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
Due to its geology, topography and climate, the land of Iran is rough and unstable. Therefore, the historical monuments located on it are always loading and unstable conditions and therefore need continuous maintenance in a scientific and experimental way. Documenting or reading historical monuments is the most important part of studying antiquities, through which the data and information contained in these monuments can be accessed and using the collected data to understand the knowledge hidden in the engineering of this building. Lack of correct knowledge of the works and insufficient attention to the details and laws hidden in the historical works, leads to incorrect analysis and as a result wrong reading of the work. Which leads to misguidance in policies facing the preservation of monuments and as a result damage to cultural and historical heritage.
This article tries to analyze three incorrect readings of three famous historical works. The method of analysis in this paper is the use of analytical engineering and detailed analysis of the parameters of the effect and how to relate to them, which shows how a system was created and how it worked. And through this, it is concluded that a misreading of a historical collection leads to a misunderstanding of the function of that work, which can lead to errors in dealing with and preserving the work. The studied works include Pasargad site, Bostan arch complex and Biston complex. Each of these three historical sites contains elements for which scientists and archaeologists have defined the subject and application so far. Therefore, in this article, citing structural analyzes and causal relationships, it has been proven that the reading of these scientists is wrong and an attempt has been made to open a new perspective and path for exploring and recognizing these works.
Keywords: Totalitarianism and Analytical Engineering, Psargad, Taqbostan, Bistoon.

Introduction
Due to its location on the earth’s crust, the land of Iran has taken on special geological conditions such as youth and permanent activity of the earth’s crust. On the other hand, due to the local materials used in antiquity, most monuments are very heavy. Therefore, protection and nursing of a wide range of buildings that are in different conditions should be based on science and correct knowledge of the principles of structure, architecture and engineering in general. In order to achieve this goal, the correct processes must be mapped in advance.
If we want to pursue engineering reading or engineering documentation, which is the first and most important thing in identifying ancient science, we must have a correct understanding of engineering and its rules, including design and calculation.
Pathology and anthropology determine antiquity policies. This concept refers to the reading of antiquities. Therefore, in the proposed process for correct reading of antiquities, it is drawn on the basis that in the first step, we know what we should study and how to analyze it. So, the basic principles are based on two questions. “What?” and how?” In the following, these two concepts will be explained.
According to the principles of construction, according to the author, each monument can be divided into three basic parts. These include structural engineering, architecture and interior architecture. In each of these sections, pathology is examined and, in this regard, the mechanical properties of materials, load-bearing capacity, ductility and durability of materials are discussed.
The second step is how to analyze what we have found. Depending on the tools and advanced facilities, three types of engineering can be named. These include translation engineering, code engineering and analytical engineering

Discussion
Considering the concepts and scientific principles expressed in the concept of analytical engineering and the idea of a holistic view of antiquities, in the following, inaccurate readings and analyzes of the three prominent historical works in Iran are examined.
According to the hypothesis put forward in the book Pasargad, a number of grooves with holes in their path are referred to as waterways. And based on this hypothesis, it has been stated that the Pasargadae area was a royal garden. Based on the available evidence and considering the materials used in the floor of the canals and the distance between the cavities, which were the so-called comfort ponds, it can be concluded that these canals were in fact a stone foundation that the wall They were insulated with black stone from wood or white stone used on the walls
In Bostan arch, one can look for a missing link in it by examining various factors such as mountains, faults, headwaters, very wide and flat plains that are very prone to agriculture and green gardens, and then by examining the evidence and Evidence found that this area was a water reservoir. Therefore, the theory of the existence of a hunting ground can be criticized and it can be stated about the mentioned volume that there was no place for a hunting ground in the center of agriculture and dense gardens. On the other hand, there is no evidence that this area is a hunting ground. It seems that the only documents presented in this regard are the carvings done on the walls of the Bostan arch, which cannot be a proof of being a hunting ground in the same area.
Farhad Tarash inscription is located next to Kermanshah road and the shape of the stone is cut or blocked and attention to the integrity of the stone and its homogeneity and compaction according to the height of the mountain above it indicates the high quality of building stone and its value.

Conclusion
Documenting, finding knowledge, engineering and awareness in historical monuments. A historical monument cannot be considered as a rigid physics, but a historical monument is a function of time and has a current nature. Documenting a historical work should not be limited to data collection, but information should be created with the text and, more importantly, using the basic sciences, the knowledge contained in it and then its hidden engineering should be clarified. Through this process, which is briefly determined by macroscopy and in other words, the virtual (mathematical) definition of the design), the design and effect are dynamic.
It is analytical engineering that creates the possibility of totalitarianism and totalitarianism, and in this struggle, while identifying the elements, the relations of all human beings are also clarified. Therefore, in addition to eye vision (eye recognition), archeology must also have in-depth identification by another group. To determine the effect in terms of analytical engineering using analytical totalitarianism.
The correspondence between macroscopy and the reality of physics is of great importance. In other words, the macroscopic preparation and knowledge of each correlated set requires, quantitatively, analytical modeling. In modeling, each physical component is simulated with its mathematical equivalent.

