Adornment is a defining feature of Qajar court portraiture. During this period, the expansion of cultural exchanges and the influence of Western art gradually introduced a realist approach into Qajar painting. Consequently, these works may be regarded not only as aesthetic creations but also as documentary sources, through which royal jewelry and other decorative elements can be studied. This article examines the representation of royal ornaments in Qajar portraiture, seeking to answer two questions: What transformations did royal jewelry undergo in Qajar paintings? And under which monarch did the most significant changes occur?



The study employs a descriptive-analytical method, based on documentary research and the analysis of six case studies. Findings indicate that in the pre-photography era, particularly during the reign of Fath-ʿAli Shah, portraiture was largely symbolic and conventional. Jewelry was depicted primarily as ornamental embellishment, serving aesthetic purposes rather than documentary accuracy. In contrast, during the reign of Naser al-Din Shah, the penetration of realist criteria and the spread of photography reshaped artistic conventions. Jewelry was represented with greater precision, closer to actual prototypes, thereby enhancing its reliability as historical evidence.Furthermore, increased diplomatic relations with European states introduced new stylistic tendencies in royal imagery. The monarch was often portrayed in military attire, reflecting a shift in the visual language of kingship. Jewelry, in line with these changes, moved beyond decoration to function as markers of rank, expressed through insignia and medals.



In conclusion, the evolution of Qajar royal jewelry illustrates a broader transformation from symbolic representation to documentary realism, with the most profound changes occurring during the Naseri era.