دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 06 22 Visual and Semiotic Analysis of Non-Narrative Motifs in the Wall Murals of Qajar Houses in Amol تحلیل بصری و معنایی نقوش غیر روایت‌محور در دیوارنگاره‌های خانه‌های تاریخی شهر آمل در دورۀ قاجار 251 295 4936 10.22070/negareh.2025.20170.3514 FA ثمره رضائی دانشجوی دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنر، دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. 0000-0003-2943-4921 محمدرضا شریف زاده استاد، دانشکده هنر، دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. 0000-0002-8965-9287 کاوه بذرافکن استادیار، دانشکده معماری، دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. 0000-0002-5106-3699 Journal Article 2025 02 24 Introduction: The wall murals of Qajar-era houses in Amol reflect the complex artistic and cultural interactions of the period and represent a distinctive combination of floral, animal, and geometric elements that together form a coherent visual system within architectural decoration. Owing to East–West cultural exchanges during the Qajar period, Iranian art and architecture underwent significant developments in both style and decorative expression. Nevertheless, most existing studies have focused on narrative and symbolic motifs associated with religious or mythological themes, while comparatively little attention has been paid to non-narrative motifs despite their important role in shaping the visual identity of architecture in northern Iran. Examining these motifs provides an opportunity to better understand the aesthetic values, cultural meanings, and decorative traditions embedded in Qajar architectural ornamentation. Purposes & Questions: This study aims to identify the dominant themes present in the wall murals of Qajar houses in Amol and to analyze the symbolic meanings of non-narrative motifs, particularly floral, animal, and geometric forms, within the context of local beliefs and aesthetic traditions. The research addresses the following questions: (1) What thematic elements are represented in the wall murals of these historical houses? (2) What symbolic meanings are conveyed through the geometric, floral, and animal motifs employed in these architectural decorations? Methods: This research adopts a qualitative approach based on a descriptive-analytical method. Data were collected through library research, field observation, photographic documentation, and semi-structured interviews with local residents and specialists familiar with the region’s architectural heritage. The research population consisted of thirteen Qajar-era houses in Amol identified through field surveys. Among these, eight houses were selected through purposive sampling based on their state of preservation, structural integrity, and accessibility for documentation. The study focuses specifically on non-narrative motifs that could be clearly observed and systematically analyzed. Data were examined through a semiotic approach emphasizing both the visual structure and symbolic content of the motifs. The visual elements identified in the murals were classified into five categories: floral, animal, geometric, human, and symbolic. The present study concentrates exclusively on floral, animal, and geometric forms, while human and symbolic motifs were excluded because of their stronger association with religious, mythological, and narrative contexts. By focusing on non-narrative motifs, the research seeks to contribute to a more comprehensive understanding of the decorative vocabulary of Qajar architecture in northern Iran and to provide insights relevant to the preservation of architectural heritage. Findings & Results: The findings reveal that non-narrative motifs constitute an important component of the visual language of Qajar domestic architecture in Amol. Although often regarded as purely decorative elements, these motifs carry symbolic meanings closely connected to local cultural values and aesthetic perceptions. Within the animal category, the peacock appears as a symbol of protection against evil, the dove represents blessing and auspiciousness, the rabbit is associated with intelligence and victory, and the shaneh-be-sar (a mythical bird in Iranian folklore) functions as a metaphor for the ideal or perfected human being. Certain animal motifs, such as the deer and lion, were excluded from the analysis because they appeared only within narrative scenes, including hunting compositions and symbolic human–animal interactions, rather than as independent decorative motifs. Among floral motifs, the cypress tree symbolizes immortality and the concept of the Tree of Life, while vase compositions contribute to visual rhythm, decorative balance, and compositional harmony across architectural surfaces. Geometric motifs also play a significant role in organizing visual space. In particular, the shamseh (sunburst) motif emerges as one of the most prominent decorative elements, symbolizing order, energy, movement, and harmony within the architectural environment. The analysis demonstrates that these motifs perform functions that extend beyond ornamentation. Through their symbolic associations and visual organization, they contribute to the formation of cultural identity and reinforce the aesthetic character of architectural space. The findings further indicate that local craftsmen responded creatively to religious beliefs, environmental conditions, and social influences by incorporating culturally meaningful motifs into architectural decoration. As a result, the wall murals of Qajar houses in Amol should be understood not only as decorative programs but also as visual expressions of cultural memory and collective values. Overall, the study highlights the close relationship between artistic motifs and cultural meanings in Qajar-era architecture. The examined non-narrative motifs, despite their apparent simplicity, reveal complex layers of symbolism and play an important role in shaping the visual identity of traditional architecture in northern Iran. Understanding these motifs contributes to a deeper appreciation of Qajar aesthetics and provides a valuable basis for the preservation and continuity of cultural heritage. مقدمه: دیوارنگاره‌های خانه‌های قاجاری آمل بازتابی از تعاملات پیچیده هنری و فرهنگی این دوره‌اند که در آن، تلفیقی از نقوش گیاهی، حیوانی و هندسی به چشم می‌خورد. تعاملات فرهنگی شرق و غرب در دورۀ قاجار موجب تحول و نوآوری در هنر و معماری ایران شد و زمینه را برای شکل‌گیری زبان بصری جدیدی در تزئینات معماری فراهم کرد. اهداف و سؤال‌ها: این پژوهش باهدف شناسایی مضامین دیوارنگاره‌های خانه‌های قاجاری آمل و بررسی معانی نقوش غیر روایت‌محور انجام‌شده است. پرسش‌های اصلی عبارت‌اند از: ۱. چه مضامینی در این دیوارنگاره‌ها وجود دارد؟ ۲. نقوش گیاهی، حیوانی و هندسی چه مفاهیم معنایی را منتقل می‌کنند؟ روش‌ها: روش پژوهش توصیفی–تحلیلی بوده و داده‌ها از طریق مطالعات کتابخانه‌ای، مشاهدۀ میدانی، عکاسی و مصاحبه با بومیان منطقه گردآوری شده‌اند. نمونه‌ها با توجه به معیارهایی مانند سلامت ساختاری و امکان مستندسازی انتخاب‌شده و تحلیل نقوش بر اساس رویکرد نمادشناسی انجام‌گرفته است. یافته‌ها و نتایج: یافته‌ها نشان می‌دهد که دیوارنگاره‌های این خانه‌ها در پنج دستۀ گیاهی، حیوانی، هندسی، انسانی و نمادین قابل طبقه‌بندی‌اند. بااین‌حال، تمرکز پژوهش بر نقوش غیر روایت‌محور (گیاهی، حیوانی و هندسی) است. در نقوش حیوانی، طاووس نماد حفاظت، کبوتر نماد برکت، خرگوش نماد درایت و پیروزی و شانه‌به‌سر نماد انسان کامل است. در نقوش گیاهی، درخت سرو نماد درخت زندگی و نقوش گلدانی عناصر ایجادکنندۀ تعادل بصری‌اند. همچنین شمسه تنها نقش هندسی برجسته در این آثار است که مفاهیمی چون هماهنگی، انرژی و پویایی را بازنمایی می‌کند. درمجموع، این نقوش بازتابی از پیوند عمیق باورهای فرهنگی با تزئینات معماری دورۀ قاجار هستند و مطالعۀ آن‌ها می‌تواند در شناخت بهتر هویت بصری و حفاظت از میراث معماری منطقه مؤثر باشد.

https://negareh.shahed.ac.ir/article_4936_64a7157cf3932bf74755aa3cf586f2ec.pdf