Abstract
The purpose of this research is analysis and survey architecture decorations of wooden pillars in the mosques of Maragheh. The research method in this study is based on surveying and descriptive analysis. The data of this research are contains 14 mosques in Maragheh, that from these numbers 8 mosques haven’t been studied because of that general reconstruction or without being pillars. So, in this study 6 mosques of Maragheh have been surveyed and analyzed. Today, because of the lack of use this kind of decorations in the construction of mosques and their uniqueness, this study is essential. The wooden capitals in this research are decorated with motifs of stalactite work and woodturning with shapes of geometric dangling, stair, and crenate. On these capitals are abundantly seen decorations of arabesque motifs. The colors are used in this motifs contains black, white, red, green, yellow, blue, light brown and dark, turquoise, and ranges of these colors. The alongside these decorations has been used calligraphy of verses and holy names. The results of this study indicate that decorations architecture of wooden pillars in the mosques of Maragheh despite having art style of unit, they have variety of colors, designs and form of pillars. The method of doing this research is field-library. The field data have been collected with direct observation from wooden pillars, and then designed them with using software Corldraw. Thus, two main questions in this research that the authors try to analyze them is as follows: Can with compare and analyze the decorations of pillars common tips between them found? And, what have decorations of pillars pattern? 
Keywords: Decorations, wooden pillars, mosques of Maragheh, Islamic architecture.

Introduction 
In monuments and mosques have been used from the wood as the main components and also as a decorative element. The slender and long wooden trunks with decorations as carrier pillars of roof have been used in buildings. These wooden pillars have played a key role in holding pillars and prayers hall of mosques. The decorating the inner surface of wooden roofs has been of evolved over time and arrived in the late centuries of Islamic to ultimately development. During the Safavid period, that construction of wooden ceilings, known as Chehelsotun, has become spread (Soleymani et.al, 2011: 27).
In Maragheh city is remained wooden mosques of beautiful from Safavid period. These mosques have been contains 14 mosques, but in this research have been studied decorations of pillars mosques Molla Rostam, Molla Moez Aldin, Zarir, Sefid, Ghazi, and Najarlar. These mosques have wooden decorations and the capitals of wooden stalactite in these mosques have been decorated with motifs of arabesque and calligraphy. The artists tried in decoration of these pillars have been used the most beautiful and diverse designs. The authors in this research, after survey all of the pillars, have been presented the fixed pattern from them. So, due to the registration of Maragheh wooden mosques in the national monuments list and wooden decorations of unique them, do this research is essential.
The field data have been collected with direct observation from wooden pillars, and then designed them with using software Corldraw. The study of library resources is contains of study the articles and books published in this field and also use the archive of cultural heritage administration of Maragheh County.

Introducing samples of mosques
Mosque of Molla Rostam: This mosque is located in the south side of the Molla Rostam square and among the Chay Osto Bazaar. Most of the pillars of this mosque are made of wood and stalactite motifs. The wooden pillars in this mosque have been prepared from Sepidar tree and woodturning to form of octagonal.
Mosque of Molla Moez Aldin: This mosque is located on the west side of the Khoshkbar square (Salar neighborhood and Hatam alley) in Maragheh city. The mosque of Molla Moez Aldin has two prayers halls of eastern and western. These two prayers halls have roof with flat cover and beamed ceiling, and with the capitals of stalactite.
Mosque of Zarir: This mosque is located in the northeastern part of Maragheh City and in street of Mir Habib Agha. The roof with flat cover of prayers hall in mosque of Zarir has six wooden pillars in two rows. Each of these pillars are consists of a stone pedestal, stem of wooden pillar, and capitals of stalactite.
Mosque of Sefid: This building is located in the southeastern part of the historical context of Maragheh city, and along one of the historical and main gates of this city in the name of “Darvazeh Biron Ghaleh”. The prayers hall of this mosque has the pillar, and the pillars of them are numbers three.
Mosque of Ghazi: This mosque is located in the Ghazi neighborhood of Maragheh city and corner of Ghods street. The date of construction this mosque is Safavid period. The prayers hall mosque of Ghazi has roof with flat cover, and six of pillars with capitals of stalactite.
Mosque of Najarlar: This mosque is located in the Qom neighborhood of northern in Maragheh city. The plane of this mosque is to form of rectangle, and has a prayers hall with three numbers of pillars with stalactite.

Conclusion
The motifs and schemes in architecture decorations of wooden pillars in the mosques of Maragheh, in addition to the have artistic style of unit, they have color variation, scheme, and form in pillars. According to the construction period these mosques, we can see differences in them. The main decorations in these mosques are contains of the rich motifs and arabesque motifs. The colors are used in this motifs contains black, white, red, green, yellow, blue, light brown and dark, turquoise, and ranges of these colors. The alongside these decorations has been used calligraphy of verses and holy names.

Abstract
The tombs or funerary monuments are one of the most important elements of Iranian-Islamic architecture that in different fields require careful investigation. This group of buildings is important among Iranians; for this reason, in each period of the Islamic era of Iran the most important and most used arts related to that period have been used in their construction. Generally, the decoration in buildings has a more effective role, because, if it is understandable in terms of form and structure for archaeologists and designers, it’s possible this isn’t understandable for the general public. So, decorations in the buildings at first sight are attracts the viewer. In this article epigraphy art as one of the most important decorative elements of Islamic buildings have been reviewed in the four Seljuk tombs of Northwest of Iran: Gonbad Sorkh, Borj Modavar in Maragheh, Seh Gonbad, and Gonbad Kabood. The research method in this study is interpretive – historical. In this study with analytical method have been studied decorations of these four tombs (especially in terms of architecture, motifs, inscriptions and their position on the buildings). Also, in addition to reviewing the articles, books, and evidences, with field survey from these tombs, plan and decorations, and then a comparison table of inscriptions has been provided. In this regard, the following questions are raised:
- How is architecture, motifs and decorations of the Seljuk tombs in northwest Iran? And, their inscriptions are divided into several categories in terms of content?
- What are the effects of concepts of the inscriptions on position them on the buildings?
Reviews show that inscriptions of Seljuk tombs in the Northwest are divided into four groups: The Quranic verses, inscription with the theme of the date of construction, inscription with the topic of prayer, and inscription with the theme of the architect and the builder. On the other hand, position these inscriptions in the buildings have been differed proportional in their content. Inscriptions of the Quranic verses in the highest section of building, inscription with topic of prayer in the lower, inscription with the theme of date of construction and architect and builder are placed on the lower levels and on the body of building.
Keywords: Islamic architecture, Seljuk tombs, Northwest of Iran, decorations, inscription.

Introduction
Generally, one way of cognition more about periods of Islamic architecture besides of decorative elements and motifs, is study of inscriptions and their texts. In the Seljuk period, one of their architectural features, are create inscriptions and decorative lines from shaved bricks, that in most of buildings this period (especially tombs) is seen. Furthermore, due to the difficulty of shaving the bricks and the formation of letters and words with it, during this period, the Naskh script was replaced by the Kofi script and inscription with style of stucco was used (Hatam, 1999: 162).
In this article, in addition to reviewing the historical background and the process of build tombs in the Seljuk period to study and compare four tombs in the Seljuk period in Northwest of Iran, first have been introduce architectural features and decorative motifs them. Then, in comparative tables have been specified types of inscriptions and their position on the tombs. In this regard, following questions are raised: How are architecture, motifs and decorations of the Seljuk tombs in northwest Iran? And, their inscriptions are divided into several categories in terms of content? And, what are the effects of concepts of the inscriptions on position them on the buildings?
This study shows, inscriptions of Seljuk tombs in the Northwest are divided into four groups: The Quranic verses, inscription with the theme of the date of construction, inscription with the topic of prayer, and inscription with the theme of the architect and the builder. On the other hand, position these inscriptions in the buildings have been differed proportional in their content. Inscriptions of the Quranic verses in the highest section of building, inscription with topic of prayer in the lower, inscription with the theme of date of construction and architect and builder are placed on the lower levels and on the body of building.

Buildings under study
Gonbad Sorkh: The Gonbad Sorkh is oldest tomb in the Maragheh that is located in the southern part of the city and west side of Hashtrod road. Generally, in the Gonbad Sorkhon and in different parts and also on all sides this tomb is inscription.
Borj Modavar: The Borj Modavar is second tomb built after the Gonbad Sorkh and inside the city of Maragheh. This tomb now is located in Khaje Nasir Street and behind the building of Bank Melli. The Borj Modavar has two inscriptions that both of them are located in the main direction of the building and facing the North. 
Seh Gonbad: The Seh Gonbad is third tomb that was built in the Seljuk period in Azerbaijan. This tomb is located in the southeastern of Urmia city. The three inscriptions with Kofi script and geometric motifs at the facades of this tomb have created beautiful view.
Gonbad Kabood: The Gonbad Kabood after the Gonbad Sorkh and the Borj Modavar is third of building that has been made in the Maragheh city. In this building 5 inscriptions are visible.

Conclusion
It’s certain, in Seljuk period and in the method architects and artists of this period, concepts of inscriptions have played an important role in location of inscriptions. According to this, inscriptions of Quranic verses and inscriptions of mystical concepts and prayers have usually been located at higher levels. Other inscriptions (such as inscriptions with historical or political themes) have usually been located in lower levels. The location of inscriptions in buildings from the down to up in four sections 1, 2, 3, and 4 in the table below is shown.

Abstract
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The pseudo-prehistoric ware is one of the pottery types of Islamic period that is identified in the archaeological surveys in Narmashir. This type, has also reported from South and South-West Iran in previous years, and it has identified recently in other regions of Iran. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins.  The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” In this article, pseudo-prehistoric wares are introduced and studied. Then they have compared with other sites. The data have collected in documentary and field methods. The research method in this study is “descriptive-analytical”. Accordingly, in the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the cultural material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.
Keywords: Narmashir, unglazed painted wares, pseudo-prehistoric pottery, the historical sites of Islamic period.

Introduction
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The old city of Narmashir (Choghook Abad site) has been introduced as one of the five main cities of Kerman, the center for agricultural and industrial products, the mediation center of Goods, and the serving location for the caravans, in the Islamic sources. This city was located along the road of India, Oman, and Sistan to the center of Iran. For this reason, it played an important role in the development of southeast Iran in early and middle Islamic era. The pieces of wares from early Islamic period to the 12th AH has identified on the surface of the Islamic sites of Narmashir, in the authors archaeological surveys. One of these wares is the unglazed painted ware (pseudo-prehistoric ware), which was reported by Sumner and Whitcomb for the first time in south and southwest Iran (Sumner & Whitcomb, 1999). But, several sites in Iran were introduced as the sites containing pseudo-prehistoric wares, after recent studies. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins. 

