Abstract
Tomb buildings are one of the most important types of Islamic architecture. Studying such a building in a geographical context gives us a meaningful understanding of these works. The vast region of Tabas, despite having a rich capacity of magnificent historical and cultural monuments, has been neglected by officials and archaeologists due to its desolation and difficult geographical conditions. In the archaeological study of the Jokhah section of Tabas, which was carried out in 2015, several buildings were identified, including a single tomb. So far, this building has not been the subject of detailed and methodical research on how the structure of architecture and dating is based on comparison with other mausoleum buildings, so the need for this research was provided. In this research, the construction method of the building has been considered according to the dome, the execution of the dome and the type of materials and the type of decorations used. The present research is based on a descriptive-analytical purpose and its nature is based on historical approaches. The methodology of accumulations is based on field studies and citation of library resources. This article tries to analyze the identity and date of construction of the tomb of Jokhah Tabas, based on archaeological findings, comparative studies and also citing written sources of the Islamic period. The results of studies show that the construction pattern of this tomb is derived from the square design of tomb buildings in Greater Khorasan in the early centuries of the Islamic period. However, by comparing material culture data and building elements with other similar works, the date of its construction can be attributed to the late sixth-early seventh century AH.
Keywords: Tomb, Architecture, Historical Identity, Middle Islamic Period, Jokhah Tabas.

Introduction
The tomb as a type of ritual-cultural architecture is the result of two-way interaction between man and nature throughout history. Hence, the study of these religious buildings in the geographical context, provides us with a meaningful understanding and recognition of them. In Islamic period of Iran, tomb buildings are considered one of the most important and numerous types of architecture after mosques. »The scope of construction of tombs with the emergence of different local governments in the early centuries of Hijri, simultaneously with the weakening of the Abbasid caliphate, became popular in the east and north of Iran« and it developed with a significant speed in all of Iran and found an important role in the social atmosphere of cities and villages. In such a way that it was considered the most important pillar of every city and village after the comprehensive mosques. Therefore, “cemeteries and their construction methods are very important from the point of view of architecture and the use of arched structures” and they require careful investigation and research in various fields. There are several individual tombs in Tabas, which according to historical sources belong to chieftains or clerics, after the domination of the eastern regions of Iran in the early centuries AH. As; Mohammad Jafar Tayar’s tomb in Azmighan, Tabas, Mir Omar’s tomb in Korit Tabas. One of these tombs, which is known in Islamic sources as the tomb of one of the Arab generals, is a tomb located in the historical site of Jokhah village. So far, this building has not been the subject of a detailed and methodical research regarding the architectural structure and dating based on comparison with other tomb buildings, hence the necessity of conducting this research. The brief research activities that have been carried out have mostly described the architecture of this tomb. In this research, the architectural style, decorations and functional materials of this building have been compared with the tombs of the middle Islamic period in the geographical area of Khorasan, which is more related in terms of time and place. Since the building does not have a building inscription, the name of the founder or the owner of the tomb, it is not possible to propose its date with certainty. Therefore, one of the goals of this research is the proposed dating of Jokhah tomb using comparative studies of other tomb buildings and referring to Islamic sources and texts.

Discussion
Jokhah village is located 24 km from Tabas city. A tomb building is located 500 meters southwest of Jokhah village, between the agricultural land and the village cemetery. The name of Jokhah was applied to this village in the contemporary period, and before that it was known as Chardeh. The name of this building goes back to the name of Jokhah village and before that it was known as the Tomb of Sephesalar or two commanders.
Jokhah Tomb is a type of domed square buildings. According to the remains of the building, the outer space consists of three parts, the body platform and the dome. The geometry of the plan and the form of Jokhah tomb reflects the design of Sassanid fire temples. The geometry of the building is square. The current height is about 23 feet and its foundation has been done on a platform. The materials used in the foundations of Jokhah tomb are made of clay, mud and plaster. Bricks are used only for cornering and doming of the building. The three doors of this building are in the front porch and have the same dimensions. This repetition on three fronts has given the building a special rhythm. There are three holes on the three sides of the building above each door. Due to the distinct shape of the entrance space, this building consists of four parts: the platform, the body, the entrance porch and the domed room.
The cover of the brick dome of Jokhah tomb has collapsed. This is comparable to the domes of the Twelve Imams of Yazd (5th century AH) and the tomb of Khosroabad Tabas (5th century AH). Based on the available visual sources, there are evidences of plastering in the throat of the dome and the formalization of the arches, which are considered as design ornaments in the Jokhah building. Two fine strips under the throat of the dome in the shape of the letter (kک/) are painted continuously and chainwise in black on a white chalk background. Another decoration includes a plaster strip in the shape of a seven-eighth or a congress in relief, and these two are among the most important arrays of this building. From around the building, unglazed pottery pieces with a simple linear and comb pattern, pottery types with turquoise and gilt underglaze were obtained (12-6 AH/12-18 M).