Abstract
The tomb of Cyrus the Great, the founder of the Persian Empire, is one of the most important buildings of the early Achaemenid period in Pasargadae. The function of the tomb has changed over time, the most important of which is the transformation of it into a mosque in the Ataba-kan period and the construction of a miḥrāb inside the chamber of the tomb on the southern wall. In addition, the walls and stone surfaces of this building contain signatures of visitors, tourists, and pilgrims who have visited the building over time. Previous research has been done on the miḥrāb of Atabaki Mosque, but its inscriptions and memorabilia have received less at-tention. The purpose of the present article is to classify and identify the petroglyphs left on this tomb, which, as a result of a field study of all the motifs and lithographs, has been fully de-signed and documented. In the library study stage, all historical sources have been studied and, according to the inscriptions as well as the comparison of the signs engraved on the walls, each one has been studied separately. The following questions have been asked in this regard: What are the tomb’s oldest petroglyphs or inscriptions? Is there an inscription on the stone blocks of the tomb from the Achaemenid period? To which historical figures do the inscriptions on the tomb belong? The results of this research are the identification of more than one hundred in-scriptions and petroglyphs, the oldest of which are signs belonging to the Sasanian period. Many of the signs and inscriptions on the tomb belong to the contemporary era, which has led to the study of part of the historical course of this valuable building.
Keywords: Tomb of Cyrus the Great, Pasargadae, Memorial, Petroglyph.

Introduction
The tomb of Cyrus the Great has always been of interest throughout its life, and many people who have visited or lived around it have written inscriptions on its stone walls. From the com-mon people to European travelers and agents, Since many humans, animals, plants, and geo-metric motifs are engraved everywhere on the stones of the tomb of Cyrus the Great, a number of motifs were selected and studied from each category.
 The purpose of this article is to classify and identify the drawings, which were the result of a detailed study of all the stones in the tomb of Cyrus the Great. In the first stage, all the litho-graphs have been fully designed and documented, and in the next phase, by referring to the ex-isting books and documents, as well as comparative studies, he has analyzed and interpreted the lithographs and signs. The result of this research is the identification of more than one hundred inscriptions and engravings, the oldest of which are motifs belonging to the Sasanian period. Many of the motifs and inscriptions on the tomb belong to the contemporary era.
Azizi Kharanaghi and Ms. Salimi have studied the tombstone lithographs and one of the animal motifs of the tomb under the title “Pasargadae petroglyphs” (Azizi Khoranaghi and Salimi 2011). Also, Mirza Abolghasemi has already studied the Mihrab inside the tomb and the inscriptions on the columns and stone pieces under the title “Pasargadae inscriptions in the Islamic period” (Mirza Abolghasemi 2011). A comprehensive study of the signs on the tomb has not been done yet.

Inscriptions
On the stone blocks on each step, there are many inscriptions in Persian, Arabic, and Latin. Most of the themes are names, dates, prayers, and some poems, each written in a different size, style, and script. Many of these texts were written on top of each other; that is, at the point where the stone was flat, a text was written. After time and erosion, another person wrote the same text on the previous text.

Human Motifs
A scene of cattle grazing is carved on the stone blocks in the northwest corner of the tomb. In one part of this scene, two people are depicted standing with very light bodies. On the foot sur-face of the second platform on the south side of the building, a large number of engravings, in-cluding the face of a woman whose long hair is silver, by creating a line on the right side of her face and the left side by creating several parallel lines.

Animal Motifs
Most of the motifs are related to animals such as goats, sheep, and a number of dogs, which were probably created by cattle breeders and shepherds in later periods. The most interesting animal motifs that can be mentioned are the needle motif of five deer standing. The signs are created with shallow lines on the stone and some of the details of the animals’ bodies are finely silver-plated. These needle designs probably belong to the Sasanian period.

Plant Motifs
Five plant motifs are carved on the stone blocks of the tomb. The role of a flower with short stems and two oval leaves, which is very primitive and can be seen obliquely inside the tomb room and on the north walls, The wheat cluster on the blocks on the west side of the tomb, the role of a six-pointed flower on the platform on the north side, the role of a flower with a long stem, two leaves, and a very simple three-leafed flower, and next to it, the word Shirazi with number 39 on the third platform.

Geometric Signs 
Many different geometric signs can be seen on tombstones, including circles, squares, rhom-buses, and irregular geometric patterns that have been repeated over and over again. A marker for the qibla has been created in the southern corner of the third platform of the tomb with a diameter of 20 cm. The outer circle is about 20 cm in diameter and the inner circle is about 15 cm in diameter.
A square has been created in the western corner, the interior of which has been filled with inter-secting lines. Below this picture and attached to it, the two words “Action ------- Al-Hamdani” is written with a space between them.

Other Signs
Other motifs and works that can be mentioned are scissors, horseshoes, and instrumental mo-tifs. A grid square is one of the most notable works that has been seen several times on some of the petroglyphs.

Conclusion
In this research, the signs have been classified into six categories: more than 100 lithographs in Persian, Arabic, and Latin and 200 lithographs including human, animal, plant, geometric, and other signs have been identified. All the motifs and inscriptions identified in the tomb belong to the post-Achaemenid period. Given its style and subject matter, the needle motifs of the deer on the north wall of the tomb might belong to the Sasanian period. Some of the writings belong to famous people and officials from Iran and European tourists who have engraved their names or titles in Latin and beautiful script with history. The existence of a number of inscriptions and memorabilia of high-ranking officials and people shows the importance of this building in the Islamic periods. The present study has been written as a preliminary, and its supplementary studies will be published in the future.