Data and analysis
The unglazed painted wares of south and southwest of Iran are very simple. They are painted in dark red or dark brown. The ornaments have appeared on the outer surface, upper part and around of their rims and handle. This motifs include simple, primitive, and careless lines, such as horizontal or vertical bands, curved and wavy lines, and zigzag designs. (Sedighian & Gholami, 2012: 135). They belong to the middle and late Islamic period (Ibid: 134). These wares have found in the old city of Narmashir, Jalal Abad and Rafi Abad. The pseudo-prehistoric wares of Narmashir, are similar to those one from southwest, center, north, and northeast of Iran. They have red or orange clay, buff slip, and mineral temper. Most of them have produced with the wheel. Their ornaments have painted in brown, red or orange. The samples of the old city of Narmashir are similar to the “Mad Abad” wares (see. Sumner & Whitcomb, 1999:320-321). The pieces of Jalal Abad and Rafi Abad are similar to those one from Atigh square of Isfahan and Samiran of Manjil (see. Sedighian & Gholami, 2012: 138). The technique of production of them is similar to the samples have reported from Bishapoor, which have painted by simple and curvy designs in red or black (see. Amiri et all. 2012: 13). Also, the samples of Kompos Bonari in Kohgiluiyeh (see. Qezelbash & Parviz, 2013: 123-124) and Qal’eh Dokhtar and Shahdezh in south Khorasan from 5th -7th AH (see. Sedighian & Gholami, 2012: 137) are similar to Narmashir wares. But, the samples of Narmashir are different from those one of Sistan and Bluchestan. The wares of Sistan and Baluchestan have the orange or red background and dark-brown motifs (see. Mousavi Haji et all. 2013: 127). The pseudo-prehistoric wares of Narmashir belong to the 5th – 8th century AH, based on similar samples found in the south of Khorasan, and center and southwest of Iran. The samples of Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.

Conclusion
In the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, and they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran. Furthermore, the samples of Narmashir are different from pseudo-prehistoric wares in Sistan and Baluchestan, because the Sistan and Bluchestan samples have the red background and dark-brown ornaments. 

Abstract
The city has more than one enclosed enclosure inside the barrow, and it introduces more than one area. Cities have seen profound changes in industrial, social, economic, political, and in particular their demographic, in their relatively long history. The oldest cities between the end of the 4th millennium and the beginning of the third millennium BC They emerged in western Asia and in places where their climate was favorable, and the fertile land suitable for cultivation .Also, the city’s urbanization in Iran dates back to the fourth millennium BC, But the process of city formation and the continuity of urbanization has been gradual in its own way. The Iranian city’s security includes the features and values of the architecture and urbanization of Iran, prior to the arrival of Islam. After the arrival of the Arabs in Iran and the formation of a unified Islamic state in the lands under Islamic domination, the emergence of sprouts The early buds of the new towns, these new towns, originated mostly from Islamic teachings, are divided into two main categories Cities left from civilizations before Islam or cities built by Muslims. The Islamic mayor was structurally persistent in the urbanization of the Sasanian era, and its physical elements were mostly derived from culture. The rich are Islam and represent Islamic civilization and culture. One of these cities is Qazvin, whose core was formed during the Shapur Sassanid dynasty and gradually developed and expanded during the Islamic era, and during Safavid times, Shah Tahmasb was chosen as the second capital of this dynasty.
Keywords: City, Urbanization, Iran, Islam, Qazvin.

Introduction
The word “city” has a long history in Iranian languages. The concept of the city is simply not possible, because civilization begins with urban life, as a result civilization has a direct relationship with urbanization or city. The process of the formation of cities and states for the first time during the third millennium. Based on the evidence available in the Middle East and the regions. The southern and central middle and middle plains of Khuzestan, Nile valley in the north of Aswan, the plains of the Iranian plateau from Fars to South Turkmenistan have been the main centers for the expansion of early cities in the semi-arid lands of Western Asia. One of the major differences between cities yesterday and today is their size, which initially made it difficult to distinguish between the city and the ten because not only the size of the small towns and their population was limited. But the ten and the city, as well as the dominant economic activity, were the same. Each city has different sections that are evidenced by evidence Exploring the ancient sites, the main parts of cities are the structures of the living city, including: temples, palaces, warehouses, defensive walls, houses Residential neighborhoods, workshops and industrial neighborhoods of cities, cities of the dead or cemeteries. In Iran, the process of urbanization and urbanization of the fourth millennium BC It began with the identity of cities and their architecture before the arrival of Islam into Iran But with the arrival of Islam to Iran, we are witnessing the formation of new Islamic cities, and pre-Islamic Pre-Islamic Iranian cities, including Qazvin, are developed and expanded with Islamic elemental elements.

Creation of the First Cities and the Formation of the City of Qazvin
The word root of the city’s name indicates that the city has a semantic meaning over an enclosed enclosure within the barrow, and has more than one district (rural district, district, county, and province). One of the major differences between cities today and tomorrow is their size. At first, it was not easy to identify the city and ten of them. The city and township in Iran has a long history of civilization. And exploring the ancient sites of Iran dates the city and urbanization to the fourth millennium BC. The Iranian identity of the city includes the features and values of the architecture and urbanization of Iran before the arrival of Islam into Iran. Qazvin is one of the cities that was created during Sassanid era and on the orders of Shapur Zoltakht and the original city In the form of a fence and a gable under the name of Shapour’s fence, there were gates in different directions; Qazvin also had a city within the first city under the name of Sharistan or the city, which was later mentioned in the Islamic period by Islamic historians. On the edge of the city and around it there were gardens and fields that Naser Khosrow in the century 5h. q These gardens were mentioned without a fence, and these gardens during the Safavid period and during the Qazvin’s capital created the Gardenshahr of Qazvin, and the works of these gardens still remain in the city until now. During the Safavid period of Qazvin, the name “Dar al-Saltanah” He took himself and chose it as the capital of the king of Tahmasb.

Conclusion
Qazvin is among the cities that has been of special importance in all historical periods, according to written documents written by historians and geographers of Qazvin city by Shapur Zoltakht. It was called “Shadshapur”, but there is however no evidence of the state of the city during the Sassanid era. The only references mentioned in this article are the base and the boundary of Qazvin. In this period it is for the war against the Dalian, which most historians have pointed out. With the arrival of Islam in Iran and the conquest of Qazvin by Muslims, the city gradually expands and the core of the city for its development is the location of the Shapouri fence, which in the texts Historians have been referred to as the Keswin fortress, and in the post-Islamic periods, the city has expanded to this area. On the other hand, the city of Qazvin is located on the east-west and north-south communication highways.

Abstract
Tuyserkan plain is one of the middy mountain and highland plains in Alvand Range, strategically one of the most important connector plains of western Iran and throughout history, especially the Islamic period, the path of the great Khorasan has been of considerable importance. This plain has been studied and identified during the winter of 2012. This study has been studied at random by collecting cultural material from the area of the site in order to identify and record ancient sites and monuments. The results of the study include 44 sites from the copper and stone Age to the late Islamic period, and according to the identified surface artifacts 14 of these sites have artifacts from different Islamic times, this area has shown importance in the Islamic era but so far the plain has not been explored in terms of the cultural developments of the Islamic settlements. The question now is, what are the characteristics of Islamic period in Tuyserkan plain and what is their pattern of distribution and expansion, and in what periods has it grown and expanded? The main purpose of the research is to study the archaeology of the Tuyserkan plain with the typology of cultural changes in the works and settlements of the Islamic periods and it is an appropriate pattern of distribution in the Tuyserkan plain. The research method utilizes spatial analysis and field and library, analysis of cultural works and materials collected from archaeological survey and study of Islamic settlements of Tuyserkan plain, it will be based on current theories of settlement patterns and archaeological landscape. The results show that the settlements of Islamic period of this plain are distributed in all parts of the plain, consisting of large enclosures as the main dwelling cores and small enclosures formed as small bases dependent on roads and arable land, in the Safavid period, the Tuyserkan plain also witnessed a growing number of settlements with the Carvansara and Bridge Farasfaj  being one of the most significant monuments of that period, and finally in the Zandieh and Qajar period expanding population and settlement. 
Keywords: Archaeology Study, Tuyserkan, Islamic Period, Archaeology Aspect.

Introduction
One of the most fundamental archaeological studies (archaeology surveys) to identify and deter mine the location of archaeological sites and settlement characteristics. Archaeological surveys are carried out to find out general information about settlement developments in different areas. This is a forerunner to archaeological excavation, which in fact means reconstructing and accurately identifying communities and their cultural achievements, archaeological studies are an important step in the analytical programs of the historical evolution of human societies and the selection of index sites for exploration. Based on the above, the Tuyserkan plain has been investigated and identified during the winter 2012. This study was conducted in a randomized manner by collecting cultural material from the enclosures at random to identify and record ancient sites and monuments stone age and copper period, and identified by surface artifacts, there are 14 sites from various Islamic periods that indicate the importance of this area in this period. Prior to this research, the Islamic period sites of Tuyserkan plain were not explored and it was necessary to study them. The lack of studies of Islamic settlements in the Tuysrkan plain provides the motivation for studying and comparing population- based settlements as well as their relevance to ancient habitats.

Identified Traces 
There are various definitions for the concept of landscape but all of these definitions are in common sense, and they include the structures created by humans between their own space and their natural structure. Obviously, human tissues in different societies are made in accordance with their environment. Many of today’s concepts and meanings of landscape come from the writings of German geographer otto schuler written in the early 20th century. He believes that geographical studies should be dedicated to the visible landscape. Human societies and natural geography are the two major factors that make up the Archaeological landscape structure. Since two- thirds of the world’s vegetation is made up of fields, pastures and artificial forests, one can understand the crucial role of humans in creating landscapes. Human societies are constantly changing and experiencing space throughout their lives, and the place is always confronted with the effects of human behavior. Tuserkan is a subsidiary city of Hamedan province with one area of about 1480 sq. K. M. Which covers 7.7.7. Of the area of Hamedan province. As we know in the year 21AH when the war of Nahavand occurred and led to the defeat of the Iranians against the Arabs, all areas of Hamedan including Tuserkan were captured. On the urban situation and the situation of the people in the Tuy and Serkan from the seventh to the tenth century AH there is no precise information, but since the tenth century, the rise of the Safavid dynasty, your village is known as Tuserkan while the Serkan remained with its old name.
Of course, there are no credible sources to show exactly what date Tuy name was converted to Tuserkan and the reason that the possibility of renaming this name whit the Safavid period should be known is that there are books related to this period that their authors have the reputation of Tyserkan while none of the works before the Safavid era have the reputation of Tuserkan. The few people in this place who are mentioned in some of the Safavid works are known as Tuyi and this shows that at first this village was famous under the same name as Tuyi.

Conclusion
 By studying Tuyserkan plain, 14 sites have been identified from different periods of the early Islamic to the later ages. Environmental factors have played an important role in the process of formation and expansion of these sites, factors such as height, suitable soil, access to communication, access to water resources and access to range lands. Most of this sites in this period were formed in lowland and mid- mountain and fertile lands in susceptible grassland areas. The impact of cultural and human factors on the pattern of settlement in Tuyserkan plain has not been affected. The peak of the flourishing and growing of settlements dates back to the early and middle centuries of Islam and its decline in later Islamic times. In recent centuries the number of sites has diminished and never reaches the boom of the early and middle ages. The reason for this was the growth of population in the main sites and surrounding areas, which have become large cities and villages today, and their lives continue. The results show that the settlements of the Islamic period of Tuyserkan plain are distributed in all parts of plain, consisting of large sites as the main center of settlement and small sites as bases of roads and arable land.

Abstract
The existence of route such as the Khorassan highway and the Shah’s subway in the Hamadan have made the region known as an important station throughout the historical periods. In the Islamic era, these trade routes have led to the emergence of various types of pottery cultures in the region. Due to the influence of the pottery cultures of Hamadan from the large areas of Islamic pottery production, this research has tried to address the issues such as: the era of Islamic pottery of Hamadan region? Which types of Hamadan region have local cultures? With the aim of identifying various kinds of clay of the Islamic period of the region, which is carried out through the study of archaeological data, a variety of pottery styles of the Islamic Ages are identified and introduced. During this research, more than 12 pottery styles were identified. All these types of pottery date back to the early centuries, the Middle Ages, and the later centuries. In the first centuries a variety of Unglazed pottery’s, Flower-shaped species and Sgraffiato were obtained. In the medieval pottery the types of pottery can be mentioned: Monochrome, Unglazed pottery with marble and mosaic designs, Ghalam Meshki, Silhouette, Lakaby, pottery of Sultanabad, Zarinfam and the Blue and White of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late centuries. During this period, the production of species such as Blue and White Safavid era and engraved pottery on ghosts with abnormal designs are prevalent.
Keywords: Hamadan Region, Pottery Styles, Islamic Era.

