Abstract
With the arrival of Islam in Iran, art came into the service of Islam and an interaction between Iranian art and Islamic thought was formed, which can be observed in the art of Islamic architecture in Iran. One of the most obvious types of cultural and religious architecture of the past, which has played an essential role in Islamic architecture from various historical, artistic, religious and social aspects, is tower-shaped tombs. These buildings have a long history in the context of Iranian culture and society, and for this reason, they have a relatively high diversity. The tombs and the blessed shrines after the mosques are the most important elements of religious architecture, in which you can see the beauty, elegance, technique and creativeness of architecture. In this research, it is tried to deal with Iranian art and Shia ideas in the architecture of religious-monumental buildings, as well as the connection between politics and religion in terms of architecture and aesthetics. The ancient region of Kojur (Old Royan) contains a considerable number of Islamic era tomb buildings that, in addition to having the general principles of Islamic architecture, also have special regional characteristics which can contribute to better understanding the native architecture and its function; furthermore, the religious and political link demonstrated in the architectural art of this region. The question raised in this research is, what was the function of the religious buildings of the tower-shaped tombs in the Islamic era? And in response, it can be said that, in addition to the funerary function, these religious elements can also have a religious-political function. The research method of this article in the context of studies was based on the purpose of the fundamental research type and based on the nature and method of the descriptive-historical research style. The way to collect information in this research is through documentary (library) method. The results of this research in the analysis and investigation of the architectural developments of the tower-shaped tombs in the Kojur region have shown the combination of Iranian, Islamic art and native architecture.
Keywords: Iranian Art, Shia Ideas, Tower Tombs, Kojur.

Introduction
The Muslim artist, realizing this meaning and value, designs the face and creates his artwork according to the aspects of Islamic (Shia) thought and wisdom. Religious architecture has also indicated and emerged meanings with the same foundations and concepts. Now considering that the greatness and sanctity of the personality of the prophet of Islam together with the orders given in the Quran and Hadith about his “relatives” and “Ahl al-Bayt” (siblings) caused Muslims to value and respect him from the very beginning and give a special place to their associates. This group, which was initially called by names such as “Al”, “Ahl”, “Zariyah”, “Atrat” and “Aqraba”, was later called “Sadat”, which at the same time they were called because of their sovereignty and glory in the sight of Muslims. Iranians, after converting to Islam, paid special attention to the children and grandchildren of the prophet. Signs of this attention can be observed in the presence of a significant number of memorial and burial monuments (tower-shaped tombs and blessed tombs) of the children and grandchildren of Shia imams in Iran, especially in Mazandaran, decorated with Iranian art and Shia thought.
In Iran during the Islamic era, tomb buildings are among the most numerous architectural works after mosques. The construction of these buildings with different names such as “dome”, “Madfan” (burial place) , “tomb”, “Rouzah”, “Meshhad” (place of becoming martyr), “Maqam” (position), “mausoleum”, “Beqaa”, “Astane”, “dome” , also called “Qasr” (palace) and “Imamzadeh” (son of Imam), became popular from the 4th century AH (Hejri Ghamari) and with the emergence of different local dynasties in the east and north of Iran, which coincided with the weakening of the Abbasid caliphate (Grabar, 1375: 16). 
The local rulers in the Mazandaran region, who had Shia and Alavi tendencies since the second century of Hejri, supported Shia ideas and beliefs in the following centuries. This protection in architecture was more visible in the form of tower tombs on the graves of Shia Imams.

Identified Traces 
The background of tower-shaped tombs: A tower is historically referred to as a tall and circular or polygonal building or “A tall and strong building next to a rampart with a castle or between a road for observation and guarding” (Seyd Sadr, 2001: 90). Sometimes the towers are built as a sign on the graves of the prominent and great figures which are actually considered a kind of tomb. In fact, here, in addition to the function of observation, the function of being seen by the tower itself is mentioned; tomb towers with different forms and shapes were able to demonstrate the effects of different goals and functions in their usages (Pirnia, 1383: 170).
Mausoleums (Shrines) in Kojur: Tomb buildings (shrines) in Kojur and their investigation can clarify many cases and answer most of the surrounding questions. The appearance, structure, materials used, the spaces employed, the dome and the inscriptions of the building represent the existence of a close historical-cultural relationship between the people of the region and their contemporary conditions. Tombs such as the tomb of Seyyed Mohammad Kia Sultan (Imamzadeh Debir Salehani), the tomb of two Imamzadeh Tahir and Motahar (Malek Kiyomarth bin Bistun), which are mentioned in detail as an example.
Tahir and Motahar tomb tower (King Kiyomarth bin Bistun): This building is located in the southwest of Hazar Khal village, near the Kojur-Salehan asphalt road. The cemetery of the people of Khachak and Hazar Khal villages surrounds the building due to the sanctity and respect they have for it, and some of the gravestones in the mentioned cemetery are dated between 1290-1309 AH (Hejri Ghamari).
Mausoleum of Seyyed Mohammad Kia Sultan: Geographical location of Seyed Mohammad Kia Sultan (Imamzadeh Debir Salehani) tomb (registration number 3659). The mausoleum of Seyed Mohammad Kia Sultan, known as Imamzadeh Debir Salehani, is located on the east side of Kojur district and Salehan village.

Conclusion 
Regarding the interaction of Iranian art and Shia ideas in Islamic architecture (in general) and religious monuments (tower-shaped tombs) of Islamic mysticism and Sufism, various opinions have been expressed so far and each of which represents a corner of the mellifluous works of Iranian architects; that the speakers of these ideas have accompanied with it from their perspective. Since artistic understanding, like mystical perception, has a taste and personal aspect, according to the author of these lines, it can be concluded that this collection as an architectural work in its form, space and function has characteristics derived from the fundamentals of Islamic mysticism and wisdom. These characteristics and features have been influential both in the formation of the buildings’ figure and decorations and in the formation of internal and external spaces.
Considering the function, it can be said that this collection, which is basically designed for a religious-mystical function, in addition to providing this function considerably has a mystical function and the forms, spaces and architectural decorations in this collection are a kind of reflection of the mystical meanings and they are specific to Shia mysticism; such as asceticism, love, unity and guardianship.  The demonstration of these concepts can be seen most of all in the decorations and the way of spatial communication of this collection.
Taking a look at the decorations used in these monuments indicates the Shia thinking of the Muslim artist in the form of motifs, decorations and inscriptions. Along with the verses and hadiths that reflect the Shia vision. Patterns of trees, birds, and so on are also a reflection of Shia thought and mind. Among the most important manifestations of this, the following can be listed: the use of geometric, plant and animal motifs with mystical symbolic concepts; in the decorations, the use of mystical symbolic colors, respecting the hierarchy of entry into the tomb of this collection in addition to showing the art and mysticism of architects and masters, it also represents the political, social and artistic beliefs of the society. These buildings as a whole, in all their components have symbols indicating the influence of mysticism, especially Shia mysticism.

Abstract
Residential architecture as a living space for family members has been influenced by climatic and geographical conditions. Accordingly, some methods for designing climate-responsive architecture can be seen in historic houses of Iran, such as Ashtian. Therefore, this research aims to identify the influence of climate and geography on Qajarid residential architecture in Ashtian and to elucidate the strategies and measures employed by architects to mitigate negative effects and increase beneficial climatic and geographical influences. Questions are: What is the effect of climate and geographical features on the location and spatial distribution of Qajarid houses in the Ashtian? How did climatic and geographical factors affect the plan, form, and architectural features of Qajarid houses in Ashtian? Two hypotheses are: the topography of Ashtian, watercourses, and soil type have played a role in locating houses. Furthermore, the plan, form, and architectural features of the houses were influenced by climatic factors such as wind, angle and amount of sunlight, and temperature. ArcGIS, Google Earth, WRPLOT design software, AutoCAD, and SPSS software were used for data analysis. Based on the results, the architects were started the construction of the building by considering climatic factors such as sunlight angle, prevailing wind, temperature, and humidity. They have paid attention to the type and color of materials, size of windows and doors and courtyards, and size and location of rooms. Also, based on the models obtained from WRPLOT software, the dominant wind of the region in two directions east-west and west-east was identified and its effect on architecture was explained. The results of the analysis in SPSS also show the correlation between “type of land and social class of people”, “type of land and soil with reservoirs”, and “maximum wind speed and the number of floors”.
Keywords: Qajar Monuments, Climate-Responsive Architecture, Residential Architecture, Ashtian.

Introduction
Considering the geographical divisions of Iran, different architectural features have been formed in each geographical region (Memarian, 2012: 5). Although Qajarid architecture was influenced by modernism and non-Iranian patterns, climatic and environmental features have been among the most influential factors in Iranian architecture. It seems that architecture in Ashtian also has such characteristics. The development of the city of Ashtian during the Islamic era was due to its location in Iraq-e Ajam and the route of the pilgrimage to holy shrines of Iraq (Omidbeyki, 2015: 1). In the Qajar period, Ashtian was a place of residence for virtuous and pious people, writers, scholars, and politicians (Shirvani, 1897: 42), and various types of urban and suburban residential structures were built. 
This research aims to identify the influence of climate and geography on Qajarid residential architecture in Ashtian and to elucidate the strategies and measures employed by architects to mitigate undesirable effects and increase beneficial climatic and geographical influences. The study of these residential structures, with a focus on analyzing the role of geographical factors, provides insights into the interaction between the Qajar society and the specific climatic and environmental conditions of the region.
There are two main questions in this research: What is the effect of climate and geographical features on the location and spatial distribution of Qajarid houses in the Ashtian? How did climatic and geographical factors affect the plan, body, and architectural features of Qajarid houses in Ashtian? Based on these questions, the following hypotheses have been proposed: the topography of Ashtian, watercourses, and soil type have played a role in locating houses. Furthermore, the plan, form, and architectural features of the houses were influenced by climatic factors such as wind, angle and amount of sunlight, and temperature.

Discussion
In this study, eight Qajarid residential buildings in Ashtian County – as a cold and dry region in the Markazi Province - were studied, which are: the houses of Mirza Hedayatullah, Mirza Hasan, Nuraee and Mo’tamed al-Ayalah, as well as Mustofi Al-Mamalek (Agha) castle in Ashtian city, Abdulazim Gharib house in Garekan village and two feudal castles in Ja’farabad village (Figs 2-9). 
Based on the Google Earth photos, the Qajarid houses in Ashtian have been located in the middle of the southern slope of the mountain. Because the northern slopes of the mountains are in shadow and colder (Ghobadian, 2018, 101-102), While the southern slope is sunny and has better conditions for residence and other activities. Watercourses are usually threatened during floods and pose a threat to settlements (Negarsh, 2003: 137). The topographic analysis of the watercourses and hazardous slopes around the studied buildings indicates that less attention has been paid to the issue of watercourses in Ja’farabad, Garekan, and Ashtian. Furthermore, the city of Ashtian is located on QT2 soils, Ja’farabad on QT1 soils, and Garekan on MS and MQ soils (Figure 10). Based on this, the lands of Ashtian and Ja’farabad are relatively homogeneous in terms of resistance and provide relatively favorable conditions for construction. However, Garekan lands are weaker for building construction. In Addition, a very strong fault called “Talkhab” extends northwest to southeast, passes 12 kilometers southwest of Ashtian and 4 kilometers northeast of Ja’farabad (Fig 11). Historical reports also indicate destructive earthquakes in the years 855 AD, 958 AD, 1177 AD, 1316 AD, 1495 AD, and 1962 AD in this area (Ghodrati et al., 2010: 184). Therefore, the location selection of houses in the cities of Ashtian, Ja’farabad, and Garekan has been carried out without considering the earthquake hazard. 
The most prominent architectural features of cold and mountainous regions include small and confined urban and rural spaces, compact structures with interconnected buildings, narrow streets with limited width. Furthermore, Attention is given to solar orientation (Ghobadian, 2018: 99). The urban spaces in Ashtian are also small and confined, with a compact urban fabric (Figure 12), as well as Garekan and Ja’farabad. The main streets and thoroughfares are also narrow and have limited width. 
The study of the influence of the angle of solar radiation on the monuments of Ashtian for 11 AM at the beginning of each season showed that the difference in the angle of solar radiation between summer and winter in these regions is more than 35 degrees (Table 1). For this reason, a porch has been built in the north face of some houses, including Mo’tamed al-Ayalah, Nuraee, and Ja’farabad castles. The roof of these porches was like a canopy, and it protected the openings from the hot summer sun. But in winter, the slanting sunlight penetrated the into the interior spaces. Also, the orientation of the axis of the house plans in the east-west axis made the sunlight to be received more in the cold winter mornings in the southern facades.
In these buildings, the percentage of open space or courtyard area compared to the total building area is less than 35 percent. This is because in areas where the temperature is cold or very cold for most days of the year, most daily activities take place indoors. In the buildings of Ashtian, small openings were used to prevent heat exchange between the interior and exterior of the building. In the design of these openings, in addition to light, ventilation and the utilization of pleasant winds or prevention of unpleasant winds have also been taken into consideration. The output of modeling in WRPLOT software indicated that the prevailing wind in this city is predominantly east-west and west-east (Figure 13).

The outputs of the SPSS also showed the following
- A relationship between the type of land and the social class of the people living in the house: political people and officials have chosen areas with more suitable soil.
- A relationship between the type of land and soil with the presence of a water reservoir in the building: all Qajarid buildings in Ashtian city had water reservoirs. However the residents of Ja’farabad did not need a water reservoir. Because the underground water and the aqueducts were rich.

Conclusion
The study of Qajarid houses in the city of Ashtian has shown that some geographical and climatic factors have influenced the location, plan, structure, and architectural elements of these houses. However, architects have also overlooked some climatic and geographical variables in the location, design, and construction of these houses. In response to the first question, it should be noted that although these houses have been strategically and intelligently located in the southern foothills to easily capture sunlight and solar energy, they are all exposed to the risk of floods from the north and northeast along the watercourse. Nevertheless, the principles of urban space design and construction in mountainous and cold regions have been maximally observed in the city of Ashtian, and the analysis of the urban fabric and space in Ashtian indicates narrow streets and the integration of architectural units for better adaptation to the climate. Regarding the second question, this study has shown that the principles of design and construction of residential spaces, including plan, structure, architectural elements, and materials, have largely obeyed climatic and geographical factors such as the direction and intensity of sunlight, the prevailing wind direction, and the temperature in summer and winter. For example, the roofs of the buildings are flat, and the windows are small and proportionate to the direction of the sun and the prevailing winds of the region. The positioning of the windows facilitated the absorption of solar heat in winter and ventilation in summer. Small central courtyards and open spaces have been built in accordance with the climate of Ashtian. The number of floors in these houses corresponds to the intensity and speed of the wind, and the presence of architectural spaces with specific functions, such as water reservoirs, depends on the type of soil and the geographical characteristics of the region.

