This article is an investigation into the position, importance, and effect of image on Iranian portrait painting. It is an intertextual analysis of Persian poetry and painting, focusing the elements of mysticism in both. The discussion is documented offering paintings from different Persian painting schools so that it can better show how this field of art has always used the element of image and mystical understanding to convey a figurative universe. The article, first, introduces image and its position in Iranian painting, then contrasts the figurative elements in both Persian poetry and portrait painting, and finally concludes that Persian painting, using institutionalized signs and symbols in poetry has created its own figurative and ideal human.This feature can be found in Persian painting up to the first half of Qajar reign in the 13th century A. H.

Problem Definition: The Art of Court Portrait Painting is one of the Main arts of the Qajar Period, Which Continued Until the Period of Muzaffar al-Din Shah. The Focus of the Current Research is the Study of the Art of Court Portrait Painting during the Period of Muzaffar al-Din Shah and the Examination of Various half-length and full-length examples presented by him. Based on this, in this Research, the Main Question of the Current Research is as follows: What are the Structural and Content Characteristics of the Portrait Paintings of Mozaffar al-Din Shah Qajar period? Objective: Knowing the Paintings of the Qajar Period as a Part of Iranian art is one of the Goals of this Research. Research Method: The Present research is Descriptive-Analytical and has been Carried out Using library Sources and Museum Image Samples. Results: The Current Research Shows that the Integration of Art and Politics in the Paintings of Mozaffaruddin Shah Qajar period Through the use of Symbols of Power in the Images is a Continuation of the Pictorial Traditions of the Previous periods. The Extensive use of Portrait Painting Throughout the Qajar Period can be Seen as an Attempt to legitimize the Monarchy, Some of These Paintings are Half-Length and Some are Full-Length Portraits, and the Influence of Western Realistic Photography and Nature Can be Seen in the Paintings.

Abolhassan Ghaffari Kashani, known as Sania Ol-Molk, is a well-known figure painter of the Qajar era and one of the pioneers of realistic portraiture. In drawing the figure, he has used innovative and unique methods inspired by Iranian idealistic art and European realist art. One of the special features of Sani Ol-Molk’ s figure paintings is his special attention to representing the inner qualities and mental characteristics of individuals; a feature that has not been common in Persian painting before. The purpose of the present study is to identify and retrieve this feature in his artworks. The most important question that forms the basis of this study is How is the representation of personality in Sani-Ol-Molk’ s figure painting and What kind of visual arrangements has the artist used to better display these features? Accordingly, by selecting samples of the Sani-Ol-Molk’ s figure paintings, the descriptive-analytical method, how the representation of characters and their internal characteristics, are studied. The results of the study show that the issue of paying attention to the hidden and intrinsic aspects, as well as paying attention to the facial features of the individuals, has been of great importance to the artist. In displaying these traits, he judges his own beliefs and mental thoughts of the characters, and with the help of a series of visual measures such as valuing some of the effective elements on the face, the particular emphasis on parts of the body parts as well as changes in the dimensions and proportions of the body and clothing have shaped each person’ s inner traits in his or her face and body. Thus when the audience of the artist’ s works stands in front of these paintings, he understands features like dignity and decency, humility and eloquence, power and pride, trick and crafty which are the reflection of the artist’ s point of view and opinion about the characters, from their appearance.

