Abstract
The architecture of mosques has undergone various changes in different periods and each historical period has shown its own characteristics. The Khwarazmshahi period is a historical period in which architectural history researchers, due to the shortness of this period and the Mongol invasion, sometimes include the buildings left over from this period as Seljuk or Ilkhanid works. By examining the examples of the two periods, it can be seen that although the architecture of the Khwarazmshahi period was formed in continuation of the Seljuk architecture, it did not follow it completely. The purpose of the research is to investigate features of Zavareh and Gonabad mosques as prominent buildings of the Seljuks and the Khwarazmshahi to pay at the architectural similarities of the two mosques in two successive periods and the architectural differences of the two mosques in two different climates. Zavareh mosque is located in Isfahan, the capital of Seljuk period, and Gonabad mosque is located in Khorasan region, like other mosques of Khwarazmshahi period. By studying the library sources, the theoretical foundations were obtained and the spatial and functional structure of the two mosques were analyzed using the analytical-descriptive strategy along with the comparative comparison method. The differences between the two mosques were analyzed by reference to library sources. According to the findings of the research, the architecture of the two mosques has common features such as the importance of the south front and its porches, the transmitter role of the yard from binding to receiving and the use of brick, which was followed in the Seljuk and Khwarazmshahi periods. But these two mosques have differences in the number of porches, the placement of the entrance and the nave, and the presence or absence of the dome and minaret. In fact, the architecture of Gonabad Mosque has similarities with Zavareh Mosque in terms of space and function, but it has its own characteristics in the organization of the space and it has used the two-porch style without a dome, which is common in most mosques in Khorasan, While the Zavareh mosque has a unique grandeur with the use of a dome and vertical elements. 
Keywords: Zavareh Mosque, Gonabad Mosque, Spatial and Functional Structure, Comparative Comparison.

Introduction
The architecture of mosques has a special place in Islamic art and is a clear manifestation of art in a holy and blessed space and has long been the bed of historical, social, political, social and cultural events (Bemanian et al., 2010: 38). Examining the architectural art of different eras begins with the architecture of mosques, because the mosque, which was the first base and center of gathering of Muslims, in all eras and Islamic lands, its building is very important (Hatam, 2000).
The Seljuk period and the Khwarazmshahi period are considered as two consecutive historical periods in the current research, and the two mosques of Zavareh and Gonabad are representative examples of these two periods, which express their architectural characteristics. The mosques of each historical period are influenced by the features of their previous period, and it is expected that Gonabad Jame Mosque (Khwarazmshahi period) has been influenced by the architectural features of Zavareh Jame Mosque (Seljuk period). The reason for choosing these two examples is that these two mosques as a complete example express the characteristics of their periods and have more complete information than other works of these periods. For this reason, one of the samples was selected in Isfahan and the other in Khorasan, where the Khwarazmshahs ruled the Khwarazm region and the eastern provinces, and most of the known works of this period have the Khwarazmshahi (Khorasani) style. Therefore, it is expected that the difference in the region and climate, along with other factors, will cause differences in the spatial and functional structure of the two mosques. Based on this, the first question of the research is that Gonabad Jame Mosque as an indicator example of Khwarazmshahi period has been influenced to what extent by the spatial and functional features of Zavareh Mosque as an indicator example of its previous period? The second question of the research is, what factors have influenced the difference in the spatial and functional structure of the two mosques in addition to the regional characteristics?
In this research, with the aim of examining the architectural similarities and differences of the two mosques, it has been first pointed out to know the architectural structure of the mosques of the Seljuk and Khwarazmshahi periods; Then, by looking at the spatial and functional features of the two mosques of Zavareh and Gonabad in three scales, macro, medium and micro, their comparative comparison and analysis of existing differences has been done.