Abstract
Relations between the two civilizations of Iran and India have been reciprocated since ancient times. The sharing and exchange of cultural traditions between Iran and India culminates in the Gorkani era. The main area of objectivity of cultures should be searched in art and literature. This research, while examining the illustrated version of HamzaNameh, whose stories are illustrated from Hamza’s various encounters with Anoushirvan and the Sassanid court, which is at war with Hamza, and Ardeshir Babakan, who is rushing to Hamza’s aid, deals with the cultural influences of Iran/India due to the arrival of Iranian artists in the Indian Gurgaon period and the influences of Safavid painting features on this version. The problem raised in this study is: How can we read the effect of Safavid painting on Hamza Nameh’s paintings in India with a Semiosphere approach? The aim of this study was to investigate the impact of Safavid painting on the confrontation with Indian Gorkani painting. The descriptive-analytical research method is based on Lutman’s semiotic approach and using intercultural contrast (Iran/India) has pointed out the characteristics of  Hamzanameh and Iran’s influence on Indian painting. And the effects of the features of Safavid painting and the personality of Iranian Hamzeh are present in the depiction of Hamzehnameh.
Keywords: Safavid painting, Hamzanameh, Indian Gorkani painting, Semiosphere.

Introduction
Cultural relations resulting from political relations between the two countries led to the formation of a new type of artistic approaches split from both cultures in the form of a valuable work entitled Hamza Letter. In this paper, in order to address the problem and the cultural relationship between Iran/India, an attempt is made to analyze some of the paintings of Hamza Nameh in Gorkani India, regarding the features they have in common with Iranian painting from an Semiosphere perspective. There have been many researches about the influence of Iranian painting on India, most of the researches have been done away from the approaches of art criticism in general. This doubles the study of the effects of Iranian painting on Indian painting based on a new research approach based on Sepehr. The necessity of the present research lies in the fact that previous researches have mostly dealt with the pictorial themes of Indian and Iranian painting with a descriptive view, and none of the previous researches have researched the illustration of Khamsa in India influenced by Iranian painting.
Question of the research: 1. What has been the impact of Iranian painting on Indian painting from the Semiosphere perspective? 2. What elements of Iranian painting have been effective in illustrating Hamzanameh in the Gurkan period of India? The hypothesis of the research is based on the principle that it is possible to analyze and read the illustrated Hamzanameh paintings in the Gorkani period with the Semiosphere approach based on the influences of Iranian painting on India.
Research method: The present research was written using the descriptive-analytical method and using the “ Semiosphere “ approach, which is a subset of the “cultural semiotics of the Tartu school “, based on the opinions of Yuri Lutman. First, the relationship between Safavid and Gurkanian art is studied. Then the paintings of Hamzanameh in the Gorkan period of India are examined. Therefore, in addition to the components of Hamzanameh paintings and their background factors, their themes are analyzed, and by considering them as a text, the ways of its influence and influence are investigated outside and inside two cultures. In the following, those images that have taken and absorbed components from foreign culture i.e. Safavid Iran as another will be introduced and specified. Also, the coexistence of the components of the culture within the text, namely the Gurkans of India, which is considered as the cultural self of the components outside the text, which is Safavid Iran, another culture, which ultimately leads to the emergence of a new and eclectic culture and text, is also explained.

Identified Traces 
After examining and analyzing the paintings of Hamzanameh based on the Semiosphere approach, it can be said that Iranian immigrant artists, in the host land, try to establish a meaningful connection between their two Semiosphere and the other. Sepehr is a sign of Gorkani, which causes artists to inevitably make changes in their artistic foundations; In the new land, while trying to communicate with the signs of the host sphere, they do not have the ability and the possibility to completely reject and accept any of the elements in the influx of symbolic elements. But in the end, they still maintain their belonging to the culture and identity elements of their sphere, which interact with the identity and value-creating elements of the host, and by acquiring and absorbing elements from the host culture, they achieve the balance of their identity-creating elements. As the identity aspects of immigrant artists’ culture fade and by combining elements borrowed from the host’s symbolic sphere, the life of their culture continues in a new form in the Gorkanian symbolic sphere. Based on this, the findings after drawing the boundaries of the symbolic space of the Safavids/Gurkans, as well as reading the paintings of Hamzanameh, are presented with the approach obtained in the form of analyzing the paintings and classifying them in the mechanism of attraction and rejection. So, the examination and analysis of the paintings, the symbolic elements governing them, which express the mechanism of attraction and rejection in the paintings of Gurkani school of India, can be explained in the table below.

Conclusion 
The relationship between the painting of the Indian or Indo-Iranian Mughal school, which was the same period as the Safavid rule, and is influenced by its art. The results of the study of political and cultural relationships between the Safavids and the Gurkans show the influence of the painting of the Safavid period on the formation of the Indo-Iranian Gurkan school of painting in India. But in the end, they maintain their belonging to the Iranian culture and the identity elements of their Sepehr, they interact with the symbolic and identity elements of the host, and by absorbing the symbolic elements of the host culture, they achieve the balance of their identity-making symbols. As the identity aspects of Iranian immigrant artists’ culture fade and by incorporating elements from the host’s symbolic sphere that they have borrowed, they continue the life of their culture in a new form in the symbolic sphere of the Gurkanians of India. According to these interpretations, the influence of Safavid painting can be clearly seen in Hamzanameh paintings. The reason for the introduction of Iranian cultural signs in the painting works, which were transferred to the Indian cultural and painting sphere through the migration of artists, and continue to display the identity and symbolic functions of their previous components. The results of this are that the absorption of elements and the translation of signs in most of the paintings of Hamzanameh are taken from the main character of the Iranian Hamzah story, which has caused the mechanism of Iranian culture through the story and its absorption by Iranian artists in the cultural sphere of India.

Abstract
In the study of slipware colorful pottery, it has always been the focus of various researchers due to its unique motifs.  During the past few decades, researchers have studied the patterns of the above pottery with different approaches. Despite the researches that have been carried out in the direction of rereading and interpreting the motifs, there are still ambiguities and challenges. One of the challenges in the interpretation of Polychrome decoration under transparent glaze pottery patterns is the illustrated illustration on a plate that is kept in the Nelson Atkins Museum of Art. In their research, according to historical texts, researchers have presented different opinions regarding the role of the above plate, and it is believed that their interpretations have fundamental problems. It seems that the study of historical texts alone is not a solution to the interpretation of the above illustration, and interdisciplinary science studies should be used to investigate the illustration of this container in a separate research using ethno-archaeological studies.  Study and review. In this research, the Authors are of the opinion that by following the archetypes in the geographical context of the production of Polychrome decoration under transparent glaze pottery, the study scope of which includes the Khorasan region; to study the illustration of the plate, in order to achieve this goal, the Authors have used ethnographic studies and historical documents to interpret it. The research method of the upcoming research is a library with a comparative historical-analytical approach. In line with the above goal, questions such as what is the concept of the illustration of the colorful goblet plate? It has been proposed to what extent ethno-archaeological studies can be applied in the interpretation of the illustrated illustration on this dish. The result of the comparative research of ethno-archaeological studies and historical documents is that the theme of the illustration engraved on the plate is the ritual ceremony of asking for rain and water from the goddess Anahita and Tishtar, which is held today in the Khorasan region with changes in the way the ceremony is performed. 
Keywords: Pottery, Neishabur, Polychrome Decoration Under Transparent Glaze, Ethnoarcheaology, Asking for Rain.

Introduction
Polychrome decoration under transparent glaze pottery was produced in the 3rd and 4th centuries AH and parallel to the Samanian rule in northeastern Iran, which are very prolific and diverse in terms of motifs. A samples of these pottery is kept in the Nelson Atkins Museum of Art. By analyzing historical texts, researchers have proposed interpretations for the illustration engraved on this plate. Despite the studies conducted with different approaches by different researchers, there are still uncertainties about the identity of human motifs. Therefore, it is necessary to investigate and analyze the identity of the human motifs depicted on the plate in a separate research using ethno-archaeological studies along with reviewing historical texts. Therefore, the aim of the Authors in this research is to study the illustration of plate by examining historical texts and archetypes in the geography of the production of Polychrome decoration under transparent glaze pottery, the scope of which includes the Khorasan region.
In the background of the plate, there are nested circles in black with oval motifs and blue-green with circular motifs. The central motifs are three human body performing a special ceremony. The two human body have two two-branched wings on their shoulders, which are hanging down, and according to the clothes they are wearing, their gender can be distinguished as male and female. On the left side of the central body, the role of a small human body with a strange face of incomplete creation is depicted. Between the central man and the body on the left, the motif of a bird with its head turned back and a multi- petaled flower, possibly a lotus, can be seen.

The Role of a High-Ranking Lady
One of the motifs of the plate shows the role of a high-ranking lady sitting on a chair. The high-ranking lady is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on her shoulders. It seems that the goddess with the rhyton in her hand is probably one of the gods associated with water.

A High-Ranking Man
The motif of a high-ranking man depicted on a Polychrome decoration under transparent glaze plate attributed to Neyshabur, like the motif of the goddess, is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on the shoulders. The male god is probably related to the water gods because he is next to the water goddess Anahita.

Plant Motifs
The lotus flower is called Abzad flower or the flower of life and creation in Farsi. Since this flower is related to water and in ancient traditions, the lotus flower was considered to be sacred and related to Anahita. Illustrated plant motifs on a Polychrome decoration under transparent glaze plate attributed to Nishapur, the plant pattern of the seat of the female deity, as well as the plant motifs around the body of the male deity and the ten-petaled flower between the male deity and a small human body by comparing the actual sample of the bud and the lotus flower and the obvious similarity with It is probably a symbol of the lotus flower.

Bird
On a Polychrome decoration under transparent glaze plate, the motif of a bird is drawn above the head of the male deity and the motif of a small human with his head turned back. The bird is probably a rooster symbol due to the abstract tail, several feathers on the body and also the crown on the head.

A Small Human Body
A small human body with a strange, imperfectly formed face, with eyes stretched vertically downwards, with open hands around him and a mouth on his cheek. to inspire a symbolic concept of him to the viewer. The small human role cannot be interpreted with the myth of Tishtar and Anahita; because there is no mention of its identity in opposition to the above gods in historical texts. Inevitably, in order to identify the identity of the small human role that can be referred to as the missing link and in the archetypes of the water myth, it was investigated in the geographical context of the production of Polychrome decoration under transparent glaze pottery attributed to Nishapur in the Khorasan region.

Conclusion
The result of the analyzes that were carried out in line with the proposed questions was that the scene of the celebration depicted on the plate was probably the narrator of the ritual ceremony related to water and rain among the people of the 3rd and 4th centuries in Nishapur. This result was obtained by identifying the patterns of the components of the plate with historical evidence and ethno-archaeological studies. Which could be identified with the identification of two human roles using historical texts with two wings and symbols such as lotus flower, rhyton, and cow horn hat. They were the gods Tishtar and Anahita. For the identification of the small human body with an ugly face, which gave the viewer a superhuman personality, the results of ethno-archaeological studies were also used by following its archetype in myths; Because she was assumed to be an ugly doll and also because she was placed next to the beautiful gods Anahita and Tishtar, she was matched with the ugly Qazak Chuli doll or the Opush demon in the Khorasan region with the ritual ceremony of asking for rain. The rooster is also depicted in opposition to the gods Anahita and Tishtar, and the doll symbolizing the demon Opush, a symbol of Sorush, which destroys the demonic forces of Opush. Therefore, according to the identification of motifs and their symbolic interpretation, the theme of the illustrated illustration on a Polychrome decoration under transparent glaze plate is related to the ritual ceremony of asking for rain in the 3rd and 4th centuries during a celebration that was accompanied by music and joy. The living manifestation of this archetype is the ritual ceremony of Choli Qazak among the people of Khorasan region in search of rain. The people of Khorasan in the seasons of drought and lack of rain make dolls that have been passed down from their fathers to them during ritual ceremonies with instruments and drums. And they ask for rain from the water gods with joy and enthusiasm.

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
Medicine is a science by which one can gain knowledge about the qualities of the human body. The exact equivalent of the word Medicine is physic, but in order to be understood at the global level, the equivalent of Medicine is used for it. Three groups of therapists are mentioned in the Avesta Zoroastrian Bible, surgeon, herbalist and psychotherapist. In the Avesta, θarita of the Sam family is the first physician, and Ahura Mazda gives him a jeweled knife to perform surgery. There is information about the medical condition during the Achaemenid and Parthian eras through the writings of Greeks historians, and these is good information left from Sassanid era medicine. In the research, an important part of contribution of ancient Iranians in the expansion and improvement of medical knowledge and treatment methods in ancient Iran is discussed. The questions of this essay are, where did the origin of medicine in Iran come from? Has medicine in ancient Iran been affected by religious teachings? And what was the relationship between culture and medicine in ancient Iran? The hypotheses of the article are as follows: medicine in ancient Iran was influenced by ancient civilizations such as Greece. Medicine in this period was influenced by Zoroastrian religion and in later periods by Islam. This research was done with descriptive and analytical method. Until the new discoveries of archaeologists in Mesopotamia and Nile and Indus valleys and the Iranian plateau, they were mostly of the opinion that scientific ideas originated from Greek scholars and philosophers, but historical evidence shows that with the emergence of Zoroaster, Iranians started a new era of scientific creativity and the most obvious sample of that is the establishment of the Hegmatane school or Ekbatan.
Keywords: Medicine, Ancient Iran, Treatment, Hygiene, Greece.

Introduction
The word “medicine “comes from Middle Persian. (Bizišk Nyberg, 1997), The assumed form of this word was in ancient Iran, which later became a physic. As for when Iranian medicine began, historians and orientalists believe that in ancient Iranian stories, the beginning and introduction of medicine was attributed to Jamshid, a mythical king, and He was the first person who taught people how to use medicine. Jamshid wanted to create a land for the people where no one would be hungry, thirsty, old or sick and to avoid death.  After the Aryan tribes entered the land of Iran, they inherited the advanced medicine of Egypt and Babylon, which had entered Iran through the Assyrians, and with this experience, they became the owners of a special school called “Moghan”.  In the Avesta, the Zoroastrian Bible, three types of doctors are recognized; the one who heals with a knife (surgeon), the other one who treats with healing herbs (the herbalist) and the third one who heals with the divine word (Mobad).  The most obvious aspect of the Avesta tradition in medicine is in the field of environmental health and disease prevention.  Most of these customs and teachings included the principles that are the basis of today’s disinfection and prevention methods.  Body, clothes, house and environment, water, wind, fire and soil and what is available to should be away from any pollution.