Abstract
Providing water for the inhabitants of the plateau of Iran, which is located in the arid and semi-arid region of the earth, has always been one of the most important challenges for the its people since the beginning of the formation of the first dynasties and establishing the first irrigation systems. Low rainfall climate has caused the Iranian people to innovate different techniques to provide water for agriculture activities permanently.  Iranians are considered as the main creators of Kariz (subground aqueduct) as one of the most practical methods of exploiting underground water resources. Exploitation of running water resources by construction of dams on rivers and springs and the creation of canals is another method rooted in the history of the civilizations of the west Asia for supplying more sustainable water for the agricultural and industrial functions. In the specific and under investigation area of the Pulvar River, where the Achaemenid capital of Pasargadae is located, there are some of the ancient water structures including dams, artificial waterways, canals, extensive water reservoirs and springs. Of theses the dams are mostly built on the tributaries of the Pulvar River, and the water supplying canals are located below them.  Such complex structures have been built in the plains and districts surrounding Pasargadae such as Didegan, Murghab, Sarpiran, Kamin and Arsanjan. The present investigation briefly introduces these water structures and the techniques they were made in the Achaemenid period in the cultural landscape of Pasargadae. The results of this research are based on the studying historical documents and field studies of the past decades by historians and archaeologists, as well as field surveys by the author during the recent years in an area of nearly 16,000 square kilometers. The results of this research are amazing and very impressive. These extensive water systems, with the tact and intelligence of Achaemenid managers and engineers, have supplied water to all the plains and mountain valleys of the Pasargadae region. Villages and public settlements, gardens, agricultural lands, government buildings and centers, and finally the Royal Paradise of Cyrus the Great used of the benefits of water supply structures. In the construction of the dams, clay materials and ashlar or carved stone masonries have been applied, and some of them also have architectural structures with cut stone blocks. Waterways are also created in several ways on the slopes of hills and rocks.  Studies and researches show that the construction of water structures in the study area began during the reign of Cyrus the Great and expanded during the reign of Darius the Great and continued to develop until the end of the Achaemenid period. This method of exploiting surface of sub ground water resources continues to post-Achaemenid periods, especially in the Sassanid era and continues till modern times.
Keywords: Historical Dams, Achaemenid Architecture, Ancient Irrigation, Pasargadae, Achaemenid Empire.

Introduction
It is for the first time that in this era, a tremendous transformation in Iranian architecture occurred by mixing the traditions of architecture and art with the traditions of other nations that came under the umbrella of the Achaemenid government. The builders of Pasargad, in order to establish a new capital that can have a correct concept of a powerful and magnificent government center and also bring the comfort of its residents, beyond the plain of Pasargad, investigated and assessed the feasibility of all the surrounding plains , and after That Pasargad was designed and built What can be concluded from these structures is that Pasargad was not limited to the complex of royal buildings whose remains remain in the center of the Pasargad plain, and it correctly had the concept of an official and advanced capital. A wide range of infrastructures that a government center like Pasargad needs has been identified in a wide area of Pasargad plain and the surrounding plains, which is a proof of how Pasargad was built and founded. An important part of the aforementioned infrastructures is the vast collection of water structures that were designed and built in the ancient territory of Pasargad. One of the most important plans of the Achaemenid government was to deal with the water issue, which the Shah and the administrative organization had taken over the management of (Brian, 1985: 1985). In the upcoming research, an attempt has been made to introduce the Achaemenid water structures of Pasargad region and its impact on the construction and development of Pasargad. In the 1980s and 1990s, the Pasargad World Heritage Site also conducted a field survey in the Pasargad Plain and the surrounding plains (Karami and Zarei 2015), and in this research, several dams and extensive water supply networks were identified (Map 1). In the fall of 2019, from the first season of the exploration of Didegan Dam (Bostan Khani) was done and parts of the architectural structure of the dam and its wall and foundation were explored and researched, which resulted in valuable results (Karami, 2019, unpublished).

Introduction of Water Structures and Their Function
The extent and variety of Achaemenid works and sites in the territory of the Achaemenid Empire shows the intelligence and management ability of the Achaemenid government in the administration of the country in all fields, looking at the capabilities of the territory and the environment and paying attention to the culture and social capital of the various regions of the empire, which can be seen in He searched for historical documents and remains of Achaemenid works and sites.

The Effort to Manage the Country is More Visible in the Important Achaemenid Centers
In Pasargad, which is our focus in this research, various aspects of art and culture, architecture, government infrastructure, engineering and public settlements have been revealed and can clarify some of the unknowns. Whenever the name of Pasargad is mentioned, the collection of royal buildings and especially the tomb of Cyrus, the founder of the Achaemenid Empire, is remembered in our thoughts. But the Achaemenid capital of Pasargad is much wider and beyond the current area What we see today is the result of the knowledge and efforts that the engineers and builders of Pasargad have applied in a wide area of this area and have created a set of structures and infrastructures that meet the needs of the ruling center of Pasargad. One of the most important remaining infrastructures is the set of water structures that were created in the ancient landscape of Pasargad in several plains centered on Pasargad. However, metal and building stone quarries, metal smelting workshops, road networks, bridges, security checkpoints and support centers are other parts of the infrastructure works in Pasargad (Karami & Zarei, 2015). The concept of the ancient landscape of Pasargad can be considered for all the hills and heights around Pasargad, where the Achaemenid works and sites are directly related to the government site of Pasargad. The extent of this ancient area can be considered to be nearly 16,000 square kilometers based on archaeological surveys and researches, which according to country divisions includes the cities of Euclid, Khorrambid, Bowanat, Sarchehan, Pasargad, Arsanjan and Maroodasht from north to south.Pelvar River is the only permanent river in this area, the formation of settlement patterns of the first settlements from the Middle Paleolithic period until now is dependent on this river (Map 2).

