Purpose: Traditional coffeehouse paintings are usually kept in public venues; therefore, they are exposed to all kinds of damage. To ensure appropriate repair in case of damage, knowledge of the ingredients and techniques used in them is essential. This paper reports on the examination of a single such painting created by Abolghasem Isfahani, a Qajarid artist.Method and Research Design: Some samples were taken of different parts of the painting and were studied by Spectroscopies (FTIR, XRF, SEM–EDS, PLM).Findings and Conclusion: This painting contained of 4 layers: support, ground, color and varnish layer. Chalk is found in all spectrums. Most of the coffeehouse painters were self-trained; and so did not know the professional tricks for making a resistant ground for their paintings.

wall painting is one of the types of decoration that appeared in the Qajar period. wall painting in this period is considered to be a continuation of the tradition of decoration in previous periods such as the Safavid and Zandiye periods, some of these wall paintings were done in Imamzadehs and others in coffee houses and other public places. The events of Ashura is one of the most important titles that has been considered for wall painting in different eras. In this research, an attempt has been made to investigate the wall painting with the theme of Ashura events in the tombs of eastern Gilan based on the Panofsky iconography method. The eastern part of Gilan, which was called Beypish in the past, is the origin of tomb wall paintings in Iran. The reason for this was the rule of the Alavi dynasty in Gilan. In this regard, this research seeks to find an answer to the main question: 1- What is the most important Qajar iconographic feature of Ashura event in Gilan region? To get the answer to this question, the famous wall paintings in some imamzadehs of Gilan province, including Lahijan city, which was in Beypish region, have been investigated.Iconology is a method of interpretation in cultural history and the history of the visual arts that uncovers the cultural, social, and historical background of themes and subjects in the visual arts. The primary level should correspond to the most basic level of understanding, i.e. the natural perception of the work.For the final level of interpretation, the observer not only receives and interprets the message contained within the representation, but also seeks to interpret it under an historical point of view, looking for social and cultural interrelations that might broaden the meaning. This level sees the art not only as isolated act, but as the product of historical, social and cultural conditions conducive to its creation. The results of this research show that painters have tried to portray the event of Ashura based on hadiths and traditions and love for the Prophet's family. Despite the characteristics of Qajar painting and the repetition of painting subjects from the historical events of Karbala, in every In Imamzadeh, the variety of paintings can be seen. It is worth mentioning that a series of characteristics to show the Imams and their Ahl-al-Bayt, as well as their enemies, are common in the wall paintings, and the characteristics that have viewed all aspects of the events of Karbala in the mentioned time frame.The analysis of the images shows that the painters used characters to represent Ashura. In this type of painting, using color, the person's position, the dimensions of the person's face and body, the type of clothes, etc., they have expressed the inner characteristics of people. The shape of the hat indicates a human or a jinn, as well as a person's belonging to the satanic and divine factions. Other images that refer to the way of life of the Prophet's family also express the individual in the same way through the use of color and their position. In the picture where people do not have faces, it is an attempt to emphasize The central characters of the narrative and this is a kind of innovation that has been done in other paintings by reducing the person's face in four graves.

You can find the roots of Qajar painting in Iranian arts from old times. With different cultural and political movements that occurred in Iran after Safavid era; the effects of western art appeared in Iranian painting especially in the Qajar era. You can find traces of this effect on verism paintings in this era. In the beginning this verism was in opposite direction to the abstract painting, But after passing of time artists found the solution by compiling symbolism in painting and verism of western arts together. This compilation itself had an effect on the Iranian painting too. Qajar era was the peak of its power with regards to the combining of this art and regarding its contents is a point taken in to consideration in this research.

Retouching of wall paintings has been the important matter in theory and practice. Some of the real problems are exact knowing of retouching methods and right choosing them in appropriate with each case. By reason of observing confusion infield of theory and need to highlight the connection between theory and practice, aim of this paper is to review these viewpoints and to extract main regulation in choosing good approach; thus it wants to answer these questions: “what issues are bases of retouching work? And, what ranges are domains of these studying?”In response process going through a descriptive approach, are searchedreferences in this field to gain basic terms at the start; then by help from personal experiences, with a qualitative analysis can gain final results that are “knowing principles to face wall paintings and choosing the best method.”

Problem definition: wall painting as an ancient media can play an essential role in the improvement and purposefulness of the urban space by taking the advantage of the technology growth as well as the expressive capabilities of new materials. Meanwhile, the development of creative methods in designing the partition walls as a basis for the harmonious murals with the environment and the governing architecture, requires conducting a comprehensive study on the necessity of using these structures in the urban wall paintings as a visual interface (mural) between the body of the city and the citizens. Given this necessity, the urban partition walls and how to implement them in the urban space are the main subjects of the present research. Objective: The present study aims to recognize the urban partition wall painting in order to develop these spaces in the urban environment. Research Method: This research is a qualitative and practical one in terms of the purpose, which is presented in a descriptive-analytical manner with reference to the library resources and images, some of which have been prepared based on the field survey. Results: The urban partition wall supposed to be a wall being independent of the architecture and environment while it is dependent on it, qualitatively. The history of the walls originated from the ancient and indigenous climates and cultures of different regions, such as the primitive life of tribes and even current nomads. . The need for these walls in today’ s life comes from the advancement of technology and industry in the urban life.

