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Abstract The Qajar dynasty was a time of civil wars as well as the wars against Russia, meanwhile, Qajarid Shahs, understanding the power of sublime art both in internal and external political relations, tried to expand and renew the style of the mural decorations which is the issue of this article. Increasing the relations with European countries like England and France, Fath Ali Shah and his court were influenced by European diplomacy, culture and art. Also they were deeply inspired by pre-Islamic royal and artistic concepts and styles. Early Qajarid murals were the obvious return to tradition this study tries to identify the sources and socio-political reasons that lead to this movement. In the other hand, realizing the function of the mural decoration and political determination of the king and his court in early Qajarid period, which moved away from the common Zand theme and function (the Persian former dynasty) and followed the imperial art of the Achaemenid and Sasanid eras, can explain their formation of historical compositions and majesty of their artworks. By the seventeenth century, as a result of extended contacts with Europe the unfamiliar tradition of painting in oil on canvas was gaining currency among Persian artists. Although the medium was borrowed from European painting, the style remained largely indigenous. The influence of imperial Sassanian and Achaemenid themes also appeared on the carved figural reliefs. Mural decoration and art were led to serve political affairs in order to legitimise the Qajar dynasty.

Keywords: Mural Arts, Architectural Decorations, Oil Peinting, Iran, Qajar Dynasty, Agha Muhammad Khan, Fath Ali Shah

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