Researching occult sciences has been ignored among historians. The present article has been specifically devoted to the second science of this complex, meaning “ Limiya” or the science of talismans, and has tried to identify and introduce various types of talismans and the scope of Iranian’ s belief in them during the QAJAR ERA through a descriptive-analytical method and while introducing the activists of this field, this research has tried to find out why people resort to talismans. The results of the present research indicate that talismans had political, medical, and social applications in different fields in this ERA and nobles and common people were no different when it came to believing in talismans and being attracted by them. Gypsies, the Sufi community, and the Jewish people were the most important activists of this field during the QAJAR ERA and they helped poor and despERAte people face their problems.

In order to peruse the political and social role of women in QAJAR family, studying the haramsara, the inside complex women lived in, separated from other parts of the palace, of this ERA is very much important. The situation of haramsaras in QAJAR ERA and its political- social outputs demands the deep thinking in their nature to explain the political structure of QAJAR government. Some subjects in the realm of haramsara functions, however, are more significant such as the ways women entered into the kings' haramsaras, and under which circumstances they passed their lives as the rich women who were in wealthy and comfortable layers of society. Their social activities, training and successes in cultural arena are all significant concerns on QAJAR women. The most important point is to understand that how these women managed their responsibilities in the political context of the country particularly at the crossroads such as Tobacco Movement and Constitutional Movement, has serious affair. The findings show that the life of these haramsara women was not very different from the ordinary women of that epoch of Iran history and they also followed the traditional styles of life. It should be mentioned that they were in different positions comparing to men of that age. Also their progress in the socio - cultural fields had a suitable process, considering the variable conditions of QAJAR society. The political activities of these women were varying according to the personal and the family authority and also according to the will and the power of the kings.

The study of actions of social agents is a part of the social history of Iran that has seldom been studied in detail, while such study is capable of providing valuable information about lifestyle, gender culture, and every day actions of men and women. Thus, with the aim of producing local knowledge for gender and women studies, such investigation sociologically brings about systematic results. Regarding this, the present study focuses on researching documents and theoretical analysis of historical findings from the perspective of gender studies. Document analysis has been extensively employed as a research method for the current study. Over thirty published documents have been examined. Findings of the analysis demonstrate an inclination to superstitious as common beliefs in QAJAR ERA. Employing a functional approach and according to role status, findings of this study indicate a gender difference in upholding such belief. Such inclination in women were expressed in a vast array of acts related to infertility, giving birth, child care, affection, protection against imaginary beings and in men manifested in a range of different acts including improvement in subsistence level, higher yields of lands, abundance of well water and protection against dangers. Moreover, the gender differences among the performers of superstitious and how these beliefs were put into practice is of special note.

In this article, the emergence and development of concert in QAJAR ERA are studied; the period between Nassery (The king Nasserdin shah) ERA and QAJAR dynasty’s downfall. In this article we are going to introduce the background of one of the most important events in modern history of Iranian classical music that in addition to social aspects of music, has affected the performance of Iranian classical music. The methodology of this research is based on documentation and analysing the data. The structure of the paper is built on spatial important changes in which time priorities are considered. So, we divide the ERA into four periods; 1.acquaintance with the concert in the west and The Royal School of Iran by kings and dignitaries, 2.performance in Zahirodolle private gardens, 3.performance in public parks by different political parties, 4.performance in theater and cinema halls with various motivations. Iranian acquaintance with concert in the west and Iran caused emergence of the first concerts in our country. Anjomon Okhovat, social Sufi institution, played a very important role in conducting the orchestra and concerts. Along with these developments, Mashrouteh Movement encouraged parties to hold public concerts. Concerts organized by Constitutionalist in different cities, led to the development of this new phenomenon. Aref Qazvini, poet and musician, and Darvish Khan, musician, were pioneers in this way. Aref’s political Gazaliyat (lyric poems) and his Tasanif (popular songs) excited the public too much. The first private concerts were performed in new Grand Hotel and cinemas halls located in Tehran, Lalezar Street. People liked theater and performance, therefore they should be considered in concerts. Due to this important matter, Tasnif and Reng were paid attention. Creation Pishdaramad which was performed as an introductory, and made familiar the singer and audience with atmosphere of the music, was one of the achievement of concerts. Gradually, European concerts were introduced and concert organizers, Persian and western, increased. Concert was one of the important phenomena that could gradually move Iranian classical music from the royal or aristocratic circles to the social middle strata. Thus, a number of singers, instrumentalists and composers who were known among aristocrats only, little by little got popularity among ordinary people. Concerts could play a very important role in promotion of political opinions and tried to meet the important needs of the ERA. Concerts had a very important effect on the process of creation of musical works based on instrumental and vocal genres and could change the structures of these genres, too.Gradually, western classical music could find a proper position in Iranian society. Western concerts were a very good chance for Iranians to know their music. Co-executive intERActions between Iranian and western musicians (in different sequences) were noteworthy points of that period.