Introduction
Hamadan is one of the areas that has had a strategic position throughout history. This area allowed the Central and Eastern Plateau to connect with the West and Mesopotamia. The existence of major routes such as the Great “Khorasan Road” and the “Royal Road” route has affected the region’s transformations in the various cultures of human societies. For example, during the survey and archaeological excavations in this region the influence of the Yanik culture from the northwest and the Black on Buff  Ware (BOB) from the southwest on this region has been determined. One of these developments is the creation of various styles of pottery of the Islamic era. Surface surveys on the Islamic period of the Hamadan region indicate that in this region various types of pottery styles have been used in different parts of Iran. However, except for the alternate and two underground crumbling basins, the Samen (It’s a underground archaeological site in the southwest of Hamadan province) is still not one of the sites of the era Islamic, with the approach of identifying and introducing various types of pottery of Islamic era, has not been explored. Based on the data obtained from the archaeological excavations carried out in Hamadan (like Hegmatana, Arzanfood underground archaeological site, Samen underground archaeological site, Islamic city of  Darjazin and Zinoabad ) it seems that apart from the few centuries that, in the absence of exploration of the temporal exploration of the pottery cultures of this region, it is still unclear to our knowledge of the next century pottery, which is generally from archaeological surveys Gets more accessible. In this study, by studying these data, a variety of ornamental species commonly associated with the Middle Ages are known, such as simple mosaic-free glazed ceramics, graphite pottery, pencils, zarrinfam, aquatic blueberries of the Middle Ages, and others in Hamadan region.

Decorative Styles of Pottery of the Islamic Era in Hamadan
After reviewing all the archaeological sources of the area, 12 styles of decorative decoration of Islamic pottery were identified for the period of the early centuries to the late Safavid era. Decorative styles include: plain clay and glazes, all kinds of pottery with monochrome glazes, clay pottery with glazed pottery and stamping, scratching, lacquering pottery, all kinds of underbrush glazes, silhouette, types of painting on the glaze of type Zarrinfam, Sultan-Abad style pottery, famous blue and white pottery and various styles, generally related to the later period, the Qajar period.

Conclusion
The result of the study of Islamic clay data obtained from the archaeological explorations of Hamadan region is the identification of 12 species of clay. These types of pottery were each produced with different decorative features in different Islamic periods in this region. In general, Islamic pottery can be divided into three periods of the early centuries, the Middle Ages, and the later centuries. In the first centuries of the Islamic era, due to limited studies, the conditions of the cultures of the Hamadan region are not clearly known, but based on this limited information, a variety of simple ceramics without glazes, clay dipped and pottery clay. The next period is related to the medieval pottery. The pottery of this period has been identified in many Islamic sites of Hamadan. Among the types of pottery of this period are: monochrome pottery, unmolded pottery with decorated motifs, black pottery, silhouette, lakaby, pottery of Sultan Abad, pottery of Zarrinfam and blue and white species of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late century’s pottery. However, during this period, some species of pottery of the previous periods, with changes in the type of dough and motifs used, were still used, but the production of species such as blue and white Safavid era and engraved pottery on the glaze with austerity motifs from this era became popular. From late centuries later, in the area of Hamadan, pottery products have found local flavors and a variety of cultures have been created. The peak of this process is seen during the Qajar period and with the advent of Laljin. The city is still known as the largest pottery center in Iran, the center of which exports its own clay styles to different regions.

Abstract
Islamic potteries have been studied since about 100 years ago, which concluded to whole bunch of disseminated literature, including books and articles. However, new findings from archaeological excavations and surveys light ambiguities and develop modern knowledge of potteries. Archaeological excavation project of troglodytic structure of Tahigh revealed glazed and unglazed potsherds that have been left unstudied. Accordingly, present research aims to classify findings from Tahigh to define cultural interactions with neighboring areas, further than relative chronology. Two main problems raise here as period of potteries of Tahigh and relevant manufacturing center(s). collecting data follow bibliographic and field work studies that is based on analytic-descriptive method. Considering comparative studies, the findings probably date to Islamic medieval centuries; and regarding available data, exotic items mostly imported from sudden neighboring areas or close regions of Central Iranian Plateau, including Zolf Abad of Farahan, Moshkoyeh Zarandieh, Aveh, Rey, and Kashan, however, there have not been identified any items from further regions of Kurdistan, Zanjan, and Kirman or other countries of China and India. 
Keywords: Underground Hand Making, Tahigh Khomein, Pottery, Investigation of Medieval Islamic.

Introduction
Present paper comes from a season of archaeological excavation and unearthing troglodytic structure of Tahigh, Khomein, which concluded to many pieces of potsherd (Sherahi 1393). It is necessary to involve in the excavation and pottery findings in a monogram, because of lack of relevant literature and diversities of findings. Accordingly, present paper intends to classify and define cultural interactions, in addition to relative chronology, that is responding to problems facing chronology, manufacturing centers, defining local, regional, and intraregional cultural and commercial relations of residents of Tahigh to the other areas. Descriptively and analytically present paper investigates data that collected according field works and bibliographic methods; findings resulted of archaeological basic activities and excavations that studied bibliographically. The authors, firstly, present introductions on Tahigh site, then investigate different types of revealed potsherds. 

Discussion
Some 10,000 pieces of glazed and unglazed potsherds revealed following the 1st season of excavations of troglodytic structure of Tahigh. Around 60% of total amount of potsherds are unglazed ones, as the most amount of findings. One could categorize potsherds to different types, considering technical and decorative characteristics, as follows: Plain or decorated kitchen wares with grey or black temper; Plain or decorated kitchen wares with reddish buff temper or smoky dark brown, similar to some findings from Rey; Plain or decorated wares with reddish buff temper; Decorated or plain wares with buff temper; Wares with reddish buff temper and inlaid to patches of turquoise glaze, or with dark brown temper and inlaying of patches of bronze similar to samples from Moshkuyeh and Rey;Wares with buff or reddish buff and typical stamped Seljuq decoration, and wares with light buff temper and orange painted decoration.
Glazed wares from the site mainly are frit wares that vary to many types including different types of glazed monochrome ones and underglaze incised or stamped decorations, types of underglaze paintings on white or turquoise background for example blue and striped white, wares with silhouette turquoise underglaze decoration, and few samples are painted luster or enameled wares. The potteries are very similar to medieval potteries from Zolf-Abad, Moshkuyeh, Kashan and Rey. Furthermore, there were found four unique miniature frit wares with painted underglaze decorations from Tahigh; there have not been recovered similar comparative samples from the other sites. There were recovered many glazed and unglazed tallow burners that formally categorized to four groups of plain cup-like, couple handled cup-likes, plain piped, and bisection piped.   

Conclusion
There have been recovered different types of unglazed potteries, with clay, sand or grit temper, whereas glazed findings are generally frit wares, and few clay wares. The unglazed wares show stamped decorations that typically manufactured during medieval Islamic centuries, however, decorations of unglazed painted samples characteristically revealed during 11 to 13th centuries, which have not been reported from other archaeological sites. Considering comparative chronologies, the unglazed potteries of Tahigh probably manufactured during Islamic medieval centuries especially 11-13th centuries; they were probably manufactured in workshop(s) close to the site or peripheral settlements. However, the other unglazed potteries, including stamped ones, probably imported from other areas such as Moshkuyeh Zarandieh or Rey. The glazed wares revealed abundance and diversities of burnishing and productions, generally frit wares, however, there were identified few clay ware samples. Regarding comparative chronologies, the potteries manufactured between 12-13th centuries. No samples were regional production, while they were probably imported from other regions including Zolf-Abad, Moshkuyeh, Aveh, kashan, and even Rey. Furthermore, tallow burners, generally frit wares, probably manufactured during 11-13th centuries. According to comparative studies of Islamic potteries of Tahigh, one could suggest that residents had local and regional cultural and commercial relations. Accordingly, pottery findings generally are reveal similarities to settlements at Iranian Central Plateau including Moshkuyeh, Kashan, and Rey, rather than other sites such as Jiroft, Aqkand of zanjan, and Garoos of Bijar. It may be troglodytic construction, structure, and small area with little population of Tahigh that never permitted it to raise as a metropolis with intraregional or even international commercial relations.

Abstract
Pottery as one of the major handcrafts of human societies plays an important role in rebuilding past culture and civilization. Classification, typology and chronology of pottery are of great importance in archaeological studies. The abundance and variety of pottery in situ has made it possible for the archaeologist to obtain the best cultural evidence for the recognition of ethnicities and communities. Pottery documentation and species identification is one of the technical principles in archaeological studies. One of the less well-known areas in the archaeology of Iran’s historical period, especially in the Sassanid period, is the present-day area of Isfahan Province in the Central Iranian Plateau. Introduction and study of Shirkouh Naein area previously carried out by Alamdar hajiAlian was selected for the research since it was evaluated in terms of statistical population and type of cultural materials of the Sassanian era from both architectural and cultural point of view. 
Keywords: Classification, Typology, Chronology, Sassanian Islamic Pottery, Epistemology, Shirkooh Naein.

Introduction
The research method is descriptive-comparative and the results have been analyzed based on comparative studies. In fact, this article focuses on documentary studies, especially and studying written documents and field studies. Also, using the results of archaeological field survey, the obtained pottery was classified, classified and finally compared with the key archaeological sites of this period, and their results were compared.
 
Describe the Area of Shirkooh Naein
Naein, in Isfahan province, is a town located in the desert margin. Pakooh region is one of the villages of Naein located in the northwest. The ancient site of Shirkooh is in the vicinity of Separo Village located 6 kilometers away from the west of it. Due to its strategic location, this region has always been suitable for human settlements. Among the evidence which represents a Sassanian settlement in Shirkooh, one can mention a fortress, a Čahārṭāq (four arches), and Soffeh (Terrace platform). Before briefly discussing the main topic of the article, each will be briefly mentioned.

Čahārṭāq (Four arches)
The Čahārṭāq of Shirkooh, located in the central part of Naein, can also be placed in this category. In 2002 (1381) the monument was listed as a national property of Iran with the registration No. 7222 and after that, it was restored by Shah-Hosseini. The Čahārṭāq of Shirkooh is a square-shaped structure with approximate dimensions of 10 meters. Its current height is 12/40 meters, dome height is 6/10, and the internal height is 6/59.

Shirkooh Fortress 
The position of this fortress is in such a way that on top of it the Čahārṭāq is visible and on the other hand, the fortress is pretty obvious from the center of Čahārṭāq. Thus, these two structures are not far from each other. The plan of the fortress is almost irregular and a steep slope makes it hard to reach. The materials used in the construction of the fortress are cobblestones for the walls, mud-brick in towers and plaster as the main mortar of the entire building. At the interior of the fortress there is a rectangular structure which its directions are north-east south-west and somehow overlooking the low level of the plain and the village. Due to unauthorized excavations inside the fortress, a piece of plasterwork was found; this piece is 16 cm long and 9.5 cm wide and its surface is engraved.

