Pre-historic pottery investigating is one of the sources that provide a lot of information about the life and art of that time. Among Iranian arts, Pottery is of a greater antiquity, originality and importance and represents people’s culture, beliefs and traditions more than any other art. After basket weaving, pottery has been the first lasting art of mankind. By investigating earthenware motifs, we understand that designs and motifs are sometimes tools or references to express a subject and a matter, and sometimes indicate religious beliefs. One of the most important prehistoric regions and civilizations in the fifth and fourth millennium BC, which has a variety of certain earthenware in terms of the shape of the vessel and type of its motifs, is Tall-i Bakun near Persepolis, which is divided into two parts, Bakun A and B. Pottery production more than the residents’ needs indicates that Bakun’s Buff-wares and Slip-painted Pottery were exported to the surrounding areas. The pen smoothness, the exaggeration of the form and the abstraction are the prominent features of the motifs of this region. Having symbolic meanings as well as being an introduction to visual and alphabetical lines is one of the reasons for the importance of these motifs. In terms of implementation, they are drawn in both naturalistic and abstract forms.
The purpose of this research was to collect and investigate the animal motifs obtained from earthenware and pottery pieces in this area in terms of visual features and qualities.  Therefore, the author seeks common visual features in these motifs. The present study is fundamental in terms of purpose and has been done through a descriptive-analytical method and Library research in data collecting. Finally, after collecting the mentioned patterns and motifs and removing analogous items, 98 of the 178 motifs obtained from these found pottery pieces and earthenware were related to animal motifs and were examined with table tools. A number of these examples are given.
Using table tools, animal motifs were divided into three groups: Quadruped, Birds, and Reptiles. According to the research findings, Quadrupeds which include goats and sheep, Canidae and other Quadrupeds, are at the forefront of animal motifs, with a frequency of 43%, which shows their great importance in the life and beliefs of the people of the region. In the next rank, reptiles include lizards, scorpions, fish and insects, accounting for about 35% of all animal motifs. In terms of the motif’s location, the horizontal rectangle ranks first, with 66% and the rest are located in the vertical and square rectangles. As for the dominant line, Bakuni has used 67% of curved lines in animal design. The predominant direction is also divided into six groups: horizontal, vertical, oblique, horizontal and oblique, vertical and oblique, horizontal and vertical, that most of the reviewed motifs have a predominant horizontal direction. Regarding the texture quality it should be said that 77% of the patterns and motifs do not have special textures and flat colors have been used in drawing them. The composition of these motifs also used asymmetry in 64% of them. 

Jag, scientifically known as Dalbergja sissoo and Shisham_Persian name_, and local names Sassam, Jag, Jagh and Ciso, is a medium-sized tree that often grows in the highlands and along the mountain rivers. Habitats of this plant species have been reported in India, Bangladesh, Malaysia, Bhutan, Myanmar, Nepal, Pakistan and Afghanistan, and in southeastern Iran in the Makran Heights, Jabal_Barez and Bashkard mountain ranges. Bashkard mountainous areas, the research area of this article; including Kart Zani, Pish Jā, Grish-e Jāsbi, Parkhāsh, Ashnut, Jagdān and Angoharan / Goharan have been reported as the natural habitats for Jag. More specifically, Gi majg _ 1600 AMSL_ and Pisken _ 995 AMSL_ are the habitats that have been reported as a result of local visits (Emtehani and Jazireh-ee 1381:58). The author has also observed this tree and its various uses in the heights of Dar-gwan village, Dar shahr city, Kāhken and Ahviri mountain range.
In linguistic and archeological studies, there is some evidence that firms this tree’s historical uses: the name of this tree and its wood uses are mentioned in Assyrian and ancient Persian texts, and also some parts of it have been found in archeological excavations in Harappa, Mohenjo-daro, Mehrgarh, Tell Abraq and Shahr-e Sukhteh. Most importantly, as the well-known Russian Iranologist and linguist Ilya Gershevitch acknowledges, Darius’s inscription mentions the use of Jag wood in the construction of Apadana palaces of Susa. As a result of a research trip (to record Bashkardi language) to ​​fourteen Bashkard villages and Dar-gwan village, and observing Jag tree and the doors made of its wood, Gershevitch suggests this hypothesis that these woods may have been transported from Bashkard to the sea through Minab River, and then they were taken to Susa. During archeological research in the area, the author found a vessel made of Jag wood in a historical-Islamic area at a mountain hillside near Jagin Dam. Then with locals’ guidance, He saw the Jag tree, near the village of Shun and Sit-e-pirow River at Dar-gwan village heights. Then, searching for the artists, craftsmen and professionals in this field, he found people with the knowledge of the right quality and having the skill of cutting and shaping the trunk and branches of this tree with simple and basic tools in Dar-gwan and kulegh villages.
This article - following valuable reports and researches by Ilya Gershevitch is an attempt to introduce this valuable plant species to the archeological community, a brief mention of historical sources that include the use of Jag, evidence of its use in historical and Islamic times in Bashkard, the possibility of communication between Susa and Bashkard and Jag wood transfer from Bashkard to Susa in order to construct Darius’ palaces. Also, hope that it will be the beginning of further professional studies in this field with the help of other sciences such as ancient languages, ancient botany, ancient climatology and archeology.

