University of Kashan Journal of Iranian Architecture Studies 2252-0635 13 26 2025 03 15 Recognition of the Qajar Pavilion of Fin Garden through Innovation in Spatial Design and Decorative Motifs Recognition of the Qajar Pavilion of Fin Garden through Innovation in Spatial Design and Decorative Motifs 65 83 114687 10.22052/jias.2025.253465.1240 FA AlI Dadkhah Instructure, Faculty of Architecture and Art, University of Kashan Mehdi Momtahen Assistant Professor, Faculty of Architecture and Art, University of Kashan Maryam Sarraf Mamouri Master of Science, Faculty of Architecture and Art, University of Kashan Journal Article 2024 11 09 The decorations in Iranian architecture are among the most unique patterns and imagery in the world. Without a doubt, Iranian gardens are symbols of art, serving as the manifestations of architecture and painting left by the artists of their era. The Fin Garden of Kashan stands out as one of the most unique examples of Iranian gardens, with the Qajar pavilion shining like a jewel in its heart. The unique spatial organization, physical characteristics, patterns, and motifs in this section of the Fin Garden demand its proper recognition. It is imperative to carefully consider the proportions and composition of the motifs and decorations in this building and employ them in other arts, such as carpet design, to preserve and maintain these works. Studying and analyzing the Shamseh (Sunburst motif) designs with Eslimi and Khatei (Iranian Arabesque) patterns on the middle ceiling of the Qajar pavilion can be a lasting display in other Iranian art forms. The analysis of these motifs indicates that the general forms of this design and the motifs used in these forms are highly compatible and in perfect harmony with Iranian and modern arts. These patterns can be utilized with a few minor tweaks with respect to the materials and special tools of each artistic field to help create unique and creative new works of art. This research is a case study in the form of a document-based field study and has been carried out with a descriptive, analytical, and adaptive approach, leading to sections of the text lacking references. The data collection and utilization in this study involved library sources and field research (photography) to examine the designs in the Fin Garden of Kashan. In order to analyze these unique motifs left from the past, understand their design and implementation methods, and reuse them in novel and innovative roles within other arts, particularly in carpet design, the designs have been drawn in an open linear fashion. The decorations in Iranian architecture are among the most unique patterns and imagery in the world. Without a doubt, Iranian gardens are symbols of art, serving as the manifestations of architecture and painting left by the artists of their era. The Fin Garden of Kashan stands out as one of the most unique examples of Iranian gardens, with the Qajar pavilion shining like a jewel in its heart. The unique spatial organization, physical characteristics, patterns, and motifs in this section of the Fin Garden demand its proper recognition. It is imperative to carefully consider the proportions and composition of the motifs and decorations in this building and employ them in other arts, such as carpet design, to preserve and maintain these works. Studying and analyzing the Shamseh (Sunburst motif) designs with Eslimi and Khatei (Iranian Arabesque) patterns on the middle ceiling of the Qajar pavilion can be a lasting display in other Iranian art forms. The analysis of these motifs indicates that the general forms of this design and the motifs used in these forms are highly compatible and in perfect harmony with Iranian and modern arts. These patterns can be utilized with a few minor tweaks with respect to the materials and special tools of each artistic field to help create unique and creative new works of art. This research is a case study in the form of a document-based field study and has been carried out with a descriptive, analytical, and adaptive approach, leading to sections of the text lacking references. The data collection and utilization in this study involved library sources and field research (photography) to examine the designs in the Fin Garden of Kashan. In order to analyze these unique motifs left from the past, understand their design and implementation methods, and reuse them in novel and innovative roles within other arts, particularly in carpet design, the designs have been drawn in an open linear fashion. https://jias.kashanu.ac.ir/article_114687_9bdaf15d892e611432881d754ac8136c.pdf