We have dealt with the criticism of “The Negarestan History” from Ahmad Ghaffari corrected by the efforts of Morteza Modarres Gilani. To do this, we have compared the context and structure of that book with its 1275L lithography which was Modarres Gilani’s basis for correction and the excellent edition of 585, and later we have studied those items in other historic-literary works such as Tarikhe Tabari, Morawejozzahab, Jameottavarikhe Rashidi, and Tarikhe Gozideh. The result of this surveying shows that Modarres Gilani’s correction has a lot of mistakes which partly originates from lithographic problems of 1275 and other segments are the results of the changes which the editor had exerted on his own ideas. We have tried, in this essay, with alluding to those documents, to talk about some of those mistakes in the correction.

Nasrabad is a historic village located strategically between Kashan and Qom, known for its fertile agricultural lands. The region is home to the ruins of the "White Castle" and "Daram," which locals associate with Pharaonic remains, tracing their history back to ancient times. Due to its geographical location, Nasrabad has long been a site of interest and historical significance. During the Qajar era, the Ghaffari family, one of the most powerful families in Kashan, owned vast estates in Nasrabad and surrounding farmlands. This study explores the role of the Ghaffari family in landownership and agricultural development in the region. Research based on library documents and field studies reveals that the Ghaffari family played a significant role in expanding agriculture by managing farmland, constructing qanats, establishing farms, and utilizing mountainous water resources. Their efforts contributed to the economic prosperity of Nasrabad and shaped the agricultural structure of the region. The study examines the theory of landownership and agriculture in Iran, which is crucial for understanding the social and economic changes in Nasrabad during the Qajar period. In this context, the Ghaffari family’s investments in irrigation projects, particularly qanats and water supply infrastructure, greatly increased agricultural production. These developments also created economic networks, leading to a lasting impact on the social and economic life of Nasrabad, strengthening its regional economy and influencing its transformation over time

His Excellency Mr.A.A.Ghaffari (1924 - 2004) was a very active researcher in the field of investigation and correction of the Islamic (Shia) texts of traditions. He had studied Islamic courses from competent scholars such as the late Ayatollah Syed Kazem Golpayegani, Ayatollah Shaikh Mohammadd Hossein Zahed, Professor Syed J.Mohaddess Ormavi, and Mirza Abolhasan Sha’rani. He was about 30 years old, when he started to investigate and publish the texts of the Shia collections of traditions and literatures.During his lifetime he published about 60 topics in 150 volumes.this biography, has included four essays about the late scholar Ghaffari.1. An essay by Mr. Behrad jafary.2. An essay by Mr.Hossein Ostad Vali, a writer and editor, who had worked about 20 years with Mr.Ghaffari, and has remarked 10 points from the scientific characteristics and moralities of Mr.Ghaffari, such as 1.Memory 2.Talent 3.Stability 4.Interest at scientific studies, 5.Sincerity 6.Pleasant nature, 7.hard working and officiency 8.pay attention to scientific issues and training 9.Scientific courtesy10.Good relation and consultancy with the religious leaders and scholars, and religious encouragement.3.An essay written by Dr. Dashti, a university instructor, who has explained 14 points of scientific qualities of Mr.Ghaffari in the fields of history, traditions, and methodology.4. The fourth article headed as "viewpoints about Ostad Ghaffari", includes expressions and evaluations from some universites’ instructors and scholars, about the late Mr.Ghaffari. Some of these scholars are the late scholar Amini (The Author of the book Al - Ghadir), Dr. Ahmad Beheshti, and Dr. Mansour Pahlavan (university Professors), and some students of the late Mr. Ghaffari.

Professor Aliakbar Ghaffari, a contemporary scholar and traditionist, concerned the existence of hadith errors and problems in the text and sanad of Hadith sources. Based on divine aids and his mastery on Islamic sciences, he solved these problems by providing criteria and standards. Analyzing his works, this article extracts his criteria of correction, research, margining and criticism. They include: 1) Presenting and confronting the texts to the corrected and read versions of the sheikhs and their handwritings, referring to sources and expert scholars in correction, 2) Observing scientific piety and trusty in margining, 3) Referring to Sunnah and the Qur’an in text criticism, 4) and Identifying and validating narrators and surveying the quality of sanad in sanad criticism. Professor’s solutions for correcting and researching contemporary great scholars’ works such as Jāmi' al-Madārik show his mastery and deserve to be a pattern. Hadith science scholars can continue to study Hadith referring to professor’s methods and apply his ways and criteria.

