Parseh Journal of Archaeological Studies

The Analysis of Tepe Betaki Statue in Aleshtar in Bronze Era (Based on Ceramic Findings from Survey and Limitation)

Mehdi Heydari

Abstract
Tepe Betaki is one of the most known ancient area in Aleshtar and for the reason there were some studies about it from so yours ago. The primitive studies shows that there is cultural periods from prehistory periods to Islamic periods. In this connection to maintain of Tepe Betaki, the writer had mission to study to determine the limits of it. The surface analyzing was continued in this mound from 29 July to 11 August 2018. In the time, it was studied carefully and 17 trench 1/5×1/5 m were made in different directions during the surface analyzing. The purpose was to record the ancient cultural findings in different areas. For this purpose, the mound was divided to 5 zones North, West, South, east and central and each was studied carefully. The purpose was to separate different zones to record cultural findings and to recognize the different cultural material of the mound. Therefore, the analyzing of bronze era existence in Tepe Betaki and the mound studying to show the spreading cultural material of different zones are the samples of Bronze era were collected and studies typologically. These samples were selected from 330 samples. It means that only 22 tile samples were about Bronze era. Therefore, in spite of wide extent of Tape Betaki and enrichment of culture in the next period the Bronze era is not considerable.
Keywords: Aleshtar, Tepe Betaki, Bronze Era, Ceramic, Typology.

Introdution
One of the main challenges of archaeology researchers always was to description of chronology study is chronology that exist during working in decades. Therefore, in fact the study which was done in this area was a part of a great archaeological project including trench in order to determine of limits. During the actions trench of the mound limitation 17 trench 1/5×1/5 m around the mound was performed. After studies and excavations, 330 tile samples were obtained which only 22 samples were about Bronze era. The collected tiles were categorized typologically. Therefore, the studying of Tepe Betaki in Bronze era in different phases of Godin III and spreading of Bronze era cultural material in different parts of the mound are the 3 km distance between Tepe Betaki and Tepe Gariran (the biggest mound in Aleshtar plain). The central position and surrounding theory is also studies.
In these areas, the archeological studies have been done in past decades. There were less archeological studies in Aleshtar in proportion to Nahavand and Kangavar. Orel Stine studies areas the first archaeological studies in this area (Stine, 1940). Davoud Davoudi had done survey and documentary is Aleshtar archaeological site in two periods in 2006 and 2007 (Davoudi, 2006, 2007). Clare Gaff archaeological excavations in Babajan Tepe are as the first in Norabad (Goff, 1969). He did some wide surveys in Lorestan in addition excavation in Babajan Tepe (Goff, 1971). Abbass Motarjem was excavation in autumn 2017 in Tepe Gariran.

Geography and Topography of Tepe Betaki
Aleshtar is one of the 11 cities in Lorestan province which is located in North of Lorestan province. The central part includes wide plain called Aleshtar plain. Tepe Betaki is located in North – West of the plain and near a village by point is highest 1603 meter above sea level. The topography of the mound related to the mound high and around lands in North has more gradient and less in other sides. Tepe Betaki was recorded as national monument of Iran in 2 October 2011 (2011/10/2).

Surface Studies Finding
Before, trenching group did a survey analyzing. It is important in some aspects:
- The study of cultural material dense in different parts of the mound.
- The study of cultural material in Tepe Betaki.
For this purpose, trenching group was divided into 5 groups. They began to study in 5 parts. The 5 parts were: South, East, North, West and center of this mound.

Bronze Era File Findings of Tepe Betaki
As said, 17 trench were done to determine the Tepe Betaki. From these trenches 16 trenches were about bronze era. The findings were obtained respectively one sample of T.T.A trench, one sample of T.T.D trench, two samples of T.T.F trench, five samples of T.T.G trench, five samples of T.T.G1, one sample of T.T.G2 and one sample of T.T.H. Besides tile findings of trench, six samples also were obtained in surface studying. Therefore, from excavated 17 trench and analyzing of 22 samples from survey were about Bronze era.

Conclusion
All the ceramic findings of surface analyzing and excavations were 330 samples which only 22 samples related to Bronze era. Bronze era ceramics of Tepe Betaki show that phases III:4 and III:2 are available. Meanwhile these two phases tiles are a few. In the period in Aleshtar plain, Tepe Gariran with 3 km distance from Tepe Betaki has 13 hectares and all kinds of Bronze era ceramics. Therefore, it seems that Tepe Betaki in Bronze era was surrounding settlement rather than Tepe Gariran. The surface monuments show cultural periods pre-history, history and Islamic periods. 41 samples of typology materials in surface analyzing in Tepe Betaki, 18 samples were related to pre-history period, 11 samples to Islamic and 6 samples to Bronze and 5 samples to Chalcolithic periods. Therefore, most of typology materials were related to history period and mostly Parthian period.

Study of the Role of Components Geometry in Persian Stone Columns in Pre-Islamic Era

Negar Kourangi

Abstract
In the history of architecture, one of the elements to transfer the vertical forces in buildings has been columns. They appeared in various forms depending on the nature of forces, architectural styles, available materials and joints applied. Examination of columns may revive and reveal certain parts of the lost knowledge of Persian architecture. Also, such an examination may help to categorize columns in terms of form and structure. The final form of the stone columns in pre-Islamic Iran has been directly influenced by their size and form of the trunk, base as well as capital. In this regard, columns have been often examined only in case studies. The present article, however, has studied the stone columns in pre-Islamic Iran in terms of geometric aspects. Data were mainly gathered based on library sources and field studies. In order to do a systematic classification, the stone columns were photographed. This article aimed to study the impact of form and size on the structure of the stone columns in pre-Islamic Iran. The results implied that the forms of base and shaft in stone columns of ancient Iran were mainly influenced by the vernacular motifs common at the time; bases of the stone columns were in cubic form or in the form of inversed vase. Similarly, the shafts of the columns were in simple, fluted and gadrooning forms. However, formation of the capitals is an adoption of forms found in columns of other civilizations. The forms include floral, zoomorphic a human images.
Keywords: Geometry in Architecture, Structure of Stone Columns, Persian Monuments.

