Upon studying a number of wall painting which have been designed and carried out to complete the architectural areas and their related ornaments of monuments in the city of Isfahan from Safavide period on, we will find out some determining factors in forming circumstance of these works, the most important of which are the special styles of European paintings. The European styles of wan paintings, were welcomed and protected by governors, authorities and aristocrats, therefore during those periods, most walls of the palaces, churches, aristocrats' houses, etc., were painted with pictures of feast parties, hunting, views and landscapes as well as portraits imitated by Iranian painters. When we analyse the political, economic and cultural status of that time, we encounter some impressive factors in propagating the foreign style of painting, specially the European painting which generally could be summarized as: a) the presence of Indian and European painters in the court; b) dispatching of Iranian painters to Europe so that they may learn the European painting techniques; and c) migration of Armanians of Jolfa and Armenia to Iranian cities specially the city of Isfahan as the capital, and construction of numerous churches with ornaments appertaining to the Western paintings.

A mural is beyond painting on the wall canvas. In this process, the artist, choosing the correct concept, space application, wall location, and other features, tries to make a stable relationship between room, design, wall, and environment, and create an integrated and high-quality space. Mural has long been associated with human societies; a trace of the association that began with wall paintings in caves, and as they pass through various eras of art and history, they are nowadays portrayed in a variety of fields including architecture and urbanism. This art peaked during the Qajar period in Iran that was the place of the confrontation between the clash of tradition and modernity. Seyed Javadi's mansion in Tehran, as a legacy of the Qajar period, has also benefited from murals in its interior decoration. Considering the presence of structure and visual elements of naturalism style in the murals of Seyed Javadi mansion, it seems that the creation of these works was influenced by this style. With regard to this issue and with the aim of discovering this relationship, the present study, while describing the foundation and features of the school of naturalism, has examined the common visual elements and concepts in the murals of this building and naturalist style paintings. As a result, the structure and visual components of these works are completely in line with the patterns of the style of naturalism. Considering that the above-mentioned paintings are custom-made on the wall with the opinion of the employer, a member of the ruling class, it seems that the owners of this building, under the influence of the ruling spirit of the society, imitate it in full and without considering hidden concepts. In this structure, (so-called postcard) they have in mind some of the currents in the West, including naturalism.

Problem Definition: As a multifaceted medium, garden paintings have included the social structure and power relations of the Safavids. The scientific challenge of the current research is to identify the ideology of the Safavid government in the hidden textual layers of garden paintings, the components related to symbolism, and Iranian culture in the heart of the Safavid society. In the present research, the following questions are addressed: What components and symbolic elements are the social relations of the Safavid period narrated in the text of garden paintings? How is the ideology and attitude of Safavid artists illustrated in garden paintings? Objective: This research seeks to investigate and understand the relationship between the texts of paintings related to the theme of the Iranian garden in the scope of the socio-cultural structures of the Safavid period. Research method: The current study is qualitative research using a descriptive-analytical method. The data collection is conducted through a library-based method. Results: Interactions and social and religious relations have been carried out through symbolic cultural domination to advance the goals and legitimize the Safavid ideology. In the textual layers of garden paintings, painters have addressed the cultural and religious components representing relationships, national customs, court banquets, and Shia religion. Political and social events are represented in the form of mythological and religious narratives in the text of the paintings. The art of multi-purpose and moving illustration in paintings has become a powerful and focused medium at the service of the organized system of the Safavid court, and this artistic field has made the superior position of the king and the structure of the social classes of the Safavid government in the form of dynamic and animated images. Diversity in the design structure of gardens and collective spaces is one of the most significant achievements of artists in expressing the attitude, art, and knowledge of Safavid gardening. These paintings have paid attention to the awareness and precision of court painters in expressing identity components and conveying effective messages to their audiences.

