Abstract
Central Zagros as one of the significant Iranian archeological perspectives has attracted the attention of many archeologists during the recent century and especially from the 1950s. It seems that the rugged lands of this near east region have been the cradle of many cultural evolutions during the history and the prehistoric periods. Although central Zagros due to its adjacency to the central Iranian plateau, Mesopotamian and southwest of Iran lowlands, and also the northwest mountains of Iran has been of concern mostly for the cultural remnants of the prehistoric societies, yet it has been a strategic and important region during the historical and even Islamic period. Among them we can mention the complex of Taq-e Bostan on the north of Kermanshah located on the ancient path of “The great Khorasan road”. This complex is on the hillsides of Parkuh and surrounded by thickets and a lake which cause it a particular situation throughout the history. This complex owes its fame to the Sassanid rock relief which has been visited by Abeh Pushan in 1792 for the first time. However, Herzfeld studies are the first scientific investigations on the historical complex of Taq-e Bostan. On the other hand, the
conducted excavations by Mr.Kambakhshfard in 1969 led by the accidental discovery of some pithos graves by municipality workers, resulted in achieving the evidences of a Parthian cemetery with more than 50 pithos graves and also remains of a village related to Parthian period. According the archeological investigations and studies on the ancient paths of the western Iran, or the surveys have been done in the region and ninety years background of archeological studies about this area, no report regarding the prehistoric existence of this complex has been presented. Morad Hasel site is the closest prehistoric site to this complex which has been identified and surveyed by Mr. Hassan Rezvani and it is related to the chalcolithic and Bronze Age. During the surveys and visits of Ali Hozhabri in the summer of 2013, some evidences of a chalcolithic site have been identified in the western park of Taq-e Bostan complex. This site was surveyed and its surface findings were transferred to the C.H.H.T organization for filing and documenting. Regarding the nature of the findings which were collected during the field survey, the aim of the present study is to introduce this significant site and to present a relative
history for the site’s artifacts. In the following, the overall image of cultural structure of this site is recon structed with an analytical view and with regard to the chronology and the location of this site.
Keywords: Central Zagros, The Western Park of Taq-e Bostan, Chalcolithic Age, Kermanshah.

Conclusion
This site is located on the north of the current city of Kermanshah, Taq-e Bostan historical complex; with northern longitude of ″16 ′23 °34 and eastern latitude of 47″54.7′7°. Altitude of this site from the sea level is 1395 m and is one-kilometer length and 300 meters width. This site is located on the west of Taq-e Bostan, in the western Park of the complex and on the hillside, surrounded by pine trees and close to a basin with a boiling fountain. This basin known as Taq-e Bostan Sarab is one hundred meters far from the east of the site. The site is one kilometer far from the north of Qarasu River. On the rather steep slope of the mountain and some deep clefts have been made on its both sides by heavy equipment. The Parthian cemetery of Taq-e Bostan is formed on the Taq-e Bostan western park site’s remnants. Fortunately, the pine jungle around this site has prevented the urban construction and the field is preserved. However, since the Parks and green spaces organization of Kermanshah is beside the site, and in 2005 Kermanshah municipality decided to build a parking in this area and started to excavate in two parts of the site. The result of this earthworks were discovery of some Parthian pithoi graves which were unfortunately destroyed; although C.H.H.T stopped their progress but those clefts are still obvious and gradually they turned in to a dumping ground for city wastes and building debris. Later the municipality started to expand the west Park area of Taq-e Bostan with some changes. Except the known sites and caves around Taq-e Bostan which are far from the historical monuments, up to now Taq-e Bostan complex has been known and studied for its Parthian, Sassanid and Qajarian cultural remnants. Discovering a prehistoric site in this complex can emphasize its importance, not only for the historical and Islamic period but also the prehistoric (Chalcolithic) period. The Godin excavations can be considered as the base for western Iran chronology of central Zagros, but it seems that contrary to Kangavar plain, and in compare to eastern plains of Zagros, Mesopotamian ceramic culture was more widespread in the western plains of central Zagros such as Mahidasht during the fourth millennium B.C. accordingly, the chalcolithic chronology in Kermanshah and Mahidasht plains can be studied based on the excavations conducted in Siyahbid and Chogha Maran. Based on the chronology of the neo-chalcolithic period of this site which its evidences have been obtained on the workshop no. 3, handmade red ware and black ware ceramics with black decorative patterns have been found related to this period. The proposed date for the neo-chalcolithic of Mahidasht is 3000 – 3600 B.C; comparison of the discovered ceramics indicates  the concurrency of this site with GodinVI: 1 and neo-chalcolithic layers in Siyahbid and Chogha Maran. Clearly, ceramics are the most important and significant cultural material of the near east. Due to the degradation and destruction, the surface cultural material of this site is just shreds. The neo-chalcolithic ceramics of the western Park of Taq-e Bostan complex are buff ware with vegetal temper and light red coating color. These ceramics are handmade, properly baked and medium quality. Among the surface ceramics of this site, no patterned shred was found but regarding the appearance of these ceramics, they can be related to neo-chalcolithic, specially the common rolled Rim bowls have been seen among the collected samples of the surface. Considering the clefts in this site made by the blades of the road construction equipment, the cultural material accumulation can be seen in this site. Ceramics are this site is comparable with the ceramics of GodinTepe in Kangavar plain and Siyahbid in Kermanshah plain.
 

Abstract
The composition of music and poem has leaded both of them to poetical growth and deep thinking. Sasanid civilization had penetrated in to the pillars of the society in Abbasid period, and music found an important place as one of the symbols of Sasanid civilization. Poets in Abbasid period have  created lovely images by musical instruments. In this way, Abu Nawas was a poet who showed his power in creating poetical images by musical instruments. He was able to mix music with human feeling. He knew music as a doleful tune and delightful melody which rises up of the soul of musician, it did not come from a strict string, or a lifeless wood (stick). In his poems, he mentioned some of the instruments; Lute and Flute and Harp, Tambourine and Tanbur and Mizmar were the most important among them.
Keywords: Iranian Music, Abu Nawas, Sasanian Period.

Introduction
Music of Sassanid and Abbasid era: The history of musical performance in Sassanid Iran is, however, better documented than earlier periods. This is specially more evident in the context of Zoroastrian ritual. By the time of Xusro Parviz, the Sassanid royal court was the host of prominent musicians. In general, the period of Xosro Parviz reign is regarded as an “golden age of Iranian music” and himself is shown in a large relief at Taq-e Bostan among his musicians and himself holding bow and arrows and while standing in a boat amidst a group of harpists. The relief depicts two boats and the whole picture shows these boats at “two successive moments within the same panel”.
 The musical instruments which appeared distinctly on the Sassanid sculptures were the harp, the horn, the Daf, the drum and the flute or pipe. The harp is triangular, and has seven strings; it is held in the lap, and played apparently by both hands. The drum is of small size. The horns and pipes are too crudely represented for their exact character to be apparent. Concerted pieces seem to have been sometimes played by harpers only, of whom as many as ten or twelve joined in the execution. Mixed bands were more numerous. In one instance the number of performers amounts to twenty−six, of whom seven play the harp, an equal number the flute or pipe, three the horn, one the drum, while eight are too slightly rendered for their instruments to be recognized. A portion of the musicians occupy an elevated orchestra, to which there is access by a flight of steps. Music is one of the most important factors in the Sassanian Persian civilization. Unfortunately, there is no note left from that period about their melodies. Thus, we are not able to become familiar with the theory of music in these periods.
Abu Nawas, an innovative poet: Innovative poets in the beginning of Abbasid era changed the contents of Arabic poetry. It is exclamatory that the leadership of this innovativeness belongs to Iranians. Bashaar, Abu Ataaie, Abu Nawas are the initiators of evolution in Abbasid poetry and they are called as the modernists of Abbasid Period.
Musical instruments in the poems of Abu Nawas: The names of musical instruments in Abu Nawas’ poets are mixed with his poetic emotions. For Abu Nawas, these instruments are not a set of strings or woods to be mentioned in the poem, rather he connects his emotions with these instruments. He vitalizes them. He perceives them their sound as human emotions as he blows in them or plays them weather in mood of euphoria or illness.
Lute and Flute: Lute is also called Barbat. It is an old instrument which is called Mezmer by Arabs and it is considered the best and the most joyful instrument. It is said that: they asked Lute, “is there any instrument better than you?” It answered “No”, while he bent his head to the back and stayed that way.
Harp and Daf: Literary, harp means paw and it is the name of a popular instrument or the name of anything which is bent. Harp is made by zinc. Hitting two of them together makes it sing. In Hindi they call it Jahanche. In Persian, Daf is the name of a popular instrument. In Arabic it is called Dof. Daf has a circular shape and it is made by wood, covered by animal skin. In some of its parts, rings are attached to it and this instrument is very precious for Dervishes.
Tanbur: Tanbur is a Persian musical instrument which has entered into Arabs culture. Originally this instrument was called Danbare in the beginning. Its bowl and surface was smaller than the bowl and surface of Shervanian Tanbur and it surface was flat and smooth.
Mizmar: It is said that Mizmar is a reed or it is lute and also it has been referred to as Barbat. It has been called Mezmar by concise which means Trachea. Mazaamir are burnt reeds. Paluarr form of Mizmar means Trachea and in Arabic, it means the puluarar form of singers’ instruments.

Conclusion
Last words: Abu Nawas, a modernist poet of Abbasid period, is an Arab poet (originally Persian) who has created new and beautiful concepts and images based on the culture and civilization of Sasani. This concepts and images include Iranian instruments and melodies of Sasanid period. Reed, Lute, Harp, Daf, Tanbur, Mizmar are mentioned in Abu Nawas’ poetry. Among this instruments, Reed and Lute are two mostly been mentioned together. An important point to mention about these instruments is their vitalization by the poet. These instrument are not only names to be used to describe the event or report the lifestyle of that period, they have been used as symbols to show us the joy of living, by imagination and vitalization of the instruments. Abu Nawas’ proficiency in Arabic language, his knowledge of Iranian culture and Sasanid music, enabled him to create new images and meanings and granted him a special place in Abbasid period.
 

