Abstract
A study on religious buildings related to fire such as fire temples and Chahar Taqis in the Sassanid era shows that different factors have been considered in constructing these monuments as an important place for religious and ritualistic ceremonies. One of these factors is deviation from north. In Avesta and other Pahlavi texts such as Vendidad, Khorde Avesta, Gozidaha-ye Zadesparm, Bundahish, Arda Viraf Nameh, Shayest Nashayest, and etc. north direction is the gateway to hell and a direction for Ahriman and the demons. According to this, and considering Avesta’s lack of clarity on temples and fire temples, the purpose of this study is to clarify how strongly religious, rituals and mythical matters have been considered in constructing fire temples. Aiming at answering the question: “Whether deviation from north and building worship places related to fire in ordinal directions, as well as placing interior elements of these worship places during the ceremonies not to face north are related to religious rituals or not?”, it has been tried to clarify the reasons of deviation from the north with a historical-analytical approach and based on archaeological evidence, compliance with Pahlavi texts and today’s Zoroastrian customs. Results of studying religious monuments in the Sassanid era show that, due to the belief of north being a direction for Ahriman and the demons in Zoroastrian rituals and Iranian myths, Mobads’ place during Zoroastrian ceremonies was of utmost importance. It had to avoid north. Also, the majority of the fire temples and palaces have been built in ordinal directions, or the main entrance to the building was built in any other direction except the north. Therefore, it can be assumed that some religious and ritualistic reasons are the reasons why the Sassanians paid extra attention to deviating from the north in building their religious monuments. 
Keywords: Fire Temple, North Direction, Apakhtar, Chahar Taqi, Sassanid Era. 

Introduction
The archaeological evidence indicates that many factors, including the construction of ordinal directions, were taken into account when constructing the fire-related monuments in the Sassanid era. Now, the main question is why should a fire temple or Chahar Taqi be built on ordinal directions? And basically, why it has been taken into account in all fire temples? To find the answer to this question, the religious and ritual texts of the Sassanid era and some of the Zoroastrian written sources can be helpful; thus, relying merely on archaeological evidence cannot answer all questions about religious monuments of the Sassanid era. Thus, achieving a comprehensive perspective in this regard necessitates finding a logical relationship between the archaeological evidence and the Zoroastrian written texts. The religious texts have pointed to the fact that the position of Ahriman and winter is the north direction or Apakhtar. Since Iranians assumed the north direction as the position of winter and had no enemy bigger than winter or north and also considered the coldness as the worst disaster, they likely tended to construct their major buildings in a direction that deviated from the north because this is an important point that had been taken into consideration in religious and ritual ceremonies in Zoroastrianism. By reviewing all of the groupings and classifications presented by researchers on the location and placement of the fire-related monuments across Iran, we can figure out that most of these monuments, either having a circumambulation or without it, either being isolated or being located at the villages or city centers, and either belonging to the early, mid, or late Sassanid era, have been built on ordinal directions, and the deviation-from-north pattern is observable in most of them. In the present work, the Authors attempt to investigate the reasons for the placement of the fire temples and Chahar Taqis on ordinal directions by using a descriptive-analytical method. For this purpose, initially, the religious texts such as Avesta, Vendidad, and other Zoroastrian texts are investigated through the documentary method. Then, relying on the archaeological evidence, the instances of deviation from the north in the fire temples are identified and introduced. On this basis, the fire temples and Chahar Taqis of the Sassanid era across Iran are investigated. Yet, the main analysis in this work is based on some newly found fire temples in the west of Iran, which have provided considerable evidence in this regard. 

Discussion 
Consider the Adur Gushnasp fire temple in Takht-e Suleiman as the criterion for the identification of the Sassanid fire temples architecture style, said that the influence of this type of building plan (especially deviation from the north) can be observed in other fire temples of this era. According to the explorations of the Sassanid fire temples in the west of Iran, most of them have some features in common, one of which is the deviation from north and construction on ordinal directions. For instance, among the three Shiyan, Mil-e Milegeh, and Palang Gerd fire temples, there are similarities in terms of the plan, material, firebases, T-shape platform, and deviation from the north. In Mil-e Milegeh and Palang Gerd, the T-shape platforms are placed between the northern piers while in the Shiyan fire temple; the T-shape platform is placed at the western gate. Despite various theories regarding the function of these platforms, the T-shape platforms have been placed in such a manner as to avoid facing the north while performing or watching the ceremonies. Considering the religious, political, and social changes occurring during the 3 several hundred years of the Sassanid dynasty, it is inferable that the plans of the religious buildings of the early, mid, and late Sassanid era exhibit some changes. However, the construction of religious buildings in ordinal directions is a factor that has been taken into consideration during the whole Sassanid dynasty without being changed. Based on the archaeological evidence we can observe the deviation from the north in the placement of the building of the temples, direction of the building’s entrance, and finally, the placement of the platforms in the interior space of the temples. Some of the reasons for considering the deviation from the north include the consideration of the ritual and mythical issues, the lethality of coldness in Iranian’s culture, confliction between the position of the Iranian and Indian Yazatas and demons, and a significant relationship between the direction and intensity of sunlight and its impact on the formation of spatial patterns of the constructions. 

Conclusion 
Although there is not sufficient information available regarding how the location for fire temples was selected, an investigation and comparison of the Avesta and Zoroastrian written sources with archaeological evidence indicates that some ritual aspects such as considering a deviation from the north have been probably an essential factor when constructing these monuments. The most obvious evidence for the consideration of the deviation from the north can be seen in Adur Gushnasp fire temple, the plan of which has been repeated in most of the fire temples of the Sassanid era, especially in fire temples of the west of Iran such as Shiyan, Mil-e Milegeh, and Palang Gerd. Since the direction to which the Mobads, individuals, and fire were facing has been very important in ritual ceremonies and other purification-related ceremonies, the construction of these monuments in a direction that deviated from the north might be attributed to the religious and mythical instructions. The comparison of the archaeological evidence with written Pahlavi sources and current Zoroastrian ceremonies indicates that the deviation from the north had been taken into consideration while selecting the temple locations, determining the building entrance directions, and the platform placement in the interior spaces of these locations. 