Conclusion
The historical water structures of Pasargad and Persepolis are among the most prominent and valuable works left over from the Achaemenid era, which are located in the Bakhtegan and Tashk watersheds. The two main catchment rivers, Pelvar and Kor, form one of the basins in which the water from the rains in the highlands and plains flows into them in the form of flowing water and under the surface.  Due to the presence of two important Achaemenid centers of Pasargad and Persepolis in this basin and the need to provide water for them in the headwaters of these rivers, especially the Pelvar River, several reservoirs and diversion dams have been built with the aim of exploiting surface water resources And extensive waterways and water supply networks have also been established These structures include dams, waterways and water distribution networks, springs and reservoirs, and stone architectural structures for water distribution. The embankments are made of earth in the form of a hard clay core and a shell of stone debris and are mostly built on the heads of the branches, and the water roads are also on the slopes of Mahori hills and rocks and in the middle of the plains with two methods of accumulating soil and stone debris and excavating And the cutting of rocks has been created It seems that the Achaemenid engineers have selected the best and most efficient places for the construction of dams after investigating and studying the field of this basin. The mouth of mountain gorges through which seasonal rivers pass is the best place to build a dam Because the stone body of the valleys makes the dams stable and durable, and it has been easier and more reliable to contain and store the floods in the sub-branches. Due to the extent and shape of the catchment of this basin, the Pelvar river floods during rains and a large amount of water enters it, and it was not possible to control it for the Achaemenid engineers considering the facilities and technology of that era. Therefore, the best option for flood control is the construction of dams at the head of the branches and tributaries of Pelvar Also, it is easier to transfer the dams built at the head of the branches, which are located at a higher place than the plains and flat lands, and most of the downstream parts have benefited from the stored water. Apart from curbing seasonal floods, supplying water to settlements and residential areas, agricultural lands and gardens, providing water to Pasargad government grounds and especially Shahi Campus, as well as industrial uses and mills, are among the goals of building this vast complex of There have been water structures in this area The history of the construction of this set of water structures is related to the Achaemenid period, which, based on researches and archaeological documents, started from the beginning of the Achaemenid period and with the reign of Cyrus and expanded during the reign of Darius and was developed, maintained and exploited until the end of the Achaemenid period.

Abstract
One of the important criteria of registration in the World Heritage List is the cultural landscape, which deals with the preservation and restoration of natural, tangible and intangible cultural elements of historical sites with a holistic and pragmatic approach. The arcs of Taq Bostan have been registered as a national site in the temporary world heritage list, but unfortunately, in recent years, we have seen physical changes in its historical and natural elements. The dissociation between the works and nature causes loss of the original nature of the site and leads to its further destruction. Considering that the cultural landscape is tantamount to interaction between humans and the nature, the historical works of Taq Bostan have turned the site into an element capable of creating cultural landscape. This study has been conducted through the archive, text studies and survey on the site, Taq Bostan. This research has tried to highlight the necessity of a comprehensive look at the protection and restoration of this historical work and seeks to prove the hypothesis that the arches of Taq Bostan are only one work. It is not historical and archeological, but a cultural landscape. The method of this descriptive-analytical research is based on data collected from documentary, library, survey and experience working in the site. Among the questions that are answered in this research; mention can be made of the following: 1. What are the criteria of cultural landscape? 2. What are the elements of Taq Bostan cultural landscape? The result of the research shows; based on the global elements, Taq Bostan has the criteria of a cultural landscape with natural and human components in tangible and intangible forms and has all the effective objective and subjective factors in the formation of the cultural landscape; and contrary to popular belief, Sasanian reliefs are not the only factor in creating this cultural landscape; rather, the components of Taq Bostan’s cultural; s cultural landscape are a combination of natural and cultural modules that are intertwined and inseparable throughout history.
Keywords: Cultural Landscape, Component, Taq Bostan, Tangible, Intangible.