Conclusion 
The tomb is located as a single building outside the old rural context of Jokhah. The architectural features of this tomb, in terms of design and plan form, are in the group of tombs without towers, quadrangle with domes, and functionally, it is included in the category of non-religious tombs. The architectural structure of this building is very similar to the tombs of Amir Arslan Jazeb and Chalaqd in the 5th and 6th century AH. On the other hand, it has some features, especially the doming style, with the 7th AH buildings such as the Haruniyeh building and some 8th century AH buildings such as the Jame Mosque in Varamin and Jabaliyeh in Kerman. Through field investigations and analysis of the building map, it is possible to understand that the main design of the building is taken from the map of the domed square tombs of the Seljuk period, and the additional space outside the main door of the building belongs to later periods. The design of the Jokhah tomb built by Chalaqd was more impressive than the buildings of the Seljuk period in Khorasan. Also, the common features of the building such as functional elements and its materials with the Seljuk period and plaster painting decorations have shown more compatibility with the Ilkhanid period. Referring to Islamic sources and texts also does not provide accurate information about the construction time of this building. As mentioned earlier, 5th century AH, Tabas and its surrounding areas were the refuge of Ismaili claimants, and relative peace reigned in this region. In the middle of the 6th century Hijri, most of the buildings in this area and around it were destroyed by the attack of the Seljuks. Therefore, it seems that the tomb of Jokhah was formed after the aforementioned attacks. On the other hand, due to the absence of an inscription in the Jokhah building, the identity of the owner of the tomb, based on the generalization of reliable written sources of the Islamic period, goes back to a person named Malik, one of the Arab generals in the first century of Hijri. Since this building has not been scientifically explored and excavated so far, the dating of the building has been done by studying the organs, elements and comparing other tomb buildings. Therefore, the chronology of the Jokhah tomb is suggested to the end of the 6th century to the beginning of the 7th century AH.

Acknowledgment
Mr. Dr. Bahram Anani is grateful for providing information on the area of Montaziereh, Tabas.

Observation Contribution
In this article, the first author contributed 100% and the second and third authors contributed 90% and 80%.

Conflict of Interest
In writing this article, the authors are committed to scientific and research ethics and there is no conflict of interest between them.

Abstract
Sassanid bullae are indicative of the administrative structure, commerce and other cultural concepts, which usually differ from each other in the sealed figures, size and the number of times they have been stamped. In many cases, these samples are accompanied by symbolic arrays like other cultural data of this period. In order to study of their importance and description and to answer questions about the symbolism mixed with the worldview of Mazdaznan religion and other concepts such as the knowledge of that time, we selected undocumented bullae in the archives of the National Museum. In this regard, semantics, the most frequent arrays, compatibility between these symbols with other symbols this period, relative chronology and their possible origins were investigated. Most of the images stamped on the bullae of this collection include human, animal, and geometric arrays (monograms). Some of the fifty studied bullae studied have lost their value in due to wear and corrosion or breakage. Also, there is no information about how they were discovered. These bullae are assigned to the Sassanid period only based on the writings and arrays. Our research is based on library studies and documentation of bullae of the National Museum archive and conventional methods such as photography and design of flower seals. 
Keywords: Bullae, Sassanid, Symbol, Iconography, Mazdaznan.