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

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

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

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

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

Abstract
The anthropomorphic monoliths culture has been common for several thousand years, from the western borders of China to the Baltic Sea and Spain, and it has been manifested in various forms in archeological findings and written sources in the Eslamic eras. It seems that the most important reason for the temporal expansion of this culture lies in its religious and ritualistic nature, and what caused the spatial expansion of this culture was probably related to commercial exchanges and, as a result, cultural exchanges. The anthropomorphic monoliths can be seen in human and animal forms and symbols of fertility The current research tries to answer these questions that what are the most important factors of temporal and spatial expansion of the anthropomorphic monoliths culture of anthropomorphic monoliths? And what are the concepts used in the anthropomorphic monoliths, culture in the prehistoric and Eslamic eras? The present study, while examining the temporal and spatial expansion of this culture and introducing its key examples in the geographical area between the Black Sea and the cultural area of the Caspian Sea, investigates the meaning of the erection of the anthropomorphic monoliths This type of research is of a cultural-historical analytical type, the information of which is collected based on documentary and library studies The results of the present research show that the most important factors in the temporal expansion of the anthropomorphic monoliths culture were due to their relationship with traditions and religious rituals, and what caused the spatial expansion of this culture was probably related to commercial exchanges and, as a result, cultural exchanges. Also, over time, the anthropomorphic monoliths can be seen in human and animal forms and symbols of fertility, which in many cases have been manifested in the form of the deceased person in connection with his burial. The results of the present research show that although there is no chronological and archaeological connection between the pre-historical and AD samples, all the samples are related to the ritual burial of religious rituals and represent a person who probably has a high social rank. This issue has been reflected in the archaeological texts. 
Keywords: Anthropomorphic Monoliths, Northwest of Iran, Cultural Communication, Caucasus, Anatolia.

Introduction
A stele refers to raised anthropomorphic monoliths or stones that are erected vertically in the ground and have a memorial status and are related to burial ceremonies (Darvil, 2008). Stone steles in the shape of humans or with human motifs have been reported in a wide geographical area from the western borders of China to the Baltic Sea and Spain (Tryjarski, 1971: 127). Russian and Azerbaijani archaeologists have carried out preliminary research activities in the direction of identifying anthropomorphic monoliths in the Caucasus in the meantime, some sources have studied the culture anthropomorphic monoliths in different regions in a monograph form (Schachner, 2001, 115, 142; Sevin, 2005; Ngrahamn-Summer, 1979: 68, 70; Burney, 1979: 155-156). Shahryeri site as one of the most important sites for the development of the anthropomorphic monoliths culture was explored by Alireza Hojabri-Nobari during three seasons (Hojabri-Nobari et al., 1379). The anthropomorphic monoliths of the Tabriz Museum were probably obtained from Qara Dagh region in the northwest of Iran. These anthropomorphic monoliths were first visited by the German researcher Gert Grupp (Torabi Tabatabai 490: 1355). The anthropomorphic monoliths of the Tabriz Museum were recently introduced and reviewed by Adel Yilmaz in 2012 (Yilmaz 2012). Therefore, the latest research has been carried out in Iran regarding the anthropomorphic monoliths in the Shahryeri area and the cultural relations between northwest Iran and the Caucasus (Khanali, 1379). So far, there have been many theories about what this culture is, although it is not far from the mind that these memorial stones were erected in different human societies with religious, promotional and social purposes. (Sevin, 2005: 89). It is necessary to explain that this culture has been exhibited in many graves in different societies from prehistoric times (Agasioglo, 2013) to recent centuries (Yilmaz, 2003: 44). Although the relationship between the anthropomorphic monoliths in the Shahryeri area and the burial graves was previously denied (In: Graham & Summers, 1979), the author’s recent research shows that this culture has a direct connection with the burial graves in this area. The anthropomorphic monoliths culture is one of the cultures that can be seen in the northwest of Iran due to the cultural connection between Iran and the Caucasus. The present research, while examining the temporal and spatial expansion of this culture and introducing its key examples in the geographical area between the Black Sea and the cultural area of the Caspian Sea, investigates what and why based on the anthropomorphic monoliths Undoubtedly, traditions and burial rituals in human societies do not undergo changes easily, so it seems that the most important reason for the spread of this culture from the third millennium to the end of the first millennium BC in a time span of more than 2000 years in the vast geographical area of Anatolia is probably the Caucasus. It has been related to commercial exchanges and cultural exchanges as a result.

Investigating the concepts and scope of the temporal and spatial expansion of the culture of anthropomorphic monoliths
At the end of the 3rd and the beginning of the 2nd millennium BC, the anthropomorphic monoliths culture appears in connection with Nomads tribes in different regions of the Republic of Azerbaijan (Fig. 1) (Schachner, 2001: 132). The anthropomorphic monoliths of Dobandi village in the north of Baku was found in connection with Gori cultural materials belonging to the late Maykop culture period (Ibid: 123). The second example from this period was found around Astara city in Azerbaijan in the second millennium BC in Syria and Anatolia, anthropomorphic monoliths a special respect, so that they were often placed in front of the gates and protected the place from the entry of evil spirits. At Tell Chana in Antioch and at Tell Rimah, anthropomorphic monoliths slab similar to examples from the Caucasus region and northwestern Iran have been found (Carter, 1970: 22). 
Since the end of the second millennium, 13 stelae have been obtained from the carving site of Turkey (Ozfirat, 2002: 299). In the first millennium BC, we see the number of anthropomorphic monoliths in the region This importance is undoubtedly directly related to the increase in the skill level of using metals, especially the use of iron metal (Khanali, 2017: 461). The samples belonging to this period were obtained in Shahryeri area and Qara Dagh region of East Azerbaijan Considering the sanctity of the Shahryeri area, it seems that different people have prepared memorial stones for themselves or their deceased relatives to have a memorial in this sacred area. An example of burials without corpses in the geographical scope of the Balkhi-Marvi culture (Tughluq, Ganor) (Sarianidi, 2007: 51) in the city of Sokhteh in the southeast of Iran in the period (2500-3000 BC) (Seyd Sajjadi, 2005: 31) (Hojabri-Nubari, 2009: 112-125) has been reported in other words, it seems that the Shahryeri complex is a type of cenotaph, or “empty tomb”, “empty tomb”, “tomb of the unknown soldier”. As mentioned in detail in the previous section, in the centuries of AD, anthropomorphic monoliths with different characteristics such as monuments of warriors, heroes and symbols of fertility have emerged in connection with the burial of people. Human statues are mentioned in the texts according to different situations in AD periods with titles such as Dash Baba, Bal Bal and Badiz (Yilmaz, 2003: 45-40). It can be said that Balbal is the stone of the captured soul of the enemy and it is not in good shape, but the deceased himself or his relatives put it on his grave as a memorial stone. In recent centuries, in a wide area in the Near East, stones in the shape of a ram (image 10), a horse (Fig. 11), a turtle (Fig. 12), and in some areas, male (Fig. 13) and female genitals (Fig. 14) were placed on graves as Grave markers are used, which in general seem to be related to fertility symbols Investigations show that in the millennia discussed in this research, no findings have been found on worshiping the dead and making allegories of people and animals with the aim of praying to them. It seems that these anthropomorphic monoliths were generally built to commemorate prominent people and symbols of fertility, and their association with burial sites indicates that this culture was associated with the belief in the world after death. So far, there have been many theories about what this culture is, although it is not far from the mind that these memorial stones were erected in different human societies with religious, promotional and social purposes (Svin, 2005: 89).
But what can be understood from the study of the development of the culture of anthropomorphic monoliths is their relationship with traditions and rituals that are manifested in the form of the embodiment of the deceased person in relation to his burial. It is necessary to explain that this culture has been exhibited in many graves in different societies from the prehistoric period (Agasioglu, 2013) to the recent centuries (Yilmaz, 2003: 44) in the form of different symbols, and in general, their evolution can be seen. From memorial stones to fertility symbols Among the other concepts that are shown on the anthropomorphic monoliths is the ritual of sacrifice. This ritual is shown in the form of animals on the anthropomorphic monoliths of Hakkari and Astara. It seems that the example of humans with smaller dimensions who are unbalanced and fallen on the ground on the edge of the central person to whom the stele belongs are carved on the stele. be an example of human sacrifice.