Iranian medicine in different historical periods
The medical history of Iran is limited to three periods due to the lack of written sources.
- The first period: from the Avesta and pre-Avesta era to the golden age of the Medes and Achaemenids and until the rise of the Sassanids.  Unfortunately, apart from short references in the Avesta and its continuation in some Pahlavi books and limited references in Greek sources, there are no other references from this long period; The most important scientific events of this era are the establishment of universities during the Median and Achaemenid kingdoms, which unfortunately, apart from scattered writings, there is no documented scientific evidence of scientific specializations and how to teach in these universities.
 The second period: It is the Sassanid era, fortunately, the works left from this period are not complete, but they sufficiently represent the medical knowledge of Iranians.  The establishment of Jundishapur Hospital is one of the important events in the medical history of Iran, and especially the “Anoushirvan” period, which historian’s call this period “Scientific and Literary Revolution of Ancient Iran”, many authors and researchers have praised in their books show the genius of Iranians in this period.
Jundishapur played an important role in the history of Iranian medicine; It is said that the initial establishment of this city dates back to the time before the arrival of the Aryans and was later rebuilt by Shapur.  His primary goal of this renovation was to create a place to settle Roman and Greek captives and use their expertise. 
The third period: It is the Islamic period when many scientists emerged from Iran, and without a doubt, the Iran of the Islamic period cannot be compared to any other period.  In this period, with the disappearance of class differences and the possibility of education for different strata of society, as well as the developments that appeared in calligraphy, Iranians surpassed the whole world in various scientific fields.  During this period, great Iranian scientists such as Ibn Sina and Razi created a great revolution in medical knowledge with their genius, which has aroused the wonder and admiration of the world to this day, and the human society has been influenced and borrowed from Iranian knowledge.

Hegmatane Medical School / Ekbatan
The first cultural institution that was established in the Mede era in the Hegmetane throne was Maghan Madhe Seminary, or as it is called today, the Iranian Academy of Sciences in ancient times. It was one of the great Maghans of ancient Iran in the Mede era, “Sina” was one of the most prominent Zoroasters.  ;  ``Sina’’, the son of Ahom Setut, came from Khwarazm or Sogd along with a number of Zoroastrian converts in the direction of Hegmatana in the early 6th century BC during the time of Ho and Kashtra to spread the religion to the kings of the Medes.  Sinai is considered one of the ancient Iranian spiritual magnates and the head of Iran’s medical lineage. The Greek school of Hippocratic medicine has greatly benefited from the Sinai School of medicine in Iran.  The members of Hamadan Sinai Academy were hundreds of Sinai graduates who were always engaged in studying and researching there.  The Greeks called it the school of the Ekbatan century.  “Plutarch mentioned Akbatan as the spiritual center of ancient Iran and the residence of Mughan.  He entered the school and personally observed It has been said that fields such as wisdom, astronomy, medicine and geography were taught there.

Conclusion
Until the dark curtains of ancient history were removed and the new discoveries of archaeologists in the ancient Mesopotamian plain, the Nile-Sand valleys and the Iranian plateau, most of them believed that scientific ideas originated from Greek sages and philosophers.  Historical evidence shows that with the emergence of Zoroaster, Iranians displayed a new round of their scientific creativity, and in this regard, the most specific example is the establishment of the Hegmatane school or Akbatan; The university that housed a collection of scientists of that time is called Hegmatan, which means the center of scientists, and there was an association with the membership of 100 scientists.  The indisputable value of a university with that size at the end of the 8th century BC is a clear sign of scientific progress and the influence of Iranians on the knowledge of mankind. In the Avesta, as the root of all diseases is from the devil, Ahura Mazda is introduced as a god who is the source of all It is knowledge and it transmits its knowledge to the faithful and chosen people with grace. There is no doubt that the prophets played an essential role in the development of human societies with their divine knowledge.  Medical knowledge is one of the characteristics of most prophets, Zoroaster is also one of these prophets.  Zoroastrian teachings, unlike the ancient religions that consider the heart as the organ of thinking, recognizes the mind as the organ of thinking, the poems of the Gathas above all reveal the wisdom of Zoroaster in guiding the society to knowledge and truth and achieving spiritual perfection in the Gathas to acquire knowledge.  And knowledge and its dissemination are emphasized and in general, man is called to rationalism.
The above material shows that the ancient Iranians were the source and origin of the greatest service to human sciences and knowledge with their belief in human ethics and virtues and with good thinking, uprightness of speech and uprightness of action.  Although the occurrence of wars and the invasion of foreign nations to this land, including the extinction of the Achaemenid dynasty by Alexander the Great and then the Seleucid dynasty by the Greeks in Iran, destroyed the cultural prosperity of Iran compared to the past era, and educational places were destroyed and books and scientific documents were destroyed.  It was lost and destroyed and created many shortcomings, but in the end it has not been able to prevent the message of genius and knowledge of ancient Iranians from reaching the future generations.  Also, the inseparable connection between medicine and religious teachings during the Sassanid era caused the commitment of doctors of that period to ethics and spirituality, and made them a worthy model for other sections of the society, as the religion of men.  The progress of Sasanian medical science was such that patients from other nations were brought to Sasanian medical centers and were treated; so the hypothesis of the relationship between religion and medicine in ancient Iran is confirmed.

Abstract
Lut desert is located in southeastern Iran. The area, despite having many historical monuments, including numerous castles, has not received enough attention from architectural historians. This study aims to clarify the architectural features and the purpose for the multiplicity of these fortresses in this region, it has been tried to study and investigate them with descriptive, analytical, and logical cognitive methods. The research was carried out by library and field studies of 140 castles, as case studies, in the region. The study’s results show that the climate and security factors are the main reasons for erecting the castles. Abundant water and location on the trade routes made the region rich, and on the other hand, point water sources and their limitations caused dispersion and distance between the structures and increased insecurity. According to historical sources, desert outlaws have also had a large presence in the region.  Besides, the techniques to deal with violent sandstorms had caused them to build cities and villages in the middle of high barriers, or to build a castle inside or around it for use in times of need, which caused the number of castles in the investigated area. This has also caused the majority of castles in the region to have residential functions and be built inside or around cities and villages, and other functions and establishments are less frequent. The architecture of the castles and defense fortifications of the region also follows the common architecture of the central plateau castles, excluding incomparable cases. So, most of the castles follow the square and rectangular geometry, and in some cases, the irregular, trapezoidal, and parallelogram geometry is derived from the climatic and contextual conditions. The materials used were canvas and due to the ease of construction, speed of mass production, lower cost and camouflage, mud and mud brick in plain fortresses, and stone in mountain ones. Most of the towers are built in the corners and the middle of the sides with observational, defensive, and structural functions, and in some cases, towers are seen in the middle of the castle with only observational functions. The fortresses’ defense structure mainly is based on the barrier and tower, and as the wealth and population of residential castles increased, more defense boundaries were added.
Keywords: Fortress, Defensive Fortifications, Lot Desert, Kerman.

Introduction
Castles were military or civilian fortifications that were built using natural geographical features to maintain security (Sultani Mohammadi and Bulouri Bunab, 2015: 75). There are many variations in their use and they have a form of residence and social structure, different from the structure of the village and city (Parsi, 1383: 136; Nurbakhsh, 1366: 147).
In Iran, the formation of enclosed group buildings with various methods has a history of three thousand years (Kleiss, 1383: 160). The early forts in Iran can be seen as a relic of the agricultural civilization, when humans started to settle down and needed to maintain their security (Kiani, 1374: 78). In the past, next to many settlements and cities of Iran, there were one or more fortresses, which became people’s shelters during unrest and insecurity (Pirnia and Me‘marian, 2007: 82). Their functions were different, and the smallest of them was a military base or post, and the largest of them were guarded shelters for caravans and military and defensive forts (Siro, 1357: 54). Also, some of them were the central core of the ancient cities of Iran, and the main life of the people was often formed inside the fortresses and old forts (Zarei and Heydari Baba Kamal, 2016: 202). Some scholars believe that castles were built first and then towns were formed around them (Zuka, 1374; Na‘imi, 1389). These defense structures were usually built by the governments to protect the strategic and border cities against the enemy’s invasion and the encroachments of nomadic desert rovers (Wiley, 2016: 26).
Owing to political, economic, and geographical requirements, in both pre-Islamic and Islamic eras, numerous fortresses, and defensive buildings were built. The southern and western edge of the Lut desert in Kerman province is one of them, due to its special geographical location, has many historical castles that have not been studied and investigated in detail, and the studies conducted are limited to archaeological investigations and identifications and monographs. It is related to buildings. This area consists of important cities such as Ravar, Shahdad, Bam, Fahraj, Regan and Narmashir. Each of these cities had political, social and economic prestige at some point in history from the third and fourth millennium BC to the middle Islamic centuries (Qazvini, 1373: 243; Muqadsi, 1361: 680 and 684; Istakhari, 1373: 246; Yaqut, 1383: 269 and 296; Zarei and Heydari Kamal, 1393: 196, Hakimi, 1385: 28; Hakeimi, 1351: 78; Kabuli, 1369: 213). Considering the importance of this type of building in understanding the historical architecture of Iran, as well as the process of their destruction due to natural and human erosion, it is necessary to examine them with a closer look and in more detail. The upcoming research has investigated the castles of this area with such an approach and tried to answer two main questions: 1- What are the architectural characteristics of the fortress in the geographical area of the southern and western border of the Lut desert? 2- What is the main reason for the appearance, formation, and number of fortresses in this region?

Discussion
The structure used in the barrier of all the load-bearing wall castles and the materials used in the fence of all the plain castles the mud and mud brick and mountain areas, stone and baked brick are used for strengthening the base of the barriers. Stone has been the main material in the few mountain castles in the region. Although various decorations are used in the castles, due to functional reasons, they are seen in a limited number.
In terms of shape, the majority of castles in the region are square and rectangular, that is, the dominant form of such buildings in the central plateau of Iran. However, there are several castles with special trapezoidal, parallelogram, and irregular geometries, which were built in this way due to the specific topography of the environment and climatic conditions, such as facing sandstorms.
The dominant form of the towers is also cylindrical. In some cases, rectangular cube forms and square bases have been used, all of which have led to more structural resistance of the towers. The semi-cylindrical form has also led to the optimal use of space. Only one case of a triangular tower foundation has been seen in the castles, which is considered an exception. In terms of the location of the towers, the majority are placed in the corners and middle of the sides, which is by the usual architecture of castles. However, the construction of towers in the middle of the castle is surprising in many cases.
The defense structure of the castles of the region is based on two types, fenced and unfenced. Most of them consist of walls and towers, and several fences and ditches have been added. In some cases, the position of the bed in the mountain castles has been used and, on some sides, the fence has been removed. Most of the castles are located inside or outside of villages and cities for security and climatic reasons. The forts on the road and near the rivers were also built for security reasons.
To determine the exact function of fortresses is unclear, however, based on the previous data, the purpose can be recognized to some extent. Therefore, the castles that were built at the critical points between the road and the water divide had military use in strategic locations. The fortresses that were built in the center and around the villages were the lords’ fortifications that had either a residential position or an economic function. In the case of expansion and adding spaces such as the guard’s room, posts, and spaces similar to the military function, they become residential and if they are located in a prosperous city and court spaces are located inside them, they have a ruler’s seat. Fortresses that are located next to villages and cities have a shelter function.  

Conclusion 
the research studied the architectural features of the fortifications and defensive structures of the western and southern border of the Lut desert from 5 aspects: construction method, defensive structure, form, location, and function. The results of this study show that the fence structure of all the castles under investigation of the load-bearing wall is mainly made of mud and mud bricks, and in some cases, stone and brick have been used in combination with them for more strength. The richness of mud and mud bricks, cheapness and lower construction expenses, riches of mass production, faster production, matching the color with the environment, and helping to better camouflage compared to bricks and non-woven materials. Also, few mountain castles are built with stone materials due to their availability and the possibility of camouflage. The defense structure of most castles is based on fences and towers, and the number of towers and fences has been reduced and increased according to demand, and moats have been used. In general, as the wealth and population of castles, one of whose functions was residential, increased, rulers and residents increased the number of defense layers. There is also a type without fence, which is built due to climate and derived from the form of nuclear villages. In this way, the height of the external walls was increased to prevent the entry of sand into the central structure, no doors and windows were opened to the outside, and the passage was made only through the gate. This is not only to deal with climatic problems but also increases the security of the castle. The dominant form in the castles of the region is square and rectangular, but due to climatic and contextual reasons, many rhombus-shaped, trapezoidal, and irregular castles have also been built. The castles built based on the plan, follow the traditional square and rectangular geometry of the castles of the central plateau of Iran. The castles that have expanded over time and the castles that have been designed using the characteristics of the bed and the background (such as mountain and riverside castles) have irregular geometry. Most of the towers are built in the middle of the sides and corners however, in some cases, the construction of towers is in the middle and outside of the fortress. The towers in the middle of the castle had only an observation role, but the towers located in the corners and the middle of the sides had a defensive and structural role. Also, due to structural and spatial reasons, some castles are made of rectangular cube towers, cube bases, and semi-cylindrical towers.
The number of castles in the region is affected by the forces of security and climate. The inhabitant areas of the western and southern border of Lut have been very rich due to plentiful water and are located on commercial roads. On the other hand, the limitation of point water sources such as wells, aqueducts, and springs had caused the creation of irregular and scattered villages in the middle of the desert with a distance from each other and increased insecurity. According to historical sources, desert outlaws have also had a large presence in the region. All these factors, in addition to the techniques to deal with violent sand storms, had caused cities and villages to be built in the middle of the fence, or to build a castle inside or around it for use in times of need, which has caused the number of castles in the investigated area.  This has caused the majority of fortresses in the region to have residential functions and to be built around and inside villages and cities, and other functions and settlements are less frequent.

