothesis is that in almost all works there are signs to reach another story or text. Findings and results indicate that: In addition to the common features of the Qajar style of painting, these works have a strong relationship between literary, religious and political texts and intertextual relations.
Keywords: Laquer, Qajar Jllustration, Jconography, Jntertextuality.

Introduction
Lacquer painting during the Qajar era, in addition to the usual Qajar art style, also had visual and practical decorative aspects, and was a good platform for illustration. This type of painting, which was applied to various objects in the applied context, peaked during the Qajar era and then declined. The argument of this research is that the influence and interactions of cultures on each other should not be taken into account, as this transfer of data and information is exchanged across territories in different ways, resulting in the creation of artistic styles over time. It has become indigenous to every region. The present study is descriptive in terms of its fundamental purpose and nature. The issue facing the research is how to characterize the iconography of papier-mache paintings and lacquer paintings. In this period, we see the increasing influence of Western painting on Iranian painting and iconography. Incomplete western perspective principles, the use of color shades to represent the volume, and the use of a variety of angels and a variety of techniques have made artists more instrumental. Each of these techniques also has its own language and makes the theme of iconography different depending on the technique. This study first examines Laquer’s art in the Qajar era and then analyzes its methods, contexts, applications, and themes, specifically, Laquer’s imagery and its types. The purpose of this article is to identify and introduce the values of Lacquer’s works from the point of view of iconography and to study and classify the iconographic themes of the icons in the Qajar period on the artworks of the aliens. The last years of the nineteenth century saw a tendency towards an even more marked Westernization. This took two forms. Firstly, the depiction of single figures and scenes of an almost photographic realism, under the influence of imported Russian pieces made for the Persian market. But, as already mentioned, much lacquer painting of this late Qajar period takes the form of exercises in the Safavid style, There can be no doubt that many of these works in Safavid style were intended to deceive, including endless versions of Shah Ismail at the battle of Chaldiran and Nadir Shah at Karnal derived from the large murals Chehel Sutun in the Isfahan. We will also try to answer the following questions: 1. How is the Qajar period illustrated by the iconography of the Lacquer’s paintings? 2. What are the intertextual elements in the Qajar iconography on the artifacts?

Identified Traces 
In this short paper have made no attempt to present a full and coherent history of lacquer painting in the Qajar period; that would require a full-length book. I have merely tried to draw attention to some interesting points, a handful of outstanding objects, and one or two remarkable personalities. Qajar lacquer may not be great Art with a capital A, but its spirit is light-hearted, its technical brilliance is undeniable, its colors are warm and bright, and it has given, and continues to give, an immense amount of quiet pleasure both in the land of its origin and in the West. This pen-box is belongs to a group known as qalamdan-i kayani or “royal penbox”, notable for their style of decoration, with figural scenes extending to the base of the cover, and to the sides, base and sometimes to the inside of the sliding drawer as in the present lot. The basic template for the layout is common to extant examples and these pen-boxes were clearly made to order rather than as workshop pieces for the market. The figures surrounding the Shah differ from example to example and many represent known personalities. Generally, the theme of kingship dominates the exterior whilst the internal decoration consists of panels showing miracles and other episodes from the lives of Sufis. The importance of this pen-box is not only the colophon, but also the only-known self-portrait of the artist. Sayyid Muhammad was a painter of the Nasir al-Din Shah period. The top has a central cartouche depicting Nasir al-Din Shah Qajar sitting on the Peacock throne flanked by princes on the left, and ministers and court officials, ambassadors and foreign dignitaries on the right, inscription-filled cartouches above and below with a couplet in his praise. Other cartouches to either side of the Nasir al-Din Shah scene contain depictions of the courts of Persian kings mentioned in Firdousi’s Shahnama. 

Conclusion 
In many of papier-mache paintings, the widespread use of epic, religious, and literary texts has established a kind of intertextual connection. In the case Kiyani (royal) penboxes with cartouches framing audience scenes, celebrate Persian kingship by linking the ruling monarch with Iran’s great historic and legendary rulers. This example features the court of Nasir al-Din Shah Qajar (r. 1848–96) at the center of the lid. Other audience scenes of Persian rulers, such as Genghis Khan and Khusrau Parviz, as well as legendary kings from the Shahnama (Book of Kings), such as Afrasiyab and Manuchihr, are each identified by inscriptions. Such penboxes were not made for the market but were often commissioned and given as presentation pieces. The image and text element are the main elements that make up this image text. The writing is often about artist signatures or in relation to the subtext that the themes play as the text. Case studies of the present study include Shahnameh, Khamseh Nezami, Mantegh- al-Tayr Attar, and Qessas- al-Anbiya as the textual paintings. In this search, it is clear that the paintings of  Laquer work, like other texts, are not independent and original, but consist of thousands of literary, religious, and political cultural texts.

