The historic-artistic and comparative probe accomplished on two pieces of painting on a clay layer belonging to Achaemenid period, which had been kept in a room in Susa Castle demonstrated that these two pieces were the two first PAINTINGS obtained from the Achaemenid period that have been created on the clay WALL. In order to attain the essence of the PAINTINGS and their content, investigation about the figure's details was first done and, then it referred to the figures' relationship.The outcome of the study is to recognize and identify the figures and the subject matters of the pictures as well.

WALL painting serves as a medium for representing a culture, religious and spiritual beliefs, and societal ideals, and its appearance varies in accordance with the circumstances of each historical period. Umayyad WALL PAINTINGS (661-750 AD/40-132AH) were crafted in palaces and mosques with emphasis on both religious and worldly themes. Over time, WALL painting has undergone transformations, and in contemporary Syria (1966-2000 AD/1385-1420AH, referring to the presidency of Rahal Hafez Asad), it has been utilized to embellish public spaces. The aim of the research is to comprehend the significance of WALL painting in Umayyad and contemporary Syrian art, including its conceptual and artistic characteristics and its artistic and intellectual value during both historical periods. The central research question is to identify the similarities and differences between Umayyad and contemporary WALL PAINTINGS in Syria. The research employs a descriptive, analytical, and comparative method while gathering field and documentary data. The findings reveal that in Umayyad WALL PAINTINGS, the magnificence of the architecture, the expression of symbolic motifs in the inscriptions, and the description of the sky and paradise all convey the relationship between the artists and the religious accomplishments of the state. While living beings such as animals and humans are prohibited in these artworks, they were utilized in palace decorations. Contemporary Syrian artists, inspired by Umayyad art, have utilized human images in their contemporary WALL PAINTINGS to commemorate the historical and cultural accomplishments of President Rahal Hafez Assad.

The Achaemenid Empire's Shah's road started from Susa and ended up in Sarda in Asia Minor. Clynay was one of the great cities of Frigate, located in Asia Minor, which became very important due to its location on the path of the Shah's road during the Achaemenid period. The most important finds in the Claynea area are the tombstone located in the Tatarli near the Dinar at the border between Lydia and Frigate. The tomb has PAINTINGS on wooden beams, which represent the largest painting on the wood of the ancient period and dates back to the middle of the 5th century BC. The purpose of this article is to identify the specific character of Tatarli's tomb PAINTINGS and the relation between Anatolian and Iranian figurative traditions, which was carried out through cultural relations between Anatolia and Iran during the Achaemenid period. The research uses descriptive-comparative method and by documentary method to study the tomb PAINTINGS and the effect of Achaemenid art style in it. In the typography of memorial buildings at the center of the Achaemenid empire, warriors of the cavalry were in no way prevalent. In the Apadana staircase we see empty hinges and horses without riders. There, the spear of the infantry and the arc of the shah symbolized the power of the Iranian army. But in the works of Achaemenid Empire and the example of the Tartarite tomb painting, we are witnessing the presence of a great warfare scene with infantry and cavalry with the characteristics of Persian weapons and clothing. On the PAINTINGS of these WALLs, especially the figures drawn from the eastern WALLs, the clothing and identity of the chosen Anatolian choir has been taken from the Achaemenid cloak. In the scene of Tatarli's controversy, unlike the scene of the Tricker Palace, a monumental crown, the battle scene of the Royal Pahlavan in the seals, has continued with signs of reign, such as the crown and the garment of Shahi. This difference in shape can be attributed to different audiences. this difference was due to the ideology of kings' power. The dead body of the enemy is under the feet of the king in the Tatarli painting of Iranian traditions which is also featured in Bisotun,this scene is a combination of the scene of Bishtun Darius and the Royal Pahlavan in the battle of the Dariush Tucker Palace, and likely this role of Dariush in It's a battle with a sectarian enemy. The images depicted on wooden WALLs of the Tatarli monastery are the most well-known type of painting on the wood in ancient Mediterranean. In Tatarli's tomb, according to the ancient tradition of Frygiyeh, in the building of the Tomb of the wood used, then the wooden beams are decorated with images from the cultural backgrounds of the Persian rulers, which indicate the cultural interpenetration between Frygiy and the Iranian rulers. This shows that adapted images of Achaemenid and Greek art based on their needs and It represented the diversity of nationalities throughout the Achaemenid dynasty.