Introduction
The rock art of Taq Bostan is one of the most important works of the Sassanid era and has been nominated for registration in the world heritage (WHC UNESCO, 2021). The importance of the Sassanid sculptures of the Bostan Arch, especially its large arch, in terms of the elegance in the execution of relief motifs, their narrative style, the depiction of artificial and sacred hunting grounds, are cited by researchers such as Pope in the 1920s, Hertzfeld 1940, Vandenberg 1956, Girshman 1962, Godar 1965 and Kristen Sen 1384 and Tanabe 1983. The deer hunting panel of this arch is unique and there is no equivalent in Sasanian art (Compareti, 2016: 5). Also, due to the uniqueness of these motifs, it is always used in identification of fabrics (Hertsfeld, 1940; Raami, 2012; Herman, 2008; Harper 1999) and musical instruments of the Sassanid period (Farmer, 2017; Christine Sen, 1935) have been effective. These works have a deep connection with literature and popular culture, including Nezami’s "Khosrow & Shirin (Khamse Nizami, 6th century p. 30) and & quot; Shirin & amp; Farhad in Kurdish &q uot.
Considering the unbreakable link between history and nature and the opinions and beliefs of the people about Taq Bostan, it is assumed that the arches in Taq Bostan are not just a historical and archeological site and it is necessary to maintain strong relationship between the nature and ancient works; moreover social interactions that govern them should be taken into account. In other words this area is a cultural landscape and interference in each of these components should be done according to its impacts on the other component. For example, it may be effective to intervene in the seams and cracks of the rocks of the arches, to prevent infiltrating water from decreasing or increasing or even drying up the springs. The springs have played an essential role (naturally and culturally) in creating reliefs that if removed, part of the historical and natural values of this area will be lost. This research aims to know the criteria for determining the natural and historical components of Taq Bostan based on the theories presented in the field of cultural landscape in order to remind the necessity of a comprehensive view, as it is proposed in cultural landscapes, in the protection and restoration of this historical work. It is hoped that this research will lead to reconsideration of some JOZINEGARANEH decisions and attitudes that govern this area. In the meantime this research only emphasizes on proving the cultural landscape of Taq Bostan site.
Based on global standards archaeological and historical evidence (Canepa, 2018; Ghobadi, et al 2014; Hojabri and Mir Qadri, 2016; Kambakhshfard 1348; Rahbar, 2010) is a historical and natural environment that human interaction with the environment covers from the Middle Paleolithic period to the present day. This area was formed in different periods based on more or less different cultural mindsets (Parthian, Sassanid, Islamic ideas). Knowing the cultural and historical components of Taq Bostan is a research necessity that has not been addressed so far; because the documents (Ministry of Housing and Urban Development, 2002, Schmidt, 2016) show that this area is undergoing physical and intangible changes that have threatened some of its natural, historical and cultural values; therefore, it is necessary to recognize this collection as a cultural landscape. This research, with descriptive-analytical method and based on data collection from documentary sources, library and field observations, tries to answer the following questions: What are the criteria of cultural landscape? What are the elements or components of Taq Bostan cultural landscape? What is the cultural landscape?
Cultural landscape is the outcome of interaction between human and the environment. (Sauer, 1925). According to Tyler, since cultural landscapes are a document of past and present actions, they are an embodiment of physical changes, which in turn reflect the evolving attitudes towards the landscape. They represent our material and social history, with the help of which we can easily relate inherited values (Taylor, 2011:3).
According to the initial theories, natural conditions have had a major impact on the creation of cultural landscapes; so that people have changed the natural conditions of their environment based on their material and spiritual needs and under the influence of their culture.
Newer theories have discussed the interaction between humans and the environment and have come to the conclusion that humans choose and change the environment according to their mental thoughts, and every changed environment is not necessarily a cultural landscape.
Therefore, the cultural landscape of every society is formed based on its nature and culture. According to Canepa, the cultural landscape of Iran was created based on the relationship between the conceptual world and the physical world that exists in some Iranian religions (Canepa, 2018:1), so choosing a place to create works (current historical works), including campuses and hunting grounds and the rock art has a deep connection between the religion, beliefs and mentality of Iranians about the world and its nature, and the choice of natural places to create art is not accidental.
Natural and cultural components of Taq Bostan Mountains, topography of the earth, water in the form of springs and rivers, plains, and plants and animals in whose creation humans did not have a part are considered natural components. In Taq Bostan, the elements of mountain, water and plain are considered the most important natural factors. These components, along with works created by people who lived in different historical periods, have formed the historical and cultural components of Taq Bostan. These historical and cultural components include: prehistoric sites of Taq Bostan, Parti cemetery and village, Khosrow’s hunting ground, Sasanian rock artefacts of Taq Bostan. In each of these components, he observed the mutual influence of nature and human interaction with concrete examples. For instance, topography, as a natural component, plays a significant role in the formation of the historical and cultural components of the pre-history of Taq Bostan Western Park (Hojabri and Mir Qadri, 2016: 22). The homogeneity of the mountain and the spring has been effective in the creation of relief motifs and the arches of Taq Bostan, because it had the characteristics of the sacred mountain in the eyes of the Sasanians. There should be a bubbling spring next to it, and the light cleanses the body of water and the mountain from the contamination of the devil (Qureshi, 1380: 174). Intangible components derived from people's mentality and including activities, historical and symbolic functions, cultural customs, traditions, monuments, folk stories and cultural references such as the story of Shirin & Farhad, the story of the old tree of the Bostan Arch and healing from the horse statue inside the large arch and the bust of Khosrow II (Naseruddin Shah, 1287: 69; Khadi 1385, July)