Bearing in mind that Persian art is based on decorations, engraved inscriptions on metal objects can be considered as one fundamentals od ornamentation.Inscription decoration on metalwork in the Safavid era and later on in the Qajar era, created a strong bond between art and religion which can be sought within the artistic and intellectual ingenuity of Persian artists and can be observed in the works remained from various historical eras.Among the religious contents applied in the inscriptions of metalwork in these two eras are the names of AIL alone or along side with Allah or Mohammad, prayer in the eulogy of the twelfth Imams and also a part of the holy prayer of Nad-e-Ali, soliciting for aid and support from him, can also be observed. This inscription not only indicates the respect and admiration towards this holy character but also signifies the leaning towards the Shi'ah religion amongst Persians. In this article, the art of Safavid and Qajar metalwork will be mentioned briefly and the contents of the inscriptions of the metal objects in this era which hold the blessed name of Ali will be analyzed in full detail.This article is organized according to the following aims:1-Evaluating the comparison and contrast of the appearance of the name Ali in the inscriptions of Safavid and Qajar metalwork. 2-Analyzing the manipulation of the political, cultural and artistic conditions of these eras on the application of Shi'ah contents.Questions answered throughout the article: 1-With what religious contents is the blessed name of Ali manifested? 2-What are similarities and dissimilarities between the concepts of the inscriptions applied on Safavid and Qajar metalwork?The compilation of subject matter and data used in this article is extracted from library and record materials and the conduction of the theme is descriptive, historical and analytical.

European expeditionary groups who visited Iran in Safavid period wrote about various topics of Iran’ s society in Safavid period and left reports as travel memoirs which later were considered seriously in reviews and studies of historians. Persian painting has always been a precise and appropriate tool for researchers and painters. Savafid painters also helped a lot in recognizing some parts of the cultural and social history of that time through representing the details of men’ s clothes. These details are useful in showing how to wear the different parts of men’ s clothes; since men’ s clothes were composed of various layers and components. The present research aims to answer the questions regarding how men’ s clothing in Safavid era is reflected in travel memoirs and drawings of this period and to what extent they coincide with each other. Whether we can use the travel memoirs to study the men’ s clothing in Safavid period? And whether these travel memoirs are reliable to study the clothes? For investigating this issue and hypotheses based on, the most important travel memoirs written in Safavid period have been studied and their contents regarding men’ s clothes have been investigated comparatively with drawings of Safavid period. This research is a theoretical one and a mixed method of descriptive-analytical-comparative has been used and the data is collected from library documents. The results of this research imply that the contents of Europeans’ travel memoirs in this period can be considered as a written and reliable source about men’ s clothes in Safavid period; particularly with drawings of this period, they can be regarded as valid documents.

Iranian carpet that appeared after Islam, especially in the Safavid period, with the approach of manifestation of paradise (paradise), paradise garden, paradise gates and human entrance to paradise. It incorporated an eternal and sacred perspective into its seemingly earthy elements. The view that in the Safavid era and especially the fame of the kings of that period to Islamism and the observance of religious norms was very popular and had a high status. The aim of the researcher in this field and considering the two hunting rugs belonging to the Safavid period is to explore the body and concepts in the margins of these two carpets in order to achieve the symbolic layers in these two margins in order to understand the effects of the environment on the creation of these works. In this regard, the main question before the researcher was related to the reason for the difference between the two margins of the mentioned carpets, despite the many similarities in the text of the carpet. In order to represent the transformation of earthly man into a holy man, it has been tried from a hermeneutic and post-structuralist point of view from a cultural and value point of view and with the help of currents during the reign of Shah Tahmasb I by matching two margins of two carpets belonging to the Safavid era in museums. The Boston Museum of Art (Boston Museum of Art in Massachusetts, USA) and the largest museum in the United States, opened in 1870 and has 450, 000 pieces of art (Site: 5)) And the Vienna Museum of Applied Arts (Vienna Museum of Applied Arts in Vienna, Austria and the first Museum of Applied Arts to be renovated in 2015 (site: 6)), using applied developmental and comparative analytical methods Man manifested from an earthly state to his heavenly position. The result of this research can open a new window in the field of recognizing the relationship between the repentance of Shah Tahmasb and the creation of the works of that period.