Terrace Platform of Shirkooh (Soffeh)
Terrace platform is located at 38 7.33 N, 52 59 24 E. It is constructed at the farthest end of the site which connects it to the mountain. The main construction material of this Soffeh consists of cobblestones of the river. Since this terrace platform is flat and elevated, from the top of it the fortress and Čahārṭāq are remarkably visible.

Classification and Typology of Shirkooh Naein Pottery Found
The Sassanian Islamic pottery of the Shirkooh area of Nain County is varied in form Data were obtained from three Čahārṭāq sections, Shirkooh fortress and Soffeh. A total of 760 pieces of pottery (Sassanian and Islamic) were collected in the study of Alamdar haji Alian. Then, during field re-examination by the authors, 80 pieces of pottery (Sassanian and Islamic) were collected from the surface of the site; The present study was classified 63 stratigraphic fragments, typology and finally chronology. From a comparative study of 63 pieces of pottery obtained from surface examination, the number of fragments is as follows: edge 52, body 3 and floor 8; From the above-mentioned pottery, 42 pieces from the Sassanid era and 21 pieces from the Islamic era were identified. The color of the pottery is one of the most prominent features of pottery considered in the classification of pottery. This color is divided into three main groups of brown, pea, and red in the Sassanian Shirkooh pottery.
In addition to the aforementioned cases, the classification of the studied pottery of Shirkooh Naein into its fragments has also been considered. Accordingly, the rim components can be classified into eight distinct groups. Based on the typology of the pottery, five types were identified: Bowls, jars, earthenware, dish and bottles that make up the largest number of bowls and jars in the earthenware collection.

Suggested Chronology of Sassanian Shirkooh Pottery
One common way to identify the presence or absence of communication between cultural communities in neighboring areas is to compare their cultural artifacts with each other. To relate these potteries to relative chronology, to match the samples to Sassanian sites excavated and to have chronologies and sites found from archaeological excavations in Iran: Hajiabad, Mellian, Abou Nasser Fars Palace, Yazdgerd Castle, Oltan Ghalasi Dasht Moghan, Torang Tapeh Gorgan, Defensive Wall, Bandan Darges, Siraf and ete, and out of Iran archaeological excavations of Tal Aboushrifa, Kish and Bergotiat in Iraq, Kusad United Arab Emirates. Accordingly, it was found that the type of pottery studied in Shirkouh was most similar to the set of pottery obtained from surface surveys of Farsan plain, Torang Tapeh excavations in northeast of Iran, Yazdgerd castle and Tall Abusharifah in northwestern Iraq. Given this, Shirkooh is one of the Sassanian sites in the Naein region that has pottery traditions of this period.

Conclusion
Specifications of Shirkooh pottery and their comparison with different Sassanid zones indicate the taste of Sassanian pottery in this region and similar shapes in different periodic zones Sasanian is recognizable. Therefore, Shirkooh pottery is a local and indigenous species that can be seen in other areas. In general, the Shirkooh region is culturally influenced by western evidence such as Yazdgerd castle area and central Iranian plateau, especially east of Isfahan province, Chaharmahal Bakhtiari province and Farsan plain. In fact, based on the typological studies and comparisons of pottery with other Sassanian and Islamic sites, it seems that the settlement is located in Sassanian and early Islamic periods. As we know, the pottery at the end of each period is usually early or even later in the period and does not disappear all at once, such as the area where the Sassanian pottery of the early Islamic Times There has also been a continuing trend and it is difficult to identify.

Abstract
Lowdaricheh is a neighborhood in the town of Burkhar 9 km north of Isfahan. This monument is adjacent to the ancient cemetery, which has become a receational spot today. The northwest-southeast direction of the momument and its plan is a quadrilateral that later interferes. Due to its location 4 kilometers east of the historic city of Gaz (with settlements from the Parthian and Sassanid periods), the study of this building is important in its historical-cultural context. In this regard, while taking advantage of the archaeological survey of the Lowdaricheh quadrangle, it provided a relative understanding of the history of its construction and it’s use and as a basis for future comparative and comparative studies in the area, as one of the first studies of archaeological activity in the city. The most important research questions are the time of construction and the use of the building since its construction. According to preliminary assumptions and with a description of the plan of the building, the Lowdaricheh building of the Sassanid Period and the early Islamic centuries was considered to be religious. This research has been done by examining the history of the building in historical texts, evaluating the materials and decorative elements of the building, analyzing the architectural plan and comparing it with other neighboring and simultaneous buildings. The results of the research indicate that the chartaqi-e- Lowdaricheh building of the Sassanid Period or Early Islamic centuries was used by the (Zarvan-Ardashir) Fire-Temple, which was built by Ardeshir Babakan after the capture of Isfahan at noon in (Khar) village. The entrance of the Islam into the area has changed it from a Fire-Temple to a Hoseiniyeh and to this day its inhabitants use it as a religious building. 
Keywords: Chartaghi, Sasanid, Early Islamic Centuries, Lowdaricheh, Burkhar County in Isfahan.

Introduction
Burkhart city is located in the central areas of Isfahan province. The Mountains Karkas of Height 3000 meters north and northeast and the rest of the area forms a relatively flat plain. The Lowdaricheh quadrangle was visited by the authors in the summer of 2014, during the enlargement of its adjacent bypass. Upon visiting the building, the four-story plan was built and immediately mapped by experts on the site and its contemporary adjacent spaces and with the permission of the Isfahan Province’s Cultural Heritage Office, some of the interior areas were peeled to identify the materials. The historical identity of the building remains unknown to this day.
Aims and Necessity of Research: To understand the identity of the building, it was attempted to provide a relative understanding of the history of construction and use of the building concerning historical texts and archaeological evidence. 
Questions and assumptions: The most important research questions are the time of construction of the building and if the evidence is found and discovered and the know- how of it’s restoration. One of the most important research questions regarding the use of the building since its construction. According to preliminary assumptions and with the outline of the building plan, the chartaqi building of the Lowdaricheh of the Sasanian period and the early Islamic centuries was considered religious. This hypothesis was confirmed by conducting research.
Method: Fortunately, with the permission of the officials of the Isfahan Cultural Heritage Bureau, supervised by the Cultural Heritage Representation of Burkhar, the plasterboard was exfoliated in some parts of the internal body. 3 phases of architecture with different techniques and materials were identified, the first phase having two different sub-phases. Finally, it is attempted to introduce the Chartaqi of Lowdaricheh with a descriptive-analytical approach, in its historical-cultural context and its spatial range, and then to perform comparative studies with a relative land-use approach and dating. 

Description and Introduction of the Building
The monument is Situated 60 meters west of the ruined aqueduct, which is one of the most important water resources in the area. The floor of the building is street well-nigh 122 cm high and all Building wall 466 cm high from level to below the dome. Is Dome height 333 cm. The dome of the Shengeh is 122 cm high. The sides of the building vary from 470 to 480 cm. The width of the current porch is 179 cm and the base of the base is 114 cm. According to the trustee of the building, the entrance to the southeast of the building was blocked by him in 1358 Hijri Shamsi, which shows the entrance to the exterior of the building. The date of blocking the northeast entrance was unclear during the layering and visibility of the materials was found to be of the second phase of the building’s architecture (mid-Islamic period - Seljuk period) and indicates that The rebuilding time is blocked due to the near and unnecessary passage, and only the opening and arch of this entrance can be seen in the interior of the building.
Exfoliation revealed that the building has three phases and several phases of architecture: 1- The first phase consists of a primary building with local materials that has a base of crushed mud and extensions of walls with 32 cm adobe and 8 Cm 2- The second period, which features with interior tile decoration, dome shingle, and shingle tile decoration. This architectural course was created due to the demolition of the original dome and with the aim of rebuilding it by a comparative study with other monuments in the Seljuk period. The materials used in this architectural, 23 × 23×5 cm mud brick, which were common materials during the renovation of the building and were used only in the dome to strengthen the mortar. In the second period of architecture, two rows of the niche have been built in the interior of the building 3- The third phase belongs to the contemporary era with materials of brick and cement to consolidate the main building created in 1358 by the trustee and other residents.

Conclusion
In this article, Lowdaricheh chartaqi is introduced with a descriptive-analytical approach in its historical-cultural context and spatial limits and then the function and history of this structure are explained using a comparative approach. Research results and evidences ranging from similarity of local building materials and plan of Lowdaricheh chartaqi with the pattern of Sasanian fire temples and Chartaqis throughout Iran as well as Marbin and Ardestān fire temples in Isfahan, orientation of Lowdaricheh Chartaqi opposite to Mecca, the absence of signs of Mihrab (the main element of religious buildings of the Islamic era), The use of local materials in construction, lack of tomb signs and the difference with rectangular vaulted tombs of Islamic period, limited interior space of chartaqi and its isolation similar to other chartaqis of Sassanid period, presence of porches and hallways around the structure before the changes made in 1358 Hijri Shamsi and its current religious use, proximity to water resource (a Qanāt is located 60 meters West of the structure), all suggest that Lowdaricheh Chartaghi was a construction from  Sassanid period or early Islamic centuries with religious usage. Upon the advent and spread of Islamic religion in this area, this structure has been preserved like many other monuments because of its religious importance and status as well as clairvoyance of Muslims relative Lowdaricheh to other religions and has changed application as a liturgical-religious structure for newly convert Muslims and is now a Hoseiniyeh. Muslims and is now a Hoseiniyeh.

Abstract
Pure religious and mystical thoughts in the minds of Muslim artists have led to the emergence of a common spirit in all Islamic artworks. Understanding the nature and purpose of Islamic art in the last century has attracted the attention of many scholars and researchers and their studies have led to various theories about the philosophy and wisdom of transcendent Islamic art. Titus Burckhardt and Seyyed Hossein Nasr, including intellectuals who use a traditional approach based on religious and mystical views to explain what, why and how Islamic art - architecture, applied arts and visual arts. The question is: Islamic miniature of Iran based on traditionalist thinkers such as Titus Burckhardt and Seyyed Hossein Nasr on what features are similar to other Islamic Arts? In this study, the visual and content characteristics of the Islamic miniature of Iran are explained based on the religious and mystical views of Titus Burckhardt and Seyyed Hossein Nasr and the degree of similarity of Iranian miniature in form, expression, and meaning with other Islamic arts has been studied. Accordingly, after collecting some of Titus Burckhardt’s and Seyyed Hossein Nasr’s theories on Islamic art and examining several Islamic era miniatures through surveying and documenting, the data obtained have been drafted in a descriptive and comparative method. Finally, data analysis was performed using inductive reasoning. Based on the findings of the research, elements such as form, color, specialization, non-representation and use of writing (in the form of poetry) have given Iranian miniature, like other forms of Iranian art and architecture, special meaning. On the other hand, the form, expression, and meaning of Islamic miniature in Iran are in line with the mystical and religious views of Titus Burkhardt and Seyyed Hossein Nasr, and these views are not only true about non-religious and court images. 
Keywords: Islamic Art, Burckhardt, Seyyed Hossein Nasr, Iranian miniature, Religious and Mystical Views.