Introduction and Objectives: In today’s complex and ever-changing world, the need to reconsider research methods and knowledge production is more pressing than ever (Shay, 2017). Restricting researchers to conventional qualitative methods steers new inquiries toward familiar frameworks, limiting advanced insights (Mazy, 2021). Thus, there is a demand for revisiting and innovating qualitative research approaches to address emerging challenges and generate new knowledge that yields distinct outcomes. The portrait method, as a research approach, facilitates deep exploration and higher understanding. By transcending rigid boundaries and imposed definitions, it offers an elevated comprehension of phenomena, replacing repetitive knowledge with creative insights that align with humanistic and societal ideals. This method transforms context, voice, relationships, and emerging themes into an aesthetic unity for researchers, participants, and audiences. Our understanding of portraiture continues to evolve (Holt, 2023). Despite numerous developments and perspectives, a significant gap remains in comprehending how these changes affect public perception and acceptance of portraiture (Silva, 2021). For instance, gaps exist in the analysis of portrait art (Kitcher, 2023) and its psychological and social dimensions (Yousimaki, 2021). Existing research in this field has substantial shortcomings in uncovering identity and emotions (Pful, 2021). As it stands, the gaps in contemporary portrait studies are vast, necessitating deeper research opportunities (Rabetsva, 2021). Engaging with this method requires sensitivity, empathy, and tolerance for ambiguity in both process and outcomes (Jangvard, 2015). Accordingly, this paper seeks to introduce the concept of portraiture, its advantages and characteristics, and its application principles (community, sampling, data collection, analysis, and validation) in humanities and social sciences research, particularly in educational management. Research Method: This study aims to explore portrait research methodology and employs a descriptive-analytical approach. Data were collected through a literature review, examining articles, academic documents, and primary sources on portraiture. The research was designed in several stages to provide a deeper understanding of this novel research approach. First, the concept of portraiture was described and explained, with a comprehensive review of key definitions and related concepts. Next, the core principles of the portrait method were examined, including participant voice reflection, the process of portrait formation in research, portrait analysis, validity in portraiture, and its use in educational settings. Finally, a summary of findings was discussed in the conclusion. This study offers a coherent and systematic analysis of portrait methodology, providing new insights in the field. As such, it serves as a valuable resource for researchers and students interested in innovative methods and restructuring existing frameworks. Findings: Key findings from portrait research include: a) Reflecting Participant Voices: In portraiture, participants are active contributors to knowledge production, addressing societal needs. Knowledge is gathered through artistic and creative collaboration, stimulating active engagement. Researchers allow experiences to be described in ways influenced by political, economic, and cultural structures, fostering transformative change. The potential for decolonizing knowledge production leads to transformative learning. b) The Portrait Formation Process in Research: Portraiture is useful for exploring contextual relationships, documenting processes, and enabling researchers to engage with personal narratives in critical aspects of inquiry. The proposed analytical strategy serves two functions: detailing stories to illustrate processes and contexts, and revealing underlying causes and effects. Analytical steps include coding for characters, time, place, conditions, key events, and common themes (Rodríguez-Durán & Jacobs, 2020). c) Portrait Analysis: Data analysis in portraiture involves four stages after repeated engagement with participant voices: (1) receiving the story, (2) constructing poetry, (3) listening to opposing voices, and (4) writing the report (McCarthy, 2017). This interpretive balance between participant narratives and researcher reflections acknowledges participants as experts in their own lives (Anderson, 2012). This methodological effort to balance researcher interpretation with lived experience expertise defines narrative portraiture (Rodríguez-Durán & Jacobs, 2020). d) Validity in Portraiture: Ensuring integrity in portrait research rests with the researcher. Unlike quantitative research, where the investigator remains detached and objective, qualitative research—particularly portraiture—involves negotiation, proximity, and relational dynamics. According to Lightfoot (2005), crafting narrative portraits is a consultative, highly creative process requiring deep and flexible insight. Vital dynamics exist between documentation and narrative creation, reception and shaping, reflection and imposition, and improvisation. Coherence must emerge organically and interpretively (Lightfoot, 2005). e) Portraiture in Educational Settings: This method explores unique perspectives inaccessible through other research approaches, such as empirical studies. In portraiture, voices are discovered with varying degrees of constraint or presence, encompassing witnessing, interpretation, self-narration, and dialogue. These forms emerge through intersubjective relationships between researchers and participants in educational contexts (Rodríguez-Durán & Jacobs, 2020). Discussion and Conclusion: Significant historical adaptations have been made to align with social, cultural, and technological developments (Stein, 2023). In 21st-century research, we have expanded our discourse to conceptualize data as stories, drawing from cross-cultural processes that emphasize collaboration in narrative construction (Woffen & Pickford, 2021). Portrait research primarily views inquiry as a tool for social change, emphasizing strengths and learning opportunities while minimizing the influence of socio-cultural, historical, and political contexts. This approach translates data into compelling, accessible narratives that resonate beyond academia. Each portrait emerges with its own meaning, learned through the images it creates. When shared with participants, their interpretations of lived experiences become evident. Researchers gain self-awareness through participant responses, perceiving themselves in varied and metaphorical ways. Portrait research resists conventional judgments, instead offering an art-based, phenomenological structure that provides rich interpretations of lived experiences. It occupies a middle ground between precision and quality, valuing portraiture as an unconventional yet meaningful companion in research.

