Background/Introduction: The present study aims to investigate the reasons for the frequent use of pearls in the paintings of Fath Ali Shah Qajar. And by carefully analyzing the artworks of this period, especially the paintings of Mehr Ali, Fath Ali Shah’s painter, this question will be answered. Throughout history, no Qajar king has adorned himself with various types of jewelry, especially pearls, like Fath Ali Shah. The interest in jewelry and its use in Fath Ali Shah’s paintings by Mehr Ali was a research project to explore the question of what were the reasons for the frequent use of pearls in the paintings of this period and what impact did economic, political, cultural, or social factors have on this process. The findings of the study show that the frequent use of pearls in the paintings of this period has its roots in several factors. Easy access to pearls in the Persian Gulf, the symbolic value of pearls as a symbol of wealth, power, and purity in Iranian culture, and Fath Ali Shah’s special interest in jewelry are among the most important reasons for this phenomenon. Furthermore, the extensive use of pearls in paintings can be interpreted as a means of displaying the glory and grandeur of the Qajar government and promoting Iran’s power internationally. Considering the evidence in the paintings and historical documents, it can be concluded that the pearl jewelry featured in the paintings is largely a reflection of historical reality and a symbol of the wealth and power of the Qajar court.
Research Objective: This research aims to investigate the reasons behind the abundant use of pearls in paintings from the Fath-Ali Shah Qajar era. Through a detailed analysis of the artistic works of this period, particularly the paintings of Mehr Ali, Fath-Ali Shah’s court painter, this study seeks to answer the following questions. 
Methodology: This fundamental research is based on descriptive and analytical methods. It utilizes library studies, theses, and articles, relying on written sources, and is presented in an essay format. 
Key Findings: Research findings indicate that Fath-Ali Shah’s opulent paintings, with their abundant use of jewelry, symbolized his power and wealth. Royal jewels, in addition to their aesthetic value, played a significant role in the economy and politics of that era. The profuse use of pearls in Fath-Ali Shah’s paintings can be attributed to the easy access to Persian Gulf pearls, their export to Europe, and the rich reserves inherited from the Nader Shah era. Fath-Ali Shah intended to showcase Iran’s power and wealth to the world through these displays.
Conclusion: Fath-Ali Shah’s opulent paintings, replete with abundant jewelry, served as a symbol of his power and wealth. Royal jewels, beyond their aesthetic appeal, played a significant role in the economy and politics of that era. The profusion of pearls in Fath-Ali Shah’s paintings stems from multiple factors: easy access to Persian Gulf pearls, their export to Europe, and the rich reserves inherited from the Nader Shah era. Through these displays, Fath-Ali Shah aimed to project Iran’s power and wealth to the global stage. Consequently, the prevalence of pearls in Fath-Ali Shah’s paintings can be attributed to several factors. Firstly, pearls held significant cultural value in Iran, symbolizing wealth, luxury, and royalty. They were frequently used to adorn clothing, jewelry, and even architectural elements. Secondly, the Persian Gulf region, the primary source of pearls, was under Qajar control, making pearls readily available. Ultimately, the depiction of pearls in paintings served a dual purpose: it showcased the Shah’s boundless wealth and power to both his subjects and the international community, while simultaneously contributing to the artistic aesthetics and grandeur of the paintings themselves. The lavish jewelry depicted in Fath-Ali Shah’s Qajar paintings, such as pearl-studded cushions and carpets, likely functioned as both a reflection of reality and powerful symbols of wealth and authority. While some of these extravagant displays may have been artistic exaggerations to enhance the Shah’s image, it is highly probable that many of these treasures genuinely existed.