Conclusion
The main topic of this research is to investigate what and why the anthropomorphic monoliths are erected In this regard, at first, the area of temporal and spatial expansion of this culture was explained In the prehistoric period, this culture generally spread in the geographical area between the Black Sea and the Caspian Sea, and among the most important traditions related to burial during the 3rd, 2nd and 1st millennia BC in the geographical area of northwestern Iran, the Caucasus, and eastern Anatolia has been In recent times, this culture has spread from the western borders of China to Europe In centuries AD, the culture of anthropomorphic monoliths has been mentioned in the texts of poems and archeological findings with different names such as Balbal, Badiz, Dash Baba, etc., which shows many characteristics in the traditions of their beliefs and other In terms of historical and geographical sequence, there is no connection between the culture of anthropomorphic monoliths before history and the beginning of history and AD, or at least it is not known so far. However, the written sources about Balbal and Badiz are among the most important semantic data of this culture. anthropomorphic monoliths culture has been common for several thousand years, from the western borders of China to the Baltic Sea and Spain, and it has been reflected in archeological findings and written sources in the periods after AD. It seems that the most important reason for the temporal expansion of this culture lies in its religious and ritualistic nature, and what caused the spatial expansion of this culture was probably related to commercial exchanges and, as a result, cultural exchanges. anthropomorphic monoliths can be seen over time in human and animal forms and fertility symbols This culture in the mentioned areas, although there are visual differences in some details, but in many cases, they have common features. The level of visual and technical similarities is such that it emphasizes the connection of this culture during the time under investigation in a wide geographical area. So far, there have been many theories about what this culture is in this regard, religious, promotional and social goals were mentioned, but the investigation of the development of anthropomorphic monoliths culture in the context of time and space shows that this culture is related to the burial of traditions and religious rituals. This issue has also appeared in archaeological texts and findings.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Abstract
The Kur River basin, located in the Northwest of Fars province, is considered one of the main centers of the formation of the Achaemenid Empire. In terms of geographical landscape and climatic characteristics, the mentioned region includes vast intermountain plains (including Marvdasht and Korbal), rivers with deep beds (Kur and Sivand) and semi-arid climate. According to these conditions, the managers of Achaemenid economic-political institutions intelligently used the environmental capabilities of the region by building dams, weirs, Pool, reservoirs/catchments and canals to control surface waters and direct them to the ground. Agriculture and human settlements have paid. The dams and Weirs, while playing the aforementioned role, also prevented the damage to the agricultural lands located downstream by controlling the floods. The method of construction and selection of materials in the construction of structures has been different depending on the environment and their function. Dams and Weirs are mainly formed with an earthen core and a stone wall. The canals are also created in two ways: earthen and stone, or a combination of these two methods. The discussed structures have been attributed to the Achaemenid period, mainly based on their morphological features, type of materials, connection with the surrounding sites and comparative comparison with similar structures. The present study tries to introduce the Hydraulic Structures of the Kur River basin, its functional nature and morphological characteristics by using the descriptive-analytical method and by examining the evidences resulting from archaeological excavations and surveys. 
Keywords: Achaemenians, Kur River Basin, Hydraulic Structures, Canal, Agriculture.

Introduction
Central Fars region/Kur basin has a semi-arid climate with a Mediterranean rainfall pattern, most of which occurs in the winter season. New geological research and climate data show that during the Achaemenid period, the weather conditions of the Kur River basin were very similar to today (Djamali et al., 2009; Kehl et al., 2009; Rigot, 2010). Therefore, water control and management in a semi-arid environment with irregular rainfall patterns and rivers with deep beds has been vital and inevitable. According to these conditions, the managers of the political and economic institutions of the region have invested in the construction of structures such as dams, Weirs, reservoirs, and canals, whose works and evidence have been proven as a result of research and investigation. These Structures were built in different areas of the Kur River and with different purposes. The discussed structures in terms of dimensions and size, the amount of work and the materials used show the support and investment of the government. Therefore, the existence of various water structures, conducting targeted research in order to find out the functional nature of the structures, their physical structure and the reasons for assigning them to the Achaemenid period seems necessary. The main and important question of the current research is what was the function and performance of Hydraulic Structures in the Kur River basin during the Achaemenid period? What was the basis of the chronology and assignment of the studied water structures to the Achaemenid period? The structure, the environmental study and the geographical background of the formation of the structures have shown their various functions, such as supplying water to human settlements and agricultural lands, controlling and directing floods. Also, the discussed structures have been dated to the Achaemenid period, mainly based on their morphological features, type of materials, connection with the surrounding sites and comparative comparison with similar Structures.