Abstract
The mineralogical and chemical investigation of ancient slag is of high importance for economic mineralogist and archaeometalurgist. These investigations reveal information, which is of general historical and mineralogical interest. Over than 95% of metallic reservoirs have proved antiquity evidences. By using mineralogical-petrographical studies on metallurgical slag as an object from the ancient world, it could be enhance to understanding about the major and trace elements via metal extraction.
The basin of Halil Rood (Halil River) is privileged to have a rich civilization. Many objects as well as metallurgical evidences belonging to the third millennium BC have been discovered in this district during the archeological excavations. Kerman – Rabor – Jiroft district is of great interest due to the archaeometallurgical signs in south-west Iranian desert and belong to the Halil Rood region. This district is important according to the enrichment of polymetallic hydrothermal ore reservoir such as Cu, Pb, Zn, Sn, Ag and Au in south and south-west of Zagros orogeny. Several scientists have been focused on this region, as one of the born place of metallurgy in the ancient World [1]. The primary aim of this study was the characterization of extracted metals and the methods of smelting. The objects to be discussed here are mostly copper slag as well as ores. 20 local mining- and metallurgical places have been found through recently archaeometallurgical expedition. These places are mainly consisted of slag-heap, fireplaces and ore deposition, which are remarked possibly as passage-metallurgy along south Iranian desert.
Keywords: Archaeometallurgy, Metallogeny, Petrology, Slag, Copper, Kerman.

Introduction
There are several slag accumulations in Halil region. The slag samples investigated during the present work were collected from thirty-seven different ones which were located in different parts of studied area. There are four Types of slags in these districts districts.
A) The slags are generally massive and in some cases the colour is black with some red spots (Copper). The sign of flow structures can be seen on some of them, but there is no glacial one. The porosity is high as well as their density. The structure such as furnace has been excavated from this area. This Furnace has ca. 1.5 m cross section dimension.
There was a deponie of slags materials upside this furnace. In the furnace there exist no slags by now. It could be the furnace with temporary employment in this region. Such furnaces with the same structures have been observed in the north of central desert in Iran, In sahroud and Khorasan region.
B) there are five small dumps located near each other which have been considered. These samples have flow structures. They are black and red in color and have more porosity than an accumulation’s samples.
C) several small dumps located at the main stream at the north of Rabor-Jiroft district, which considered as C accumulation. Only one slag was selected from it. This sample is black in colour and has massive structure. No flow or glacial structures can be seen between slag pieces in C accumulation.
D) A very small dump has been excavated. The physical properties of these slags are completely different from other ones. This sample has many porosity and low density. It is black in colour and no flow or glacial structures are seen. Mineralogical and petrological analyses were performed only on slag materials. The dating of all this samples to classify these dumps could not be possible in this project. The distribution of the dumps is not only statistically but also commonly on this field, and for this reason there is another factor to have no chance to get the better results in respect on the ageing of dumps on this region exactly. The topographic situation and the changing of the earth in each seasons, and the movement of the seasonal rivers disturb the structure of the surface topography permanently each year. This distribution during the overflows in the wet seasons could be the aspect of slag’s distribution either.

Halil region is located in south central of Iranian metallogenic zone. Rock types in this area are mainly divided into 6 sections as follow:
1. Upper Proterozoiec: the oldest and the most abundant rock type in studied area. This formation is composed of quartzitic shist, phyllic- like schist, green schist and marble. Quartz-chloric, quartz- seresic, chloritic schist are also existed with an admixture of carbonate with thick layers and lenses of dolomitize marble, dolomite and rare beds of chloritized calcareous-quartz.
2. Cretaceous: This rock type forms bands of sublatitudal. Lower Cretaceous deposits are spread in external parts. This rock type largely composed of carbonate rock, less abundant conglomerate, gravels and sand stone.
3. Eocene: This basal unit of tuff- conglomerate lies completely at the lower part of the complex. These are overlain by tuff and lavas of trachyandesitic and andesitic composition, with intercalation of trachyandesite- basalt and lime stone. The section is crowned by fine- fragment of tuff and tuff- mudstone.
4. Dykes: the oldest and the most abundant Dykes are porphyry granite, aplitic granite, microgranosyenite, syenite and lamprophyre. The younger ones are porphyry granodiorite and porphyry diorite.
5. Plutonic rocks: these rocks are very abundant and most of them are acidic. Linear ultra mafic structures are observed in this area. Plutonic units are divided into different parts: Diorite-Manzanite, Manzanite-Quartz Manzanite, Porphyry Alkaline, Graniteporphyry, Quartz Syenite.
6. Quaternary: these sediments are widespread in all over the studied area. Genetically, they are subdivided into alluvial- proluviall- and eolian sediments.
The probable ore types which is outcropped in this area are classified as the following table; The objects to be discussed here are the copper slag. The primary aim of this study was the characterization of materials and the methods of smelting. The objects which have been found here are mostly slag as well as ores. The slag shows the structure of casting slag and also remains from the smelting furnace. The materials are characterized by means of XRD-XRF and Pol-Microscopy methods.

Conclusion
The slag contains high amount of Copper oxide, hydroxide and carbonate and silicate and some amount of MgO or MnO complexes. The main silicate appeared here is Fayalite and pyroxene which has been existed in the matrix of slag. The main paragenesis is chalcocite-chalcopyrite-covellite. copper was smelted at the high oxygen fugacity; approximately about 10-7 atm. Indeed, the furnaces heated with charcoal and charcoal observed also in the macroscopic texture of slag.

References
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Abstract
So far, have much been researches about confrontation IlKhanids of Mongol and putting end to Abbasids Caliphate and Ismailis, but still there are many untold of facts unknown to historians and researchers. Based on evidence that we have, local governments of 5 and 6 century were strongly afraid of murders of Ismaili mountaineer. One of the areas that was the perfect opportunity for Ismailis, was the mountains of north of Lur which through an important this passage could connect to Baghdad. The Ilkhanids that according to the Mongolian documents this time their goal was not only to destroy regions and looting, but had come to get a brilliant victory in west Asia because for ten years their territory was not developed in this direction. The situation was so unstable for Mongols that they continuously asked help from the court of Qaan and requested the dismantling of the government of the caliphs of Baghdad and Ismaili. Accordingly, this time they entered Iran with a pre-designed plan. Hülegü army was equipped with Chinese gunpowder and latest engineering equipment of siege. Cavalry archers of Hülegü were under the command of commanders that are involved with military operations with Subutai and Genghis Khan. So, in this study are two questions: What is due to be reviewed in this paper, is a different aspect, derived from this question; whether part of military confrontation with the Abbasids and the Ismailis occurred in places far from the range of historians and left behind in the dark? The first hypothesis this is: the policy of conquest or purchasing numerous castles and penetration in various mountains by the Ismailis and as well as finding ways to penetrate to Baghdad by Ilkhanids, has been gone the struggle between Ilkhanids with Ismailis and Abbasids Caliphate to southwest Zagros Mountains.
Keywords: Lur City, Ilkhanids, Abbasids Caliphate, Ismailis, Baghdad.

Introduction
According to documents presented in this study, Lur City has been strategic center played an effective role for Ilkhanids in defeating their two arch-enemies. Lur city on one hand could play the role of logistics base in mountain base to combat Mongereh castle (Mongereh), that was located on Mount dez (dez) the mountains north of Lur, and also with use of the passage in southwest of city, and Ilkhanids army could easily pass the passage and access the center of the caliphate i.e. Baghdad. According to the documents, this passage also existed in past and according to ancient documents at one time it was crossing between Paul Assyria’s army to fight the Ilam / ancient Ilam, and at the Sassanid period, it was passage used by Sassanid Shapur to deal with Rome in the battle of Edessa. In the Islamic period, its importance was known to Ilkhanids and Hülegü in good way and using military terminal of Lur managed to use part of his military operations against the Ismailis in northern mountains and another part through the southwest passage of city against the Abbasid. Lur base helped Ilkhanids to overcome enemies of Ismaili and Abbasid Caliphate and also they established their rule. From this base, they used their military force against the Damascus and Aleppo, because their next stop after Baghdad was raid on Syria. Hülegü by strengthening its forces in the same passage managed the development, support and guidance of the military operations in other parts. The present article, after survey Lur city, is deals with political and military importance of city in facing Abbasids Caliphate, Ismailis, and Ilkhanids. The work method is based on collecting evidence of valid documents, archaeological and historical books, and analysis from them.

Importance of Lur crossing
Through the passage of southwest of Lur city, Hülegü in 655 AH / December 1257 AD started the battle against the caliphs of Baghdad and in February of 1258 I CE / 656 AH arrived in Baghdad. He plundered Baghdad and after that the caliph surrendered. Abbasids Caliphate treasures were looted and were shipped to the headquarters of the Mongolian Khan. By Hülegü’s command caliph was thrown under horses hooves and killed and after 5 centuries Abbasid caliphate was overthrown by the Mongols. They continued operations to other cities around Syria, through that passage until receiving news of death Mngoqaan the Mongol army was halted progress and Hülegü Khan returned to Azerbaijan. As a result Egypt used the provisional interruption that had emerged in the Mongol onslaught, and provided stability against them. But on the whole Ilkhanids using thus strategic passage by entering Baghdad from the west could bring under the control of different areas. In base of Lur city the Mongereh castle was conquered and this event started Ilkhanids serious presence in the Mongereh castle. Pottery glazed turquoise blue in 7 and 8 AH centuries, is indicate the capture of this important and historic castle by Ilkhanids and their establishment within this period.

Conclusion
According to discussions provided in this study, Lur City as a strategic center played an effective role for Ilkhans in defeating their two arch-enemies. Lur city on one hand could play the role of logistics base in mountain base to combat Mongereh castle (Mongereh), that was located on Mount dez (dez) the mountains north of Lur, and also with use of the passage in southwest of city, and Ilkhanids army could easily pass the passage and access the center of the caliphate i.e. Baghdad. So, it seams, fall of the Lur city has been led to overthrow of Abbasid Caliphate. The pottery glazed turquoise blue in 7 and 8 AH centuries, is indicate the capture of this important and historic castle by Ilkhanids and their establishment within this period.

