Abstract
Chehelsotoun Palace has always been a source of traditional and new interventions in the restoration of murals, which indicates the evolution of views on this issue in Iran. This study aims to understand the evolution of conservation and restoration approaches to murals by referring to the tradition of previous repairs and new approaches to conservation and restoration has studied murals in Chehelsotoun Palace and has sought to answer these questions: What were the procedures of the previous repair tradition? What were the new approaches to the conservation and restoration of murals and their fundamentals? What were the differences between the two? Data collection was done by documentary method. First, by adopting a comparative and descriptive method, the previous repairs will be examined. Then, the research, which has a qualitative and interpretive approach, uses an analytical method to explain the issues about the tradition of previous repairs and the fundamentals of new approaches. In the end, the results will be explained with logical reasoning. The research findings indicate that the previous repairs were performed in the form of repainting on the original murals, in the continuation of the life of Iranian Traditional Paintings. Such repainting, while following the visual elements of the original murals, also has different expressions from the artist in charge of the repair, which was rooted in the tradition of previous mural repairs and their contexts. New approaches were based on historical authenticity and aesthetic integrity, and led to the removal of some of the stages of mural development and reintegrated of the lacunas with a distinction from the original murals. The aesthetic and historiographical approaches of the West were the source of the differences between the new interventions and the semantic procedures of traditional repair which always focused on the nature of things. 
Keywords: Repair Tradition, Conservation and Restoration Approaches, Mural, Chehelsotoun, IsMEO Group.

Introduction
In recent years, the need to pay attention to the tradition of indigenous conservation in accordance with the specific cultural, intellectual, religious, historical and social contexts of each land; has been considered by international forums. In Iran, there are still many points about the tradition of heritage protection and repair that need researched and will cause to be known, like Western societies, the origins and evolution of views, procedures and approaches in the field of conservation and restoration in Iran. Chehelsotoun Palace murals have always been the subject of a variety of interventions, from previous repairs to new conservation and restoration approaches that became common in the mid-1940s. Today, only a few traces of the previous procedures of repairing murals in Iran have been left. In particular, the undesirable evaluation of traditional repair procedures has left no opportunity for their recognition. While in international treaties and documents have always been emphasized the importance of indigenous conservation traditions in each region and the role of recognizing these traditions as an intangible aspect of heritage in its preservation has been considered important. On the other hand, despite the continuation of many new approaches to the conservation and restoration of murals those took place in the mid-1940s; their constructive principles and criteria, and how they deal with previous procedures, have not been studied. This study will also explore the tradition of previous repairs to some of Chehelsotoun murals and how they were transformed into new conservation principles.
The aim of the present study is to gain an understanding of the tradition of previous repairs and the foundations of new approaches to conservation and restoration in Chehelsotoun murals, and finally an analytical cognition of how they differ from each other.
In conducting the research, the following questions were considered: What were the procedures of the previous repair tradition? What were the new approaches to the conservation and restoration of murals and their fundamentals? What were the differences between the two? Data collection was done by documentary method. First, by adopting a comparative and descriptive method, the previous repairs will be examined. Then, the research, which has a qualitative and interpretive approach, uses an analytical method to explain the issues about the tradition of previous repairs and the fundamentals of new approaches. In the end, the results will be explained with logical reasoning.

Discussion
In previous procedures, the purpose of the artist in charge of repair was to Continuing the spiritual dimension of the heritage. The artist performed traditional repairs according to the moral, intellectual and spiritual functions that traditional art had given him. Such repairs to the murals in question took the form of repainting performed by the artist directly on the original mural. These repainting, while having visual elements and general similarities with the original murals, also displayed different expressions from the artist in charge of the repair. The traditional repairs in imitation of the original murals, along with different expressions from the artist in charge of the repair, were a kind of mimesis of the original murals, as a representation of the original mural through the wishes, thoughts and ideology of the artist in charge of the repair. Also, the process of traditional repairs of murals had a hierarchy in the tradition of teaching art techniques. Such repairs, in the midst of the prevalence of the eclectic style of Qajar painting and then the abandonment of past traditions and covenants, were a kind of revival of the themes and features of traditional painting in the form of murals.
Restoring the Safavid identity and recovering the older layers of the murals was one of the main approaches of the new currents of conservation and restoration in Chehelsotoun Palace, As the IsMEO group seldom left evidence of traditional repairs on murals. IsMEO also used a system recognizable of distinct restorative additions to older sections in order to avoid misleading restoration operations in addition to establishing aesthetic integrity. Following the emphasis on preserving all the remains of the surviving murals from the Safavid period, the treatment of the murals with strategies resulting from the application of science gained a lot of importance. Thus, the use of new materials to help materials that no longer had the desired function, found a new place in the conservation and restoration of murals in Iran. It should be noted, however, that with the exception of a few experiments, the results of an accurate assessment of the compatibility between such solutions and the main materials of the murals and the traditional methods of their construction have not been published by IsMEO.

Conclusion
The new approaches to the preservation and restoration of the murals discussed at Chehelsotoun were based on an assessment of the aesthetic and historical aspects of the murals. IsMEO’s methods for reintegrating the lacunas of murals were also linked to the two fundamental categories of the historical authenticity and artistic integrity of murals. Aesthetic approaches in the new currents of conservation and restoration, derived from the perspective of art for art and beauty in a pleasant and enjoyable sense. Following this view; Attention to the main intention of the artist, and subjectivity, found a special place in many approaches to conservation and restoration. In contrast, traditional repairs were semantic in nature rather than aesthetic in appearance. Previous procedures were subject to spiritual concepts and also used visual values to express spiritual and epistemological expressions.
Emphasis on the historical authenticity in new currents was another way of distinguishing it from previous procedures. This view arose following the disintegration of Western societies from the past and the formation of historical consciousness, and forbade the process of re-creation and competition with the original artist in restoration. But in contrast to the new approaches focused on the nature of things and their semantic and epistemological aspects, they were independent of the time and place of the phenomena.

Abstract
Gray pottery is one of the most significant and important cultural artifacts discovered from the Bronze Age sites in the southeast of the Iranian plateau. This style of pottery has been obtained in a very large amount from the Chagardak Asr-e-Faraghi site of Chah Hashem Plain in Baluchistan, which has so far been far from the views and studies of archeology, archeology and artistic history of the southeast of the Iranian plateau. The main question of this research is about how to make and decorate these pottery. It seems that pottery making was developed in this area and they had different construction methods. The present research has been done by analytical-experimental method and based on laboratory studies. The studied objects belong to the Museum of Southeastern Iran. Measures such as documenting the condition of objects as well as sampling necessary for laboratory tests have been performed at the restoration workshop of the Museum of Southeastern Regions of Zahedan. Then, using thin section petrographic studies (OM) and instrumental analyzes with SEM-EDX and XRD methods, the data are analyzed in order to achieve the research objectives. In this study, 11 samples of gray pottery related to Chegardak area, which were obtained from emergency excavations in 2018, were performed. All pottery was wheeled and gray in dark to light and with different thicknesses but in the range of thin pottery. Archaeological studies on pottery suggest a similar composition, but show that different production methods were used. The pottery in question was pottery produced in high heat furnaces and advanced methods such that precision in construction, elegance and strength were considered by the potters. The results show that pottery in this area has been a very advanced industry that has used iron and manganese-based minerals to decorate the pottery.
Keywords:  Archeology, Petrography, Bronze Age pottery, Chegardak, SEM-EDX, XRD.

Introduction
Southeastern Iran is one of the most important and prominent regions in terms of human evolution in the Bronze Age. Evidence of this is the dispersion and existence of numerous ancient sites and hills related to the third millennium BC in this area. Significant sites such as Burnt City (Tosi, 1976; Biscione et al., 1977; Piperno & Tosi, 1975; Tosi, 1968) ¬, Bumpur (DeCardi, 1968; Mortazavi, 2004; 2006) 2018), Speedge (Heidary et al., 2019), Khorab (Stein, 1937) and Domain (Tosi, 1970) as well as Chegardak area (Heydari et al, 2015) are prominent and prominent examples in Sistan and Balochistan, all of which have been studied and various archaeological studies to date Chagardak Archaeological Site (27 ° 5’14 ‘’ N; 59 ° 7’8 ‘’ E) is located in Delgan city and Dasht-e Chah Hashem village, 10 km northeast of Chagardak village (200 km west of Iranshahr city). This area takes its name from the nearby village, namely Chagardak. This area is located in a flat and low plain. The ancient site of Chagardak in the plain of Chah Hashem Jazmourian includes a hill and two cemeteries related to the Bronze Age of Balochistan. This area has been in turmoil and damaged in 2005 due to extensive destruction and looting by traders. During the salvage excavations carried out in 1397, the Archaeological Department of the General Directorate of Cultural Heritage of Sistan and Baluchestan Province discovered a variety of artifacts, including pottery painted in pea, gray and red. Gray pottery is one of the most important finds from the lesser-known Chagardak site in Balochistan. Therefore, these findings have been analyzed and studied in this pilot study using petrographic, SEM-EDX and XRD methods. In the first stage, petrographic analysis was performed on all pottery. In the study of pottery petrography, a very important issue is the materials added to the pottery paste. All the pottery is wheeled and gray in the range of dark to light and with different thicknesses, but within the fine pottery of this region. Samples were named based on the first letter of the name of the Chagardak site in Latin (CH) and the sample number from 1 to 11. Among these specimens, numbers 1 to 8 are broken and small pieces of pottery obtained in the excavations of this area, and numbers 9 to 11 are pottery that is much more complete and with Ability to perform restoration operations (Table 1). Gray painted pottery is one of the types of pottery that has been obtained in many areas of southeastern Iran. Their designs are taken from the ecology of the region and the culture of the people of that period. Scanning electron microscopy analysis equipped with X-ray fluorescence analysis (SEM-EDX): for microscopic examination of the pottery matrix, identification of minerals as well as melting and vitrification stages of the pottery, as well as identification of the chemical composition of the matrix and minerals. SEM-EDX method was used. The SEM device used is the MIRA3 model made by Tescan, an American product. Also, to identify the composition of pigments used in painting ceramics, the EDX elemental method and the VEGA / TESCAN-XMU model made in the United States, which was coupled to the above SEM machine, have been used. The resolution was 1.5 mm at 15 kV and 4.5 nm at KV1 with BSE detector. Also, the method used in this research is point analysis. The mentioned experiment was performed in Razi Metallurgy Laboratory of Tehran. X-ray diffraction (XRD): X-ray diffraction method has been used to identify crystalline phases and mineralogical studies in the desired pottery. The model of the device used is X’spert Prompd Panytical made in the Netherlands, which has been done in Razi Metallurgical Laboratory of Tehran. The samples were analyzed at 30 Ma current and 40 Kv voltage. Information on the identification of crystal phases based on PDF2 database was reviewed and obtained by Xpert High Score Plus software version 2010. Therefore, how the art of making and recognizing the pottery industry in this region can be one of the most important questions and goals. Therefore, in this research, we have tried to answer some questions such as the following questions by using some common methods of analysis in the archeology of ancient pottery. A) What kind of mineralogical composition does the pottery discovered from Chegardak have? B) Structural and archaeometric studies of ceramics show what kind of process shows in the way of making and baking pottery?