Abstract
Throughout history, historical architectural works have been maintained, changed in use, expanded spatially, and had architectural elements added. These interventions and additions contribute to the dynamic nature of a structure. However, dealing with these additions, whether through familiarization, complementary conservation, or occupation of the constituent elements, can be a complex process. Proper actions in conservation, stabilization or destruction require an understanding of the reasons behind the existence of each layer, which could provide the basis for essential actions. This research aims to examine the formation of historical layers over time. It seeks to address questions such as the role of historical layers in conservation decisions and the process of a building’s evolution. This study is classified as applied and developmental research, utilizing a combination of strategies and research methods. It will be a qualitative research study based on a case study approach, utilizing archival documents, fieldwork, and library resources, and documentary data collection. The study will place a particular emphasis on conducting field observations. The Pir Bakran building has been chosen as an important architectural feature to illustrate the path towards understanding buildings with multiple historical layers. It heavily relies on the research method based on case samples and data analysis. Ultimately, this research emphasizes the importance of a comprehensive understanding of historical structures and their different aspects throughout the conservation process. This includes accurate knowledge of the work’s existence, nature, and the recognition of all historical layers and the reasons behind their creation as the work has developed and evolved over time. Such understanding forms the foundation for effective and proper conservation.
Keywords: Architectural Extensions, Historical Layers, Evidence- Based Restoration, Pir Bakran Mansion.

Introduction
The 11th article of the Venice charter suggests that the valid contributions of all periods to the building of a monument must be respected, since unity of style is not the aim of a restoration. When a building includes the superimposed work of different periods, the revealing of the underlying state can only be justified in exceptional circumstances and when what is removed is of little interest and the material which is brought to light is of great historical, archaeological or aesthetic value, and its state of preservation good enough to justify the action. Evaluation of the importance of the elements involved and the decision as to what may be destroyed cannot rest solely on the individual in charge of the work. So, it would appear that the exceptions allow for intervention in the structure and the removal of layers, especially extensions. But there is a question: what feature of that particular layer enables intervention?
However, many theorists argue that the presence of historical layers within a structure affects its authenticity, particularly in light of the fact that material integrity is taken into account when determining the historical accuracy of a work The Nara document (1994) of course, this issue is related to various perceptions and the gradual emergence of the notion of authenticity. The Nara document (ICOMOS, 1994) brought up a never-before-discussed issue: the varying perspectives on authenticity across different cultures. Effective conservation calls for the accurate reading of historical layers in valuable buildings and an understanding of the factors that led to the formation of additional layers in various eras. The research’s central premise is that historical layers are intentionally created over time.  
The hypothesis of this research is “creation of historical layers over time is purposeful”. The research questions include: What role do historical layers play in historical decision-making? How does the process of building evolution occur? What are the reasons for the formation of historical layers in a building? Will be. The historical monument of Pir Bakran was the subject of a case study that was looked into in order to comprehensively and deeply clarify the topic, content and understanding of the phenomenon within the context. Due to this monument’s historical feature, varied uses throughout its history, and multiple significant historical layers with various causes for formation, it has received discussion that hasn’t been done before. It will be a qualitative research based on a case study approach, utilizing archive documents, fieldwork, and library and documentary data collection, with a particular emphasis on field observations. The so-called process that should be followed in order to understand the building with different historical layers is indicated by an examination of the case study’s outputs.

Identified Traces
Over time, conservation theories from the 20th century have revealed the various facets of authenticity. These studies have demonstrated that throughout its history, authenticity has been a variable and relative concept. Theoretically, the approach to the idea of authenticity in charters and documents has significant implications for conservation and interventions, particularly when choices are made regarding the conservation or removal of historical layers. It has been looked over and read again to come to a conclusion about the historical layers. The emphasis was laid on the necessity to respect and maintain the authenticity of historic monuments as well as to safeguard them an appropriate use “no less as works of art then as historical evidence”. These aspects, in fact. From the essence of the theories of conservation, the questions around which debates had been going on for more than a century, and where opinions had often been divided (Jokilehto, 2005: 422).
Because the building’s historical eras reveal the history of the monument and provide tangible and intangible proof of the decisions made during its lifespan, entire portions of the evidence should be preserved. Conservation of historical evidence is crucial because loss shouldn’t happen as a result of preservation since a monument’s history can be viewed as a component of its value. The responsibility for safeguarding the historical layer, which implies the building’s life, survival, and durability, rests with the decision-makers. Buildings’ historical layers all work together to create a cohesive whole and give it consistency. In fact, every layer is a historical record of its time and shouldn’t be altered, moved, or removed during the intervention. The originality of a building’s overall design is also reflected in the originality of the building’s component parts or historical layers.

Conclusion 
Based on the research, which included details and changes identified in the Pir Bakran tomb’s architectural elements of and specific categories, determining the exact date of extension and added decorations with using inscriptions, old photographs, archaeological findings and architectural evidence, it determines that the Pir Bakran tomb has different and numerous historical periods, which makes it particularly complicated. This building’s construction began with a small adobe room, which was later joined by a lofty three-story structure, and due to political, religious and geological developments, decorative and structural elements with different periods are added to it. Some of the extensions were created while completing the Pir Bakran tomb and related to the construction period of the building. The expansion and additional elements of these periods, such as the additional belt, the southeast entrance, etc. shows the structural and decorative evolution of the building. In fact, a historical monument is the result of the combination of various historical layers that have formed over time and blended together. These layers have experienced ups and downs and, at times, have become intertwined, ultimately reaching us in their present state. Therefore, the removal and cleaning of these extensions would be against preservation principles. It has actually been necessary to conserve some of the Pir Bakran building’s historical layers, so it would seem necessary to maintain the structure’s integrity.

Abstract
Art works and objects in museums are valuable cultural and civilizational treasures that are usually less prone to research and have been neglected by researchers to spawn new approaches to scientific study and introduction to the audience. Accordingly, the collection of works of art and particularly the rugs available in the Textile Treasury of the Cultural Complex (Museum) of the Oppressed and War Veterans Foundation are valuable examples of magnificent museum works and an exquisite treasure of the carpets of the Qajar period with great capacity and capabilities for research and introduction. These rugs have been collected from different weaving centers of Iran with various designs and patterns. A total of 51 rugs are stored in this museum, 8 ones of which have been woven in Farahan-Sarouk region, one of the major centers of carpet production for global export during the Qajar period. With this in mind, the current study sought to analyze and introduce these rugs from technical and artistic perspectives. The research question is, “What are the technical, aesthetic aspects (design, pattern and color) and, if any, the semantic concepts of the texture of Farahan-Sarouk rugs?” The findings of the study include the following: the designs and patterns of these rugs include Corner-Medallion, Vase-like Altar-shaped, Overall Flower with Corner, and Paisley with Medallion in various forms and colors. Additionally, the background color of these samples includes lacquer, ivory, copper, blue and navy blue, and the background color of the margins, except for two lacquer cases, is all navy blue - a feature that is a mostly fixed characteristic of Sarouk and Farahan’s rugs. This is a qualitative developmental study conducted using the descriptive-analytical research method with data collected through the desk-based method.
Keywords: Museum, Oppressed and War Veterans Foundation, Farahan, Sarouk, Carpet, Design, Color.

Introduction
The Cultural Complex of the Oppressed and War Veterans Foundation, including various complexes, museums and treasures of artistic, historical and archaeological works and objects, is one of the richest Iranian museums extending and developing its cultural and museum subsidiaries over the past years and decades to such an extent that it currently has various museums such as anthropology and museum gardens in many cities of Iran. In fact, this foundation initiated its cultural activities by setting up and operating museums under the title of “The General Administration of the Foundation’s Museums” from 1995 with a specialized and scientific approach to museum management and with the aim of collecting, preserving and documenting museum objects and works and making exhibitive, research and educational uses of them in order to improve the general and specialized knowledge and attract more audiences, enhance the scientific and cultural potential of the society by providing museum services, and familiarize the future generations with the cultural, civilizational, historical and national identity by using the facilities, works and economic and cultural resources available in the Foundation.
As a part of art and national identity, hand-knotted carpets are among the most precious and valuable works in the Islamic Art Museums and Textile Treasury, which makes this cultural complex more attractive. Particularly, Farahan and Sarouk carpets, as part of Iran’s weaving system and the art of carpet weaving available with 8 antique carpets, are among the outstanding hand-woven carpets in this country. The vast area of Farahan in Markazi Province, with more than two hundred villages including Sarouk and Jirya, as one of the most prominent high-quality weaving centers of Iran, could introduce itself to the world community in the mid-19th century during the Qajar era and the era of the revival of all kinds of local and national arts by producing various kinds of unique carpets and rugs, especially carpets that were produced and exported under the auspices of a foreign company such as Ziegler. Some of the exquisite carpets surviving from Farahan, Sarouk and Soltanabad are currently kept in many world-famous complexes and museums, such as the famous Claremont Complex and the Carpet Museum of Iran (as the most specialized carpet museum in the world). This study aimed to review, analyze and introduce the Farahan-Sarouk rugs in the Textile Treasury of the Museum of Islamic Arts affiliated to the Oppressed and War Veterans Foundation. Therefore, the research question is, “What are the aesthetic aspects (design, pattern and color) and technical aspects (linage, knotting, dyeing), and if any, the semantic concepts of the texture of Farahan-Sarouk carpets?” 
This is a qualitative-developmental study carried out using the descriptive-analytical research method with the data collected through the desk-based method. 

Textile Treasury
The Textile Treasury, affiliated to the Islamic Art Museums, has 1,187 coded and labeled museum works, including various objects related to the antique textiles woven in Iran. These works include carpets and rugs, historical clothes (coats, vests, Turkmen scarves, veils, hats, military uniforms and their accessories), military insignia, machine-made carpets, Termeh, needlework textiles, Termeh frocks, needlework Termeh tablecloths. Sermeh embroidery, Termeh cushion, arch-shaped shawl, prayer mat, velvet, carpet tableau, embroidery tableau, fardel, exquisite pates, Indian sari, wicker, Kalamkari (a type of hand-painted cotton textile), tapestry, fabric tent in the form of Naser al-Din Shah’s tent, Kaaba curtain, Qashqai horse belt, Turkmen back, Jabbeh (a hand-woven pile rug of coarse quality and medium size), Paravan (room divider), wardrobe, sofa and chair with tapestry cover, prayer rug, double-waft shroud fabrics, saddlebag, wicker fan, pen-case, Quran holder, coin holder, hand-woven Giveh (light cotton summer shoes),Jajim (coarse and loosely-woven woolen cloth) and Kilim (a flat tapestry-woven carpet or rug). The oldest and most prominent work of this treasury is the double-waft collection of the Buyid dynasty period, known as Buyid dynasty shrouds.

Rugs and their technical and aesthetic aspects
All the carpets available in the Textile Treasury (former Dafineh Museum) are of the rug type and are considered among the most exquisite rugs in this treasury. Dating back to sixty years to two centuries ago, they are the most unique Persian carpets produced with beautiful, original, harmonious vegetable-based colors with a variety of designs, colors and patterns. These rugs have been woven in important weaving areas and centers of Iran, including Kashan, Farahan and Sarouk, Kerman and Ravar, Isfahan, Bidabad (a neighborhood of Isfahan), Najaf-Abad, Tabriz, Haris, Shiraz (Qashqai -Kashkuli), Arab tribes of Fars, Ghonghori tribe of Fars, Bakhtiari, Malayer, Sanandaj, Bijar, Yazd and Tehran. In general, as many as 51 rugs are kept in this treasury, which date back to the Qajar or early Pahlavi periods (based on the approximate dates mentioned by the museum). The designs and patterns of the rugs include Prayer-nichee, Corner-Medallion, Paisley, Fish, Hunting, Overall Flower, Rhombus Frame and Nazem pattern. All the designs are listed in Table 3. It is important to note that the design of the Vase Prayer-nichee and Corner-Medallion designs are among the most frequently used designs. Among these rugs, 8 rugs belong to Farahan (Sarouk) region in Markazi Province. Figure 2 shows samples of the carpets available in the Textile Treasury.
 
Conclusion
This article was an attempt to study, review and analyze the carpets of Farahan and Sarouk region while introducing the cultural collection and museums of the Oppressed and War Veterans Foundation and its carpet treasury. The vast area of Farahan, with a wide range of carpet weaving areas and centers such as the famous village of Sarouk, has been one of the oldest carpet-weaving areas of high-quality and exported carpet production in Iran since the Qajar era and the mid-19th century. Eight rugs woven in Farahan-Sarouk are kept in the Textile Treasury, a subsidiary of the Oppressed and War Veterans Foundation. These rugs are 113 to 130 cm wide and 190 to 203 cm long. Additionally, the background colors of the rugs includes lacquer, ivory, copper, blue and navy blue, and the background color of the margins, except for one lacquer (red) case, is all navy blue. The knot used in these rugs and other rugs of Farahan and Arak regions is (Persian) asymmetrical. The type of dyeing and colors used in these samples are natural and vegetable-based. One of the other characteristic features of these samples, which is rarely seen in the past and even contemporary carpets, is their linage. The linage in these carpets is 40, 50 and 60, which makes it a unique rug of that era. Furthermore, the raw materials used in the rugs are mostly wool, and to a lesser extent, cotton and silk. The designs and patterns used in the rugs include the common designs of Corner-Medallion and Tree-shaped and Vase-shaped Prayer-niche designs in different types as well as Paisley design. Among the rugs, Rug No. 4 is a unique product displaying symbolic concepts in the background texture of which elements and concepts specifically related to Mithraism, such as the (Holy) Life Tree, Birds, Cypress Tree, Animal’s Combat and Crow motifs have been designed and patterned. Although these antique rugs are considered part of the artistic identity, they can be modeled, redesigned, represented, modified and rewoven in the Persian carpet design system.

Abstract
In natural hazards such as earthquakes, one of the most important parts that get damaged is cultural heritage. Cultural heritage (tangible and intangible) plays a fundamental role in adaptability, resilience and reconstruction of a disaster-struck society. The main objective of this study how to manage of cultural heritage during the crisis in November 2017 Kermanshah earthquake. This research seeks to answer the questions that; Do crisis managers manage cultural heritage in the Sarpol-Zahab earthquake area and does cultural crisis management in the Sarpol-Zahab earthquake have the equipment to provide a model to increase the resilience and adaptability of cultural heritage in times of crisis? The findings of this field study, which are based on assessing the concepts of resilience and vulnerability in the crisis management cycle, indicate that crisis management in the field of cultural heritage during and after the crisis has not been performed satisfactorily despite vulnerability assessments. According to the patterns and models of enhancing resilience, Our society is not sustainable. As a result the management of cultural heritage has not clearly considered the issues of adaptability and resilience, focusing only on minimal restoration and reconstruction of historical monuments in a temporary period. In the crisis management cycle, Pre-crisis measures that will reduce vulnerability in future hazards have not been considered in relation to earthquakes in these areas. During the recovery and social rehabilitation phase, considering the cultural characteristics of the people, the intangible heritage has significantly contributed to enhancing social and cultural resilience among the affected population. Nevertheless, the crisis management of society and cultural heritage has never been able to serve as a repository for knowledge to reduce vulnerability and enhance resilience in society, aiming to establish a balanced relationship between resilience and vulnerability within the crisis management cycle.
Keywords: Vulnerability, Resilience, Earthquake, Crisis Management, Cultural Heritag.