Abstract
Study of human skeletons are gives researchers very valuable information about ancient people (especially, skeletons that in archeological excavations are obtained). In studies of osteology are considered different aspects of bone morphology after classification and typology. In this type of study, quickly gender determination and estimate of skeletons age is done from the appearance of bones without performing complex experiments in the lab. In the male and female skeletons are clear differences. These differences are based on standard indicators. The human skeletons of Korijan from a historical site was obtained, that after the recovering actions and maintaining the physical structure it in the first situation, necessity of studies of gender determination and estimate of skeleton age was considered. In the first view, maybe questions about gender determination and estimate of skeleton are looked completely clear or very complex. The review this point that human skeleton of Korijan have been related to men or women, or this skeleton is in the age of the elderly or adult; proof or refutation of these hypotheses was needed to use scientific approaches and use of measurable and experimental variables. The sciences of biology, physical anthropology, and osteology are close relationship with each other, and these sciences through this relationship are help great help to answer these questions and hypotheses. In this research, has been used from the combination of the species classification method (typology) and branch classification (that this method more is used biological studies and osteology). In these methods, skeletal data has been evaluated in equal of indices and variables in category of similar species. Use of the library resources, is another part of studies of this research.
Keywords: Gender, Age, Human Skeleton of Korijan, Hegmataneh Museum.

Introduction
After the discovery of ancient grave in Korijan, in the first step, was done identification of bones and tissue fixation them, and the skeleton was moved to the Hegmataneh Museum with scientific methods. After restoration of the skeleton, was done gender determination and estimate of skeletons age. Many archaeologists are refitting the social structure of ancient societies based on traces from the excavation of ancient sites and cemeteries are obtained. In this research, based on bio data with species classification method (typology) has been studied apparent differences of male and female skeletons. The male and female skeletons are a lot of obvious and hidden features that can be categorized. These features are different with each other; and experts from these different features are used to classify human skeletons. Main research questions: What features should be used in the classification of the skeleton under study? And, how should these features assessed? In relation to estimate of skeleton age, in addition to use the species classification method (typology) and branch classification, also evaluation pattern of the skeleton age has been consideration. The purpose of this research, provide of the standard criteria for gender determination and estimate of skeletons age is done from the appearance of bones without performing complex experiments in the lab. In this research, has been used from the combination of the species classification method (typology) and branch classification (that this method more is used biological studies and osteology). In these methods, skeletal data has been evaluated in equal of indices and variables in category of similar species. Use of the library resources, is another part of studies of this research.

Research findings
During the trenching for limitation of Korijan Tepe in South of Kabudarahang in 2002 year was obtained the human skeleton of Korijan, and for further studies to Hegmataneh Museum was moved. The male and female skeletons are a lot of obvious and hidden features that can be categorized. For this purpose, pelvis bones are most important part. The importance of pelvis bone is for distinguish of gender, and this Because of the difference in performance it between men and women. In general, the female pelvis is wider than the male pelvis. Thin pelvis is more suitable for movement. In addition to the pelvic bone, skull bones and then bones of hip, arm, collarbone, shoulder, and wishbone for distinguish of gender are important. Size and general strength of other skeletal areas as a sub-index are noteworthy. 
Furthermore, by reviewing the skeleton, we can be estimate of skeletons age. The various methods that are use usually for estimate of age in the time of death in adult skeletons, as follows: Closure of the skull sutures, shape of ends of the ribs, shape of the articular surfaces, shape of the symphysis pubis, and checking the condition and covering of the teeth. In general, the age of human is determined: to 2 years from the milk tooth, from 2 to 6 years old from bone points, from 6 to 12 years old through permanent teeth, from the age of 12 to 25 from the junction of epiphysis to diaphysis, and from the age of 30 from the skull sutures and condition of the teeth.

Conclusion
Although, today is genetic laboratory methods for recognize the men and women skeletons, but these methods are expensive and time consuming. Adaptive method and typology used in osteology of Korijan skeleton and with knowledge of male and female skeletal differences, the most appropriate approach is to achieve the desired information. Ancient grave of Korijan was includes a squatting burial. In this research, that has been done based on osteology studies, gender of skeleton was detected woman, and its approximate age based on the skull and lower jaw, was adult human.

Abstract
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The pseudo-prehistoric ware is one of the pottery types of Islamic period that is identified in the archaeological surveys in Narmashir. This type, has also reported from South and South-West Iran in previous years, and it has identified recently in other regions of Iran. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins.  The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” In this article, pseudo-prehistoric wares are introduced and studied. Then they have compared with other sites. The data have collected in documentary and field methods. The research method in this study is “descriptive-analytical”. Accordingly, in the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the cultural material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.
Keywords: Narmashir, unglazed painted wares, pseudo-prehistoric pottery, the historical sites of Islamic period.

Introduction
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The old city of Narmashir (Choghook Abad site) has been introduced as one of the five main cities of Kerman, the center for agricultural and industrial products, the mediation center of Goods, and the serving location for the caravans, in the Islamic sources. This city was located along the road of India, Oman, and Sistan to the center of Iran. For this reason, it played an important role in the development of southeast Iran in early and middle Islamic era. The pieces of wares from early Islamic period to the 12th AH has identified on the surface of the Islamic sites of Narmashir, in the authors archaeological surveys. One of these wares is the unglazed painted ware (pseudo-prehistoric ware), which was reported by Sumner and Whitcomb for the first time in south and southwest Iran (Sumner & Whitcomb, 1999). But, several sites in Iran were introduced as the sites containing pseudo-prehistoric wares, after recent studies. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins. 

Data and analysis
The unglazed painted wares of south and southwest of Iran are very simple. They are painted in dark red or dark brown. The ornaments have appeared on the outer surface, upper part and around of their rims and handle. This motifs include simple, primitive, and careless lines, such as horizontal or vertical bands, curved and wavy lines, and zigzag designs. (Sedighian & Gholami, 2012: 135). They belong to the middle and late Islamic period (Ibid: 134). These wares have found in the old city of Narmashir, Jalal Abad and Rafi Abad. The pseudo-prehistoric wares of Narmashir, are similar to those one from southwest, center, north, and northeast of Iran. They have red or orange clay, buff slip, and mineral temper. Most of them have produced with the wheel. Their ornaments have painted in brown, red or orange. The samples of the old city of Narmashir are similar to the “Mad Abad” wares (see. Sumner & Whitcomb, 1999:320-321). The pieces of Jalal Abad and Rafi Abad are similar to those one from Atigh square of Isfahan and Samiran of Manjil (see. Sedighian & Gholami, 2012: 138). The technique of production of them is similar to the samples have reported from Bishapoor, which have painted by simple and curvy designs in red or black (see. Amiri et all. 2012: 13). Also, the samples of Kompos Bonari in Kohgiluiyeh (see. Qezelbash & Parviz, 2013: 123-124) and Qal’eh Dokhtar and Shahdezh in south Khorasan from 5th -7th AH (see. Sedighian & Gholami, 2012: 137) are similar to Narmashir wares. But, the samples of Narmashir are different from those one of Sistan and Bluchestan. The wares of Sistan and Baluchestan have the orange or red background and dark-brown motifs (see. Mousavi Haji et all. 2013: 127). The pseudo-prehistoric wares of Narmashir belong to the 5th – 8th century AH, based on similar samples found in the south of Khorasan, and center and southwest of Iran. The samples of Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.

Conclusion
In the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, and they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran. Furthermore, the samples of Narmashir are different from pseudo-prehistoric wares in Sistan and Baluchestan, because the Sistan and Bluchestan samples have the red background and dark-brown ornaments. 

Abstract
In the Holocene, there has been a sudden and severe climate change that has affected the process of cultural evolution, subsistence system, demographic change, and the pattern of the distribution of human settlements. Palaeoclimatological studies show that in the second half of the 7th millennium BC, during a cold and dry climatic event, with a peak of about 6200 BC, the settlement conditions, in particular in some parts of the Northern hemisphere, were significantly disturbed. After this period, the air temperature rose sharply and replaced the warm and dry climate from the beginning of the 6th millennium BC. From the second quarter of the 6th millennium BC, gradually, the amount of humidity increased and the air temperature decreased, so that from the beginning of the second half of the 6th millennium BC, more favorable climate conditions were created for agricultural activities. The early evidence of the human settlements in the North of Central Iran region mainly belongs to the beginning of the sixth millennium BC. Due to the lack of architectural evidence from the first half of the 6th millennium BC in this region, human societies were probably semi-sedentary. From about 5400 BC, sedentary-farmer settlements with architecture were established and gradually their number increased. In the early 5th millennium BC, a warm and dry climatic change caused the interregnum/collapse of the settlements in the region. Therefore, the time of the genesis and prosperity of the early settlements in the North of Central Iran was related to the climatic conditions and occurred in an appropriate climate period between two dry periods.
Keywords: The Mid-Holocene, Climate Change, 6200 BC Event, 6th Millennium BC, The North of Central Iran.

Introduction
Although human beings have the liberty in nature, the study of the cultural evolution of human societies without reference to environmental change cannot be valid. In other words, one of the main motives of cultural dynamism and evolution is interactions between humans and the environment.
The Holocene period is divided into three phases: the early Holocene (ca. 9700 - 6000 BC), the middle (ca. 6000-3000 BC) and the late (ca. 3000 BC). Abrupt climate changes, both warming and colding, which have led to drought and unfavorable environmental conditions, have repeatedly occurred since the beginning of the Holocene age and have led to cultural collapses in human societies. However, between these climatic events, we often witness the birth of a new or evolved culture.
In the cultural region of the North of Central Iran, with the exception of the Western Tepe of Sang-i Chakhmaq, no evidence has yet been found of human settlements belonging to before the sixth millennium BC (the beginning of the Middle Holocene). Due to the occurrence of the 6200 BC climatic event, which caused a severe cold-drought period for 200-400 years (in different regions), presumably, the lack of prehistoric sites has been linked to unfavorable climatic conditions in this arid and semi-arid cultural region. The results of palaeoclimatological studies, together with absolute datings, can not only be useful in more accurate chronology of ancient sites, but also they can explain the causes of population changes, settlement patterns, many of migrations and displacements of human societies, as well as changes in their diet and lifestyle. In this study, considering the climatic condition of the early Mid-Holocene, based on the palaeoclimatological studies carried out in several sites, the initial status of human settlements in the North of Central Iran region during the sixth millennium BC will be discussed.