Discussion
Order to explain the similarities and differences between the two mosques and to analyze the existing differences, the spatial and functional structure of the two mosques in Zavareh and Gonabad were investigated in three scales: macro, medium and micro. In the macro scale (city), the location of the mosque is defined by factors such as physical connection and continuity, spatial features and functional scale (local or city)، (Soltani Fard & Seyed Moradi, 2016: 108-109). Therefore, the relationship between comprehensive mosques and urban structure was analyzed as a macro scale in this research. As a physical element, the mosque is made up of defined elements such as the entrance, mezzanine, porch, Shabestan, dome, minaret, altar, etc. (Zahabi, 2018: 3-4). In this research, these elements are referred to as medium scale. These elements are mutually related and form the functional-spatial feature of the mosque complex (Soltanifard and Seyed Moradi, 2015: 108-109). According to the constituent elements of the mosques, variables are defined for the analysis of the two mosques at the medium level, which are based on the analysis of the physical pattern, spatial diagram, spatial diversity and spatial-movement hierarchy, as well as the examination of each of the constituent elements and spaces of the mosques (entrance, courtyard and pool), porches, Shabestan and dome). Considering the importance of decorations in Islamic architecture, variables such as decorations and materials used in the building were used as a micro scale.
After the initial description the mosques, based on its spatial and functional structure, a comparative comparison of the data obtained in three Scale has been carried out. The findings of the research show that the architecture of the two mosques of Zavareh and Gonabad have similarities with each other, which is due to the consecutive period of their construction; including the connection with the city, the number of entrances, the equal ratio of open and semi-open spaces, having a central courtyard and organizing the surrounding spaces for transfer and arrival to the final destination, the importance of the south front and its porches, observing the spatial and movement hierarchies, the number of Shabestan, the use of bricks, natural and geometric motifs. But, the regional diversity and the Physical pattern affected by it have caused differences in the two mosques; including the difference in the number of porches, the difference in the shape and size of the courtyard, the difference in the dominance of the central geometry, the difference in the height of the porches, the difference in the opening and depth of the south porch, the difference in the allocation of the space of the Shabestan and its placement, the difference in the hierarchy of movement towards Shabestan, the difference in the presence and absence of the dome and minaret, and the difference in the location of the altar. In addition to regional diversity, other factors affect the differences between the two mosques; among these differences, we can mention the difference in location in the city, the placement of the entrance spaces, the strength of the building and the type of decorations.
 
Conclusion
The results of the comparative comparison of the two mosques of Zavareh and Gonabad in three scales, micro, medium and macro, show that the major difference between the two mosques occurs in the middle scale of the spatial-functional structure of the mosques. In fact, all the differences mentioned in the medium scale, except for the placement of inputs, are caused by climatic, regional factors and the physical pattern affected by it. The differences mentioned in the macro and micro scale, as well as the difference in the placement of inputs in the medium scale caused by other factors, are mentioned. 
In general, Gonabad Mosque has similarities with Zavareh Mosque in its spatial and functional structure, but the organization of its spaces has unique features; So that it has used the style of two porches and without a dome, which was common in many mosques in the Khorasan region. In return, Zavareh Mosque, like many mosques of the Seljuk period, by using the dome and vertical elements and in the four-porch style, unparalleled grandeur has been found.

Abstract
For the first time, “Mirza-Babai Esfahani” paid attention to the still life with the curtain “Yalda Night” in the Qajar period. In this period, under the influence of political, cultural and social conditions and influenced by factors such as the establishment of the printing press and the end of the era of book writing, familiarity with the thoughts of the Enlightenment era, courtiers who were deeply fascinated and intimidated by Western civilization, familiarity with photography and... the mission and function of art It underwent substantial changes. And the elements of Western art prevailed over the tradition of Iranian painting. So we come across an interesting paradox: the first screen of still life, which is a completely western genre, became the last bastion of resistance of Iranian painting elements. In this article, based on the historical, descriptive, analytical method, and by addressing the cultural and political conditions of the Safavid and Qajar eras, why Iranian painters, despite being familiar with Western works and greatly influenced by their art, do not pay attention to the genre of nature. Didn’t they die? What were the reasons for the emergence of this genre in the works of “Mirza-Baba” with a delay of two centuries? With this aim, the link between the popularization of realism and attention to nature in the works of Kalk Behzad’s heirs during the Safavid period, which is considered a turning point in the history of Iranian painting, to the creation of the first still life scene two centuries after these developments, let’s find.
Keywords: Painting, Naturalism, Still Life, Realism, Painting.