Introduction
Architecturally speaking, the formation of columns might be attributed to the idea that a given space was supposed to be extended. Columns transfer the weight load of the roof to the ground. At the same time, some archeologists believe that columns appeared when large flat roofs were built (Firouzmandi, 2008: 29). The oldest columns in Iran date back to the 6th millennium BC. Certain examples of which can be seen in western and North-west archeological sites of the country (Rezaienia, 2008: 329). The existence of columns went on to subsequent eras. However, since some of them were made of wood they did perish and only their stone bases survived (Firouzmandi, 2008: 29). The oldest examples of stone columns can be found in Median catacombs. This trend can also be observed in next eras and even in given monuments which columns played no structural role, columns embedded in walls were used. Geometrically, the stone columns used in pre-Islamic Iran functioned not only as structural element, transferring vertical forces, but also as architectural decorations presenting beautiful images in spaces. Hence, examination of the stone columns may help reveal the ancient architects’ capabilities to transfer forces structurally and to form architectural spaces aesthetically. So, in this study, the following questions are raised: Are any specific geometric proportions between forms and motifs used in column capitals of the pre-Islamic Persian monuments? Which kinds of geometric forms have been used more commonly in Persian column bases? What are the most commonly used geometric forms in the structure of Persian ancient columns?

Research Finding
One of the oldest usages of stone columns can be observed in columned halls in Māni sites. Hassanlou hill is a prime example in this respect. The survived monuments from Median era in which columns have been used can be divided into two groups: The first includes certain columned halls like those existing in archeological sites. The second includes Median catacombs.In terms of functional columns, Median catacombs can themselves be divided into two groups: The first includes catacombs which have free columns in entering gate. The second group includes catacombs which have half-columns in entering gate. Columns in Achamenid architecture played more important role compared with earlier eras. The column bases appear in different forms including cubic and bell-shaped the latter of which are different from each other in terms of patterns and motifs applied. The trunks are either smooth or fluted. In addition, in Achamenid era, the column capitals appear in a variety of animal forms including bull, lion, horse, griffin and bull-man. The columns built in Seleucid era have been adopted from Roman order. Columns in Arsacid era can be grouped into three classes: Greek order, Persian order and vernacular style. The columns adopted from Greek-style generally appear in three common Greek orders: Corinthian, Doric and Ionic. In addition, the columns adopted from Achamenid style have cubic bases and capitals representing two animal heads in opposite directions. Columns in vernacular style represent square or octagonal trunks with or without patterns. Columns in Sassanid monuments, however, are the continuation of those in Arsacid monuments in form and style. The most commonly used capitals are in the form of truncated pyramid. The upper base of the pyramid is square in form and the lower one is circular decorated with repetitive animal or floral patterns. There are, of course, capitals adopted from Corinthian order. The trunks survived of the Sassanid columns are in simple, fluted or spiral forms with or without relief pat.

Conclusion
Column capitals in ancient Persian architecture include a variety of forms and decorations. Some of the forms like spiral patterns may play decorative role on the trunks. However, the spiral forms may only appear on capitals. Also, column bases are mainly cubic, bell-shaped or circular in form. Cubic bases are more common which appear in different forms visible in all but eras examined. In terms of form and decorative elements, column capitals in two Achamenid and Arsacid eras are more similar to each other than those in other eras. Other than decorative forms used in the bases, trunks and capitals, geometric patterns have been also used as decorative elements including floral, animal and human ones. Of course, floral forms have been most commonly used. With respect to the trunks, smooth circular trunks have been common in all eras studied. They may appear with or without fluted or spiral forms. Despite the importance of columns in pre-Islamic Persian architecture and their role in forming columned spaces, no comprehensive examination, in terms of geometric classification, has been made in this regard. In this study, the components of Persian stone columns in different pre-Islamic eras were classified geometrically. Other researcher may carry out similar examinations on architectural columns in Islamic era, classify them and determine the similarities and contrast.

From Kovar (Shiraz) to the Persian Gulf Beaches; An Analysis of the Importance of Kovar Bridge and Bahman Dam Commerce in the Sassanid and the Beginning of Islam Periods

Hamid Poordavood

Abstract
Throughout the period of Sassanids, as well as in the Islamic period, trade played a very important role in their economies and livelihoods. Meanwhile, due to political reasons in Late of Sassanid period, access to the Persian Gulf has been of particular importance. The city of Kuvar was part of the Fars province’s trade route because it led to the Persian Gulf on one side and to the central areas of the empire, for this reason, it has played a colorful role throughout history. Due to the presence of the riverside (Qara-aqag) near this city, the commercial convoys had to use a bridge to cross the river. In this study, attempts to by studying archaeological studies as well as library research investigate the water source of Kuvar city by, the role of Kuvar, bridge in connection with Persian Gulf as well as the etymology of city name. Bridge Kovar’s survival has been one of the possible caravans pass options. By examining the original geographical texts from the early centuries of Islam, as well as examining the current bridge structure, one can infer that this city had a very important role in establishing and sustaining trade from the Sassanid period to the Islamic period. Also, the durability and survival of this city has historically been dependent on water obtained from the Bahman Dam through specific facilities. Accordingly, in the present study, it has been attempted to explain how and these facilities function, as well as, in addition to Paul Kuvar’s ontology of construction technique and its application and performance, based on existing written sources, the landscape of the area has been reviewed and finally Evaluate the results, report the proposed chronology. This study attempts to answer the following questions: How is the main source of water in the city of Kuvar evaluated and what is the mechanism of water transfer to the city of Kuvar? How is the role of Kuvar city as a Midways on the route to the Persian Gulf and Siraf evaluated and the main evidence that what was the significance of the historic bridge of Kuvar?
Keywords: Kuvar, Kuvar Bridge, Bahman Dam, Road, Persian Gulf.