Conclusion
Archaeological evidences show that the interaction between man and nature in Taq Bostan is a multi-thousand-year interaction (from the Middle Paleolithic until now). The favorable environment provided by nature to humans, such as mountains, springs, and plant and animal filled plains as well as the strategic location of the region in terms of history (on the way to Babylon and close to the well-known inscription of Darius in Bistoon) created this long-term interaction.
But what is popular among people now as the identity and historical character of Taq Bostan is related to the Sassanid and Qajar periods.  The relationship between the conceptual world and the objective world of the Iranian cultural landscape; and the choice of the workplace is in connection between religion, beliefs and mentality of Iranians about the world and nature. The investigations carried out in this research showed (tables 3 and 4) that based on global standards in the field of cultural landscape, Taq Bostan has the characteristics of a cultural landscape with natural and human components in tangible and intangible forms, and all the effective factors in its formation are objective and there is an existing mentality, such as the use of the natural potential and topography of the region, including permanent springs and rivers, which caused the existence and instead of the material elements of prehistoric humans in the West Park and Murad Hill areas, it shows the evolution of the society from the criteria of the cultural landscape.
The remaining cities and cemeteries and the Parthian and later periods also depict the course of historical development and society, as well as the beliefs and attitudes of the material and non-material world in accordance with the objective and subjective criteria of the cultural landscape.
The reliefs and Khosrow’s hunting ground also indicate the ideas of the Sassanid period. According to Sasanian religious beliefs, the Sasanian king was of the opinion that every action in the Minoan world is done by Ahura Mazda, in the non-Minoan world it is done by the king. Ahuramazda’s goal was to return the world to the light and prosperity before the demonic attack. For this reason, the Sassanid king also tried to create a heavenly paradise in a dry and barren land (a symbol of Ahriman’s wrath). Make the land fertile with the help of natural elements of water and soil. According to the Sasanians, a good king was a good gardener; Therefore, gardens and campuses like Taq Bostan are political announcements that confirmed the legitimacy of the Shah’s government.
Therefore, the components of Taq Bostan cultural landscape are a combination of natural, cultural and social components that are linked and inseparable over time. These components are based on the theories and criteria of the cultural landscape, the interaction between man and nature, and the collective historical results that have ecological and geographical characteristics. According to the mentality of the people living in them, they have found identity and personality and have aesthetic and cultural values. A symbolic place is one of the basic elements of heritage and has a common relationship between identity, memory, and heritage. At the same time, they represent the evolution of human societies. Natural and social environment and economy This landscape is effective on the process of human evolution and has emotional and spiritual meanings.
Taq Bostan has the objective and subjective criteria of a cultural landscape, and these criteria should be taken into account in all actions taken or in the future plans of the site, and any interference and possession should be applied with regard to preserving the entirety of this cultural landscape; Otherwise, the destruction of these works will be imagined in the not-too-distant future.

Abstract
The historical city of Ujan, located in in East Azerbaijan northwest Iran, has been one of the most important cities of the Ilkhanid dynasty (1256 to 1335 AD). A number of coins were found during the excavation and study of the site by Tehran University’s Archaeological Board in 2017-2020. In this article, 13 coins have been analyzed and reported. The coins were cleaned as much as possible so that the inscriptions and designs were examined and read, whose results are presented in this paper. All of the 13 coins are minted in the styles attributed to the Abu Sa’id period, the last powerful Mongol Ilkhanid ruler born in Ujan. Based on elemental analysis, most coins are copper. Two of them are made of bronze alloy (copper-tin) and the other is made of brass alloy (copper-zinc). The use of lead has been reported in the composition of all alloyed coins. All the coins unearthed from Ujan excavations have been minted in the city of Tabriz. This is probably due to the commercial and economic importance of Tabriz in the Ilkhanid period, because no evidence of minting coins has been found or reported in the Ujan area so far. The analyses of the coins are indicative of important historical, cultural and political facts about the Ilkhanid dynasty.
Keywords: Ujan, Ilkhanid Period, Alloy, Mint, Ujan Coins.

Introduction
Ujan, located 38 km east of Tabriz, was an important city during the Ilkhanid period, serving as a summer residence for the royal family.  It was rebuilt during the Ghazan Khan Ilkhanid period but lost its importance due to earthquakes and wars. Ujan is an example of an Ilkhanid city with Islamic architecture and urban planning (Velayati et al. 2020).
Coins from Abu Sa’id, were found in Ujan and minted in Soltanieh and Tabriz. In archaeological studies, coins indicate civilization, prosperity, and decline of a territory or monarchy. The study of coins can provide insights into nations’ pasts, as well as their artistic, religious, political, and social development (Sarafrazi 2010). Ilkhanid coins are categorized into three groups: (1) early Ilkhanid period with Quranic verses and no Uighur inscriptions, (2) period of stability with Uighur inscriptions and Mongolian titles, and (3) time of Oljaitu with Persian inscriptions including Islamic testimonies, Shiite mottos, and names of Rashidin Khalifs (Avarzamani & Sarfaraz 2009).

Identification of Ilkhanid City of Ujan Based on Archaeological Finds
The Mongols’ recorded history dates back to the late 12th and early 13th centuries AD, with information from “the mysterious history of the Mongols” and Persian and Chinese records (Bosworth,1988:243). The Ilkhanid khans was elected in Qoriltay, with Maragheh, Ujan, Tabriz, and Soltanieh as capitals(Atwood 2004: 231, 233). After four seasons of study, the University of Tehran’s Archeology department discovered the historical city of Ujan, located 38 km east of Tabriz, north of Sahand Mountains, East Azerbaijan. Figure 1 shows the historical map of Ujan City (Velayati, 2016).

Historical Context of Ujan
The name of Ujan was first mentioned in the book “Masalak-al-Mamalak Istakhri” and later by other Arab geographers. In 698 AH, Ilkhan ordered the construction of the Islamic city, which was built quickly with bazaars, baths, and land divided among his relatives. Ghazan Khan rebuilt a mansion in Ujan and called it the city of Islam. Many events occurred in Ujan between 740 to 806 AH, including Amir Teymour resting in the Ghazani Palace. An Ottoman tourist reported that Ujan was once a large city but was destroyed during Holakokhan’s reign and people migrated to Tabriz. Ghazan Khan later repaired the castle of the city.

