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The period between the rise to power of Nader Shah Afshar and the reign of Nasser al-Din Shah Qajar should be considered a turning point in the painting of flowers and birds in Iran.  During this period, painting flowers and birds in "Muraqqat"(album), Lacquer works and architecture became a popular genre.  In Muraqqat, single flower, in lacquer works a florilegium, and in architectural decorations, flowers and vases, «afshan» and spirals were used.  During this tumultuous period, artists were forced to relocate state painting traditions.  Studies show that the difference between the structure of flower and bird painting in the cities of Shiraz and Isfahan cannot be recognized, or it is not so noticeable that they were given two different styles.  Slight differences are sometimes seen between the works, such as birds with steretched body and heads in Shiraz and birds with large eyes in Isfahan during the Qajar period can be seen.  But these methods in design, composition and "pardaz"; they were quickly shared by top artists in the states who collaborated at the court, and the patterns were usually the same in composition in Shiraz, Isfahan, and Tehran.  The purpose of this study is to visually study the paintings of flowers and birds of Zand-Qajar period to answer questions such as: Technical and visual characteristics of flowers and birds of Zand-Qajar period in lacquer works, muraqqa's and architectural decorations?  What are the factors influencing the painting of flowers and birds in the Zand-Qajar period?  Let's answer.  For several decades, Mirza Mehdi Khan Astarabadi "muraqqa" the paintings of the Safavid period of Iran or the Gurkani of India, which often had floral and bird themes, and left the flower arrangement to Ali Ashraf and his students.  These works influenced artists such as Ali Ashraf and students who inherited Safavid painting traditions due to the relationship between teacher and student (Safavied School).  Ashraf and his disciples probably used the "gardeh"(copy paper) of Qalamdan to floral design of the "muraqqat" that had been looted from India.  A noteworthy thing about the "raqam" (Signature) is that the artists attached their names to their master as long as they worked in his workshop and had their raqam after artistic independence.  In addition to the royal muraqqa's, there are monochromatic watercolor "roqe" that work faster and don't have pardaz.  Pardaz are different from muraqqa's and Lacquer work.  Probably the pardaz in the lacquer works were large and rounded so that they would not lose color or the texture of the flower after the lacquer was applied.  In Lacquer works, the combination of Gulshans (Floriogium) is seen in three circular methods with an indefinite and circular growth section, a dense indefinite growth section and a definite growth section.  The desire of kings and artists for antiquity and the arrival of European works led to the emergence of eclectic elements such as angels, "Gulfarang"(European Rose). In this combination is a method of research, descriptive, analytical and reputable sites are done.

Keywords: Zandiyeh, Qajariyeh, Muraqqa, Gulshan, Lacquer

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