Paintings by Sadegh Tabrizi, an Iranian artist who participated in the Saqqakhaneh art movement in the 1960s. (source).  A page on Tabrizi’s website provides this background on Saqqakhaneh:

“Saqqakhaneh are votive structures for public use. Every Saqqakhaneh consists of a small shelf equipped with a water tank, copper bowl, and a few other such items. Saqqakhaneh are dedicated to the spirit of the martyrs who were thirsty when they were killed by Yazidi men in the scorching sun of Karbala. The major function of Saqqakhaneh is to offer cold water to passers-by. They also fulfill part of the spiritual needs at the grass roots. Saqqakhaneh must naturally include the image of one of the holy Imams to give it an aura of sanctity. There are metal trays with candleholders for those who want to light a candle in the memory of one of the holy Imams or a lost relative. Small padlocks locked to a chain on the lattice window of the room are indications of vows and quests for beneficence from the holy spirit of the Imam who protects a particular Saqqakhaneh. Some religious objects also augment the holy atmosphere of Saqqakhaneh: a hand cut out of a brass or tin sheet, beads, mirror, black or green screens with prayers or verses of the Koran inscribed on them with needlework, and paintings or stamps of the incidents of Karbala or other religious stories.

It is now evident how Saqqakhaneh is a befitting and eloquent term. This term represents a whole range of convictions and deeds that are closely associated with the history of Iran. The image of Saqqakhaneh haunts the memories of a society that has yet to witness extraordinary powers of change and transformation. Vowed objects and decorations of Saqqakhaneh are reminiscent of an old lifestyle that suddenly encountered the necessities of a new, dazzling world at the turn of the century.”