Shawl weaving and wool textile has the historical precedent in Kerman. Wool and shawl were the most important export goods of this city before QAJAR ERA. DuringQAJAR ERA, this industry had been notably developed and Kerman became the most important district for shawl weaving in Iran. The geographical situation of Kerman and surrounded areas had a major impact on the growth of this industry. In other words, Kerman was capable for producing wool and fluff with high quality. A number of shawl weavers, that approximately devoted two out of three of population of this city to themselves, arouse as a result of this industrial development. These weaver produced some protesting movements in the end of QAJAR ERA. This class encountered many challenges such as unsuitable conditions of life, deprivation of protective rules, lack of meeting and guild and also social gap of society in Kerman. Subsequently, these conditions forced weaver to protest against status directly and indirectly. At the end of this period, carpet weaving had been developed and substituted for shawl weaving. Therefore, this study aims to examine shawl weaving industry and the effects of economical, Social and political conditions on weavers in Kerman of QAJAR ERA based on descriptive analytical approach by employing local history resources of Kerman, travelogues and new studies.

There were two genERAl methods for making and production of traditional seals in QAJAR ERA.These methods were defined and designated according to the raw material of the seals i.e stone or metal. So the process of preceding engraving, ranging from the construction of the seals or appearance features should not be known as the methods of seal carving. These characteristics often associated with the professions which are related to the seal making or explains their roles in bureaucratic works. InQAJAR ERA, stone seals were often made of agate and metal seals were made of brass. However, the phases of seal making before carving, such as text writing, composition and «chap nevisi» were the same in both methods. The tools used for carving metal seals were very simple and delicate and the stone seals were usually engraved by a machine called “Aqiq-kan” agate- carver». Actually, QAJAR engravers, proficiency in exploiting of these simple tools and their knowledge of relating crafts to carving were quite decisive in making and presenting of high-grade seals in QAJAR ERA. In this paper, seal engraving styles in QAJAR period based on historical - description research and field collection methods, the intervertebral titles brass (steel) and seals agate (stone) have been analyzed.

The western music, unlike the western painting which began to influence the Iranian culture since the Safavid ERA, has only recently, at QAJAR period, introduced in Iran. In addition, its introduction was done in a totally indirect way through the modernization of the army by the prince Abbas Mirza, at the very beginning of the period in question. In fact, in order to complete this modernization, Abbas Mirza formed a western-style military band, and so, for the first time, the Iranians began to learn, in an official and formal way, a few tunes and also some instruments of western music. Yet, it was only at the time of Naser-ed-Din Shah that this contact with western music takes considERAble dimensions. At this time, a French officer, Alfred Jean-Baptiste Lemaire, enter Iran and began, under the order of the QAJAR sovereign, to form sevERAl military bands and to teach in a systematic way the western music at a prestigious school, Dar-ol-Fonun, where was taught all kind of scientific matters by mostly European teachers. Thus, after a timid appearance under the reign of two former kings, who probably had introduced very limited number of western instruments, the western music at the time of Naser-ed-Din Shah, began to spread in a radical way. Yet, it is important to know that not only in this time, but even throughout the QAJAR ERA, western music did not able to have a great influence on Iranian music and musical culture. It has been very different with the western painting which had influenced the Iranian aesthetics from the beginning of its appearance in Iran, in such a way that some great painters of the Safavid ERA adopted the western techniques very soon and created a new current of painting named "farangisâzi" (westernization) which combined these techniques with some elements of the traditional style. At the QAJAR ERA, this style reached its apogee, so that it totally abandoned the remaining traditional elements and traits, and adopted completely the western style. Western music at the QAJAR ERA not only did not replace the traditional music, but there is even no evidence, at this time, of a sort of musical hybridization comparable to the farangisâzi of the last Safavid painting. We can say only that it coexists with the traditional music as a "second music" of Iranian culture. Even when the Iranian musicians begin to prefer certain instruments of western music, like the piano, the violin, the clarinet and the flute, they normally use them for playing the Iranian music. For an important influence of western music on the musical aesthetics of the country and a radical conflict between the supporters of the tradition and those of modernity and westernized music one must wait until the Phalavi ERA. We cannot say, however, that the western music has had no influence on the Iranian culture at the QAJAR ERA, but we must seek this influence, not so much in the music itself but rather in the musical conceptions and behaviors.