Introduction
Countless illustrated books with historical, scientific, religious themes, love and lyrical mysticism and the representation of royal glory and glory have been left as a memory of those days; which is the result of the collective work of artists and writers and of course the result of commissions and royal workshops1, not the product of the free and creative spirit of the artist as a subject. Iranian painters paid attention to still life for the first time during the Qajar period and basically in this period, they were able to discover their creations independently of the orders of the court and by distancing themselves from the traditions governing Iranian painting, book writing, etc., as independent artists with genius. From this point of view, it is very important to pay attention to inanimate nature, especially in the works of Mirza-Babai Isfahani; And in addition to representing the political, social and cultural situation of that era, it can be considered a turning point in the history of Iranian painting.
What the authors of this article are trying to analyze and deal with is this point; Why, despite the fact that Iranian painters were introduced to Western works during the Safavid era and accepted significant influences from the tradition of Western painting, they never paid attention to still life? However, due to reasons such as the relative independence of artists from the court and the emergence of the urban middle class as new patrons of artists and the familiarity of courtiers and artists with Western and Gorkan works, we witnessed significant developments in Iranian painting. What were the reasons for Iranian painters’ attention to still life in the Qajar period? With the aim of finding the connection line between the emergence of realism and the consideration of nature in the works of Kalk Behzad’s heirs during the Safavid period as a turning point in the history of Iranian painting, until the first scene of still life in the two centuries after those developments.

Still life in Europe, and the fields of its emergence
Still life in the 17th century, which was noticed again in the Protestant Netherlands, is the result of the freedom of the creative spirit and the genius of the individual and independent artist. Affected by the political, economic and religious issues of that era, it flourished. However, the ancient works were created in a different context and with a different function and could not be the product of the artist’s individual genius and creativity. As a result of the Reformation - the Protestant revolt against the Church of Rome (c. 1517) - religious painting in northern Europe suffered a serious decline, thus 
European society, even in the Middle Ages, has not seen a stricter position than Protestant theology in relation to art and the field of aesthetics. Insistence on eternal salvation and his decisive distinction between the earthly and heavenly spheres, in addition to depriving the artists of the support of the church without any financial resources. He had also emptied religious places and churches of all images and statues. Collecting pre-Christian myths and subjects related to classical art and literature was considered forbidden. Gardner raises a question in his enduring work “Art in the Passage of Time” whose answer is definitely considered one of the main factors of the developments in the art of that period in Europe and especially in the Netherlands. “Religious themes, or later classical and historical themes, were the main motivations for artistic creation during the Middle Ages and the Renaissance. What else did the art world, deprived of these sources, have to enrich the lives of the wealthy Dutch?” (Gardner, 1381: 523)
The painters who were independent from their employers and the ruling foundations of the church and created their works by relying on their own taste and creativity; which was one of the heavy consequences of this independence. Now they had to deal with the public buyers and attract the opinion of a large number of customers. In this way, Dutch artists in the 17th century, considering their leisure and independence, and of course in response to the interests of rich buyers who 
wanted paintings to hang on the walls of their houses - understood the signs of wealth, aristocracy and social status - as the common words of the people Alley and bazaar can shape the words of a beautiful song, ordinary everyday objects can create a masterpiece.” (Gumbridge, 2013: 420)
The little Dutch masters simulated the least valuable objects that only have meaning in the presence of humans or in the lives of humans, so humbly and respectfully; that the viewer thinks he is watching some sacred objects” (Gardner, 2011: 531).
The first curtain of still life, the last bastion of resistance of Iranian traditions from Safavid to Qajar
During the Safavid era and according to the political and social conditions of that time, western traditions influenced Iranian painting. It can be said that Isfahan school painting was a fusion of western and Iranian traditions. Western elements were carefully used by Iranian artists. Iran at that time was unified, unified and glorious, and certainly in such conditions, artists and the middle class are not intimidated by the excitement of the cultural and artistic elements of the West. Many Iranian traditions were still respected, and efforts were being made to restore them. Of course, the developments in Iranian painting were not the result of intellectual developments and had no ideological base; And just by observing the western painting, it was also manifested in the works of Iranian artists. For this reason, in many cases, the adaptations seemed incomplete and clumsy.
There was no still life in Iranian painting before the Qajar period, and although objects were part of the composition of images, they were not placed in front of the artist as an independent subject for painting. In the Qajar period, examples can be found where the objects are not the margins but the entire text of the painting. In the still life painting by Mirza-Babai Esfahani, pomegranates, pears, watermelons, vases and other objects are placed together in such a way that they form the main subject of the painting. These other objects are related to a legend, epic, text and or they are not poems. Their beauty and their painting aspect is the attention of the painter.” (Kord Noghani, 1397: 108)