Introduction
Our purpose of writing this article is the iconography of bullae attributed to the Sassanid period from the archives of the National Museum. By studying these bullae, their administrative, commercial and ritual use can be understood. In order to better understand these features, symbols and writings (here symbols) have been studied. The Iconography of the archeological data of this period (especially seals and bullae) reveals points such as cultural interaction in the Sassanid Empire, similar to the concepts of the Mazdaist religion or other religions, Animal symbols in the seals of the Moghadam Museum with signs of the Mitra ritual (Dehpahlevan and Ghanavati, 2014, 47-67); or examples with Christian and Jewish symbols from Sassanid empire rituals (Lerner, 1976, 183-187 and Lerner 2009, 653-664). All in all, the symbolic nature (or not) of the arrays on the bullae can be interpreted as follows; Signs (monograms) are single or multi-purpose, human portraits are demonstrative or commanding and sometimes mythological, some of them like hearth are divine and other are mythological representations of quadrupeds or birds (Brunner, 1978, 11). However, each of which has a variety in form and details but it can be safely said that monograms are the most special type among them because it combines other symbols together (figure 1). Bullae in the archives of the National Museum are classified into human, plant, animal, astronomical and geometric types in a symbolic or natural framework. Meanwhile, their animal species is probably from the northern half of Iran in the 6th century AD. The purpose of this research is to deal with the symbolic and ritual concepts of the bullae of the National Museum and their use, classification and relative chronology of them. Their relative chronology is due to their similarity to the most well-known finds of this period, such as the documented flower seals of Takht Sulaiman and Abu Nasr Palace. The questions and assumptions of our research include What are the meanings of the Sasanian bullae symbols? What are the most repeated arrays in this collection and what are their similarities? What is the relationship between our research collection and other archaeological and documented findings? It is believed that the iconography on the seals, despite their mainly commercial or administrative use, shows the prominence of symbols and rituals in all aspects of Sasanian culture. Also, the iconography and inscriptions of some of the seals of the National Museum archive confirm their ownership to administrative and ritual positions. In this regard, we have a historical and analytical approach according to the documentation methods, typology and the review of archaeological reports.

Discussion and Analysis
Symbolism is an integral part of Iranian culture. Undoubtedly, since bullae were representative of the administrative and commercial system throughout the Sassanid Empire. the reflection of well-known and ancient symbols on bullae is also an effort to culturalization and reminding with them. According to the Authors, the common message of the symbols of each category clearly expresses systematic beliefs that are evident in all cultural and political aspects of this era. Just like the deification of all creations, which has been mentioned many times in Sasanian literature and art especially in the fourth century at the same time as Khosrow II Sassanid (Yarshater, 2016, 176-190). Iconography was of interest throughout this period and only the appearance and quantity of some of them, such as the animal examples of the time of Kartir and Bahram II or the symbols of the goddess Anahita during the time of Mobad-e-Mobadan Atorpat Mehraspandan (beginning of the 4th century AD) caused that some researchers consider them as new symbols. Sometimes iconography is a way to know the origin of bullae such as the arrays of camels and winged horses that are the symbol of the fire temple of Azargoshnasp that can show that part of this collection was made there or in the workshops of the northern half of Iran. In this regard the mineralogy of flower beads will also be our answer in belonging to the specific place of preparation of materials, the production and baking of flower beads. In addition, the names of Mad, Pars, Bishapur and Farah (Khora) of Ardashir (Firouzabad) are also mentioned on these seals. However, some names such as Azargashnesab were also used to name places and people (Yamauchi, 1993: 7-46). It is also possible that the flower seals and their iconography are more visible throughout this period, especially during political and social upheavals such as the period of Qabad I (488-496 AD) or Khosrow Anushirvan (531-579 AD).  In this regard, the archives of Takht Suleiman’s bullae and the reflection of the well-known early patterns of this period, such as the depiction of the king riding a horse on the bullae, clearly indicate their use and symbols for a long time, especially in the second half of this period.

Conclusion
The celestial and religious or scientific attitude to phenomena can be seen in Sassanid art and culture and before them in Iran. From a conceptual point of view, showing tangible species such as goats and rams, boars, etc. is also a good way to better believe the detailed definitions in a symbolic format. For example, in Iranian mythology, the gods had an iconic form of human, animal, etc., such as Anahita, the goddess of flowing waters, seal (Mitra) of the sun’s ray. All of them are represented in symbols, signs and inscriptions that are rooted in ancient beliefs.
The symbolism of bullae of the National Museum Archive helps us to understand ancient symbols and concepts such as animism and godliness and ideas mixed with the knowledge of the times. The role of symbols on the bullae for which administrative and commercial uses is presumed clearly indicates the value of product or message, the position of the seal holders and sometimes a sign of administrative and ritual base. Therefore, the symbol of the Sasanian seal and bullae, which was used as a medium to keep ancient ideas alive based on the materials and strategies of its time, can be a useful for the sociology of the Sasanian period. Seals and bullae have been most available to the elites in the judiciary, property, shrines, etc., and diverse human profile and different names on the archive of seals is a confirmation of this statement. Other points that can be seen from the symbolism of the bullae in addition to the recreation of symbols with concepts in the style of the millennia BC, the unreasonable interaction of cultures (symbols), especially based on the trade and shrewd attitude and policy of the Sassanid empire in coexistence with neighboring lands. Fleshy artistic style of arrays (especially human and animal species) is also a rare phenomenon in the history of Iranian art, although the geometric style of the Sassanid seals of Devin and Ajmiadzin of Armenia, or Qasrabun Nasr in the museum The New York Metropolitan, can be the result of the influence of individuals, the mass production of seals, the artistic style of seals and sometimes their inseparability from Parthian or pre-Party specimens.

