Distribution and Spatial Position of Shir-o-Shekari Painting in the Historical Houses of Isfahan from the Safavid to the End of the Qajar Period

Fani, Mahila Al-Sadaat; Khamseh, Hayedeh; Kolbadinejad, Maryam

doi:10.22034/ijumes.2026.2105479.1404

Distribution and Spatial Position of Shir-o-Shekari Painting in the Historical Houses of Isfahan from the Safavid to the End of the Qajar Period

Document Type : Case Study

Authors

Mahila Al-Sadaat Fani ¹

Hayedeh Khamseh ²

Maryam Kolbadinejad ³

¹ Ph.D. Student, Department of History and Archaeology, SR.C., Islamic Azad University, Tehran, Iran

² Associate Professor, Department of History and Archaeology, SR.C., Islamic Azad University, Tehran, Iran

³ Assistant Professor, Department of History and Archaeology, CT.C., Islamic Azad University, Tehran, Iran

10.22034/ijumes.2026.2105479.1404

Abstract

Historical houses are among the most telling expressions of a society’s material and social culture, and their decorative systems carry meaning beyond mere ornament. Among the lesser-known decorative arts of the historical houses of Isfahan is the painting known as “Shir-o-Shekari.” This study aims to identify and analyse the prevalence, spatial distribution and application position of Shir-o-Shekari painting in the historical houses of Isfahan from the Safavid to the end of the Qajar period. The study adopts a qualitative approach and is fundamental–applied in purpose and historical, descriptive–analytical in method. Using purposive, criterion-based sampling, 38 historical houses containing studiable examples of Shir-o-Shekari painting were selected from different historical quarters of Isfahan. Shir-o-Shekari painting was not applied randomly; its placement was related to the spatial hierarchy and to the importance of the prominent parts of the house. The shah-neshin and the central hall in which the painting was present in all 38 houses (100%) were the most frequent locations, followed by the corner (gushvar) rooms (47%), corridors (39%) and iwans (39%). The art most frequently co-occurred with line-work (97%), plasterwork (89%), coloured glass (87%) and painting on plaster (82%), and was usually executed with pen-work and shading (92%). The results show application position of Shir-o-Shekari painting was linked to the function, spatial position and importance of the parts of the house, and the art was used to place visual emphasis on prominent spaces and to enhance their aesthetic quality.

Graphical Abstract

Distribution and Spatial Position of Shir-o-Shekari Painting in the Historical Houses of Isfahan from the Safavid to the End of the Qajar Period

Highlights

· The study maps, for the first time in an integrated way, the prevalence and spatial position of Shir-o-Shekari painting across 38 historical houses of Isfahan from the Safavid to the end of the Qajar period.

· Shir-o-Shekari painting was not applied randomly: its placement follows the spatial hierarchy and the social-ceremonial importance of the parts of the house.

· The shah-neshin and central hall (talar) contain Shir-o-Shekari in all 38 houses (100%), followed by corner rooms (47%), corridors (39%) and iwans (39%).

· The art belongs to a multi-layer decorative system, most often co-occurring with line-work (97%), plasterwork (89%) and coloured glass (87%), and executed with pen-work and shading (92%).

· Most owners belonged to affluent, influential classes, so the richness and placement of Shir-o-Shekari also express the social standing and economic power of the households.

Keywords

Architectural decoration

historical houses

Isfahan

Qajar era

Safavid era

Shir-o-Shekari painting

· Abdizadeh, S., Nasiri, H., & Ahmadnejad, F. (2024). Evaluation of the effects of the porch in the traditional houses of Tabriz on the amount of daylight-factor changes (case study: Behnam, Ghadaki and Ganjeizadeh houses). Contemporary Iranian Architecture and Urbanism Journal, 9(1), 91–108. https://doi.org/10.61186/ciauj.9.1.91

· Auerbach, C. F., & Silverstein, L. B. (2003). Qualitative data: An introduction to coding and analysis. New York University Press.