Bird dropping in terminology of stone deterioration pattern is a sub branch of deposit decay, means accumulation of exogenic materials, on stone surface, dropping has a main role in deterioration of buildings and stone monuments. Birds not only to build the nests and noisy cause to bother, but also due to transfer of variety disease into human, especially when it drops any place and then this deposit dried and them particles distribution in the space. This problem is important for the investigation of environmental health and conservation aspects. Nevertheless their nests are suitable place for ectoparasite that is hazardous for humans healthy. Recent researches about the effect of biodeterioration of birds dropping showed that the rate of acid content and soluble salts of dropping is about 4% and with this interaction specialty by porous limestone rock due to damage chemicals, dissolved minerals, salts dissolved and etc. in this review article, we investigate the damage role of birds dropping on stone surfaces and considering Bird control method to eliminate or deter pest birds from landing, roosting and nesting.

Iranian architecture has beautiful embellishments that are made of different materials such as tiles, plaster, pottery, stone and wood. Although due to Iran’s hot and dry climate, wood embellishments are less being used, in some cases they have a special and unique place in Iranian architecture. Orosi windows are one of these embellishments which have a special place in various types of architecture, especially in historic houses. In addition to the use of lighting in the houses, Orosi has been used as an artistic element in beautifying the interior and exterior of the houses. Tabriz is one of the cities which have many historical houses with beautiful Orosi windows and various designs. The present study seeks to find common design patterns and colors in historical Tabriz houses’ Orosi windows. In this regard, the method of data collecting is based on library studies and field surveys and based on direct investigation of Orosi windows through documentation, accurate designs surveying, drawing, analysis and comparative comparison of Orosi windows’ patterns. To achieve this goal, two general questions arise: 1) Do Orosi windows used in Tabriz Qajar houses have common patterns in terms of design and construction? 2) If there are similarities, what are the common patterns and contexts? In order to answer the questions raised, as a case study, Mashrooteh, Haidarzadeh and Nikdel historical houses’ Orosi windows have been selected and studied due to their originality, non-intervention during restoration and having a significant and different design and role from each other.
Finally as a result of the investigations it was found that despite the differences, Orosi windows are somewhat similar and included in one category, so that the study in the field of form factor confirms that the design of the main frame is mostly in the form of a three-leaf door with a semicircular impost. Also, the designers of these Orosi windows have shown more interest in rotating patterns than geometry; as a result of which, the craftsmen and carpenters had to use the technique of Qavareh-bori. Reviewing the colors used in these Orosi windows specifies that three colors are fixed, used, and repeated, including red, blue, and green. But in some of these Orosi windows other colors such as yellow or purple have also been used, which have been used as filler or sub-colors. Most of these Orosi windows have green color in the center, red color in the middle, and blue color in the upper parts of the quadrant (Vagireh). Also, by examining the position and amount of colors used, we can notice the color balance and proportion; in each Orosi’s overall color scheme which itself reflects the computational thinking of these Orosi windows’ creators.