Abstract
Iranian art has consistently been shaped by various external influences throughout its history. However, a crucial aspect of these influences is the enduring preservation of character and structure-specifically, the narrative pattern inherent in Iranian art. Historically, Iranian artists have assimilated structural, technical, thematic, and content-related experiences from other cultures while maintaining their unique Iranian identity. This research aims to conduct a comparative study of the narrative pattern, a concept derived from structuralist narratology, in two significant historical periods of Iranian visual art: the reign of Shah Abbas I in Isfahan and the subsequent Pahlavi era. The significance of this study stems from the fact that Iranian painting during these two periods experienced substantial influences from European art, which in turn impacted subsequent artistic movements. Thus, we seek to address the fundamental question: What changes and transformations occurred in the narrative pattern of the Isfahan school of painting compared to that of the second Pahlavi period? Preliminary observations suggest that the modernism evident in the Isfahan school shares greater affinities with the pictorial traditions of Iran’s past, whereas the painting of the second Pahlavi period is characterized by confusion and distress. Employing a descriptive-analytical methodology alongside a comparative approach, this research utilizes documentary and library sources to develop a narrative model for the periods in question. The findings indicate that the narrative pattern in the works of modernist painters from the Isfahan school, when compared to their counterparts in the second Pahlavi period, exhibits a novel style and structure that aligns more harmoniously with the continuity of Iran’s pictorial traditions. 
Keywords: Structuralism, Narrative Pattern, Narratology, Isfahan School, Second Pahlavi Period.

Introduction
When examining the identity of Iranian art, one encounters a cohesive whole, despite the numerous changes and developments it has undergone throughout history. The ability to preserve originality while embracing desired changes is a hallmark of the resilience of Iranian culture and art since ancient times. Notably, the tumultuous era of the Mongols paradoxically gave rise to one of the most illustrious periods in Iran’s cultural and artistic history, namely the Timurid and Safavid eras. The incorporation of Chinese and Byzantine painting traditions ultimately led Iranian painting to evolve with distinct coordinates that diverged from its sources in both structure and narrative pattern. During the Safavid period, particularly within the Isfahan school, and continuing into the second Pahlavi era, the influence of European art reached its zenith. This exchange facilitated the transmission of Western culture and customs to the East, resulting in both intentional and unintentional effects. It was within this context that Iranian painting experienced significant European influences (Pakbaz, 2007: 132).
In the early 1920s, a shift in Iran’s political landscape prompted corresponding changes in the cultural atmosphere. The translation and publication of works aimed at familiarizing the Iranian intellectual community with modern European literature and philosophy became a focal point in the search for new avenues of expression. In this regard, the “Art Academy of Fine Arts,” established based on the educational standards of Paris, was inaugurated in 1941.
Artworks can be interpreted through the lens of their source text (Europe) while remaining cognizant of their destination text (Iran). These developments have led, on one hand, to a rupture with traditional narrative patterns and, on the other, to the introduction of new narrative modalities in the history of contemporary Iranian painting. The objective of this research is to investigate the evolution of narrative patterns in the painting of these two pivotal periods. By examining these developments, we can identify the underlying reasons and factors that influenced the creation and transformation of artistic conditions. Drawing on practical analyses of complex situations that have occurred in other times, strategies and plans can be formulated. Historically, Iranian art has prided itself on the influence of foreign artistic traditions. Thus, we seek to address the question: What were the changes and transformations in the narrative pattern of the Isfahan school and the second Pahlavi period? Undoubtedly, these changes encompass both positive and negative aspects, and this research aims to provide a clear depiction of their nature. On one hand, these influences have propelled Iranian painting toward development and evolution; on the other, they have led to the rejection and dissolution of certain pictorial traditions from Iran’s past.

