مطالعه تطبیقی شیوه‌ کاشی‌نگاری و کاشی‌سازی توسط مشهدی یوسف و محمد پور یوسف در دو حمام حاجی و گلزار رشت

 
Bath has a high status among Islamic buildings, especially in Iran. Iranians, who have been familiar with the category of baths for a long time, gradually became very skilled in making it. During the Qajar period, the construction of baths continues and is associated with the art of tiling. The art of tiling and its connection with a place such as a bath flourished during the reign of Nasser al-Din Shah. As the art of Iranian tiling and painting on tiles has always been praised among other countries and this art went through a certain evolutionary path during the Qajar period. The distinguishing feature of this period from the previous period is the use of monographs in a tile frame and the use of single figures such as the works of modernist artists in a picture frame. As can be seen in the surviving works, this art was used in many cities of Iran. The practical aspect of the art of tiling caused this art to be used more and more among different buildings. Tiling established a connection with different classes of society. Kings and lower classes of society also benefited from such art in many different ways. The highest quality aspect of this art is its decorative and covering aspect. Kings have used this art a lot in their palaces and other people in mosques and baths. In Gilan, the art of tiling has a long history, but it can be said that despite the presence of artists such as Mashhadi Yousef, the tiler, this art once shone in Rasht during the Qajar period. Among the various buildings in Gilan, what connected the art of tiling to the building was the existence of a bathroom. The two bathrooms were severely damaged and only their entrances remain. Haji Bath is one of the oldest tiled baths in Rasht. This bathroom, which has a picture of the battle of Rostam and the White Demon on the upper part of its main view, is connected to other pictures in the building at the same time. Other images painted in this building are hunting scenes, flower and landscape decorations and also an angel. The year of construction of this bath dates back to 1308 AH. In front of this bath is another tiled bath entitled Golzar Bath. Golzar bath is one of the last and most important baths in Gilan during the Qajar period. This bath is located in the old neighborhood of Rasht and only the entrance part of it has remained intact. Contrary to popular belief, this building was not the order of the king, but its founders were involved in its construction. The name of its architect is Taqi and the builder of its tiles is Mohammadpour Yousef. The artist is the son of Mashhadi Yousef Kashi, who painted the Haji bath in the Saghrisazan neighborhood of Rasht about twenty-six years before the Golzar bath was built. What forms the basis of this research is to find the commonalities and differences between two artists and two bathrooms. Mohammadpour Yousef (son) versus Mashhadi Yousef (father) method of work informs about the evolutionary process and the new approach of tiling and tile making in Rasht. If Mashhadi Yousef is considered the founder of tile art in Rasht, his son should be considered as a modernist artist in tiling and tiling. Because with the passage of time and the correct understanding of the development of tile art and the use of different themes and tools, the art of tiling in Rasht underwent a fundamental change. A fundamental change in terms of appearance and structure, as well as the use of photography as a new tool in the field of content, was able to transform tiling and tiling in Rasht. The use of embossing in tiles and advertising in order to rule the time, are other features added to the art of tiling in Golzar bathroom. This is while in the Haji bath, using the hunting scene to propagate the power of the Sassanid Empire and their power to promote the Qajar power, but in the Golzar bath, the direct use of the Shah (Ahmad Shah) and attributing this king to the kings has been Kiani was connected to the ancient kings by transferring the understanding of power from Qajar. In addition to political thought and the use of tile art to express political power, this art must be multimedia art. In other words, the high capability of this art in a collection such as a bathroom can be realized as a decorative, covering, political, social and cultural importance. In other words, the results show that the continuation and qualitative expansion of tiling and tiling has occurred in Rasht. Although Mashhadi Yousef has skillfully painted Haji Hammam and laid the foundation of tile making and tiling in Rasht, but after twenty-six years, his son, Mohammad, achieved the promotion of tiling and tiling and promoted the art of tiling in Rasht.