Conclusion
These experiments showed that the pottery has a very dense, hard and non-porous texture, which shows that the prehistoric potters of the Chagardak area five thousand years ago were very precise and skilled in the type of drilling and processing method. So that no emptiness or signs of improper weaving can be found in the pottery. This point should be considered as one of the most important features of gray pottery in this region, especially in the southeast of Iran. On the other hand, the resulting studies show that the soil used in the manufacture and production of pottery paste is very desirable, washed and free of any additives. As their strength is so high after firing that they can not be easily broken, this can be seen well in the type of sintered and semi-glass texture of pottery. Also in XRD phase analysis, the presence of high heat phases was detected. It is very likely that high heat furnaces using regenerative conditions were used in the construction of the pottery. On the other hand, in the archeological excavations and emergency excavations carried out by the archeological group of the area under the supervision of Mohammad Heydari, the architectural remains of a pottery kiln, molten pottery and kiln were discovered, which shows this. This industry has been an art and native production of the people of this area. The last stage of producing a pottery was the methods of polishing and decorating it to produce a magnificent work of art. Elemental studies showed that the prehistoric painter and craftsman of Chagardak used iron-based minerals such as hematite and red recently to record red colors, and a combination of iron-oxide and manganese-based materials to produce black and dark colors.

Abstract
Fakhr and Madin are the networks inside the fence and religious places that are repeated in the form of grids. Such walls are made with pieces of baked clay in geometric and non-geometric shapes, and because holes have appeared between them, they have tried to make their form beautiful as well. In the Islamic era of Iran, mausoleums and tombs after mosques are among the most important works of architecture and urban planning. The construction of this building began in the fourth century AH and continues with ups and downs until the Safavid era. According to the surviving works, the Ilkhanate period in Iran can be considered as the peak period of the popularity and prosperity of the construction of “Fakhr and Medin” in tomb buildings. In this article, a number of tomb buildings from the Ilkhanid, Timurid and Safavid eras are comparatively studied. The paper follows the main question of what evolution Fakhr and Madin have undergone in the Islamic period with emphasis on the three mentioned periods, and how its application can be explained and traced in comparison? This research is a combination of two types of qualitative and quantitative research methods and descriptive-analytical method based on logical reasoning. Data collection was done through library study and valid historical documents and review of images and documentation centers. In this regard, first, the historical background and theoretical foundations of the topic have been examined. Then, all the types of Fakhr and Madin in the tombs of the three Ilkhanid, Timurid and Safavid periods (a total of 25 case studies) have been analyzed according to the geometric patterns, location and materials used in their construction. The result of a comparative study shows that “Fakhr and Madin” has been compiled in the form of seven physical-semantic indicators. These characteristics include: spirituality, transparency, environmental comfort, security, visual interaction, privacy and beauty, and it was found that in the Ilkhanate period, the characteristics of “spirituality” and “visual interaction”, in the Timurid period, the characteristics of “environmental comfort” and “Visual interaction” and in the Safavid period, the characteristics of “spirituality” and “environmental comfort” have been emphasized.. 
Keywords: Fakhr and Madin, Tomb, Ilkhani, Teymouri, Safavid.
.
Introduction
Iranians have always revered their dead throughout history, but this reverence has never been for the deity of beings, either before Islam or after Islam. This attention and respect can be considered as a mixture of theology and fear of death and love and affection for parents and ancestors, which has never reached the stage of worshiping the dead.
In the Islamic era of Iran, the tomb, with the exception of the mosque, has received more public attention than any other type of architecture, so that in few cities there is no share of such buildings. On the other hand, assuming the obvious connection of many architectural and urban works of early Islamic Iran with pre-Islamic heritage, it is worth emphasizing that in pre-Islamic times, with the exception of the magnificent tomb of Cyrus, there are no important signs of tombs that were built independently. 
Tomb buildings from the fourth century AH, after both religious and non-religious in Islamic architecture and urban planning in Iran, have opened their place, with the difference that the buildings are part of the religious group and mostly Shiite tombs and holy shrines have been given special attention in terms of sanctity and have been renovated over the years. But the non-religious tombs, which include the tombs of the rulers, princes and elders of the country, have not been given much importance and most of them have suffered various injuries or changes over time or have changed their nature and have become religious tombs and buildings. In this article, in line with the above, it has been tried to study and explore the architectural-urban works of the Islamic period (tombs and mausoleum) with emphasis on the three periods of Ilkhanids, Timurids and Safavids, and in particular “Fakhr and Madin” in these tombs should be analyzed.

Comparative Study: The position of “Fakhr and Madin” in the Ilkhanid, Timurid and Safavid Periods
This type of bricklaying (Fakhr and Madin) with its lattice module which is composed of regular and sometimes irregular geometric shapes, in the case of gardens, in order to illuminate and clarify the building, play with light and shadow, pay attention to the issue of privacy and prevent the view of the object directly and from the inside, be safe and secure, was actually used. This porosity in the garden fence in addition to creating vision and perspective into the garden and visual interaction with the internal environment, with shadows and stylized space, with the weakening of the light intensity for pedestrians providing a favorable path, causing its lattice body. 
In this section, the tombs of the Islamic period are studied with emphasis on the status of Fakhr and Madin. As mentioned earlier, Fakhr and Madin has been one of the elements of Iranian indigenous architecture, which has a special place in various types of Iranian architecture. Architects have used this technique to create shadows and lights for visual beauty as well as to attract attention to the building. The selection of 25 case studies of the tomb in the three periods of the Ilkhanids, Timurids and Safavids is the basis of a comparative study of this part of the study. The use of Fakhr and Madin dates back to the pre-Ilkhanate period, but due to the small use of this element, their study has been abandoned. At the same time, for example, the Nain Grand Mosque in the Albuyeh period and the Ardestan Grand Mosque in the Seljuk period have benefited from its pride and use. In the first case, Fakhr and Madin have been used as skylights and connectors for air conditioning, as well as in Patio. In the second case, Fakhr and Madin on the ground floor and the first floor, with the aim of visual interaction and shading, air conditioning and light transmission, have been considered.
In order to summarize the discussion and the possibility of comparing the results, Fakhr and Madin indicators (7 indicators) in 25 samples were presented comparatively in the form of a table and separately for the three periods studied.

Conclusion
The result of this comparative study shows that in the Ilkhanate period, Fakhr and Madin were used in different parts, including under the dome of the outer fence of the altar porch and the porch of the tombs. This course includes the most variety in the places used. Of course, the greatest benefit of Fakhr and Madin was identified under the dome and then in the walls around the compound. Therefore, it can be concluded that the most important subject of the Ilkhanate was “spirituality” and then “visual interaction”. This is while in the Timurid period, the most use of Fakhr and Madin was in the outer body and then in the porch, dome and lanai. So in this period, the most important topics are “environmental comfort” and “visual interaction”. In the Safavid period, Fakhr and Madin was used in the dome and the outer wall. In this period, “spirituality” and “environmental comfort” have been the most important characteristics used by Fakhr and Madin. On the other hand, according to the studies done, in the case of different types of tombs, the most use of Fakhr and Madin has been in individual tombs, although a mass tomb was also found during the Ilkhanid and Timurid periods (who used Fakhr and Madin). Also, the most varied form of Fakhr and Madin is under the domes and around the courtyards and fences, almost a fixed form of Fakhr and Madin has been used. As expected from the definitions of Fakhr and Madin, the most used materials were bricks. But other materials such as pottery and wood have also been used in its construction. Finally, the most important indicator used of pride and civility was “transparency” and then “environmental comfort” and in the next category “spirituality”, although it seems that in the collection of tombs, the indicator of “security” was considered and Special emphasis has been placed on it.

Abstract
The expanded territories of the ancient Iranian empires raise a question for the audience, at first glance, despite a display of authority and domination of the kings, that how the central governments extended their domination over these regions and defended it against foreign threats. In the wide Sasanian Empire, one policy of the emperors of the dynasty was to establish new cities and renew old ones to expand their dominance over the country. As a result of these efforts in which required the founding and reconstruction of intercity pathways for moving goods and troops, a vast network of cities and routes were gradually formed. In this network, cities had the role of nodes for controlling and providing the essential resources and supplies for the central government. Thus, it can assume that the network of cities, moreover expanding the dominance of the Sasanian government, also had affected their fall. This study aimed to find appropriate answers for this question, using library resources through a descriptive-analytical methodology that what role the communication network of Sasanian cities has played in the Arabs conquests. The result findings indicate that the vast communication network of the Sasanian cities has not only facilitated the Arabs troops’ movement and campaign, but they were also able to weaken the defensive power of cities through Blocking support routes. Moreover, The Arabs had been able to consolidate their occupancy and dominance by capturing the cities as network’s connection points.
Keywords: Sasanian, Arabs, Sasanian cities, Conquest, Communication network. 

Introduction
The concept of the realm can be defined by some individual domains played a source role for a central government interconnected via some access roads, and being protected from improvised border posts; however, each domain is surrounded by some enclosed areas not being purposed for settlement (Smith,2007:28-29). The ancient governments were modeled as some access networks to resources like cities, trade bases, or natural mines for their developed dominance based on the management of those charged operators in the controlled trades, taxes, infrastructures, law enforcement, and military proceedings (Smith,2005:835-836). In this way, the empire owns actually a communication network for transported goods and cities could be interlinked (Liverani,1988:86-92). Based on this model, the governors initially establish their authority over the most critical chosen resources, and subsequently, control the corridors and essential routes connecting the relevant domain to the imperial network system; so it is possible to construct some links as roads or canals from the new domain into other parts. Therefore, they can manage those realms with a high transformed economic and social data shown with their widespread control over the essential resources (Smith,2007:32-33). Facilitating the communication among various empiric sections, the Sasanian communication network plus their cities were widespread under the imposed state surveillance (Miri,2012:104). In the late period, monitoring the main network routes was assigned into the quadratic generalissimo (Spahbodān) of the Sasanian empire (Howard-Johnston,2012:125). It suggested a political and military significance of the network maintenance for the Sasanians, and according to Smith, after the intercity network of interaction finished, it was possible to collapse the states (Smith, 2005: 838). Given that the role of every Sasanian city was based upon certain matters and essentials, it is necessary to compare and analyze their effects in the fall of the Sasanian empire. The study findings are beneficial for those investigators of the historical urban background and the condition of traditional ancient Iran.
Therefore, this study aimed to evaluate the collapse of the Sasanian state and the Arab conquests based on the perspective of the network interconnection of Sasanian cities. The raised study question is that based on their status and place in the widespread network of Sasanian cities, what roles and effects had every Sasanian city placed along the routes of Arab conquests in this event? Library resources were used for data gathering in this descriptive-analytical study.

Network of Sasanian Cities and Roles in Arab Conquests
The Sasanians established their dominance policy based on the city developments and the necessity of their interconnection. Accordingly, surveillance of urban connection routes became essential for the state because of both military logistics and support and trade and revenue. That was highly important, especially in border regions and even some cities were established to support other cities in the frontlines (Liverani,1988:92). Besides the development of cities and communication routes, the states were considered the source access network with some defined regions and borders to be defended (Smith,2005:835). The potential danger of the Arabs made the Sasanians construct a defensive line of small military forts for surveilling important points in the communication network of the Mesopotamian plain (Howard-Johnston,2012:97-98). The Arabs used to violate the state frontiers. After the succession of Yazdgerd III, their motives increased for capture more areas after their progressive onrush into Iran’s territories (Tabari,2004:1587-1588). Intercity routes with a previous role for widespread Sasanian authority in Iranshahr cities were traversed by the Arabs and their troops to progress into the Persian central plateau (Tabari,2004:1959). Eastern Iran disconnected from the central cities after Rey’s capture (Frye,1977:12) as a critical route from the western cities to Khorasan (Nicolle,1996:12). Also, Zarang’s capture led to the disconnected Sistan-Khorasan due to the defeated highway of Zarang-Kirkuk-Herat (Ibn Huql,1987:158), and subsequently, Yazdgerd III was trapped in Khorasan (Farrokh,2013:92). Yazdgerd went to Marv city with special military strength and position in order to take back the monarchy, but Neishabour capture, the support military base, happened earlier by the Arabs (Bruner,2014:174). After the weakened defenses, the death of Yazdgerd III, and the peace of governor with the Arabs occurred in Marv city, the fall of the Sasanian dynasty was realized there.