Materials and Methods
This research is descriptive and analytical, employing a comparative approach to address the research problem. Data and works have been qualitatively analyzed based on the narrative model in structuralist narratology, particularly drawing from the theories of Vladimir Propp, a pioneering theorist in this field. Propp’s approach seeks to identify common and recurring elements across different texts to uncover deep structures. Consequently, due to the intertextual borrowing in Iranian painting from literary texts, four common elements topic, theme, motif, and tone have been selected as criteria for analyzing changes. Following the collection of data from specialized books, articles, and electronic databases, the data has been sorted and analyzed until saturation was achieved. From each period, four works that align with the theoretical framework have been selected for analysis.

Discussion and Analysis 
The findings of this research can be articulated both generally and in detail. In the comparative study of the narrative patterns in the paintings of the Isfahan school and the second Pahlavi period, there are notable similarities in terms of modernity. In both periods, artists sought to achieve a new and distinct tone, creating works that diverged from past traditions. This aspect of modernism was significantly influenced by European painting traditions prevalent during these historical periods. Another point of similarity between the two eras is the support and promotion of modernism by both the government and patrons within the context of Iranian painting. Additionally, the human figure emerges as a common and recurring theme in both periods. To gain a clearer understanding of the changes and transformations in the narrative patterns during these two periods, we can elaborate on these changes as follows: From the perspective of subject matter, the narrative patterns in the Isfahan school (as seen in the works of Reza Abbasi, Moin, and Aliquli Jabbadar) and in the second Pahlavi period (represented by Ziapour, Javadipur, and Esfandiyari) are grounded in common local themes and realistic, documented human figures. The narrative patterns in the Isfahan school, particularly in the works of Mohammad Zaman (depictions from the Shahnameh and others), reflect a return to the literary and pictorial traditions of Iran’s past, as illustrated in the works of Hossein Kazemi (depicting minors of the Safavid period).
The themes employed in the narrative models of Isfahan school painters are diverse, encompassing various themes such as lyrical and poetic elements, documentary aspects, and a blend of Iranian and Western influences. In contrast, painters of the second Pahlavi period opted for a more uniform approach, drawing primarily from local and modern Iranian themes in their works. Regarding motifs, the works of Isfahan school painters predominantly utilize defined lines and a limited color palette. Conversely, the motifs in the works of second Pahlavi period painters often feature abstract forms and innovative techniques. In terms of narrative tone, the works of Isfahan school painters, particularly those of Reza Abbasi and Moin Moser, are characterized by a calm and distinctly Iranian structure and style. In contrast, the works of Mohammad Zaman and Aliquli Jabbadar tend toward European naturalism. During the second Pahlavi period, the narrative tone in the works of Ziapour, Javadipur, and Esfandiyari is heavily influenced by European painting styles, including Cubism and Expressionism.

Conclusion
In summary, the narrative pattern in the Isfahan school of painting, influenced by European artistic traditions, shows greater alignment with Iran’s past visual traditions. Conversely, the narrative pattern in the painting of the second Pahlavi period is associated with confusion and distress regarding Iranian structure and identity.

Abstract
Kamaliyeh Collection is one of the most significant remnants dating back to the first half of the 8th century AD in the city of Yazd. Despite its historical and archaeological importance, no studies have been conducted on this collection. Through systematic efforts carried out in the 1970s, 24 intact or broken tiles with luster patterns depicting plants, birds, and inscriptions in the form of star-shaped (kokabi) motifs were discovered. Since there have been no published studies or reports on these tiles, the present research aims to examine their visual, content, and probable origin characteristics based on historical and architectural evidence through a comparative analysis with existing samples. Therefore, the following research questions are addressed: 1. What information can be obtained from the patterns and inscriptions on luster tiles of Kamaliyeh School in Yazd? 2. Based on the visual features of the patterns, which centers of luster tile production do the identified tiles belong to? The current study employs a documentary and descriptive-historical approach, along with analytical and comparative methods, to logically address the research questions. The results indicate that the patterns on the tiles include floral designs (three pattern models with a lotus flower motif and Shah Abbasid buds around the center of the tile), birds (a flying eagle with spread wings among floral patterns), and inscriptions (Quranic verses with themes of victory, admonition, sustenance, and Persian literature derived from Ferdowsi’s Shahnameh and Shams Tabrizi). These designs on the tiles serve specific religious, belief, and burial functions within the collection. Moreover, considering the significant similarity in pattern models, designs, and inscriptions among the studied samples, it is likely that Kashan was the major center for tile production. This is plausible considering the strategic communication route from Rey to Kerman passing through Kashan to Yazd for the distribution of luster tiles.
Keywords: Kamaliyeh School, Yazd, luster tiles, floral patterns and inscriptions, Kashan.

