Abstract
Arrows and arches are among the weapons of the Safavid period that, in addition to battlefields, have a special place in courtier and hunting ceremonies .Therefore, it is undeniably important to identify the arches of this period. A small number of remained arches and the scarcity of relevant resources have made them difficult to study, but to study Safavid arches, one of the most important documents of this period namely Miniatures ,can be used; Because Safavid period Miniatures  were portrayed in a very realistic way in addition to aesthetic values. As a result of the war, various sites, including the arch, can be followed well. In addition to the introduction; classifying all kinds of bows and related tools, such as bow case and quiver, as one of the oldest and most important tools in the Safavid period is one of the main goals of this study. What are the types of answers to questions such as the arch and related tools in this course? What is the connection between their appearance and their function? And what decorative designs have been applied to the bows of this period? In this research, which has been done by the descriptive-analytical method and by collecting data as a library, comparison, analysis, and classification of arches are performed through 70 figures and the effect was drawn from the beginning to the end of the Safavid period. The results showed that at least four types of arches and six different types of quivers were used in different Safavid periods. Among them are the arches that were sunk in the center and had corners to the outside; more widely used and simple arches have been less useful. Among the types of motifs engraved on arches, commonly written inscriptions have played the most important role on the surface of arches, mostly in order to stimulate morale and the use of divine forces to defeat the enemy. Also, the role of bow or instrument related to it, such as archery ring, shows the importance of these objects in showing the authority of the Iranian court in foreign relations and its position as the official array of court men of this period.
Keywords: Bow, Bow Case, Quiver, Safavid Period, Safavid Miniatures.

Introduction
The bow and arrow was considered as one of the royal weapons in the Safavid period. Due to the nature of the bow, few examples of this weapon remain, making it difficult to study bows and other related devices. In this study, in addition to emphasizing the position of the mentioned war tool in the army and Safavid society, the bows attributed to this period were studied and classified, and the information was obtained through a review of historical sources and related travelogues; Moreover, a comparative study was conducted between 20 paintings and 3 index murals with the role of bows and related tools in the Safavid era, which were selected from 70 collected samples. 
The purpose of this study was to introduce and classify different types of bows and related devices and to answer the questions: What types and patterns of use the bows and related devices in this period had? And what decorative motifs were used on the arrows of this period?
Research method: The information required for the research has been collected in the form of documents-library research and the data have been studied in a descriptive-analytical and comparative manner. The bow was one of the weapons with the string in the Safavid period. This toolkit has been used in wars and chases. The bow had a special place in the court structure of the Safavid period what we will examine in the following.

Safavid Period Bows
 The bow had a special place in the military structure of the Safavids, and like the sword, it was one of the basic weapons. Carrying this weapon has also been an honor for the upper classes of society, and it has been part of the rituals in the homes of people from different regions. 
Until the reign of Shah Abbas the Great, the weapons of the Ghezelbash were mostly bows and arrows. He made changes to the organization of the army to improve it, and one of the consequences was that the importance of using bows on battlefields diminished. 
Bow and related devices: To use this weapon in addition to a bow, one needed arrows and supplies such as archers or shrapnel and the box.
Types of bows: Examining the drawings and comparing the shapes of the bows showed the image of the four types of arches in this period.
Bow decorations: Most bows were gilded with bright colors. Sometimes the bow was covered with Saghari leather. These measures also protected it from the effects of weather and heat.
The bow case: Due to the negative effect of moisture on wood, bows were kept in special containers called “the bow case”.
Quiver: Among the paintings of this period, six types of arrows can be seen.
Tailpiece: One of the most important and common tools related to the bow is the tailpiece ring also known as the tailpiece. This group of rings has become common since the 9th century AH.

