تحلیل‌انتقادی‌گفتمان ‌سیاست‌دینی ‌فرهنگ‌مردمی ‌قاجار و انعکاس آن در کاشی‌‍‌‌‌نگاره‌های‌ دینی تکیه‌معاون‌الملک با تکیه بر آراء نورمن فرکلاف

Religion has had a significant impact on Qajar's cultural sphere, influencing social structure, cultural discourse, and ideological policies. The primary outcome of this theoretical-political framework is to validate the culture of everyday life, establish the notion of bio-social, cultural representation, and daily activities, and structure cognitive processes and cultural conduct. This research examines the theological nature of the tile paintings of Mo’aven-ol- Molk Tekyeh and their emphasis on the teachings of Shiism, particularly the principle of velayat al-faqih. The focus is on Shiite narrative tile paintings as a form of discourse, specifically within the context of theo-politics. Cultural policy is a combination of actions, values, norms and principles that are adopted in a thoughtful way to guide and monitor cultural actions in a specific society by the agents of the society. Scholars, as religious agents, promoted a kind of religious cultural policy in the popular culture in order to set an example. The goal of the cultural policy of scholars for the Qajar bio-culture is to set a cultural pattern. One of the dimensions of these cultural policies is the religious policies of the popular culture, which is the type of this popular culture policy and its direction is religious. The critical analysis of religious politics for the Qajar folk culture and its effect on the tile painting of Mo’aven-ol- Molk Tekyeh is the most important issue of this research. This analysis deals with a discourse situation. It is called a discourse because both the religious politics of the popular culture and the popular culture found in the tiles in terms of nature and social mechanism, find a social orientation and form, which is a special kind of cultural discourse. aims: An examination of the relationship between theo-politics and popular culture in the tile paintings of Mo’aven-ol- Molk Tekyeh, with an emphasis on comprehending the language of theo-politics and the role of popular culture in these artworks. question:1. How does the theo-political character replicate the Qajar popular culture in the tile paintings of Mo’aven-ol- Molk Tekyeh? 2. What are the primary discursive politics in the narrative tile paintings of Mo’aven-ol- Molk Tekyeh, as seen in the theo-policies of Qajar pop-culture? The analytical descriptive method relies on the rigorous examination and interpretation of data via critical content analysis. The instruments used for acquiring data include note-taking, observation, and a new search tool. The study community comprises 25 tile paintings with a religious motif that are associated with Mo’aven-ol- Molk Tekyeh. These paintings were deliberately chosen to effectively address the research issues. These paintings were deliberately chosen to effectively address the research issues. The information analysis technique relies on critical discourse analysis and is grounded on Fairclough's three-dimensional perspectives. importance and necessity: To fully understand the relationship between religious discourse and popular culture in Iran during the Qajar era, it is important to examine the impact of planned interventions on the organized guidance of this religious discourse. result: This study necessitated the creation of socio-linguistic interpretative tools based on Fairclough's theory. Additionally, it derived advantages from Fairclough's theoretical framework and her practical instructions, which enabled the identification of the inherent inconsistencies within the text. The study findings indicate that the popular culture has religious policies that may be seen from two different angles. Initially, he replicated the cultural practice of reproducing religious actions on the tiles, along with the strategy responsible for overseeing this practice. This historical phenomenon is still evident in the opinions of scholars depicted in the tile paintings of Mo’aven-ol- Molk Tekyeh. The theo-policies of the constitutional period have been replicated as a means of expressing identity and cultural opposition. It has manifested as visual cultural discourse. The cultural discourses found in Mo’aven-ol- Molk Tekyeh serve as a prominent form of popular media. The religious tile paintings of Mo’aven-ol- Molk Tekyeh possess a social element as they serve as a visual cultural discourse. This includes totalism, with a focus on the authority of intellectuals as religious actors, jurisprudential fundamentalism, and theological orientation. This cultural discourse is rooted in the prevalent social and legal policies that focus on the dissemination of religious teachings and speeches among the Iranian people. It is also characterized by a strong emphasis on the construction of religious identity, particularly within the Shia cultural framework, through practices such as mourning and commemorating the imams, as well as recognizing the influential role of religious scholars over popular culture. Additionally, this discourse is associated with cultural resistance. Opponents of Western discourse have identified a niche inside society where traits influenced by the West are being reproduced and integrated into the structured structure of plants. This trend is characterized by an increasing emphasis on religious themes in popular culture and the inclusion of prominent activists who emphasized the academicians of the constitutional period in tile paintings with political significance.