Purpose: Court portrait paintings in the first Qajar period are mostly known with the faces of the king and courtiers, but part of the paintings of this period are painted images of women dancing and playing music. These images also follow the rules of court portraiture, but the portraiture of women independently has never been the goal of research. This type of painting, unlike court portrait painting, does not have a political or propaganda aspect and is used to decorate palaces with the standards and rules of court portrait painting, and it is painted without the artists' signatures. The purpose of this research is the analytical study of court portrait painting of women in the first Qajar period and its aesthetic criteria. The question in this research is as follows: what are the aesthetic criteria for portraying women in the first Qajar period? What are the similarities and differences with the official portrait painting of the court in this era?Methodology: The research method in this research is descriptive and analytical, using library sources and examining examples of portrait paintings of women and museum examples. Women in the first period of Qajar.Findings: The results of this research show that the portrait painting of women in the Qajar period was an important part of the official court portrait painting in this era, the paintings have a decorative and idealistic aspect and have more diverse motifs and decorations. In the rules of aesthetics, idealism, the use of decorations and motifs, exaggeration in the facial expression has something in common with the official portrayal of the king and courtiers. In these paintings, according to the patterns defined in Iranian literature, women are young, beautiful, dancing, playing instruments and performing acrobatic movements.

In fictional literature, Sedegh Hedayat was one of the multidimensional characters. In his work, he has been considered as an anti-feminine person, because of his attitude toward women- as a reflective element of fertility. But by a little contemplation on his work, and the social, educational and psychological aspects of his character, one might find out that he was not an anti-feminine person. In the present study, the unknown aspects of women in Hedayat's works was studied, and concluded that not only was not he an anti-feminine person but also he looked at women by a particular kindness.

Postmodern art is characterized by several distinctive features, one of which is appropriation. This concept is closely intertwined with intersexuality, establishment of intertextual relationships, negation of authenticity, and decentering of meanings. Numerous artists, among them Glenn Brown, find inspiration in historical epochs like the Baroque and Renaissance periods, infusing these influences into their own artistic creations. This study embarks on an exploration of notion of appropriation in Glenn Brown's portraiture. To achieve this goal, we will commence by offering definitions of postmodernism and appropriation, followed by a thorough analysis of five portrait paintings by Brown through lens of this perspective. This research adopts a descriptive-analytical approach and leverages digital versions of internet articles, along with the original digital copies of the artworks for image compilation. From Glenn Brown's extensive body of work, we have handpicked five appropriated portrait paintings for in-depth examination. The concept of appropriation emerges as pivotal postmodernist approach in realm of art. This concept entails artists borrowing, altering, and reshaping elements from pre-existing sources. During this creative process, artists draw upon elements from historical and contemporary texts, popular culture, advertisements, mass media, and even works of fellow artists, integrating and transforming these elements within their own creations. These transformations can encompass altering original meanings or engendering striking collisions of ideas.In addition to being evident in all forms of visual art, spirit and philosophy of postmodernity have introduced new materials and tools, alongside technology, into many works of visual art. Postmodernism in visual art not only manifests itself in artworks but also introduces new materials and tools, frequently reshaping landscape of modern painting. In postmodern painting, influence of past modernist movements is discernible, and conceptualism is acknowledged as significant characteristic. Postmodern painters reevaluate artistic values of the past and present textual content in their works to audience anew. This form of painting is a result of neo-expressionism, conceptualism, and pop art, but it offers a new artistic experience with an emphasis on viewer participation, structural disruption, and semantic complexity.The portrait genre has manifested in various ways throughout history of visual arts, at times within realm of two-dimensional art such as drawing and painting, and at other times by delving into three-dimensional space and sculptural expression. "Portraits serve diverse functions and are presented through various media. Painting is the most prevalent medium for representation of portraits.In the United States and Europe, the creation of portraits declined during the years between 1940 and 1950 due to greater focus on abstract and non-figurative art. However, with advent of postmodern art after the modern era, portraits lost some of their traditional functions and underwent transformations in style and media. The years between 1960 and 1970 marked a revival of portrait art, with artists like Lucian Freud and Francis Bacon creating significant paintings. Many contemporary artists, such as Andy Warhol, Alex Katz, and Chuck Close, shifted their attention to portrayal of faces. Glenn Brown is another contemporary artist who has displayed a unique perspective in the realm of painting and portraiture.Glenn Brown, a contemporary English artist, has been actively engaged in realms of painting, design, and sculpture, and has been subject of individual exhibitions at prestigious institutions. As a multi-disciplinary artist, Glenn Brown draws inspiration from a diverse array of artistic sources, encompassing painting, film, literature, and music, which he seamlessly incorporates into his paintings. His body of work can be broadly categorized into three primary groups: paintings rooted in appropriation of famous artworks and historical painting techniques, scientific-imaginary paintings, and sculptures. In context of this article, our focus will be directed towards providing an overview of Brown's works that fall within the ambit of the first group.In Rembrandt's portrait, which is created in the Baroque style, the color palette prominently showcases earthy tones of brown and ochre, leaning towards a sense of warmth. The subject's face is gently bathed in soft, warm light, crafting a subtle contrast. In contrast, the lower portions of the canvas, including the subject's attire and the background, are rendered in deeper shades, thereby emphasizing a sense of darkness. However, in Glenn Brown's artwork, the portrait exhibits characteristics that diverge from Rembrandt's work.ConclusionThe emergence and evolution of postmodern art have been shaped by numerous factors, with its origins often traced back to the late tendencies of modern art. Among the postmodern artists who have harnessed the revolutionary and transformative aspects of new painting styles during this era, Glenn Brown stands out. Through the adept utilization of appropriation as a tool, he engages in satire and mockery of the formalism and structuralism prevalent in pre-postmodern and pre-post-postmodern art. By combining, altering, and amalgamating elements within his works, he fundamentally reconfigures the structure, which is subject to adaptation. In doing so, he highlights issue of negating artistic authenticity in a novel and thought-provoking manner.