Introduction Abu al-Hasan Khan Ghaffari Kashani, known as Sani’ al-Mulk, was an Iranian painter and historiographer in the Zand court. Ghaffari Kashani’s visual works hold significance in multiple spheres. First, they bridge the gap in visual sources on woven products of the Zand period. Second, some of his works link the visual history of the Zand era with the visual arts of Kashan in the second half of the 12th century AH (17th century AD). Third, the combination of the written and the visual, rooted in Ghaffari Kashani’s expertise in both historiography and painting and his reason for choosing historical themes, is one of the many characteristics that highlight the significance of studying his paintings. Given that Ghaffari Kashani’s paintings are marked with raqam (signatures), studying his works can reveal an array of information on the original woven products of the Zand period. As a number of his works showcase the designs of the woven products in the Zand era, this study aims to explore the designs and motifs of woven products in the Zand period in Kashani’s artworks. Accordingly, the designs and motifs of non-clothing textiles in Ghaffari Kashani’s works were categorized and analyzed. The main research questions are: What are the designs and motifs of woven products in Ghaffari Kashani’s miniatures? How can Ghaffari Kashani’s works contribute to identifying the designs and motifs of Persian rugs in the Zand period?   Research Method This theoretical basic research sought to explore the overt and covert layers of non-clothing textiles in Ghaffari Kashani’s works in order to determine the characteristics of these woven products. In this descriptive-analytical study that a part of Zand art in its historical context was explored, the written and visual data were collected through library and documentary research. The observational field research was conducted online and at the Malek National Museum and Library in Tehran. A total of eight works by Ghaffari Kashani were selected through purposeful sampling, based on the criterion of non-clothing textiles. Accordingly, the miniatures selected for analysis were Karim Khan Zand with the Ottoman Ambassador Vehbi Effendi, Mirza Moez ad-Din, Abbas II of Persia and the Mughal Ambassador, Qazi Abd al-Mutallib, Karim Khan Zand with His Horse and Groom, Karim Khan Zand on Horseback, The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar, and Portrait de Qazi Ahmad Ghaffari.  Research Findings Ghaffari Kashani’s works have a crucial role in identifying the traditional woven products of the Zand period. Designs, motifs, sizes, applications, and colors are among the characteristics that can be studied. Woven products in his works are depicted as cultural media similar to other visual elements in the paintings. The analysis revealed the following designs and motifs on woven products, excluding clothing, in the Zand period in Ghaffari Kashani’s works. There are two instances of lachak and toranj [medallion and corner] designs, befitting the theme of court. There are two instances of zarbaft jol [gold brocade cherry laurel] designs for the two high-level officials, namely Qazi Abd al-Mutallib and Karim Khan Zand. There is one instance of a ghayesheh with arabesque design, appropriate for the historical context of Naqsh-e Jahan Square and Rashti-style crochet, and Hamedan rug design in The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar. Finally, there is a mehrab design, fit for the mystical atmosphere, in Portrait de Qazi Ahmad Ghaffari. Two instances of side carpets, a rug, two jols, a ghayesheh, and a prayer rug were half visible in the selected works. The woven works in miniatures of Mirza Moez al-Din and The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar may have been parts of the margins of rugs. The color of the rug in Abbas II of Persia and the Mughal Ambassador is reminiscent of the colorful pattern of Polish rugs. The yellow color on the jols in the miniatures of Qazi Abd al-Mutallib and Karim Khan Zand represents gold brocades. Moreover, the color of the ghayesheh in Karim Khan Zand and his Groom typifies the color fit for the historical context of Naqsh-e Jahan. The margins of the rug in The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar indicate the colors of Hamedan’s rugs. The prayer rug in Portrait de Qazi Ahmad Ghaffari has its natural color--i.e., its fabric is not dyed. The themes and woven products seem interrelated. The themes were linked with the figures or the historical events illustrated in the miniatures. They demonstrate Ghaffari Kashani’s both roles as a court secretary (mustawfi) and a painter. This also indicates a meaningful relationship between the designs of the rugs and the themes of the works. The design styles of Kashan, Rasht (crochet), and Hamedan were observed in Abbas II of Persia and the Mughal Ambassador, Karim Khan Zand with His Horse and Groom, and The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar. Overall, four of the selected works depict designs and motifs found on loom-made woven products: Mirza Moez al-Din, Portrait de Qazi Ahmad Ghaffari, Abbas II of Persia and the Mughal Ambassador and The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar. From a historical viewpoint, the subject matter of these miniatures was selected from the Safavid, the Afsharid, and the Zand periods. Conclusion Like other visual elements in Ghaffari Kashani’s works, woven products function as media conveying historical concepts. In addition to the meaningful relationship of the woven products and the themes of the works, the relationship of the woven products with certain occupations in the Zand period was another finding in this study. This notion was evident in Karim Khan Zand with His Horse and Groom as the designed ghayeshe portrays the occupation of ghayeshehbari during Karim Khan Zand’s rule. The woven products depicted in the works of Ghaffari Kashani varied in designs and motifs, sizes, applications, and colors. The results showed that although Ghaffari Kashani was more reputed as the court secretary (mustawfi), he attempted to incorporate history in his paintings. The historical figures and events, as the subject matters of his works, along with addition of written descriptions on his paintings, indicated the link between his official profession (historiography) and his side job (painting). To sum up, the analysis of Ghaffari Kashani’s works revealed useful information about the designs, motifs, applications, sizes, and the colors of woven products and non-clothing textiles in the Zand period. Moreover, it shed light on the place of origin of the woven products during the Zand era: Kashan and Hamedan for loom-made products and Rasht for crochet. The Safavid, the Afsharid, and the Zand periods were the historical periods and Kashan, Isfahan, Shiraz, the environs of Kabul, and the route to the Mughan Plain were the geographical centers in the selected paintings.

