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
Muhammad Zaman, painter of the Safavid era, in some of his paintings has copied the western (“Farangi”) works. He has also used some of the techniques of the Western Modern age painting in some of his original works, having a traditional theme. Among these techniques, perspective has a great significance. In his copied works, Muhammad Zaman has used the perspective correctly, but in his original works, sometimes the perspective has been done correctly and sometimes incorrectly and unaligned. Until now, some commentators have argued that the use of perspective by Muhammad Zaman was due to a kind of incompetency and lack of academic education. In this article, in contrast to this view, it is argued that the point about Muhammad Zaman’s correct/incorrect use of perspective has been underestimated and therefore, there is a need to reinterpret what has hitherto been considered as a simple inaccuracy. In his original works, Muhammad Zaman, has arisen a question about the relation between traditional Persian miniatures and Western painting. Hence, in this paper, by examining some of the original works of Muhammad Zaman, this question is discussed and it is claimed that in the absence of theoretical discussions concerning the relation between the old and the new elements in painting, the inevitable result was the domination of Western perspective on Iranian painting. In other words, the works of Muhammad Zaman can be considered as a vehicle for “thinking”. Imaginary atmosphere of Persian painting and the Western perspective are mutually exclusive, and Muhammad Zaman transformed this incompatibility to the image as a “question”.
Keywords: Muhammad Zaman, Perspective, Painting of Safavid.

Introduction
The title of my Ph.D. thesis was “The problem of basis in theoretical Iranian art studies”. While writing the thesis, I encountered issues that needed further study. Perspective was one of those issues. Formerly, I had read important works such as Panofsky’s Perspective as Symbolic Form and Belting’s Florence and Baghdad: Renaissance Art and Arab Science, but it seemed to me that the Perspective issue in Iran had certain conditions that had to be examined in the greater context of the nature of art in Iran. It is not possible to describe that framework in detail here, but I would point out that at the time of the emergence of perspective in Iranian painting, there was not even a word for “Fine Arts” in Iran. Of course, in Europe at that time such a term had not yet been formed as well, but the situation in Iran was different. So, there was no theoretical understanding of the arts at that time and there was also no treatise on perspective. The issue of perspective was important because, unlike other western techniques, the structure of Iranian painting and western perspective were mutually exclusive. Muhammad Zaman was among the first painters to use perspective, but as I will explain, this use was problematic. In this article, I will try to show how his works can be considered as a vehicle for this problem.   

Muhammad Zaman and the Problem of Perspective
In some of his paintings, Muhammad Zaman has copied the western paintings. In Persian, it calls “Farangi-sazi” (This terms means making paintings by imitating western themes or techniques). In these paintings perspective has been used almost correctly and shows that he was briefly acquainted with this technique. But he also has “original works” which are more important to my discussion. In the latter works, sometimes the perspective has been done correctly and sometimes incorrectly and unaligned. Although these “original works” have a Persian theme, their form is a combination of western and Persian principles.  Contrary to the supposition of a group of researchers, some other scholars have proven that Muhammad Zaman has never traveled to Italy and India. In this article, this issue is not discussed and, instead, his remaining works are addressed. So, in this article, five “original” paintings of Muhammad Zaman are examined: “A meeting between Afrasiab and Garsivaz”, “Fitna and Bahram Gur”, “Simurgh appearing at the birth of Rustam”, “Bestowal of a ring”, and Finally “Head of Iraj presented to Salm and Tur”. I will first show that in them the structure of Iranian painting is combined with the wrong and correct perspectives. There are two hypotheses about the combination of incorrect and correct perspectives of these works: First, Muhammad Zaman did not have a proper understanding of the western linear perspective, which indicates that he had not traveled to Italy and he did not have academic education in painting. The other hypothesis is that he, consciously or unconsciously, realized the contradiction between the Imaginary atmosphere of Persian painting and the Western perspective, and therefore transformed this contradiction to the image as a “question”. In this paper, taking into account some considerations, the second hypothesis is defended. In the final section, two issues are considered: Before Muhammad Zaman and after him. Before him, Behzad, Reza Abbasi and their followers had provided a groundwork for the encounter between Western and Iranian paintings. But perspective was never a problem for them. It was Muhammad Zaman who, using perspectives in his original works, dared and crossed the boundaries of tradition (“Sunnah”). However, he could not find a clear answer. After him, this question was neglected and considered as a style in Iranian painting, the so-called “Farangi-sazi”. His question, however, had the potential to be viewed as a question of painting style, as well as the question about the larger context of our relation with the West.

Conclusion
Iran has inevitably encountered West since the Safavid era, and its arts were no exception. In that time, Muhammad Zaman made new experiences in painting, of which perspective was the most problematic one. His style continued until the Qajar period among some painters. According to some scholars, Kamal-ol-Molk eventually corrected them. But did they make a mistake? Can art be said to be true and false? No! I finally conclude that Muhammad Zaman’s “gaze” was lost, and today we can regard his work as a “visual question” that helps us understand the nature of Iranian art in the modern era.

Abstract
The idea and inspiration of an artist derived from the life experiences which artist gained from the interaction and exchange with the society and surroundings.  This society is also affected by the conditions and incidents that have universal influence on societies in local and regional levels. Based on this flow of influences, the paintings can be recognized as the pictorial history of every society which can present the historical conditions and social specifications of the time and place the paintings created. This becomes more important when the work of art is custom-made or aimed at announcing and displaying authority or a state-political statement. Studying the Qajar royal wall paintings from the sociological point of view, will open up a door to the current culture of the society and the ideology of that era. Due to so many reasons these wall paintings are the most important in the artistic works of the Qajar period. The great variety and diversity in the subjects, color palettes, and theme, the compilation of tradition and modernism in the style all represent signs of a desire to achieve a great goal, which is the same as the influence and authority of the sovereignty. The complexities of the social and political conditions of the Qajar dynasty on the one hand and the correlation between the artistic movements and these conditions on the other hand, make the solid studying and analyzing the wall paintings of this period , regardless of the social and political influence of this historical period, difficult or even in vain.In this research, after presenting the definitions related to historical sociology and studying the relation between the histo-sociology and studying the works of arts, effective factors in the study of the wall paintings of the Qajar period are discussed. As the first factor, the social class of the painters and patrons of these paintings is discussed. The painters categorized based on their work, style and also the type of artwork they create. Based on the fact that these paintings were designed and implemented for the purpose of transmitting a certain message, the next factor was the audience of this type of paintings, according to which the language and composition of the design and images were determined. After examining these components, the influence of royal wall paintings of Qajar in historical sociology is discussed on the basis of social and political specifications of that time. The purpose of this discussion is not to consider these spesifications and factors in a general overwiew, but to study the role of different factors in the process of formation of the royal paintings of this period. This research is based on descriptive-analytical and comparative approach and using library studies and observations of works, investigates the wall paintings of the Qajar period in terms of structural and visual elements, identifying different aspects of them. The impact of historical sociology and its relationship with the wall paintings of the Qajar period is considered as the main objective of the research. The main question in this study is whether the Qajar royal wall paintings represent the social and political relations at the national and international levels of the Qajar era. The impressive influence of the political, social and historical conditions on the Qajar royal wall paintings as a result of this research has made it possible for these wall paintings to be valid and credible clues and documents in the studies of sociology of this historical period in Iran.
Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society.
Keywords: Art Sociology, Historical Art Sociology, Qajar Art, Royal Wall Paintings, Pictorial History.