Introduction
Our country, which is more than eleven thousand years old, is one of the accident-prone countries of the world, and due to the fact that most of its regions are among the regions with high seismicity, the occurrence of earthquakes in it is inevitable. In an earthquake, one of the most important parts that get damaged is cultural heritage. Cultural heritage forms the backbone of human and social life of the society, and its reconstruction in the post-disaster period should be considered in the early stages. Tangible cultural heritage (museums, ancient sites, memorial tablets, etc.) and intangible (culture, stories, myths, rituals and ceremonies, celebrations and performing arts such as music, theatre and film) which play a fundamental role in shaping human memory. This memory helps people to be more resilient during crises.
Following other field researches that the writer has conducted in the field of anthropology of disaster from 2017-2024 in Sarpol-Zahab, the research on the management of cultural heritage in the earthquake was one of his research priorities. 
The November 2017 earthquake in Kermanshah (Sarpol-e-Zahab) killed 626 people and damaged many cities and villages.
 According to the announcement of the Department of Cultural Heritage, Handicrafts and Tourism of Kermanshah Province,in this earthquake,Khosrow’s Palace,Fire tample(Charqapi), Qasr-e-shirin Karavansarai, Zij Manizheh, Abodojaneh historical Cemetery, Yazdegerd Castle (Dalahu County), Gilangharb Castle, Islamabad-e-gharb palang fire temple, Hosseinieh Sarpol-e-Zahab, the shrine of Ahmad ibn Ishaq Ash’ari Qomi in Sarpol-e-Zahab, Abdullah ibn Omar Rijab Mosque were damaged.
 In this research, the researcher, who was trying to find out the degree of damage, the adaptability and resilience of cultural heritage management, in the first stage of his research, visited the earthquake-affected cities and their ancient monuments. In the second stage, in order to complete the information, the researcher conducted structured and unstructured interviews with crisis managers and cultural heritage managers. Finally, based on disaster anthropology studies and this research, the researcher was able to provide a model for how to manage cultural heritage during the disaster cycle and crisis.

Discussion
The findings of this research show that the most important cultural heritage measures after the earthquake have been carried out in the fields of aid, cultural heritage, infrastructure, handicrafts, tourism and investment. Examining the performance of  the cultural heritage during the crisis shows that since our crisis management system does not have a resilient system, the cultural heritage sector also does not have the capabilities to manage the crisis and the action it has taken cannot return the society to a normal  situation in a short period of time. In the earthquake, our society showed that it is not a resilient society, and in passing through the crisis and dealing with it, it faced the greatest disruption in all its parts, such as cultural heritage. The management of cultural heritage in the infrastructure sector will not be able to plan and operate in order to deal with future hazards.
In this area, restorations and renovations have been done, but due to the risk of this society, the necessary funds for the future to increase adaptability and resilience have not been considered. In the field of tourism, investment and infrastructure even reconstruction and restoration of damaged areas have not been done after estimating the amount of damage. As a result, in this part of the crisis management cycle, cultural heritage is unsuccessful, and its performance has been limited to visits and meetings to adjust requests and express problems.
Intangible cultural heritage during the earthquake had an impact on the adaptability and resilience of the society. This heritage helped the people in different ways during the mourning such as the native sounds and tunes of mourning (ĉamar, Môye, Hûre and Môr). In the post-disaster stage and during social recovery, the use of the culture of aid, local foods, rituals and ceremonies, music and local games is undeniable.
In disaster we lose everything, the only thing left for us is the past. This past brings our culture for us. Culture tells us what we did in times of crisis and what we can do to heal our pain. This culture is divided and multiplied in different times and places. It supports and sustains our culture in times of disaster. The intangible cultural heritage can play an irreplaceable role in the days of the people who have suffered disaster after disaster to recover.

Conclusion
The cultural heritage of our country is vulnerable and our crisis management does not have the ability to reduce vulnerability. But our intangible heritage has the ability to increase social resilience in our disaster-stricken society. Our cultural heritage management does not have the knowledge of risk analysis, assessment of financial and human resources for coping and reconstruction, location, emergency evacuation of visitors in the prevention phase (before the crisis). Since the cultural heritage managers do not have the necessary knowledge to deal with the crisis, our cultural heritage does not have the ability to manage and perform optimally in the stage of preparation and coping during the crisis and reconstruction. In the crisis management cycle, cultural heritage is also facing important problems in the post-crisis reconstruction phase. At this stage, protective measures and compliance with the standards (body and physical) of constructions around cultural works should also be considered, which due to the lack of sufficient knowledge about cultural heritage by various institutions, the protection of cultural works has not been respected and retrofits It does not take place in this section. In this area, intangible heritage such as museum, narratives, poetry, legend were not formed to   commemorate and form the cultural memory of Sarpol-e-Zahab earthquake. As a result, it can be said that the intangible heritage has also played a role in the social rehabilitation of the people, but it has not been able to perform well as a category that takes steps towards the preservation of cultural heritage. 
Since according to the patterns and models of increasing the resilience of society, our society is not a resilient society. As a result, the main question of this research can be answered as follows: The management of cultural heritage in the Sarpol-e-Zahab earthquake did not consider the issue of adaptability and resilience and limited itself to the minimal restoration and reconstruction of historical monuments in a temporary period.
This research was able to provide a model for managing cultural heritage in times of crisis. This model emphasizes the flexible relationship between vulnerability and resilience. Increasing resilience in a society will reduce vulnerability in all parts of society. According to this model, a society that is resilient is consciously and purposefully take risks and crises and applying knowledge to reduce their consequences. This society has defined goals for its long-term recovery in all its sectors and always treats risk as an opportunity.

Abstract
In the past, there existed a relief known as Fath-Ali Shah’s lion hunting in Shahr-e Ray. Regrettably, this precious piece of history has undergone significant damage due to the mining activities of Ray Cement Factory. Presently, only a fragment of this relief is preserved. Since most of this relief is lost, there are many uncertainties about it; For example, the exact location of the relief in Shahr-e Ray remains unknown. Various studies attribute the construction year of this relief to 1246 AH, but its accuracy is still subject to debate. Additionally, there was an inscription surrounding the relief containing poetic verses in Nastaliq script, which have not been deciphered yet. On the other hand, due to the proximity of this relief to Cheshme-Ali’s relief, the information related to these two is sometimes mistakenly attributed to the other, causing researchers to make mistakes. This research aims to give a clear picture of this relief and to remove the gaps surrounding it. This research intends to answer the following questions: What was the original location of the relief on Sorsore Mountain and when was it built? What precisely is the content of the poetic inscriptions surrounding it? What alterations has this relief undergone over time, and what has ultimately become of it? This research adopts a descriptive-analytical approach, relying on historical texts and images as primary sources to guide the investigations. Finally, by the primary sources, the location of this relief on Sorsore Mountain is determined. The results show that the poems of the inscription are in praise of Fath-Ali Shah, and the chronogram indicates the year of its construction in 1246 AH. eventually, sometime between 1340 and 1345 SH, due to the explosions of the Ray Cement Factory, this relief was destroyed, and only a fragment of it including the lion’s tail and the inscriptions around it remained, which is kept in the museum of the Ray Cement Factory.
Keywords: Rock Relief, Fath-Ali Shah, Shahr-e Ray, Inscription.

Introduction
In the past, there existed two rock reliefs of Fath-Ali Shah Qajar in Shahr-e Ray, one of which has been disappeared. This relief, which is located on the southern part of Sorsore Mountain, is known as “Fath-Ali Shah’s lion hunting”. An older, probably Sassanid relief had been erased and replaced by the Qajar one. There are many uncertainties about Fath-Ali Shah’s lion hunting; For example, the exact location of the relief in Shahr-e Ray remains unknown. Various studies attribute the construction year of this relief to 1246 AH, but its accuracy is still subject to debate. Additionally, there was an inscription surrounding the relief containing poetic verses in Nastaliq script, which have not been deciphered yet. On the other hand, due to the proximity of this relief to Cheshme-Ali’s relief, the information related to these two is sometimes mistakenly attributed to the other. It is necessary to do detailed research on this relief to solve these mistakes and answer the ambiguities raised. This research intends to answer the following questions: What was the original location of the relief on Sorsore Mountain and when was it built? What precisely is the content of the poetic inscriptions surrounding it? What alterations has this relief undergone over time, and what has ultimately become of it? This research adopts a descriptive-analytical approach, relying on historical texts and images as primary sources to guide the investigations.

Literature
For the first time, Mustafavi wrote a note in the monthly information magazine, in which he stated the location and address of access to the lion hunting relief, the year it was made, and introduced the artists involved in making it (Mustafavi, 1953: 10). Luft, in an article entitled “The Qajar rock reliefs”, in a short mention to the Lion Hunting relief, tries to estimate the year of its construction (Luft, 2001: 32). Mirzaei-Mehr also describes the artistic aspects of the relief in Abdullah Khan’s book (Mirzaei-Mehr, 2014: 43-45). Doroodian has done a detailed research on the incomplete relief that Fath-Ali Shah erased in “A study about the Sasanian rock relief of Ray”. Doroodian introduces this role in his article and tries to identify its character. (Doroodian, 2016: 63&64). Safinejad has given an estimate of the size of the relief and the inscription around it in the book of Ray’s Historical Places and has described the details of the figure of Fath-Ali Shah and lion. He also deciphered the poems around the inscription, but his reading has many mistakes. (Safinejad, 2015: 344&345). Movathagh has given some information about Sassanid relief, which he has referred to the book of Kariman (movathagh, 2017: 110).

Discussion
First of all, the exact position of the relief is examined with the help of the remaining drawings and maps. According to Mustafavi’s descriptions of Ray cement factory near the relief in the 1960s, Jules Laurence’s painting in 1848, William Ouseley’s painting of the location of the Sassanid relief that existed former the lion hunting and his explanation of the access route to relief, its position can be determined on Schmidt’s aerial photo of the Sorsore Mountain. Before Fath-Ali Shah’s figure was engraved on the body of the Sorsore Mountain, there was an old relief. That relief was first found by Robert Gordon and James Morier in 1812. (Morier, 2007, Vol. 2: 229). Morier drew a sketch of this relief (image 7). William Price, William Ouseley, and Ker Porter also visited the relief, and described it in their travelogues. It can be concluded from their texts and images, that there were two flat tablets in the mountain at the rock site, one on top of the other. The lower plate was a half-finished sketch of a horseman with two orbs on his shoulder and one on his head, attacking an opponent whose horse’s head is depicted only. The upper slab was without a design. Fath-Ali Shah ordered to erase the mentioned ancient relief and replaced it with his own figure. Both Fraser in 1834 (Fraser, 1985: 150) and Korf in 1834 pointed out its disappearance. (Korf, 1993: 215).
There are many pictures of Fath-Ali Shah’s lion hunting relief in the archives of Iranians and foreigners who came to Iran. These images have been presented in order of creation date. (Images 11 to 21) In Roger Viollet’s 1958 photo collection, the inscriptions around the image, the king’s beard and crown, his horse’s boots and saddle, as well as the inscription under the horse, are all painted over. Another change is the frame above the relief, which is not present in the older images. These changes were apparently made by Ray cement factory in 1949 (Mustafavi, 1953: 10).
The inscription around the relief contains 11 verses and its poet is Mirza Taghi Aliabadi. In order to read and accurately record what was executed, several photos were used in each part of the inscription. (Images 23, 24, 25 and 26) Examining the remaining images and reading the inscription shows that some words of the poet’s original poem have been changed in some verses. Also, some verses have been removed and replaced by others in the execution of the inscription. The chronogram in the last verse includes the words after “ke”: “shod inak musiye emran ayan be sineye sina” gives the year 1246 AH. The last historical photo of lion hunting relief was taken by Hossein Malek-Iraqi in 1961. Kariman states in his book, which was published in March 1966, that the lion hunting relief was destroyed by an explosion. (Kariman, 1966, Vol. 1: 302)

Conclusion
in this article, the location of Fath-Ali Shah’s relief on the southern body of Sorsore Mountain was identified by the help of historical texts and images. Also, re-reading of the inscription’s poems was done, which showed that the content of the inscription’s poem is in praise of the statue of Fath-Ali Shah Qajar. According to the last verse and the chronogram of the inscription poem, this relief was made in 1246 AH. Rereading the poems made it clear that there were changes in the poem during its performance and the original poem of the poet was not performed. It was also identified that the designer of this relief is Abdullah Khan-e- Memar and its sculptor is Mohammad Qasem Khan-e- Hajjarbashi. On the other hand, numerous pictures revealed that this relief was painted during the repair by the Ray Cement Factory in 1949. The relief of Fath-Ali Shah, which was made by erasing the previous ancient relief, was finally destroyed sometime between 1961 and 1966 due to the explosions of the Ray Cement Factory, and its pieces fell to the foot of the mountain. The big piece of the relief was at the foot of the mountain for years, but there is no information about its fate. The smaller piece, which includes the lion’s tail and the inscriptions around it, was later moved to Ray Cement Factory by one of the technicians. It is kept in the museum of Ray Cement Factory now in 2023.

Abstract
In the traditional architecture of Shushtar, as one of the architectural types of Iran, there are examples of architectural regionalism approach. Houses decorated with motifs, designs and decorations, which have given a special glory to the architecture of this city with a combination of three materials, stone, plaster and brick. A small part of the patterns and decorations of these houses is in the entrance area of the main door, but most of the decorations and arrays are in the interior of the houses of this city. Most of these houses are known by the name of the owner or owner. One of these houses is “GhasabNejad” house. This house is a dominant example of Shushtar decorated houses. This research is done with the aim of getting to know better about the decorative elements and motifs of Shushtar city as an example of warm and dry regional architecture and at the end of the article, the question of what and why are the three decorative motifs and elements of Shushtar Butcher House, based on the critical regionalism approach The answer is given. The information of this article was collected in the field using visual and library evidence and presented in a descriptive and analytical way.
Keywords: Shushtar Traditional Architecture, Ghasabnejad House, Critical Regionalism, Anthology Networks, Brick and Stone Decorations.