Introduction
In the end of the Sassanid period, transit from the Silk Road had been restricted due to the Iranian and Byzantine wars, so the Persian Gulf had replaced this route and thereby continued trade links with the east and west of the empire. Undoubtedly, the main need of every city is a permanent source of water, so the location of cities is a function of the factors that are undoubtedly the among main one’s access to water. It is also one of the most important needs of governments in commercial, political, military and social communication in urban areas is the construction of bridges. Clearly, the existence of rivers, especially permanent waterways and valleys will be a major obstacle to these communications, on this basis, material evidence has remained to show that such buildings are prominent examples of the bard Borid Bridge, the Daughter Bridge and other ancient bridges from the Sassanid period. This has continued in the Islamic era with the construction of new structures, the restoration of old bridges. The element of commerce has been one of the important reasons to pay attention to these structures, In the Islamic era, a large volume of trade was carried out through the central and southern cities of Iran, including the Persian Gulf ports at the head of the Siraf port. Meanwhile, Fars province has played a vital role in this trade route due to its proximity to the Persian Gulf. Also, of other important factors in the creation and survival of the city have been access to other areas. Among these cities is Kuvar, the city has it long time a major Role of connection Shiraz to the Persian Gulf, and this city a few hundred yard away from the Qareq Aghaj river.

Research Finding
From the Sassanid to the Islamic periods, maritime trade, which was directly linked to the Persian Gulf, has been very important in the Iranian economy. Among the maritime trade gear were cities that facilitated Caravans access to the Persian Gulf. Sometimes in some geographical situations due to obstacles such as rivers, the caravan movement was dependent on the construction of bridges that made caravan movement possible. But the construction of the historic Kuvar Bridge in the Sassanid period has been eliminated the problem. The bridge, which a historical background in style and architecture, has been survived to this day despite extensive damage. The city needed a permanent source of water, which has done by building an avalanche and raising the water level and mounting water on the ground by avalanche installations. But due to surface effects, such as several hills that prevented water from moving, a Qanat were used to pass through the water and flow to the surface. This method has been observed in other parts of Iran such as Arrajan. Due to the size of the kuvar city, it was necessary manage the water that flowed into the city. In the Islamic period a village called Khaffr was established to manage the water that flowed into the Kuvar, which was responsible for managing and distributing the required water to the Kuvar. This article also deals with the etymology of the name of the city, Ardeshir Babakan report is the first text to come up the name of this the city, in this book the city is called Guar, and in the Islamic era the name of this city has evolved.

Conclusion
It has been said, that the city has long been regarded for its role and importance in the way it has been concerned, Bridge Kuvar and the Bahman dam and its associated subdivisions, since they were directly linked to the creation and survival of this city. Undoubtedly, the city of Kuvar built has been to communicate with the Persian Gulf. Since the water factor is one of the most important factors for the formation and survival of the city, undoubtedly, the avalanche and its associated structures have also been built since the foundation of the city. Concerning the dating of the Kuvar Bridge, according to the boulders cut at the base of the bridge can be said was originally built in the Sassanid period. As mentioned, that there was a village called Khaffr near the city of Kuvar which was responsible for water management in the Islamic era, which indicates the high water consumption due to the size and importance of the city, which also has been required special management.

The Study of Changes in Sea Level and Impact on Historic Ports, and Shipping of Caspian Sea

Hossein Tofighian

Abstract
The Caspian Sea surface has undergone many changes and fluctuations. As the sea level has changed, many postal land has fallen underwater or parts of shallow coastal waters have left the water. In the past ten years, due to changes in the surface water of the Caspian Sea and the drop in water, a number of historic ships have been revealed. Identifying several wooden logs on the banks of Talesh, Rudsar, Neka and the Gulf of Gorgan will provide valuable information on the structure of the Caspian Sea historical ships and shipping. In this paper, which is based on field research and library study, Introducing historic ships that have emerged due to sea-level changes, the lack of older prototypes in this closed sea-due to the absence of monsoon winds, irregular wave movements, the absence of neighboring civilizations, And, consequently, the absence of maritime business routes, the progressive and sequential return of seawater and other factors will be studied. This wood is an imported product and now it comes from Russia to Iran. The oil found in the wood chips seems to have the stability of wood in the presence of water. The drilling of the lower parts of the ship showed that the body of the ship was saturated with water and its texture was sponge-shaped. The enclosure of the Neka coastal shores is made from wood-framed wood of the needle leaf trees, and puts outer-wall nails to vertical beams and internal walls.
Keywords: Changes in Sea Level, Caspian Sea, Historic Ships, Sunken Ship.

Introduction
With the change in the sea level of the Caspian Sea, during recent decades, a number of historic ships have escaped from the water and exposed to the air. The most important historical ships identified on the southern shores of the Caspian Sea are as follows:
Ships of Talesh: About 500 meters from the old site of the Gorganroud Harbor, the remains of the ship’s broken ship are located at the seafront, most likely in relation to the port of Gorganroud. The length of the ship’s remaining length is approximately 20 meters and the width is about 5 meters. It looks like the ship is slightly left-hanging between the sand and sand beach and perpendicular to the sea. Most of the lower parts of the ship seem to be healthy, but the front of the ship is likely to be broken and slightly angled toward the body. Because of the withdrawal of seawater, the ship has been evacuated and exposed to open air and sea waves, which has put the structure in an emergency. Of course, the damage to this ship is not limited to environmental damage and damages caused especially to severe burns in the anterior part of the ship due to deliberate fire. The upper part of the ship and its deck have generally disappeared, and what is seen on the sandy beach and on the edge of the water is its lower part, most of which are buried beneath the beach. The exact study of this structure requires archaeological exploration and the liberation of the ship from the subsoil. The tangible volatility of the sea level in the coastal strip of the Mazandaran Sea and its changes on the banks of the city of Talesh have caused the ship to come out of the water. The wood used in the construction of this Siberian tree will help to identify the site of the ship.