Ujan Coins
Studying the chemical composition of coins offers valuable insights into various aspects including politics, society, economics, and production methods. The origins of raw materials in different periods can indicate religion, art, culture, traditions, or architecture (Fierascu et al., 2009). Numerous coins were excavated from the historical city of Ujan and a comprehensive analysis was conducted on thirteen selected coins after thorough cleaning to ensure precise results (Figure 2).

Method 
In this study, 13 coins were imaged using Rigaku’s Radioflex-100CSB X-ray radiographic method to examine the metal core and legible motifs and inscriptions. After cleansing, the coins were imaged using a Leika / Wild M8 stereo microscope. A small part of the coins was cleaned and imaged using a FEI ESEM QUANTA 200 microscope to study the alloy composition. Elemental analysis was performed by the EDAX EDS Silicon Drift 2017 detector connected to the microscope.

Results and Discussion
The results of the elemental analysis of Ujan coins in Table 1 show that the base metal for making all coins is copper and a large number of samples have the same composition with small amounts of lead.
The thickness and lead content of coins affect their X-ray images (Figure 3). Coins with higher lead content and thickness emit fewer X-rays. The uniform distribution of lead particles in the metal matrix creates a distinction between the background and lead globules in X-ray images. This suggests that Ujan coins were cast horizontally using an open mold. Most coins have low amounts of lead, which is likely an impurity in the metal composition, associated with tin and sulfur. The lead impurities may be related to the smelting and extraction method used to mint the coins.

Inscription Reading and Minting Analysis  
Ilkhanid coins are divided into three periods based on their inscriptions, representing the cultural attitudes of Ilkhans. In the early years, they incorporated aspects of Iranian culture onto their coins, possibly influenced by advisors like Khajeh Nasir al-Din Toosi. In the second period, some Ilkhans tried to embrace their Mongolian heritage by minting coins in Uyghur script, but this failed when Al-Jaito converted to Islam and developed Islamic and Iranian culture (Yar Ahmadi, 2010: 40). Mongolian culture was marginalized, and only a few political dissidents used the second method of minting coins.
The analysis showed that corrosion and previous interventions have caused the disappearance or distortion of designs and inscriptions on some coins. Only some coins were examined and read after clearing based on evidence in X-ray radiographic images. Analysis of coins in this study indicates that they belonged to the period of Abu Sa’id, the last and greatest Ilkhan king. During his reign, coins did not follow a special formal pattern, but had limited use of geometrical and non-geometrical patterns with the king’s name, Islamic testimonies, and the name of Rashidun Khaliphs. Lion and sun motifs were prevalent, rooted in Roman Seljuq coin minting. Five, six or seven-pointed stars appeared on coins, possibly imitated from Seljuqs. Abu Sa’id also used Mihrab (altar) motif with Quranic verses on his coins (Salehi 2014: 61).
Coin UJ-01 features several motifs on one side, with the inscription “La ilaha illa Allah Muhammad Rasoolullah” on the other (Figure 4). Coin UJ-06 has an engraving depicting a rider racing on horseback, in the style of Ilkhani coins, with the phrase “La ilaha illa Allah Muhammad Rasoolullah” inscribed along the edge (Figure 5). Coin UJ-07 is well-preserved, with the ruler’s name written as “Al-Sultan Azam Abu Sa’id Bahador Khan Khaldullah Malika” and the mint name as “Tabriz Mint”. Inside a six-pointed star are the names of Rashidun Khaliphs and Hazrat Ali (AS), representing Abu Sa’id’s Sunni faith. Outside the star is the inscription “La ilaha illa Allah Muhammad Rasoolullah” (Figure 6).
During the Ilkhanid period, mints had a lot of freedom in choosing and writing inscriptions on coins, as long as they remained loyal to the Ilkhanid system and its religious policies. This allowed each sultan or ruler to change the coins according to their own taste. For example, in Amol, coins were minted with the names of the Twelve Imams even during the Timurid period. Studies show that during the time of Abu Sa’id, nearly a hundred cities and districts minted coins in his name. However, it seems that Ujan did not have a mint, possibly due to its proximity to Tabriz. Further excavation may reveal coins minted in Ujan.

Conclusion
Ujan is a city of great economic importance due to its location on the Silk Road and its role in trade. Historical sources suggest the city had many caravanserais and economic prosperity. Coins minted in Ujan, mostly from the period of Sultan Abu Sa’id Bahador Khan Ilkhani, have been found. In this research, 13 coins were examined, 10 made of copper and 3 of copper alloys. The copper used in minting is associated with lead, with uniform distribution of lead particles in the metal matrix of all Ujan coins. The horizontal minting method was used in casting alloys. Many coins have corroded or distorted designs and inscriptions, but three (UJ-01, UJ-06, and UJ-07) have almost complete Islamic inscriptions and designs in the style of Ilkhanoid coins.
The examinations show that during the early Ilkhanid period, rulers used religious inscriptions in minting coins to propagate their ideology and gain legitimacy among the people. The use of Quranic verses and inscriptions on coins from this period suggests that the Mongols, who lacked religious legitimacy to rule Islamic lands, sought to attribute their ruling to divine destiny by circulating coins among ordinary people.

