Abstract
The coffeehouse painting, a school of oil color narrative painting, was formed in the late Qajar government during the constitution movement by untrained artists in coffeehouses with martial, artistic and religious themes. With the suppression of people’s liberty by such tyrannical government, the constitution revolution led to people’s movement in coffee houses where was made as one of the most important societies in the Qajar era playing a major role in shaping this movement. In the following article, it has been attempted to establish the coffee house as an institution with social and cultural functions in order to strengthen the national and religious spirit of the individuals. The research methodology includes library and field study based on the research of coffeehouse painting, the constitution revolution, and the study of Qajar coffeehouse atmospheres. After having analyzed and adapted the data, the following results are presented: the process of coffeehouse painting in coffee houses during the constitution Revolution was an anti-authoritarian and a critical movement against the Qajar government. Also, the content of the discourse in coffeehouses during the noted regime affected the themes of the paintings with a significant influence on the constitution revolution.
Keywords: Coffee House Painting, Coffee House, Qajar Autocracy, Constitution.   

Introdction
Due to the need and demand of people and the respect for their beliefs, coffeehouse painting is a kind of oil color narrative painting that was emerged by untrained artists with martial, religious, and artistic themes during the constitution movement, based on the traditions of folk and religious art. Although the basis for this painting was an ancient tradition of storytelling and sorrow expressing in Iran, conditions for the growth of this popular art in coffee houses were provided during the Qajar era, and some painters in this school came up with a procedure that was beyond the domain of that time art (Saif, 2011). During this period (Nasser al-Din Shah’s long reign from 1848 to 1896 B.C, 1264-1313 A.H), with the emergence of foreign wars and the internal problems, the internal legitimacy crisis appeared by which influential religious and social heavals were created. This circumstance expresses the transformation of social forces and anti-authoritarian movements against the government of the time and the constitution revolution, which was the foundation of these radical changes, created profound and great social transformations that remarkably affected the strengthening of public institutions. Therefore, the coffeehouse, which was more important and long-lasting than the other institutions, became a place for attending these communities and as a strong and active social institution, played a very significant role in appearing public movement and had an undeniable effect on coffeehouse painting. With the assumption that the coffeehouses were the main factor of shaping the coffeehouse painting during the constitutional period regarding the social governing conditions, the influence of this public institution in its era on coffeehouse painting is reviewed, considering the atmosphere of coffeehouses during the constitution revolution and the Qajar dynasty.
 
The Influence of Constitution on Art and Culture Changes
Coffeehouse painting is a style of Iranian painting that reached its peak in the late Qajar era simultaneous with the constitution movement (Saif, 2011).
In the trend of the formation of constitution movement and the general awakening of the people and their awareness of the condition in the country, all the urban classes participated in the revolution, and there was not even one social class entered the scene against the revolution. Accordingly, a coalition of different groups of cities and various classes participated in the movement of constitution, and such a revolution was a public, democratic, mass and urban movement, instead of a bourgeoisie one (Yazdkhasti & Esmaili, 2008: 108). 
In the field of culture and art, new conditions came to the fore. The Iranian people were involved in a new world-wide view by observing the new situation and suppressing the liberationist movements while facing their state and religious leaders who were involved into the battle. The Persians were witnessing new colonial intrigues on the one hand and the pressures of domestic tyranny every day on the other hand. Those who were not hopeful for the improvement and the destruction of seven-headed colonial and tyrannical dragons by observing the chaos and hypocrites in their real life were subconsciously attracted to the mythical and historical heroes and revived them (Saif, 2011). The constitution revolution, if not the turning point, was a breakthrough in Iran’s social transformation. It deeply changed Iran’s social and intellectual history. In this regard, two important issues should be mentioned:
1. In such a movement, people dared to present their social rights for the first time. It is very important for the people to have the right to think and to comment rightfully.
2. The society of Iran at that time focused on the main obstacle of the community improvement, and that was the terrible domination of despotism. In the view of Constitutionalists, the autocracy dried out sapling of thought and human growth, disclosed the liberation of the thought and the act of humans. This was the center of attention of the warriors and intellectuals (Nazari, 2007: 33).

Conclusion
In the definitions given to the coffee house, it was a place where attention was paid to the political, social and cultural considerations of the Qajar dynasties, and the presence of painters in this space, due to its simultaneity with the constitution movement, is a reason for their reconciliation with the atmosphere of the coffeehouse against the tyranny of the government. Just as the political revolutions originate from the lower and middle classes of the society and are based on the structure of the people’s organization, such as the workers and religious revolutions that rise against the autocracy and insurrection, the coffeehouse painting is formed from the lower layers of the society, and painters, who generally had a career other than painting, have shown a kind of intellectual awakening in their work, without being trained in a particular school.

Abstract
The Baysunghur Sahnameh and the Shahnameh of Shah Tahmasb have rightly been considered as two unique artistic masterpieces in the history of Iranian painting. To find out the pure aesthetic values of these two versions, the best method that can be used is the method of formalistic analysis. In the formalist approach, what is important is the analysis of formal visual elements that painters have used to convey an aesthetic feeling or emotion. Therefore, with a formalistic approach, this research examines two versions of the same story, that is, “Esfandiyar Slays Arjasp” in these two Shahnameh. Obviously, in this research, elements such as line, shape, color and in general the design and composition of these paintings have been subjected to formal analysis. Based on this, the current research has clearly sought to answer this question: in terms of the formalist approach, what are the similarities and differences between these two common images of Baysunghur and Shah Tehamasb Shahnameh? Obviously, in order to answer this question, what are the main features of the painting “Esfandiyar Slays Arjasp” in the two versions of Baysunghur and Shah Tahmasb based on the formalist approach? By comparing the mentioned paintings, it was found that The Baysunghur Sahnameh is richer than Shahnameh of Shah Tahmasb in terms of the use of lines appropriate to the nature of the story, the clear depiction of the story, and the symbolic treatment of the story. Of course, it is worth mentioning that, on the other hand, Shahnameh of Shah Tahmasb presents a kind of decorative representation of the story, and therefore, it tried to make the story appear dramatic. The method of the present research is descriptive-analytical based on comparing the illustrations of two versions of Shahnameh, and the data collection method was library.
Keywords: Form, Formalism, Formalist Analysis, The Baysunghur Sahnameh, The Shahnameh of Shah Tahmasb.