Conclusion
In the early 10th century AD, with the emergence of the Safavid dynasty, we witnessed significant changes in the political, social and cultural fields, which influenced the art of that period. And took a new path.
However, realism, naturalistic tendencies, new subjects and styles such as bright shadow, perspective, depth, as well as the weakening of the relationship between painting and literature, as a result of the decline of the hegemony of royal workshops and the rise of the middle class, entered Iranian painting. But the painters of this period did not pay attention to still life. At that time, Iran was experiencing its period of power and greatness, and it was not yet so enamored with western traditions that it forgot all Iranian elements and customs. Although the influence of the court workshops was reduced; But it still played a decisive role in the evolution of Iranian art. As a result, Iranian artists still did not have the necessary independence. And still, bibliography is considered the main painting activity at this stage. Creativity, genius, and individual independence of the artist as a subject was not limited; who can get rid of all traditions at once, and create a personal work with completely individual compositions and using everyday elements. As if it took some time for this process to go through and during the Qajar period, Mirza-Baba Esfahani recorded the first experience of still life.
It can be concluded that the Iranian artist discovers objects in his new era and this new art - not industry - whose connection with text and literature has loosened and gained relative independence, is in search of a subject for the image. The eyes of the artist - not the craftsman - find this theme in the objects around them and placing them next to each other in a beautiful way; Undoubtedly, the diminution of the educational role of the royal workshops and the spread of university and modern education have been very important in discovering the genius and creativity of the artists of that period.

Abstract
This article delves into the enduring enigma of bevelled-rim bowls, ubiquitous ceramic artifacts of the late 4th millennium BCE Near East, particularly within the Uruk sphere of influence. These crudely manufactured vessels, found in vast quantities across Mesopotamia and the Iranian plateau, have sparked extensive scholarly debate regarding their function. While utilitarian hypotheses, such as their use as ration bowls or baking molds, have been proposed, this article explores the compelling evidence for their ritualistic significance. Through an examination of archaeological context, iconography, and textual evidence, the article highlights the potential role of bevelled-rim bowls in religious ceremonies, offerings, and sacred meals. Ultimately, bevelled-rim bowls serve as a testament to the intricate interplay between the practical and the sacred in the Uruk period, underscoring the ongoing quest to decipher the complexities of the ancient Near East. This article explores the many different uses of bevelled-rim bowls. It was determined that these bowls were used for a variety of purposes, including everything from measuring food to baking to using the bowls for ritualistic purposes. The Warka Vase was examined and it was discovered that the depictions on the vase were very similar to the bowls. This was used as evidence that bowls were used for more than just utilitarian purposes.
Keywords:

Introduction
The late 4th millennium BCE, a period marked by the burgeoning complexities of urban life and the dawn of writing, witnessed the widespread dissemination of a distinctive ceramic form: the bevelled-rim bowl. These crudely fashioned, hand-made vessels, characterized by their thick walls and flared, out-turned rims, have captivated archaeologists for decades, serving as a key marker of the late Uruk period in Mesopotamia and its far-reaching influence across the Iranian plateau and beyond. While their origins are firmly rooted in the Mesopotamian heartland, their ubiquitous presence across a vast geographical expanse, coupled with a perplexing array of proposed functions, continues to fuel scholarly debate. The sheer volume of bevelled-rim bowls discovered at archaeological sites, coupled with their standardized, albeit roughly executed, form, suggests a mass-produced item. This ubiquity, however, belies the complexity of their potential roles within ancient societies. Beyond their widespread distribution, the lack of definitive contextual evidence has led to a plethora of interpretations, ranging from mundane utilitarian functions to more nuanced ritualistic applications.   Among the most prominent theories is the “ration bowl” hypothesis, which proposes that these vessels were used for the distribution of staple goods, such as barley or grain, to workers within large-scale economic units. This interpretation is bolstered by the sheer quantity of bowls found at administrative centers and the association of the bowls with the archaic cuneiform sign NINDA, meaning bread. However, this interpretation is not without its critics, who point to the variability in bowl sizes and the lack of direct evidence for their use in ration distribution. Another prevalent theory posits that bevelled-rim bowls served as baking moulds. This idea draws parallels with similar ceramic forms found in contemporary Egyptian contexts, suggesting that the bowls were used to bake flatbreads or cakes. The rough, porous texture of the bowls would have been suitable for baking, and the out-turned rim could have facilitated the removal of the baked product. Yet, conclusive evidence, like the presence of charred remains within the bowls, remains elusive. Beyond these practical interpretations, a growing body of scholarship has explored the potential ritualistic significance of bevelled-rim bowls. The discovery of these bowls within temple precincts, alongside other ritual paraphernalia, has led some scholars to suggest that they were used as offering vessels or for the distribution of sacred meals. This hypothesis is further supported by the depiction of similar bowls on the Warka Vase, a monumental alabaster vessel adorned with intricate scenes of ritual processions and offerings.