Conclusion
The Sasanians expanded their authority through the developed urban centers and roads over their empire and then established strategic base points for land maintenance and protection. Due to the policy, cities like Neishabour in Khorasan or Mesopotamian Anbar were higher political and economic prominence over others being responsible for providing military and economic support to the surrounding cities. However, cities like Isfahan or Qazvin alongside Oboleh functioned as connection points and crossroads in the urban network, and sometimes, their removal meant simultaneous disconnection of several state routes from the control of the central government. Therefore, the Sasanians invested variously in building walls and ditches for cities’ protection, but political turmoil, civil wars in the late Sasanian period, and destructive effects of the long Byzantine wars overall weakened the defensive shield. Apparently, after invading Iran’s cities, the Arabs could use the joined Iranians to their armies, or the Iranian settled Arabs and identified well the routes and connection points of the cities, blocked the supply and support routes, and facilitated Iranshahr capture.

Abstract
The customs buildings complex at the Persian Gulf in Bushehr Province was built at the end of the Qajar era and the beginning of the Pahlavi era. These buildings are very similar. All these buildings are architecturally built in the same way. All these buildings have two floors and match each other. The architecture of these buildings is derived from the architectural style of the second half of the 18th century and 19th century of the West. This style entered Iran’s architecture as a symbol of modernity and strongly influenced Iranian architecture. It has to be mentioned that this influence was much greater in the last years of the Qajar era compared to its first years. By using the historical research method and library studies, it is tried to collect the necessary data about the research subject and obtain adequate understanding of the customs and telegraph offices in Bushehr Province. 
Keywords: Telegraph Offices, Customs, Bushehr Province, Qajar Era.

Introduction
Bushehr was considered one of the important commercial and cultural centers since ancient times, which would connect the Elamites with the Mesopotamia on one hand and the Melos in present-day India with Oman and the Mesopotamia on the other hand, and this is emphasized in linguistic sources apart from archaeological data. (Hesari et al., 2011; 247) There are some ruins of an Elamite port that are found in a place called Reyshahr, near Bushehr, where an inscription of Šutruk-Nahhunte was discovered and read. This city is probably Liyan Elamite, and it seems that until the 15th century BC, it was under the control of the Elamites and it was a city dependent on Anshan, rather than Khuzestan. Even its name has an Elamite root, and the word NIM is placed in front of the name of this city. Based on the texts of Ur III, Steinkeller has dated Liyan to Bushehr of the late 3rd and 2nd millennium BC and has suggested that Anshan had a direct route to Mesopotamia through this port (Steinkeller, 1982: 252). The new history of trades in Bushehr began with the kingdom of Nader Shah Afshar, which has played a special role in the last two centuries of Iran. By the order of Nader Shah, the main boundary of Bushehr was built by Sheykh Naser Abu Mehiri. (Hamidi, 2010: 50), but the overall structure of Bushehr today was formed in the Qajar era (Ranjabr et al., 2010: 24). In the 18th century, Bushehr was considered as the most important commercial port of Iran in open waters. (Dashti, 2001: 117). The presence of customs in Bushehr Province during the Qajar era caused most of the major countries of the world, including England, Russia, Germany, France, etc., to have a political representative office in this city. This city became the southern gate of Iran for the exchange of political ideas and cultural relations. During the Qajar era, the English telegraph line extended from London to India. This line in Bushehr Province extended to Fars Province, and the line was transmitted from different countries, including Iran, either on land or sea cables. 

Research Introduction 
The main objective of this research is to study the reason for the exitance of customs in Bushehr and the telegraph houses and studying their architecture. The research question is: why are there several customs and telegraph houses in Bushehr? And what are their architectural characteristics? 

Bushehr Custom Building 
The first modern custom building of Bushehr Province, known as Chehar Borj (Four-Tower) is in Bushehr City. This custom was built and established during Naser al-Din Shah Qajar era, by Mo’in-O-Tojjar-e Bushehri at his expense with the plans of the Belgians. This mansion was known as Four-Tower at the time of its building and it was the center of the governance of Persian Gulf ports and islands during the Qajar era. Whenever the governer of Bushehr would come to Bushehr City for the governance of the city from Tehran or Shiraz, they would settle in this place. This building was designed by Joseph Naus, known as Belgian Monsieur Naus. (Fig. 1-8)

Bulkheyr Custom 
This building is a two-floor building facing the sea. The eastern and western façades of the building are similar. The two floors match each other and share the same façade. There are three rooms on each floor and all three rooms are connected to each other. There is a small room on the north side which might have been a pantry. There are stairwells on the northern and southern sides of the building. (Fig. 9-14)

Dayer Custom 
This building is a two-floor building facing the sea. The eastern and western façades of the building are similar. The two floors match each other and share the same façade. There are three rooms on each floor and all three rooms are connected to each other. There is a small room on the north side which might have been a pantry. There are stairwells on the northern and southern sides of the building. (Fig. 15-19)
Kangan Custom 
This building has two stories and both stories are similar and they both match each other. The balcony with its beautiful round columns has led to prominence of the building. There has been a stair well in the south part of the building that would connect the second floor to the roof. There is an office, a lobby and a kitchen on each floor. There are squares on the top of each door that were used for lighting. (Fig. 20)

Mohammad ‘Ameri Custom
The unique feature of this building is its shape and design, which was built uniformly on the entire coast of the Persian Gulf. This building is one of the buildings of the Qajar customs whose remains are left, and it was used in the early Pahlavi era. (Fig. 21) 

Lavar-e Saheli Custom 
This building is built in two floors and has an entrance that opens to the west. The two floors are built in the same shape and match each other. There has been a staircase in the south of the building that connected the upper floor and the roof. (Fig. 22) 

Bushehr Telegraph Office 
The telegraph office was initially in Jabri neighborhood and then it is moved to Haft Bangleh in Bahmani neighborhood. The marine transmission cable line extended from Haft Bangle to Karachi in India. The last telegraph and post office in that time was located in Kuti neighborhood near British Consulate behind Shahdokht school, that is ruined now. During Naser al-Din Shah era, telegraph offices were only established by the British and they were managed by British presidents and Iranian employees. 

Conclusion 
Undeniably, architecture changes during any era according to the lifestyle of people in any country. From the middle of the Qajar era, with the change of intellectual resources and thoughts ruling the society, as well as the awareness of the progress, different needs were felt compared to the past. They saw meeting these needs and the solutions in following the Western methods. The establishment of Dār ul-Funun, sending students to Europe, hiring foreign teachers and publishing newspapers, triggered a change in social and political attitudes during the Qajar era. The atmosphere ruling the architecture of Qajar era also followed the same attitude. From the middle of Naser al-Din Shah era, the confrontation between tradition and modernity gradually led to the victory of modernity, and architecture lost its old forms and found on a western form. It seems that the frequent trips of the Qajar kings to Europe left a significant impact in the field of architecture. The kings and princes wanted to implement the western architectural design in their land. Western examples also quickly became popular among the people and all over Iran. This architecture is characterized by the protruding and columned main entrance and grand ceremonial stairs, and the rooms are built in two wings on the first and second floors. The customs buildings in Bushehr Province were built at the end of the Qajar era and the beginning of the Pahlavi era, and they were among the first buildings in Bushehr Province that appeared with a different architecture, and their design is not derived from the architecture of that period, but it is influenced by the architecture of the West, and due to extensive connections of Bushehr with other countries, the role of foreign architects has been prominent in this province. Care should be taken in order to preserve valuable buildings such as these customs building which were studied in this article, so that they are not destructed.

Abstract
One of the most critical found objects from the site of Shahr-i Sokhta are lapis lazuli stones and beads, which were used as stone jewelry and ornaments. One of the site’s most significant archaeological and archaeometry topics is the way of manufacturing and types of stone structures into these objects. The Shahr-i Sokhta’s lapis lazuli beads manufactured with flint borers are in the forms of lens, lozenge, circle, etc., and were used as jewelry and ornaments such as bracelets, anklets, necklaces, etc. The main discussion in this research is recognizing the structure and studying the mineralogy of lapis lazuli beads discovered from Shahr-i Sokhta. Hence, by using laboratory-device methods such as petrography of thin sections, X-ray energy diffraction microanalysis, Raman Spectroscopy analysis, and gemology methods, this research studies the structures of three samples of lapis lazuli beads and stones of Shahr-i Sokhta. The results of laboratory studies show that Shahr-i Sokhta’s structure of lapis lazuli stone consists of lazurite minerals with a high percentage of calcite mineral impurities, which causes a reduction of transparency and purity of the lapis lazuli stones; also, elemental studies represent the presence of lazurite minerals. Raman structural and gemological studies show the structure, the amount of absorption coefficient, and its specific weight in the main structure of lapis lazuli stone. Chemical and structural studies indicate that the stones are similar in terms of composition.
Keywords: Stone Jewelries, Lapis Lazuli, Archeaometry,  Shahr-i Sokhta in Sistan, South-east of the Iranian Plateau.

Introduction
Shahr-i Sokhta is one of the most important and key sites among Bronz-age sites in southeast Iran’s archaeology (Biscione et al., 1974; Tosi, 1968, 1969, 1973; 1976; Tosi and Piperno, 1975; Savatori & Vidale, 1997; Piperno & Salvatori, 2007). Through excavations during different years up to now, a vast majority of semiprecious Stones and jewelry have been discovered; some of them are healthy beads in the form of necklaces, bracelets, and anklets, while others are half-worked beads as well as raw stone and blocks (Foglini, 1998). The jewelry is lapis lazuli, agate, chlorite, turquoise, limestone, flint, jasper, marble (calcite and aragonite), quartz, green tuff, and chert; that one of the most significant of them is lapis lazuli which was brought to Shahr-i Sokhta as a result of the trade from other regions. lapis lazuli stone in various forms and shapes is the most discovered abundant cultural material in Shahr-i Sokhta (Sajjadi, 2005, 2007). The discovered lapis lazuli are healthy and semi-worked, as well as raw and discarded material. The archaeological studies have demonstrated that the raw lapis lazuli blocks were imported into Shahr-i Sokhta, and then they were changed into various artifacts by artisans (Farzin et al., 2019). Hence, recognizing the structure and method of manufacturing the discovered lapis lazuli beads from Shahr-i Sokhta could be one of the most important topics for archaeologists. The archaeo-gemological study is a field of archaeometry that investigates and recognizes the structure and method of manufacturing and polishing these semiprecious Stone ornaments and jewelry. Archaeo-gemological studies examine minerals, gem materials, and jewelry, which were used as ornaments, decorative objects, jewelry materials, etc., in particular eras and places of the ancient world (Hatipoglu & Guney, 2013; Rapp, 2009; Dominguez-Bella, 2012). Therefore, this research based on Archaeo-gemological studies investigates the preliminary lapis lazuli stone jewelry produced in Shahr-i Sokhta.

Material and Methods (Samples)
The selected samples in this research include three pieces of lapis lazuli discovered from the archaeological survey of Shahr-i Sokhta. One of the samples is a raw material with a small incision that had been discarded as waste (SH-L1). The other one is a rectangular object with grooves in its width, which was broken during use (SH-L2), and the last one is a tiny bead; all three are studied in this research (SH-L3).

Methods
Microscopic thin section petrography (OPM) is administered to examine the samples under a polarizing microscope. The device model used in this research is James Swift, made in England.
The elemental Micro-analysis EDX method is applied to recognize samples chemical combinations. This examination is conducted through EDX devise coupled with a field emission electron microscope (FESEM) manufactured by Tasken company, model MIRA3TESCAN-XMU.
For structural investigation of the samples, this research uses Raman spectroscopy examination through (Takram) P50C0R10 model device, Taskan company in Raman laboratory. This device has a laser wavelength of 532nm (Nd: YAG Laser), and the range of Raman shift RS is 100-4600.
Moreover, this study uses gemological methods such as specific weight and refractive index to identify the samples.