This article introduces a historical document concerning the dispatch of students to Paris for study during the reign of Muḥammad Shāh Qājār. It then focuses on one of these students, Mirza Mohammad-Reza Ghaffari Kashani, presenting the translations he produced at the request of Nāṣer al-Dīn Shāh Qājār by drawing upon the resources of the Royal Library of Iran.

The most important issue that Naser Ghaffari, one of the contemporary critics of Shia, mentioned in his book "Principles of Twelver Shiism: Review and Critique" is the lack of text on the Imamate of Imam Ali (AS). He states that the current texts are made by Shia scholars and Sheikhs, and assuming the existence of a correct text, it is not related to a specific person. In order to prove his claim about the lack of text on the Imamate of Imam Ali (AS), Ghaffari raises ten doubts. Citing the words of other Sunni scholars, this article aims to 1. Answer Ghaffari's doubts 2. Show that the existing texts are not made by Shia scholars, but are also reflected in Sunni sources 3. According to the texts taken from Sunni sources, the meaning of the texts has also been determined, which, for some reasons, has been overlooked by the likes of Ghafari since long ago.

Being among primary, authentic sources of Shiism in Hadith and juristic precepts, the book Man La Yahduruh al-Faqih is a fruit of endeavors as well as extraordinary memory of the great Shia scholar al-Shaykh al-Saduq in the third Hijri century which has always been referred to by Shia scholars and mujtahids. Master Ali Akbar Ghaffarisefat, a contemporary scholar who died in 1383 S.A.H., embarked on critical editing and adding notes to that juristic collection due to suggestion and insistence of one of his great masters so many years ago and published it in order to be benefited by Islamic Hawzahs and all people. As a token of acknowledgement of services of that outstanding master to Islam and Muslims, the present essay deals with his complicated, difficult, and precise method in that work. The book "al-Hajj"of Man La Yahdur is taken into consideration in this investigation.    

The Tehran government building is one of the most valuable buildings in Iran during the Qajar period, which was built by order of Nasser al-Din Shah Qajar and was destroyed in the first Pahlavi period by order of Reza Khan. The first aspect of the importance of this issue is the structure of this building and its value in the art of religious mourning in the Qajar period, which determines the transmission of religious traditions and cultures, and its study can be a good ground for studying this building in Qajar period painting. The purpose of this research is to realize the importance of this building, its construction in the Qajar period and Kamal-ol-Molk painting as the only color document left of this building. The question of this research is how this building was built and what are its features? What are the characteristics of Kamal al-Mulk in the painting of government support? The research method in this research is descriptive-analytical and using library resources and the method of analyzing the works is based on the study of visual principles and rules used in the physical characteristics of the work. The results of this study show that this building and its structure was an important event in the Qajar period and one of the most important buildings in the capital that was destroyed in the first Pahlavi period. The color is from the inside of the support, and the few photos that remain are black and white, and Kamal al-Mulk'