QAJAR ERA is regarded as the beginning of many changes in Iran in this Period.Changes in political, social, cultural and economical dimensions encountering Western civilization took place. Political elites of the time were also in favour of economic changes.Amin Alzarb, as a pragmatic businessman, and theoreticians, like Talebof and Malkam, and critics such as Maragheie, and many others were among intellectuals of QAJAR period who prepared ideas relating to economy. Here, we study some of these ideas and their thinkers.

The present study aimed to answer the question that QAJAR government as a political system was an authoritarian government? This study deals with the outcomes of QAJAR Authoritarianism and the impact of effective historical-geographical conditions of Iran on emergence or continuance of Authoritarianism.Authoritarianism in this study is not a one-dimensional structure and it is composed of some elements as imposing violence, illegitimate governance and illegal issues. This study is document-historical design and all the existing documents regarding study are study population. The present study is one of the applied studies in which the data are collected as note taking and the data are analyzed by qualitative method. The evaluation of factors in Authoritarianism of the study shows that QAJAR ERA was Authoritarianism not totalitarian with negative economic, political and social outcomes for the society on that ERA and for future genERAtion. Based on the results of study, we can say that these policies caused the collapse of this regime. This study showed that by review of history, without any bias and prejudice of a specific movement, based on social sciences theories, we can identify the reasons of occurrence of phenomenon and avoid its repetition in future (experiencing).

Background and Aim: Malaria is a disease caused by single-celled microorganisms of Plasmodium group and is transmitted to humans by a female Anopheles mosquito. Malaria was a disease native to Iran and accounted for 30-40% of annual casualties. The disease had spread to Khorasan, Mazandaran, and Kerman in a dispersed manner. Fars region which is located in the southern Iran is an area that is not addressed well enough on this matter. Geographical spread of malaria began from Shiraz, as the weather in Shiraz was hot and infected in the summer, causing a variety of diseases such as malaria that used to be rampant in this city. Other parts of Fars where malaria was most prevalent included a vast area from lands in the northern Fars, where dates grew, to the shores of the Persian Gulf, and this disease was more prevalent in the southern parts, especially in Bandar Bushehr [Bushehr Port]. There were many diseasecarrying insects in Lar and Larestan. Materials and Methods: This historical research is carried out as a desk study and studies malaria in Fars during QAJAR ERA with a histographic perspective through a narrative method, which is specific to natural sciences. Findings: Malaria was one of the most common diseases in Fars province during the QAJAR period and caused many casualties. In this article, various aspects of this disease are examined with the help of historical sources, newspapers and documents. Ethical ConsidERAtions: The Ethical Committee of Department of History, Faculty of LitERAture and Humanities, Dr. Ali Shariati of Ferdowsi University approved the study. Conclusion: This paper addresses malaria in Fars during QAJAR ERA (1789-1925). It initially emphasizes on pathological importance of malaria history in Iran and then analyzes the role of malaria outbreak as a factor causing human casualties in the southern Iran and Fars.