Identified Traces 
As it was mentioned before, as a result of Archaeological investigations and researches, several important Hydraulic structures from the Achaemenid period have been identified and studied in the Kur river basin. In terms of morphological characteristics, the mentioned structures are divided into groups such as Dams, Weirs, Canals and Reservoirs. Among them, we can mention Band-e- Dokhtar, Bard Burideh II, Band-e- Bas II, Rahmat Mountain Canal, Asiyab Dam, Qondashloo Mountain Canal, etc. For the accurate dating of some of these structures (such as the band Dokhtar and the Bard Burideh), there is enough evidence, including the use of carved stone blocks and Dovetail Clamps. But some others can be attributed to the Achaemenid period based on possible evidence, including comparative comparison with similar structures and the connection with the surrounding sites. Band-e- Bas II and identified channels are included in this group. The precision and skill used in the construction of these structures indicate the existence of advanced engineering in the Achaemenid period. The chosen place for the implementation of Hydraulic projects reflects their functional nature. Therefore, it can be said that most of the Hydraulic Structures can be defined in connection with water supply and irrigation projects. The reason for the existence of Channels makes sense in this connection. Band-e- Dokhtar, Band-e- Bas and Asiyab Dam probably had a multifaceted function (irrigation, water supply and flood control). The Persepolis Tablets refer to a large amount of Agricultural and horticultural products in the Kur River basin. According to the texts of Persepolis, the diet of the people of this area in the Achaemenid period was mainly based on Agricultural products (barley and wine). Some of these crops can only be cultivated if irrigated. In addition, the implementation of irrigation projects has made it possible to plant nurseries and fruit gardens (mentioned in the Tablets).

Conclusion 
As the heart of the Achaemenid Empire, the Kur River basin has diverse environmental and geographical capabilities, including vast and fertile plains and permanent rivers. These natural characteristics have prompted the economic policy makers of the Achaemenid Empire to implement the economic programs of the Kur region according to its potential. The use and exploitation of surface water (rivers and springs) for the economic prosperity of the region by building structures such as dams, Weirs, canals and reservoirs is one of these measures. In this context, Band-e- Dokhtar and the canal branching from it, Bard Burideh II, Band-e- Bas II, Koh-e- Rahmat Canal, Koh-e- Qondashloo Canal, Koh-e- Ayyub Canal, Dezhabad-Amir Aqueduct are worth mentioning. The environmental study of the formation of structures and their placement in the landscape of the region shows that the main purpose of creating structures was to supply water to human settlements and Agricultural lands. The Persepolis Archive implicitly indicate the expansion and prosperity of agriculture/Gardening activities and diet based on agricultural products in the Kur river basin. Also, the reference of the Tablets to the cultivation of water crops (cotton, flax and rice) and various fruits can be considered as clear evidence of the role of water supply structures. The discussed structures have been attributed to the Achaemenid period, mainly based on their morphological features, type of materials, connection with the surrounding Sites and comparative comparison with similar structures. In terms of size and dimensions, the above structures show the amount of work and materials used for government support and investment.

Abstract
Belqeis site or Old Esfarayen is considered one of the important urban centers in the Islamic era and in the North Khorasan province. Based on historical sources and archaeological excavations, this city has been inhabited since the early Islamic centuries until the Safavid period. So far, many books and articles have been published about this city and some of its archaeological evidence; But parts of its findings have not been published yet. Pottery from the 11th to the 14th century is among the archeological findings of this site, which have not been introduced and investigated in any independent research. These works include various decorative groups, some of which are less known. These factors show the necessity of conducting independent research in this field. The current research was based on two essential and main questions, which are as follows: How many groups were the pottery from the 11th to 14th centuries, what decorative features do they have, and which regions are they comparable to? What are the production centers of this pottery? According to these questions, the main goal of the current research is to investigate, analyze, and compare the pottery of the 11th to 14th centuries in the vicinity of the Belqeis site and to identify their possible production center or centers. The descriptive-analytical method was used to conduct the present research and the method of collecting information is based on field and library studies. As a result of the present research, various types of unglazed and glazed pottery from the 11th to 14th centuries of the area were investigated, described, and compared. In the meantime, some decorative techniques such as drop-drop glazing were also presented in the research for the first time. Much of the studied pottery was probably produced on the site itself, whose production evidence was also shown in the article. Still, some pottery, such as lusterware and celadon, was probably exported to this city from other centers such as Jurjan, Jiroft, Kashan and China.
Keywords: Pottery, Esfarayen, Belqeis Site, 11th to 14th Century, Islamic Era.

Introduction
Esfarayen is one of the ancient cities of North Khorasan province, which has been subject to calamities, looting, and attacks many times throughout history. Historians have called Esfarayen the border of Nishapur or Jurjan. Most of the transformations of this city are related to the 9 to 11 centuries; However, in the period of 12th and 13th centuries, it faced decline and was attacked twice by the Ghoz and then by the Mongols. In the 14 century and with the establishment of Sarbedars rule in the region, the city became relatively prosperous for a while, and this process continued until the Safavid period. According to these cases, it is clear that the life of the ancient city of Esfarayen continued continuously from the beginning of Islam to the Safavid period; This is despite the fact that our awareness regarding the archaeological findings of this city, especially its pottery, includes most of the early Islamic centuries. On the other hand, our knowledge about the pottery of the Islamic era of Greater Khorasan also includes the periods before the Mongol attack and after the Timurids came to power; While our knowledge about the pottery of the 13-14 centuries in the region is relatively small. Considering that the social life of the city of Esfarayen spanned the entire 11th to 14th centuries, it was necessary to investigate the pottery of this period in independent research. A subject that has not been independently addressed in any research so far. According to these cases, the current research is based on two essential and main questions, which are as follows: How many groups were the pottery from the 11th to 14th centuries, what decorative features do they have and which regions are they comparable to? What are the production centers of this pottery? According to these questions, the main goal of the current research is to investigate, analyze, and compare the pottery of the 11th to 14th centuries at the Belqeis site and identify their possible production center or centers.
Descriptive-analytical method was used to conduct the present research and the method of collecting information is based on field and library studies. Based on this, the pottery studied in this article is related to the archaeological excavations of the third and fourth seasons of the Belqeis site. After the initial documentation and description of these pottery, they have been classified and their comparative study with other sites has been done.