Bath has been considered as a social hangout for the Iranian people from old times. WALL-painting is an art which came to its peak during the Safavid period and continued until the Qajar period. During the Qajar period, buildings with WALL PAINTINGS in different fields have remained, which is in the continuation of the art of Safavid and Zandieh era.This art was applied in public places, which was a good place to show artworks to people and acquaint them with art and culture. Illustrators consider these public buildings to be the right place to present and portray their works. One of these. In the study of WALL-painting in the spaces used in the Safavid period, we can name a bath which was built in the era of Shah Abbas Safavi by his order in 1027 AH.This building, which is located in Khorasan, has been studied under the name of Shah Bath, Mehdi Gholibeik bath, and Razavi bath. There are all PAINTINGS with the themes of the story of Shahnameh. In the dome section of the changing room of Bath, there is a picture of the Qajar period, which is completely influenced by the space of this period. Drawings are the same pictures of stories which were taken from the artistic style of the Safavid and Qajar eras, in which there are no images and dimensions. Shah's bath PAINTINGS in the parts of ceiling and WALL of the changing room after the peeling of the WALLs are 28 layers, 13 of its top layers have been repaired skillfully with the theme of human images.In the first step, our goal is the visual and thematic study of the mentioned PAINTINGS in the changing rooms in the bath and then, to study the effective display and expression of social and political elements of that period on this part of the architecture of the bath. Therefore, the article tries to answer the questions on the form and content of PAINTINGS of the drawings of the changing room of the bath and analyzed the feedback of the spirit and intellectual atmosphere prevailing on the Qajar period. The research approach was qualitative and the research method was descriptive-analytic; and data collection has been established based on library, documents and field information. Theoretical framework for understanding the political atmosphere of that time used Bourdieu's field theory which was explained with an emphasis on the fields of politics. Findings are presented in two parts: First, PAINTINGS of changing room were classified in terms of content in six areas, including religious inscriptions, mythological scenes, literary and romantic stories, folk life of the people, the heroes and the advent of modernism. Secondly, these PAINTINGS represent the artists' view of their environment, regarding to the ruling ideology of the period. It shows that despite the arrival of modernity in Iran and the court's affection for it, the artist was dependent on his own cultural motifs, felt a sense of belonging. In fact, bath painting, is a representative of the current state of contemporary society and people.

One of the most important eras in the development of Iran’s art and architecture, especially in the format of murals, is the Qajar era. The dominant attributes of this period are relations with the West and adopting its culture and art. Qajar’s mural art was represented in different buildings, including houses. Nasir al-Mulk House of Shiraz is one of the buildings of the Qajar era, and in its Shahneshin Hall, there are prominent and diverse ceiling PAINTINGS. Given that the existing PAINTINGS on the ceilings of this building provide a combination of Iranian and Western concepts and contents, the comparative study of their motifs becomes significant both for a better understanding of the visual and topical approaches of the ceiling painting art of the Qajar and also to fill the gap of the comparative information in this field. The ceiling painting of the aforementioned building was studied to answer the following question: What contents and representations do these PAINTINGS imply based on the iconographical comparative analysis? This research aims to identify, study, and carry out a comparative evaluation of the motifs in the ceiling of the Nasir al-Mulk House based on the iconography method. In addition to the library studies, this research was supplemented by data from field investigations, including in-site examination, documenting the PAINTINGS, and also describing and explaining them. The results of this research provoke the readers’ attention not only to the existing motifs in each mural but also to their latent concepts. The semantic perspective of the art of this era discloses the fact that despite the imitation and separation from originality, this art reached an individual identity that could be named as Qajar style. In the end, this research was an endeavor to provide a deep understanding of the existing concepts in the murals of this era in Shiraz and to discover the ontological viewpoints of individuals in this period.

Collective memory consists of four stages of formation, registration, association and transfer. The role of WALL PAINTINGS as a sign of the identity of many monuments is more important in the first two phases. The purpose of this study was to investigate the two stages of formation and recording of collective memory in the Karim Khan citadel in Shiraz. The main question of the research is that the mutual effects of clearing of historical WALL PAINTINGS and the ability to formulate and record collective memory? The research method is (quantitative-qualitative) and data collection is done in two stages of library studies and field studies. Data were analyzed by Manova multivariate analysis. The results of data analysis show that attention to different dimensions of cleaning in the form of attention to the harmony and integrity of the PAINTINGS, historical values, extensions and peeling, the age and originality of the PAINTINGS, the values Aesthetics, Historical Symbols and Symbols, Patagonia, Different Historical Periods of WALL PAINTINGS, Strong Strengths Over the Past, and the Level of Preservation of the Identity and the Truth of the WALL PAINTINGS, and the Creation of an Appropriate Course for Continuing to Visit WALL PAINTINGS And the imaging of WALL PAINTINGS strengthens the ability to formulate and record collective memory over a WALL PAINTINGS.