Research Findings
In the Holocene, the air temperature and moisture significantly increased compared to the Ice Age, and the changing climate led to the emergence of the Neolithic Age and food production. However, during this period, despite the high average of the air temperature, the earth experienced severe climate changes, which affected cultural development, demographic changes, subsistence system, and the distribution pattern of human settlements. Around 6200 BC, suddenly, a very cold climate change occurred, which lasted 150 to 600 years in different regions. The occurrence of this event led to changes in the lifestyle of the Neolithic communities. The cultural region of the North of Central Iran consists of two parts: the Western part (the salt lake basin) and the Eastern part (the Western half of the central desert basin). The oldest Neolithic settlement in the Western part of the region is the Western tepe of Sang-i Chakhmaq dating back to 7200 BC to 6600 BC, but in the Eastern part, no settlements belonging to before 6100 BC have been found.
So far, a few semi-sedentary sites belonging to the first half of the 6th millennium BC in the salt lake basin have been identified. Palaeoclimatological studies show that the air temperature and humidity have suddenly increased sharply after the 6200 BC cold event. However, since the second quarter of the 6th millennium BC, the air temperature has gradually decreased. In the middle of this millennium, an abrupt warming fluctuation occurred, but from about 5400 BC, the air temperature and humidity reached an optimum level for agricultural activities. In general, the early sedentary-farmer settlements in this region belong to after 5400 BC. However, at the end of the 6th millennium BC, another climate change caused severe warm-dry conditions, in which, since the beginning of the fifth millennium BC, settlements gradually collapsed.

Conclusion
The cultural area of North Central Iran consists of two parts: West (catchment basin of Namak Lake) and East (Western half catchment basin of central desert). The first Neolithic settlement in the Western part of this region, Western mound of Sang-i Chakhmaq with dating 7200 BC to 6600 BC. In the eastern part, so far, no settlement older haven’t been found than 6100 BC. The early sedentary-farmer settlements in the cultural region of the north of central Iran, such as Yan Tepe of the Ozbeki site, Tepe Ibrahim Abad, Tepe Moein Abad, Northern Tepe of the Sialk site, Tepe Pardis and Tepe Cheshmeh Ali, have been established and developed in a 400-year period between 5400 and 5000 BC with a relatively mild and humid climate, between two severe drought periods.

Abstract
The Varamin plain is located on the way to the Great Khorasan and the point of intersection between East and West of Iran in the North of Iran’s Plateau. The plain is fertile in the south of the Alborz Mountains and the deposits of alluvial soils flowed from the Alborz to the central desert, and are the gathering place of human societies with evidence from the Middle Paleolithic so far. This plain, with an average up rainfall, but due to the arrival of current waters, in the past, nowadays, with the construction of two dams on the way to the streets of Varamin, a small amount of this river water reaches Varamin, there is a thriving agricultural and livestock farming, which are still visible signs Is. The Zahistor area is also one of the foundations located on the periphery of the river, which is likely to be permanent, which is currently no longer visible. The site is one of the few settlements where its initiation pottery was obtained in the plain of Varamin, and the key area is located in the East of the plain of Ray and North of Qom. The purpose of this research is to introduce and describe the area as a whole, and to identify and characterize the clay evidence of the site, and its comparative study on the Susa, bang, and primitive culture of the culture. The questions raised in this study are generally about the changes in the pottery of this site, and what interactions have they with the nearby sites? The basis of analyzes relies more on information and internal findings, and field data, and the results also include the full typology of its upcoming pottery and the documentation of another settlement establishment of the urbanization period (its initiation) based on the evidence of the pottery of this period.
Keywords: Zavarehvar, Varamin Plain, Protoliterate, Pottery.

Introduction
This site is located in the archaeological study of Varamin plain, and was identified in Jawadabad District in 2012 (Hessari et al., 2014). The Zahavar is currently a small part of a brick factory that was excavated to expand the plant to cultural works that had before been seen in the plain of Varamin. It is worth noting, that if the plan was not a factory development, then, perhaps, in years of years, nobody realized these works and remained unknown. Having found cultural materials from this site, the question of the scarcity of the study centers in the Varamin plain was cleared in the studies of the Varamin plain establishments in Varamin plain, but other questions were based on the works of the Safavid horizons of Sialk III and IV, how the clay changes to this site and that what has been interacting with nearby centers. These findings adapted to the Shush 2 cultural horizons in Khuzestan, Fars, Varamin plains, Erisman and Sialk (Hessari et al., 1396; Hessari, 2011; Alden, 1982; Malkeshmirzadi, 2006; Ghirshman, 1934). In the evaluation of clay indicators, the basis of analyzes is more based on information and internal findings and field data. The main objective of this research is to document the archaeological evidence of Late Protoliterate and Early Bronze Age periods in this area, which can serve as an indicator area in the North of the Iranian plateau, depicts the routes to the South through the Chemarshahr to Qaq Qom, Qalidroish and Silak Kashan. The most important approach to this study is to answer the question of how are the findings gathered from this hill can interpret the culture of the cohesion of Silk III to the culture of Silk IV? This is avilible the hypothesis that there was probably a native culture specific to the plain of Varamin, which has been serious interactions with the south and north of the plain.

The Types of Pottery Studied
The zeal was collected from the clay and classified in the field study and then in comparative study in the following species (Ghasemi, 1392).
Type one: The clobug, which is hereinafter called CLEBUG, is made of wheat, and has a mildew paste.
Type two: The pomegranate, called FIGTEG, is a man-made with brown-black or black-colored gray tasting, often with simple (non-engraved) pottery with relatively thin bodies.
Type three: The abbreviation is FIGOP. This kind of crop with orange-brown flavors and a creamy lining is the largest known species in this collection.
Type four: This type includes mostly simple pottery and rarely pomegranate, which has a small amount of herbs in it.
Type five: This type is so rough with a pepper-colored, or curly-colored, cream-molded pottery that is used in it to be large vegetation with high purity of gravel.
Type Six: Such hand-made pottery with a vivid color and desire to have a simple and small bowl known as the Banchi Tray or the Uruk (Hessari et al., 1396: 40) seems to have been made of simple pottery without any decoration and role.
In this resaerch, other types of pottery such as types 7, 8, 9, 10, and 11 have been studied.

Conclusion
The appearance of the bevelled rim bowles on this site should indicate some specific and intermittent activities. It is possible to examine and determine some of the administrative-supervisory documents through different sizes of containers. It seems, that the time findings of this site has before been the beginning of the period or the horizon of Susa 2. These examples are proposed in the comparative chronicle of the middle Susa cultural period. The low proportion of applied pottery in this site such as cooked bowls, is may prove non-industrial and non-productive.

Abstract
The architect of Timurid have four systems or sets of proportions that could have combined them, but in general, a system had a major role. These systems can easily be equated to musical steps that although they are run by geometric progression, they are repeated. Each system is set based on an integer, but it is balanced by the root of that integer, according to geometric principles. Integers 2, 3, and 5 are each associated with geometric shapes determining the other elements of the scale. It was indeed Farabi who could discover the kinship of architecture with music, and then it was discussed by Bolatov. The nature of this system is well illustrated according to Farabi stating that the side of square and sector of circle in architecture is used as measuring instruments, and is similar to the theorem in logic and refrain in poetry, as well as poetry rhythms. It is precisely because of such an issue that Bolatov’s view can be accepted. Accordingly, the geometry of the design is not comparable with Western imaginations of proportion, which deals with the repetition of similar or related forms. In addition to its practical value, as an implementation procedure, the Islamic system provided the coordination and harmony for all parts, thereby the entire parts were associated with a single nature, like the relation of the parts of squares, triangles and pentagons with each other. 
Keywords: Applied Geometry, Buildings Abubakr Taybadi, Goharshad Mosque, School of Ghiasieh Khargerd.

Introduction
A feature of the Timurid architecture is the use of geometry, which is manifested in the magnificence and verticality of the Timurid buildings. Also, during this period, exact sciences and geometry significantly developed. These sciences were practically applied in architecture and used as a pattern in the construction of buildings. The application of geometric formulas had a major role in coordinating proportions, balancing and overall balance and its elements, which are the features of the Timurid architecture. After preparing the design, the architect has been entered the practical research stage. Therefore, the following questions are raised in this study: What is the pattern and geometrical ratio used in the design of these buildings? The architect of the Timurid Period which geometrical principles have used in the design of these buildings?

Research Findings
Timurids architects applied all of the geometric systems used since the tenth century, including: 
Rule 1: Square and its derivatives, the most important of which are the diameter of √2 of half and its double, and the side of an octagon (√ 2-1).
Rules 2 and 3: Equilateral triangle and its derivatives, i.e. sides and height (√3/2). Such triangles play a role in dodecagonal figures (the sides are equal,) (2-√3). Sometimes, the geometry of square and equilateral triangle were combined, as it is seen in (√ 2: √3) rectangles whose height is half the generatrix square. Bearer (√3) was often used. The size of this dimension can be drawn by encircling a pentagon and extending its radii.
Rules 6, 5, 4, and 7: A half-square is usually formed by dividing the square of a room into halves, so that by drawing diameters of two half-squares, a square in the center is obtained whose side is 1/ √5. The diameter itself (√5/2) plays a major role especially in determining the heights. Another method to get a rectangle with the same proportions yields a triangle with a ratio of 2:3√5. A common form associated with the half-square was a triangle made of diameters and two sides that could be used to separate the proportional parts of the line 1√5 and (√5-1) 1√5. This was done in a way that an arc was separated along the chord, the radius which was a triangle height, was then entered through this point to the base. These proportions were sometimes used for designs of façades. 
Rules 8 and 9: The √5 of a rectangle or the √5 of orthogonal: using a half-square, the base could be divided in another way, previously known to the Greeks as “moderate limit” which is involved in the construction of the “golden section”. This is done in such a way that an arc with the length of the height along the chord is separated like the previous state, then a secondary arc whose center is smaller in the angle is drawn at the point on the chord. In the point where this arc intercepts the triangle the line is divided into two parts that one is larger {(√5-1)/2} represented by M, and another one is smaller {3-√5/2}} represented by m. The multiples of this section are usually used in the design of interior and exterior façades and many other spaces. A number of decreasing triangles were applied in the same way as used for the diameter of the minarets {2 / (√5 3-7); 4 / √53-7) ...}. 
Rule 10: A decagon encircled in a circle with a radius of 2 has a side equal to √5-1. The golden rectangular was made by adding unit 1 to the larger part M {1: 2 / (√5+1)}. Using the half-square as a base, a rectangle can be easily drawn.
 