Conclusion
Although there are few surviving examples of bows and related tools in the Safavid period, the study of historical texts and documents and drawings, answers many questions about this warfare. The importance of the role of paintings and drawings of this period in responding to the types of bows and related tools is clearly visible. Studies on the works of this period found that the classification of bows into two types of hunting and war is incorrect about Safavid bows.
Regarding the appearance of the bow and its related instruments, the studies performed showed four different types of bows and six different shooting patterns. Variety in the shape of bows raises the question of whether there was a connection between their appearance and their function. In response, it should be said that the different shapes of the bow were by no means the reason for its different uses, and the comparison of the bows depicted in the scenes of war, hunting, and court showed no distinction between the bows.
In the decoration of the bows, the colored colors and the painted Saghari leather had a special place and in this way, they were protected from the effects of weather and heat. As mentioned earlier; the handles and corners of the bow of “Shah Ismail I” were gilded with plant elements and two inscriptions were written on the surface of the bow, mentioning the date of construction and the name of the builder and religious verses and phrases. This is true of the decorations of the arrow box and fragments, and with more emphasis on the tailpiece rings, so that their presence, even in non-combat images, indicates their existence as part of the official accessories of the Safavid court men.

Abstract
With the election of Isfahan in 1597 A.D. As the capital of the Safavid dynasty, many buildings were built in the city, most of their interior and exterior surfaces were decorated with tiles. The miniaturists of this era came to the help of tile artists and created beautiful and eye-catching works by drawing various motifs. In the Safavid period, and with the flourishing of the Isfahan school, the restriction of human figures, disappeared. According to this study, with the aim of relative dating of tiles by comparing their human motifs with the dated miniatures motifs of this period, has tried to answer these questions:  What effects did the painting of the Safavid period have on the human motifs of the tiles of this period, and these effects How can it be used in the dating of tile paintings? The method of gathering the findings of this research; Findings were made through library and field studies and by identifying more than 80 tile frames with human figures from non-religious buildings and works in different museums, and the research method is descriptive, analytical, and comparative. The results of the research indicate that the human motifs on the tiles from the Isfahan school of the Safavid period have been deeply influenced, and according to the themes of the motifs, the characteristics of the drawing of clothes (Turbans, hats, shawls wrapped around the waist, long and flowery dresses), facial expressions, eyebrows, even The type of designed dishes and their matching with the motifs of figures, it is possible to consider the time period between the end of the first half to the beginning and the end of the second half of the 11th century AH for the frame of the tiles.
Keywords: Safavid Period, Dating, Human Figure, Tile, Painting.

Introduction
Tiling is one of the practical methods in architectural decoration. Since the invention of tile, this art and craft has been used in a wide way to enhance and cover the surfaces of interior and exterior of Iranian buildings. With the emergence of the Safavid dynasty, art and craft found a new life and the Safavid rulers, who were art lovers, made their court as the center of artistic and industrial gathering. Although the art of tiling is not considered an innovative art of the Safavid period, but in this time, it was not limited to the mere adaptation and imitation of the art of the predecessors, and the expansion and manifestation of this art was given special attention. The motifs drawn on the tiles of this period were more diverse than in the past, and included all types of plant motifs, geometrical, inscriptional, human, animal and even mythological motifs, while in the Timurid period, mostly plant motifs, geometrical, and inscriptional were drawn and the use of human and animal motifs was not acceptable. Such a trend had an influence on painting and, as a result, the motifs drawn on the tiles of the early Safavid period, as the tiles of the first Safavid period mostly had geometrical, Islimi and inscription motifs, but gradually with the flourishing of the Isfahan school of painting and the tendency abundant with human images, the use of single faces in terracotta works and tiles also spread.
Since the drawing of motifs on the tiles and pottery of each period was done by contemporary painters and in line with the common painting school, based on this, the following article has tried to study the human motifs of the tiles left over from the Safavid period (on buildings or separated from them).
Research questions: The current research has been carried out in the direction of the relative dating of the tiles with human motifs that have remained from the Safavid period, so the main questions of this research are What effects did the painting of the Safavid period have on the human motifs of the tiles of this period, and these effects How can it be used in the dating of tile paintings?
Research method: In this research, the information is collected through collecting library documents and texts, and field investigations in works, buildings (such as baths and churches) and museums and indoor collections (such as national museum) and  museums of outside Iran (such as the Louvre or Metropolitan) have been collected. In this regard, 80 tile frames with human motifs, all were made in underglaze technology, were identified, 13 frames are still in the buildings, in their own place, and all of them are in the city of Isfahan and the rest, are separated from their main places and scattered in museums and collections inside and outside of Iran. It should be mentioned that for comparison, 50 paintings of Isfahan style, which have human motifs and have the most similarity in terms of subject and theme, style and execution method with the human motifs of the tiles, were selected. Based on the research goal and questions; the research method are descriptive, analytical and comparative.