Introduction
In Iran’s long tradition of book design, perhaps no work has been illustrated as much as Ferdowsi’s Shahnameh. Meanwhile, in the Timurid and Safavid periods, due to the rise of art-loving and tasteful rulers and the favorable social conditions, we witness the creation of the most valuable illustrated Shahnamehs. Undoubtedly, the most prominent illustrated Shahnameh of the Timurid period is the “the Baysunghur Sahnameh” and the masterpiece of the Safavid period is the “the Shahnameh of Shah Tahmasb”. These two irreplaceable masterpieces have been a suitable vehicle for the emergence of Iranian-Islamic aesthetics. It seems that no approach like the formalist approach can explain the characteristics of these two masterpieces purely in terms of art and aesthetics.
Accordingly, formalism is an approach to art that emphasizes the importance of form and its priority over content as the source of the subjective attraction of the work. Therefore, any formalist analysis of works of art essentially considers the aesthetic effects created by the design components. These components, which are called formal elements, form the basis of the artist’s visual language. These components can be categorized as follows: line, overall shape, space, color, and light and dark. These components themselves can also be considered to include elements such as balance, order and proportion, and pattern and rhythm which, together with the first components, create specific reactions in the audience. The artist brings all these components and elements together in an arrangement that is called composition. Having said that, our formalist analysis of the common selected image in the two Shahnamehs of Baysunghur and Shah Tahmasb in this research will proceed based on the above components and elements, and in the conclusion section, the necessary results will be obtained from the comparison of these components in the two mentioned versions.

Discussion
In general, the predominant use of dry, diagonal and angled lines in Baysanghari’s Shahnameh has caused the atmosphere of confrontation and battle to be shown well. While the soft and gentle lines of the Shahnameh of Shah Tahmasb are not very similar to the displayed subject. The asymmetric composition chosen by painters of the Baysunghur Sahnameh to show this story is completely in harmony with the real atmosphere of the battle. A battle which, according to the text of the Shahnameh, is not an ordinary battle of the type of wars fought between two armies; This battle is mostly a secret operation and it goes step by step according to a predetermined plan and therefore it is very complicated and calculated. Breaking the space through the masterly display of the fortress walls with sharp diagonal lines, speaks of the creative courage of the painters of this version and shows well the difficulty of entering the fortress and the difficulty of mastering it during the battle. It is precisely for this reason that Esfandiyar is forced to enter the fortress as a merchant delegation. In addition, the fortress described in the story was very strong (it was built only with stones) and it was located in a mountainous area. The painter has succeeded in creating the feeling of encountering a complex and unattainable building in the audience with an extremely masterful display of an uneven castle with a complex plan and steps. On the other hand, the composition of Tehamasbi’s painting is almost symmetrical and balanced; It is as if the battle depicted is a normal battle where the people who are at war are concerned about being in a specific place that the painter has determined for them to maintain the balance of the scene; If a war is depicted in this scene, this war is not so real, but it is completely staged and decorated.

Conclusion
The findings of this research with regard to the main question, i.e. the question that “in terms of the formalist approach, what are the similarities and differences between these two common images of The Baysunghur Sahnameh and the Shahnameh of Shah Tahmasb?” It is supposed to:
- In terms of the adaptation of the illustrated story with the verses of the Shahnameh, it can be claimed that the image belonging to the Shahnameh of Shah Tahmasb is more bound to the verses of the Shahnameh. The display of time and clothes of merchants for Esfandiyar’ soldiers in Shah Tehamasb’s images confirms this claim. But none of these things are shown in the image belonging to The Baysunghur Sahnameh. Of course, in the show of the strong and tangled fortress, Baysunghur’s image is more bound to the verses of the Shahnameh.
- In the painting belonging to the Shahnameh of Shah Tahmasb, the story of Arjasab’s murder is depicted by showing his throat being cut by Esfandiyar, while in Baysunghur’s painting, the mentioned theme is shown by pulling Arjasab down from the throne to the ground. Therefore, it is possible to refer to the symbolic and metaphorical treatment of The Baysunghur’s image, in contrast to the explicit and direct expression of Shah Tehamasbi’s image.
- The composition of Baysunghur’s image is completely in harmony with the subject of the story, while the composition of Shah Tehamasb’s image is completely balanced and symmetrical and does not match the depiction of a real war.
- The Baysunghur Sahnameh painter has deliberately and at the same time boldly broken up the space to show the complex architecture, mountainous location, tangled and impassable nature of Arjasab fortress. On the other hand, the space shown in shah Tehamasb version is almost uniform, and apparently only a small part of the complex space of Baysanghari’s image was chosen for it. For this reason, The Baysunghur Sahnameh painter has acted more boldly and creatively.
- The main concern of the painter of The Baysunghur Sahnameh painting is the clear and clear depiction of the story, and for this reason, the image is divided into three parts from the bottom to the top, which clearly shows the story step by step, both with uniform colors and close to each other. Almost the same clothes (two types of military uniforms) have been used, and it has been avoided to show any extra or dramatic elements. On the other hand, painting of the Shahnameh of Shah Tahmasb has more emotional and dramatic content and apparently has a great desire to dramatize the story and show it decoratively.