Introduction
Pure religious and mystical thoughts in the minds of Muslim artists have led to the emergence of a common spirit in all Islamic artworks. Like most Islamic arts, Iranian miniature has been subject to the temporal and spatial requirements of each era and has passed developments. Titus Burckhardt and Seyyed Hussein Nasr are among the scholars whose in-depth studies of nature, why and how of Islamic art have led to theories of Islamic art. In their works, they have described the characteristics of Islamic arts in a mystical and religious approach, and in the meantime, they have sometimes explained them in the visual arts, sometimes in the applied arts and sometimes in architecture.
Research Objectives: The purpose of this paper is to first study and understand the characteristics of Islamic art from traditionalist thinkers (Titus Burckhardt and Seyyed Hossein Nasr), secondly to compare and analyze the features mentioned in Iranian miniature with other Islamic arts. And third, recognition of the consistency of miniature Iran in form, expression, and meaning to other Islamic arts.
Question: The question is: Islamic miniature of Iran based on traditionalist thinkers such as Titus Burckhardt and Seyyed Hossein Nasr on what features are similar to other Islamic Arts?
Research Methods: The research method is descriptive-analytic and research data (images and miniature and taking notes) to the style library (documents) collected. Data obtained by descriptive statistics and comparisons have been drafted. Finally, data analysis using inductive reasoning in terms of the miniature of painting, as an extension of the total is made. On this basis, a number of the miniature have been studied and analyzed and the result has been generalized to the whole miniature in Iran.

Identified Traces 
in this article, important points are explained in a separate heading, including Tradition and Traditionalism, the Relationship of Islamic Art with Pre-Islamic Art in Iran,  Burckhardt and Nasr’s View of the Nature of Islamic Art, the Human Position in Islamic Art and Iranian Painting, Paint in Islamic Art and Islamic Painting in Iran, Poetry in Islamic Art and Iranian Painting, Balance between form, Expression, and meaning in Islamic Art and Iranian Painting, Spaceship in Islamic Art and Iranian Painting, Lack of Views on Islamic Painting in Iran. For example: In Burckhardt’s view, the characteristic of Islamic art is to be consistent with the spirit of Islam, and this compatibility is at least evident in its core manifestations, such as the architecture of sacred places. Burkhardt states: “Islamic art itself is the concept that comes from its name, without ambiguity” (Burkhardt, 1986: 16).
Nasr also argues that the Islamic view of Islamic mysticism is “art for human” and since man is the caliph of God on earth and a central being at this level, it means that “art is for God” (Nasr, 2013: 291). According to Burckhardt: “Colors are the richness of the story’s inner illumination. Because they are confronted, they are blinding and in harmony with the harmony of the colors that we find in the true nature of the spectacle itself (“ Burkhardt, 1986: 88). According to Nasr: Every color has its allegory. As some mystics and poets have directly pointed out, such as the military sage, and every color has a connotation with one’s inner being and his soul, and its use in various aspects of life has a profound effect on the morale of the people (Nasr, 2004: 5).

Conclusion
According to traditionalist scholars such as Titus Burckhardt and Seyyed Hossein Nasr, elements such as form, color, specialization, and use of writing (in poetry form) have played an important role in Iranian art. Iranian miniature based on the mystical and religious beliefs of Islam does not merely portray the outward appearance of nature and, by combining tangible and intangible forms, goes beyond material nature.
Colors have also helped to instill Islamic mystical and religious notions in their symbolic and semantic functions in Iranian miniature. Literature, poetry, and written works in the nomadic culture have also had a prominent place, as the word of the revelation of the Qur’an was a written miracle in the Muslim community. Literature, poetry, and written works in Islamic culture have also had an important place, as the word of the Qur’an’s revelation was a written miracle in the Muslim community. The importance of writing culture was that painting was at the service of verses, literary poetry.
Thus, the form or form, color, spatiality and enjoyment of the text as illustrated by the views of Titus Burckhardt and Seyyed Hossein Nasr in the Iranian-Islamic miniatures also have more or less similar features. It should be emphasized that the above features are common to Islamic miniatures and Islamic art, and this cannot be generalized to non-religious and courtesy examples.

Abstract
Arrajan had been one of the important xoras of the Fars state in the Sasanian and Islamic eras. Regarding the toponym of Arrajan, there is numerous differences both in written sources and among researchers. One of the main reasons for these differences is the different information of written sources and the inconsistency of archaeological evidence with these sources, which has slightly led to various points of view as to this issue. Here, the author tries to reach an obvious understanding of the subject matter by mentioning different views and combining them with archaeological evidence. Among other things that will be noted in this article is the issue of geographical changes that have undergone Arrajan in a span of different periods. Arrajan has gone through many border and administrative changes in different times, as in the early centuries of Islam, it had the same structure and scope as the Sasanian epoch, but in later eras it saw a shift from one state to another, renaming and diminishing its boundaries. This article is an attempt to address two important questions: The first, how have administrative changes been in Arrajan up to the present? And the second, what are the main reasons for existing discrepancies among scholars over the real name of Arrajan? It is obvious that researchers have made many references and explanations in order to recognize the picture of Arrajan and its administrative and border changes; however, the combination of historical and archaeological data is less common in the studies of these researchers. Therefore, the author tries to combine both historical and archaeological approaches to the subject of toponym and administrative and border changes of Arrajan during the Sasanian and Islamic eras. The article under study is conducted by examining and comparing archaeological evidence and materials with information extracted from written sources.
Keywords: Arrajan, Qobad-Xora, Behbahan, Sasanian Era, Islamic Epoch.

Introduction
The connection between archaeology and historical geography can be traced back to both time and place. Today, in the field of archaeology, there is the identical attention to time and place, and in order to understand and recognize the past with all its features, both elements of time and place must be considered together. There are various definitions and approaches regarding historical geography and its field of study, and no clear consensus exists over it. Historical events do not occur in a vacuum, but come under the influence of temporal-spatial conditions. In space, no phenomenon - whether natural or man-made - is stationary and evolves over time. Research in the field of historical geography is valuable because it can provide a clear picture of the historical geography of events in a place and its surroundings. In the present article, in addition to studying the process of administrative and border changes of Arrajan during these periods, an attempt is made to examine the written and archaeological evidence such as seals and coins and to put together prominent experts’ points of view to a new understanding of the toponym of Arrajan and resultant changes in its historical geography.

Archaeological Backgrounds
The Behbahan Plain is archaeologically known as a part of “Greater Susiana” (Darabi et al. 2017). The existence of numerous pre-historic sites, Elamite ones, the historic period manuments and the Islamic city of Arrajan have led to field studies in the area. Field studies of Nissen and Redman (1971) are the first ones conducted in Arrajan. At the meantime, Hans Nissen carried out an excavation in the area in 1973 (Nissen 1973). The greatest archaeological discovery on the plain was the Neo-Elamite tomb which was haphazardly found in Arrajan in the early 1980s (see Alizadeh 1985; Majidzadeh 1992; Potts 1999; Alvarez-Mon 2006). Since 2000 on, surveys and excavations have carried out in Behbahan area. One of the studies specifically dedicated to the hydraulic structures and facilities of this region is Esmaeili Jelodar’s (2004) one. Since 2005, excavation team of Behbahan Plain headed by Kamyar Abdi commenced the survey in the region. Of the most important studies done in Behbahan after 2010 may be mentioned Abbas Moghaddam’s (2016) excavation and Hojjat Darabi’s (2017) one. A few researchers have investigated the historical geography of Arrajan. Among them, it can be refered to Heinz Gaube (1980) who, in a detailed and specialized manner, using historical, geographical and archaeological findings, has been focusing on the evaluation and analysis of Arrajan since the time of the conquest of the Arab by the end of the Safavid era. Ahmad Eqtedari (1996) is one of the other important researcher who worked on the region. Although the aforementioned has benefited from the Gaube’s valuable studies as to Arrajan and its areas, there are some positive points in the Eqtedari’s studies. Eqtedari was able to see the parts of the northwest of Behbahan, where today they are located in Bahmai County and its dependent areas (those parts that Gaube could not see due to insecurity in that areas) and published his valuable results. Ebrahim Rayegani and colleagues also discussed reasons behind the decline and recession of Arrajan in the Sasanian and Islamic eras (Rayegani et al 2015).

Conclusion
In the present article, an attempt was made to study and analyze written sources, both historical and geographical ones, archaeological evidence and researchers’ opinions, for better understanding the toponym of Arrajan, as well as historical geography and developments in its political borders from Sassanid era to the present. As mentioned above, there is a consensus about the creation of Arrajan by Qobad I and its location between Fars and Khuzestan, but no agreement on its exact name has been reached. Tabari’s reference to two names, Ram Qobad and Barm Qobad, led researchers to believe that the two names were for the same area. Researchers such as John Walker believes that Barm Qobad was the name of a large area that Arrajan was the name of its ruling part; H. Gaube considers Bram Qobad the official name of the region and Arrajan the unofficial one. However, numismatic evidence does not support these claims and shows that Arrajan and Barm Qobad are two separate places. Ardashir Babakan points to Arrajan as he crossed the area, prompting other scholars to believe that the region were probably inhabited before establishment of Qobad-xora near the Tab River. Regarding the geographical and administrative changes in this region, it seems that from the beginning of the sixth century A.D. to the Seljuk period, Arrajan was part of the Fars state. During the Buyid dynasty period, Arrajan not only preserved borders of the Sasanian epoch, but also expanded from the north and northeast, and the ports of Siniz and Janabah were joined to it. During this period, we are witnessing the prosperity of this region, as Adud al-Dawla al-Daylami says: “I want Iraq because of its name and Arrajan for its income.” However, during the Seljuk period, the region witnessed changes; all northern parts of Arrajan were attached to Shapur-xora and Arrajan itself was joined to Khuzestan. There is no mention of Arrajan in the historical books of the Ilkhanid period, but other areas of xora are mentioned. It is possible that Arrajan was nothing more than a ruin during this period.

Abstract
The ancient site of Natel is located in the village of Natel Kenar-e Olia, a district of the city of Nour, which is 6 kilometers southwest of this city in the west of Mazandaran province. According to historical written sources, this city was considered as one of the important cities in Tabaristan during the Abbasid period and had a military garrison. Due to the importance of this historical site, in addition to archaeological surveys, three excavations have been carried out in this site so far in 2008, 2010, and 2016 under the supervision of Abdolreza Mohajerinejad. The present study focuses on some pottery findings of the first and second seasons of these excavations, during which 2166 pieces of glazed and non-glazed pottery were obtained among other findings. Chronology of the aforementioned samples and consequently more detailed and precise knowledge of the settlement periods, better and greater recognition of the pottery of this site, in particular, and pottery of the Islamic period in the southern margin of the Mazandaran Sea, in general, awareness of the similarity and differences of the pottery obtained from this site with the major pottery centers of the Islamic era required a thorough and in-depth study of these samples in the form of classification, typology, and a typological comparison that was carried out in this research. The results of this study show that most of the studied samples belong to the early (3 and 4 AH) and mid-Islamic (5 and 9 AH) centuries, while the samples of the Ilkhanid and Timurid period in this collection are much lower in number than those of the previous centuries. Also, the results of statistical studies on pottery of the historical town of Natel indicate that these pottery wares have relatively good production quality and strength, but they have a lower level in terms of manufacturing technique and diversity of motifs. 
Keywords: Natel, Islamic Pottery, Classification, Typology, Typological Comparison.