Abstract
The Imamzadeh of Shahzadeh Abd al-Momen is located in Habibabad, 18 km northeast of Isfahan. This unknown tomb deserves attention because of its construction period, architectural features, and decorative arts. Decorative arrays, especially wall paintings, are of special importance, according to the time period, the existence of inscription, themes, the method of drawing, and the creators of art. In this article, considering chronology, plan and structure of the building, the decorations are presented, and as much as possible, content, and aesthetic analysis are discussed. The present study benefits from a descriptive-analytical method and a comparative approach, in addition to the field interpretations of the building. As the results of this study show, the Imamzadeh building was probably built during the Ilkhanid period. During the reign of Shah Abbas II Safavid and Nasser al-Din Shah Qajar, repairs, constructions, and decorations were conducted in it. The main activities carried out in the Safavid and Qajar periods were the creation of decorations such as murals, moqarnas, and karbandi, among which the murals are significant. These designs are based on oil painting, and watercolor techniques and consist of a variety of geometric knots, Coffee-house (Qahvehkhaneh) motifs, flowers and brids, bush and flowers, and the Western views. The themes of the motifs and inscriptions of the building have been directly related to Shiite thought and the symbolic concept of the exaltation of the deceased soul.
Keywords: Ilkhanid, Safavid, Qajar, Tomb of Abd al-Momen, Wall Paintings.

Introduction
Architecture is one of the important features of art and civilization, which human groups has always been a great effort in the development of various aspects of that. Among the architectural subdivisions, tomb architecture has a special place and includes a special and significant part of the architectural remains of the past periods. Meanwhile, the tombs of the great men of religion and politics, especially the tombs of the Imams and their descendants, are of great importance in the Islamic architecture of Iran and the growth and expansion of decorative arts, architecture, applied arts, urban spaces. Similarly, in the origin of some towns and villages, have been important and influential factors. However, some of these monuments, which have mostly appeared in the building of Imamzadegan, are still unknown, and the need to identify and study. The Imamzadeh of Shahzadeh Abd al-Momen is one of such buildings that, despite the existence of various decorative arrays, the type, and the artistic value of them, has been neglected. Hence, this research introduces the building and studies the architectural forms and the evolution of architectural decorations. In addition, there is not any proper chronology for this building, as a consequence of the original building destruction, numerous repairs and constructions of especially the contemporary period. To properly understand the context of the studied decorations, chronology, and the evolution of the architecture of the building has been taken into consideration.
Abd al-Momen’s tomb consists of a courtyard, a mausoleum room with surrounding rooms and porches, a columned nave, and three openings on the north and northwest fronts of the courtyard. The courtyard has been used as a cemetery from ancient times to the present day, and there have been crypts as the house dead bodies. The decoration of the building in the outer part of the dome includes tiles, which have been done in recent years, but as mentioned, the outer covering of the dome had been decorated with tiles at the same time as the construction period. Another decoration of the outer space of the building, which was described earlier, is the muqarnas of the upper part of the western entrance of the dome. Interior decorations include murals and carbandi. Painting decorations according to the inscription belong to the Safavid and Qajar periods. Safavid motifs include knotted motifs under the dome, which contain various names of God, some verses and hadiths. According to the inscription, these motifs are related to the time of Shah Abbas II Safavid. Qajar murals are more diverse. These motifs include motifs of flowers and plants, flowers and birds, Hazrat Ali and Hasnain, and noon of Ashura and belong to the period of Nasser al-Din Shah Qajar. The artist of these designs was Seyed Hossein Emami, one of the famous painters of Isfahan. 

Conclusion
 Considering the plan of the dome chamber of the building and its adaptation to the examples of the Ilkhanid period, it is possible that the building of Abd al-Momen was one of the constructions of the Ilkhanid period. As usual in many holy shrines and shrines, during the Safavid period (Shah Abbas II) and Qajar (Nasser al-Din Shah) repairs, construction and decorations were done in the building. Due to the destruction, the lack of archeological excavation, and the impossibility of peeling the walls of the dome chamber, accurate diagnosis of how the physical changes and how the components of the building in different periods, especially the shape of the dome chamber of the Ilkhanid period, is not possible. However, as it turned out, the dome chamber was one of the Ilkhani components of the building, and in the Safavid and Qajar periods, due to the special religious requirements of these two periods, other spaces of the complex have been added to it. The existing decorations belong to the Safavid and Qajar periods, and among them, murals constitute the main decorations of the building. Considering the concept and content, the use of these motifs, along with the decorative inscriptions of the building, has been directly related to Shiite thoughts like the depiction of heaven, and the symbolic concept of the exaltation of the deceased soul. In the meantime, the motifs depicting the event of Ashura along with Imam Ali’s tales, which was one of the most effective ways to transfer religious beliefs to the public, as one of the topics of interest to Qajar painters. These widely used motifs in the decoration of holy shrines and Imamzadegan of the Qajar period have a special effect in comparison with other existing examples of Iranian tombs, especially the examples in the tombs of Gilan which has the highest quantity. In one hand, the high artistic quality, the existence of the painter’s signature, the existence of the inscription, and subsequently being considered as the oldest example with the inscription of this type of motif in the tombs of Iran, shows the artistic importance of the motifs related to the Ashura of Abd al-Momen’s tomb, and on the other hand, it shows the influential role of Isfahan Qajar painters in the growth and expansion of such motifs.
 

