One of the prominent architectural features of the Qajar era is the Orosi, or sash window, which, in addition to its specific technical and practical features, also has remarkable visual beauty. Among these beauties, we can mention decorative motifs such as Islamic and Khatai ivy, as well as written and animal elements. This art has had a remarkable boom in Islamic lands, including Iran. One of Iran's historical monuments from the Qajar era is located in Kermanshah and features remarkable functional-decorative sashes. This building, known as Takyeh Biglarbeygi or Farash Bashi Mansion, dates back to the reign of Mozaffar al-Din Shah Qajar and was built by Abdullah Khan Farash Bashi, nicknamed Biglarbeygi, in the old part of Kermanshah. In this regard, the present article aims to recognize and explain the values and functional-decorative features of the sashes of this building, thereby preserving and passing them on to future generations. Therefore, in response to this necessity, a fundamental question arises: What visual characteristics do Takyeh Biglarbeygi's sash windows have? This research used a descriptive-analytical method, and its data, collected in a library and field setting, were analyzed qualitatively.
The results of this investigation show that the sashes' surfaces are decorated with various knot patterns, and that plain and colored glass, as well as original combinations, have emerged. In this way, the harmony between these geometric networks and colored lights has created a pleasant beauty. Takyeh Biglarbeygi's sash windows, given the time of construction, like other sashes of the same period in the late Qajar and early Pahlavi periods, feature circular motifs in their decorations and have glass windows in four colors: red, blue, yellow, and green, as well as colorless glass. The study's sashes are opening, meaning they were used as both doors and windows. Eight sashes of the Biglerbeygi building are paired. Four of them are similar to each other. The frequency of 3-wing sashes is higher than that of 4-wing, 2-wing, and 1-wing sashes. Half of the sashes are made in this way. The frequency of sashes with semicircular pataqs with revolving motifs is also higher than that of simple sashes without decorations. Eight of the sashes are crescent pataqs, full of decorations and with borders in the Qavareh-e-Bari technique, and one case has elaborate decorations and a wide inscription, both decorated with Boteh-e-Jegheh motifs. The sashes also share a decorative solar motif. All the sashes made in the building are worked on the southern, northern, and western sides of the courtyard, and on the eastern side of the central courtyard, which is the location of the kitchen, storage room, and small rooms. There is no sash, and the openings are worked as simply as possible. The motifs have spread contagiously; in general, the variety of patterns in the pataq section is vast, and various designs, from circular and complex to simple, can be seen there. In general, the colorful shadows and lights of the sashes, along with the sense of peace, stillness, beauty, and stability created in this building, are among the features that give Takyeh Biglarbeygi's sash windows their distinctive identity.