Caspian Sea Historic Ships
Chamkhaleh Historical Ship: in the vicinity of the village of Lall-e-Rood and about 7 km north of Rudsar, the functions of the Langrood city in the east of Gilan province have been revealed by the remnants of a wooden ship due to climatic changes, including changes in the surface of the Caspian Sea and the flooding of the river. The ship is located at a short distance from the sea and in the estuary of the Langrood River, standing in a northern direction. The ship, which was buried under the coastal waters, was revealed by the outbreak of the Langrood River. The bulk of this ship is still buried under the coastal spit, and only part of its nose is visible near the river’s water. Considering the size and size of the observable, it is possible to consider the length of the ship’s historic ship, about 30. Neka Historical ship: An archery ship on the coast of Mazandaran, which has been explored in recent years, is located in the village of Zagmarz and approximately one kilometer southwest of the Miankaleh Inland. The ship is 26 meters long and 6 to 7.5 meters wide, perpendicular to the coastline. The upper surface or deck of the ship, the shelter or the deck wall and a large part of the sailing mast have been lost over time due to the presence of sea waves and only its lower spaces are left. The ship is located in the direction of the northeast, southwest, and is located on the mainstream wind of the Mazandaran Sea. The wood used in the ship is from the family of long-tailed leafy trees and is the closest family to the wood.

Conclusion
Based on archaeological studies and historical sources, shipping and navigation in the Mazandaran Sea began in the Safavid period, and before this period, there is no evidence of historical ships and commercial ports. The main reason for the lack of shipping and maritime business in the Caspian Sea prior to the Safavid period was the absence of monsoon winds for sailing ships and irregular winds and waves in it. The fluctuations in the level of the sea level in Mazandaran over time are due to other reasons for the lack of historical ports and shipping on this sea. The advancement and rebounding of the surface of the Caspian Sea may drowning many potential ports under water or buried under the sandy beaches that are nowadays far from the coast; on the other hand, these fluctuations are filled the canals and beaches.

The Study of Necked Incense as the First Instruments of Music Multiplicative

Moustafa Bagherzadeh Chaleshtari

Abstract
The first spark of music in the human mind began with hearing the sound of nature, and it has probably been accompanied by dancing and singing. These acts have been performed at ceremonies, prayers, and perhaps celebrations of the product’s gathering, gradually uniforming they have been creating rhythmic movements, multiplication, and rhythm. They could by playing hand together and body, knocking two sticks together and hitting two hollow logs and any other object get the sound out. They came slowly to assonance and believed that these sounds had magical effects. There are also legends about the emergence of music in different ethnic groups that have been quoted for many years. Among the Lear instrument mad white Apollo casings or back turtle bowls cut by Hemes or the goddess of the sun, and even the Emperor’s chains command, Hakong T is to invent music and imitate the sound of birds with the instrument music. The focus of this research is necked incense, whose works can be found in the art of ancient Ilam and Mesopotamia. The main purpose of this study also focuses on the study and analysis musical instrumentation, its types and methods of construction, and has attempted to explain the necked incense in a field method and library. Also about the turtle found in archaeological excavation, especially in the tombs, and the main trunk of these instruments, in this research has been studied. Two types of necked incense instruments including Melodic structure and Harmonic necked incense were investigated from the author’s point of view, that these instrument are show the evolving music instruments in the present age. The instruments of Tar, Setar, Tanbour, and other instruments are music multiplicative.
Keywords: Ilam Music, Necked Incense, Turtle of Tortoise, Wooden Bowl.

Introduction
With the advent of urbanization in the fourth millennium BC and the arrival of a number of people in specialized human development work, a great change took place and the basis of society was divided into various sectors most importantly the creation of a house of worship and a state base and above all market creation has continued to his day other division in human social, political and economic an affairs have been made more detailed. During that time some people started to build instrument and music in general, which may be said to be one of the earliest countries to enter the urban period and probably the oldest instruments in Iran. The instrument that we can say was the beeps. The earliest specimen of this type of beep is from the millennium BC and was found in the Shahdad Hill on the Lut plain in Eastern Kerman. Among the discovered objects is a beep 29 mm long with a span of 63 mm and a pipe span of 10 mm. In the middle of the tube of this beep, there is a human head on both sides of the tube, which can be said to be a combination of the human larynx and lip. The second finding of the beep species is in Hesar Damghan hill. The enclosure has three floors and at the newest level has three layers A, B, C, and three beep damaged by ground pressure, all three of which were taken from the third layer. They are made of the silver. This layer of IIIC of history have about 1800 to 2200 BC.

Research Finding
One of the boxes is keeping in Tehran and two others at the university of Philadelphia in addition to these three beep another pottery beep was found in the revision drilling in year 1976. The diameter of the blower tube is 32 mm and its height is 430 mm and its span is about 200 mm. In Chaghamish his seal impression has been found which depicts a group dating back to the fourth millennium BC. In this scene, in addition to role of harpist, there is a singer an instrument skin player and a person perform. In Iran, there are various forms of snick instruments such as timpani, Senj double drums, large drums, castanets and other musical instruments that we see through the seal impression and figurines. The most important findings is a type of lute instrument to be more precise, the mother of all instruments including: Tar, Setar, Doutar, Tanbour, and similar instruments. The Lut plays an important role in shaping them, it needs to be examined more closely in Archaeological excavations. Two types of necked incense instruments including Melodic structure and Harmonic necked incense were investigated from the author’s point of view, that these instrument are show the evolving music instruments in the present age. The instruments of Tar, Setar, Tanbour, and other instruments are music multiplicative.