Abstract
Throughout Iran’s history, there have been governments, however large and small, of local rulers and rulers that have been the source of significant influences in the history of our country’s art and civilization. These local rulers are not well-known throughout history, among them the local government of Al Inju and then al-Muzaffar. After the collapse of the Ilkhanid dynasty in Iran, the regions of Kerman, Yazd, and Fars were presented with a competition between the two families claiming al-Inju and Al-Muzaffar. However, the period of the local rule of Al Inju and Al-Muzaffar is bed into significant artistic and cultural developments, which can be seen in Shiraz’s orthography. This is because the remaining copies of the book-layout of Al-Inju and al-Muzaffar are proving to this claim. The question is: What effects has Shiraz’s painting school had on the Iranian Painting art during Al-Inju and Al-Muzaffar? The method of this research is descriptive-analytical with library data collection. Case studies are paintings of Shahnameh version 733 AH in the Russian National Library in St. Petersburg and Shahnameh 731 AH in the Topkapi Museum of Istanbul, Turkey, and Shahnameh Qavam al-Din Hasan 741 AH, all belonging to the Al Inju period, as well as paintings of the 771AH Shahnameh, exists in the Topkapi Library of Istanbul in Turkey, as well as the Khamseh Nezami version, in the late 8th century related to the Al-Muzaffar period in the National Library of Paris. Studying the characteristics based on formal, structural, and themes of Shiraz Artography during the Period of Al-Inju and Al-Mozaffar, the effects of Shiraz Painting School on the art of painting are distinguished. Based on the results of this research, al-Inju’s paintings were under the effect of the tradition of old Iranian painting (reminiscent of Sassanid graffiti) and visualization of Ferdowsi’s Shahnameh and it’s martial scenes, and the use of specific tables for writing parts (calligraphy), the illustration of lyrical systems in the Period of Al-Muzaffar, the application of brilliant colors in the painting of Al Inju and Al-Muzaffar have had a tremendous impact on Iranian Painting in the later era.
Keywords: Shiraz School of Painting, Painting, Local Government, Al-Inju, Al-Muzaffar.

Introduction
The Inju family were the descendants of the subordinate leaders of the Ilkhans, and after the death of Abu Sa’id in 1335 AD/ 735 AH, they became independent and from that date till 1353 AD/ 753 AH, they ruled Persia until they were banished by the Muzaffar dynasty, who were the rulers of Yazd.
The Al-Muzaffar dynasty ruled the whole southwest of Iran until 1393 AD/ 795 AH. They were taken down by Timur. By studying the history of the rule of these two local governments in Shiraz, it can be seen that Abu Ishaq Inju and Shah Shoja Mozaffar were both supporters of Hafez and perhaps that is why they hired skilled painters to illustrate books (Gary, 2005: 56). The art of painting in Shiraz was specially and seamlessly formed during the Alainjou period and showed a special type of painting that had exactly the characteristics of Iranian Painting and was far from outside influences or felt less salient. “Shiraz’s cultural prosperity continued during the Mozaffarian era (remember that Hafez’s poetry prospered at that time)” (Pakbaz, 2005, p. 69). Shiraz’s art continued to change with cultural perceptions during the reign of Al-Muzaffar, and until the early ninth century, it produced works worth mentioning. Shiraz’s art continued to change with cultural perceptions during the reign of Al-Muzaffar, and until the early ninth century, it produced precious works.
Research Method: The research in this article was performed in a descriptive-analytical manner and the documentary method (library) was used in the collection of research material and images. This research benefited from the historical books of writers from different periods about the history of Alyanjo and Al-Muzaffar, as well as the illustrated manuscripts of that period in Shiraz. Because their paintings are portrayed in a crude and precipitous style and reminiscent of the popular painting art. In the paintings of the Shiraz school, the main topic is “human” and other elements were used as a role and only as decoration and fill the empty spaces in the picture. Moreover, other elements such as the use of tables and a kind of harmonious and delicate coloring can be seen in most of the work of this school (Tavousi, 1390: 16).

Identified Traces
From the beginning of the eighth century, workshops in Shiraz began to illustrate literary texts, particularly the Shahnameh. Indeed, to confront the Ilkhans and consolidate their position, they continued a policy of celebrating Iran’s ancient history. Consequently, Chinese art which was common in Tabriz had the least influence on Shiraz painting. Thus, along with innovators such as Ahmad Musa and Shams al-Din, the Shiraz school continued the tradition of Iranian painting (Pakbaz, 2005:68). The most common feature of all Aligno school manuscripts is the copious use of red and yellow, ochre, or gold. Lively and dynamic design, free movement of pen and brush to express members and the exaggerated use of stems and plant flowers are other important features of these paintings.
The art of painting at the Al-Muzaffar School took on a different style than the usual illustrations of Shiraz Alainjo, which not only influenced the works of southern Iran during the first half of the fifteenth century AD but also Indian works. The elegance of this painting contrasts with the composition of Alinejo’s paintings (Titley, 1983: 41). These drawings and compositions of the Al-Muzaffar School were transferred to other art centers through libraries that were illustrated in Shiraz in the eighth century (Blair et al., 2014: 137).
The peculiarities of Mozaffarian’s painting were: round hills, high horizon, scrubland earth, large statues with large heads and bearded faces, delicate design, and sometimes rough craftsmanship. A small part of the overall picture specializes in the blue sky, and the natural landscape is described by several classic patterns. Humans and animals are out there, but they seem more important. In general, compositional elements are increasingly conceptual and symbolical (Pakbaz, 2005: 69).

Conclusion
The way Shiraz school was presented in the periods of Al-Inju and Al-Muzaffar is the continuation of ancient Iranian art and its innovations. These two schools, with their elementary painting and innovations, continued the tradition of book-painting and painting in the 5th and 6th centuries AD, which evolved over the next two centuries and became the dominant special characteristic of painting. 
The style of special book-painting of Shiraz’s school of painting during Al-Inju and Al-Muzaffar can be searched in illustrated versions of Shahnameh.
The characteristics of the painting of this era can be divided into three categories: formal, structural, and themes. Shiraz illustrators presented their past cultural and artistic heritage and the extension of Iranian artistic taste before Islam (Parthian and Sassanid graffiti and carvings) as well as attention to the original literature. Like illustrated Shahnameh, the visualization of martial arts scenes was also placed on the agenda of the artists during Al Inju and Al-Muzaffar.
The effect of this theme feature can be seen in schools of later periods, such as Behzad’s painting of Bahram’s battle with dragons in Herat school during the Timurid period. Natural effects and landscape in the form of a formal feature in the al-Muzaffar period painting were much more than al-Inju’s painting. These natural manifestations continue and diversify in the schools of painting in later periods. During the period of Al-Jalayer, the Jalayeri school, these formal features can be seen in the paintings of Junaid Shirazi (see Humay and Homayoun) in the illustrated version of Khajavi Kermani Divan, and also in the illustrated version of Khamseh Nezami (Khosrow and Shirin), and also noticeable during the Turkman period in Tabriz. Illustrators of the Al Inju era attached great importance to the image of humans and animals in paintings, which can be considered as a special feature of Iranian painting in the scene of Bahram battle against dragons by Behzad in Herat school during the Timurid period, as well as tthe scene of the pillar removal by Imam Ali in the School of Turkmens in Shiraz (See Humay and Homayoun), Khajavi Kermani’s Divan in the Period of Al-Jalayer, and Khosrow and Shirin’s paintings in the Turkmanan School of Tabriz.