Results
Petrography
According to the petrographic studies of the lapis lazuli samples under a polarizing microscope, blue lazurite minerals are seen with white calcite.
 
Raman Spectroscopy
The obtained spectra from this chart are compared with the reference spectrum at http://www.rruff.info This comparison indicates the existing lazurite in the stone structure of Na3Ca(Si3Al3)O12S. There is a Raman spectrum in the range of 546 cm-1, 1092 cm-1, and 254 cm-1, and the intensified spectrum is high in the range of 546 cm-1, considered the main spectrum.

EDX
Micro-analysis (EDX) Obtained spectra in the formula of these stones represent the amount of silicon (19/61 and 19/11), aluminum (7/14 and 7/21), magnesium (7/98 and 6/73), calcium (4/98 and 4/94), and sodium (3/46 and 3/13) elements with the highest abundance.

Gemological Analysis
This part investigates these lapis lazuli’s mineralogical features through two refractometer methods and the determination of specific weight. 

Refractometer
Among Shahr-i Sokhta’s studied samples, this research has selected three lapis lazuli samples to study. For investigating, first, one drop of special liquid (REFRACTOMETER LIQUID-Nd 1.81) is poured into the location of the samples; second, the flat sides of the gems locates on the oil. Then, by turning on the device lamp and closing the deflectometer cap, one could obtain each sample’s refractive coefficient measure by reading the refractive coefficient. The type of the studied sample has been identified by measuring the refractive coefficient of the samples and comparing obtained numbers with the standard table of gems (GIA- GEM PROPERTY CHART). The refractive coefficient of 1.50 is related to lapis lazuli stone.

Determination of Specific Weight
One of the quick identifying ways of the gems is the determination of their specific weight, which causes no damage to the gems. To obtain the particular weight of each mineral or gem, first, they are weighted in the air and then in the water. Next, by using a formula, the amount of specific weight is calculated. The particular weight of the discovered lapis lazuli samples of Shahr-i Sokhta is 2.1-3.3. 

Conclusion
Microscopic investigations based on the thin section petrography show that the structure of studied lapis lazuli is lazurite mineral type with calcite minerals. In microscopic images, Lazurite minerals clearly are blue, calcite minerals in the stone texture are white, and pyrite minerals rarely can be seen in the studied stone texture. Identifying the existence of a significant amount of calcite and a poor amount of pyrite in the lapis lazuli structure represents the amount of impurities in these stones. Furthermore, elemental analysis of the three lapis lazuli indicates that there are other elements with the highest frequency; these elements are silicon (20/95 and 20/67), aluminum (7/80 and 7/63), magnesium (7/28 and 8/52), calcium (4/94 and 5/33), sodium (3/34 and 3/74) and sulfur (0/66 and 1/09). In fact, lapis lazurite is a blue stone whose chemical composition is variable, and its basic composition is mineral lazurite consisting of aluminum, calcium, and sodium silicates. Lapis lazuli consists of several different minerals, such as sodalite, hauynolith, calcite, pyrite, and lazurite, which are lapis lazuli’s main components. Fewer white calcite spots and more yellow pyrite in the lapis lazuli indicate the best quality of the lapis lazuli. In table 3, silicon element (29.87%) and calcium element (12.26%) are the most amounts of compounds in the Shahr-i Sokhta lapis lazuli structures. The identified chemical compositions of the lapis lazuli in Shahr-i Sokhta are a high amount of calcium and a low amount of iron, which indicates the lapis lazuli structure of this site has a high calcium impurity and low pyrite impurity; this issue could be confirmed through petrography studies. Finally, this analysis represents the correct recognition of the composition and type of used stones in manufacturing ornament objects of Shahr-i Sokhta.
The element percentage of obtained spectra is clearly determined, indicating the main composition of lapis lazuli. The elements represent the chemical structure of a lapis lazuli, a lazulite mineral type with a high calcite impurity percentage. In addition, this study examines the three pieces of lapis lazuli samples through Raman spectroscopy; two samples represent almost similar peaks in the range of 546 cm-1 and 1092 cm-1, and only one sample shows a peak in the range of 546 cm-1. The investigations represent that based on the lapis lazuli studies using the Raman, the lapis lazuli in the mentioned ranges shows an almost significant peak. The number of elements and obtained spectra in these two spectra are almost similar.

Acknowledgments
This work has been supported by the “Investigation and study of Shahr-i Sokhta semi-precious stones” project funded by the Research Center for Conservation of Cultural Relics (RCCCR). The authors are thankful to Center for Conservation of Cultural Relics. The authors want to National Museum of Iran, Southeast Regional Museum of Zahedan, and Shahr-i Sokhta World Heritage Site for their supporting.

Abstract
Inscriptions in the decorations of building of the Islamic period have been noticed by artists since the early Islamic centuries. Overtime, inscriptions are damaged by various factors and need to be restored. Considering that every year in the country, a large amount of restoration operations are carried out on damaged historical monuments, including inscriptions. It was seen through the investigation that in most cases the restorations are tasteful and sometimes incorrect. In order to find the most important causes of incorrect restoration in written inscriptions, the qualitative method was used, and the grounded theory method was used to analyze the data. This research is practical in terms of purpose. The data was collected through field observations and interviews with 12 people related to the restoration of inscriptions and by purposeful sampling, and the data continued until theoretical saturation was reached. The results of the research showed that in addition to the lack of criteria that agree with the theoretical foundations of restorations, due to the prominence of the calligraphy and category, factors such as self-centered empiricism, the variety of viewpoints, knowledge and awareness of the traditional master craftsman and the rules of restoration and the lack of the artistic perspective of the traditional master craftsman. For various reasons, inscriptions have led to incorrect restorations, and of course, the lack of training courses by the institutions in charge of restoration has also been involved. Also, the variety of approaches in the restoration of inscriptions and lack of attention to the rules governing the art of inscriptions are considered as the most important consequences of the restoration of inscriptions. 
Keywords: Written Inscription, Incorrect Restoration, Foundation Data Theory, Architecture of The Islamic Period of Iran.

Introduction
With the beginning of the Islamic era and the restoration of human and animal depictions, the use of inscriptions with religious, literary and historical themes reached its peak with various calligraphy methods and styles. This enduring art that is inscription is still performed by artists to this day. Inscription like other historical works, suffer from various physical, chemical, biological and human damages, and from various perspectives of value, aesthetics, originality, legibility, unity and integrity they suffer serious damage. Therefore, despite the important characteristics mentioned about this category of written works, the need to pay attention to this category of work is revealed in restoration operations. The importance of paying attention to the issue among other valuable historical and cultural work is important in the sense that there is a lake of criteria in accordance with the theoretical foundations of restoration, for the restoration of areas lacking in this category of valuable written works. Although in most cases, the restoration of this category of works is often done under the supervision of restoration experts, the approach and methods of doing the work in different examples are not subject to scientific principles and are mostly tasteful and sometimes incorrect and without regard to the ruling principles, they are restored on the art of calligraphy and inscriptions and it has caused distortion and sometimes loss of the of the inscription, its values and message.
According to examples of the restoration of written inscriptions ,when the restoration of a written inscription is done incorrectly , in fact, readability , integrity and beauty ( Beauty is in  harmony , balance, proportion , even beauty in observing the rules and recognizing the values and materials have been used (Qutbi, 1352, 31) the inscription is distorted and the audience , when viewing an inscription that has been incorrectly restored , gets the visual pleasure of seeing the harmony and connection between the words in an inscription will bs deprived. In fact, carrying out the restoration operation should reduce the inconsistency caused by the lack of space and help to read the work better.

Method Research
The upcoming research is applied research in terms of its purpose, because the researcher seek to obtain information that can be used in practical situations or solve a problems by means of them and obtain a solution to a problem. This research is a qualitative research in terms of method and in terms of data collection, it is based on field studies, interviews, observation and collection of documents and texts within the framework of the grounded theory method. The interview was conducted with the purposeful sampling method and until the theoretical saturation was reached 12 people were interviewed among the restoration experts, inscription artists and master traditional craftsmen. Grounded theory and systematic coding were used to analyze the interviews.

Research Background
Although restoration of inscriptions has always been one of the concerns of restorers, it seems that a comprehensive, coherent and effective study has not been done in this field. For example, the following can be mentioned: the Scientifics specialized and professional restoration community has not restoration of inscriptions of mosaic tiles in Iran (Soleimani et al., 2014), researchers have criticized the methods of restoration of mosaic tiles but there is no mention of the causes of its correct restoration. Also, sources such as Quchani (1365: 51), Bler (1394: 30) and Qader (1391: 86 &103) mention the non-original restorations of the reason for that has not been discussed. By checking the databases related to non-Persian theses, unfortunately, no example similar to the subject of this research was found. In line with above investigations, Persian sources were also carefully checked. 

Conclusion
Inscriptions are one of the most important and valuable works of the Islamic period and they are a living document from different perspectives such as historical, artistic etc. Restoration of inscription has always been one of the concerns of restorers. But the results of the interview and data showed that the main factor in the variety of approaches in the restoration of inscriptions and the lack of attention to the rules and regulations of inscriptions in the process of restoration operations is self-centered empiricism. Among the traditional craftsmen and even the scribes who are somehow related to the restoration process of the inscriptions, ignorance of the restoration rules or even ignorance of the different aspects of the inscriptions can be seen. Also, looking at the conducted interviews, it can be pointed out that the role of the custodian institutions in relation to the restoration of inscription is weak, unfortunately, in this field , training courses are not held for the inscription writers and traditional masters, and it seems that by holding training courses and obliging inscription writers and traditional masters to participate in these classes, recognizing the values of the works and observing various aspects in the matter of restoration are institutionalized. Even though in most cases, restoration operations are carried out under the supervision of restoration experts unfortunately, due to the lake of standards in the restoration of inscriptions shortage areas, diversity of approaches in the restoration of inscriptions and even incorrect restorations can be seen, also, it seems that one of the challenges in the field of protection and restoration of written inscriptions is the theoretical issues related.
To the restoration of this category of valuable written works: because the theoretical reliance of the theoretical discussions of conservation and restoration is often focused on Western theorists and their studies and theories, which have been explained from the viewpoint of a group of researchers and following the statements of summits, charters and such. Especially, when these theoretical rules are put forward in a general way and without considering the spatial, temporal and cultural background, they usually face constructions. In order to correct and solve these problems, attention should be paid to the local knowledge, which can be a way forward in view of the existing knowledge in the field of Iranian architecture and the rules governing the art of inscriptions, and in order to add new concepts and foundations to the field of conservation knowledge and restoration can be considered. 

Abstract
Cultural Heritage is the historical existence of a nation. Cultural heritage has internal, national and international functions and has intrinsic value. Among the most important values is “symbolic hegemony”. The symbolic value of cultural heritage and its transformation into cultural assets in the destination countries has made the superpowers think of acquiring the cultural assets of the countries, especially in the countries with rich cultural heritage, and has formed the “cultural assets conflict”. Cultural heritage is the symbol and manifestation of collective efforts of a nation in the context of time and storage of knowledge and ability of past generations. Therefore, cultural property and its diverse forms are like living beings that can always be restored/reconstructed and protected and have diverse and numerous uses for countries on a continuous basis; Superpowers by taking the cultural property and emptying these countries of cultural heritage; In fact, they drain the symbolic power of countries. Superpowers by taking the cultural property and emptying these countries of cultural heritage; in fact, they drain the symbolic power of countries. . The purpose of this article is to explain the values, especially the value of “symbolic hegemony” of cultural heritage. The theory of “symbolic hegemony and conflict of cultural assets” is a reflection of the story and cultural narrative of imperialism that has taken place around the country of Iran and countries with geo-cultural value. Considering cultural heritage as cultural assets and its geo-cultural values for a land; it is a special narrative type of cultural heritage that does not have much place in Iran’s cultural heritage literature.
Keywords: Cultural Asset, Hegemony, Symbol, Objectivity, Conflict.