Conclusion
The traces of musical instruments in ancient Iran are unique to the small muddy sculptures statue of Luteinst musicians. Befor Achaemenid period, in the third and second millenniums BC, traces of wind instruments called beeps have been found in Shahdad and hill Hesar. But wood_ made musical instruments such as the turtle neck lute, which were usually resource bowls or baxes. These are used to break down wood or organic matter such as the intestines as warp, curtains, and Dastgah. But Eichmann has reported that a cauliflower has been found in healthy Egypt and respected masters of archaeology say that the organic matter is likely to survive in very wet or dry environments, and the Egyptian specimen may be in this condition. Two types of necked incense instruments including Melodic structure and Harmonic necked incense were investigated from the author’s point of view, that these instrument are show the evolving music instruments in the present age.

Analysis of the Effect of Geometry on Characteristics Architectural of Iranian Awnings (Case Study: the Consecutive Awning of Fahadan Quarter of Yazd)

Shahriar Nasekhian

Abstract
In architecture a native of Iran is one of the principles of designing urban spaces people heir. Iranian architect has always been the human needs and demands into consideration. The architect of the past based on the desired climate space architecture in order to provide the human comfort design. Climatic conditions, along with other environmental factors, including the most important factors in the formation of the urban tissue. According to the characteristics of the architecture of the hot and dry climate of the burning sun of Iran and high thermal grade set, one of the last in the direction of the architect prolegomena ghosting in designed and produced Gzarha, awning. The awning are enable in the alley and Gzarha, which is part of Ford’s baths and climatic elements as well as the optimum biological requirements, in addition to making in retrofitting buildings of both sides of the Gzarha role. Unfortunately, nowadays in Iranian architecture, awning, to have been forgotten and the urban tissue of the awning or totally destroyed or have been to have been abandoned. With the recognition and evaluation of the architectural had knowledge of the geometry of the design knowledge can be structural elements of the ‘ climate-and once again, and also can be found in contemporary design and the urban tissue of the upcoming hot and dry climate of these special elements of the template. Between the geometry and the architecture of Yazd Fahadan quarter awnings body, and there is significant direct relationship. Based on the literature reviewed thus far, little research on the subject of the typology of Iranian awning and reviews of this climatic elements-from the perspective of structural knowledge of geometry.
Keywords: Indigenous Architecture of Iran, Geometry and Proportions, Consecutive Awning, the Yazd Fahadan Quarter.

Introduction
More research on the concept of the awning as the climatic element, check its stability in the amount of Gzarha and typology in the cities of Isfahan, Yazd, Kermanshah and because Shushtar. This document first geometric features of the architecture of the neighborhood, Yazd Fahadan awnings case is assessed. In the present study research methodology in terms of the objective applied-and in terms of the fundamental, method, method of inductive reasoning. The data field of a library, and on the left-hand tyranny. As well as the method of the analysis of qualitative data, quantitative methods-. After the library studies about the awning and its species, the hot and dry climate, awning, city of Yazd. Given that the neighborhood is one of the valuable historical neighborhoods Fahadan city of Yazd and had the original on the awning has chosen this neighborhood Neighborhood and 25 examples of this continuous awnings precious historic texture of the randomly selected, shooting data and to invoke the method of inductive analysis of the entire case apart. In this study, 256 Motalah sample random item selection and expressed. Between the geometry and the architecture of Yazd Fahadan quarter awnings body, and there is significant direct relationship. Based on the literature reviewed thus far, little research on the subject of the typology of Iranian awning and reviews of this climatic elements-from the perspective of structural knowledge of geometry.

Research Findings
This article focuses on the impact it has had on the geometry and shape of the neighborhood architectural desired awning case analysis. This research was completed in line with the previous research and reviews of historical proportions awning Fahadan quarter of Yazd. Based on the review conducted, became apparent between the geometry as a factor influencing the Fahadan quarter of Yazd awning architecture machines. The awning case study in terms of the geometry of the plan and the facade proportions and comply with the Iranian. The planning rectangular Fahadan quarter of Yazd awning is complete to the ratio of 1.73 and the ratio of that follow. This was evident in the analysis of the maximum number of the awning case reviews in terms of placement location in the middle of the pass. The largest number of covering arch with arch, and most of these Mazh awning in the direction North-South geographic have been drawn. As mentioned, an important element of the native architecture awning and climate are considered that Iran nowadays knowledge making it to oblivion. With this special climatic elements can be revived by the ancient native patterns as well as in the construction of the urban tissue and forming of new concepts that are of interest. In this study, the historical neighborhood of awning plan and valuable knowledge from the perspective of Yazd Sahadan geometry and rectangular proportions of Persia were analyzed. In future research can be found other than to work in Iran and other Persian architecture in the structure and architecture of the climatic elements-structural (awning) about the investigation. This test also can be used for other cities and places of historical texture of Yazd.

Conclusion
As mentioned, an important element of the native architecture awning and climate are considered that Iran nowadays knowledge making it to oblivion. With this special climatic elements can be revived by the ancient native patterns as well as in the construction of the urban tissue and forming of new concepts that are of interest. In this study, the historical neighborhood of awning plan and valuable knowledge from the perspective of Yazd Sahadan geometry and rectangular proportions of Persia were analyzed. In future research can be found other than to work in Iran and other Persian architecture in the structure and architecture of the climatic elements-structural (awning) about the investigation. This test also can be used for other cities and places of historical texture of Yazd.