The hunting icon is one of the first function's that mankind has always tried to depict throughout its history. In ancient Iran, hunting has a religious role and has an important place. In the meantime, Mithraism is one of the religions that has perpetuated the notion of hunting through images. One of these images is the scene of Mithra hunting in the altar of Dura-Europos. We see the repetition of this image in Taq-I Bustan and in the hunting scene of the king. To study the continuity of the hunting scene image (the hunter Mithra to the hunter king), we have used the iconography approach of Erwin Panofsky.Continuity and repetition is somehow implied in the image-icon and is the internal logic of iconology, Iconology is one of the most important approaches that has been used in the study of image. That’s why we use this approach in the present study. The main question of the present article is why the bas-relief of the hunter-king in the Taq-I Bustan is the continuation or conceptual continuation of the same idea of the hunter Mithra on the wall painting of Dura-Europos? The research method of this article is descriptive-analytical and the materials have been collected through documents and libraries. According to the two images studied, it can be said that the idea of practical hunting is to show the struggle between Mithra-Shah and the forces of evil, in order to show the victory of good over evil, and in this way practices such as teaching the principles of aristocracy, passing stages of youth-practice,  sacrifice, killing the boar and its associated symbol, etca are continuaously accompaniments of hunting action. The iconology of the idea of hunting shows that the concept of hunting has gone beyond hobby and its mere meaning and has taken on historical, cultural and religious-political values. Moreover it has continued over time and has been repeated and preserved in images like in Taq-I Bustan.

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.

Close encounters with the Western culture and art starts under the Qajar rule. In this period, art elements of the West find their way in the Persian art and architecture. This paper reports the results of a survey of window-guards extant form the Qajar period in Hamadan City. Of an initial sample of 68 windows, 26 samples were selected for not being a repetition of other designs. These show a gradual evolution in technique and style of using wrought iron in four phases.In the first phase, a pattern formed with S-shaped elements covers the rectangular area of a window, while the semicircular area under the spanning arch is usually blocked. In the second phase, by modifying the ‘S’ element, all the window area is covered. In the third phase, the S element is further modified, its tips become convoluted and its proportions are freely changed to fill rectangular areas. In the fourth phase, the window-guard is treated as a decorative architectural element. Therefore, in addition to the S element, other decorative spiral elements are used.

Apart from functional aspect; architecture can convey the meaning and express its own meanings clearly. Other arts such as painting also can deliver several messages that can be different in various madeia. Many contemporary architects constantly attempts to convey a message of an artwork to architectural media and in this regard, they try to restate the ideas and concepts in a symbolic environment. Without doubt, the meaning of an artwork can be imported with components or other expressive symbols, and thus the litigant meanings of an artwork can be transited to another. In this regard, one of the issues that is missed in architecture area, is the discussion of conveying the meaning from other art media to the architecture. This paper tries to explain how to convey the meaning from painting to architectural media. It is assumed that conveying the meaning of other art medias to architectural media can help the architects to create the meaning and B) Using metaphor, plays an essential role in conveying the meaning from other art media such as painting to architecture. In this paper, in order to answer the research hypothesis, the way John Hejduk restates the Madame D’Haussonville painting by John Auguste Dominique Ingres and the studio series by Georges Braque in the architecture of the wall house 2 are discussed. The Methodology of this paper is based on descriptive analytic methods and logical reasoning. It also relies on the discussing and analyzing the library information. Finally, this study shows that conveying the meaning from one art media to another can develop ideas from other arts such as painting to architecture and vice versa and be effective in the enhancement of both of these art media.

About a century after Safavid period, the tendency towards Shiite religious motifs culminated at Qajar court. In those ages, the effort of Qajar kings to justify and confirm their sovereignty as a result of support extended to religious ceremonies and activities and agreement with religious trends made religion one of the strong social base in the public culture to bring art under its influence, (the art which had found an opportunity to reflect beliefs of the public culture. The art of Iranian painting, which was frequently being supported by the courts, found also a public position. It was such that the public painting could reflect the people’s beliefs in religious motifs in the public and religious places such as Hoseiniyeh, Tekyeh and sacred shrines. At that age, one important factor, which had a great impact on the religious minds of painters and naturally the growth and evolution of religious painting, was playing Ta’ziyeh because of Shiite beliefs of the society of that age. The prevailing motifs in the visual arts of Qajar period in particular after Fathali Shah served as a reflection of aestheticism and an image of events being performed in Ta’ziyeh. While referring to the factors influencing the growth of painting at Qajar period, this article is an attempt to review the wall-painting of religious places which are under the influence of Shiite motifs in Ta’ziyeh and tries to show what kind of interaction had been in place between the dramatic form and visual form of religious beliefs in religious wall-painting of that age.