Introduction
Today, the history of countries and nations is written based on cultural heritage. Cultural heritage includes a wide collection of tangible and intangible/movable and immovable property that include many places, events, oral and written history, and the lifestyle of people from the past to the present day. Cultural heritage and its diverse forms are the objective manifestation of the geo culture of a land that must always be restored and protected, and due to the possibility of communicating with the masses of people, they have the ability to be displayed and exposed in various places, such as museums or exhibitions, etc. The competition to gain the sphere of influence in the countries with cultural value is realized in different ways and with different means. Geopolitical competitions and the display of power are not achieved only through war and the destruction of modern facilities of a land; Rather, the destruction of the tangible manifestations of the cultural heritage of a land is one of the things that hegemonic countries always do to destroy the geographical values of lands with geopolitical and geo cultural value. Discrediting the cultural background of the target countries and destroying or downplaying the value of geo culture is done at a lower cost, which can be considered as one of the examples of “soft war”. This type of war provides the ground for the expansion of the hegemonic countries in the regions with geo-economic values by destroying the geo-cultural values. This type of approach and paradigm of colonial countries to destroy the geo cultural values that are manifested in cultural heritage can be put forward in the framework of the theory of “Symbolic hegemony and conflict of cultural heritage assets”.

Methodology
In fact, the present research presents a theory “symbolic hegemony and conflict of cultural assets” that, based on this; cultural heritage has been considered as cultural property, which can play a significant role in economic and geopolitical decisions of the country. Initially, it is compiled through library studies of the required information and then adapted to the cases that have been considered in the theory, first with information about the cultural heritage and values, and then in The case of countries that have been destroyed or extinct by American imperialism and the terrorist group of ISIL are cited, and then the theory of is explained.

Discussion
Globalization, emerging phenomena and social developments have increased the importance of cultural assets and day by day the protected of the cultural heritage of the countries in order to sustainable preservation for useable and different goals. The Theory” Symbolic hegemony and conflict of cultural heritage assets” which includes the basis of this article, Based on the conflict, some views have been presented; Destruction of cultural heritage in the Middle East and its protection and diversification in developed countries.  The number and abundance of objects and elements of cultural heritage is a sign of the continuity of civilization in a geographic area and territory, which the abundance of cultural assets is also a proof and objectivity of the spiritual heritage of a nation or country, including; Intelligence, genius and language are rich and... It has been proven today that nations with a strong language have been more civilized throughout history; because the multiplicity of cultural objects also expresses the richness of art and techniques. “Language” is also more complex in places where the number and frequency of cultural heritage elements are greater. For example, where they have lived a pastoral life, they have a simpler language. Every skill is an action. In places with a richer cultural heritage, the verb “to build” is used. Continuity in professions, especially economic professions, has led to skills, and skills have created treasures and knowledge. The location of the museum is the most significant example that can explain the above sentences. What do we see in museums? We actually see various goods of past times in museums. These diverse goods have a geographical origin and production; By the way, you have to think about their places of production. In the next step, the process of their production and the thoughts that designed and made them should be studied. Greece seems to have followed such a path. In Greece, when archaeological evidence, property of art and architecture were discovered, in addition to thinking about several objects and how to keep them; rather, a higher step was also taken, and that thought was about the thought of ancient Greece. A fundamental thought was done about the ancient Greek thought so that the postmodern philosophy was founded on the ancient Greek philosophy. Do archaeologists and cultural heritage custodians think about the places they discover? Is such an approach basically relevant in Iranian archeology literature? Unfortunately, Iranian archeology has not entered into these discussions based on the available written evidence; while basically the benefits of archeology lie in these kinds of discussions. Cultural heritage elements can produce method, technique and philosophy. The importance of the conflict over the acquisition of cultural assets lies in this point, this conflict started with the cover of some wars such as the war of “ISIS” in the region, and in the future, the “acquisition of the cultural assets of nations” will be a source of conflict between the powers.

Conclusion
The cultural heritage of each country is one of the most fundamental pillars of identity consolidation, creativity and national self-confidence. National identity is one of the dimensions of national power. National identity has many social, historical, geographical, cultural and political indicators. The cultural heritage as a symbolic hegemony, which if damaged or destroyed for any reason, That country or nation will lose its real power and there will be no concrete examples and objections to rebuild. Cultural heritage values are not due to their physical existence, but because of the thinking of their creators. The hidden and invisible values of the cultural heritage have pushed the superpowers into wars in the Middle East and probably brought the cultural property of the war-torn countries to the some museums. The cultural heritage is the objective crystallization of human thought that is of today’s contemporary use to society. Western superpowers have good learned to use the cultural heritage as assets. Consequently, wars were launched in the Middle East and sought to plunder the cultural heritage of war-torn countries According to the evidence and documentation, this paper presents the theory of “hegemony and the conflict of cultural property”. It is recommended “Cultural self-awareness” based on cultural heritage should be strengthened at the national and international levels. The powers to acquire the cultural heritage of nations, in addition to having economic and ideological goals in mind; Rather, they empty the nations that own cultural assets from symbolic rhetoric; Just like what ISIS did in Iraq and Syria, they destroyed the cultural heritage of these countries. Superpowers have targeted the existence of cultural heritage. If the “objectivity” of cultural heritage does not exist; Nations will not be able to have an authentic and ontological interpretation of life. Cultural assets, as the cultural wealth of nations and countries, reveal the inner and essential interpretation of nations in the context of time. If the elements of cultural heritage are not available, in addition to the fact that the people of the countries will not be able to interpret the technology and the rational and ontological interpretation and find the path of life in interaction with nature, they will also lose the knowledge and ability of the past.

Abstract
The purpose of this research is preliminary studies and speculation on a shipwrecked ship off the coast of Talesh city in Gilan province related to the Qajar period. In this regard, field studies and sampling of various parts of the hull (wood, metals, water and soil inside and outside the hull) as well as microorganisms such as fungi and moss on the hull have been done. It is noteworthy that the samples were taken from both the open parts and the buried parts of the hull and the surrounding area. After that, the necessary analyzes were performed. The purpose of collecting and interpreting the data resulting from the analysis in this study is to provide a suitable solution for the protection, restoration and maintenance of this valuable historical monument to be considered at the national level and its location as a special tourist museum site. A region should be given priority and the heritage and cultural value of this work should be heard by foreign and domestic tourists. Therefore, the first step of this research has been field studies, speculations and necessary analyzes in the field of protection and restoration, which in the next stages should be considered by considering the appropriate conditions of maintenance and application of reconstruction processes with special protection instructions. And restoration, this ship should be formed in its original form and the lost parts should be restored. In this study, water samples inside and outside the ship were measured with a pH meter. After performing relevant analyzes, including spectroscopy of samples of wood textures of the hull, the presence of hydrocarbon compounds and petroleum derivatives (bitumen) has been determined from FTIR analysis. Other essential analyzes in this study are microbial tests taken from samples. Analyzing the results obtained from the cross section of the samples, this ship was Russian, which was used to transport petroleum products with a wooden structure made of Russian pine (coniferous leaf). In terms of antiquity and time, during the Qajar period and before that, for unknown reasons, it has blossomed on the shore of Ghorogh in the Talesh section of Gilan province.
Keywords: Russian Shipwreck, Qoroq Coastal, Talesh Region of Guilan Provence, Oil Derivatives, Russian Pine, FT-IR Analysis.

Introduction
The pinnacle of underwater archaeological advances is more related to the time when the Scuba: self-contained underwater breathing apparatus was invented. Figure 1 This discipline has revolutionized underwater, seas, and oceans and has yielded valuable achievements and discoveries (Dekker, David, 1889; Davis, 1955; Quick, 1970). Underwater archeology, especially the study of sunken and wrecked ships, is a field of archeology that has the most expertise in the study and exploration of sunken ships. Its techniques are a combination of archeological and diving techniques to become underwater archeology. Therefore, shipwrecks have sunk on some shores and can be discovered and studied as a valuable historical document (Mireskandari, 1379). Study and research with acquired information from historical shipwrecks with objects sunk on the shores or sunk in the seas and oceans themselves is the expressive language and image of the valuable history and civilizations of many centuries and in the processes and patterns of ancient trade, Transportation and migration bring rich information and also transfer culture, knowledge and civilization to future generations. In the past, human beings have been able to conquer the sea and oceans with the least facilities, and this has been a sign of the genius and continuous efforts of people in ancient times and times (Glisan, 1366; Mireskandari, 1379). Therefore, the study of the history of maritime trade and the structure of the historic ships of the Caspian Sea is a necessity that has not been seriously considered by researchers. In this study, the wood structure as well as the necessary analyzes for wood science and extraction materials as well as microbial tests and environmental factors on this ship were studied and with different technologies such as FT-IR and also with extraction processes with solvents. Organic on the internal samples of this shipwreck, useful results have been obtained, including the presence of petroleum derivatives in the internal parts of the hull. The processes of this research are used as basic studies in order to use the best scientific methods and principles in the next stages for its protection, restoration and implementation of technical maintenance operations.

Material and Method
For initial investigations, ambient humidity and ambient temperature were measured at several points with a data logger to analyze the effect of ambient humidity on damage to the ship’s structure and hull for additional studies. At first, with the necessary inspection and visit to the site, the damages that were visible in the structure and appearance of the work were identified, which include the following: 1- Change in the appearance and texture of the wood used; 2- Corrosion of the surface of the metal (mainly nails) iron ones) used for connections and fastenings; 3- Change in color, shape and texture of the covering and strengthening material of the used wood; 4- Burning of wooden surfaces on the southwest side due to lighting a fire on the side of the ship; 5- Fracture and the lack of parts of the ship’s skeleton in some parts of it; 6- Growth of microorganisms and moss cover on a part of the wooden surfaces that were exposed to stagnant moisture; 7- Accumulation of cement tissue around metal joints and fasteners and its homogenization with joints; 8- The inadequacy of the environmental conditions of the ship’s structure, including humidity and temperature in the parts buried in the sand and the outer parts of the ship; 9- The wear of the wooden surfaces of the outer body of the ship due to the movement of sand particles through the wind can be mentioned. For preliminary investigations, ambient humidity and ambient temperature were measured at several points with a data logger device in order to analyze the impact of ambient humidity on the damage caused to the structure and hull of the ship for further studies. By drying the wood specimen of the ship’s hull to prepare the microtome, the work steps were performed according to the working method and cross sections were prepared from the samples. Russia. Also, Microbial tests with moss and mold on wood and microorganisms have been performed in the microbial environment. The results obtained from the microbial tests of the Bio-microbiology Laboratory are as follows. Necessary analyzes have been performed on wooden samples of ship hull with FTIR to check the structure of wooden structures and effective materials.

Results and Discussion
The identified fungi are Aspergillus niger (Aspergillus niger), Aspergillus flavus and Aspergillus fumigatus (Aspergillus fumigatus) that is worth mentioning that due to the coverage of the entire surface of the plate by Aspergillus fungus, it is possible that some fungi in the environment that have a lower growth rate were not grown and isolated on the subrodextrose agar culture medium. The results of the identification of bacteria grown on nutrient agar medium are Bacillus, Pseudomonas, Flavobacterium, Staphylococcus and Arthrobacter.
Bacteria and fungi lead to the deterioration of wooden works through the production of cellulose and lignin decomposing enzymes in the structure of wood. In this study, all the fungal species identified belonged to the genus Aspergillus. This genus of fungi, which includes more than 300 different species, can be found on a large scale all over the world in different environments, including soil, and they multiply quickly in the right conditions, including access to humidity and the right temperature. The production of different enzymes, including cellulase, by different types of Aspergillus species has been proven, hence the isolation of this group of fungi on wooden works indicates their high potential in destroying organic compounds in wood. On the other hand, it should be noted that due to the high growth power of Aspergillus fungus that quickly covers the entire surface of the culture medium, it was not possible to identify and isolate other possible fungi in the environment.
All the bacterial genera isolated in this study are among the bacteria that are abundantly found in various surveys of environmental samples, including soil, therefore, the isolation of these bacterial genera in this study is not far from the mind. The production of extracellular cellulase enzyme has been proven by some of this group of bacteria, including Bacillus, Pseudomonas, and Flavobacterium. It is worth mentioning that the isolation of the relevant bacteria from wood is the reason for the production of 100% cellulose or lignin decomposing enzymes by them, but in an environment with a high microbial population, microbes can use the organic substances released in the environment by the enzymes extracellular produced by other microorganisms to use for growth and reproduction. In total, the culture results of the relevant samples indicate high bacterial and fungal contamination, which often have a high potential to produce enzymes and substances that damage the structure of wood. 