Conclosion
Abubakr Taybadi’s Tomb: The use of the rules 2 and 3, i.e. the equilateral triangle and its derivatives, like in the height of the triangle. The use of rule 5 of half-square, i.e. √5 and its derivatives and the rule 9, namely, √5 of the rectangle. The use of rule 4, i.e. half-square. Dividing the square of a room which is divided into halves. The ratio was used in this rule.
Goharshad Mosque: The combined is use of the rule 5 of half-square, namely √5 and its derivatives, and the rule 9, i.e. √5 of rectangle.   
School of Ghiasieh Khargerd: The use of the rule 1, namely √2 and its derivatives such as By analyzing such patterns and the system of proportions used in the construction of Ghiasieh Khargerd School, Goharshad Mosque and Zayn al-Din monument, the present study describes the role of mathematicians and the application of geometry knowledge by architects such as Qavameddin Shirazi in the development process of architecture during the Timurid period.

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.

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.

Abstract
Using the column element provided the necessary context to extend the architecture spaces. According the archeology findings the north-west area of Iran, due to the existence of abundant wood and stone resources has been leading using this element. In view of the remaining of the ancient columned buildings, the importance of column in the past is understood. Also during the Islamic era the element play a key role in the buildings of this region. In the Ilkhanid and Safavid era due to the climatic and cultural reasons, stony and wooden columns were used with abundant decorations with capital and base plinth in some mosques of Azerbaijan. It seems that Asnagh and Jamalabad Mehrban mosques are the start point of columned architecture with laborious decoration that in the following they reach to peak beauty in the Safavid columned palaces. The present article, on one hand, studies the process of column evolution in this region and, on the other hand, looks for the origin of the architecture tradition of decorative columns used in the mosques and palaces of Safavid era such as Ali Ghapoo in Isfahan, Bonab and Maragheh. The data gathering method include field visits, recording and documenting the data that finally was analyzed using descriptive-analytical method and using library studies. 
Keywords: Architecture, Azerbaijan, Column, Asnagh Mosque, Jamalabad Mosque.

Introduction
Architecture of every nation is a reflection of its thought and economic situations. The climate circumstances, beside these factors, also play a role an essential role in the formation of architecture. Materials and decorations also have a close relationship with these factors. Using column in the great building has a long history. Column is designed mainly to support the heavy load of roof and generally plays the role of strength and beauty of a building. In the ancient hills such as Yaniq Tapeh probably to cover the ceiling of the circular rooms the central columns have been used. The columned halls of Hasanlloo (Dyson: 1989), Nooshijan (Stronach:1978), Goodin Tapeh (Young: 1969), Babajan (Goff: 1969), the Mad’s catacombs and Achaemendis palaces (Sarfaraz and Firoozmandi, 2006), Parthian and Sassanid temples (Herman, 2008) and palaces represent the use of column in the past architecture that shows the importance of column in the pre-Islamic architecture. In the Azerbaijan area due to the mountainous climatic conditions, the architecture features of Iranian mosques such as porch and central courtyard are less observed. And the central courtyard in this climate is converted in harem (shabestan) through covering the ceiling and using column (Omrani, 2007: 18).  
In the Ilkhanid and Timurid era the element of column was applied in stony form with moqarnas capitals in the mosques of Azerbaijan. By the beginning of Safavid era, we observe changing the material of column and capital from stone to wood in the mosques. In this period, the procedure of using column was maximized and in the following affected on the columns and capitals of Safavid palaces as well as the buildings of Qajar era, particularly in the bathrooms and mosques. This article studies the background and evolution of applying column and its function in the architecture of Azerbaijan and the role that played in the architecture of the columned palaces of Safavid era. 

Review and Analysis 
The main element in the columned buildings to construct column and ceiling coverage is wood. Probably one of the reasons that in the early centuries of Islam the normal form of dome and porch becomes the most common architecture method is lack of wooden resources in some regions (Ukan, 2002: 203). But in Azerbaijan due to the suitable environmental conditions for growth of trees and availability of them, the columned architecture continues its life more or less during the medieval Islamic centuries. Entering the Ilkhani era and transferring centrality to Azerbaijan, the old procedure of columned architecture appeared again and was represented in the local mosques of Asnagh and Jamalabad and then became the architecture pattern of mosques of Safavid era in Azerbaijan and columned palaces of this era. 
The most important feature of Asnagh and Jamalabad mosques is stony walls and columns and using timber to cover ceiling and also the decorations of capitals and columns that continues to exist in Safavid era in the columned mosques of Maragheh, Bonab and columned palaces of this era. The height of the stony columns of these mosques is consistent completely with the height tendency of Azeri style of Ilkhanid era. The stony columns of Mollarostam and Sheykhbaba mosques that are related to the Timurid era are the climax of the art of column carving. They are implemented by the same procedure of Asnagh and Jamalabad mosques with the difference that inscriptions have been made on the columns body. Given the remaining of these columns it seems that in the Timurid era, construction of columned buildings was in Ilkhanid method with the same materials. 
In Safavid era due to developing many buildings and acceleration in architecture, the stony columns were substituted by wooden columns with the same dimension and decorations in order to speed up the construction of buildings. In this era the high wooden columns were put on the stony plinths. The capitals were made from timber and moqarnases were decorated by inscription and painting. 
Among the most famous wooden-columned mosques of the early Safavid era affected by Ilkhanid and Timurid stony-columned mosques are: Mollarostam, sheykhbaba, Rihan, sheykhtaj, Zarir, Mehrabad, Zargaran, Ajabshir etc. among the most important decorative features of these mosques can refer to the moqarnas decorations and paintings on the plinths, high wooden narrow columns, stony plinths as well as the painted wooden ceilings that in the continuation of their evolution process effect on Safavid palaces of Isfahan including Chehel Sotoon and Ali Ghapoo palaces and other columned buildings of this era. 

Conclusion
Column in architecture is used mostly in the regions in which the resources of wood and stone are available sufficiently. Azerbaijan is among these regions. Existence of sufficient wood and stone resources has resulted in construction of columned mosques in this region of which most prominent examples are Asnagh and Jamalabad mosques. The columns of these mosques represent the peak of column carving in the Islamic era. How these mosques are constructed and ceiled affected on the architecture of the next periods throughout Iran, such that a close similarity is observed in the columns of these mosques with the Safavid and Qajar era. Further, it can be concluded that construction of Safavid columned palaces somehow complement Ilkhani columned architecture that was represented in Asnagh and Jamalabad mosques and after its evolution period in Safavid wooden mosques of era was utilized in the construction of palaces. 

Abstract
Among the ancient motifs from Iran and Mesopotamia, some pictures showing special shaped beakers can be seen but unfortunately no explicit comment has been made on the nature and function of these forms by researchers. Recently, 7 pottery beakers have been found in a Mannaean cemetery (Mala Mcha) and and Iron Age grave (Kani Koter) in northwestern Iran and authors are believed that their shape and possible function are compatible with some of these ancient motifs dating back from the third millennium B.C. to the Achaemenid period. A glazed beaker from Tepe Hasanlu which belongs to Iron Age II also has the same characteristics as the Mala Mcha and Kani Koter examples. Considering the symbolic meaning of the Lotus flower in ancient cultures, as well as their form and decoration, it seems that the Mala Mcha, Kani Koter and Hasanlu pottery beakers have a special application. Previously some researchers in some cases have interpreted these motifs as a Barsom (Barsam) or flower (often lotus). The authors propose that these objects that can be seen on ancient reliefs or ivories are simple or painted beakers equivalent to the clay beakers unearthed in these sites. Probably this type of beaker was not used as normal container, but it seems to have been utilized by high-level people during special events and banquets perhaps for drinking prized liquids. In addition, it seems that the samples of the Mala Mcha, Kani Koter and Hasanlu in terms of shape and possible there function, are comparable with some of the patterns of the motifs discussed in this paper. The grave of Kani Koter is rich and belonged to a warrior of high status. Also the graves of Mala Mcha which had pottery beakers were richer than other graves, and it seems that the users of them have superior position over others. The glazed beaker of Hasanlu was as well as obtained from a room with local and Mesopotamian specimens in a special room. In ancient motifs, users of these objects have a superior social position than others. In this paper, in addition to comparing the shape of the beakers of Mala Mcha, Kani Koter and Hasanlu with the remaining ancient motifs, Chromatography experiments were carried out which unfortunately, did not receive any laboratory data on its application.
Keywords: Pottery Beaker, Banquet, Mala Mcha, Kani Koter, Hasanlu, Ancient Motifs.