Abstract
The more specialized and technical studies of historical paintings are the greater will be the history of Iranian art and, in fact, Iranian art and the identity of Iranian culture. Therefore, each of the historical cases will be valuable and influential. The purpose of this article is studying the nature of a destroyed paining on canvas and its overall shape, subject and identity which found in the storeroom of Mary Church of Isfahan. Accordingly, this article tries to answer the question of what is the nature of the painting discovered from the Mary Church of Isfahan? In order to achieve this goal, the library and field studies as well as laboratory studies including microscopic imaging and elemental analysis (SEM-EDS) was used for data collecting. In the following, it is attempted to prove the identity of the painting as Canvas-Marouflaged mural by comparative study of it with similar murals of the three churches of Vank, Maryam and Bethlehem. One of the main results of the research is the recognition of the painting from a technical and thematic point of view as well as its identification as a Canvas-Marouflaged mural and its presentation place at the time of the creation of the painting in front of the altar of Mary Church Isfahan.
Keywords: Canvas-Marouflaged Mural, Isfahan Mary Church, Painting, Angel of Seraphim.

Introduction
Murals as visual art works are among the most significant architectural decorations that have undergone many changes over time. The factor that distinguishes these works from other paintings is their dependence to the architectural space, which is known as the determining factor of their identity and authenticity (ICOMOS, 1964). In fact, a mural is designed and executed to complement the architectural space. It is completely coordinated with that space, so separating it from the architecture and displaying it in another place can changes or loses the values of mural and endanger its identity. Therefore, the detailed study of paintings in order to know their identity and nature is necessary.  Accordingly, the following points can be mentioned that clarify the necessity of this study: a) unknown specific characteristics for studied painting (marouflage), b) the lack of definite and specific criteria for displaying this painting, c) recognizing and differentiate the studied painting from the marouflage. Based on this, in this article, detailed studies have been carried out on an Iranian special painting, which at first glance seems to be the easel painting on canvas, which detailed investigations and studies present a hypothesis that it was a marouflage. The term marouflage refers to those paintings that are painted on a canvas and pasted on the wall in such a way that it is considered a part of the architecture. The marouflage separation from the original location distort its integrity and authenticity (Hamzavi et al., 2015: 131). This article aimed to find the nature of a historical painting discovered from Maryam Church in Isfahan, relying on technical studies and conservation issues, and tries to answer the main question of the research: What is the nature of discovered painting from Maryam Church in Isfahan?

Materials and Methods
The article is a qualitative and quantitative research based on the content of the research question and the achievement of the research aim. According to the type and necessity of the research, two theoretical and technical approaches can be introduced. In this research, primary data and information have been collected using the documentary and field methods as well as laboratory studies. Then the data has been analyzed according to the subject of the painting and its technical information to clarify how to perform the painting and display it (Figure 1). 
     The images, other than the ones mentioned in the reference, were took using a Canon EOS 700D / KissX7i DSLR camera with a Kit 18-135 lens. The metallography microscope model IMM 420 manufactured by Isfahan Optical Industries Company and fiberoptic device brand LECA CLS 100X connected to DSLR camera Canon EOS 700D / KissX7i used for imaging from the painting layers. Field emission electron microscope (FE-SEM) model MIRA3 manufactured by TESCAN company equipped with X-ray diffraction spectrometer (EDX) with resolution of 1.5 nm at 15 KV voltage and 4.5 nm at 1 KV voltage was used to determine the percentage of constituent elements and microscopic imaging with high magnification.

Data
After attaching the pieces of painting on canvas, the subject of the painting was revealed, which is a painting with the theme of a six-winged angel named Serafin (or Seraphim) (Hospian, 2014). Based on the visual and artistic characteristics of the painting and according to the date of construction of the Church of Maryam, its approximate date is attributed to the 18th century. The studied painting is in the form of Pābārik under the dome. Pābārik is one of the components of Kārbandi and is in the form of a kite. The painting is done on a cotton fabric support, which consists of sewing two pieces of fabric together (Figure 15). Being two pieces due to the small width of the fabric can be interpreted in the direction of the traditional weave of the fabric and attribute the time of the work to at least before the invention of weaving machines in the 19th century. Also, the texture of the fabric shows the non-uniformity of the thickness of the threads that make up the fabric, which can be a sign of manual and traditional spinning. There is the trace of frame in the edge of the painting (Figure 13) and in this part, there was a nail trace along with rust (Figure 14). Microscopic examinations of the cross-section of the painting in the gilded part show the existence of six layers and in the blue part of the painting background five layers (Figure 16). No trace of crushed gold particles (pigment) which is used in the production of gold color was seen, and a continuous and uniform sheet is visible in the scanning electron microscope image.

Discussion
Based on the shape, dimensions of the work, this hypothesis was created that the painting was probably custom made and adapted to one of the parts of the church building. According to the traces of nails left on the edge of the canvas, it installed on the wall after the execution. The subject of the painting is also related to the subjects of religion of Christians and is consistent with their beliefs. Visual observations of the interior of Maryam Church, Vank Church and Bethlehem Church in Isfahan show that the studied painting is compatible with other wall paintings in Armenian churches in terms of design, shape and subject. In such a way that the similar works are also in a Pābārik frame and they are executed as murals along with the image of the Seraphine angel with gilded wings under the dome. X-ray Electron Diffraction Spectroscopy (EDS) elemental analysis on the brown colored spots around the place of the nails in the edge of the support canvas (Figure 19, Table 1) shows the amounts of calcium oxide and sulfur oxide, which reinforces the possibility of the presence of calcium sulfate (gypsum). It strengthens the hypothesis of connecting the painting to a plaster wall.
The field survey of Maryam Church showed that the entire interior is covered with murals with various religious themes, except for the space in front of the altar, which it is contradictory by Christians believed in relation to the necessity of painting in all levels of churches. The existence of such a space inside the church creates the assumption that probably there were four murals in the Pābāriks in these parts as well. The size of the diameters of these Pābāriks is a little bigger than the studied painting. Comparing the Pābāriks of the three studied churches, it was determined that a decorative border was implemented around the angel.