Introduction
Shushtar is one of the old cities of Iran, where there are monuments from different historical periods. This city was prominent as the center of Khuzestan during the Qajar period and most of the existing works of residential architecture with decorative elements are attributed to this period. Among the important buildings of this city, we can mention the “Afzal” complex, the houses of “Marashi”, “Mustafi”, “Bakal-Sadat”, “Gazer”, “Qasabnejad” and the like. In addition to the specific and functional architecture, the mentioned buildings are decorated with arrays that stand out like a beautiful painting on the walls. Harmonious proportions, various visual elements including line, surface, volume and texture in combination with light and shadow, appropriate combination of components such as lungs, frames and borders, headers and the quiet whisper of change from pattern to frame and from frame to surface of some of these buildings. The city built something that the concept of well-formed calligraphy tradition can be applied to parts of these buildings. In the area surrounded by the two branches of the Karun River in Shushtar, the building studied in this research is GhasabNejad’s house. This building located in “Dol Dol (Moghi)” neighborhood is located in the vicinity of Gazer’s house and belongs to the Qajar period, which was renovated in 2016 under national registration number 29157 and at the end of 2016. This house consists of four floors, ground floor, first floor, Shabestan, and Shawadan. Due to its area, this house is one of the historical, large and highly decorated houses of Shushtar and has triple motifs of stone, plaster and brick. According to what has been said, the purpose of the current research is to study the types of motifs used in GhasabNejad’s house in order to better identify the historical houses of Iran, and finally to the question of what and why are the motifs and three decorative elements of Shushtar’s Butcher’s house, based on the approach of critical regionalism The answer is given. The discussion about the architectural and structural elements of this house, such as arches, columns and the like, is out of the scope of this research.

Theoretical foundations
Since this research focuses on architectural decorations, the three decorative elements of butcher houses are analyzed as an example of Shushtar houses, based on the approach of regional architects. Critical regionalism is a middle ground between the two, with regional preferences that are not identical to native architecture. From Frampton’s point of view, local cultures should be viewed in a way that is modern and has the ability to become modern. Achieving critical regionalism is the exploitation of local characteristics inside and outside the modern building form and does not mean returning to traditional building. Frampton calls this type of architecture, which resists the trend of homogenization of world architecture, as critical regionalism (Tadjdee and Islami 2018: 22, quoted by Frampton). In Table 1, the features of regionalist architecture are stated in terms of Islamic and modernism.

GhasabNejad’s house 
GhasabNejad’s house is one of the historical houses of Shushtar city, which is located in “Doldol (Moghi)” neighborhood, adjacent to “Gazer” house. This house, like most of the remaining traditional houses in this city, belongs to the Qajar period, which, in addition to the traditional architecture, has different decorative arrays. About the history of ownership of this house (Fig.  1) (Fig.  2) shows the plan of these two complexes. Currently, both parts of this historical house have been registered in the national register. The architect of this house is “Mohammed Taghi Mimarbashi Shushtri” according to the inscription that is located near the porch of its outer part (Gazar House) and the date of completion of the building is 1277 AH (photos 3).

Decorations of GhasabNejad house
GhasabNejad house has triple decorations of stone, plaster and brick. Brick patterns are like (Fig. 4). Another part of the decorations of the old houses of Shushtar is the butcher house of Setonah, which is built with materials such as stone and brick, and their decorations include the motifs of “Kartele”, “Baik” and “Congress” (Fig. 5). Plaster grids are among other motifs used in Shushtar houses, which are placed on the facade of the building and usually between the arches and above the windows. In addition to decorative use, these elements were used to ventilate the air and let light in. (Fig.  6). Fig. 7, shows the three decorations of GhasabNejad’s house. The stone decorations include animal and plant motifs, each of which has different meanings. (10) The location of the plaster grids is also shown. Also, pictures (11 and 12) show other brick motifs in the butcher’s house building.

Conclusion
Three elements, brick, stone and plaster, are the main materials of Shushtar architecture and its decorative arrays, which were used in GhasabNejad’s house with refinement and merit in the structure and decorations of the building. The materials, motifs, form and decorations are common in most Shushtar houses, with the difference that each architect has made changes in them according to the personal taste and interest or the opinion of the owner of that building. The stone carvings of the butcher’s house include animal motifs such as peacocks, parrots and plant motifs such as lotus flowers. The roles of these animals and plants are sometimes mythical and probably liked by the architect or owner of the building and according to the cultural conditions of that time and the owner’s financial ability. The motifs of Golchin Gachi networks are a combination of Islamic geometric Chinese knot motifs and its famous shamsehs, and one case is a combination of Chinese knot and cedar tree. The decorative brick motifs of this house are arranged on the top of the porch and the edges around it. There are three motifs, Serzi Sarbala (in the local language), on the top of the porches, and complex key armband motifs, and one, two, and three plains, are engraved on their margins. The technique of performing brick patterns above the porch is flat and their edges are highlighted. The pattern of the columns was from the Moqrans design shared by the houses of Shushtar, such as the pattern of Kartele, Congress and Beyk. Some roles have been named according to their resemblance to something else. Like the pattern of the head below the head, which is similar to the pattern of the mat.
The reason for the use of these decorations is to align with Shushtar’s traditional architecture and this feature is consistent with the regional preferences side of the critical regionalists’ approach in architecture. Following this tradition, there are brick patterns on the front of the porches and on the outside of the houses, stone patterns are on some of the gates, considering the structural function of the stone, and plaster grids are also implemented in the upper part of the building. Among the three elements used in GhasabNejad’s house, the patterns of the front bricks of the porches were functional, mostly decorative, and the stone carvings and plastered grids had both decorative and practical functions. In this building, in addition to the decorative function, these three elements have been used to express the spiritual, material or traditional interests of the owner of the property. Among the three mentioned elements, according to the long-standing media tradition, stones have always been the representation of the personal feelings of the architect or the owner of the building.
Relying on the approach of critical regionalism, it can be said that the stone element is a special functional and decorative element in the architectural structure of Shushtar city as well as GhasabNejad’s house, which makes the architecture of this city different even compared to its neighbor, Dezful. It originates from the stone bed of the city and the presence of stone mines near the city of Shushtar. It seems that the architects of Shushtar have taken advantage of their unique native and regional element in building in the right place. Also, perhaps the use of stone for personal expression reminds us that the oldest means of expressing human emotions in a space other than its original place, i.e. mountains and deserts in the man-made environment, is still capable of expressing human emotions. The tradition that started from the heart of the mountains, rocks and caves continued in the cemeteries and the like, and in public and private places, it has a dual function of structure and media.
  The adaptation of architectural elements, especially the triple arrays of GhasabNejad house as a relatively complete example of Shushtar’s traditional houses, showed that the architecture of this house is compatible with most of the features of the critical regionalism approach, despite the time difference and the youth of the critical regionalist architecture discussion with ups and downs. The use of stone in the building as a special local element and the presence of a parrot in the stone bearer inscriptions as a non-regional bird in this building are two important features of the critical regionalism approach that has been digested in Shushtar’s architecture.

Abstract
Lustre is an enamel painting on glass or glaze, which is baked in a furnace with a regenerating environment, and after the baking process is completed, it forms a shiny layer with a metallic polish. This metallic luster can be in different color ranges such as gold or copper red, which is created by copper and silver nanoparticles. The first works that have been obtained from the implementation of the Lustre technique are on glass containers. However, according to the theory of most researchers, this technique was used on glazed pottery from the 3rd century AH and continued. On the other hand, in the historical sources, the instructions of Lustre on Abgineh are discussed in the manuscript of Al-Durra Al- Meknuna. In the present research, it has been tried to answer the question, what are the points of commonality between the glass works of Lustre and the instructions of Risalah Al-Durra Al- Meknuna? The current research is of fundamental type and the scientific information and historical documents of the research were collected in the form of documents and then analyzed and explained using the descriptive-analytical research method. The results show that the elements used in the gilding of the glasses of the early Islamic periods are in accordance with the instructions of Al-Durra Al- Meknuna. Also, there is a match between Lustre’s glass works and the instructions of Al-Durra Al- Meknunain the way and implementation of coloring and also in the color variation.
Keywords: Glass of the Islamic Era, Lustre Enamel, Al-Durra Al- Meknuna, Lustre Glass.

Introduction
The method of collecting information will be based on library sources. The research method is based on the way of collecting information in the form of descriptive and analytical research and the type of basic research. In this research, it has been tried to collect Zarinfam glass works from books and also from the reliable sites of different museums.
An overview of the history of Lustre glass and the theory of transfer of Lustre technology from glass to pottery:
The theory of the transfer of Lustre from glass to pottery argues that the oldest documented date for the method of Lustre is related to glass and belongs to the 2nd century of Hijri and was produced in Egypt. This theory emphasizes that this technology was gradually transferred from Egypt to Basra, Iraq over time, and then transferred to pottery by Iraqi potters in the 3rd century AH. (Carl Johan Lamm, 1941; Akbari, 1393: 4 & Porter, 1381: 15; Carboni, 2001:51).
Finally, it should be mentioned that the basic questions regarding the works obtained from Syria, Iraq and even Iran remain unanswered and it is still possible to attribute the origin of Lustre glass to each of the mentioned countries. In an article entitled: Analysis of the theory of the transfer of gilded glass technology from glass to pottery, based on the treatise Al-Durra Al- Meknuna, Mirshfi’i has tried to emphasize that the oldest written work related to Lustre glass is the handwritten treatise Al-Durra Al- Meknuna written by Jaber bin Hayyan. And this treatise is even older than the Egyptian glass work (163 AH) which has been cited by researchers, and it shows the familiarity and production of Lustre by glassmakers in Iraq in the first half of the second century. In fact, it can be said that since the 3rd century A.H., Lustre flourishes on pottery and probably the production of Lustre glasses has decreased from this period onwards and then stopped. Of course, considering that in the book Javahernameh Nizami in the 6th century of Hijri, there are instructions that mention the production of Lustre both on pottery and on glass, it can be said that the production of Lustre on glass was still common until this time. is (at least in Iran). This is despite the fact that in the written works of the following centuries, such as Arais al-Jawahir and Nafais al-Ataib in 700 AH and even the treatise of Cipriano Piccolpaso in 966 AH, only the golden instructions on pottery were discussed.

Discussion 
Glass works with Lustre painting:
The collection and study of the works of the first centuries of golden glass have been taken from the written sources of the researchers as well as the works available in the prestigious sites of different museums of the world. This sample of works will help us in accordance with the instructions of Risalah al-Darrah al-Makununa. Finally, these works are compiled in table number (1) based on the estimated construction date.
Instructions related to Lustre glass in Al-Durra Al- Meknuna manuscript:
The instructions related to Lustre, in the treatise of Al-Durra Al- Meknuna, start from page 9 of the book and with the words: “Qal Jabir in the chapters of talawih”. Jabir used the word Talawih for Lustre. In the following, the instructions contained in the handwritten treatise of Al-Durra Al- Meknuna, have all been read and then translated into Farsi.

Analysis and adaptation of Lustre glass works with the instructions of Al-Durra Al- Meknuna
1- Analysis of the elemental composition of the instructions of Lustre in Risalah Al-Durra Al- Meknuna: From the analysis of the instructions presented in this treatise, it can be seen that in the instructions contained in the book of Al-Durra Al- Meknuna, metals such as copper and silver were used the most, so that copper was used in about 85% and silver in 73% of the instructions. In today’s research conducted by Brill and other researchers on gold, it has been determined that silver and its compounds cause a golden yellow color and copper compounds also cause a red color. The chemical analyzes of Lustre glasses from the early Islamic periods show that the elements used in them are in accordance with the instructions of Al-Durra Al- Meknuna. If Brill’s chemical study, regarding a number of golden pieces of glass in the Corning Glass Museum, also confirms this (Brill, 1970). Also, the description of the stages of implementation of Lustre and the baking conditions is a revival of what is clearly stated in the description of Al-Durra Al- Meknuna.
2- Match in color variety: Reading the instructions of Risalah Al-Durra Al- Meknuna shows that the instructions can create different color spectrums (Table 2). On the other hand, the examination of the works and samples presented in this research also indicates that Lustre is made in different color ranges such as yellow, dark brown, light brown, red, reddish, golden, blue, rainbow. . This shows that the artists used many instructions for painting Lustre and were not limited to one instruction. Also, in the early period of the emergence of Lustre, two or more colors were used together, which is known as multi-color Lustre.
3- Comparison of the instructions of Al-Durra Al- Meknuna and the works of Lustre glass according to the implementation method: Studying some of the instructions of Al-Durra Al- Meknuna, shows that Jaber emphasizes on the internal and external coloring of the object after presenting the instructions (image no. 4). The external and internal painting of objects in the presented glass works is quite evident and is one of the characteristics of Lustre glass in the early period. In pictures No. 3, 4, 5, 6, 7, 8, 12, 19 and 20, it can be seen that Lustre paintings were done inside and outside.

Conclusion 
The sample of works shows that there are a very limited number of works that have inscriptions containing information about the place of construction or the date. However, numerous works obtained show that Syrian countries such as Iraq, Egypt and even Iran were active in the production of glass painted with Lustre enamel during the Abbasids, Copts and Fatimids. The chemical analysis of the Lustre glasses of the early Islamic periods shows that the elements used in them are in accordance with the instructions of Al-Durra Al- Meknuna. If the chemical study of Brill, regarding a number of Lustre pieces of glass in the Corning Museum of Glass, also confirms this fact that there are silver and copper as the main material in the surface of the glass. Also, the description of the stages of implementation of Lustre and the baking conditions is a revival of what is clearly stated in the description of Al-Durra Al- Meknuna. And Jaber also mentions the baking of relish under the instructions. The technical reading of the treatise Al-Durra Al- Meknuna shows that the instructions of Lustre can create diverse color spectrums, as 12 different color spectrums are presented. Various elements, metals and compounds used in Jaber’s instructions are among the main and effective factors on the variety of colors created. In this way, copper compounds produce ruby-red and copper-red colors, and instructions with silver compounds produce green-golden or yellow-golden gilts. As Pradel has confirmed, yellow, brown and deep brown, amber, orange and sometimes gold colors are created by the combined use of copper and silver compounds. This issue shows the conformity of colored works and samples with the instructions of Al-Durra Al- Meknuna. Also, in the comparative comparison of the instructions of Al-Durra Al- Meknuna and the works of Lustre Shihrah based on the method of execution, it shows that Jaber emphasizes on the interior and exterior coloring of the object under some of the instructions. The external and internal coloring and painting of the objects in the presented glass works are quite evident, especially in the works such as cups, bowls, and especially the works that have stability, and this subject is in complete agreement with the instructions contained in the book of Al-Durra Al- Meknuna.