Introduction
Archaeological excavation in 2012 at the Mala Mcha Cemetery near the ancient Mannaean site of Ziwiye in Kurdistan province, a number of very interesting pottery beakers were found which, according to the authors, seems to be the objects depicted in the images of ancient motifs from the third millennium BC until the Achaemenid era in the Middle East and Iran. Examples of these motifs are presented in the papers.
From Mala Mcha cemetery, five pottery beakers were found with a narrow body, and a large mouth that three beakers were identified from grave No. 5. Another two beakers is excavated from grave No. 7. The graves of 5 and 7, those containing these beakers are richer than others. The special shape of these beakers shows that they have probably had a special function. The painted beakers have a petal shape similar to lotus flowers. These potteries are often have a fine temper, well-fired, burnished, wheel-made and are comparable with Ziwiye potteries. The Garve of Kani Koter is located in the near of Mala Mcha and its tomb was destroyed by illegal excavator. The burial goods of it is rescued by Cultural Heritage of Kurdistan province. In Kani Koter grave 2 blue glazed beaker obtained which resemble to plain beakers of Mala Mcha. Different objects were obtained from this grave that indicating its richness that its artifacts is dated to Iron Age III.
In addition to these pottery beakers, a glazed pottery from the Burned Building II of Hasanlu (Iron Age II) also has a form and decorations that are almost identical to the pottery beakers of Mala Mcha and Kani Koter. In addition to these beakers, a number of glazed terracotta jars are also identified in the same layer that depicted them in Assyrian reliefs. Hasanlu’s sample is also one of the few glazed pottery that is of high quality and obtained with ivory and special objects, and it is believed that these objects are derived from the cultic context of Burned Building II of Hasanlu. The shape, motifs and the place of Hasanlu’s glazed beaker are indicative of its importance. The Excavator of Hasanlu believes that this beaker is made in the Solduz region, although it’s very similarity with objects from neighboring areas. 
It should be noted that the similarity between the burial goods of the Mala Mcha’s finds with the Mesopotamia and Iran is not limited to beakers and visible in other objects. A number of Mala Mcha vessels are similar to the Pasargadae and Assyrians potteries and artifacts of Kani Koter is resemble to Urartian, Assyrian and Mannaean samples. In Hasanlu’s excavation, various objects have been compared with the images of neighboring areas, and in particular the Assyrian. 

Ancient Motifs and Interdisciplinary Test 
In the ancient motif of the Mesopotamia and Iran sometimes a picture of a particular object is seen that used by some high-ranking people or gods, which has so far not been accurately detected about its nature and application. This object, often with a narrow body and a wide mouth, has a length of at least one beaker which according to the authors of this article can be a picture of a beaker. This image (beaker) is seen from the third millennium BC to the middle of the first millennium BC but in the first millennium BC is more. In this paper some ancient motifs with resemble picture like a seal impression from Tell Asmar that belong to third millennium BC, an ivory from Nimrud (1000-850 BC), Assyrian wall relief from Tiglath-Pilesar III from Nimrud have been compared. Among the palace reliefs of the Assyrian period; Sargon II (722-705 BC), there are similar motifs. In this motif, there is a banquet subject that is used this beakers, although its beaker is not exactly the same with the samples obtained from western Iranian excavations. Similar discussed beaker is seen in the Esarhaddon stone stele from Zanjirli. Some of the images in the following periods like Persepolis’s plain beakers which is seen in the hands of elite Persian and Median nobles on the East and north side of the Apadana is resemble to pottery beakers. These images are also presented as flowers. The similar picture is also seen in the rock-cut tombs of Qizqapan. To understand the function and the type of material used in the beakers of Mala Mcha, a chromatographic test was performed on them, which unfortunately did not produce the data that indicated their use. 

Conclusion
In some ancient motifs in the Mesopotamia and Iran from the third millennium BC to the Achaemenid period, a picture of a beaker-like object is seen in the hands of the gods and high-ranking people. These objects are depicted in important places or on important objects such as ivory. According to the authors, the similarity of the five pottery beakers from Mala Mcha graveyard and tow similar beakers form the tomb of Kani Koter, as well as a sample of beaker from Tepe Hasanlu IV could be considered as suitable samples for the type of function of these vessels. The motifs are also reminiscent of the role of the Lotus flower, a symbolic flower in the Middle East. The use of painted beakers that is the same can be seen reminder of Lotus flowers.

Abstract
To balance the needs and actual or potential facilities, mankind has tried along with time. Water, ground, soil, road is from environmental factors forming a living place while one or more factors may play more important role depending on some situations. The culture is created due to people interactions and is progressing longitudinally and affects human activities. Ignoring the environment makes the debate impossible on cultural and behavioral conditions. Culture creates sites and phenomena around the spaces and places. Architecture is one of the main sites of culture in environment. Natural characteristics in the region of Ghahestan made the Ismailia – in the Islamic middle centuries - to establish defensive buildings due to cultural and religious conditions. The results made them to be in accordance with the political and natural conditions of the time. In spite of some environmental limitations, they provided their need in the environment and caused some sort of cultural and environmental accordance in the region. This study introduces the Kouh Zardan castle of Zirkouh city in South Khorasan. This castle has spent two different residence eras. The castle was used as a defensive place at the first era may be known as Saljooghi. Ilkhani’s were the second residents.The main question of the research is, what role has the natural geography of the area played in the castle of Castle Zardan Mountain architecture? The castle of Zardan Mountain has been built with regard to the environmental conditions of the area and the impact of the environment in the castle architecture space is not only in the use of native materials, but other factors such as climate, altitude, distance and proximity to water resources, geological structure and ... has played a key role in the formation of the castle. This paper is descriptive and analytical and its data has been through library resources and field surveys.
Keywords: Kouhzardan Castle, Architecture, Environment, Culture, Vegetation, Water resources.

Introduction
The breadth of the land of Iran, along with the diversity of its posterity, has created a situation in which the inhabitant should think in a special area of thought with creativity and sharpness in order to maintain, maintain and maintain their place of residence (Pazoki Tohruidi , 1376: 101). Environmental conditions, especially the climate, soil type, water resources, etc., can play a crucial role in the formation of a civilization (Wylie, 2007: 11). Among other factors that make use of these conditions in the environment, culture is. Culture is the result of an interpretation that humans themselves and their relationships with each other and nature (Abedi Sarvestani and Shah Vali, 1391: 2). If one looks at one of the applications of culture, then architecture as an outlook for human beings is one of the important aspects of culture that is studied in the geographic area as a perspective (Fayaz et al., 2011: 92). In many parts of Iran, there are works of old castles that have been constructed with the administrative and political conditions of their period and connect with their surroundings and create a solid structure. Quhistan is one of the places that has caused a favorable environment for the construction of the Ismaili dome in the Middle Ages due to its mountainousness due to the desert of central and loot, the plain called Afghanistan and the political and religious conditions. Castle Mountain Zadran One example of this type of castles, in South Khorasan province is located in the city Zirkouh the height of the mountain fortress Zadran on it and mastery of the environment, a perfect opportunity to the mountain’s topography around The fort is composed of mountainous and plain. In this article, the geographic conditions of the area and its impact on the architecture of Castle Zardan Mountain are discussed.

Castle Zardan Mountain
Castle Zardan Mountain is located in South Khorasan province, Zirkouh city and Zardan village, and is based on the point (UTM) at latitude and longitude 747004/3707960 with an average elevation of 1,770 meters above sea level. Castle Zardan Mountain is located above a single mountain (between 50 to 90 degrees) and overlooks the surrounding plains. The length of the castle is 100 meters and its width is 80 meters with an area of 8000 square meters and a height of 92 meters from the surrounding environment. The castle is based on a nearly square shape (Nasrabadi, 1391: 111). The architectural features of the castle include the remains of several towers, parts of the fence, the walls of the castle’s interior spaces, water cabinets, and several chamber-covered rooms. Citadel of the castle is located in the highest castle space. Some of the architectural spaces of the fortress are crafted in the rock form, so that rocks from the bed of this space can be used as building materials for the walls. In view of the architectural space of the castle building, it is seen that most of the residential spaces of the castle are opposite to the cold weather of the winter, so as to see some kind of compatibility with the winds of the area in this castle. For the construction of Ismaili castles, in addition to choosing it geographically, in the harsh areas, the villages near the fortress were chosen according to the Shiite religion, especially the Shiite Ismaili, as well as the environmental facilities including the water they had. Castle Zardan Mountain is located in a relatively blue area and today it is rich in agriculture. In the choice of castle, the environment was also considered vegetation, so that if materials such as bricks and pottery or melting metals were used for molding weapons, it was possible to make furnace with regard to vegetation.

Conclusion
Climatic factors have created buildings and spaces that are consistent with the environment, which is in fact the outlook for warm and dry regions, which expresses the complex relationships of man with its rough environment, so that architecture is the most obvious type of landscape (peasant, 1382: 68-67). Among these architectural views, it is possible to construct an Ismaili dome in most parts of Iran, especially in Qehistan. Castle Zardan Mountain is one of the Ismaili castles in Ghahistan, which is built according to the environmental conditions of the area and is related to some kind of architectural complexes of the castle with surrounding environment. Environmental factors were also very influential in the construction of the Castle Zardan Mountain due to cultural and historical factors, while how to form the fortress in order to adapt to natural conditions is more than anything else related to its surroundings. The influence of the environment in the castle architecture was not limited to the use of indigenous materials, but other factors such as climate, elevation, distance and proximity to water resources, geological structure, etc., also played a key role in the formation of the castle. In general, the most important factor is the formation of a water culture, access to water, and whether these water structures can be seen inside or outside the castle. But from other points of view, the castle landscape architecture is surrounded by the surrounding environment around the castle. The communication route is also seen in the perspective of the castle of Mount Zardan and other Isma’ili castles close by. The Castle Zardan Mountain is located on a single high mountain point with a steep pitch towards the surrounding area, for the sake of ease with the surrounding area and connecting with other Ismaili castles in the landscape.

Abstract
Ujan covers about 90 hectare area, where locates 5 Km away from modern Bostan Abad. Earlier construction of the urban center dates to 4-6 AH centuries that coincides to Seljuqs era. It developed during 7 and 8 AH centuries and reached to summit during middle Ilkhanid to Safavid period. It collapsed and destroyed during Qajar period. Here, there is an attempt to study effective elements in formation of Ujan and its consequent function, using descriptive-analytic view and historic research method, based on archaeological-environmental landscape. Finally, it is involved in reasons of collapse of the city. Bibliographic and field studies indicate that construction of the city was for midway positioning. In addition, present paper presents subjects about political and social history, architectural remains, urbanization, cultural remains, and different districts of the city including cemetery and administrative center. 
Keywords: Ujan, Seljuqid, Ilkhanid, Bostan Abad, Urbanization.