Conclusion
According to the research on the nature of the painting, it can be concluded from the investigations that the studied painting is a marouflage that is pasted on the surface of the wall, and the place of its display was probably a Pabarik in the architectural space of the altar of Maryam Church in Isfahan.

Acknowledgments
The authors thank Tabriz Islamic Art University for providing the technical study of the painting.

Abstract
In this study, the colors used in the Inscription and mural paintings of tomb of Ghadmagah in Neishabour were analyzed by instrumental analytical methods. Ghadmagah is located in the center of the Zabarkhan section, on the Neyshabur-Mashhad Road. Ghadmagah tomb-garden is located in the village of the same name 24 kilometers east of Neyshabur, Iran, and was built in the early seventeenth century. According to historical sources Ghadmagah was built in the early eleventh century AH (ca. 1600 AD), and the origin of this site dates back to Islam. Some believe that the Ghadmagah monument was designed by Sheikh Baha’i. The architectural decoration of this building is most importantly tiling, plastering and mural paintings. Given that the building was built in different periods and originally dates back to the Safavid period. The present study aimed to study the color bedding and pigments in the Inscription and mural paintings of the building to find out what period the mural paintings in the building belong to. Mural painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially mural paint, is the identification of the nature of paintings used to decorate the walls. Identification of pigments is also important not only from the perspective of archeology but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples. 
Keywords: Pigment, Neyshabur Ghadmagah, Inscription, Mural Painting, Analytical Methods.

Introduction
The use of physical and chemical analysis methods to identify the constituents of works of art, before any intervention occurs, plays a key role; because the results of such an analysis are very useful for deciding whether to conserve or regenerate these materials. In addition, each of the different pigments can have a different regeneration process. On the other hand, the analysis of ancient paintings may provide information about the artistic techniques and visual materials used in the past and expand the knowledge of the customs and techniques of ancient societies. 
In fact, physical and chemical analysis provides useful information about the range of pigments present in an area and knowledge of dye preparation techniques and applications. In addition, the study of the originality and origin of pigments allows the discovery of connections and trade lines. On the other hand, restorers need detailed information about the chemical composition of the materials used in a work before restoration work. 
Identifying the materials and pigments used in this building is one of the most important questions of this research, and then by considering the history of using pigments, we can understand the dating of the paintings in this building. Do these paintings belong to the period of construction of the building, ie the Safavid period, or were they added to the building in later historical periods? Depending on the type of painting pigments, the colors can be restored. 

Materials and Methods 
In this research, empirical and analytical methods have been used to achieve the goals. Data collection is based on information from library studies and instrumental methods. The complete information of the devices used in this research is fully described in the Materials and Methods section. 
In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples. 

Data 
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O) also gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. 

Discussion 
The inscription at the top of the building used two colors, blue and gold, the result of the analysis showed that the blue color was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time. 
Green phthalocyanine copper is a new pigment that may have been used to restore painting. This pigment was first used in 1320 AD, but it is not clear on what date this pigment was used to repair or reconstruct this paint. Due to the presence of oil in the FTIR spectrum of this color, it seems that unlike other colors, oil has been used to close this color, and the technique used in this color is different from other colors. 

Conclusion 
Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. 
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The results of identification of gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.

Abstract
This research, by examining some paintings of the Tehran school in the contemporary period on the one hand, and reading the thoughts and philosophical views of the poet and mathematician Khayam Neishabouri of the 5th and 6th centuries A.H. on the other hand, aims to understand why and how To examine and research the placement of this poet’s poems and quatrains for the first time by painters of the Tehran school in the contemporary period. The hypothesis of the research in this article is that the artists of the Tehran school adhered to the traditional values and painting of Iran’s past during the modernism era in order to preserve their Iranian and Aryan roots as much as possible by linking to the past. The researched works include 9 paintings by contemporary painters, which belong to the Cultural Institute of Mustazafan Foundation Museums. Based on this, the method of collecting documentary and field information was done and the analysis of the data was also done based on the research, and finally, the conclusion was reached that the artists of the Tehran school, by reviving the traditional style and Iranian painting, returned to the past artistic methods. They stressed against the art of modernism, and by addressing Khayyam’s works and poems, for the first time, they sought to return to their Aryan roots and their past before the era of modernity and modernism. 
Keywords: Painting, Tehran School, Khayyam’s Poems, Contemporary Period, Modernism.

Introduction
During the Pahlavi era, which coincided with the rise of modernism and the spread of modernist ideas in Iran, we witness the impact of art and especially contemporary painting on modernism. This period coincides with the emergence of artists who, relying on their individuality, were able to interfere in the tradition, and in such cases, diversity and changes can be identified, especially in the thought, design or topics that were previously known and established. Another effective factor in artistic trends is the identification and application of visual rules of old art, which were not used during a period due to limitations caused by style, and were recognized and used again by the new generation of artists. On the other hand, the influence of art patrons is of particular importance, it can be said that at the beginning of the 20th century, we witnessed the emergence of two groups of art patrons who played a vital role in the development of Iranian art and the dissemination of information about this art. played the first role of the great private collectors, some of whom specialized in painting, and the second category includes the great art dealers, the best of whom were collectors at the same time, and a balance between transactions business and love of art established that in the upcoming research, these two groups played an important role in the tendency of painters to deal with works based on ancient literature and Khayyam’s poems. In the intellectual and political atmosphere of the years leading up to the constitutional revolution, the presence of such supporters and patrons on the one hand, and the rise and intensity of modern ideas on the other hand, and the formation of two poles of modernity and tradition in the thinking of the thinkers of this land, led to the marginalization of the conservative and inferior layers of society or thought became a tradition. Therefore, it can be acknowledged that along with the political and cultural developments of Iran in the field of modernism, art gradually experienced a similar process. With all these interpretations, in that period, in addition to the formation of modern art in Iran, we witness the creation of works that artists, in the traditional way and based on the paintings of the past, but with their own unique look and style, created works with subjects they depict the new both from a literary and a social point of view.

Discussion
On the one hand, the interest of patrons and patrons of works with these oriental themes was noticed in this era, this attention caused a return to the literature of the past and dealing with Khayyam’s poems in the contemporary era. On the other hand, the artists of the Tehran school, by reviving the traditional style and Iranian painting to return to their past artistic methods, emphasized against the art of modernism, and dealing with such issues is an attempt to return to the Aryan roots and the past before the era of modernism and modernism. It was in Iran.

