Investigating the Origins of the Idea of the Shir-o-Shekari Painting Style in Iran (Case Study: Historic Houses of Isfahan from the Safavid Period to the End of the Qajar Period)

Abstract

The present study aimed to investigate and elucidate the probable origins of the Shir-o-Shekari painting style in Iran, with particular emphasis on surviving examples found in the historic houses of Isfahan from the Safavid period to the end of the Qajar period. The research population comprised the historic houses of Isfahan dating from the Safavid period to the late Qajar period, and the cases examined were selected purposively using cluster and random sampling techniques. The study adopted a qualitative approach and was fundamental–applied in nature. Data were collected through library research and field investigations. Data collection instruments and procedures included the examination of historical documents and sources, direct observation, documentation of architectural and decorative examples, visual analysis, and semi-structured interviews. The collected data were examined using deductive and inductive approaches, qualitative interpretation, and comparative analysis of examples dating from the Safavid through the Qajar periods. The characteristics of the works were analyzed in terms of technique, color palette and tonal qualities, subject matter, spatial composition, and indications of influence from artistic schools and Western art. The findings indicate that Shir-o-Shekari painting has its roots in Iran’s longstanding traditions of decorative painting and that the formation of its distinctive identity and coherent structure was associated with the Safavid period and the flourishing of architecture-related arts in Isfahan. The results also demonstrate that approximately half of the historic houses examined contained architectural foundations and decorative elements dating to the Safavid period, which continued to evolve during the Qajar period. Furthermore, the hypothesis that the designation Shir-o-Shekari may be associated with brown unrefined sugar and textiles characterized by a cream-colored background with brown floral motifs is proposed; however, no direct historical evidence has yet been identified to conclusively substantiate this hypothesis.