Conclusion
According to the results obtained from various analyzes, including FT-IR results from samples extracted from the hull of a historic ship in the Ghoroq area of Talesh city in Guilan province, due to its high antiquity and its historical and cultural value in the region in different dimensions Including tourism can be very important, so scientific studies for its protection and reconstruction are among the topics that are currently left on the beach without any protection operations and have been exposed to a variety of natural and unnatural damage. These studies are the source of a suitable solution for following the necessary protection and repair instructions. Therefore, in the beginning of these activities, recognizing the injuries and providing a solution is essential. Through field research and analysis of samples, the wooden structure of the hull was made of coniferous wood from Russia and its use has been active in the transportation of goods, including petroleum derivatives. With the analyzed samples of the in-ship jute texture in FT-IR spectroscopy, most of the parts show the wood texture, but some samples show the presence of hydrocarbon compounds that mainly constitute the structure of kerosene. Therefore, considering that the structure of the main timber of the ship’s hull, in addition to being saturated with water, is full of oil compounds, so it needs special protection and restoration operations to perform the best reconstruction and restoration on these valuable historical monuments. The commercial, economic and cultural history will chart a new path for future economic activities and also serve as a professional tourism center for domestic visitors and foreign tourists.

Acknowledgments 
The cooperation of Mr. Abdulmajid Naderi from the oceanographic research institute in the area of the Qoruq ship in Talash city of Gilan province in field studies and sampling is greatly appreciated. Appreciation is given to the respected Research Assistant of the Cultural Heritage Research Institute who always provide the necessary assistance in the direction of research. We would like to thank the dear experts of the Cultural Heritage Research Institute for the necessary assistance for the analyses. We sincerely thank Mrs. Sahar Nouhi for her help in FT-IR spectroscopy, Dr. Nasreen Nouhi Babajan for the microbial analysis of the samples, and Mrs. Irfan Menesh for her cooperation in the extraction process.
The Authors gratefully acknowledge the support of Research Institute of Cultural Heritage & Tourism, Tehran, Iran. It should also be noted that this program is with license 98102964 on 9/24/2018 with the financial support of the Ports and Maritime Organization and with the participation of the Research Institute of Oceanography and Atmospheric Sciences, by the Research Institute of Cultural Heritage and Tourism of the country
 

Abstract
Ardebil’s Jomeh Mosque is located on an ancient beat that has been the city’s cemetery for centuries. All written sources and archaeological evidence state that the mosque has gathered artistic and architectural innovations from the early Islamic centuries to the Qajar era. Today’s remnants of the building are located in the northeast of Ardabil city and due to measures to preserve the building, it still maintains its firmness. The main purpose of this research is to identify the structural, physical and decorative characteristics of the building in different historical periods. The present study seeks to answer the following questions. What changes have been made to the spatial structure and structure of the mosque from the beginning of its emergence to the contemporary period? And in terms of map and archaeological evidence, which buildings are comparable to the Jomeh mosque? The research method is interpretive- historical and analytical. In addition, documentation and comparative studies have been the basis of the work. The data collection tool is library and field. Based on the results of the research and according to the narratives and writings of researchers and the results of archaeological studies, it can be concluded that its original building dates back to the early Days of Islam, which has been destroyed and rebuilt several times during different periods and has elements of Deilami, Seljuk, Ilkhanid and Qajar architecture and contemporary era. The current persistence of the Jomeh Mosque has Seljuk architecture, but the interior and decorative arrays of the building are in contrast to its façade. In terms of architectural structures, this building has a combination of four arches with porch, which is very similar to seljuk-like, comprehensive and comprehensive buildings of Uremia. Also, the pillar discovered in The Nave have a clear similarity with the historical mosque of Damghan and Jomeh Nain.
Keywords: Ardebil, Friday Mosque, Historical Developments, Analysis of Physical Structure, Building Decoration.

Introduction
Ardebil’s plural mosque is located in the northeast of Ardabil city over an artificial pulse of approximately 5 meters, among the neighborhoods of Pir Shams al-Din and Abdullah Shah. Among the people, it is known as “Jomeh Masjid” and is among the early centuries-old Islamic buildings in Ardabil. Studies have been conducted by domestic and foreign researchers about the emergence and evolution and the manner of the destruction of this cubic building. Today, only the remnants of the dome and porch, which were later reshaped and transformed into an indoor nave, and the minaret remains solitary.
Even some scholars are skeptical about the use of this building as a mosque. In recent decades, archaeological excavations have been carried out in this mosque and have been able to recognize some of the architectural features of this mosque. Considering that this mosque reflects the art and architecture of different periods of the Islamic period in Ardabil and also as one of the few remaining buildings in the primary and historical core of the city, identifying and studying the characteristics of this mosque can help to further understand its architecture, decoration and comparison with its contemning buildings. It has been tried to collect as much information as possible from the characteristics of this mosque through library studies, reporting archaeological excavations and using surveys and visits to the site.
The research questions are as follows: 1) what changes have been made in the structure of the mosque from the beginning of Genesis to the contemporary period? 2) Which decorations belong to which periods? 3) In terms of the physical and decorative Friday of the mosque is comparable to which buildings? The research method is descriptive-analytical and the data collection method is a combination of two methods of field and documentary (including identification, study, classification of information, analysis of them and data collection on the subject of the study).

Materials and Methods
The research method is descriptive-analytical and the data collection method is a combination of two methods of field and documentary (including identification, study, classification of information, analysis of them and data collection on the subject of the study).

Data
Jomeh Mosque, which was once the most elevated building of the city, is formed in the present situation from three parts: 1- dome house 2- Ivan, which is now a mosque and its southern side leads to the dome space through a large mouth and elevation. 3- Minaret located along the middle axis of Seljuk Mosque (Shahbazi Shiran, 2019:9). Considering the present situation of the mosque, it seems that this building is the same mosque that historians of the early centuries have described about it. In some sources, historians have generalized descriptions of the space of the old mosque.
In the early Islamic centuries, a space called a mosque, a large fence around the city with gates on four sides and a crucifix-shaped market that formed these factors formed the main core of the city. Archaeological studies in recent decades (1974, 1988 and 2019) can help. The discovering of northern and western naves with the base of the pillar as well as their similarity with the pillars of early Islamic mosques is consistent with the statements of Islamic historians. Descriptions mentioned in historical texts about the mosque can help effectively within the area of the building. It is also said that in the early centuries, the city had a mosque (Baladi, 1967:167-163). The Safavid travel writers’ report also mentions the Friday of Ardebil Mosque and shows that the building was still functioning in worship before this period despite destruction in some parts and has attracted the attention of tourists (Yousefi, 2020:913). This is a reason for historians and Orientalists who have described and visited this building.

Discussion
Our knowledge of the building in the early centuries is based on historical sources and archaeological reports. The mosque in the Deylamian era had the foundations of thick and polygonal pillar. In the Seljuk period, it was fourfold (Torabi Tabatabai, 1355:284) and a low-rise dome. In the Ilkhanid era, in addition to the construction and restoration of destroyed sections, the thickness of the southern wall has increased (Siro, 1988:184). And tile and gypsum decorations were added to it. From the Qajar era, the foundations of four-sided pillar were obtained (Shahbazi Shiran, 2004:28). Archaeological discoveries have led to the identification of three architectural periods indicating the evolution of architecture from historical period (problems) to Qajar era in this section (Yousefi, 2020:912).
The ancient excavations of Shakhti have shown that contrary to what was thought until then, the Jomeh Mosque was not exclusive to the dome and the remains of the porch, but had several extensions and components and encompassed a wide space. In total, seven pillar stands emerged from the total base of western nave pillar and showed that more remained intact (i.e., 34 and 35). Also, in 1988, the first trench encountered the remains of a huge stone wall stretching west along the outer wall of the southern wall of the dome. The wall itself is built on ancient remains and underneath it are buried pieces of brick inscriptions in the prominent Kufic script.
The construction of northern pillar is based on a kind of reminiscent of the pillars of our pre-Seljuk mosques (3rd and 4th centuries AH) including the historical Damghan Mosque and the Nain Grand Mosque, and these pillar should be considered as pre-Seljuk. The minaret of this building is completely solitary and there is no sign of its connection to the Seljuk building. In terms of the type of plan, it is possible to compare the Jomeh Mosque of Ardebil with the Bersian Mosque and the Grand Mosque of Uremia, which is one of the buildings of the Seljuk era.

Conclusion
In the 4th century AH, Ardabil city was the largest and most important city of Azerbaijan according to historical sources and the center of that state and the headquarters of the army. On the ruins of the primary mosque, one of the primary pillar mosques, which is composed of different courtyards and naves, parts of it have been destroyed and the soil has been destroyed. According to archaeological evidence, the initial mosque had a columned nave map with a map and pattern of early Islamic mosques. Ardebil Mosque in its Seljuk form consists of a dome and a porch in front of it, and the results of the Jomeh mosque survey show the continuation of the application of such proportions before the construction of the Ilkhanid era. According to the map, these mosques are comparable to their contemporary buildings including the Bersih Jomeh and the Jomeh Mosque of Uremia. According to the comparison of the building with the Barsian community, it can be said that by following the usual customs, the Chahartaghi Mosque of Barsian has at least definitely influenced part of the detailed structure, façade and map of the Jomeh Mosque, and the plans of the building (Barsian Mosque) have been expressed completely differently in the work of the next architects (Jomeh Mosque). The other is that Ardebil’s plural mosque is so closely based on the Jomeh Mosque of Uremia that the direct architectural impact of the Jomeh Mosque of Ardebil on it is hardly undeniable.
Considering that the quadrilateral and porch composites are more closed than Fermi’s four-porch plan, therefore it is more proportional to the cold climate of Ardabil region and finally, due to the fact that the body is subject to climate or function and the porch is located in the four-fold plan on the northern jab, it is naturally used in mosques as a cold part. Also, the decorative arrays used in Ardabil’s plural mosque have been used in perfect harmony with the construction periods. Considering the identification of decorative arrays, the Seljuk period to the end of the Qajar era was enumerated for interior and exterior decorations of the mosque.

Abstract
The more specialized and technical studies of historical paintings are the greater will be the history of Iranian art and, in fact, Iranian art and the identity of Iranian culture. Therefore, each of the historical cases will be valuable and influential. The purpose of this article is studying the nature of a destroyed paining on canvas and its overall shape, subject and identity which found in the storeroom of Mary Church of Isfahan. Accordingly, this article tries to answer the question of what is the nature of the painting discovered from the Mary Church of Isfahan? In order to achieve this goal, the library and field studies as well as laboratory studies including microscopic imaging and elemental analysis (SEM-EDS) was used for data collecting. In the following, it is attempted to prove the identity of the painting as Canvas-Marouflaged mural by comparative study of it with similar murals of the three churches of Vank, Maryam and Bethlehem. One of the main results of the research is the recognition of the painting from a technical and thematic point of view as well as its identification as a Canvas-Marouflaged mural and its presentation place at the time of the creation of the painting in front of the altar of Mary Church Isfahan.
Keywords: Canvas-Marouflaged Mural, Isfahan Mary Church, Painting, Angel of Seraphim.