Abstract
Relations between the two civilizations of Iran and India have been reciprocated since ancient times. The sharing and exchange of cultural traditions between Iran and India culminates in the Gorkani era. The main area of objectivity of cultures should be searched in art and literature. This research, while examining the illustrated version of HamzaNameh, whose stories are illustrated from Hamza’s various encounters with Anoushirvan and the Sassanid court, which is at war with Hamza, and Ardeshir Babakan, who is rushing to Hamza’s aid, deals with the cultural influences of Iran/India due to the arrival of Iranian artists in the Indian Gurgaon period and the influences of Safavid painting features on this version. The problem raised in this study is: How can we read the effect of Safavid painting on Hamza Nameh’s paintings in India with a Semiosphere approach? The aim of this study was to investigate the impact of Safavid painting on the confrontation with Indian Gorkani painting. The descriptive-analytical research method is based on Lutman’s semiotic approach and using intercultural contrast (Iran/India) has pointed out the characteristics of  Hamzanameh and Iran’s influence on Indian painting. And the effects of the features of Safavid painting and the personality of Iranian Hamzeh are present in the depiction of Hamzehnameh.
Keywords: Safavid painting, Hamzanameh, Indian Gorkani painting, Semiosphere.

Introduction
Cultural relations resulting from political relations between the two countries led to the formation of a new type of artistic approaches split from both cultures in the form of a valuable work entitled Hamza Letter. In this paper, in order to address the problem and the cultural relationship between Iran/India, an attempt is made to analyze some of the paintings of Hamza Nameh in Gorkani India, regarding the features they have in common with Iranian painting from an Semiosphere perspective. There have been many researches about the influence of Iranian painting on India, most of the researches have been done away from the approaches of art criticism in general. This doubles the study of the effects of Iranian painting on Indian painting based on a new research approach based on Sepehr. The necessity of the present research lies in the fact that previous researches have mostly dealt with the pictorial themes of Indian and Iranian painting with a descriptive view, and none of the previous researches have researched the illustration of Khamsa in India influenced by Iranian painting.
Question of the research: 1. What has been the impact of Iranian painting on Indian painting from the Semiosphere perspective? 2. What elements of Iranian painting have been effective in illustrating Hamzanameh in the Gurkan period of India? The hypothesis of the research is based on the principle that it is possible to analyze and read the illustrated Hamzanameh paintings in the Gorkani period with the Semiosphere approach based on the influences of Iranian painting on India.
Research method: The present research was written using the descriptive-analytical method and using the “ Semiosphere “ approach, which is a subset of the “cultural semiotics of the Tartu school “, based on the opinions of Yuri Lutman. First, the relationship between Safavid and Gurkanian art is studied. Then the paintings of Hamzanameh in the Gorkan period of India are examined. Therefore, in addition to the components of Hamzanameh paintings and their background factors, their themes are analyzed, and by considering them as a text, the ways of its influence and influence are investigated outside and inside two cultures. In the following, those images that have taken and absorbed components from foreign culture i.e. Safavid Iran as another will be introduced and specified. Also, the coexistence of the components of the culture within the text, namely the Gurkans of India, which is considered as the cultural self of the components outside the text, which is Safavid Iran, another culture, which ultimately leads to the emergence of a new and eclectic culture and text, is also explained.

Identified Traces 
After examining and analyzing the paintings of Hamzanameh based on the Semiosphere approach, it can be said that Iranian immigrant artists, in the host land, try to establish a meaningful connection between their two Semiosphere and the other. Sepehr is a sign of Gorkani, which causes artists to inevitably make changes in their artistic foundations; In the new land, while trying to communicate with the signs of the host sphere, they do not have the ability and the possibility to completely reject and accept any of the elements in the influx of symbolic elements. But in the end, they still maintain their belonging to the culture and identity elements of their sphere, which interact with the identity and value-creating elements of the host, and by acquiring and absorbing elements from the host culture, they achieve the balance of their identity-creating elements. As the identity aspects of immigrant artists’ culture fade and by combining elements borrowed from the host’s symbolic sphere, the life of their culture continues in a new form in the Gorkanian symbolic sphere. Based on this, the findings after drawing the boundaries of the symbolic space of the Safavids/Gurkans, as well as reading the paintings of Hamzanameh, are presented with the approach obtained in the form of analyzing the paintings and classifying them in the mechanism of attraction and rejection. So, the examination and analysis of the paintings, the symbolic elements governing them, which express the mechanism of attraction and rejection in the paintings of Gurkani school of India, can be explained in the table below.

Conclusion 
The relationship between the painting of the Indian or Indo-Iranian Mughal school, which was the same period as the Safavid rule, and is influenced by its art. The results of the study of political and cultural relationships between the Safavids and the Gurkans show the influence of the painting of the Safavid period on the formation of the Indo-Iranian Gurkan school of painting in India. But in the end, they maintain their belonging to the Iranian culture and the identity elements of their Sepehr, they interact with the symbolic and identity elements of the host, and by absorbing the symbolic elements of the host culture, they achieve the balance of their identity-making symbols. As the identity aspects of Iranian immigrant artists’ culture fade and by incorporating elements from the host’s symbolic sphere that they have borrowed, they continue the life of their culture in a new form in the symbolic sphere of the Gurkanians of India. According to these interpretations, the influence of Safavid painting can be clearly seen in Hamzanameh paintings. The reason for the introduction of Iranian cultural signs in the painting works, which were transferred to the Indian cultural and painting sphere through the migration of artists, and continue to display the identity and symbolic functions of their previous components. The results of this are that the absorption of elements and the translation of signs in most of the paintings of Hamzanameh are taken from the main character of the Iranian Hamzah story, which has caused the mechanism of Iranian culture through the story and its absorption by Iranian artists in the cultural sphere of India.