Introduction
The ancient site of Natel is located in the village of Natel Kenar-e Olia, a district of the city of Nour, which is 6 kilometers southwest of this city in the west of Mazandaran province. Given the importance of this site in the Islamic period of Iran, especially the southern margin of the Mazandaran Sea, the first scientific studies to identify and determine the location of this town were carried out by Abdolreza Mohajerinejad in 2006 during a season of a survey (Mohajerinejad et al., 2017: 247) and then these studies were continued under his supervision during three seasons of excavation in 2008, 2010, 2016 (Mohajerinejad, 2008; ibid, 2010; ibid, 2016). During the first and second seasons of the excavation, along with other findings, 2166 pieces of pottery were discovered which were provided to the authors for further investigations. Therefore, during the classification and typology stages, 235 indicative pottery types were selected and excluded from the collection. To advance the research, the authors selected and studied 50 pieces from among the indicative samples selected from among the collection based on the non-repetitive variable. Due to the diversity and multiplicity of the pottery types and for better identification of the pottery of this site in particular and the pottery of the southern coastal areas of the Mazandaran Sea in general, the similarity and differences of pottery obtained from this site with those of the major pottery centers of the Islamic era, and also to gain more accurate knowledge of the settlement periods of the site, it was necessary to study the pottery samples very carefully. Accordingly, the present study seeks to answer the research questions through recording, registering, classifying, typology, and typological comparison of these pottery collections (2149 fragments belonged to the first season and 67 fragments belonged to the second season). The most important questions this research seeks to answer through scientific and systematic studies are: 1: to which period or periods do the pottery samples discovered in the historic town of Natel belong? 2: how is the status of the pottery samples discovered from the historic town of Natel, in terms of production quality and decorations compared to the major pottery centers of Iran during the Islamic era? In answer to the first question, it should be noted that the pottery discovered from the first and second seasons of excavation in the Natel historical site belongs to a time period extending from the early Islamic centuries to the Timurid era. And the answer to the second question is as follows: the production quality of the Natel pottery as well as the decorative quality of Sgraffito pottery are similar to those of the major Iranian pottery centers, but other pottery samples obtained from Natel are in a lower level in terms of their decorative quality, especially in color painting. 

A Summary of the Paper
Initially, the samples were classified according to two variables, i.e. their coating type and being simple or painted, which are divided into four groups: non-glazed simple pottery, non-glazed painted pottery, glazed simple pottery, and glazed painted pottery. Then, at the typology stage within the classification framework, each group of pottery was classified into several types and sub-types according to one or more variables. The investigations were carried out with great sensitivity and accuracy and finally, this resulted in the typology of the pottery in the form of 45 types and sub-types. Statistical studies on the ceramics of this collection indicated that the glazed simple pottery was the most frequent type among all the groups with a frequency of 46.53%. Overall, these ceramics have relatively good production quality and strength, but the glazed painted ceramics are at a lower level in terms of production technique and variety of motifs. The non-glazed painted pottery pieces in this collection have geometric motifs and the dominant motif type in this group is ripple motif in terms of motif design variable. At the typological comparison stage of classification which has been carried out according to the classification and typology of pottery collection, it was attempted to compare a large number of fragments with pottery found in Islamic sites. Therefore, in addition to reviewing various reports of excavations carried out in Islamic sites (generally, the northern sites of the country are considered), we have carefully studied the authentic sources of Islamic pottery prepared and organized by the efforts of foreign and domestic scholars and accordingly the pottery types, which were compared with similar example or examples, were dated and the comparisons are presented in the form of tables in the main text of the paper. From among the regions or sites whose ceramics are comparable to those of the Islamic period of Natel, Bamiyan, Nishabur, Jorjan, Poinak castle of Varamin, Imam Zadeh Ali Lafourak in Savadkouh, Sarqala of Lavasan, Sheikh Safieddin Ardebil’s tomb, Sistan, Golkhandan fortress, Kaseh al-Mout, Gaskar site of Gilan, Haft Daghnan of Gilan, northwest of Iran, Osbou Kola Lofer, and Jahan Nama site can be mentioned. 

Conclusion 
According to the contents of the present study as well as the classification, typology, and typological comparison of the pottery discovered from the historic town of Natel, it can be stated that there are a total of 45 different ceramic types and subtypes in this collection. The results of typological comparisons of the pottery of the Islamic period of Natel showed this collection had the highest rate of similarity and relationship with the pottery obtained from the sites of the Islamic period in the north of the country; this cultural and artistic similarity supports the existence of a wide cultural and connection network between Natel and its neighboring regions and indicates the production and expansion of formal and standard pottery types during different Islamic times that were produced in specific centers and exported to other regions. Their production techniques were imitated in local workshops with a lower quality. In general, the results of this study suggest that most of the studied samples belong to the early (3 and 4 AH) and mid-Islamic (5 and 9 AH) centuries. The results of the statistical studies on the pottery of Natel also indicate that these pottery findings have a relatively good production quality, but they are at a lower level in terms of production technique and diversity of motifs.  

Abstract
Despite the importance of the eastern regions of Iran, especially South Khorasan in the process of historical developments in Iran, archaeological research has not been done in this region. Kahnak archaeological site is an important Islamic site in South Khorasan province in the east of Iran where the weakness of environmental conditions and climatic constraints, especially the lack of water resources, has led to the formation of large and densely populated areas and settlements in this region. As this site provides economic, social, and cultural connections between the northern (Khorasan) and the southern regions (Sistan), which is also on another main route, it is very important for archaeological studies in the east of the country. Main routes have been a decisive factor in the location of human groups throughout history, and this has been more influential in areas where their habitats have been adjacent to major trade routes and communication roads. Kahnek site is considered as a place for educational activities of the Department of Archeology of Birjand University. From 2014 to 2019 excavation activities in this area have continued for six consecutive seasons. In this research, the fourth season of these excavations and their findings are introduced. The study aims to identify and analyze the architectural space called Kahnek Castle on the east side of the area in the winter of 2016. According to the surface data and excavations, the Kahnek site belongs to the third and fourth centuries until the Timurid period, and most of the gathered data include potteries and architectural structures are related to the Islamic Middle Ages. The architectural structures found in this season of excavation are mainly related to the architectural spaces of the castle. The present work is carried out in descriptive-analytical method and historical-cultural approach based on field data and library resources. 
Keywords: Establishment of the Islamic Period, Archaeological Excavation, Sarbisheh City, Kahnek Site.

Introduction
Regarding the archeology of the east of the country, especially South Khorasan, no studies have been conducted in this region, and the knowledge of researchers from the mentioned areas is more limited to the information contained in historical sources and texts and so far few articles and books about Archeology of this area has been published. One of the important sites of the Islamic Middle Ages in this region is the Kahnek site in Sarbisheh city. This site was selected in 2014 by the General Directorate of Cultural Heritage, Tourism and Handicrafts of South Khorasan and in collaboration with Birjand University as an internship site for archeology students of the Faculty of Arts - Birjand University and archaeological activities continuously until 2019, In this, it has continued. In the past, the Kahnek area was located as a settlement on an important communication route, which according to the cultural data obtained, it was determined that the establishment of Kahanek continued its life from the third and fourth centuries AH to the late Islamic (Safavid) centuries. In this study, the findings of the fourth chapter of the site are introduced. The cultural data obtained from the excavation of this site, in addition to architecture and pottery, have been other materials such as animal bone remains, decorative and functional metals, glassware pieces, metal and pottery ornaments, etc. This research tries to address these questions: 1- What is the plan of the explored architectural spaces of the ancient castle? 2- Can the influence of neighboring cultures be seen in the pottery of the Kahnek area? The research hypotheses are as follows: 1- According to the excavations, the old castle has a relatively circular plan and limited architectural spaces with square rooms. 2- Kahnek site is affected by neighboring areas due to its location in an important communication route that extends from north to south so that Neishabour-style pottery is one of the leading pottery styles of this area in the first centuries.

Geographical Location and Description of Excavation in Kahnek Site
Kahnek area is located in South Khorasan province, Sarbisheh city, in Mo’menabad rural district of the central part of this city and 50 meters east of Kahanek village and is located at 764602 longitudes and 3603433 latitudes. Architectural spaces in the fourth season of excavating the old area in 2015 are related to rooms with dimensions of 2×3 meters, which are related to the space of the castle tower. The potteries obtained in this excavation season are divided into two glazed and unglazed groups belonging to the early to late Islamic centuries. In addition to the potteries, an oil lamp, a metal scrap (possibly a coin), parts of quern-stones, a saw, pieces of glass, a chunk of glazed brick, a sharpening knife, and remnants of animals bones were found. According to the excavations and cultural materials and architectural evidence, three stages can be considered for this site. In the first and new stage of the site, it has been used as a temporary settlement in connection with livestock and agriculture. The second stage is related to the Islamic Middle Ages and at the same time with the Seljuk, Ilkhanid, and Timurid eras in which the site is at the greatest prosperity and development. The third stage of the area and the oldest one is related to the early Islamic centuries and the formation of the area, which shows the extensive connections of this area with northern Khorasan. At this stage, the architectural structures are built of clay with a wide foundation and thinner upperparts.

Conclusion
Archaeological excavation of the Kahnek site was carried out in 2016 with the cooperation of the General Directorate of Cultural Heritage, Tourism and Handicrafts of South Khorasan and Birjand University. The findings in this season of the excavation are the architectural works of several interconnected rooms with different dimensions. The walls of these architectural spaces are mostly made of clay; adobe and stone are rarely used in their foundations. Since most of the architectural spaces are detrital and in some spaces the adobes are placed diagonally next to each other, the roof of the residential spaces was probably made of rough-arch adobe. The pottery samples of the Kahnak area, which are the most important documents for the chronology of this area, can be compared with the samples and potteries of different regions in South Khorasan, particularly in North Khorasan and Kerman. The results of studies of samples and their comparisons show that the pottery in this area is related to the early Islamic centuries to the late Timurid and early Safavid periods. It can be said that trade routes played a key role in the process of communication and cultural similarities between different regions. Moreover, the Greater Khorasan Road is not only important for east-west connections but also it has been important for connecting the north and south of the Iranian plateau. Main routes have been an important factor in the location of human groups throughout history, which is more effective in areas where their ecosystems are adjacent to major trade routes and communication roads. However, it can be said that the climate has the most important impact on the process of leaving the inhabitants of this area, and agriculture, which is the main economic pillar of the region, has caused it to be abandoned due to climate change.

Abstract
The longevity of some local dynasties has led to the formation of significant settlements in different environmental contexts, including mountainous to forested areas of northern Iran. Kohneh Gorab located in North the Amlash This area was one of the inhabited areas during the reign of Al-e Kia in the east of the Gilan Province is one of the notable examples in this field. Recognition and analysis of the ancient location and communication of Kohneh Gorab as one of the settlements under the political-cultural control of the Al-e Kia family in the Gilan has necessitated the forthcoming research. The present study seeks to answer the following question: According to the cultural findings (tiles and pottery) of the ancient site of the Kohneh Gorab of the Amlash from the perspective of relative chronology and concerning related historical texts, what period can be for this site suggested? And how can the intra- and extra-regional connection of the old the Kohneh Gorab site with the surrounding areas be explained? The most important purpose of the study is a chronological explanation as well as the study of intra- and extra-regional cultural relations based on defined cultural data. The method of data collection is field-documentary and the research method is descriptive-analytical. The result is that the most important cultural finds of the Kohneh Gorab area, including pieces of tiles with monochromatic glazes and plant motifs, as well as plain pottery with carvings, Slip-Painted, glazed pottery with the monochromatic glazes, the underglaze engravers, the sprinkled glazes, the blue-white paints, the Sgraffiato paints, undergrowth paintings, indicates a cultural connection with its neighboring areas such as the Panjpiran Tepe of the Lahijan, Islamic city of the Gaskar, the Lisar Qaleh of the Talesh (intra-regional) and also indicates relations with landmarks such as the Amol, the Jorjan, the Neyshabur, the Rey and the Saveh (extra-regional). A comparative and comparative chronology of this area showed that the settlement began at least from the 3rd or 4th century AH and continued until the 8th to 10th centuries, AH, that is, at the same time as the rule of the Al-e Kia dynasty in eastern the Gilan.
Keywords: Kohneh Gorab, Al-e Kia, Islamic Pottery, Tiles.