Introduction
Murals as visual art works are among the most significant architectural decorations that have undergone many changes over time. The factor that distinguishes these works from other paintings is their dependence to the architectural space, which is known as the determining factor of their identity and authenticity (ICOMOS, 1964). In fact, a mural is designed and executed to complement the architectural space. It is completely coordinated with that space, so separating it from the architecture and displaying it in another place can changes or loses the values of mural and endanger its identity. Therefore, the detailed study of paintings in order to know their identity and nature is necessary.  Accordingly, the following points can be mentioned that clarify the necessity of this study: a) unknown specific characteristics for studied painting (marouflage), b) the lack of definite and specific criteria for displaying this painting, c) recognizing and differentiate the studied painting from the marouflage. Based on this, in this article, detailed studies have been carried out on an Iranian special painting, which at first glance seems to be the easel painting on canvas, which detailed investigations and studies present a hypothesis that it was a marouflage. The term marouflage refers to those paintings that are painted on a canvas and pasted on the wall in such a way that it is considered a part of the architecture. The marouflage separation from the original location distort its integrity and authenticity (Hamzavi et al., 2015: 131). This article aimed to find the nature of a historical painting discovered from Maryam Church in Isfahan, relying on technical studies and conservation issues, and tries to answer the main question of the research: What is the nature of discovered painting from Maryam Church in Isfahan?

Materials and Methods
The article is a qualitative and quantitative research based on the content of the research question and the achievement of the research aim. According to the type and necessity of the research, two theoretical and technical approaches can be introduced. In this research, primary data and information have been collected using the documentary and field methods as well as laboratory studies. Then the data has been analyzed according to the subject of the painting and its technical information to clarify how to perform the painting and display it (Figure 1). 
     The images, other than the ones mentioned in the reference, were took using a Canon EOS 700D / KissX7i DSLR camera with a Kit 18-135 lens. The metallography microscope model IMM 420 manufactured by Isfahan Optical Industries Company and fiberoptic device brand LECA CLS 100X connected to DSLR camera Canon EOS 700D / KissX7i used for imaging from the painting layers. Field emission electron microscope (FE-SEM) model MIRA3 manufactured by TESCAN company equipped with X-ray diffraction spectrometer (EDX) with resolution of 1.5 nm at 15 KV voltage and 4.5 nm at 1 KV voltage was used to determine the percentage of constituent elements and microscopic imaging with high magnification.

Data
After attaching the pieces of painting on canvas, the subject of the painting was revealed, which is a painting with the theme of a six-winged angel named Serafin (or Seraphim) (Hospian, 2014). Based on the visual and artistic characteristics of the painting and according to the date of construction of the Church of Maryam, its approximate date is attributed to the 18th century. The studied painting is in the form of Pābārik under the dome. Pābārik is one of the components of Kārbandi and is in the form of a kite. The painting is done on a cotton fabric support, which consists of sewing two pieces of fabric together (Figure 15). Being two pieces due to the small width of the fabric can be interpreted in the direction of the traditional weave of the fabric and attribute the time of the work to at least before the invention of weaving machines in the 19th century. Also, the texture of the fabric shows the non-uniformity of the thickness of the threads that make up the fabric, which can be a sign of manual and traditional spinning. There is the trace of frame in the edge of the painting (Figure 13) and in this part, there was a nail trace along with rust (Figure 14). Microscopic examinations of the cross-section of the painting in the gilded part show the existence of six layers and in the blue part of the painting background five layers (Figure 16). No trace of crushed gold particles (pigment) which is used in the production of gold color was seen, and a continuous and uniform sheet is visible in the scanning electron microscope image.

Discussion
Based on the shape, dimensions of the work, this hypothesis was created that the painting was probably custom made and adapted to one of the parts of the church building. According to the traces of nails left on the edge of the canvas, it installed on the wall after the execution. The subject of the painting is also related to the subjects of religion of Christians and is consistent with their beliefs. Visual observations of the interior of Maryam Church, Vank Church and Bethlehem Church in Isfahan show that the studied painting is compatible with other wall paintings in Armenian churches in terms of design, shape and subject. In such a way that the similar works are also in a Pābārik frame and they are executed as murals along with the image of the Seraphine angel with gilded wings under the dome. X-ray Electron Diffraction Spectroscopy (EDS) elemental analysis on the brown colored spots around the place of the nails in the edge of the support canvas (Figure 19, Table 1) shows the amounts of calcium oxide and sulfur oxide, which reinforces the possibility of the presence of calcium sulfate (gypsum). It strengthens the hypothesis of connecting the painting to a plaster wall.
The field survey of Maryam Church showed that the entire interior is covered with murals with various religious themes, except for the space in front of the altar, which it is contradictory by Christians believed in relation to the necessity of painting in all levels of churches. The existence of such a space inside the church creates the assumption that probably there were four murals in the Pābāriks in these parts as well. The size of the diameters of these Pābāriks is a little bigger than the studied painting. Comparing the Pābāriks of the three studied churches, it was determined that a decorative border was implemented around the angel.

Conclusion
According to the research on the nature of the painting, it can be concluded from the investigations that the studied painting is a marouflage that is pasted on the surface of the wall, and the place of its display was probably a Pabarik in the architectural space of the altar of Maryam Church in Isfahan.

Acknowledgments
The authors thank Tabriz Islamic Art University for providing the technical study of the painting.

Abstract
The reign of the Qajar dynasty is one of the most important eras of the evolution of Iranian art, especially in the form of murals. In the geographical area of Iranian cities, the connection between religion and art according to the Shiite religion of the society of this era is obvious. In the present article, an attempt has been made to identify the effective factors of geographical territory in the way of reflecting Shiite themes in the mentioned works in the important Shiite cities of the Qajar era. The authors seek to answer these questions: What are the influential factors of the geographical territory in the way of reflecting Shiite themes in the murals of religious Monuments of the Qajar era? Which cities of the Qajar era had the greatest influence in the way of reflecting Shiite themes in the murals of religious buildings of the Qajar era? The present research is developmental in terms of purpose and descriptive-analytical in terms of nature and method. The method of collecting information was library and field and the method of qualitative analysis. Findings indicate that the effective factors of geographical territory in how these murals are reflected are included in these sections: the refuge of the Prophet’s family in mountainous areas, the rule of the Zaidi Alawites, the rule of Sadat Marashi, the formalization of the Shiite religion in the Safavid era, religious architecture Iran, the support of princes for Shiite art, pilgrimage to places on pilgrimage. The results of the research show that the geographical territory of each religious building is a link between indigenous architecture and the religious view of Islam to the Shiite religion.
Keywords: Qajar, Religious Monuments, Murals, Qajar Politics, Shiite Themes.

Introduction
Statement of the problem: The historical investigation of the developments of the Qajar period is very important due to the scope and intellectual, cultural, religious and political diversity and due to the continuity of its results until the present day. Religious buildings are one of the most basic structural and formative elements of cities. The continuity of the presence of religious buildings in the shape of the city has been known since the dawn of the first cities and has been intertwined with the life of the cities until today. In the historical context of Iranian cities, religious buildings as an important use with various functions have played a basic role in shaping urban spaces and hierarchies, and the link between religion, culture and politics with art is found in different spaces in Islamic cities. Examining these relationships with works of art is a topic that provides a wide field for research. Islam in general and Shia religion in particular are the creators of unique works of art in the field of architecture, such as takayas and saqanfars. Religious mural painting in connection with the formalization of Shi’ism in the beginning of the Safavid period and in the Qajar era, because the Qajar rule is one of the most important periods in the evolution of Iranian art, especially in the form of mural painting. In this era, due to developments after the constitution, religious painting was mainly limited to folk paintings. This particular type of mural painting is aimed at popular artists. These artists have acquired the themes of their works from popular beliefs and beliefs.
Objectives and Necessity of the Research: The research was carried out with the aim of knowing the effective factors of the geographical territory in the way of reflecting the themes in the murals of the religious buildings of Qajar cities. In this research, the wall paintings of the religious buildings of the mosque, the saqanfars and the tekke of the important Qajar cities are examined with an emphasis on the Shia themes of folk art, as well as the study of the role of the Shia religion and its development in mural painting under the influence of historical and geographical conditions in the Qajar period, which is a necessity in the study. The valuable effects of its wall paintings are noted.

Methods
The current research is developmental in terms of purpose and descriptive-analytical in terms of nature and method. The method of collecting information is library and field. The most important tool for collecting information is the preparation of an ID card, the use of tables and forms made by researchers, observation cards and visual documents. The research community, among dozens of murals in numerous religious buildings, 14 murals from among 6 historical and religious monuments of Qajar era Iran from the provinces of Mazandaran (2 murals from Babylon and 4 murals from Babolsar), Kermanshah (6 murals) and Fars (2 murals). It is purposefully selected. The authors have examined the most representative samples in a selective manner (non-probability sampling) based on the factor of Shia religion and geographical location using the qualitative data analysis method.
First, the themes and factors of the emergence of numerous themes in the murals of religious buildings of the Qajar era are discussed. Then, the effective factors of the geographical territory in the way the themes are reflected in the murals of the religious buildings of this era are evaluated and read. In this essay, an attempt is made to study the wall paintings of Qajar era religious buildings, which represent a relationship between art and geographical location, with a methodical scientific and structural approach.

Discussion  
Factors have caused the emergence of numerous religious and non-religious themes in the murals of religious buildings of the Qajar era. Among these factors can be mentioned: the shock of the rule of the rulers, the tendency to ancient Iran, relations with Europe, the constitutional movement, the need for spiritual space, the need for a religious hero, alignment with the function of religious buildings, belief in propaganda and dissemination Shiite religion, messaging based on Quranic stories and narrations, instruction and lessons from the life events of the Imams.
Shiism as one of the Islamic religions was created almost at the same time with the advent of Islam. The main claim of this religion was the legitimacy of the succession of Imam Ali (AS) after Prophet Muhammad (PBUH), which according to the followers of Shiism, the Prophet had publicly announced this issue in the event of Ghadir Khumm in the last year of his life. This religion has always been in the minority in terms of the number of followers and this issue has undergone serious changes in its continuation until today. (Kowsari, 1390: 9 and 35) One of the influential factors in the emergence of various themes in the murals of religious buildings of the Qajar era is the geographical territory; This factor also has factors that have been effective in the way of reflecting the Shiite (religious) and non-religious themes in the murals of religious buildings of the Qajar era (Table 1). Factors such as attention and importance as the origins of ancient Iranian art and the increase of trade and cultural exchanges and correspondence with other nations by placing some cities on the trade route are factors that have been effective in reflecting non-religious themes, but in this article the most important themes. Shiites are being explored.