Discussion
In the present study, only the pottery was examined and studied, which included the 11th to 14th centuries according to the comparative dates. These potteries were divided into two groups, unglazed and glazed, and each group was examined separately. The unglazed pottery of the area has a clay paste in the color range of pea, red, green, and black, and various motifs are used on some pieces. Some unglazed pottery from the area, such as red paste samples, probably from Jurjan or Jiroft, were exported to this area. But other decorative pottery, such as molded and stamped samples, were produced in the area itself.
The glazed pottery of the area also has various clay pastes, frit-ware, and porcelain. The single-colored glazed examples of the area generally have a frit paste, and most of them are turquoise-green in color. Most of these production pieces were probably from the Belqis site. Among the single-colored glazed pottery of the area, scattered pieces of Celadon pottery were also identified, which imported from China in the 14th century. Pottery with the underglaze painting technique has a lot of variety and is generally frit-ware. Some of this pottery, such as the blue and white samples, was probably the production of the area itself, but the pottery, such as the Silhouette and Sultanabad samples, was exported to this area from other centers such as Jurjan, Nishapur, and Kashan. have been Lusterware pottery, which all belong to the 13th century, are exported from other regions such as Jurjan or Kashan.
It should be noted that in the excavations of the site, in addition to the pottery kiln, many slags were also found inside the kiln and its surrounding areas. Among the evidence of pottery production in the area, we can mention the following: scattered pieces of clay molds, three, four, or multi-faceted clay stamps, and many pieces of clay balls that sometimes have glazes on them. It can be seen, many pieces of pottery tripods, clay chines, unglazed or glazed pottery, deformed or stuck together, crudely carved pottery, and objects Cone-shaped pottery that was obtained along with other findings related to pottery production.
According to the existence of this solid evidence as well as petrographic studies conducted on some terracotta pieces, it can be assumed that many of the studied terracotta pieces were produced in the area itself; But some pieces, such as examples of lusterware, Celadon, Sultanabad, and some painted red paste pottery, were imported from other centers such as Jurjan, Nishapur, Jiroft, Kashan, and China.

Conclusion
The present research was carried out with the aim of examining, comparing, and dating the pottery of the 11th to 14th centuries of the Belqeis site and also identifying the possible centers or centers of their production. As a result of the present research, various types of unglazed pottery of this period were investigated, analyzed, and compared. As an example, pottery with drop glaze decoration was introduced and it was checked that this decorative method was used in combination with other motifs on the unglazed pottery of the area. Due to the fact that in addition to unglazed pottery, evidence of pottery production was also obtained in the excavations of the area, it can be said that most of the unglazed samples were probably produced in the area itself; But pottery such as unglazed embossed red paste with stumpy decoration and sphero-conical vessel pieces were probably exported to this area from the two centers of Jurjan and Jiroft. Because the production evidence of this pottery was obtained in these two centers and the form and patterns of the pottery in the area are somewhat similar to the production samples of these two centers.
Many of the glazed pottery of the middle Islamic ages of the area, despite the great variety, were probably produced in the area itself; As an example, we can refer to the single-color turquoise glazed pottery of ferritic paste, the examples of single-color oil-lamps of frit-ware, and the blue and white pottery with a striped pattern. Apart from these cases, in the excavations of the area, scattered fragments of other pottery groups of this time period were found, which were probably imported from other centers due to less dispersion and lack of identification of proof of their production in the area. are as an example, we can mention the obtained luster-ware, Sultan-Abad, Celadon, and Silhouette pottery, which may have been imported from centers such as Kashan, Jurjan, and Nishapur.

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

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

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

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

Abstract
Dehdasht is one of the most significant historical cities in the southwest of Iran, which in its flourishing period was considered the center of a region that was important from the Sassanid period and after that with the names of Beladshapur and Kohgiluyeh had. This city is one of the historical cities of Iran, which despite many historical developments, it can still be considered the healthiest historical city with stone architecture in the country. During its heyday, Dehdasht had all the components of a city, including government citadel, tower and ramparts, mosque, school, caravanserai, bath, market, square, and other public buildings and more than a thousand residential houses. The purpose of this research is to understand the history and how the formation, development and decline of this valuable city. In this research, which was conducted in a historical-analytical way, it was attempted to compare the results of field studies, cultural materials (coins, architecture, pottery finds, inscriptions and inscriptions on tombstones) and Documents (written sources) be answered to this question, how was the historical course and the way of formation, development and decay of the historical city of Dehdasht? The obtained results indicate the growing trend of Dehdasht from the middle Islamic centuries and the peak of its development and prosperity in the Safavid period and the gradual decline of the city after this period. The results of the field studies also revealed that the initial location of the city was probably first formed in the neighborhood that is called “Rawaq neighborhood” today, and later in the Safavid period, the concentration and prosperity of the city increased in the eastern(main) part, and then the western part falls from its initial prosperity. Despite the development of Dehdasht in the west-east axis, with the fall of the Safavid rule, this city lost its prosperity so that today its historical context remains uninhabited and abandoned.
Keywords: Beladshapur, Kohgiluyeh, Dehdasht City, Jumeh City, Safavid Period.

Introduction
The historical city of Dehdasht is located in the current province of Kohgiluyeh and Boyar Ahmad, located in the southwest of Iran and on the southern side of the new city of Dehdasht(Fig. 1 and 2). This city was the center of a region that became known as “Beladshapur” from the Sassanid era due to the construction of a city by Shapur I. Beladshapur was one of the important rastaqs of the Shapur khoreh and then the Arrajan khoreh, which were considered the most famous areas of Fars in the Sassanid and the Islamic era (Ibn Khordadbeh, 1889: 45; Maghdasi, 1411: 28; Estakhri, 2004: 135). In the 2nd and 3rd centuries, Beladshapur district was under the administration and control of a person named Giloyeh (Gilo/Gelo, Gilo Mehr) and his family, who, thanks to his bravery, was called “Ram Giloyeh, Kohgiluyeh “also became famous (Estakhri, 2004: 144). According to historical sources, the city that was founded by Shapur I in the region of Beladshapur was called “Jumeh”, which was also known as “Beladshapur” after the name of the region itself (Maghdasi, 1361: 635; Estakhri, 1373: 98). Jumeh, the main center of Beladshapur, was destroyed during the Ismailian conflicts (Ibn Balkhi, 1374: 351 & 353; Mostoufi, 1362: 127), but after this destruction, it could not regain its past prosperity. With the decline of Jumeh, Dehdasht started its prosperity and replaced Jumeh as the main center of Beladshapur. Despite the importance of the Dehdasht, comprehensive, continuous and purposeful archaeological studies based on methodical archaeological excavations were not recorded, and there are many questions about this city, especially its history and how it was formed. Finding, development, decline and reasons for its decline remain unanswered. Answering these questions, while explaining various aspects of the developments of this city, provides valuable information about historical developments in Iran, which is necessary in its own way. In this research, it is tried to analyze the information left from the historical texts and cultural materials, while answering the questions to explain the historical course and how it was formed. It is assumed that the initial core of that formed in the current neighborhood of Rawaq and grew and developed relatively in the middle Islamic centuries, and although it flourished in the early Safavid with the development in the west-east axis, but in at the end of this period, it has experienced its gradual decline.