The Recreating of Concept of Urban Texture in Qazvin

Shima Ahmad Saffari

Abstract
The city has more than one enclosed enclosure inside the barrow, and it introduces more than one area. Cities have seen profound changes in industrial, social, economic, political, and in particular their demographic, in their relatively long history. The oldest cities between the end of the 4th millennium and the beginning of the third millennium BC They emerged in western Asia and in places where their climate was favorable, and the fertile land suitable for cultivation .Also, the city’s urbanization in Iran dates back to the fourth millennium BC, But the process of city formation and the continuity of urbanization has been gradual in its own way. The Iranian city’s security includes the features and values of the architecture and urbanization of Iran, prior to the arrival of Islam. After the arrival of the Arabs in Iran and the formation of a unified Islamic state in the lands under Islamic domination, the emergence of sprouts The early buds of the new towns, these new towns, originated mostly from Islamic teachings, are divided into two main categories Cities left from civilizations before Islam or cities built by Muslims. The Islamic mayor was structurally persistent in the urbanization of the Sasanian era, and its physical elements were mostly derived from culture. The rich are Islam and represent Islamic civilization and culture. One of these cities is Qazvin, whose core was formed during the Shapur Sassanid dynasty and gradually developed and expanded during the Islamic era, and during Safavid times, Shah Tahmasb was chosen as the second capital of this dynasty.
Keywords: City, Urbanization, Iran, Islam, Qazvin.

Introduction
The word “city” has a long history in Iranian languages. The concept of the city is simply not possible, because civilization begins with urban life, as a result civilization has a direct relationship with urbanization or city. The process of the formation of cities and states for the first time during the third millennium. Based on the evidence available in the Middle East and the regions. The southern and central middle and middle plains of Khuzestan, Nile valley in the north of Aswan, the plains of the Iranian plateau from Fars to South Turkmenistan have been the main centers for the expansion of early cities in the semi-arid lands of Western Asia. One of the major differences between cities yesterday and today is their size, which initially made it difficult to distinguish between the city and the ten because not only the size of the small towns and their population was limited. But the ten and the city, as well as the dominant economic activity, were the same. Each city has different sections that are evidenced by evidence Exploring the ancient sites, the main parts of cities are the structures of the living city, including: temples, palaces, warehouses, defensive walls, houses Residential neighborhoods, workshops and industrial neighborhoods of cities, cities of the dead or cemeteries. In Iran, the process of urbanization and urbanization of the fourth millennium BC It began with the identity of cities and their architecture before the arrival of Islam into Iran But with the arrival of Islam to Iran, we are witnessing the formation of new Islamic cities, and pre-Islamic Pre-Islamic Iranian cities, including Qazvin, are developed and expanded with Islamic elemental elements.

Creation of the First Cities and the Formation of the City of Qazvin
The word root of the city’s name indicates that the city has a semantic meaning over an enclosed enclosure within the barrow, and has more than one district (rural district, district, county, and province). One of the major differences between cities today and tomorrow is their size. At first, it was not easy to identify the city and ten of them. The city and township in Iran has a long history of civilization. And exploring the ancient sites of Iran dates the city and urbanization to the fourth millennium BC. The Iranian identity of the city includes the features and values of the architecture and urbanization of Iran before the arrival of Islam into Iran. Qazvin is one of the cities that was created during Sassanid era and on the orders of Shapur Zoltakht and the original city In the form of a fence and a gable under the name of Shapour’s fence, there were gates in different directions; Qazvin also had a city within the first city under the name of Sharistan or the city, which was later mentioned in the Islamic period by Islamic historians. On the edge of the city and around it there were gardens and fields that Naser Khosrow in the century 5h. q These gardens were mentioned without a fence, and these gardens during the Safavid period and during the Qazvin’s capital created the Gardenshahr of Qazvin, and the works of these gardens still remain in the city until now. During the Safavid period of Qazvin, the name “Dar al-Saltanah” He took himself and chose it as the capital of the king of Tahmasb.

Conclusion
Qazvin is among the cities that has been of special importance in all historical periods, according to written documents written by historians and geographers of Qazvin city by Shapur Zoltakht. It was called “Shadshapur”, but there is however no evidence of the state of the city during the Sassanid era. The only references mentioned in this article are the base and the boundary of Qazvin. In this period it is for the war against the Dalian, which most historians have pointed out. With the arrival of Islam in Iran and the conquest of Qazvin by Muslims, the city gradually expands and the core of the city for its development is the location of the Shapouri fence, which in the texts Historians have been referred to as the Keswin fortress, and in the post-Islamic periods, the city has expanded to this area. On the other hand, the city of Qazvin is located on the east-west and north-south communication highways.

Recognition and Analysis of Architecture of Hamedan Great Mosque

Zahra Pourshabanian

Abstract
Hamadan great mosque, the oldest mosque in the old urban context, is located between the city market and the central square. This prominent mosque belongs to the early Islamic centuries, which has been rebuilt during various periods, especially the Safavid and Qajar periods, but isn’t remains of the ancient structure of the mosque, and the current structure belongs to the Qajar period. Despite the general features of this work, the shape of the mosque building has a great impact on bringing the building in line with the climate. Now the question arises to what extent has the region’s climate been able to influence the process of mosque formation? And to what extent does climate modeling ensure the durability of the mosque’s structure? Based on the above questions, the purpose of the present study is to introduce and analyze architecture of great mosque by using descriptive-analytical method and relying on study resources and field studies to provide answers to the questions raised. The result of such a study can be seen in influencing the architectural features of the mosque from the region’s climate; this work, in addition to its religious function, the location of the mosque and its location along the main market of the city, has led the mosque to play an important role. According to the architectural structure of the mosque, the major developments in the building are related to the Qajar and contemporary periods; the structure of the columns of the nave of the mosque, It has a dome, minaret and sangab, and is the only example of a dome mosque of historical value in the urban context of Hamadan.
Keyword: Hamedan, Great Mosque, Architecture, Climate.

