The Reflection of Folk Literature in Qajar Wall Paintings: Case Study of the Story of Nush-Afarin Gohar-Taj in the Mehdi-Qoli-Beyk Bathhouse, Mashhad

The wall paintings of Qajar-era bathhouses, beyond their decorative function, reflect cultural beliefs and aspects of folk literature. By connecting everyday life with myth, these images play a significant role in shaping collective identity. A prominent example is the scene of Nush-Afarin and Prince Ebrahim on the ceiling of the Mehdi-Qoli-Beyk Bathhouse in Mashhad. The present study aims to examine how the narrative of Nush-Afarin is represented in this wall painting and to analyze its relationship with the imaginary pictorial tradition of the Qajar period. The main research question is how the artist, by employing elements of imaginary pictorial art, visualizes and reconstructs the narrative, linking it with the cultural and symbolic layers of Qajar society. Findings, based on a descriptive-analytical method combining field observation and documentary research, indicate that this wall painting, in addition to narrating the story of Nush-Afarin, conveys deeper layers of culture, collective imagination, and the value system of Qajar society. The artist organizes the narrative so that each visual element serves to convey the story’s meaning. The presence of the demon figure and the legendary Rukh bird, among other symbols, creates a visual language that is easily understood by the general public. In this wall painting, imagery deliberately avoids realism and employs techniques such as the visual duality of good and evil, simultaneous depiction of scenes, circular composition, hero exaggeration, and symbolic language, highlighting the moral-educational function of the image and its conscious advocacy for the power of good.