Abstract
Based on their claim to understand artworks and the change in the nature of restorers and art audiences, the subjective and objective approaches have tried to establish themselves in different periods in history. However, each had defects in its context which affected some aspects of an artwork in the process of restoration. Based on this, this study attempts to examine three different periods of restoration of paintings using theoretical basic research, library data and samples of restored artworks. To achieve this goal, in three different readings, the theory of classical conservation, the theory of scientific conservation in the first half of the 20th century, and finally the contemporary theory of conservation in the late 20th century and early 21th century are discussed. Based on this, an approach to the dispute over the opposition between subjective and objective approaches and a common understanding between the subjects in the idea of inter subjectivity is sought. The main goal of this study is to examine and present the idea of inter subjectivity to solve the problem of the defects of the two aforementioned approaches. In conclusion, using the views of Habermas, this study aims to explain the idea of inter subjectivity and propose the need of the surrounding social world and the shared world of subjects in a given format.
Keywords: Painting Restoration, Subjectivism, Objectivism, Intersubjectivity, Habermas.

Introduction
The intellectual and philosophical foundation of each age guides and determines the updated cultural, social and artistic orientations in human civilizations. One of the most important structural differences in the orientations of the world’s philosophers and thinkers is viewing categories from the two objective and subjective perspectives. The worlds of subject and object are two opposite categories among philosophical thoughts as they have offered ways to understand and discover the surrounding world from the two perspectives of objectivity and subjectivity. Based on this and considering these inherent philosophical differences, readings of related categories can be offered. One of these categories is discussing conservation and restoration of historical artworks, which has always been the subject of serious disputes in this field. The aforementioned dichotomy in the different periods of human’s philosophical understanding of the world since the 18th century is a dispute which has fundamentally affected the technical and historical structures and the aesthetic nature related to the field of restoration of historical artworks especially paintings. In fact, this is the basis of the present study; Readings of the two dimensions of objectivism and subjectivism in the historical context of previous centuries which led to different readings of the process of restoration of paintings. In the first reading, the serious effects of the subjective view of restoration as something beautiful and hedonistic is discussed. In this reading, the basis of interpretation of an artwork and its restoration is an aesthetic view and from a subjective and extreme perspective. This led to vast changes and interventions in paintings which in turn led to the formation of anti-restoration and anti-conservation movements.
In the second reading and from the late 20th century, a new approach in this field was proposed by gaining a new understanding of the surrounding world and a positivist view based on respecting the material forming the artwork. Supporters of science and defenders of the conservation science were seeking a view toward artistic and historical artworks which downgraded the artwork to an object which could be examined and had tangible and objective qualities. This view did not believe in any subjective interpretation based on the restorer’s subject and allowed any interventions in the artwork if it was based on objective inference and scientific data. This very approach i.e. downgrading the artwork to a tangible and objective object led to lack of concentration on issues which were considered inherently subjective and somehow interpretive. Here, aesthetic, conceptual and spiritual issues were always in opposition to the artwork material, time and history and doomed to be ignored. At this point, considering the distinctions of contemporary man and the changes of the world, it seems necessary to deal with an intermediate space which is far from the biases of the two extreme objective and subjective views. In fact, to find an approach and solve the contradictions between the objective and subjective approaches, the third reading of this study seeks a solution which is based on the social world. In this space which is proposed as the idea of inter subjectivity, the inherent duty of historical artworks is to convey and commemorate their meanings. Here, considering the idea of Habermas, an inter subjective approach to solve the problem of the restoration of paintings is proposed.

The first reading: subjectivism and restoration
What is specifically discussed here is the interpretation of subjectivism in the process of restoration and subjective perceptions in the process of restoring paintings. Since, before the 20th century, still there weren’t concepts such as conservation, in the specific sense of the word, and no specific foundations for this concept cannot be imagined, in fact, it was personal and “subjective” perceptions which were used as the basis of restoration. In other words, the process of restoration is less dependent on the object material and more focused on the interpretation and perception of “restorer-artist”. “Aesthetic restoration” or “artistic restoration” have always been redefined in opposition to “scientific restoration” in the 2oth century. The use of adjectives “aesthetic”, “artistic” and other such words for restoration in fact confirms attention to its subjective aspect as in them, perceptual and emotional criteria prevail over the process of objective examinations in which, based on the object, the main nature of the forming materials or the date it was created are considered important. Among the many restorations carried out in the centuries leading to the 20th century, many cases of focus on the subjective view can be found.

Second reading, objectivity, conservation and science
In this view, due to being goal-oriented, the process considered any interventions in the artwork justifiable as the final mission was perfect adornment, beauty and providing pleasure. Also, at the heart of the idealist thoughts of the 19th century, in the views of people such as “viollet-le-Duc”, restoration was defined in a way that it did not even exist in its initial and original state and the restorer as a skilled artist removed the foundation of a historical artwork. In order to better understand the events of the second half of the 19th century which led to the improvement of the relationship between science and conservation, it is necessary to examine its underlying concepts and theories. Since the 19th century, Western society had practically entered a space in which scientific approaches and science development were considered a basis for acceptance and development. In fact, it was “positivism” which was formed based on the views of the French thinker “Auguste Comte” in the 19th century and became prevalent in the 20th century. In fact, it was this continuation of the scientific approach from the middle of the 19th century which spread to the restoration world and totally changed the world in front of it.

Third reading
Habermas emphasizes that the subject-object relationship is definable in an intermediate space and that is the issue of the presence of the other subject. In fact, it is this “other experience” or other subject experience which along with other subjects provides a shared world to understand objects (ibid. 2012: 36). The aggregation of these subjects leads to social experience and provides correct relationships to understand and achieve knowledge.

Conclusion
In three separate readings, this study discusses the examination of the effects of each of these objective and subjective approaches and the extent to which restorers are influenced by their intellectual foundations. In the first reading, the effects of the subjective approach on forming concepts of painting restoration have been discussed. In this section, the claim was examined that the effects of subject in the ages before the 20th century led to the creation of a concept which considered the artwork in the form of a beautiful object and from the perspective of hedonistic and aesthetic thoughts. Here any interventions or changes to achieve the aesthetic integrity of the artwork and putting the artwork in a perfect and ideal situation is acceptable and applicable. In the late 19th century, with the predominance of positivist thoughts based on the application of different sciences in human life, the world faced an approach which was materialistic and based on mere attention to the object. The objectivism used in the scientific conservation has sought to justify any scientific studies and the application of different sciences in the process of recognition and restoration of paintings. The approach based on objectivity and focusing on the inherent qualities of objects focused attention on the artwork material and did not allow any intervention or change in the artwork material. Perhaps the most important defect of the positivist approach in scientific conservation was inattention to the position of subject. In cases where the artwork required subjective analysis such as aesthetic judgment, the theory of scientific conservation either did not have an answer to it or did not pay attention to it. It was this defect which, in the decades leading to the late 20th century, directed the theory of contemporary conservation toward an approach to solve the problem of subject and object in the process of restoring historical artworks and consequently restoring paintings. The idea of inter subjectivity which was referred to in this study is in fact an approach which tries to solve the dispute over the opposition between subject and object and the constructive interaction of subjects in restoration. This idea, by raising the idea of Habermas’ triangle, points to the fact that based on the shared world of subjects, a social world can be found based on the conservation of shared meanings of humans. This idea will cover the defect of ignorance of materialistic thoughts of conservation to a great extent and tries to retrieve the needs of different societies in an interactive context among commonalities and meanings of subjects. 

Abstract
Lorestan province has established the connection between the capitals and important cities of Iran during different eras. The need for quick and easy access and permanent communication between these areas has led to the construction of huge bridges despite the rivers full of water and deep valleys. Because these bridges are a natural interwoven complex and have interactions with humans, bridges over time in the geographical area of Middle Zagros of Lorestan connect with great civilizations and in a way realize human rights and religious, ethnic, and economic relations. and cultural as well as the development of welfare, security and comfort are used in difficult mountainous areas, they can well represent the concepts of the cultural landscape. Studying these properties and their cultural landscape can help to identify the components of cultural landscapes and their conservation in addition to conserving the bridges themselves. On the other hand, the first and most important step is to identify the challenges that have not been identified and classified so far. Based on this, the research aims to identify the challenges of conserving the cultural landscapes of Lorestan’s historical bridges through the review and analysis of documents related to this issue. In this research, library and field information was collected on the valuable historical bridges of the Kashkan River, and then the concepts of challenges and their subsets through analysis using the qualitative research method. Data analysis was done through coding operations at 3 levels and finally, the challenges and sub-challenges related to it were categorized into 6 general categories according to the characteristics and indicators of the study samples.
Keywords: Conservation Challenges, Historical Bridges of Lorestan, Cultural landscape, Kashkan River, Coding.

Introduction
Bridges have existed in the mountainous land of Iran as buildings with Iranian architecture since prehistoric times. These properties made the distances shorter and faster because they made it possible to pass easily and safely through the natural complications of rivers and valleys. The need for quick and easy access and permanent communication between these areas has led to the construction of huge bridges (Minorsky, 1937). So far, a significant number of bridges have been reported in the mountainous land of Zagros, which surrounds Khuzestan (Siroux, 1949). Most of these bridges are located in Lorestan. Lorestan is located between the two ancient capitals of Susa and Hamedan. Therefore, the existence of roads, highways and bridges has been necessary as a means of communication. The traces of 100 historical bridges have been observed in more than 25 ancient sites on the map of Lorestan, some of which were built in the Sassanid period in parallel with the expansion of cities and have made great progress in terms of engineering methods and understanding of hydrodynamics it has been observed. Lack of awareness and knowledge of the high value of these properties and related elements (cultural landscape) have caused them to be exposed to much damage. On the other hand, the custodians of conservation have never been able to achieve the necessary successes in the field of conservation of Lorestan historical bridges due to a lack of knowledge of the challenges of conserving these properties and the context in which they are located and the one-dimensional view of conservation on this issue.
The challenges faced in conserving cultural landscapes show the inefficiency of the current system of conserving cultural landscapes, which, if not identified and categorized and solutions are not considered, can lead to the following crises at different times:
• The emergence of a one-dimensional perspective (mere physical protection) and one-dimensional approaches such as a product-oriented approach to the issue of cultural conservation of historical bridges of Lorestan;
• Ignoring the important and key issues in planning the cultural landscape of Lorestan historical bridges;
• Inability to educate and attract the participation of the public to preserve these valuable properties;
• Failure to provide appropriate solutions and not identify internal and external threats in the field of policy and legislation to conserve the aforementioned properties;
• Making the problem of increasing the level of expertise of experts concerning the mentioned cultural landscapes.
Therefore, this research has tried to introduce and categorize the challenges as far as possible to understand. Considering the qualitative and objective of the research, to achieve the research objectives, the following questions are raised:
• What are the challenges of cultural conservation of Lorestan historical bridges? 
• How can we achieve a classified, classified structure of the challenges of conserving cultural landscapes of Lorestan historical bridges?

Identified Traces 
Since each qualitative research is unique and inimitable, the analytical approach used in this research is also unique, but as mentioned, coding was done in 3 Stages through searching in documents, and related charters and used in the form of first-round, second-round (middle) and third round (post-coding). The term “cultural landscape” itself has been a double essence in its nature since the early years of its creation in the field of scientific societies. The challenges posed in conserving cultural landscapes themselves demonstrate the inefficiency of the current system of cultural landscape conservation. Eventually, 137 codes to 68 codes and finally 18 common codes in the field of cultural landscape conservation challenges were achieved. This research has been conducted by continuing to analyze and adapt the common outcomes with the study samples, reaching 10 common categories and 6 main concepts that form the main framework and conclusion framework of the research.
“These concepts are the beginning of writing theories, reading the challenges of conserving the cultural landscape of Lorestan historical bridges, and the last stage of the journey from reality to abstraction.”
Therefore, as mentioned, the challenges that have been achieved from the researcher’s study in the literature of the research subject to conserve cultural landscapes have been used and adapted with the field studies of the researcher to achieve the challenges of cultural landscape conservation of historical bridges, were finally categorized into the following 6 categories:  
• Policy making and legislation;
• Conservation approaches;
• The level of expertise of cultural landscape experts in the areas of identification, evaluation, monitoring and management of cultural landscapes;
• Educating the community to conserve cultural landscapes
• Threats arising from internal and external factors of cultural landscapes; and
• The paradigm shift of Conserving Cultural Landscapes.

Conclusion
This research tried to identify the meanings and concepts of challenge, as qualitative and applied research, and to classify the challenges of cultural conservation of historical bridges of Kashkan River in Lorestan by analyzing the literature and theoretical foundations. Finally, these challenges were divided into 6 groups through coding in three stages and the path from reality to abstraction, with related sub-challenges of each category. The number of codes and percentage of each of the challenges were presented in the relevant tables to be able to familiarize readers with them, study the most important of these challenges and their impact on the studied properties in different dimensions if needed and be aware of them. 
In response to the first question of the research, all the challenges of conserving the cultural landscapes of the mentioned historical bridges were obtained through library and field studies and then by analyzing the literature and theoretical foundations of the subject in 6 general categories along with the sub-challenges. Challenges that each one needs to understand, plan and use different experts to meet them at different time intervals.
In response to the second question, the research attempted to achieve a structured, classified, and categorized framework by collecting, and analyzing the literature and theoretical foundations of the research, exploring the concepts and challenges of conserving cultural landscapes through the process of conservation in charters, conventions and treaties related to the subject, and localizing the mentioned challenges to be adaptable and using them as a conservation factor.
These achievements are certainly not complete and only part of the researcher’s achievements in this field are due to interest and dependence on valuable and unrepeatable properties of the historical bridges of Lorestan. properties that have embraced the identity and cultural values of a people from a long time ago and require the participation of all people, especially local communities whose main beneficiaries. In all stages from identifying challenges to conserving cultural landscapes of Lorestan historical bridges, the unmatched role of indigenous people and local communities should be considered the most important factor in conserving historical bridges, because they are the main owners of these monuments and the most important unclaimed conservationists.