Conclusion
In such a modernist atmosphere and thought, how can one connect the dual thought of modernism or contemporaneity and traditional cultural heritage. Therefore, in this research, an attempt will be made to examine and research the orientalist view of the patrons and commissions of these paintings by examining Khayyam’s thought and philosophy and 9 paintings based on Khayyam’s quatrains. The research method of this research is descriptive-analytical and using the resources available in the library and field study. Finally, it can be pointed out that Khayyam’s archaism and Aryan view and the interest of patrons and commissions of works with these oriental themes, caused a return to the literature of the past and dealing with Khayyam’s poems for the first time during Iranian painting from the beginning to it was today. In the space and modernist thought formed in the contemporary era and despite the dual thought of modernism and traditional cultural heritage and in line with the political and cultural developments in the field of modernism, the art of painting for the first time in the history of Iranian painting, new issues such as attention to He paid attention to Khayyam’s poems, which are of special importance both from a literary and social point of view. In the upcoming research, after introducing the contemporary painting of Iran briefly, especially the Tehran school and the artists who especially paid attention to these issues for the first time, and examining Khayyam’s thoughts and philosophical views, he introduced 9 paintings. And after the research about these poems and the oriental view of the patrons and those who commissioned these paintings, it was finally concluded that Khayyam’s archaic and Aryan perspective and his view of life and death were very important in the creation of these works; As it was said before, there are two negative and positive views in Khayyam’s view of the phenomena around him, which in the negative view is to destroy all illusions in the direction of disillusionment, and in this view, the world is considered like a big furnace, from the soil of the past, new forms are created. It is made in it and these molds are constantly reproduced. The visual signs of this view are such as the world, the KohnehRobat, the desert of nothingness, the urn, the urn, the rotting and scattered human corpses, and the flowerpot, which in the review of these 9 works, the details of the names were presented in 3 Table. In addition, the second point of view, the positive point of view, is trying to find the moment of your presence and show that all phenomena are transitory. In this strange point of view, the end that awaits all human beings is predictable and the pure act of consciousness through drunkenness of wine or a sharp look. Which arises from phenomena, which, of course, was explained that this type of view arose from the literature of the pub and the interpretive view that arose from it. The visual signs of this view include cups, bowls, wine, bartenders, drunk people, young women, candles, flowers, and butterflies, examples of which were presented in table number three. Also, the interest of patrons and patrons of works with these oriental themes, which were of great interest to many patrons and enthusiasts at that time, is also of great importance, and this attention causes a return to the literature of the past and dealing with Khayyam’s poems. Became in contemporary times. On the other hand, the artists of the Tehran school, by reviving the traditional style and Iranian painting, emphasized to return to their past artistic methods against the art of modernism, and dealing with such issues is an attempt to return to their Aryan roots and their past before the era. It was modernity and modernism.

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.

Abstract
Based on their claim to understand artworks and the change in the nature of restorers and art audiences, the subjective and objective approaches have tried to establish themselves in different periods in history. However, each had defects in its context which affected some aspects of an artwork in the process of restoration. Based on this, this study attempts to examine three different periods of restoration of paintings using theoretical basic research, library data and samples of restored artworks. To achieve this goal, in three different readings, the theory of classical conservation, the theory of scientific conservation in the first half of the 20th century, and finally the contemporary theory of conservation in the late 20th century and early 21th century are discussed. Based on this, an approach to the dispute over the opposition between subjective and objective approaches and a common understanding between the subjects in the idea of inter subjectivity is sought. The main goal of this study is to examine and present the idea of inter subjectivity to solve the problem of the defects of the two aforementioned approaches. In conclusion, using the views of Habermas, this study aims to explain the idea of inter subjectivity and propose the need of the surrounding social world and the shared world of subjects in a given format.
Keywords: Painting Restoration, Subjectivism, Objectivism, Intersubjectivity, Habermas.

Introduction
The intellectual and philosophical foundation of each age guides and determines the updated cultural, social and artistic orientations in human civilizations. One of the most important structural differences in the orientations of the world’s philosophers and thinkers is viewing categories from the two objective and subjective perspectives. The worlds of subject and object are two opposite categories among philosophical thoughts as they have offered ways to understand and discover the surrounding world from the two perspectives of objectivity and subjectivity. Based on this and considering these inherent philosophical differences, readings of related categories can be offered. One of these categories is discussing conservation and restoration of historical artworks, which has always been the subject of serious disputes in this field. The aforementioned dichotomy in the different periods of human’s philosophical understanding of the world since the 18th century is a dispute which has fundamentally affected the technical and historical structures and the aesthetic nature related to the field of restoration of historical artworks especially paintings. In fact, this is the basis of the present study; Readings of the two dimensions of objectivism and subjectivism in the historical context of previous centuries which led to different readings of the process of restoration of paintings. In the first reading, the serious effects of the subjective view of restoration as something beautiful and hedonistic is discussed. In this reading, the basis of interpretation of an artwork and its restoration is an aesthetic view and from a subjective and extreme perspective. This led to vast changes and interventions in paintings which in turn led to the formation of anti-restoration and anti-conservation movements.
In the second reading and from the late 20th century, a new approach in this field was proposed by gaining a new understanding of the surrounding world and a positivist view based on respecting the material forming the artwork. Supporters of science and defenders of the conservation science were seeking a view toward artistic and historical artworks which downgraded the artwork to an object which could be examined and had tangible and objective qualities. This view did not believe in any subjective interpretation based on the restorer’s subject and allowed any interventions in the artwork if it was based on objective inference and scientific data. This very approach i.e. downgrading the artwork to a tangible and objective object led to lack of concentration on issues which were considered inherently subjective and somehow interpretive. Here, aesthetic, conceptual and spiritual issues were always in opposition to the artwork material, time and history and doomed to be ignored. At this point, considering the distinctions of contemporary man and the changes of the world, it seems necessary to deal with an intermediate space which is far from the biases of the two extreme objective and subjective views. In fact, to find an approach and solve the contradictions between the objective and subjective approaches, the third reading of this study seeks a solution which is based on the social world. In this space which is proposed as the idea of inter subjectivity, the inherent duty of historical artworks is to convey and commemorate their meanings. Here, considering the idea of Habermas, an inter subjective approach to solve the problem of the restoration of paintings is proposed.

The first reading: subjectivism and restoration
What is specifically discussed here is the interpretation of subjectivism in the process of restoration and subjective perceptions in the process of restoring paintings. Since, before the 20th century, still there weren’t concepts such as conservation, in the specific sense of the word, and no specific foundations for this concept cannot be imagined, in fact, it was personal and “subjective” perceptions which were used as the basis of restoration. In other words, the process of restoration is less dependent on the object material and more focused on the interpretation and perception of “restorer-artist”. “Aesthetic restoration” or “artistic restoration” have always been redefined in opposition to “scientific restoration” in the 2oth century. The use of adjectives “aesthetic”, “artistic” and other such words for restoration in fact confirms attention to its subjective aspect as in them, perceptual and emotional criteria prevail over the process of objective examinations in which, based on the object, the main nature of the forming materials or the date it was created are considered important. Among the many restorations carried out in the centuries leading to the 20th century, many cases of focus on the subjective view can be found.