Introduction
Different factors involve and play significant role in formation of urban centers. Emergence and development of Iranian cities followed geographical, social, religious, defensive, administrative, and commercial conditions. Commercial routes and passages were effective and affected factors in formation of urbanization. Investigating such factors is effective in responding to location and reasons of emergence of a given city. Road networks were achievement of development during time, whereas dominated by various political, religious, security, and cultural elements. Reasons of abandonment and collapse of urban centers vary according to strategic and geographical position and function that divide to two natural and human factors. Generally, effective natural factors in abandonment of urban centers include earthquake, shift of rivers’ bed, landslide, drought, and lack of natural defensive barriers. Human factors could accelerate abandonment of an urban center that include remoteness from main routes or even side roads, warfare, disease, administrative policy, lack of enclosures and secure defensive ramparts. Cheap and low quality materials are among other factors that cause collapse of a city. Every urban center have especial function that suggests foundation of the area accordingly; among them are mining cities, ports, industrial cities, administrative-political cities, tourism cities, and etcetera. Understanding factors and elements of formation and development of cities are among the most important discussions since earlier times that attracted scholarships and resulted to different theories and models to analyze urbanization.   

Features of cities during Islamic period
Among features of Islamic urban centers were economic, social, military, and especially religious developments that played effective roles in formation and developments of urban centers even in earlier times. Islamic urbanization related to stability of government too, whereas emergence, development, and collapse of a city related to political circumstances. General studies on maps of Islamic cities indicate that many cities followed similar method and style of urbanization that shows probable common designer and architecture. Scholars also believe that designers and architectures planed maps before construction of buildings and constructed buildings and structures accordingly. In a miniature painting, dated to Babur reign, he points to a map in the hand of a man that designed it (Kiani 1365: 205). Islamic architectural thought in Islamic countries characteristically comprehended principles and generalities of civil programs then involved in details (Othman 1376: 27). In planning cities, there was emphasis on Jami and administrative buildings, where located public buildings in city center for public access. Tendency to privacy and peace in residential areas caused Iranian Islamic cities divide to two public and private parts, similar to pre Islamic urbanization. Bazar complex and extensions was pulses of urban life, where presented public and social activities. Residential area was private part of the city, where rest and peace dominated living atmosphere (Kheir Abadi 1376: 44). One can study urbanization according to different point of view. Scholar such as economists, politicians, historians, geographers, and philosophers investigate the subject from their point of view. There is not certain answer to relations between Islamic view and urbanization and their mutual effect. There are variations in effects on urban spaces and structural characteristics. According to Stern, urban life style followed earlier criteria after Islamic conquests, and it became Islamic in forms and generalities (Razavi 1387: 105-112). Cities are the most genuine center of civilization and cultural treasures, what should be recognized to make possibility to investigate evolutionary history of human life. Therefore, investigating cities that remained from earlier times play significant role in understanding political, social, administrative, economic, and cultural structures of societies that created them (Karimian 1384: 111-121).  Papoli Yazdi, quoting from Hufer, says that city is relation among six aspects: economic structure (variation of activity), social structure (social classes), body structure (public buildings), geographical position, law position, and political life (Papoli Yazdi and Rajabi Sanajerdi 1387: 50).

Ujan, Formation, Flourish and Collapse According to Historic Sources
According to historic sources, Ujan was alive earlier than Ilkhanid period, especially during Seljuq era. It existed as a strategic and important urban center, following different events including earthquakes, and wars; it was only during Ilkhanid period that the city reached to summit and glory. Every given historic city or monument partially imply political, religious, and social conditions that consequently followed political evolution, therefore, emergence cities with architectural nature is among the most important social evolution of Ilkhanid period. Historic city of Ujan was among important Ilkhanid cities (summer residence) at south of modern Bostan Abad, eastern Azerbaijan, where reconstructed during Ghazan reign. Ujan is among the cities that constructed by Ilkhanid rulers, while their Iranian viziers Islamicated new urban centers. Endowed city of Ujan was the summit of flourish in construction of public, martial, and administrative structures, and throne of Ilkhanid princes. 

Investigating Formation, Development and Collapse of Ujan, According to Archaeological Findings
Recognizing location of Ujan was at 1392, according to archaeological surveys at Bostan Abad regions. Historic and geographical descriptions of Ujan, especially Metraghchi’s illustrations remarkably helped to recognize location of the lost city. Site of Qullar, Ashraf Abad village (part of ancient Ujan), at eastern Bank of Ujan Chai River locates at 46-49-25 latitude and 37-35-48 longitude, and 1787 m longitude. Site of Dali Dareh Si locates 1 km away from Qullar (fig. 3). Constructing railway divided the area to two parts, and irrecoverably damaged the site (Velaiati 1385, 1392).  

Conclusion
Urban centers at the routes of main commercial and connecting networks, while potentially interconnected to other major cities or cities that geographically have abundant water sources, have opportunities to develop and survive. Therefore, location of city at commercial roads was highly signified, because made them capable to meet their needs and export their surplus. Urbanization at main roads highly signified and caused to flourish and wealth. By the circumstances, old cities appropriately coped with commercial activities and caused to raise townships and commercial parks next to carvansarai and small residences at ways. Alternatively, new urban centers emerged; among them was Ujan as an important city during Islamic Middle Ages at northwestern Iran, Azerbijan. 

Abstract
the star tile Apart from beauty and eye-catching, is noteworthy for yet another reason, adorning the tiles with poems by high-profile poets that have doubled the beauty of these tiles. Paying attention to these inscriptions can in some cases be a guide to literary scholars, as the tile recordings sometimes differ from literary manuscripts, The difference most often seen in multiple tiles, probably each produced in a different workshop, is the same, and may indicate the prevalence of that recording during tile production. On the other hand, in some cases, because of the tile year on which the tile was written, the attribution of some poems to a particular poet can be ruled out because of the precedence of producing these tiles over the year of the poet’s birth. It should be noted, however, that in some cases there are differences due to individual scribe error, which require careful use of the inscriptions on these tiles. Because the authors of these tiles were also not error free. The main question of this study is: Can golden tile inscriptions be considered as a basic version? And if so, to what extent can these inscriptions be considered important? The main hypothesis can be put forward as follows: Since tiles are manufactured in a wide range and in different centers, in cases where all the tiles indicate a particular form of verse recordings as opposed to literary manuscripts, tile inscriptions may be given more value. And these tiles are used for critical correction, but for poems that only represent one tile, it should be used more cautiously and deductive correction, in which case only tile inscriptions can be considered as a complement to manuscripts. The research method was based on reading the inscriptions on the tiles and then comparing the Rubaiyat and verses inscribed on the tiles with the recorded form in the literary manuscript..
Keywords: Inscriptions, Golden Tile, Literary Texts, Rubaiyat, Literary Copy.

Introduction
Tile art reached its perfection during the Ilkhanid period and was recognized as an ornamental marker in the culture and art of architecture (Lashkari et al., 201440:). During this period, golden tile was used in different shapes and sizes, with different designs, motifs and inscriptions, the study of which is important in the expression of beliefs and cultures of that age. Studying the inscriptions of these tiles can help scholars to correct literary texts. Because in some cases the inscriptions on these tiles are inscribed with a poem that differs from existing literary manuscripts, or because of the precedence of the year of tile production on the poet’s birth, one can reject the attribution of poetry to a particular poet. The main question of this study is: Can golden tile inscriptions be considered as a basic version? And if so, to what extent can these inscriptions be considered important? The main hypothesis can be put forward as follows: Since tiles are manufactured in a wide range and in different centers, in cases where all the tiles indicate a particular form of verse recordings as opposed to literary manuscripts, tile inscriptions may be given more value. And these tiles are used for critical correction, but for poems that only represent one tile, it should be used more cautiously and deductive correction, in which case only tile inscriptions can be considered as a complement to manuscripts. Almost all the tiles inscriptions, except for a few (Tile 3, 8, 9, 13, First Rubai 14, 16, 17) Exactly as mentioned in this article, it is also mentioned in Takht-e-Soliman tiles (see: Quchani, 1992) and Moghadam Museum tiles (see: Quchani, 1986) Due to limitations, the image of these tiles has not been rendered, but it is important for the reader to note that this is a repetition of the recording. Also, regarding the importance of the inscriptions on these tiles, Abdullah Quchani has mentioned this in his works and has even encouraged scholars to use the inscriptions for the purpose of correcting the literary manuscript (Quchani, 1992: 24).
As mentioned earlier, this paper attempts to correct the literary texts by using the inscriptions of the golden tile, therefore, 19 tiles were studied, all of them with poems by prominent Iranian poets, including Ferdowsi, Baba Afzal Kashani, Mahasti Ganjavi and ... have been Inscriptions written. Among these poets, Ferdowsi and afterwards Baba Afzal have been the most sought after tile makers and their poems are more heavily embedded in the tiles under study than other poets. The point discussed in this article is that in all of the tiles introduced, the poems that are inserted on the tile’s margins differ from those recorded in the existing literary manuscript, In most cases this discrepancy has also been recorded in other identified golden tiles (Takht-e-Soliman tiles, or in front of museum tiles, etc.), which suggests that these differences may be due to the prevalence of the face. Recordings have been in the making of the tiles, though one cannot firmly rule out individual errors in making these differences. And it is necessary to use the inscriptions of these tiles with sufficient care to correct the literary texts about the poems of the famous Iranian poet Ferdowsi,It should be noted the recorded form of these tiles, despite the differences with some corrected manuscripts, however, the recorded form of the this tiles is found in some other manuscripts which appear in footnotes It is literally inserted And this shows the importance of these inscriptions. It is also used in cases such as Tile No. 14 Poems on these tiles, which can be used as an important version for correcting controversial Poems. As shown in the illustrations in the article, these tiles have been depicted in the central part with plant, animal and human motifs, and the tile makers have attempted to create these tiles in a naturalistic way.