Abstract
Earthquakes have always been considered a threat to human settlements. According to the results of archeological studies, one of the behavioral patterns of humans in the face of earthquakes has been to permanently change their place of residence. The fact that the major part of Iran’s plateau is located in one of the earthquake-prone areas of the planet makes the research and investigation about the impact of these natural events on the human way of life, especially in the prehistoric era, to be studied more. In this direction and with the aim of assessing the impact of this natural phenomenon in Central Zagros and in order to know how humans react to this phenomenon, it has been studied. Our main question in this research revolved around how ancient earthquakes can be identified in archaeological contexts, and based on what evidence? What were the effects of this destructive phenomenon on the change in people’s biological patterns in the period after the incident? The information of this research has been collected from the archaeological excavations of Godin Tepe, Kangavar and Baba Kamal Tepe Tuiserkan from the Bronze Age to the end of the Iron Age III BC. In the following, based on the evidence of the severity of the destruction caused by the earthquake, an attempt has been made to reconstruct the intensity scale of the earthquakes based on the Mercalli scale. As a result, it was determined that the occurrence of destructive earthquakes with an intensity of more than 6 degrees on the Richter scale in the area of the investigation, especially in the Bronze and Iron Age, was not unrelated to the impact of climate change caused by the intensity of melting glaciers and the change in the hydrological conditions of the earth. After the Late Bronze Age, the events caused by this event caused the relative collapse of many settlements until the Iron III period, and practically at this time, the population of the region was reduced to the minimum possible.
Keywords: Ancient Earthquakes, Archeology of Eastern Central Zagros, Godin Tepe, Baba Kamal Tepe, Bronze & Iron Age.

Introduction
Throughout history, villages and cities have always been threatened by cultural or natural disasters such as war, fire, earthquakes, floods, and storms. Earthquakes are natural events that have been important causes of damage and destruction for humanity. The land of Iran, due to its location in the middle part of the Alpine-Himalayan orogenic belt, is always exposed to high-intensity earthquakes and is known as one of the centers of destructive earthquakes.
Studying and researching the remaining signs of ancient earthquakes in Iran according to archaeological data can provide information on long-term seismicity in different parts of this land for researchers. By using archaeological data and matching their information with specific regional geological conditions, it tries to recognize the occurrence of earthquakes that occurred in prehistoric times and their effects on the formation of settlement patterns. 
In this regard, the Kangavar Plain and the eastern region of Central Zagros have been studied and researched, focusing on the archaeological information of Godin Tepe and Baba Kamal Tepe. This research aims to investigate and identify the archaeological studies carried out in Godin Tepe and East Central Zagros to study and investigate the events that are suspected to be natural earthquake hazards in Godin Tepe and Baba Kamal. Also, the role and effect of these earthquakes in the distribution of settlements after the earthquake will be studied in the region, seeking to answer questions such as: How can the earthquake during the settlement of Tepe Godin and Tepe Baba Kamal be recognized? In what period of the settlements of Tepe Godin and Baba Kamal and with what approximate magnitude did these earthquakes occur? How can the role and effect of these earthquakes be explained by the change and distribution of settlement patterns in the post-earthquake era of the region? In the investigations and field studies, the evidence and signs of earthquakes in the Bronze Age of Godin Tepe Kangavar and the Iron Age of Baba Kamal Tepe Tuysarkan have been observed, which can be the hypothesis proposed in this regard.

Discussion
The investigation of different cultural layers showed that the Godin site experienced at least three important events that changed the lives of the people at that time. Evidence of these events can be seen in layers III5, III4, and III2 in the Bronze Age in different years between 2400 and 1650 BC. Yang, the explorer of Godin Tepe, believes that the earthquake in these phases caused destruction and destruction in the buildings, which caused the settlement to leave and the site to be abandoned at the end of phase III2. Among the damages caused by the earthquake in Godin Tepe and Baba Kamal, the following can be mentioned:- Collapse of ceilings and walls;
• Collapse of ceilings and walls;
• Debris left on the floor of the rooms;
• Crushing of healthy pottery under the debris;
• Humans being buried under the rubble and being killed by falling bricks;
• Cracks in the walls
• Abandonment of the site after the earthquake
Using the empirical relationships and the Mercalli intensity scale (MMI), we can attribute an average magnitude of 6 to Godin III2 and Iron III Baba Kamal events, and an average of 7 to Godin III4 and III5 events. 
 According to the archaeological surveys conducted in the studied area, it can be seen that the region has experienced a decrease in human settlements and population collapse in the periods after the Godin earthquakes. The reduction of settlement areas during different phases of the Middle and New Bronze Age compared to the previous layers is observed in the plains of Kangavar, Nahavand, Asadabad, Tuysarkan, Malair, Sanghar, Sahne and Borujerd. In layer III2, the number of sites with artifacts from this period increases in the region. Young and Henrikson believe Godin III2 pottery at the same time as this phase, or probably at the end of this phase, we see an increase in the nomadic process, and it is likely that this issue has influenced the increase in the number of ancient sites. 
During the Iron Age, the central Zagros region underwent changes that led to the reduction of human settlements in Iron Age I. Archaeological data show that there was no population density in Iron Age I/II in areas like Kangavar Plain. Several abrupt climate changes occurred during the Holocene epoch. This change in weather conditions, along with the earthquakes in the region, could have been a factor that affected the settlement of human populations and settlements in the region in prehistoric times and caused a change in the settlement pattern and a decrease in human populations.

Conclusion
In this study, in order to investigate the seismicity of the eastern central Zagros region and the earthquakes that occurred in the Bronze and Iron Ages of the region, the collection of evidence and documentation of the earthquakes of the mentioned periods, obtained from archaeological excavations, was collected. Earthquake evidence in Baba Kamal Tuiserkan Tepe was obtained in the form of disturbed layers with cracks in the Iron Age III clay structure. Also, these signs have been observed in the form of ruins and human remains found under the debris, scattered artifacts and pottery on the floors of residential houses, and cracks on the walls in the Bronze Age of Godin Kangavar Tepe. Godin Tepe has witnessed three destructive earthquakes in phases III5, III4, and III2, which, in addition to the destruction that followed, caused the area to be abandoned for a long time. The abandonment of the area can also be seen on Baba Kamal hill, which was without settlement until the Parthian period.
After the Godin III period until the end of the Iron Age I and II, the reduction of settlement areas is observed not only in the Kangavar plain but also in most of the surrounding areas of the Kangavar plain in the east of central Zagros. However, some researchers have pointed out the change in weather conditions as another reason for the decrease in the number of settlements in the region, and climatological research has proven that during this period, climatic dry events occurred in Southwest Asia. According to the seismicity of the central Zagros region and the evidence of earthquakes from Godin Tepe and Baba Kamal, these climate changes, along with the occurrence of earthquakes in this region, are both factors that have provided unfavorable conditions for life in the region at the same time. Based on the data obtained from the Godin and Baba Kamal sites, a magnitude of 7 was estimated for the Godin earthquakes of layers III5 and III4 and a magnitude of 6 for the earthquakes of Godin layer III2 and Iron Age III of Baba Kamal.

Abstract
The concept of “manifestation” (Tajalli) is one of the fundamental concepts of Islamic wisdom and mysticism, which has its roots in the Holy Qur’an and the traditions of the innocents (peace be upon them), and from this passage, it enters the tasteful language of Muslim mystics, especially Ibn Arabi, pay special attention to it. they do. With this description, since the issue of manifestation in art finds a special place in mystical discussions and since one of the basic principles of the art of calligraphy is indeed “refinement” (Sh’an) and until the rust is not removed from the heart and refinement is not achieved, an image in it will not be manifested; Therefore, it seems that through the expression of this concept of manifestation, a close bond is established between mysticism and calligraphy. Based on this, the current research has tried to answer these two questions: 1. What is manifestation and what is its place in our sacred and mystical texts? 2. What is the relationship between manifestation and the theoretical foundations of Islamic calligraphy, especially “refinement” and “dignity” (Safā)? In order to reach a clear answer to these two questions and to establish a bridge between mysticism and Islamic calligraphy and to find the mystical dignity of “manifestation” in it, therefore, first the meaning of manifestation in religious sources such as verses and narrations was discussed and then in mystical texts (according to Ibn Arabi and mystics before him) has understood its meaning. In the following, the category of sanctity in calligraphy is discussed and based on the twelve principles governing it (according to the text of Babashah Isfahani’s Adab al-Mashq), the connection of “manifestation” with “refinement” and “dignity” in Islamic calligraphy and its relationship with its beauty (Hosn) is examined.
Keywords: Manifestation; Principles of Refinement and Dignity, Islamic Calligraphy.

Introduction
The fact is that there are not many sources about the wisdom of the origin of calligraphy and the investigation of its intellectual foundations among different Islamic nations. Therefore, there is no escaping the issue of having an opinion on the intellectual foundations of some Islamic sages and thinkers, although of course they have not directly addressed this specific issue and their talk has always been art in general. But what stands out more than anything else in the study of the wisdom of Islamic art is its wealth of terms such as intuition, presence, manifestation, imagination, discovery, dignity, love, etc. These terms find a special place among great people such as Suhrawardi, Ibn Arabi, Mulla Sadra and others. Meanwhile, the issue of “manifestation” in art has a special place in his mystical discussions. Therefore, it seems that since one of the very important principles of calligraphy (among its twelve principles) is indeed “dignity” - and a special meaning is meant by it and it is the foundation of the next stage, namely “dignity” - there is an inseparable relationship between mysticism and Calligraphy is in place. Therefore, the main preoccupation of this article is to find convincing documents and proofs related to the keyword “manifestation”, both in sacred and mystical texts and in texts related to calligraphy, to prove the mentioned claim. Based on this, the present research pursues two specific questions: 1. What is manifestation and what is its place in our sacred and mystical texts? 2. What is the relationship between manifestation and the theoretical foundations of Islamic calligraphy, especially refinement and dignity?

Discussion
Holiness has a long history in Islamic calligraphy. Undoubtedly, calligraphy has taken its sanctity from the Qur’an, which, as the first and most glorious Islamic art, has actually been the closest companion to the Word of Revelation. References in the Holy Qur’an such as “Nun. By the Pen and the [Record] which [men] write” (Qalam, 1) and the use of words such as tablet, pen, chair, line, cut letters, etc. also confirm this sanctity. Calligraphers in this position, knowing this sanctity, pay attention to the beauty of their handwriting so that the truth hidden in words is not hidden in the image form of calligraphy and is revealed in the best way. Calligraphic writing is not the same as calligraphy, but it implies a meaning, and the external role is to express a hidden role. Rumi has mentioned this in this regard: “No calligrapher writes line by technic/ The same line is not readable” (Rumi, 2013: Book 4). On the other hand, the wisdom of Islamic art, with its mystical base, is full of terms such as intuition, presence, manifestation, imagination, discovery, dignity, love, etc., which cannot be expressed and interpreted except with the language of judgment, and the audience as well. If he is not familiar with this language, he will not be able to understand it. With this description and according to the opinions of Islamic mystics - the most important of which was given in the first part of this research - the manifestations of holiness in the lives of Muslims are revealed. By generalizing his opinions to the field of religious art, Islamic art and sacred art, we can find the mysteries in Islamic calligraphy. The juxtaposition of the old popular myths with the opinions of Islamic thinkers, symbols, codes and its influence on Sufi intellectuals and popular culture, all lead to the discovery of relationships that show the sanctity in this art more than ever before.

Conclusion
The current research has clearly sought answers to two questions: 1. What is manifestation and what is its place in our sacred and mystical texts? 2. What is the relationship between manifestation and the theoretical foundations of Islamic calligraphy, especially dignity and dignity? In order to reach a clear answer to these two questions and establish a bridge between mysticism and Islamic calligraphy and find the mystical dignity of “manifestation” in it, the meaning of manifestation in religious sources such as verses and hadiths was first discussed. We saw that in this regard, this concept occurs in the most obvious way possible in the noble verse 143 of A’rāf, which is known as “the manifestation verse”. With this meaning, it is from manifestation that the divine names and attributes appear in the world and explain the nature of God’s relationship with his creatures. In addition to the Qur’anic verses, in many Islamic traditions, relying on those verses, especially “the manifestation verse,” God’s relationship with creation is mentioned, especially in sermons 108 and 147 of Nahj al-Balagha, where God manifests himself to his creatures, without them seeing him. And this is where the difference between manifestation and incarnation in Christianity is established. In addition to verses and traditions, this concept finds a special place in mystical texts, especially Ibn Arabi, which is one of the pillars of answering the above questions. Of course, with the mystics before Ibn Arabi (such as Hasan Basri, Rozbahan Baqli, Bayazid Bastami and others), manifestation has an intuitive meaning, meaning that the seeker goes through the states and mystical Authorities one by one with the intuition of the actions, attributes and nature of the Supreme Being. According to Ibn Arabi, a metaphysical (existential) meaning is also meant by it, which explains the system of existence and the way of connecting truth and creation and the connection of the world of multitudes with the absolute unity of truth. While discussing this concept, Ibn Arabi discusses the heart, which is the bearer of divine manifestations, and maintaining its dignity is the duty of the seeker, so that the heart does not have dignity, and the names and attributes of the Most High do not manifest on it. The existential meaning of manifestation according to Ibn Arabi is that for the appearance of different levels of beings, the existence of the absolute one must be determined through manifestation. In the manifestation of absolute existence, the general image of single existences emerges, which he interprets as “Khams”. These gentlemen are the bearers of God’s manifestation, and according to that, the world of the kingdom is the manifestation of the world of the kingdom; The world of the kingdom is the manifestation of the world of strength; The world of strength is the embodiment of the world of nobles; The world of nobles is the manifestation of the divine names (Vāhediat) and the unity is the manifestation of unity. Thus, man has the ability to be the embodiment and full-view mirror of the existence of truth and manifest his truth in the mirror of the human heart. It is from here that we can enter into the discussion of Islamic calligraphy and its connection with manifestation. Apart from the issue of sanctity of calligraphy in Islamic culture, which on the one hand is based on its connection with the writing of the Qur’an and on the other hand, from some Qur’anic verses, referring to texts such as Adab al-Mashq by Babashah Esfahani, in which he enumerates twelve principles for good calligraphy, the eleventh principle It, i.e. “refinement” clearly has a mystical element and is derived from the eternal quality of the human heart according to the likes of Ibn Arabi, to the extent that it manifests itself in the rusted mirror of the human heart. Therefore, “dignity” with all its mystical meanings in the basic form of the principles of calligraphy and is described as a stage that polishes and refines the heart to manifest or reflect the goodness of God, and the sincerity of the word is to say Sultan Ali Mashhadi: “The dignity of the line is the result of the dignity of the heart”.

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

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

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

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

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

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.