Introduction
Archaeological studies in the Gilan Province in recent years have led to the identification of large Islamic sites that previously could only be recovered through historical texts. The Kohneh Gorab is one of these intermediate sites that has served as a link between its north and south. Information from historical texts has attributed the settlement in this area to the Al-e Kia family, while recent archaeological studies while confirming this attribution, have linked the settlement in this area to an older period. The main purpose of this research is the chronological study and analysis of the Kohneh Gorab site based on cultural data to identify its regional and supra-regional relationship. Important natural and historical sites, as well as destruction due to development activities, have been the most important necessities for documenting this area.
The questions are as follows: Cultural findings (tiles and pottery) of the ancient site of the Kohneh Gorab of the Amlash in terms of relative chronology and concerning related historical texts, what period can be proposed for this site? And based on cultural findings and comparative studies of pottery species and tile pieces, how can the internal and external relations of the Kohneh Gorab site with the surrounding sites be explained?
In the present study, pottery and tile pieces were collected from surface surveys in and around the historical site of the Kohneh Gorab and also drilled 15 test trench in predetermined places. For comparative studies, citation sources and descriptive-analytical methods were used in the research. The findings of this documentary method were analyzed to present the relative chronology and cultural relations within and outside the region.

The Tiles Sherds from the Kohneh Gorab
Tile pieces obtained from the historical site of the Kohneh Gorab are of high quality. to make these tiles, which are geometric shapes such as squares, rhombuses, triangles, star shapes, as well as star and cross shapes, they used the molding method and prefabricated molds. The surface of all these tiles is covered with monochromatic under turquoise glazes, azure, green, yellow, black, and also plant motifs with a combination of green, black or blue, and white. 
From comparative studies of tiles in Islamic areas in the Gilan, we conclude that small tiles in the shape of pentagons, rhombuses, and triangles in historical buildings in the east and west of the Gilan, such as the Panjpiran tepe, the historic city of the Gaskar, the Qala-e-Rudkhan of the Fooman, which is almost contemporary in time. They are used with the ancient historical site of the KOhneh Gorab (Table 1).

The Pottery of the Kohneh Gorab Site
All pottery obtained from the Kohneh Gorab site can be divided into two general categories based on simple and glazed. Plain pottery is divided into two categories: unglazed and plain pottery and unglazed and patterned pottery. Glazed pottery is also divided into two categories: plain glazed and painted glazed. Glazed and plain pottery was divided into seven types based on the color of the coating: Unglazed and plain pottery in yellowish red, unglazed and plain pottery in reddish-brown, unglazed and plain pottery in bright red, unglazed and plain pottery in reddish yellow, unglazed and plain pottery in brown, unglazed and plain light brown pottery. According to typological studies, this type of pottery was common in many areas of the Gilan Province from the 4th to the 10th century AH (Jahani, 2011; Mirsalehi, 2019; Ramin, 2006). 
Most of the pottery obtained from the Kohneh Gorab site is wheel-made and a small number of them are hand-made. Some dishes have a flat bottom and some have a long, concave base. According to the available evidence; Most of this pottery was used daily. Unglazed and painted pottery of this site can be divided into two categories based on the type of pattern: unglazed pottery with engraving, pottery with the scarred pattern. The abundance of such pottery pieces informally leads to the idea that these two types are probably of local production; However, we have to wait until laboratory studies and definite assurance in this field.

Conclusion
The main data obtained from the field survey of the Kohneh Gorab site include pieces of tiles and pottery. The tile pieces are small in size and geometric shapes (square, rhombus, pentagonal and triangular), star-shaped, covered with monochromatic glazes of blue, green, and yellow. In some of these tiles, plant motifs including arabesque and leaves have been used. Comparatively comparing these tiles with other areas, there are many similarities between them and the tiles discovered from the Panjpiran tepe in the Lahijan related to the Kiai period. From the surviving cases of these tiles and similar ones, we can mention the examples in the religious buildings of the Lahijan and the Langrud. Other data that were abundantly obtained in this site are pottery pieces belonging to the Middle Ages and late Islam. Plain pottery with carved and without patterns has a higher percentage of all pottery. These species are probably locally produced. The next groups have the most abundance of pottery with underglaze, pottery with sprayed glaze, and Sgraffito pottery after plain pottery, respectively. The Sgraffito pottery discovered from the Kohneh Gorab is technically and artistically similar to the Amol tepe. Some of the samples are of higher quality and it is possible that they came to this place from the Amol region, others were produced locally by imitating the Amol species. The black painted under the turquoise glaze and white blue pottery are another part of the cultural data obtained from this site. The better quality and lower frequency of these parts raised the issue of their import unofficially. The results of the study of these data reveal the cultural connections of this site with sites in the Gilan province such as the Panjpiran tepe of the Lahijan, Islamic city of the Gaskar, the Lisar castle, and outside the Gilan province sites such as the Amol, the Jorjan, the Neyshabur, the Rey and the Saveh. Comparative analysis of the findings indicates the settlement between the 3rd to 4th and 8th to 10th centuries AH, in which the site was relatively stable; however, to provide an accurate chronology as well as to identify the extent of the dispersal of cultural deposits, it is necessary to conduct extensive and purposeful excavations.

Abstract
The Iranian house is full of structural units. The cohesion of the units creates more complex patterns, which, as a result of their location in different parts of the building, also form its physical structure and functional and cultural characteristics. Since the combination of these patterns in the home is always a reflection of the customs and lifestyle of residents and local conditions, knowing each of the patterns allows them to be used on a larger scale in the design of new homes. The content of structural patterns and the extent of their impact on Iranian-Islamic residential architecture is the basis of research inquiry. The research intends to take a physical approach to express the structure of the architectural language of the house in the sample buildings of the Qajar period; and in this way provide the basis for restoring the architectural values of the past. The research method is descriptive-historical and the method of finding research is a combination. The basis of observational studies has also been done through the presence of buildings that have a relatively complete architectural composition, and citation of existing maps, images and texts. The abstracted contents with the help of AutoCAD software introduce the basic units in geometric shapes and check their applicability in 50 houses of historical-cultural value. One of the important results of this search is the generalizability of the logical order of the initial units identified in various combinations and the production of more complex spatial units than the initial units of 5040 patterns. The results show that the patterns participate in various proportions from 0.06% to 27.16% and 42 in selected houses. Among these, pattern number 8 has the most (453) presence; while Patterns 12, 33 and 42 have the least (1) applications.
Keywords: Iranian-Islamic Architecture, Architectural Model, Architectural Physical Order, Language of Architecture, Qajar House.

Introduction
Due to the common economic and social prosperity, the residential houses of the Qajar period define a rich language in architecture that can be extended to Iranian-Islamic houses in the contemporary and future periods. Field studies show that there are a variety of patterns in residential homes that are physically part of a sequential structure and order. From the coherence of these initial units, more complex patterns emerge, which, according to their location in different parts of the building, express the physical structure and functional and cultural characteristics of the building. Since the combination of these patterns in the home is always a reflection of the customs and lifestyle of residents and local conditions, knowing each of the patterns allows them to be used in the design of new homes on a larger scale.
Housing construction in the contemporary era of Iranian architecture and urban planning, especially in recent decades, has found significant differences with the previous era. Field studies and observations indicate a significant reduction in physical-cultural values arising from new housing methods. For example, the gradual obsolescence of the middle fabric of cities is an issue that easily causes their instability. 
This study tries to identify the past methods in housing architecture and highlight the points of emphasis in its structures and concepts, and then shaping those features into a new format, introduce the most important effective spatial patterns in order to improve the physical and quantitative structure of modern house.
According to historical background of home architecture in Iran, and the need to review the structure of modern home architecture, research seeks to find answers to these questions: 1- What are the basic spatial units in the architecture of the Iranian-Islamic house? 2. What patterns does the spatial order of the units create? 3- What is the frequency of these patterns in the existing samples?

Survey of Basic Spatial Units
The research has summarized the data using a descriptive-historical method. A review of studies conducted by researchers and experts in Iranian and non-Iranian architecture and urban planning confirms the similar and sometimes different points of view of the linguistic structure of Iranian-Islamic architecture. Each of the statements has somehow emphasized the characteristics of Iranian-Islamic architecture; and they are summarized at the crossroads of the world of meaning and the world of matter and are located in six directions (Falamaki, 2012, 194).
In the Iranian- Islamic culture, it is believed that matter or the material world is opposite to light or the spiritual world (Holy Quran, Esra: 70). In Iranian-Islamic architecture, the spatial arrangement of the body shows that, in its spatial organization, attention is directed from light to matter. In fact, “it is a journey from pure light to the depths of matter” (Holy Quran). Although architecture is shaped by the combination of matter and space, form is created by the domination of space. Therefore, the form depends on the arrangement of the initial units that make up the architecture of the building. These units include a closet, room, living room, hall, porch, Platform, courtyard and basement.
Examination of the frequency of practical application of patterns in sample houses shows that out of a total of 42 patterns used, pattern No.8 has the highest presence among the 42 units; Patterns No. 12, 33, and 42 have the least presence in the composition of houses. Among the most complex patterns, pattern No. 1 with 15 times the company had the least and pattern No. 18 with 40 times had the most use. The results also show that the patterns contribute in various proportions from 0.06% for patterns No. 12, 33 and 42 to 27.16% for pattern No. 8 in the sample houses.

Conclusion
The seven structural foundations of house architecture in Iranian-Islamic, including: basement, room, living room, hall, porch, platform and courtyard are clearly recognizable. Each of these seven primary units is distinct due to its purity and structural simplicity. The reason for the differentiation of the primary units is their placement in a successive series from darkness to light. For this reason, these units are turning points in marking the evolution of syntax and syntactic language of Iranian-Islamic housing architecture, and their location in the series of units generates patterns that allow them to produce a significant variety in housing architecture. In order to accept this theoretical view, field observations on houses of historical-cultural value make the existence of diversity correct. Based on factorial 7 mathematical calculations, there are 5040 possibilities for the logical arrangement of the initial space units and the production of a pattern; while according to field observations, only 42 possibilities have been used in sample houses so far. Primary units, in part or in whole, can communicate with other units in four directions. Studies show that the two directions of north-south and east-west are the most important patterns in terms of complexity and the extent of their use in Qajar period houses. Patterns together create a large, controlled space that joins together in hot conditions to create a larger space; while in cold conditions, these spaces separate from each other and create small and independent single spaces.
The coherence of the patterns in both longitudinal and transverse directions shows that the design language of the Iranian house, based on the flexibility of the constituent patterns in practice, has the ability to create newer examples. The flexibility of the patterns is affected by the integrity of the initial units, which is provided by adding and subtracting some initial units in the form of order.