Introduction
Hamadan great mosque has always been one of the most important historical, architectural and archeological studies in Hamadan. About change, development and restoration carried out in the Mosque of historical, geographical and social remained critical of the Islamic period. Which can sometimes be compared with evidence in the current structure of the mosque, and sometimes little archaeological evidence suggests that parts of the building existed in the past. As it comes from historical sources, the core of the structure of the Hamadan mosque dates back to the Early Islamic period, which has been repaired and added to over the course of the following centuries (Hojbari, 2006). In addition to the religious function, the location of the mosque and its location along the main market of the city have led the great to play an important role in shaping the design and layout of the city (Mehriar et al., 1999: 54). Due to the architectural structure of the mosque, the major developments in the building are related to the Qajar and contemporary periods. The structure of the mosque is subordinate to the pillar-shaped hall, has a dome, a goldsmith and a Sangab, and is the only example of a dome mosque in the urban context of Hamadan. Structural features and climatic principles governing the structure of the mosque led the author to fully describe the architectural structure of the mosque of Hamedan in a descriptive-analytical way. Undoubtedly, this method of analysis can greatly eliminate the gaps in the study of structural, decorative, and climate change in the structure of the mosque. Based on the aforementioned approach and based on geographical, historical and architectural texts, a comprehensive and complete analysis of the mosque’s location and its architectural and structural analysis is obtained. Therefore, in this study raised the following questions: What extent the climate of the region has been able to influence the process of mosque formation? And to what extent does climate modeling ensure the durability of the mosque’s structure?

Great Mosque
The square-rectangular square-plan mosque is incomplete, with a rectangular courtyard spanning three porches in the South, East and North, several bedrooms, a brick-covered dome, a dome, six minarets and several chambers. The building under consideration from the perspective of construction and architecture from several different and interrelated parts such: Entrance, Vestibule, Courtyard, Ivan, Chambers, and the hall is formed around. The main entrance of the mosque has been West and market in the past, but with the creation of new buildings and a new entrance on the North side of “Ekbatan Street” the main entrance has been moved to this direction. The old mosque entrance to the market can be accessed through a vestibule to various parts of the mosque. Another entrance to the mosque is on the Southeast side of the market through a corridor. The courtyard of the mosque has a large pond in the middle, porches, chambers and halls around, the courtyard is about 2 meters below the adjacent alleys. The South porch of the courtyard has two shallow arches that have two short and thick minarets on top of this porch. Behind the porch is the dome space of the mosque, which, along with the porch, forms the core of the old mosque, with an altar built on the South side. The dome is of two-shell type and is of architectural suitability; the dome leads to the columned bed sheets through the side porches; on the West side of the dome is a mosque with proportional stone columns that access the courtyard and dome through the entrances. On the West side of the courtyard and adjacent to the aforementioned nightclub is another columned hall, opposite the South porch and on the other side of the porch aisle and bed sheets in a new way with flat cover built on top of the middle porch of the two minarets, which is an extension of the recent period, the porch overlooking the new mosque on Ekbatan Street also has two minarets (Molazadeh and Mohammadi, 2000: 243-244).

Conclusion
Designers of Hamedan great Mosque have applied techniques to adapt to the climatic conditions of the cold foothills, a major problem in these areas is winter cold. Therefore preventing heat dissipation in different parts of the building is a top priority for designers (Tahebaz and Jalilian, 2011: 63). The plan of the mosque is a square-rectangular mosque that is integrated with the surrounding area and the mosque building is adjacent to the adjacent buildings, which also helps maintain the heat inside the mosque as well as the adjacent buildings (Pourshabanian, 1397: 67). The mosque has a central courtyard with a low infrastructure compared to the entire mosque. Part of the body of the mosque is submerged in the ground due to the lower level of its adjacent street texture, leading to greater vulnerability of various parts of the building to moisture(Ibid: 47-48). And besides the beauty of the building materials, it is also damaged (Ibrahimzadeh, 2015, 2: 796).

Analysis of the Style and Name of the Shahnameh: Known as 29 Miniaturesor Madhi

Abbas Namjo

Abstract
The Shahnameh of Madhi was painted by ottoman artists in the first half of the seventeenth century. Introducing this book and Studying the paintings is important because ottoman paintings has existed in the history of Islamic art, especially in Iran, because there is a close connection between the Safavi and Ottoman governments that can clarify many issues around the two countries and a historical analysis of the historical name and identity of one of the prestigious manuscripts of the Shahnameh is performed in a language other than Persian abroad. This book is writing in Arabic and in Turkish in Istanbul. The Turkish translation book is one of the Iranian texts with a worldwide reputation. The purpose of this study was to identify and understand the art of the Ottoman period and the impact of Iranian culture and literature on that art. Is referred to the Uppala library repository for reading and researching this book. The library has registered this book as a miniature Shahnameh 29. Original version of the book, for information on the paintings of this book, reference was made to Islamic art books, especially Ottoman painting, especially to the second Ottoman whose writing was commissioned by him.
Keywords: Ferdowsi Shahnameh, Madhi Shahnameh, 29 Miniatures Shahnameh, Ottoman Miniature Style, Ottoman Art.

Introduction
Shahnameh is one of the greatest literary and historical achievements of Iranians. This book hasn’t only been respected by the Iranian kings, but also by the kings of neighboring countries, who has translated and compiled copies of the Shahnameh of the examples writes outside of Iran cultural and political borders is a Shahnameh kept in the library of Uppsala University is Sweden and ordered by Sultan Ottoman by a person named Madhi who was the story teller of Ottoman kings. Translated into Turkish prose in the years 1024, 1028 AH, this book has been writed the middle of March 1620 AD to Nastaliq script The purpose of the study of these paintings, in general, was first to identify the influence of literature and the art of the Ottoman on its neighbors, and then to identify the effects that these neighbors, had on its drawing, as well as to analyze the painting and research on the original name and identify of this version varies and methods of painting the subject of Ottoman are and their approach to were quite different a grateful Iranian painting at the times covered in colorful flowers and beautiful tree and decorative springs emphasizes the scene. This isn’t the as vast plain or solitary hills the background colors in Ottoman painting are mild and neutral and details such as rivers, bridges, castles, and trees were portrayed only if they were important to the narrator. This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows:
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD).

Madhi Shahnameh
This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows:
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD).

