reihaneh ghasemabadi; Hossein Ahmadi
Murals of Shia’s history from the late Safavid period and its culmination from the Qajar period onwards as the historical religious culture of the public in religious historical ...
Murals of Shia’s history from the late Safavid period and its culmination from the Qajar period onwards as the historical religious culture of the public in religious historical sites to this day by continuity of use, cause the emergence of a special attitude to the outstanding features of these paintings and the expectations of their general audience in the restoration. The majority of the murals of such buildings were based on Shiite religion traditions. Overall, the combination of a number of factors namely the significance of the values that have made a connection with the target audience of the heritages in use and the focus on their perception in the last decades, led to this study to pursue this goal to investigate the effects of the characteristics of folk-art paintings in Iran and the needs of their audiences, on their perception of the narrative during the reconstruction. This research has been done due to the development of value-based approaches in the restoration’s contemporary theory at the international level and the importance of the sociological issue of audiences, and the lack of academic research in this field in Iran. This article used purposeful and semi-structured interview techniques with 13 experts and library studies in a qualitative method and performed the analysis with the Colaizzi phenomenological approach by categorizing the interviews. The findings led to the achievement of 6 auxiliary categories and 11 subcategories, that auxiliary categories as factors affecting the reconstruction of the loss of religious-narrative folk murals based on value preference and the expectations of their general audience are:1)the place of special values of folk-art paintings of Shia’s history, 2)factors affecting the perception of public audiences 3)factors affecting the mental retelling of public audiences 4)definition of target audiences(stakeholders),5)the expectations of the public audience from reading the images of historical-religious narratives, and 6)the expectations of the public audience from the restoration and reconstruction of the paintings;