The historical route of Bandar Abbas to Lar is a complex consisting of components and elements that has been working in an integrated and interconnected manner.
Investigating this route and associated buildings (caravanserais, water reservoirs, etc.) from the historical periods of Safavid and Qajar to the present time, as well as studying various travelogues in this field, shows the importance and position of this route throughout history and especially the Safavid time. In addition to its economic importance, it has also had special political, cultural and social significance. Many tourists have provided detailed descriptions and explanations on this route and its features, as well as the caravanserais and accommodations along the route in their travelogues. This route was also one of the most important routes in Iran (the spice route) that connected ports and islands of the south to the center, especially Isfahan which was the capital in that time.
 The current route from Bandar-Abbas to Lar is 161 km long, located in the west of Hormozgan province. Approximately 70% of this route is located in Bandar Khamir city and the rest is located in Fars province. This main and inter-provincial route is located on the same historical route with a slight change.
According to the current situation a list composed of caravanserais along this route, with their old names, has been prepared, in order of location from Bandar Abbas to Lar. This list is prepared on the basis of Sadid al-Saltanah-Kababi-Bandar-Abbasi’s travelogue, a native writer of the late Qajar period. 
All caravanserais and related water reservoirs are carefully identified through field and library methods, in terms of their location in relative to the route and other caravanserais, registration status in the list of national monuments, adaptation with the items mentioned in the studies conducted during previous years, and comparative comparison with the other caravanserais located in the province. Despite the large number of caravanserais on this route, only two types of plans can be seen, one type as a central courtyard with rooms around; and the second type of caravanserais with smaller dimensions in form of a cross plan without stables, docks and fences with low facilities. 
The main purpose of this research is to investigate and identify the historical route of Bandar Abbas to Lar and its related elements as well as caravanserais, their location in relation to the current route and typology according to the architectural features.
In the current situation, the intended caravanserais are in similar conditions in terms of being located along the new Bandar Abbas to Lar route, physical condition, use and the damage level. The caravanserais, which are located outside the urban and rural areas, have been completely abandoned and destroyed.
Out of 16 caravanserais along the intended historical route, which are given in the categories, only 7 caravanserais have been registered on the list of national monuments.

Sheikh Safi mausoleum includes a number of buildings of different periods, which Shah Tahmasb first turned them into a single complex. Later, Shah Abbas amended this complex and added important buildings to it. In general, the great importance of this historical monument is reflected in its relationship with the Safavid dynasty. 
According to the travelogues and tourists and historians’ writings and also photos and documents left, the first gate of Sheikh Safi complex, known as Ali-Qapu Transom, has had a magnificent and unique architecture. Unfortunately, due to various reasons, such as exhaustion and damages from war, earthquakes and conscious and unconscious human damages, etc., the remaining parts of this monument were destroyed after surveying the embellishments’ and mosaic tile inscriptions’ remnants  by the order of Mr. Ismail Dibaj, the archeology representative at that time, in the beginning of November 1942. However for some reason Ali-Qapu Transom, the square and the original space of the complex, have been destroyed and despite the damage to the spatial mass of the complex and its originality, today it is necessary to rebuild this historical monument and compensate for this damage and fix it. Achieving the complex’s historical and urban identity and completing it is inevitable. The remaining parts of this historical monument’s tiles are the most important goal and value in the reconstruction of the transom. 
There are many narrations and travelogues about Ardebil, Sheikh Safi al-Din mausoleum and Ali-Qapu Transom until Friedrich Sarre examined the mausoleum in 1897 and published the first correct description of this complex. His research results were published in the form of a book named “Ardebil”, which is one of the most important sources about this historical monument, and due to research activities shortage on Ali-Qapu Transom and the details of its embellishments; this research is of a great importance. Little research has been conducted on Ali-Qapu Transom including: Mesbahi (2009), Rezazadeh (1999), M, E, Vivor (1970). However, the studies and researches that have been conducted on this magnificent building are incomplete, and all the original sources should be re-examined and revised in the original texts.
The purpose of this article is to reach the general architectural design of this monument and to survey and document the mosaic tiles remaining from the transom so that despite the remaining black and white images from the transom’s generalities, the main color and technique of architecture, embellishments and mosaic tiles can be discovered.
The method of this research is based on the available documents, library research, field research and comparative comparison.
The value of any historical monument and old building is in the physical evidence that was made in the same period. The sensitivity of the embellishments and the Transom’s tiles protection is to entrust these documents and historical identity to the next generation correctly and without fail. Reconstruction of this magnificent architecture, which is a symbol, sign and part of the identity of Ardebil city, is inevitable. It is necessary to explain that Dar-al-Aman makes sense with this historical monument, means that it should be given priority with high sensitivity as soon as possible.