Document Type : Research Paper
Authors
1
Ph.D. Student, Art Research Department, Faculty of Advanced Studies in Art and Entrepreneurship, Isfahan University of Art, Isfahan, Iran.
2
Associate Professor, Department of Handicrafts Faculty of Handicrafts, Art University of Isfahan,Isfahan, Iran
3
Assistant Professor, Department of Handicrafts Faculty of Handicrafts, Art University of Isfahan,Isfahan, Iran
4
Assistant Professor, Islamic Art Department Faculty of Handicrafts, Art University of Isfahan,Isfahan, Iran
Abstract
. During the Qajar era, tile designers decorated the interior and exterior surfaces of both religious and non-religious buildings using epic, lyrical, and religious stories as well as historical narratives. A section of the southwestern wall of Golestan Palace is decorated with a feast theme, executed in the haft-rang tile technique. The theme of the feast, similar to artworks from the Safavid period, is depicted in an open space with the presence of musicians and servants. However, a notable difference is the inclusion of a punishment scene in one corner of the composition, which likely represents a significant event from the early Qajar period. As a cultural archetype, the feast traces its origins to the pre-Islamic civilizations of Mesopotamia and Iran. Numerous works featuring this theme have endured from the Sassanid era through the Qajar period. The depiction of the feast theme alongside hunting scenes, and their placement in a part of the palace leading to Arg Square and the bazaar, not only served a decorative purpose but likely conveyed a specific message, making it worthy of further examination. The primary objective of this research, in addition to identifying and introducing the feast of "Loti Saleh" assembly depicted in the tile frames of the southern wall of the Golestan Palace courtyard, is to analyze and interpret this artwork based on historical documents and sources to uncover its underlying symbolic values. The main research question is: What are the characteristics of the narrative the feast of "Loti Saleh" depicted in the tile frames on the southwestern wall of the Golestan Palace courtyard, and what symbolic values does it convey? This article aims to offer a new interpretation of the ancient theme of feasting in the decorative arts of the Qajar era by employing Erwin Panofsky's three-stage method of iconological description, analysis, and interpretation. This research employs a documentary and fieldwork method. Research findings indicate that feast gatherings have their roots in the culture and traditions of pre-Islamic Iran and are often depicted alongside battle or hunting scenes. The theme depicted on the southwestern wall of Golestan Palace, based on an iconological interpretation, depicts the feast of "Jafar Qoli Khan Qajar" and "Loti Saleh". After this feast, "Agha Mohammad Khan Qajar" used it as a pretext to severely punish both men. According to historical records, given Jafar Qoli Khan Qajar's status and influence, his death—under the pretext of attending this nightly feast—played a crucial role in consolidating Fath Ali Shah Qajar's rule over Iran.
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