Conclusion
The Persian kings created conditions at the court led artists to create beautiful works. But the spirit of the Ottoman court has been different due to the struggle for decolonization. In continuation, the Ottomans were began a wide range of activities in the field of art. The Ottoman artist has been recorded history and geography with realistic visuals of the surroundings such as the clothing of the people and the faces of the rulers. This artist hasn’t been looking for mysticism or religion. Probably for this is it simply blends the two opposing ideas of East and West. In the Ottoman painting, there are exaggerated views of Eastern painting with realistic elements. Elements like perspective that have been taken in account in the drawing of buildings. In some pictures the western face is also visible in the clothes folds. The aim of the Ottoman artist is to express events. The Ottoman artist clearly depicts the culmination of the narrative. In every book, he depicts the king in a palace of glory. These points are also clearly seen in the Madhi Shahnameh (29 miniatures). This Shahnameh was created during the period when the Turkish language tried to dominate. This translation is just like the pictures, is the duplicate direct and devoid of decorating, and expressing the sincerity of the word. The translation of this Shahnameh as mentioned, by a person named “Madhi” has done in the year 1027 AH.

Explaining the Effective Role of Coffee House in the Formation of Coffee House Painting

Karim Zarei

Abstract
The coffeehouse painting, a school of oil color narrative painting, was formed in the late Qajar government during the constitution movement by untrained artists in coffeehouses with martial, artistic and religious themes. With the suppression of people’s liberty by such tyrannical government, the constitution revolution led to people’s movement in coffee houses where was made as one of the most important societies in the Qajar era playing a major role in shaping this movement. In the following article, it has been attempted to establish the coffee house as an institution with social and cultural functions in order to strengthen the national and religious spirit of the individuals. The research methodology includes library and field study based on the research of coffeehouse painting, the constitution revolution, and the study of Qajar coffeehouse atmospheres. After having analyzed and adapted the data, the following results are presented: the process of coffeehouse painting in coffee houses during the constitution Revolution was an anti-authoritarian and a critical movement against the Qajar government. Also, the content of the discourse in coffeehouses during the noted regime affected the themes of the paintings with a significant influence on the constitution revolution.
Keywords: Coffee House Painting, Coffee House, Qajar Autocracy, Constitution.

Introdction
Due to the need and demand of people and the respect for their beliefs, coffeehouse painting is a kind of oil color narrative painting that was emerged by untrained artists with martial, religious, and artistic themes during the constitution movement, based on the traditions of folk and religious art. Although the basis for this painting was an ancient tradition of storytelling and sorrow expressing in Iran, conditions for the growth of this popular art in coffee houses were provided during the Qajar era, and some painters in this school came up with a procedure that was beyond the domain of that time art (Saif, 2011). During this period (Nasser al-Din Shah’s long reign from 1848 to 1896 B.C, 1264-1313 A.H), with the emergence of foreign wars and the internal problems, the internal legitimacy crisis appeared by which influential religious and social heavals were created. This circumstance expresses the transformation of social forces and anti-authoritarian movements against the government of the time and the constitution revolution, which was the foundation of these radical changes, created profound and great social transformations that remarkably affected the strengthening of public institutions. Therefore, the coffeehouse, which was more important and long-lasting than the other institutions, became a place for attending these communities and as a strong and active social institution, played a very significant role in appearing public movement and had an undeniable effect on coffeehouse painting. With the assumption that the coffeehouses were the main factor of shaping the coffeehouse painting during the constitutional period regarding the social governing conditions, the influence of this public institution in its era on coffeehouse painting is reviewed, considering the atmosphere of coffeehouses during the constitution revolution and the Qajar dynasty.

The Influence of Constitution on Art and Culture Changes
Coffeehouse painting is a style of Iranian painting that reached its peak in the late Qajar era simultaneous with the constitution movement (Saif, 2011).
In the trend of the formation of constitution movement and the general awakening of the people and their awareness of the condition in the country, all the urban classes participated in the revolution, and there was not even one social class entered the scene against the revolution. Accordingly, a coalition of different groups of cities and various classes participated in the movement of constitution, and such a revolution was a public, democratic, mass and urban movement, instead of a bourgeoisie one (Yazdkhasti & Esmaili, 2008: 108).
In the field of culture and art, new conditions came to the fore. The Iranian people were involved in a new world-wide view by observing the new situation and suppressing the liberationist movements while facing their state and religious leaders who were involved into the battle. The Persians were witnessing new colonial intrigues on the one hand and the pressures of domestic tyranny every day on the other hand. Those who were not hopeful for the improvement and the destruction of seven-headed colonial and tyrannical dragons by observing the chaos and hypocrites in their real life were subconsciously attracted to the mythical and historical heroes and revived them (Saif, 2011). The constitution revolution, if not the turning point, was a breakthrough in Iran’s social transformation. It deeply changed Iran’s social and intellectual history. In this regard, two important issues should be mentioned:
1. In such a movement, people dared to present their social rights for the first time. It is very important for the people to have the right to think and to comment rightfully.
2. The society of Iran at that time focused on the main obstacle of the community improvement, and that was the terrible domination of despotism. In the view of Constitutionalists, the autocracy dried out sapling of thought and human growth, disclosed the liberation of the thought and the act of humans. This was the center of attention of the warriors and intellectuals (Nazari, 2007: 33).

Conclusion
In the definitions given to the coffee house, it was a place where attention was paid to the political, social and cultural considerations of the Qajar dynasties, and the presence of painters in this space, due to its simultaneity with the constitution movement, is a reason for their reconciliation with the atmosphere of the coffeehouse against the tyranny of the government. Just as the political revolutions originate from the lower and middle classes of the society and are based on the structure of the people’s organization, such as the workers and religious revolutions that rise against the autocracy and insurrection, the coffeehouse painting is formed from the lower layers of the society, and painters, who generally had a career other than painting, have shown a kind of intellectual awakening in their work, without being trained in a particular school.