· Babaie, S. (2008). Isfahan and its palaces: Statecraft, Shi’ism and the architecture of conviviality in early modern Iran. Edinburgh University Press. https://www.jstor.org/stable/10.3366/j.ctvxcrfqs

· Chel, A., Tiwari, G. N., & Chandra, A. (2009). A model for estimation of daylight factor for skylight: an experimental validation using pyramid shape skylight over vault roof mud-house in New Delhi (India). Applied Energy, 86(11), 2507-2519.‏ DOI:10.1016/j.apenergy.2009.03.004

· Es’haghian, A. (2017). A comparative study of the plasterwork and mural decorations of the historical houses of Isfahan (case study: The Sheikh-al-Islam and Akhavan Haghighi houses) [Master’s thesis, Ardakan University of Science and Art]. [In Persian]

· Flick, U. (2018). An introduction to qualitative research (6th ed.). SAGE Publications. https://books.google.com/books/about/An_Introduction_to_Qualitative_Research.html?id=P7ZkDwAAQBAJ

· Ghasemi-Sichani, M., & Sartipzadeh, L. (2016). A review of the architecture of the historical houses of Isfahan. Isfahan Municipality Cultural and Recreational Organization. [In Persian]

· Gruber, C. (2009). The Prophet Muḥammad’s ascension: Cross-cultural encounters with the Islamic miʿrāj. Indiana University Press.

· Haeri-Mazandarani, M. R. (2009). Home, culture, nature: A study of the architecture of historical and contemporary houses to develop the process and criteria of house design. Urban Planning and Architecture Research Center of Iran. [In Persian]

· Hafeznia, M. R. (2016). An introduction to research methodology in the humanities (22nd ed.). SAMT. [In Persian]

· Hariri, A. (2021). Explaining the supra-physical aspects of residential heritage with an approach to completing the conservation strategies of the historical houses of Isfahan [Doctoral dissertation, Art University of Isfahan]. [In Persian]

· Hashemi, F. (2011). A study of the cultural factors and design patterns of the traditional houses of Isfahan in the Qajar period (case study: The Vasigh-Ansari house). [In Persian]

· Hillenbrand, R. (1986). Art in Iran ix: Safavid to Qajar periods. In E. Yarshater (Ed.), Encyclopaedia Iranica. Routledge & Kegan Paul. https://www.iranicaonline.org/articles/art-iran-index/?generate_pdf=1

· Li, D. H. (2010). A review of daylight illuminance determinations and energy implications. Applied Energy, 87(7), 2109-2118.‏ DOI:10.1016/j.apenergy.2010.03.004

· Malakouti, F. (2021). A formal study of the decorations of the wall fireplaces of the Safavid and Qajar houses of Isfahan [Master’s thesis, Sepehr University]. [In Persian]

· Maxwell, J. A. (2013). Qualitative research design: An interactive approach (3rd ed.). SAGE Publications. https://books.google.com/books/about/Qualitative_Research_Design_An_Interacti.html?id=DFZc28cayiUC

· Mohammadpour, A. (2011). Qualitative research method: Anti-method: Practical stages and procedures in qualitative methodology (Vol. 2). Jameshenasan. [In Persian]

· Nabil, A., & Mardaljevic, J. (2005). Useful daylight illuminance: a new paradigm for assessing daylight in buildings. Lighting Research & Technology, 37(1), 41-57.‏ DOI:10.1191/1365782805li128oa

· Nejadebrahimi, A., Heidari Babakamal, Y., Sattari Sarbangholi, H., & Farrokhi, S. (2022). A typological study of architectural ornaments in the columned iwans of the Qajar houses of Tabriz. Bagh-e Nazar. [In Persian]

· Tsikra, P., & Andreou, E. (2017). Investigation of the energy saving potential in existing school buildings in Greece. The role of shading and daylight strategies in visual comfort and energy saving. Procedia environmental sciences, 38, 204-211.‏ DOI:10.1016/j.proenv.2017.03.107

· Vaisi, S., & Kharvari, F. (2019). Evaluation of Daylight regulations in buildings using daylight factor analysis method by radiance. Energy for Sustainable Development, 49, 100-108.‏ DOI:10.1016/j.esd.2019.02.002