Research background
Based on the investigations carried out, it can be said that the researches that have been carried out on the motifs of the Safavid period tiles have mostly focused on plant motifs, geometrical, and inscription motifs, and have only pointed to human motifs. Their relative dating also has not been researched. The most important references made in this area among the sources of the first category belong to travelers such as “Pietro Della Valle” (2005), who in his travelogue briefly discussed the general patterns of the tiles of this period. Among the second-hand sources, researchers such as “Sourani”(2017) have investigated the effects of painting on human and animal motifs of Safavid period fabrics. “Bakui” (2014) has also paid attention to the investigation and comparative study of the human motifs of the metals of this period. “Reisi” (1990) briefly mentioned only the introduction of a few human motifs in some of the buildings left from this period. “Mansouri Jazabadi” (2013) investigated different motifs of Safavid to Qajar bathroom tiles in the city of Isfahan and among the introduction of different motifs, she also discussed some human motifs. Despite these studies, no independent and focused research has been done on the human motifs of the tiles and their relative dating with other works, which is what the present study aims to achieve.

Discussion 
The spread of Isfahan’s painting style had an impact on all arts such as tile work, metal work, pottery, or cloth weaving. This was more evident in the art of tiling, because the selection of Isfahan as the capital led to an increase in the process of urban development and the construction of various private and public works and buildings, and the need to cover their internal and external surfaces with tiles quickly. This was made possible with the help of seven-color (Haft Rang) tile technology. Among the motifs drawn on the tiles, human motifs found a revival after centuries, but these motifs were mostly used in the decoration of palaces, baths and churches. Since it was not customary to mention the date of making the tiles with human motifs, nowadays it is enough to attribute them to the Safavid period. Whereas, by classifying the themes and matching and comparing the elements in the tiles’ patterns with figures, a relatively more accurate history can be obtained.

Conclusion 
By checking and studying the themes of the collected tiles and also examining the way of drawing motifs, we can be witnessing the influence of the Isfahan school by carefully observing the details of the patterns on the tiles. What is often seen in the paintings of the Isfahan school are motifs of flower-watching and recreation scenes by men and women in gardens, motifs of everyday life scenes, single faces, hunting or escape, which can also be seen in the surviving examples of tiles from this period. Investigations indicated that there are many similar features in the patterns of the tiles with Isfahan style paintings. The most important commonalities can be classified into four general sections. Drawing facial and body expressions; Clothing and its types; Objects in the scenes such as containers or patterned backs; and natural elements such as trees, flowers and bushes. So following the painting style of the Isfahan school with careful attention to the details of the motifs, the enlargement of motifs in the middle of the frame and the dominance of motifs over the frame and the placing of single faces in the center can be clearly seen in the collected examples.
In general, according to the matching of the mentioned cases on the frames with the paintings, it seems that the tiles with human motifs with hunting themes and themes of young people studying in the time frame of the first half of the 11th century A.H.(16th A.D) and human motifs with the themes of flower procession and fun and single faces are placed in the second half of the 11th century A.H.(17th AD) according to the European clothes, aprons and hats.