Abstract
A large part of Iran is located in dry areas, for this reason, various measures have been taken for water management, especially surface water. Dry weather, lack of rainfall, seasonality of river water and gradual drying of rivers, created the idea of water storage in the form of dams, aqueducts and cisterns in the human mind. The cisterns have different designs depending on the climatic and social conditions of each region. Also, the architecture of such buildings in different regions has been influenced by local architecture. Optimum management of low rainfall in a few days of the year in an area that due to the geological texture of the underground water table is insignificant and salty was a sign of the genius of the inhabitants of the Iranian plateau for water storage. With the progress of this tradition, especially during Islamic periods, the number of settlements in the region increased. One of the water storage structures is the cisterns, which were built along the flood path so that the surface water is directed to them after the rain and used for various purposes.  The question is, considering the scarcity of water in the region, is it possible to restore this structure in a modern way by reviving the past techniques? Due to the low but heavy rainfall in the south of the country, the ponds, in addition to providing an important part of the residents’ water, also act as floodgates, and with one rain at the end of the summer season and a few rains in the winter season, all the thousands of ponds in the south of the country are filled. But with the dependence of these areas on the water of the dams, in addition to the pressure on the country’s water resources, this historical tradition is gradually being forgotten. However, from the results of this research, based on the statistics, it seems that the restoration of the ponds -with government support and with a modern design based on historical patterns- will provide the possibility of water supply for the residents of the region.
Keywords: Barka, Ab-Anbar, Islamic Period, Fars, Hormozgan.

Introduction
The relationship between water and the world of existence can be defined from two perspectives: one is quantitative and experimental sciences and the other is spiritual issues of life and knowledge. Iran is considered one of the dry tropical regions of the world due to its special geographical position and very scattered unevenness’s and the influence of other factors. With this description, being located in the dry and water-scarce regions of the world, water has always had a high value and dignity in Iran, and for this reason, many advances and innovations have emerged in the field of water extraction and transportation. Among the most important of these developments, we can mention aqueducts, reservoirs, dams and weirs, as well as other types of structures and management operations that have been used. Therefore, the creative solutions of human connection with water have played a remarkable role in alleviating harsh natural conditions and in the meantime, the construction of water reservoirs has become popular in the extremes of Iran and water reservoirs have been built in many cities. Reservoirs with their interesting architecture are usually built in arid, desert and semi-arid areas to store rainwater more than in other places.
Iran’s governments in Islamic eras, with emphasis on issues related to hygiene and purity, built water reservoirs as an essential element in the lives of Muslims in or near mosques. And they became more common near them, with the evolution, development of agriculture and trade in this era, the construction of water reservoirs in villages led to the development of village, and as a result, the increase in population along the caravan roads led to the expansion of roads. It became commercial and accordingly it became commercial. At the same time with the development of Islam in different countries and the expansion of cultural exchanges, thanks to the blessing of the religion and the unified central government, construction techniques developed a lot. Construction of cylindrical-shaped tanks became common in Iran during this period due to the relatively low cost of construction and the greater resistance of its body against water pressure. Perhaps the method of making spherical or conical domes appeared in Iranian architecture from this period and for this reason. During this period, with the emergence of new cities and neighborhoods, reservoirs were placed next to mosques, schools, markets and government palaces like centralizing elements, and therefore it seems that reservoirs were a place for various social interactions. One of the prominent features of the city in Islamic era was the facilities such as mosques, bazaars, reservoirs, aqueducts, etc. The reservoir in the center of the neighborhood or city, in addition to providing water, is an excellent sign of There was a need for urban social life, for this reason, these buildings were sometimes built as a complex, such as a caravanserai complex, a reservoir, a guard house, a watchtower, and a refrigerator. The main passages or alleys sometimes branch off and lead to one or more houses. In addition to the possibility of reaching the neighborhood centers and the city center, the crossings also provide the possibility of quick and easy access to water reservoirs.

Conclusion
The lifestyle of Iranians, especially with the end of the Qajar period, became different from the past, one of which is fresh water piping. At the same time, the management of water resources in local ways caused the economic prosperity of the country based on the existing surface resources and underground water tables and the lack of pressure on them. Water cisterns have been a historical investment from the distant past, which, in addition to drinking, have also been used for industrial and agricultural purposes. Considering that currently one of the management problems is still the supply of drinking water in different regions of the country, it is suggested to provide part of the water problems of arid and semi-arid areas by restoring water reservoirs and creating examples of them in larger dimensions. Since the biggest management problem of water is its production, the past taught us that even in places where the underground water table is salty and there is no permanent river on the surface of the earth, fresh and pleasant water can be produced with some measures, and these methods will bring prosperity to the population and Roads have been expanded and the population has increased. Today, the experiences and techniques of the past should be used with today’s science to develop country and prevent consequences of dehydration and drought. Therefore, this article is a proposal in which the Ministry of Energy;  Ministry of Cultural Heritage, Tourism and Handicrafts; Ministry of Agriculture; Ministry of Roads and City Planning; Iran Water and Power Resources Development Company; Country Water and Wastewater Engineering Company; Iran Water Resources Management Company;  Organization of forests, pastures and watershed management of country; And, of course, local communities play a significant role in maintaining and building water reservoirs as water storage tanks.

Abstract
Qal’eh Dokhtar, as one of the important historical sites on the eastern outskirts of Kerman, has been described in historical texts with different names such as Qal’eh Kooh and Qal’eh Kohan, as a place of political and social events. One of the important features of this castle is its special location in Kerman plain, as well as the extent of its architectural structures and type of materials. The purpose of this study is to analyze the nature, function, and chronology of Qal’eh Dokhtar. This study was done based on the results of an archaeological survey, sounding, and archaeological excavation in 2019 in this site. This study can explain the role and position of Qal’eh Dokhtar in the social and political developments of Kerman during the Islamic era. Data collection was done by documentary and field methods and the research method is descriptive-analytical. The questions are: When were the foundations and renovations of Qal’eh Dokhtar made and what were the functions of this complex? For this purpose, the data of previous archaeological research and recent field activities of the authors were studied and reviewed, and while studying the historical geography of the region, a correct idea of the nature, formation, and function of this building in relation to cultural developments, Political and social of this area in the different period were presented. The study of cultural materials along with the study of historical sources shows that this site is probably almost continuously inhabited from the pre-Islamic period and certainly from the first centuries of Islam to the tenth century AH. The results show that this structure has played a decisive role in the political and social developments in the region. It seems that Qal’eh Dokhtar was probably constructed and reconstructed from the pre-Islamic period and certainly from the first centuries of Islam to the Safavid era for establishing a military and defense base, as a place to hold political prisoners, a treasury, a safe haven for sit-ins and the rulers and their families.
Keywords: Qal’eh Dokhtar in Kerman, Qal’eh Kooh, Qal’eh Kohan, Historical Castles, Islamic Architecture.

Introduction
Based on historical evidence, Kerman city was founded due to an economic-military necessity. The necessity that required the important branch of the Khorasan arterial road, that is, the spice route of India and the coasts of the Oman Sea, passes through the deserts of Kerman and Baluchistan and connects to the Khorasan arterial road. The Kerman region was located in the center of the intersection of the mentioned roads (Zarei and Heydari, 2013: 202). Because of this special situation, Kerman was also subject to internal and external attacks since historical times (Bastani Parizi, 2016: 40). Therefore, large castles were built for military and defensive purposes to prevent damage and protect lives and property from enemy attacks. Qal’eh Dokhtar is one of the important castles that was founded in response to such needs. In its ups and downs history, this castle has been one of the most famous and eventful castles, especially during the Islamic era, compared to other historical castles in the southeast. Based on the historical sources, political events in the history of Kerman in different periods are connected with this castle (see: Afzal al-Din Kermani, 2016: 124; Vaziri, 2016: 102; Monshi Kermani, 2018: 62; Sykes, 2016: 80).
Despite this, none of the above studies gives a detailed understanding of the nature, function, and chronology of this monument in connection with the social and political developments of Kerman. Historical sources also show a number of contradictions about the date of construction and function of Qal’eh Dokhtar. Most of these contradictions have been caused by the lack of detailed and comprehensive investigation or the ignorance of historians. Considering that the previous researches related to Qal’eh Dokhtar were only descriptive, the importance of the research is that it studied the nature and use of this castle with an analytical approach.
Materials and Method: In this research, by studying historical texts and architectural structures and cultural data (including the remains of pottery from the archaeological excavation and survey in Qal’eh Dokhtar), an attempt was made to create a clear understanding of the history of construction, the process, and stages of renovations, its functions based on the developments. Data collection in this research has been done by field and documentary methods. Based on this, the study and analysis of the findings of the authors’ excavation and survey in Qal’eh Dokhtar has been done to explain the construction chronology, the process and stages of renovations, and the functions of the castle. Also, the historical texts related to this work have been analyzed in the “content analysis” method, and by matching the data from these documents with the archaeological findings, new analyzes have been tried to be presented about this work.

Data
Qal’eh Dokhtar is built on a high rock overlooking the landscape of Kerman plain. This high rock is stretched lengthwise from east to west and its length is more than 720 meters. The architecture of Qal’eh Dokhtar follows the topography of this rock. Some of the architectural spaces of Qal’eh Dokhtar were formed on large stone slabs, and in some others, space was provided for construction by carving the mountain rocks, and buildings were formed with mud-brick, crushed stone, Sarooj, plaster, and lime. In the eastern part of the complex, architectural evidence of two and three stories has been left. In the northernmost part of the middle section, the architectural structures of this section were probably the ruling buildings. In the northwest of the middle part of Qal’eh Dokhtar, there is a wide and half-ruined gate, a small pedestrian gate, and a high and solid tower. In the south of the middle part of Qal’eh Dokhtar, there are remains of a brick water basin.

Discussion
Analyzing the content of historical sources provides information about the functions of Qal’eh Dokhtar during the Islamic era. For example, the first function of Qal’eh Dokhtar as a “place for opponents of the government” can be mentioned (Monshi Kermani, 1328: 23; Hafez Abro, 1375: 53-52). The second function of Qal’eh Dokhtar was based on the analysis of the content of historical texts, “a place to store government treasures” (Katabi, 1985: 100; Hafez Abro, 1996: 157). The third function of Qal’eh Dokhtar can also be considered as “the residence of rulers and their families” in some periods (Afzal al-Din Kermani, 1977: 124). The last function of Qal’eh Dokhtar can be seen as a shelter for besiegers (Khabisi, 1994: 187). In addition to these, we can also mention the role of Qal’eh Dokhtar in keeping political prisoners, which is hidden in historical sources (Monshi Kermani, 1949: 15; Hafez Abro, 1996: 20). Based on this, Qal’eh Dokhtar has had different functions in different eras and as a part of the spatial organization of Kerman city, it has played a special role in the political and social developments of this city in the Islamic era.

Conclusion
Qal’eh Dokhtar in the east of Kerman city was one of the important castles that was founded in the pre-Islamic and early Islamic period due to the need to deal with the threat of invading tribes on the south and southeast highway of the country, and it became the throne of the rulers of Kerman in different periods. For two reasons, Qal’eh Dokhtar played a role as a military and defense structure along with other castles in Kerman in providing security to the east of Kerman and the highways of the region. The First reason is “its location on top of the natural elevation and dominates the Kerman plain”, and the Second is “the important position of the city of Kerman from a military point of view during the Sassanid era”. However, the analysis of the content of Islamic written sources and the study of archaeological evidence, including pottery and architectural structures, show a basic reconstruction phase in the 4th century AH, a deliberate destruction phase in the late 6th century AH, two phases of reconstruction in the early and at the end of the 7th century A.H. and a stage of reconstruction took place in the second half of the 8th century A.H. in Qal’eh Dokhtar. Along with these developments and renovations, other functions were added to the security and defense functions of Qal’eh Dokhtar. As it has functioned as a place to keep political prisoners, in other times as a place to keep government treasures, sometimes as a safe haven for the opposition and in other periods as a residence of rulers and their families.

Acknowledgments
The authors are grateful to Dr. Asadullah Jodaki Azizi for his advice.