Abstract
The right of possession is not an absolute one today and the lawmaker has the power to limit the possession right according to several reasons. It is a general thought in the public regulations of the civil law that the possession is a legal absolute right. Accordingly, and due to different tools, the limitation is fulfilled by the lawmaker and this right is completely ignored. The rules of cultural heritage are of the tools to make the limitation and to devest possession. The main question of this article is that what are features cultural-historical properties possession in Iran and what are the position of intellectual and material property right of the of the historical-cultural owner of the properties? It seems that there could be limitations in some situations to some cultural heritage properties. The mentioned laws could weaken the private ownership in some cases. Additionally, the private ownership is respected in Islam and according to the first verdicts the ownership of cultural-historical properties are authentic its ignorance is assumed wrong. The today law are not upgraded and its fulfilment is ignored in order not to be against the religious and legal frameworks.
Keywords: Possession, Cultural Heritage, Cultural-Historical Properties, Movable Properties.

Introduction
Cultural heritage includes series of valuable movable and immovable properties from the past. A significant part of the properties is owned privately or is inherited or discovered by them. Now-a-days it is the aim of the government to protect these properties with cultural-historical values. As the verification of their ownership in the laws of cultural heritage are not noticeable by the lawmakers it is significant to study the different aspects and illuminate the ownership situation of these properties as the aim of the Authors in this article.

The Aim and Necessity of this Research
The lawmaking process for cultural heritage in Iran started in 1930 as the law of national properties protection by the national consulate of the parliament of Pahlavi I and under the direction of Andre Godar, the French architect and archaeologist, of the antiques center. Several paragraphs have been added or removed from the mentioned law since then. It seems that the law on cultural heritage and cultural-historical properties are not efficient as the traffic of the properties are increasing and the national treasures are looted. Therefore, it seems that the study in this field and the different aspects of the protection and conservation of cultural heritage are essential in the present situation. 
The primary and secondary question and hypothesis: What are the features of cultural-historical properties in the laws and regulations of Iran? What is the position of the tangible and intangible cultural-historical properties ownership in the legal and administrative sections?

Research Method
The research method is according to the library study of the present laws and decisions in the field. Cultural-historical properties ownership in the laws and regulations
The ownership and its features are as above-mentioned. The ownership is significant in the present society as the method of personal economic relationship adjustment. Respecting one’s control over the objects gives him authority to protect his material benefits. This ownership is fair, defensible, and even sacred. The respect for it is as the blood of human and even more than Kaaba in Islam. The constitution of Islamic Republic of Iran, paragraph 22, it is mentioned as following: “The property of the persons is safe from assault unless the law approves” and in paragraph 47 it is mentioned: “The legitimate property is respected and the law designates its rules”. Some lawyers describe the respect for personal property as the fundamental respected laws and its soul (Katouzyan, 2010: 133).
In paragraph 3 about the protection of national property, approved at 1930, two sorts of properties are mentioned; the properties without personal owners and the properties with personal owners. These tangible and intangible properties could be faced according to paragraphs 3 and 4. Additionally, the personal properties are mentioned in the law of land and construction purchasing for the protection of historical and ancient properties, approved at October 1968, paragraph 1. The properties with or without owners will be discussed here (Khodadadi Larzjan, 2016: 5).
Obviously, thousands of properties with personal owners cannot be only safeguarded by law that is approved 80 years ago and is enforced unilaterally. It means if the owners of the historical properties know that they are not alone on protection their properties and this might improves their social position and their benefits they will not take those properties abroad. 
In another hand the inscribing of a property in the national list destructs their property right for the personal property owners. Therefore, the destruction of the properties accelerated according to the more nationally inscribed process in 1990s. The owners destructed the buildings as they knew they will not be able to sell, be benefited or destruct their properties after inscribing them in the national list of cultural heritage. The owners whose properties were inscribed previously were shocked for some times and due to the consultation of the lawyers found out the legal solution and complained in Court of Administrative Justice.

Conclusion
The attention and support of the government of the legal cultural-historical owners’ property rights and checking property conflicts and also the separation of personal and public ownable properties (with respect to the governmental sovereign rights) could be one of the best methods to encourage people to identify and protect the mentioned properties and preventing them from being exported illegally. 
According to paragraph 4 of the constitution, all the laws should be congruous with the religious rights and a rules should be religiously interpreted accordingly. As, the property is of the legal rules and respected by the sacred lawgiver in Islam, the lawmaker could not regard the property as a public benefit tool. Ignoring the property right could divest thee economic drafty and help the export of the property from the society and to harm the public and personal benefits. Regarding the properties as not being absolute and allowing the government to threating the personal property right leads to disrespecting the property right. Therefore, there is not a common method for confiscating cultural-historical properties and the discovered ones and also a right for the finder- with respect to the situation of the discovery process and the place- although very little. This could be either usurpation and forbidden by the religion or could cause more traffic and secretly keeping the properties and eventually destruction the national property. The conflict of the public and personal benefits of historical buildings and also the lack of a serious, functional and legal solution could lead to the destruction of the constructions through the years and the blame of the future.
Therefore, there is an urgent need for a religious, critical and courageous review of the law with respect to the constitution and international laws in order to conclude public and personal property limitation and identifying the features of property to respect the owners’ right and prevent the traffic of cultural-historical properties.

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).