Among the finest artistic productions of the Safavid period is lusterware, which continued the tradition that flourished during the Middle Islamic era. Despite brief references in some sources to the distinctive nature and form of Safavid lusterware, no independent and focused study has been conducted to date. Therefore, given the formal characteristics of existing lusterware, this study aims to classify them in detail to achieve a more comprehensive understanding of their forms and then to conduct a comparative analysis with blue-and-white ceramics. To achieve this goal, the following questions have been raised: “Into what formal categories can the lusterware of the Safavid period be classified?” and “In terms of form, how do Safavid lusterware correspond to, or compare with, their contemporary blue-and-white counterparts?” In this research, data collection has been carried out through library and field methods, and the study has proceeded with a descriptive-comparative-analytical approach. The statistical population comprises 69 Safavid lusterware pieces and 40 blue-and-white vessels, which, in turn, represent 486 lusterwares and 106 blue-and-white ceramics selected as representative samples of each type based on their formal characteristics. The results of the typological study of these vessels indicate that the lusterware comprises 17 groups, which fall into two main categories: Open forms, such as dishes, bowls, and cups (Piyaleh); and closed forms, such as ewers, bottles, and pitchers. Moreover, although the two pottery types exhibit considerable typological similarity, the lusterware demonstrates greater formal diversity, whereas the blue-and-white ceramics are relatively finer in execution and somewhat larger in scale.

Abstract
Carpets and rugs are one of the most important ancient crafts of Iran. The flourishing of visual arts began in the Safavid and Qajar periods, it appeared on many works such as books, tiles, wall paintings, calligraphy fabric, carpets and rugs, and reached its peak. The beginning of relations with the West and the adaptation of Western images, the printing and photography industry had a significant impact on Iranian works of art. A group of these works are religious-narrative rugs, which are considered a subgroup of pictorial rugs. This group can be divided into different categories and each category deals with the narration of one or more stories taken from Quranic stories. In this research, with the main aim of identifying, typology and analysis of religious narrative rugs with the theme of Quranic stories, an attempt was made to answer the following questions: Which Quranic stories of the prophets are depicted the most? And which centers were the main weaving centers of these rugs? This research has been done in a descriptive-analytical way and the statistical population includes 30 narrative rugs with the theme of Quranic stories, all of which belong to the Qajar period. Collecting information by means of finding and field studies, by referring to the reliable sites of museums and auctions, has been done in a purposeful way and the findings indicate that the Quranic stories engraved on these rugs are stories that are approved by all three major religions of the world, namely Islam, Christianity and Judaism, the most famous of which are the narrations related to Abraham and Ismail(pbuh), Mary(pbuh) and Jesus(pbuh), Suleiman(pbuh), and Yusuf(pbuh). Most of these types of rugs are woven in the cities of Kerman and Kashan, so they are considered important rug weaving centers of the Qajar period.
Keywords: Religious Rug, Qajar Period, Pictorial Rug, Narrative Rug, Quranic Stories.

Introduction
In response to the need to protect himself from the cold, man turned to the weaving of various types of carpets. Carpet and Rug weaving have been noticed by humans for a long time. The Pazyryk Rug attributed to the Achaemenid period is an example to prove this claim. It can be said that many carpets and rugs have been woven from the Achaemenid period until now, due to their decomposability, only a few examples of them are currently available. But the progress of this art can be seen in the quality of fibers, color, pattern and attention to details over many years. The art of carpet weaving in the Safavid period had a significant growth along with other arts and this trend continued in the Qajar period as well. Qajar period carpets and rugs have various animal, vegetable, geometric, human, mythological motifs and later inscriptions, which have displayed original images with different themes and combinations. One type of them are Pictorial carpets and rugs, which can be divided into several groups. A group of them is called “narrative rugs” that include different topics. The reflection of the religious beliefs of the people of the Qajar era in this art has caused the emergence of narrative rugs with the theme of Quranic stories. The aim of the upcoming research is to identify and introduce, typology and analyze religious narrative carpets of the Qajar period with a focus on Quranic stories and these are the questions: 1- Which Quranic stories and related to which prophets have been narrated in religious narrative rugs in Qajar period? 2- In which centers are the religious narrative carpets of the Qajar period mostly woven? Due to the fact that carpets decorated with the motifs of Quranic stories are parts of the art of the Qajar period, and at this time, they have attracted the attention of people and weavers. We need to analyze them.

