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.
 

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.