Document Type : Original Article
Authors
Abstract
As a novel branch of Iranian Painting, Court Portrait and Iconography initiated by Fath-Ali Shah were some kind of advantage taken of the medium of image aiming at propaganda launched in favor of Gajar kings, hence there seems to be an intersection between these works and graphics which proposes the main question of the paper: how does the reviving of the ancient pictorial communication by Fath-Ali Shah command, intersect with graphics? Looking at the court artworks remained from Gajar kingdom such as different kinds of paintings, rock paintings and even coinage, one realizes that most of them have been of ulterior motive, seeking propaganda, as they may seem ornaments at first, in terms of social influences, they carried the idea of legitimating the government and in one word, projecting the power face. Therefore, they, based on their applied identities, can be considered graphical. The current study is a qualitative historical research.
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