Coffeehouse (Qahveh khaneh) painting is a folk painting method that flourished by spreading in coffee houses during the Qajar period and by prominent painters. While benefiting from a rich cultural background, these paintings are simple in form and have deep content. The Bazm (ceremony) theme is one of the recurring themes in Iranian culture and art. It is regarded as one of the main themes of coffee house paintings. This research aims to examine the visual aspects of two Bazm paintings: "Kai Khosrow's Court", and "Shab-e Chelleh", and to analyze the thematic features of these paintings performed in connection with the political, social, and cultural conditions of the Qajar period. Therefore, the current research aims to answer the question: What are the visual and thematic characteristics of the two coffeehouse paintings with the theme of ceremonies (Bazm)? Considering the fundamental goal, the research is descriptive-analytical with a qualitative approach, and data is collected through library studies. The research findings reveal that the visual features of the two paintings reflect composition and perspective inspired by Iranian art. They portray the scene from a front and overhead angle to enhance depth and provide a clearer view for the audience. The paintings exhibit a uniform light distribution without shadows, utilizing simple forms and realistic characterizations. The clothing and architectural elements are adapted to the Qajar period, while the adoption of bright, transparent colors aligns with the harmony of the form and content. Empty spaces are minimized, with rameshgaran (performers) and khoniagaran (singers), and female musicians prominently depicted as central figures in the joyful gatherings of Iranian culture. The ceremonial themes in these works narrate two types of Bazms, including the Bazm after victory in the ruling class, and the Shab-e Chelleh (Yalda) celebration in the common class. The Bazm theme in these works reflects the cultural characteristics, hopes, and aspirations of the people. The main theme of the narrative of both works promises the victory of good over evil, the ultimate domination of light over darkness, and a bright future that is a full-view mirror of the political, cultural, and social conditions of the Qajar period after the constitutional movement. Coffeehouse painting effectively established a form of social art by using the traditions of Iranian painting and some features of Western painting in close contact with the people; an art in which attention to culture, traditions, national myths, needs, and people's opinions were prioritized.