The Subject of Pictorial rugs
The weave of such Rugs is considered a great development in the Qajar period, which may have its roots in the Safavid period. Pictorial rugs have various divisions based on the subject they presented. These subjects can inspire the reader with stories of historical, geographical events, epic, love stories, religious and mystical stories in the form of sweet stories. These stories have old roots and most of them have been written into poetry during the past centuries by the great poets of Iran and have been illustrated many times by painters and artists (Shabani Khatib, 2008: 89, 90). Qajar kings always resorted to religion to legitimize their rule. Reciting prayer, Taziah in Muharram and public mourning days are part of the religious ceremonies that were prevalent in the Qajar period (Shamim, 2008: 357). Of course, the educational aspect of such rugs in the direction of religious teachings for the less educated people of the society cannot be ignored.
The impact of new industries
The art of the Qajar period entered a new stage with the influence of intellectual currents, economic, social and artistic relations of the West and the entry of photography and printing industries. The art of illustration, which was used only to decorate the pages of books and the walls of important buildings, was manifested this time in the art of rug weaving. The rugs considered in this research can be divided into 5 groups in terms of subject matter: the stories of Gabriel (pbuh), Ibrahim and Ismail(pbuh), Maryam (pbuh) and Jesus(pbuh), Solomon(pbuh) and Yusuf(pbuh).

Discussion
It appears that from the mid-13th century AH, the commissioning and consumption of pictorial rugs particularly those featuring religious themes and narratives based on various Quranic stories followed an upward trend that continued into the subsequent century (the 14th century AH). The primary themes employed for this category of rugs are Quranic stories that are also recognized by other major world religions, such as Judaism and Christianity, and are recounted in the Torah and the Gospels. Undoubtedly, among the Quranic narratives, the stories of Abraham and Ishmael, Mary and Jesus, Solomon, and finally Joseph are the most well-known. At the same time, the most prominent and well-known events have been selected from the various life stories of each of these great figures. The primary motifs are depicted within the rug’s central, predominantly rectangular panel, while the borders featuring Flowers and foliage patterns, as well as verses in Nastaliq script set within medallion shaped frames reinforce the themes of the central imagery.
The study revealed that Kerman and Kashan were the two major centers for the production and weaving of pictorial rugs during the Qajar era; notably, out of the 30 rugs examined, 25 originated from Kerman and Kashan. Despite the vast distance separating these two production hubs, the details within the woven patterns bear such a striking resemblance that the similarity cannot be attributed to mere coincidence. Undoubtedly, therefore, extensive professional, artistic, and commercial ties existed between these two centers of production.

Conclusion
The Quranic stories engraved on Qajar religious narrative rugs refer to the most prominent and well-known stories of divine messengers. Among the mentioned 5 groups, rugs focused on the life stories of Prophet Yusuf(pbuh) with 11 rugs, represented more than one third of the quantity of existing rugs and represented the success and acceptance of the subject by weavers and customers. Kerman and Kashan, two main poles of the production and weaving of such rugs, because 25 of the 30 rugs examined are woven in Kerman and Kashan and they are woven only in the size of a rug (1*2 m). In addition to being time-consuming, the weaving of such rugs is also expensive and they were woven only on the orders of kings and nobles, and their use was only visual-decorative, and they were not woven to furnish the ground, but were offered as a vow or endowment to religious places. Maybe it was used to tell a story (Naqali). The many commonalities in each of the groups, despite being produced in different centers, indicate the connection between artists and craftsmen in the Qajar period. These rugs were woven from the end of the 13th century AH to the middle of the 14th century AH (the fall of the Qajar rule).