Discussion
Historical sources do not provide any information with the name Dehdasht before the 9th century AH. The correspondence of Dehdasht with “qhariyeh” that is mentioned as a station on the Arrajan-Isfahan route is also possible, and assuming its authenticity, it does not provide the correct form of the qhariyeh (Dehdasht). The information about the 9th century AH is also very little. In the first decade of the 9th century A.H., the name of Dehdasht came along with the districts and big cities such as Ramhormoz, Behbahan, Kuh-Giloyeh and Zaidon. According to numismatic documents, Dehdasht was an important and highly important city in the history before the 9th century A.H. and also during this century, so that during the mentioned century it had extensive commercial relations. Trade was with big cities on both sides of Zagros and especially Isfahan. In this way, there is no doubt that this city has gone through its growth stages before and its formation was related to earlier periods. In addition to the numismatic documents, the pottery obtained from Dehdasht and to some extent some architectural works and single findings such as tombstone inscriptions on the importance of Dehdasht in history before the 9th century AH and also during this century, they testify. Documented by written sources, there is no doubt that with the beginning of the Safavid period, the importance of the Kohgiluyeh area and the city of Dehdasht doubled. The archeological studies conducted also place most of the buildings of the historical context of Dehdash and the formation of the main context of the city in connection with the Safavid period. This issue also shows that the significant growth and physical development of the city took place in the Safavid period. A topic that the study of pottery data, the analysis of historical sources and the analysis of cultural materials also reflect well. Dehdasht lost its importance and prosperity at the end of Safavid rule and at the same time as it fell. As it can be seen from the analysis of historical sources, the analysis of the remaining works and the analysis of cultural materials, the last periods of construction, reconstruction and repairs of construction works, as well as the activities and efforts for the development of the city of Dehdasht, related to the Qajar period and its last half. is the period. 

Conclusion
The results obtained from the analysis of historical sources and cultural materials indicate the gradual development of Dehasht from the 8th and 9th centuries AH and after that. If the matching of Dehdasht with the “qhariyeh” mentioned by maqhdasi in this article is correct, Dehdasht was a station on the Arrajan-Isfahan communication route in the 4th century. Before this date and even after that until the beginning of the 9th century, there is no name from Dehdasht or “qhariyeh” in historical texts. In addition, among the studied cultural materials, there is no reliable data that can be confidently attributed to before the 8th and 9th. Despite this, the analyzes obtained from the documents of this research testify to the importance of Dehdasht during the 8th and 9th centuries and even before that, and confirm the existence of Dehdasht earlier than the mentioned date. Although, many remains of architecture and older parts of the historical context of Dehdasht have been lost, the available data show evidence from the 8th and 9th centuries and most of them belong to the Safavid period. According to studies, the initial growth of Dehdasht took place in the western part, Rowaq neighborhood, and with the significant development of Dehdasht at the same time as the Safavid, this part of the city fell from prosperity and the city was formed in the eastern part. As it can be seen from the analysis of the studied cultural materials, Dehdasht was considered one of the main centers of Kohgiluyeh in the 8th and 9th and had a mint and significant trade exchanges with the big cities around it.  The results obtained from the study of historical texts, the Evidence remains and the analysis of cultural materials, place the main growth and development of the city of Dehdasht in relation to the Safavid. At the end of Safavid rule and its fall, the city of Dehdasht gradually lost its past prosperity. According to historical sources, wars, rebellions, consecutive looting, insecurity, destruction of roads, destruction of bridges, intermediate stations, deterioration of the economic situation and heavy taxes led to the decline of the city of Dehdasht and the city’s depopulation, so that not a single household remained in it. The final collapse and the end of the political-social life of the city is related to the Qajar and the end of the reign of EhtEsham al-Douleh (1281-1298) in Kohgiluyeh.

Abstract
The southeastern Caspian Sea, which archaeologists call the coastal zone, like many other areas of the Fertile Crescent, experienced significant changes in the structure of human societies on the cusp of the Neolithic Revolution in the early Holocene. Although archaeologists have been unable to establish a link between the end of the Mesolithic and the beginning of the Neolithic in the region, based on the current information, we now know that hunter-gatherers arrived in the area ca. 15,000 years ago. This marked one of the most important cultural events in human societies on the cusp of sedentism. One of the caves that has been studied as evidence of the presence of humans during the Mesolithic period is Kamarband (“Belt”) Cave. It is considered one of Iran’s most beautiful caves, attracting hunter-gatherer groups as settlers around 14,300 years ago. The cave was excavated by Carleton Coon between 1949 and 1951, and the description of his excavations during that time have fascinated readers for decades. Nevertheless, while Coon’s excavations at Kamarband Cave shed new light on the cultural epochs of the cave dwellers, they led to numerous ambiguities in understanding the chronological sequence of societies that existed in this cave for a variety of reasons. Over the past 70 years, archaeologists have not been able to accurately evaluate the cultural and social evolution of cave-dwelling human societies due to confusion in Coon’s excavation data. Therefore, a team of Iranian archaeologists re-excavated in limited and untouched parts of Kamarband Cave in 2021, managing to resolve some of the ambiguities in Coon’s chronology. Apart from the archaeological values of Kamarband Cave, recent excavations by the archaeological team have collected other valuable data, which will be addressed in other articles. This article primarily encompasses a chronological assessment of Kamarband Cave based on new data.
Keywords: Kamarband Cave, Mesolithic, Southeast of the Caspian Sea, Mazandaran Province, Hunters and Gatherers.

