A Reflection on the Components of the Hall of Mirrors Painting by Mohammad Ghaffari, the Point of Transition between Iranian Painting and European Painting in the Qajar Period.

Statement of the problem: Mirza Mohammad Ghafari nicknamed Kamal al-Mulk; Apart from the aspect of artistic influence; He is one of the main historical figures of Iran's art and painting in recent times. The first important aspect of the Hall of Mirror painting is the signature of the artist named Kamal al-Mulk, the transition point of Iranian to European painting in the period of Naser al-Din Shah Qajar, and the last court commissioned work of the Qajar period. This painting, in terms of artistic style, created a suitable background for examining the changes and developments of painting from the Qajar period until the present. The questions of this research: What visual evolution in the structure of Mohammad Ghaffari's Hall of Mirrors distinguishes it from his other works in this period? How did the artist represent himself in the work and what is the reading of the artist himself and his signature in the work?
The purpose of this research is to find out the structural components of this work as a point of transition between Iranian painting and European painting in the Qajar period and its visual characteristics, and to read the image of the artist in the painting and examine his signature with the title of Kamal al-Malki.
Research method: In this descriptive-analytical research, using library resources and examining a sample of a museum in Golestan Palace. The method of analysis of the work is based on the examination of the principles of artistic rules in the Nasser period.
Findings: This research shows that the Hall of Mirrors panel was influenced by European painting in terms of shape and decoration and was painted before Mohammad Ghaffari's trip to Europe and was approved by Naseruddin Shah Qajar and was the last commissioned work by the Shah.