خلاصة:
From the perspective of Iranian art, myth and epic are considered two foundations of Iranian identity. The present article addresses how the three components of religion, myth, and epic play a role in the formation of the indigenous identity of Mazandaran, and its aim is to examine the extent of the people of Mazandaran's inclination towards these three identity-making elements. Since visual arts and pictorial texts are important identity-making elements, the decorative motifs of Saqanfar buildings have been considered for case studies. Most of these religious buildings, which were ritualistic and historical monuments, were built during the Qajar era, and the decorations of these buildings were related to the culture and indigenous identity of the region. Given the characteristics of Qajar art, by integrating the three elements of religion, myth, and epic in the motifs of Saqanfars, they demonstrate the renewal of Iran's greatness before Islam and also the religious identity after Islam. The causal variables, which are the main variables, include the components of religion, myth, and epic. The descriptive variables of the research are various motifs that include two large groups, religious and non-religious, depicting religious, epic, and national narratives. The present article seeks to answer this fundamental question: why and how has the creation of these artworks played a role in the formation of Iranian identity? The hypothesis of the article is that myth, religion, and epic, with their religious and social functions, have played an important role in the formation of Iranian identity and have contributed to preserving and strengthening the cohesion of the people of this region from past eras to the present.
ملخص الجهاز:
Images with diverse themes in the corbels of Shiyadeh and Kordkola (Source: Author) (Refer to the page image) The Afterlife\1-Retribution in Hell\2-Torment of Hell\3-Sinful Deeds Imams and Great Figures\4-Tent Site\5-Hazrat Ali Akbar\6-Hazrat Abu al-Fadl Religious\7-Geometric Patterns\8-Knotting\9-Calligraphy Angels\01-Angel of Rain\11-Scales of Justice\21-Bestowing Rewards Mythological\41-Gavezar's Mace\51-Zahhak the Serpent-like\61-Battle of Rostam and the Demon Lion and Sun\71-Constellations\81-Lady Sun\91-Lion and Sun -Kazazi, Jalal al-Din (0731); Mazahaye Raz, Essays on the Shahnameh, Tehran: Markaz Publications.
By examining these motifs, their connection to ancient Iranian myths and stories has been discovered, and then, with the passage of time, we observe the re-manifestation of these myths in the precise poems of Daqiqi and Ferdowsi and in visual arts such as coffeehouse paintings and Saqatalar paintings.
Conclusion After the Qajar dynasty, Iranian nationality was interpreted and defined in another way, finding meaning in the light of the culture and civilization of ancient Iran, and thus national identity was intertwined with archaism and a return to pre-Islamic history.
Borkhart Islamic Period Motifs Motifs of the Imams (Images 4-6): In the paintings of the Saghankhars, the faces of the infallible, the holy, and religious figures always bear similarities to the epic and mythological figures of the Iranian land, which is one of the characteristics of folk art.
Given the characteristics of Qajar art, through the fusion of the three elements of religion, myth, and epic in the motifs of Saqanfars, they demonstrate the renewal of Iran's greatness before Islam and also the religious identity after Islam.
(
, 
, 
)