Second reading, objectivity, conservation and science
In this view, due to being goal-oriented, the process considered any interventions in the artwork justifiable as the final mission was perfect adornment, beauty and providing pleasure. Also, at the heart of the idealist thoughts of the 19th century, in the views of people such as “viollet-le-Duc”, restoration was defined in a way that it did not even exist in its initial and original state and the restorer as a skilled artist removed the foundation of a historical artwork. In order to better understand the events of the second half of the 19th century which led to the improvement of the relationship between science and conservation, it is necessary to examine its underlying concepts and theories. Since the 19th century, Western society had practically entered a space in which scientific approaches and science development were considered a basis for acceptance and development. In fact, it was “positivism” which was formed based on the views of the French thinker “Auguste Comte” in the 19th century and became prevalent in the 20th century. In fact, it was this continuation of the scientific approach from the middle of the 19th century which spread to the restoration world and totally changed the world in front of it.

Third reading
Habermas emphasizes that the subject-object relationship is definable in an intermediate space and that is the issue of the presence of the other subject. In fact, it is this “other experience” or other subject experience which along with other subjects provides a shared world to understand objects (ibid. 2012: 36). The aggregation of these subjects leads to social experience and provides correct relationships to understand and achieve knowledge.

Conclusion
In three separate readings, this study discusses the examination of the effects of each of these objective and subjective approaches and the extent to which restorers are influenced by their intellectual foundations. In the first reading, the effects of the subjective approach on forming concepts of painting restoration have been discussed. In this section, the claim was examined that the effects of subject in the ages before the 20th century led to the creation of a concept which considered the artwork in the form of a beautiful object and from the perspective of hedonistic and aesthetic thoughts. Here any interventions or changes to achieve the aesthetic integrity of the artwork and putting the artwork in a perfect and ideal situation is acceptable and applicable. In the late 19th century, with the predominance of positivist thoughts based on the application of different sciences in human life, the world faced an approach which was materialistic and based on mere attention to the object. The objectivism used in the scientific conservation has sought to justify any scientific studies and the application of different sciences in the process of recognition and restoration of paintings. The approach based on objectivity and focusing on the inherent qualities of objects focused attention on the artwork material and did not allow any intervention or change in the artwork material. Perhaps the most important defect of the positivist approach in scientific conservation was inattention to the position of subject. In cases where the artwork required subjective analysis such as aesthetic judgment, the theory of scientific conservation either did not have an answer to it or did not pay attention to it. It was this defect which, in the decades leading to the late 20th century, directed the theory of contemporary conservation toward an approach to solve the problem of subject and object in the process of restoring historical artworks and consequently restoring paintings. The idea of inter subjectivity which was referred to in this study is in fact an approach which tries to solve the dispute over the opposition between subject and object and the constructive interaction of subjects in restoration. This idea, by raising the idea of Habermas’ triangle, points to the fact that based on the shared world of subjects, a social world can be found based on the conservation of shared meanings of humans. This idea will cover the defect of ignorance of materialistic thoughts of conservation to a great extent and tries to retrieve the needs of different societies in an interactive context among commonalities and meanings of subjects. 

Abstract
With the election of Isfahan in 1597 A.D. As the capital of the Safavid dynasty, many buildings were built in the city, most of their interior and exterior surfaces were decorated with tiles. The miniaturists of this era came to the help of tile artists and created beautiful and eye-catching works by drawing various motifs. In the Safavid period, and with the flourishing of the Isfahan school, the restriction of human figures, disappeared. According to this study, with the aim of relative dating of tiles by comparing their human motifs with the dated miniatures motifs of this period, has tried to answer these questions:  What effects did the painting of the Safavid period have on the human motifs of the tiles of this period, and these effects How can it be used in the dating of tile paintings? The method of gathering the findings of this research; Findings were made through library and field studies and by identifying more than 80 tile frames with human figures from non-religious buildings and works in different museums, and the research method is descriptive, analytical, and comparative. The results of the research indicate that the human motifs on the tiles from the Isfahan school of the Safavid period have been deeply influenced, and according to the themes of the motifs, the characteristics of the drawing of clothes (Turbans, hats, shawls wrapped around the waist, long and flowery dresses), facial expressions, eyebrows, even The type of designed dishes and their matching with the motifs of figures, it is possible to consider the time period between the end of the first half to the beginning and the end of the second half of the 11th century AH for the frame of the tiles.
Keywords: Safavid Period, Dating, Human Figure, Tile, Painting.

Introduction
Tiling is one of the practical methods in architectural decoration. Since the invention of tile, this art and craft has been used in a wide way to enhance and cover the surfaces of interior and exterior of Iranian buildings. With the emergence of the Safavid dynasty, art and craft found a new life and the Safavid rulers, who were art lovers, made their court as the center of artistic and industrial gathering. Although the art of tiling is not considered an innovative art of the Safavid period, but in this time, it was not limited to the mere adaptation and imitation of the art of the predecessors, and the expansion and manifestation of this art was given special attention. The motifs drawn on the tiles of this period were more diverse than in the past, and included all types of plant motifs, geometrical, inscriptional, human, animal and even mythological motifs, while in the Timurid period, mostly plant motifs, geometrical, and inscriptional were drawn and the use of human and animal motifs was not acceptable. Such a trend had an influence on painting and, as a result, the motifs drawn on the tiles of the early Safavid period, as the tiles of the first Safavid period mostly had geometrical, Islimi and inscription motifs, but gradually with the flourishing of the Isfahan school of painting and the tendency abundant with human images, the use of single faces in terracotta works and tiles also spread.
Since the drawing of motifs on the tiles and pottery of each period was done by contemporary painters and in line with the common painting school, based on this, the following article has tried to study the human motifs of the tiles left over from the Safavid period (on buildings or separated from them).
Research questions: The current research has been carried out in the direction of the relative dating of the tiles with human motifs that have remained from the Safavid period, so the main questions of this research are What effects did the painting of the Safavid period have on the human motifs of the tiles of this period, and these effects How can it be used in the dating of tile paintings?
Research method: In this research, the information is collected through collecting library documents and texts, and field investigations in works, buildings (such as baths and churches) and museums and indoor collections (such as national museum) and  museums of outside Iran (such as the Louvre or Metropolitan) have been collected. In this regard, 80 tile frames with human motifs, all were made in underglaze technology, were identified, 13 frames are still in the buildings, in their own place, and all of them are in the city of Isfahan and the rest, are separated from their main places and scattered in museums and collections inside and outside of Iran. It should be mentioned that for comparison, 50 paintings of Isfahan style, which have human motifs and have the most similarity in terms of subject and theme, style and execution method with the human motifs of the tiles, were selected. Based on the research goal and questions; the research method are descriptive, analytical and comparative.