Qajar painting influenced Iran’ s painting with a new kind of illustrations originating from the past traditions. Art and cultural politics of Fath Ali Shah performs an obvious role amongst the influential agents and historical events in the era of Qajar paintings for a presentation of the concepts of power in the social, political and cultural arena. Fath Ali Shah’ s patronage of the art alters painting’ s direction as Iran’ s painting moves to a new field of pictorial history. Thus the portrait and figure get special significance in the painting this period as respects the themes of painting have changed via the penetration and impression of the western art and culture, and the noblemen take possession of that to be part of their belongings. Its climax is clearly seen in the court noblemen portraits and figures that has originated from amalgamation and mergence of western and Iranian traditions. Those are portraits and figures that are for the peerage men, kings, princes, dignitaries and the king’ s courtiers and attendants. To show women’ s portrait starts from the Qajar dynasty, and their representation matters in this era’ s pictures, and its presentation falls prey to change both in the shape and content. Women’ s images were not widespread because of religious reasons and didn’ t «boom» as much as men’ s images. The purpose of this article is connected with cultural semiotics which analyse a woman’ s portrait related to the period of Qajar paintings. And the female gaze is tantamount to the body function. This is a specific work of art because it is an image synthesized from several painting genres. This research interpreted pictorial elements in proportion together by an adaptive and analysis approach based on the shaped changes in this cultural and social period. We suppose that female gaze in this work of art, composed of several genres reflects changeable presence of the body’ s action. The question is about the proportion between body and procession of the young woman’ s look matching another details and elements of the image. Maybe the female gaze in this work was depicted as distinct from power of the male gaze. So this Qajar era painting provides an opportunity for different studying of this kind of pictures. Depicted portrait of the young woman contrasts with the separate images from women of this period of Qajar paintings. In conclusion should say that the representation and nature of the body was different in the images of this period. There is an exact relationship between the elements of the image, especially in case of the womanchr('39')s body that reflects a dominant female gaze. She was a court woman that has stood in the middle of the tradition and modernity. She shows the cultural tension of the Qajar era. Her female gaze predominated not only on the audience but also on all that by its proportion to other elements. There is a structural and formal relation between elements that demonstrates physical presence of her body and a different look.