Discussion
The Warka Vase, a masterpiece of Uruk period art, provides a compelling visual link between bevelled-rim bowls and ritual practices. The vase’s elaborate narrative, depicting a procession of individuals carrying offerings to a female deity, features individuals holding vessels that closely resemble bevelled-rim bowls. This visual association suggests that these bowls were not merely utilitarian objects but also held symbolic value within the religious sphere. Further bolstering the ritual interpretation is the discovery of bevelled-rim bowls in association with sealings and ideograms that appear to depict religious ceremonies. The archaic cuneiform sign GU, meaning “to eat,” is often depicted as a human head with a bowl, reinforcing the association of these vessels with food consumption in a potentially ritualistic context. The discovery of a cylindrical seal in Tell Billah, portraying a religious ceremony with similar vessels being transported, suggests a strong connection between the bowls and organized ritualistic actions. The prevalence of religious beliefs in the Mesopotamian society of the late 4th millennium BCE cannot be overstated. The pantheon of deities, the elaborate temple complexes, and the sophisticated system of religious rituals all point to a culture deeply invested in the spiritual realm. In this context, it is plausible to consider that bevelled-rim bowls, given their widespread distribution and association with temple contexts, played a significant role in religious practices. The iconography of the era, particularly the representations of Inanna, a prominent goddess of fertility and abundance, offers further insights. The symbolic association of Inanna with sheep, cattle, and grain, alluding to agricultural prosperity, aligns with the potential use of bevelled-rim bowls in offering ceremonies. The myth of Inanna and Dumuzi, which celebrates the sacred marriage and the cyclical renewal of life, also provides a narrative context for the use of these bowls in ritual feasts and offerings. The sheer volume of bevelled-rim bowls found at major Uruk sites, such as Uruk itself, Nippur, and Ur, suggests that they were not merely incidental objects but rather integral components of the social and economic fabric of these urban centers. Their presence in significant quantities at temple sites like the Eanna precinct in Uruk further underscores their potential connection to religious activities. The geographical distribution of bevelled-rim bowls also offers clues to their function. While their primary concentration is in Mesopotamia, their presence across the Iranian plateau, from Susa to Tepe Yahya, indicates that their use extended beyond the core Uruk region. This wide dispersal might indicate the spread of Uruk cultural practices, including ritualistic uses, or simply reflect the adoption of a practical container for various purposes. The debate surrounding the function of bevelled-rim bowls highlights the challenges of interpreting archaeological evidence. While the “ration bowl” and “baking mould” hypotheses offer plausible explanations for their widespread use, the ritual interpretation adds a layer of complexity and nuance to our understanding of these enigmatic vessels. However, despite the compelling arguments for a ritualistic function, concrete evidence remains elusive. The lack of detailed contextual information, such as the analysis of residues within the bowls or the precise stratigraphic association with other ritual objects, hinders definitive conclusions. Moreover, the inherent ambiguity of archaeological interpretation allows for multiple, often conflicting, explanations. The challenge lies in reconciling the seemingly mundane, utilitarian nature of the bowls with their potential symbolic and ritual significance. It is possible that these vessels served multiple functions, adapting to the diverse needs of the societies that produced and used them. They might have been used for both practical purposes, such as measuring rations or baking bread, and for ritualistic purposes, such as offering food to the gods or participating in sacred meals.

Conclusion
In conclusion, the bevelled-rim bowls remain a testament to the complexity and ambiguity of archaeological interpretation. While their exact function continues to be debated, the evidence suggests that they were more than just simple containers. They were objects that bridged the gap between the mundane and the sacred, serving as both practical tools and symbolic instruments within the dynamic societies of the Uruk period. The enduring fascination with these enigmatic vessels underscores the importance of continued research and the ongoing quest to unravel the mysteries of the ancient Near East. Future research, employing advanced analytical techniques, such as residue analysis and micro-archaeological studies, may shed further light on the function of bevelled-rim bowls. By examining the contents of the bowls and their precise contextual associations, we may be able to discern their specific uses and gain a more nuanced understanding of their role in the social, economic, and religious life of the late 4th millennium BCE Near East.