Research background
Based on the investigations carried out, it can be said that the researches that have been carried out on the motifs of the Safavid period tiles have mostly focused on plant motifs, geometrical, and inscription motifs, and have only pointed to human motifs. Their relative dating also has not been researched. The most important references made in this area among the sources of the first category belong to travelers such as “Pietro Della Valle” (2005), who in his travelogue briefly discussed the general patterns of the tiles of this period. Among the second-hand sources, researchers such as “Sourani”(2017) have investigated the effects of painting on human and animal motifs of Safavid period fabrics. “Bakui” (2014) has also paid attention to the investigation and comparative study of the human motifs of the metals of this period. “Reisi” (1990) briefly mentioned only the introduction of a few human motifs in some of the buildings left from this period. “Mansouri Jazabadi” (2013) investigated different motifs of Safavid to Qajar bathroom tiles in the city of Isfahan and among the introduction of different motifs, she also discussed some human motifs. Despite these studies, no independent and focused research has been done on the human motifs of the tiles and their relative dating with other works, which is what the present study aims to achieve.

Discussion 
The spread of Isfahan’s painting style had an impact on all arts such as tile work, metal work, pottery, or cloth weaving. This was more evident in the art of tiling, because the selection of Isfahan as the capital led to an increase in the process of urban development and the construction of various private and public works and buildings, and the need to cover their internal and external surfaces with tiles quickly. This was made possible with the help of seven-color (Haft Rang) tile technology. Among the motifs drawn on the tiles, human motifs found a revival after centuries, but these motifs were mostly used in the decoration of palaces, baths and churches. Since it was not customary to mention the date of making the tiles with human motifs, nowadays it is enough to attribute them to the Safavid period. Whereas, by classifying the themes and matching and comparing the elements in the tiles’ patterns with figures, a relatively more accurate history can be obtained.

Conclusion 
By checking and studying the themes of the collected tiles and also examining the way of drawing motifs, we can be witnessing the influence of the Isfahan school by carefully observing the details of the patterns on the tiles. What is often seen in the paintings of the Isfahan school are motifs of flower-watching and recreation scenes by men and women in gardens, motifs of everyday life scenes, single faces, hunting or escape, which can also be seen in the surviving examples of tiles from this period. Investigations indicated that there are many similar features in the patterns of the tiles with Isfahan style paintings. The most important commonalities can be classified into four general sections. Drawing facial and body expressions; Clothing and its types; Objects in the scenes such as containers or patterned backs; and natural elements such as trees, flowers and bushes. So following the painting style of the Isfahan school with careful attention to the details of the motifs, the enlargement of motifs in the middle of the frame and the dominance of motifs over the frame and the placing of single faces in the center can be clearly seen in the collected examples.
In general, according to the matching of the mentioned cases on the frames with the paintings, it seems that the tiles with human motifs with hunting themes and themes of young people studying in the time frame of the first half of the 11th century A.H.(16th A.D) and human motifs with the themes of flower procession and fun and single faces are placed in the second half of the 11th century A.H.(17th AD) according to the European clothes, aprons and hats.

The depiction of camel fighting in rock art to express certain rituals of human can be traced back to the late Paleolithic period and is believed to have originated in present-day northwestern Kazakhstan. After the domestication of Bactrian camels, depictions of camel fighting developed a relatively standardized format, primarily presenting paired camels engaged in aggressive biting matches. This motif of camel fighting may have originated in the Karate and Baikonur regions of Kazakhstan during the Bronze Age. Due to geographical proximity, the custom of camel fighting was introduced to the Sarmatians in the Ural steppes early on, and through the Sarmatians, it spread to the Huns (Xiongnu) in the north and the Qiemo people in Xinjiang, China, and later to Kangju. The camel fighting depicted in the Sulaek petroglyphs in the Minusinsk Basin should be attributed to the Kyrgyz, and its origin is likely the Huns. The fighting camels in the Loulan mural tombs may have been inherited from Qiemo or originated from the Huns. The camel fighting motif in Persian miniature paintings first emerged during the Timurid period in the latter half of the 15th century CE. The Timurid Empire was founded by Timur, a noble from the Barlas tribe historically affiliated with Mongol aristocratic lineages. This Central Asian polity maintained profound Mongol cultural influences. Notably, camel fighting had already been practiced as courtly entertainment in the Yuan Dynasty (established by the Mongols) as early as the first half of the 14th century CE. This chronology demonstrates that the Mongols long upheld camel fighting rituals, and the motif in Persian miniatures was transmitted westward through Mongol cultural and political influence.

Since the Achaemenid period, Iranians, as rulers of part of the Silk Road, played a critical role in maintaining the security and infrastructure of this trade network. The Sogdians, as representatives of the eastern Iranian cultural sphere, held a particularly influential role in trade and intercultural communications from the mid-third century to the eighth century CE. Beyond their activities as merchants along the Silk Road, the Sogdians developed a form of “Silk Peace Diplomacy,” establishing a sustained presence in Chinese territories. As one of the prominent eastern Iranian groups, Sogdian merchants promoted a diplomacy of coexistence along the Silk Road. In particular, findings from northern China over the past two decades highlight the tangible and diplomatic dimensions of the Sogdian presence, emphasizing their pivotal role in what may be termed the “Silk Peace.” Archaeological excavations in northern China-notably the discovery of Sogdian family tombs-although initially reported through preliminary studies, reveal important aspects of Sogdian inscriptions, artistic expressions, spiritual beliefs, and especially mural paintings. These findings provide invaluable insight into the Sogdians’ integration into Chinese society. The primary objective of this research is to introduce the newly uncovered Sogdian cultural materials in northern China to the broader scholarly community concerned with Iranian cultural history, and to illustrate the significance of the Sogdians’ presence within their new geographical context in China. The research findings demonstrate the evolution of Sogdian communities in northern China from initially closed, self-contained groups to more open societies engaging in dynamic cultural interactions with the Chinese. It appears that the Sogdians initially migrated to China as families of artists, craftsmen, and merchants. Over time, they integrated into Chinese society while maintaining distinct aspects of their Iranian heritage, thus shaping an enduring pattern of cultural exchange between the Sogdian and Chinese civilizations.