Introduction
Homo sapiens appeared on the planet about 300 thousand years ago, and except in the time range between 20,000 and 10,000 years ago, the range of remarkable changes among hunter-gatherer societies was not so noticeable and effective that it could cause fundamental changes in the dimensions (Watkins 2024, Flannery and Marcus 2012). The important point is that the cognitive capacities of Homo sapiens occurred around 40,000 to 50,000 years ago, called a revolution of behavioral modernity (Henshilwood and Marean 2003, Powel et al., 2009). However, archaeologists consider the evidence of this behavioral change in humans to be related to a period 15 thousand years ago. Caves such as the Kamarband, Hotu, Komishan and Ali Tepe, and the Mesolithic period significantly differ significantly from their predecessors. The results of archeological studies show that in the north of Iran around 14300 years ago, in the period from which terms such as Epipaleolithic or Mesolithic, a different and transformed society emerged. Scattered research shows the presence of humans throughout Mazandaran province from the Middle Paleolithic period onwards (Ramazanpour and Moradian, 2022). However, the basic question here is that in the southeast of the Caspian Sea, what were the characteristics of the transformative changes on the verge of the Neolithic? Apart from their chronological values, we need to know to what extent northern Iran sites excavated in recent years effectively understand the range of human developments in the Mesolithic and Neolithic periods. Investigating the Mesolithic and Neolithic periods can help us understand each society’s ideological and ritual concepts in the transition from the period of hunting and food gathering to the period of agriculture.
The Mesolithic period in the southeast of the Caspian Sea has been well-known for a long time due to the excavation of Hotu and Kamarband caves in 1949-1951 by Carleton Coon (Coon, 1951; 1957). Coon’s investigations and excavations in the plateau and north of Iran became a turning point in the recognition of an important period of human societies living in caves. Following that, a new wave of research began throughout this area. Despite the great fame of these two caves, unfortunately, there was no reliable information about this period, and the only reliable information about the Mesolithic period in the southeast of the Caspian Sea was related to the excavation of Ali Tepe Cave by McBurney and Komishan Cave by Vahdati Nasab. However, these communities’ social and economic status needs to be clarified (McBurney 1968, Vahdati Nasab 2021).
However, these excavations could not answer the questions of this period in the region; for this reason, in the winter of 2021, to review the stratification of the cultural deposits of the Kamarband and to investigate the resilience of humans with the environment from the Mesolithic to the Neolithic period; It was excavated for 40 days by a team from University of Tehran. Before the revision excavation, it seems the Neolithic context of Kamarband was destroyed, and our team only recorded layers of the Mesolithic period. This article describes the results of the 2021 excavation of the Mesolithic stratigraphy of Kamarband.

Kamarband Cave
Kamarband cave is located about 8 km west of Behshahr city and 7 km south of the Caspian Sea at a height of 36.40 meters above sea level. This Cave was first excavated in 1949 and 1951 by Coon. Coon started three trenches in this Cave, including Trench A, B and C. He identified 31 layers in Trench A (Fig. 4). Coon divides the Kamarband sequence into four cultural horizons based on the 28 layers from Trench A from top to bottom: Horizon 1: This period includes layers 1 and 2, consisting of mixed accumulation of Neolithic remains along with the Iron Age, the Islamic period, and the remnants of contemporary periods. Horizon 2: This period, considered the true Neolithic horizon, includes layers 3-10 and is divided into two parts, 2a and 2b. Section 2a includes layers 3 to 7, including pottery and bone remains of domesticated animals. Horizon 3: Upper Mesolithic period includes layers 11-17. Horizon 4: Early Mesolithic includes layers 21 to 28, the oldest phase identified in this Cave.
Kamarband Cave was re-excavated in 2021, and the team opened two trenches (D-E). In Trench D (2.20×3 M), the team recorded 28 contexts. After we removed all the rubbished materials from the Carleton Coon excavation of 1940, very small parts of the southern wall were untouched, which was very significant for stratigraphy. Context 1 contains the surface layer of the cave, and Context 2 contains the remains of the Coon`s excavation. Contexts 11, 12, 13, 14, 27, and 28 contain fireplace structures. Among the cultural remains in this trench, the team found remarkable plant remains such as seeds (recorded from fireplace structure), fossils, shells, snails, and stone artifacts. Trench E (65×220 M) after cleaning the Coon’s excavation, we reached the rocky bed of the cave, which allowed us to have a very good view of Trench E to control the section and stratigraphy. This trench is 65 x 220 cm. Context 1 is the surface layer, and contexts 2, 3, 5, 6, 7, 8, 9, 10,12,15,16,22,23,24,25,26,27,34, and 35 are fireplaces structures. Among these contexts, one of the special findings is the existence of many plant seeds. Contexts 13, 17, 18, 19, 28, 29, and 30 are settlement layers. Contexts 14 and 33 are rubble layers. Context 36 starts from -190 cm to -352 cm on the bedrock of the Kamarband cave and has no cultural finds. Context 37 is the bedrock. The cultural materials of this trench include stone artifacts, chipped stones, plant remains, animal remains, shells, snails, and fossils. Among the special 2021 excavations, we found the Carnivora /wolf teeth in many southeastern Caspian Sea caves, indicating a common shared ideology of Mesolithic people. Due to the destruction of the Neolithic layers in the cave, no evidence of pottery was found during the excavation. Only from Context 2, Trench D, which contained the remains of the Coon`s excavation, were pottery pieces obtained. 
Regarding the chronology of Kamarband Cave, Libby from the University of Chicago conducted the first C14 tests of Kamarband Cave on eight charred bone samples from the Mesolithic and Neolithic periods. Elizabeth Ralph studied the C14 results of the second season of the Belt Survey (Libby 1951, 1955). However, these results were problematic, so Gregg and Thornton have calibrated past radiocarbon results in recent years (Gregg and Thornton 2012).
Seven charcoal samples from the Trench E 2021 excavation were tested for absolute dating. The first sample of Context 2 (the uppermost layer) is related to the 11810 ± 60 BC period (Fig. 21). The second sample from context 10 shows the date 12030 ± 60 BC. The third sample is from context 16, showing 12010 ± 60 BC. The fourth sample is from context 13 and shows the date of 12150 ± 60 BC. The fifth sample from context 23 shows the date 12210 ± 60 BC, and a sample from context 29 shows the date 12200 ± 60. The last sample is the lowest space of fire preparation from a depth of 180 cm and shows a date of 12270 ± 60. The results of our studies indicate only the Mesolithic occupation of the Cave, while there is a short gap between the two trenches are visible, and it seems the Cave covered by pale soil/Loss. However, Coon’s report and his section indicate such a short cultural gap as well. It seems the Cave was abandoned much earlier before Younger Dryas and after a long interval before the Pottery Neolithic period was occupied again. During the Mesolithic period, the Kamarband Cave was highly used for daily activities, specifically for the production of stone tools. During the excavation of 2021, around 6736 stone tools were found in the two small trenches, while in the Hotu excavation 2020, less than 2000 stone tools from 10meter cultural layers were recorded, which indicates the different functions of the two Caves (Jayez et al., in press). 