Introduction
The Al-Muzaffar era is one of the significant historical periods in the city of Yazd, ruling over the southern and central regions of Iran in the 8th century AD. The flourishing construction and development in Yazd during this period were substantial enough to lead to the expansion of its citadel and wall in several stages, particularly the relocation of some city districts outside its fortifications (Kateb, 1966: 69).
Luster tiles were crucial architectural elements used in both religious and non-religious structures during this period, adorning interior or exterior facades and mihrabs. In the Ilkhanid era, some religious buildings in cities, including the mausoleums of Shiites, were adorned with luster artworks. It seems that Yazd was one such city, gaining increased significance during the Middle Islamic centuries with the rise of the Al-Muzaffar dynasty. The Al-Muzaffar rule in Yazd, due to their support for the arts and culture of the Yazdi people, contributed significantly to the prosperity and development of the city. This support was to such an extent that one of the shining cultural periods in Yazd’s history is attributed to the reign of the Al-Muzaffar dynasty (Kateb, 1966: 89).
One notable feature of this era was the establishment of numerous Dar al-’Ilms (houses of knowledge), with Yazd earning the title of Dar al-’Ilm. Various sciences were taught in schools, mosques, Dar al-Siyadehs, and Khanqahs (Mirhosseini, 1993: 58). Another characteristic of this period was the flourishing of Sufism and the creation of various khaneqahs in Yazd and its surrounding regions, including the Rastaq Khanqah (Ibid: 265). These institutions made utmost efforts to create robust architecture and embellish it with the finest elements. One of the historical buildings of great value, adorned with remarkable luster tiles, is the Kamaliyeh Collection or Shah Kamal in Yazd. This structure was constructed in the year 720 AH by Khwaja Kamal al-Din Abu al-Ma’ali.
In the early 1970s, during organizational efforts, a number of luster tiles were discovered installed above a wall and are currently preserved in the secure storage of the Cultural Heritage, Handicrafts, and Tourism Organization of Yazd Province (Afshar, Vol. 2, 1996: 613). Although these objects have been organized and cataloged in recent years, a comprehensive scientific study on these tiles and their origin has not been conducted so far. Therefore, the present research aims to provide logical answers to existing ambiguities regarding the origin and nature of these tiles by studying their patterns and inscriptions and comparing them with contemporary and similar samples.

Discussion and Analysis
Tile Shape: The identified luster tiles in this structure are octagonal, a model commonly used in combination with cross-shaped (Chelipa) tiles with turquoise single-glaze enamel in the decoration of religious Shia buildings, such as the shrines of Imam Reza (AS) and Hazrat Masoumeh (SA) or Takht-e-Soleiman, dating back to the 7th century AD. In their decoration, plant, animal, and inscription motifs have been employed.
Patterns: The bird pattern of a flying eagle is one of the common motifs in the decoration of these tiles, appearing in the midst of floral patterns with outspread wings. Comparable examples can be identified among luster vessels produced in the city of Kashan. Among the comparable examples, luster star-shaped tiles in the Museum of Islamic Art in Istanbul, a sample from Takht-e-Soleiman in the British Museum, samples from the Sackler collection, the Victoria and Albert Museum, and the Freer Gallery of Art, all date back to the Ilkhanid period and were produced in the city of Kashan.

Floral Patterns
Most of the studied tiles depict a blue lotus flower with dense branches and leaves covering the entire central area of the tile. The spaces between the branches and leaves are filled with small circular motifs arranged in a band. While the floral patterns show overall similarity, careful examination reveals at least three design patterns among them: 1) a floral design with a Shah Abbasid flower at the top with branches and leaves on both sides (examples 16-1), 2) a Shah Abbasid flower in the center with dense branches and leaves around it (example 17), and 3) a small hexagonal flower at the top with two Shah Abbasid flowers on either side (example 20). Among these three patterns, the similarities between patterns 1 and 2 with samples from the Cambi Auction House in Genoa, Italy, a specimen from Sultanabad, and a sample preserved in the Victoria and Albert Museum are noteworthy.