Statement of the problem: Mirza Mohammad Ghafari nicknamed Kamal al-Mulk; Apart from the aspect of artistic influence; He is one of the main historical figures of Iran's art and painting in recent times. The first important aspect of the Hall of Mirror painting is the signature of the artist named Kamal al-Mulk, the transition point of Iranian to European painting in the period of Naser al-Din Shah Qajar, and the last court commissioned work of the Qajar period. This painting, in terms of artistic style, created a suitable background for examining the changes and developments of painting from the Qajar period until the present. The questions of this research: What visual evolution in the structure of Mohammad Ghaffari's Hall of Mirrors distinguishes it from his other works in this period? How did the artist represent himself in the work and what is the reading of the artist himself and his signature in the work?The purpose of this research is to find out the structural components of this work as a point of transition between Iranian painting and European painting in the Qajar period and its visual characteristics, and to read the image of the artist in the painting and examine his signature with the title of Kamal al-Malki.Research methodThe current research is descriptive-analytical and in the field of qualitative research, and it is based on the study of the Hall of Mirrors painting with oil and paint technique by Mohammad Ghaffari. The statistical population of the present study; The panel in question, number 1590, belongs to the Qajar period in Golestan Palace Museum, Tehran. Collecting information using a library method and with the tool of extracting and downloading online versions and images from Golestan Palace archive in Tehran.The purposeful sampling method was chosen by examining the painted panel with the official signature and title of Kamal al-Mulk. The reason for choosing this topic for research is the different aspect of painting; In the current research, the work is first introduced and then its different parts are discussed and analyzed, and the inductive data is used to analyze the themes used in the statistical community of the analysis and the result of the research is obtained.The necessity and importance of this research is to deal with this painting as the end point of traditional Iranian painting in entering the issue of realism in the Qajar period and entering a new stage in the history of Iranian painting. This panel is important as a work emphasizing the official title of Ghaffari, and despite its importance, no comprehensive and coherent research has been done about this work in particular, so it shows the necessity of the current research.Findings: This research shows that the Hall of Mirrors panel was influenced by European painting in terms of shape and decoration and was painted before Mohammad Ghaffari's trip to Europe and was approved by Naseruddin Shah Qajar and was the last commissioned work by the Shah. This work has changed the artistic taste of the king and the court and is a symbolic work in this period and a transition point between Iranian painting and western painting style. After this painting, he continued the path of Iranian art and continued this path and realistic style. The end of traditional Iranian painting with this work is the confirmation and awarding of the title of Kamal al-Mulki in the middle of this work is a point of emphasis on the change of Iranian painting style in the Qajar period and after. In the analytical study of this work, it is important to mention this point. The nature and structure of the Hall of Mirror painting is a reflection of Shah Qajar and is influenced by the relationship between Iranian culture and the representation of Western culture in the continuation of the traditional art of Iranian painting. Little by little, he finds an independent identity in painting influenced by Westernism. In this painting, which has a different aesthetic function from other works of this period and the artist himself;He has distanced himself from the powerful representation of the king and deals with the descriptive representation of the subject with influence from the western culture. The king as an object; In the center of the picture, it is displayed along with other objects, and its meaning is changes and looking at royalty and distance from power. The distinguishing features of this painting with other paintings before and after it are the well-known features that are known as the point of transition between Iranian painting and European painting in the Qajar period. The imitative nature and western representation of this painting makes it to be considered as the end point of Iranian painting and as the end point of transition from Iranian painting to European painting. In this painting, the two readings of the artist's image and his face, which were invisible in the work, were examined, and also the mention of two nicknames in his signature, emphasizing the artist's face, emphasizes the artist himself and is one of the characteristics of this work. This painting is the last order of Naser al-Din Shah's court to Ghafari and mentioning his official title in the painting. In this painting, which is a kind of royal portrait, you can see the king, but what separates it from Iranian painting and the magnified approach of the king is the changes in this representation from the beginning to the end of the Qajar period to the category of king and power. On the surface, the artist's goal is to represent thousands of mirrors and show the glory of the hall, but he refers to the concepts behind the mirrors, and for this reason, this painting is considered the breaking point of Qajar painting from traditional Iranian painting in previous periods. lack of connection with the traditional art of Iranian painting and its characteristics; It reveals pure reality to the audience. The difference in the appearance of this work is the requirement of the time and the function of this painting is to convey the message of change and expresses the character and political position of Shah Qajar and the end of the reign like the peacock throne painted on the side of the room. In this painting, unlike the previous periods, the artist's goal was not to represent the glory of the king, but to represent an exemplary realistic imitation of the Hall of Mirrors in the Western style and a description of the most important goals of the artist.