Conclusion
According to the past and recent excavations of Hotu, Kamarband, and Komishani Tepe, we still see the chronological gap from the Mesolithic into the Early Neolithic period in the southeastern Caspian Sea shoreline. The emergence of the Modern Mind, the modern behavior revolution, and the formation of symbols and symbolic behavior are the main characteristics of the Mesolithic people of the Caspian Sea. The advances of warmer climate during the Bolling- Allerod period from 18,000 to 12,000 years ago caused the consumption of different resources and the subsistence strategy of the Caspian Sea cave people. From the 2021 excavation of Kamarband, we have recorded remarkable seed remains plus stone implements to support the theory of a new group evolving toward pre-agricultural management in one of Iran’s few regions of coastal societies.  

Abstract
The pearl motif stands out as one of the most prominent and widely used decorative elements in Sasanian art, with its diverse reflections evident in the cultural and artistic works of the era. This study aims to explore the significance and position of this motif in Sasanian decorative arts, analyzing it as one of the most notable designs employed in royal ornaments and as a sacred or meaningful symbol. The research adopts a fundamental approach, utilizing descriptive and comparative-analytical methods, with data collected through library-based studies. Findings reveal that the use of the pearl motif in Sasanian art extended beyond mere decoration, serving as a symbolic, spiritual, and royal element. The analysis indicates that the motif was deeply connected with Zoroastrian beliefs, representing farr-e izadi (divine glory). This symbolic motif was extensively featured in various decorative arts, including silk textiles, gold and silver vessels, coins, and architectural adornments such as stucco and wall paintings. The use of the pearl motif emphasized themes such as royal legitimacy, divine sanctity, and the aspiration for increased divine favor, ultimately leading to greater prosperity and success. The results highlight that the pearl motif, by bridging religious and social values, became a cornerstone of Sasanian decorative arts and a powerful symbol of the interconnectedness between humanity, the divine, and the royal order during this period.
Keywords: Pearl, Symbol, Decorative Art, Sasanian, Farreh Izadi.

Introduction
The motif of the pearl in Sasanian art stands out as one of the most prominent and widely used elements in the artistic decorations of this period. Beyond its decorative aspects, it served as a symbol of spirituality and royalty. Despite its significance, existing studies have not comprehensively analyzed its meanings and applications. The symbolic use of pearls in art emphasized royal legitimacy, divine sanctity, and the attainment of khvarenah (divine glory) and greater prosperity. This paper demonstrates how pearls, as a significant symbol, established a profound connection between humans, deities, and the royal system. 
Despite the importance of pearls in the Sasanian era, current research lacks a thorough analysis of their meanings and functions in Sasanian art. This study explores the roles of pearls in Sasanian art, examining their association with the spiritual and social values of the time. It also highlights how this symbolic element reflected the relationship between humans, divine beings, and the royal order. The primary goal of this research is to analyze the significance and role of the pearl motif in Sasanian art. It aims to show how this motif, beyond its decorative purposes, embodied spiritual and social meanings and served as a symbol of khvarenah and royal legitimacy in artistic works.
This study also investigates the various applications of the pearl motif in Sasanian decorative arts, including textiles, vessels, coins, and architectural ornamentation. It examines its connections to Zoroastrian beliefs and its impact on the social and religious values of Sasanian society. Moreover, it analyzes how the pearl motif was used to emphasize royal legitimacy and to secure prosperity and well-being, while also exploring the bond between humans, divine entities, and the royal system as reflected in artistic works.
The key research questions are: What symbols and functions does the pearl represent in Sasanian art? How are the most significant visual manifestations of the pearl motif related to the spiritual values of the Sasanian era?
In response to the first question, the hypothesis suggests that the pearl motif in Sasanian art transcended its decorative nature, symbolizing spiritual and royal values that reflected the religious and social beliefs of Sasanian society. For the second question, it is hypothesized that the visual expressions of the pearl motif, through specific designs and compositions, were closely tied to spiritual and ideological values and served as a symbol of khvarenah and royal legitimacy in artistic creations.

Identified Traces 
Since Sasanian art was primarily intended for the court and was entirely official, its artistic elements were naturally aligned with royal objectives. Pearls, intrinsically associated with farrah (divine glory) in both tangible and abstract forms, were used extensively in Sasanian art for decorative and symbolic purposes.
One of the primary uses of pearls was as royal adornment. They were frequently seen in various types of jewelry, royal garments, crowns, and in the decorations of royal rings. A notable decorative element was the design of one or two strands of pearls, often interspersed with square jewel-encrusted pieces. This motif seems to have been one of the standard designs used in various decorations.
Among royal jewelry, there was a necklace that appeared to hold a distinctive value compared to other jewels. It consisted of a single strand of gems or pearls ending in a flowing ribbon, with three large gemstones or three royal pearls in the center. This necklace seems to have held a status akin to that of the royal ring. In Sasanian art, such necklaces were either worn by kings and deities or by specific animals on their necks or beaks.
Pearls were also used as symbolic elements in architectural decorations. Pearl-encrusted medallions and circular frames were among the most common features in Sasanian decorative and symbolic art. Beyond their aesthetic function, these pearl frames had two meaningful aspects: first, they surrounded sacred and pre-defined symbolic elements in Sasanian religious and philosophical thought, emphasizing their significance and sanctity; second, elements that were not inherently sacred gained new meaning when placed within these frames, sometimes carrying a message from the king and ultimately attaining a spiritual and transcendent quality. The concept of a sacred halo, like the pearl motifs, was also related to the notion of farrah (Sodavar, 2017: 19).

Conclusion 
The motif of pearls in the Sasanian period can be explored from both an artistic and decorative viewpoint, as well as from a mythological and religious perspective. Since Sasanian decorative art was dedicated to celebrating the finest creations of the divine, pearls, with their sacred status as symbols of Mithra, Anahita, and other deities associated with water, became one of the most prominent decorative elements. In Sasanian art, pearls were never used purely for ornamental purposes; rather, they were imbued with deep religious meanings, transforming them into a widely used and sacred motif.
Pearls were among the most common embellishments in Sasanian handicrafts and architectural decorations, serving as a visual representation of farrah. The various forms in which pearls manifested farrah included not only the usual jewelry worn by priests, courtiers, nobles, and aristocrats but also a specific type of necklace comprising a strand of jewel-encrusted pearls, with three large gemstones or royal pearls in the center. This special necklace, in addition to symbolizing power, was presented by sacred animals such as the peacock, duck, ram, and winged horse as a sign of the king’s legitimacy and divine selection as ruler.
Finally, pearl-encrusted solar rings were transformed into a sacred halo around the heads of kings and deities, symbolizing divine presence and spiritual power.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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