Karim Khan can be considered as the only authoritative king in the whole Zand era, thus the cultural and artistic foundations of this vary era is related to his government and him. Seemingly, he was uneducated, however, he was interested in art, literature, and science. Therefore, his court was the concourse of scientists, scholars, and artists. Moreover, he has supported so many architectural and urban projects, especially in Shiraz where is the capital of Zand era.One of the most common ways of architectural ornaments in constructions of Zand era in Shiraz was WALL painting. These PAINTINGS are remarkable in visual properties and some practical styles. Apparently studding the method of drawing and the diversity of decorative designs may be useful to recognize the PAINTINGS of this era. Apparently, vast part of the internal space of remarkable Zand buildings in Shiraz were decorated by PAINTINGS. Since the whole space of the WALL PAINTINGS of Zand era is covered by plant motives, the subject of this paper is limited to review and qualitative analysis. For this purpose, first the original works of WALL PAINTINGS in Arg, Haft-tanan and Pars museum identified, then diversity of plant motives classified and reviewed under the topics of cartouche, ornament floral, bird and flower, arabesque and foliage motives.It seems that analyzing design style and diversity of decorative motives in Zand WALL painting can be effective in estimating of painting changes of this era. Generally decorative motives of WALL PAINTINGS of Zand era consist of human PAINTINGS, plant designs, animal motives and geometric patterns. Since in plant designs the quantity and variety is remarkable, the subject of this research is based on the recognition of the diversity of plant designs that exist in WALL PAINTINGS of Zand era in Shiraz.The goal of this research is classifying these motives in addition to qualitative analysis of them, thus to achieve this goal the WALL PAINTINGS available from the Zand in Arg Karim Khan, Haft-tanan and Pars museum is studied by detail. This paper is a descriptive analysis research based on field observations and literature review. In this research, for the first time, the plant motives that are used on WALL PAINTINGS of Zand era is studied and classified by detail.This study demonstrates that in Zand era’s WALL PAINTINGS variety of plant motives are used, properly. Although architectural space in different rooms and buildings is almost the same, the motives that are located in these spaces from room to room is different. In these designs elegance of drawing is remarkable, thus this is comparable to the small decorative PAINTINGS in this very era. The use of regular and balanced paneling increased the quality of designing in these PAINTINGS. Also, inorder to drwing all cartouche, arabesque and foliage motives and most of the ornament floral paterrns, symmetry is observed. In addition, relevancy of patterns in planes of a room or porch is preserved, properly. This collection points indicates the decorative value of WALL painting at the Time of the Zand, more than ever.

The establishment of the Fatimid sovereignty in northern parts of Africa was amongst the most efficacious political accomplishments of the Ismaili Shi'ahs. Contemporaneous to this formation, the Buiidds became the main authority in Persia and the two supremacies enjoyed many congenial relations. The Fatimid dynasty was initiated in 909/1530 on complex intellectual and societal principals known as the Ismaililie movement, a subdivision of Shiism. It therefore became a basis for the enhancement of art, culture, technology and economical progression in western parts of the Islamic world.Among the arts, the art of miniature is of significance. The Fatimid artists created splendid PAINTINGS on papers, WALLs, and also on pottery and wood. The main focal point of this study is highlighting the the content of illustrated artworks of the age with symbolic, social, and lyrical scenes such as the lives of caliphs, Fatimid court life and also scenes of battle and valor. This contextual study will be carried out by studying the pottery, WALL PAINTINGS, and impaired manuscripts of the age; furthermore, exploiting earthly content and using a naturalism approach was practiced by many Fatimid artists on these valuable works of art.Research Questions:1- How can the religious and spiritual beliefs of the Fatimid artists influence their approach to art and ornamentation?2- What are the hidden meanings in the artworks of the Fatimid arts?Aims of Research1- Understanding the religious beliefs of the Fatimids and its influence on the artworks of the age.2- Recognizing the content and perspective within Fatimid artworks.

One of the ways to educate and encourage children to do physical activity and exercise through schools. The present study was conducted to investigate the functional role of the madman and the writings of primary schools in Tabriz. The method of this research is descriptive. Content analysis was performed and the data were collected using a researcher made scribble sheet whose agreement coefficient (91. 5) and validity were verified as acceptable. The statistical population of this study was WALL PAINTINGS and writings of elementary boys and girls in the four district of Tabriz city, the census method was used for sampling. The results of the analysis of WALL PAINTINGS and writings showed that among 219 WALL papers and observation papers, 46. 57% of the total was related to sports components. The results indicated that the elements of sport were undesirable in the elementary school WALLs. This is while WALL PAINTINGS and writings in the school environment can be encouraged, informing about the benefits of sports activities, create a culture of doing sports activities and promote action and motor Literacy. Most schools also have long-lived WALLs that are left unused, while they can create attractive environments at the lowest cost, drawing pictures and writings, and train the desired behavioral goals. Regarding the results of the functional status of the WALL PAINTINGS and the writings of primary schools in education and encouraging students to exercise and exercise is not optimal and needs to be reviewed.

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.