Conclusion
Golden tile is an art and literary display, on most of these tiles due to the space constrained try to use Persian Rubaiyat for inscriptions, because in a low space it was possible to convey a wide meaning. In some cases these verses are in conflict with the recordings in the existing literary manuscript. In most cases where discrepancies are observed, the golden tiles emphasize a particular case, which may indicate the prevalence of the form in the past. As it was said, these tiles were manufactured in a wide area in Islamic Iran and this can increase the importance of this tile Inscriptions because if we believe that the difference between the manuscript and the tiles was due to the mistake of the tiles maker how is it possible this mistake be made in a wide area and several different workshops have taken place in an Identical form. But there were also cases where there was a discrepancy between the tiles, as was often seen in the tiles that were inscribed with the Shahnameh verses, which may have been because the Shahnameh copies were in large numbers in the past, as can be seen in the description given for tile NO 14. Also, most of the recordings on these tiles are at least in line with one version. On the other hand, as can be seen in tiles 1,7,15,18 Using these tiles can be questioned the assignment of a poem to a particular poet. Note that the creators of these tiles were not The scribe and may have been mistaken in some cases, which is why they should be cautious in the use of the inscriptions of this tile, especially when a poem comes in only one tile, as this difference It could be due to a scribe’s mistake.

Abstract
The most important way of understanding human being in the past is to study their relics and among the works that have made a significant contribution to identifying culture and civilization and many other issues of ancient Iran, the motif are seals. Studies of this kind of data have been the focus of archeologists and historians for many years and many articles and books have been published on this endless subject. Because the seal and sealing in answering some questions, the correct orientation of a number of questions and new questions about social, economic and people perceptions of the past have been raised. In some motives the artist describes his/her world and this kind of description is actually the optimal use of symbols. In the Persepolis museum, there is a black seal that differ substantially from other Achaemenid seals. This bilateral seal is a lesser-known role in the art of molding and is unique in Achaemenid molding. This seal is first published and revised based on various criteria such as art style and symbol interpretation. The main purpose of this article is to document and introduce the symbols of this seal; the author will also answer a few questions about this seal by using descriptive-analytic methods and by using authentic library resources after fully describing this seal. First, what are some of the concepts used on the engraving on the seal? How these symbols originated and whether these forms were the result of Achaemenid thought or a legacy of a very ancient culture?
Keywords: Seal, Achaemenid, Persepolis, Symbol.

Introduction
On the occasion of the plan of organizing the repositories of the Persepolis museum in the summer of 2015, I had a black seal on a meeting in august of that year. This seal had differences A double-sided stamp seal that is unique in the Achaemenid period. On the other hand, the seals have a special place among the represent the customs, habit and believes of a people and also showcase history, religion, philosophy and art alongside administrative. Social management for centuries, these motives are rooted in ancient Iranian civilization and sometimes influenced by neighboring nations. This portable data has also spread art and culture to other lands due to its use in commercial exchanges, office letters and political relationships. The main purpose of this article is to document this seal and to interpret the emblems that have reached the Achaemenid from the distant past. Recorded in the Persepolis museum of bilateral seal No. 1267. It has a diameter of 15 mm and a thickness of 9 mm. It is made of stone and its location is Persepolis. There are three distinct roles on the seal. First the man sitting and holding a bowl in his hand and a flower in his other hand. The second is the cedar tree behind the man, and the third is censer in front of the man. The man is Probably a king with a short crown, the hemisphere is like the Achaemenid image.

Identified Traces
Three separate images can be seen on the seal, first is the man sitting and holding the wine cup in one hand and the flower in the other the second is the cedar tree behind the man and the third the udsuz in front of the man.
The man is probably a king with a short crown with several congresses, it is depicted from the half- face like the other Achaemenid image, the crown is similar to the Ahura Mazda round Cap. On the king’s seal has the original image and the role of cendar and is quite marginal.
Beneath the crown of hair, curly like all the motifs of persepolis the forehead and back, the king’s face wide and his eyebrows reached the ears, the nose is delicate, long and straight, lips are up and drinking and beard shorter than persepolis motifs but curly, the king’s eyes look great. The king’s neck was proportioned to the body, part of which was nuder the dress, the king’s hands are long and stretched and he looks thin. The king has a lotus flower in his left hand with a bud in his right hand corner, like Darius in the Naghshe Baram. The branch of the flower is tall and its end protrudes from the king’s hands. The king has a large wine cup in his right hand that lifts it up or closes it. The king’s waist is slender and its curvature is quite evident, and the belt is wrapped in two rows around the king’s waist. The king’s feet are on the ground and parallel to the base of the chair. The king’s Boot is a long boot with twisted straps that are not simple in the designs attributed to king Boots, but a simple shoe. Behind the king is a small triangular cedar, there are ten rows of branches on the left and eleven branches on the right of the cedar tree. The branches have all gone upwards and look like praying hands.
It is noteworthy that most tree motifs are on the palm tre seal and less than the cedar tree. Lion painted on a young and very angry seal seems to be a characteristic of most of the lions imprinted in the Achaemenid period. The body of lion is soft and agile, his head turned back. The hands and feet are in a relaxed gait so that the lion triumphantly moves forward the bird on the seal is Dorna that wing has been opened it seems that the artist insisted on drawing the head and neck of the Dorna so as not to induce the role of the Farrah.

Conclusion
Prehistoric believes of Iranian ethnicity have had such a broad role in shaping Iranian art that it is still visible in many works of art, an example is the seal studies. At a time when most of the seals built during the Achaemenid period are cylindrical, a bilateral seal imprinted on Persepolis is the most famous and important Achaemenid city, all the carved motives on it reflect the millennial believes of the Iranian people, some of which still have the same implicatins for contemporary people. None of the motives were devised by the Achaemenid artist, rather, old concepts in a new way with new technology and sophistication are on the seal.

Abstract
he results of experiments on the materials of this building revealed that most of the material was composed of very small amounts of rock, lime, sand and gypsum, the brick baking temperature is below 800 c and some gypsum is used inside the bricks. The bricks used in Semnan game Mosque are different in terms of construction and baking technology in many parts of the building we are witnessing the wear and tear of the brick layers, that have been imbalanced either in terms of increased vulnerability or aesthetically impaired. Some of the 200- meter- high bricks on the side of the city entrance were used by Russian occupation forces to build a swimming pool in the midst of world war II. With the current state of the building, we needed to put them in our context for a complete understanding of the data and to achieve a reasonable result by adapting to the context. All the data in this building were partial and incomplete parts that we had to put together in order to build a unit, understanding them will help us achieve the best possible results. The lack of historical documents about the building, the construction in the words of the local people    about the building and the belief that the Mosque was destroyed in the flood of 1346 AH, (some past floods have been blamed for the devastation). While there were no traces of belongings except this porch and the two hogreh, and the lack of architectural work around the building reinforced this hypothesis, from the beginning there was no trace of the building or residential area that was destroyed and before that, gardens and farmlands surrounded the building needless to say, small finds were scattered around the building in a small area and as we move away from this set, the number of findings is also greatly diminished.
Keywords: Safavid Era, Gate, Jomeh Mosque, Zavaghan.

Introduction
Many efforts have been made to introduce and identify Irans multi- thousand- year- old architecture many researchers have in recent decades erased dust from the face of historical monuments and reappeared them, in the meantime, a number of buildings remain unknown and even a number of them that have been in traduced are in doubt, also keep in mind that some popular buildings have different uses. The building dedicated to the mosque of Zavaghan in similar to this, this building is in the middle of the narrow gardens of Zavaghan region and when we reach it we face the high door, inside this alley, the gardens look unexpected. Because it is not visible around the building except for garden and fields and some water engine, of this building, only the entrance and the two surrounding Hojreh are left, and only a few remnants have suffered natural and human damage in the past decade. The people of Zavaghan call Zavaghan Jame Mosque and they believe that Imam Reza door prayed in the mosque while heading to Marv, but besides the above the mentioned there is no other work to deter mine the use of this mansion. According to archaeological findings and data, what period does this building belong to? What is the use of this building based on the appearance and evidence found? 
The main purpose of the authors was to describe this particular monument in general, archaeological findings conclude that it probably belongs to the Timurid period, which was abandoned in the late Safavid period. The building belonging to the Zavaghan Jame Mosque is located in the north of Zavaghan and Imam Hossein street and among the green gardens on the western edge of Semnan, Zavaghan region is one of the old areas of Semnan and it is common that in Zavaghan area some of the innocents are buried that the burial of some of them is unclear. 
No traces of inscriptions were found around the building, which heightens our suspicions that the mosque was not. The surrounding land is all agricultural and horticultural, and there is no new about the old texture of the Zavaghan Alleyways of gardens and water ways pass all around the texture.

Findings Gone Bacheh
This type of pottery is found in this area with delicate, white and porous paste that is usually clean and free of additives. Green glaze and dark green, brown and black paint under the transparent glaze adorn the dishes. Containers are small and medium sized bowls and bowls with a short concave base. The motifs include the role of geometrical and plant motifs and are difficult to identify because of the small number of other diagnostic parts. The oldest of these pottery is attributed to the late 9 th century and is known as Mashhad, Neyshabur, Ray, Varamin and Alamut Castle.
Blue and white type: This kind of clay is cooked with every delicate and pure white paste without good additives made with solid, firm paste, the thin wall and translucent white glaze make it easily distinguishable from other types.
Blue and white ornamented pottery was produced in the early centuries of Islamic urbanization in major Islamic urban centers and probably the earliest method of making this type of pottery started in China in the eighth century B.C.E, but the type found in this area was later. The earliest date of its construction in Neyshabur goes back to 6 AH. This type of pottery was manufactured in several production centers in Iran until the year 6 AH. Because of their fracture potteries are not detectable by the finer parts of the dishes, but only by the shape of bowl.

Conclusion
Conclusions about the building are now early and more studies are needed on the building. Undoubtedly extensive archaeological research and finding authentic historical documents can open many unknown angles. However, due to the impact of environmental and climatic factors and human intervention many of the impacts have been lost perhaps having a tall verandah will create the remains of a mosque, but merely placing it in the alley of the garden and not having the inscription will cast another vote.