The formation of Sagha-Nefars as places where religious events were held together with the paintings on their ceilings date back to the Qajar era. Accordingly, the images were influenced by the developments of this period including the prevalence of tazieh in Iran. The emergence of Sagha-Nefars as a place to hold religious ceremonies took place in the Qajar era and, naturally, the illustrations of the ceilings of these structures go back to the same very period. This paper focuses upon visual forms of tomb photoportraits of Muslim Martyrs embedded within embodied social practices and material cultures, with specific reference to death and memorial. Indeed To this end, the question raised here is over the relationship among the concepts behind s Sagha-Nefars’ Martyrs Memorial photoportraits and visual culture of people. Being qualitative in nature, the present study adopts a descriptive approach to content analysis with the findings demonstrating that the popularity we begin by considering the significance of the tomb photoportraits in the shaping of memory and then move on to analyse the relation of death, martyrdom and reminiscence, through the religious material culture . The existing different meaning in the images of Muslim Martyrs photoportraits, are visual texts, the understanding of which comprises the theoretical arguments for conducting this research. The key problem under study in this research is the why and how Photo of the martyr, their diverse themes, and their relationship with the religious identity of Sagha-Nefars in Mazandaran.