Inscriptions
All the studied tiles include outer margins adorned with inscriptions. Among the 24 studied tiles, 18 are adorned with Quranic verses, 6 with Persian verses, 5 with verses from the Shahnameh, and one of the samples features verses from Shams Tabrizi.
The detailed analysis of the identified luster tiles in the Kamaliyeh Collection provides valuable insights into the patterns, shapes, and inscriptions used during the Al-Muzaffar era in Yazd. Comparisons with contemporary examples from Kashan and other regions contribute to a better understanding of the cultural and artistic context of this historical period.

Conclusion
The Kamaliyeh School is one of the significant educational institutions of the Ilkhanid period in the city of Yazd, expanding its influence in subsequent eras. It appears that luster tiles were utilized in adorning certain sections of the building, though the exact purpose of their use remains unclear. In the explorations conducted in Yazd, few traces of luster tiles have been discovered, and the collected samples from the Kamaliyeh School are the most important luster artifacts found to date. A crucial point is the function of these tiles, as research suggests that they are generally associated with religious beliefs or identity burial practices and have been predominantly used in shrines or burial sites. In the Kamaliyeh Collection, it is probable that they were used in the burial chamber, similar to examples found in the Seyyed Shams al-Din and Seyyed Rokn al-Din shrines in Yazd. While the samples from Takht-e-Soleiman primarily depict a royal structure (palace), the presence of religious color throughout the entire collection justifies the usage of such ceramics. Moreover, considering the Kamaliyeh Collection’s diverse functions, including a khanqah, school, and dome, and its educational-religious approach, the use of these types of tiles was likely a common practice during its time. The results also indicate the use of three categories of patterns: floral, animal, and inscription motifs. The floral patterns mostly depict a blue lotus flower, which has a long history in Iranian culture and has been used in various arts, including carpet weaving, under different names like “Shah-Abbasi flower.” With regards to the better-preserved examples, at least three design patterns emphasizing the Shah Abbasid flower are conceivable. The bird pattern of a flying eagle, present in the midst of floral patterns and on the central area of octagonal tiles, is surrounded by inscriptions in though script on the outer margin. The inscriptions draw inspiration from two different sources, the Holy Quran and Persian literature. Quranic inscriptions are categorized into several groups based on content, and the presented concepts can be considered relevant to the building’s function. Persian verses are mostly related to the Shahnameh, with only one case influenced by the poetry of Shams Tabrizi. Through a comparison of form, design patterns of motifs and inscriptions, and even the colors used, with examples preserved in museums such as the British Museum, the Museum of Islamic Art in Istanbul, the Sackler Collection, the Victoria and Albert Museum, and the Cambi Auction House in Genoa, it can be asserted that the probable place of production for the luster tiles of the Kamaliyeh School was the city of Kashan.

The vast territorial expanse and unique geographical position of Sasanian Iran necessitated that major inter-civilizational trade and communication routes between East and West either traverse the Sasanian heartland or skirt its peripheries. This strategic geography played a pivotal role in advancing the Sasanian policy of expansionism and economic monopolization, as well as in facilitating commercial, cultural, and political interactions with regional and trans-regional polities. Within this context, examining the political-cultural relations between the Sasanians and ancient Yemen is of particular significance, given both territories’ possession of maritime fronts and their associated trade networks. Consequently, this research aims to investigate the nature and depth of the political and cultural relations between the Sasanians and Yemen, to identify the factors influencing the formation and evolution of these relations, and to assess the reciprocal impact of these relations on the historical developments of both lands. Furthermore, the role of archaeology in elucidating various dimensions of these relations will be considered. Through an analysis of historical and archaeological evidence, this study seeks to answer the following question: What factors led to the formation and perpetuation of political and cultural relations between the Sasanians and Yemen from the 4th to the 7th centuries CE? The findings indicate that hegemony over maritime trade routes played a central role in the interactions between Iran and Yemen during the Sasanian period. Moreover, the results of an examination of the artistic characteristics of specific archaeological finds from Yemen—namely, the Knight relief (from Dhofar), a female figure relief (from Dhofar), a fragment of a decorated textile depicting a Sasanian battle scene with Ethiopians (from Antinoë), and a carved four-faced capital (from the Qalʿa of Ḥasan al-ʿUr in Yemen)—reveal shared features with Sasanian art and corroborate the cultural-artistic influence of the Sasanians in the land of Yemen.