Conclusion 
The geographical territory of every religious building is the connection of native architecture with the ritual attitude of Islam to Shiism, so the wall paintings of religious buildings of the Qajar era were created from the ritual transformations of Shiism and influenced by the culture and political developments of the society of their time. According to the findings of the research, the answers to the questions can be stated as follows:
What are the effective factors of geographical territory in the way themes are reflected in the murals of religious buildings of the Qajar era? One of the influential factors in the appearance of numerous themes in the murals of religious buildings of the Qajar era is geographical territory, this factor also has factors that have been effective in the way of reflecting the themes of the murals of religious buildings of the Qajar era. The most important factors include the following: decisive historical events (refuge of the Prophet’s family to the mountainous areas from the evil of the Caliphs of Baghdad, the presence of the Zaydi Alawites and the establishment of their government in 250 AH, the rule of Sadat Marashi of the Shiite religion in the 8th and 9th centuries AH ., the formalization of the Shiite religion in the Safavid era, Islamic-Shiite religious architecture in Iran), princes’ support of Shiite art in prominent cities, pilgrimages to religious places with some cities being on the pilgrimage route, the manifestation of folk beliefs of different cities on murals. s, attention and importance as the origins of ancient Iranian art, the influence of lithographic books and the increase of commercial and cultural exchanges and correspondence with other nations with the location of some cities on the trade route (Table 1).
What was the way of reflecting Shiite themes in the murals of religious buildings in different cities of the Qajar era? The manifestation of Shia themes and topics in all the murals of different cities was not the same, according to the nature and climatic characteristics of that city, they were a more suitable source and platform for the manifestation of such themes. For example, the cities of Mazandaran, Gilan and Kermanshah have been effective in reflecting Shiite themes in Qajar era wall paintings, considering the conditions of their geographical territory.
Wall paintings are the borrowers of Shia spiritual heritage among the common people and have high values of Shia anthropology and sociology. All the murals are like a valuable treasure that shows the life and livelihood of the native people and contains their culture, habits, customs and beliefs. It is hoped that by identifying and introducing these works, they will respect their roots and gems more and respect themselves and their origin. Let’s come back.

Abstract
Abstract: This essay attempts to do a typological study on one of the most applicable lighting devices -i.e. Oil Lamps- of the early Islamic period from Iran. Although introduction of Iranian ceramic Oil Lamps goes back to the pre Islamic period of Iran, the most remarkable changes in the design process of these products appeared during this period. Therefore, the main goal of this research is to study and follow design process of Iranian ceramic Oil Lamps of early Islamic period. This essay enquires about the most important developments on the history of Oil Lamps design. In order to reach the goal of this study and to do this research I have used descriptive analytical methodology of research and collected a great deal of needed information by desk study methods of data gathering. In addition, in order to delineate as good as possible the changes and developments appeared on various types of Iranian ceramic Oil Lamps from early Islamic period, here in this study I decided to use a specific framework for systematically studying history of objects’ design suggested by an Indian university professor named Kumar Vyas. According to Vyas, in order to be a major landmark a moment in the history of an object should indicate five kinds of changes: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. Therefore, one can categorize the most important developments in designs and types of Iranian ceramic Oil Lamps in three main groups. The first group includes those ceramic Oil Lamps with open, bowl shaped bodies and projected wick holders; Second group have globular enclosed bodies with elongated tubular wick holders. Finally, footed lamps with central stem on a plate shaped stand recognize the last group of our typology of Iranian ceramic Oil Lamps from early Islamic period. 
Keywords: Islamic Pottery, Iranian Pottery, Ceramic Oil Lamps, Lighting Devices. 

Introduction
Oil Lamps or “chiraghs” were one of popular lighting devices of early Islamic period in Iran. They were kind of a container that simply worked with a vegetal wick and animal oil and thus answered their users’ needs. Although introduction and application of Iranian ceramic Oil Lamps goes back to the pre Islamic and especially the early historic period of Iran, but because of the development and improvement of related technologies of pottery in the Islamic period, the most remarkable changes in the design process of these products appeared during this period. It goes without saying that both design and production of ceramic devices were mostly relied on the advanced technology. During early Islamic period, it seems that Iranian has used pre-Islamic and specially Sasanid forms. However, gradually there has occurred considerable progresses in making and decorating potteries, promoting mostly their visual and aesthetic effects along with enhancing their quality of production. While ceramic Oil Lamps were among most popular lighting devices of early Islamic period in Iran, after Mongol invasion in the early thirteenth century their application has been reduced and ceased. 
The main goal of this research is to study and follow design process of Iranian ceramic Oil Lamps of early Islamic period. The question I am going to answer here is how the design of mentioned devices has changed during time and under what conditions. Here, studying the most important developments and changes in design styles of Iranian ceramic Oil Lamps from early Islamic period, I tend to trace and delineate the evolution path passed through by these devices from the beginning of the Islamic period until the end of 12th / 6th century. 
Materials And Method: In order to reach the goal of this study, after reviewing related literature and explaining specific methodology of research, first I have discussed the terminology of Oil Lamps in Persian and tried to describe its function. Then in two parts, I have structured my discussions. In the first part of the body, I have divided forms of ceramic Oil Lamps of Islamic period into three main groups. Then, in the next part, I have tried to explain the major distinctions between these groups by Kumar Vyas’s criteria. These are changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. 

Data
Collecting data for this study has been conducted by desk studies, including materials from books and websites. These data, here, has been analyzed qualitatively.
Data collection techniques refer to methods used to collect and analyze different forms of data. Collecting data for this study has been conducted by desk studies, including materials from books and websites. These data, here, has been analyzed qualitatively. In this study, data are made up of material evidences of ceramic oil lamps from early and middle Islamic periods. These evidences are accessible sometimes directly through museums and collection of Islamic or Persian art all over the world and sometimes indirectly through reproduction of those materials within catalogues of Islamic ceramics available in libraries. First of all it was very important to distinguish between oil lamps and other kind of lamps prevalent in Iranian art of Islamic period. Then one should consider historical order of lamps so it could be possible arranging them into two groups of early and middle Islamic period. Whitin each category, there exist many forms of lamps with multiple ways of decorating them including monochrome glaze or underglaze decorations. Then the researcher has to sort these evidences by their historical period, first, and by their forms and shapes, second. Furthermore they should consider their decoration in order to reach a better understanding of them. In order to delineate as good as possible the changes and developments appeared on various types of Iranian ceramic oil lamps from early Islamic period, here in this study I decided to use a specific framework for systematically studying history of objects’ design suggested by an Indian university professor named Kumar Vyas. According to Vyas, in order to be a major landmark a moment in the history of an object should indicate five kinds of changes: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users.

Discussion
One can categorize the most important developments in designs and types of Iranian ceramic Oil Lamps in the early Islamic period in three main groups. The first group includes those ceramic Oil Lamps with open, bowl shaped bodies and projected wick holders. In these lamps, reservoir and wick holder are closely connected to each other. Second group of Iranian ceramic Oil Lamps from early Islamic period have globular enclosed bodies with elongated tubular wick holders. Here, wick holders earn distinctive characteristic of its own and it somehow separate formally from reservoir. Finally, footed lamps with central stem on a plate shaped stand recognize the last group of our typology of Iranian ceramic Oil Lamps from early Islamic period. The form of main part in lamps of this group is not so different from that of first group. However, having been elevated by a tall cylindrical column has made the function of lamps of this group much more distinctive than those of other groups. 
Drawing upon Kumar Vyas’ approach to systematically studying history of objects’ design, one can analyze the main distinctive aspects of these three types of Iranian ceramic Oil Lamps from five point of view: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. Design and structure of Oil Lamps from these groups are more remarkable that changes in other aspects. However, the most important development during the history of these Oil Lamps is their way they have been seen and thus used by their owners. Certainly, Simple forms of lamps from first group did not need as complicated treatment as it was necessary dealing with lamps of third group. 

Conclusion
Iranian ceramic Oil Lamps in the early Islamic period can be categorized in three main groups. The first group includes those ceramic Oil Lamps with open, bowl shaped bodies and projected wick holders; Second group of Iranian ceramic Oil Lamps from early Islamic period have globular enclosed bodies with elongated tubular wick holders. Finally, footed lamps with central stem on a plate shaped stand recognize the last group of our typology of Iranian ceramic Oil Lamps from early Islamic period. Here, in this essay, distinctive aspects of these groups have been analyzed from five point of view, according to Kumar Vyas’ approach to history of objects design. Design and structure of these three types are distinctive in their form of body and wick holder. Using different kinds of glazes and painting techniques has made the appearances of Oil Lamps somehow unique. Ceramic Oil Lamps of these groups also have been produced by various processes. Furthermore, the way they have been used varied form lamps of one group to the other. Finally, mention has to be made of the relationship between users with every lamps of each group. Based on design and appearance of lamps this relationship has proven to be remarkably discrete.   

Abstract
In recent decades, cultural heritage-related concepts have been widely investigated, and agricultural heritage has been adopted as a concept of cultural heritage because of its contribution to livelihoods, food security, and the world economy. This consideration from 2002 to 2018 led the Food and Agriculture Organization (FAO) to develop a framework known as Globally Important Agricultural Heritage Systems (GIAHS) and to introduce global agricultural heritage sites accordingly. The GIAHS committee presented five criteria for incorporating the sites in the list of globally important agricultural heritage. Biodiversity, local awareness and techniques, socio-cultural values, food and livelihood security, and visual landscape were included in the five categories; thus, this article aims to evaluate historic farmsteads in the central Iranian regions. Historic farmsteads were thought-about an efficient agricultural production system characterized by architectural, economic, social, and cultural features in the past, the traces of which are still available. The main research subject concerns the growing destruction of farms following climate changes, the migration of owners and beneficiaries, and the lack of community knowledge about their nature. The research main goal is to introduce Iranian historical farmsteads as a globally vital agricultural heritage system. Thus, the research seeks to investigate the issue through an interpretive approach and an interpretive strategy and to use field studies and document research to respond to research questions on Iranian historical farmsteads in conjunction with global agricultural systems. This research concludes that the potentials of historical farmsteads meet GIAHS standards. The GIAHS secretariat can also identify the Iranian historic farmsteads in the first stride and then register them internationally. It will help many historical farmsteads as a large part of the Iranian agricultural heritage to be dynamically conserved. 
Keywords: Historical Farmsteads, World Agricultural Heritage, GIAHS, Iran.

Introduction
In recent centuries, traditional agricultural activities have decreased, considering numerous reasons, along with the rapid development of cities (Oosterveer & Sonnenfeld, 2011). In the meantime, preserving cultural heritage for a sustainable livelihood has received much attention as many studies on sustainable development have focused on people, the environment, and cultural heritage (Ojomo, 2010). As a result, a new concept known as agricultural heritage was added to cultural heritage. Then, in 2002, the conception of globally important agricultural heritage systems (GIAHS) was developed by the Food and Agriculture Organization (FAO) in the international arena. The first global GIAHS summit was held in 2018 after 16 years (Behzadnasab, 2019:9). GIAHS was introduced to the world not as a specific product or geographic area but as a recognized system. The National Committee of GIAHS was established in 2014 in the Iranian Ministry of Agriculture Jihad called NIAHS, investigating issues such as the irrigation of aqueducts and migration of nomadic Qashqai tribes (Joafshan-Vishkaea, 2015:18). Each GIAHS site should have a historical and contemporary aspect and can be restored and developed to the benefit of future human generations. 
Therefore, many sites with agricultural heritage potentialities in Iran can be regarded as possible candidates in the future. This article aims to focus on “historic farmsteads of central Iran” as a proposal for inclusion in the GIAHS list to evaluate them according to the five criteria mentioned above. In the central regions of Iran, especially Qom, Kashan, Niasar, Semnan, Isfahan, Meibod and Yazd, these farmsteads have two physical and functional characteristics, but some criteria for their implementation have already been established (Raie, 2017:230). Historic farmsteads were efficient agricultural production systems of the past with architectural, economic, social and cultural features, the remains of which can still be seen today. Presently the main problem is the non-recognition of such historic farmsteads as globally recognized agricultural heritage. They are considered to be threatened by various factors, such as climate change and migration by landlords and beneficiaries. The research aims to introduce these farmsteads as a globally important agricultural heritage system. Thus, the research seeks to investigate the issue through an interpretive approach and an interpretive strategy and to use field studies and document research to respond to research questions on Iranian historical farmsteads in conjunction with global agricultural systems. 

Data
Farmsteads in the past had two functional and physical systems. These systems, which are based on lived knowledge and techniques, are experience-oriented and traditional and have caused the formation and consistency of farmsteads from the past to the present. Much data related to traditional knowledge about architecture, agriculture, civil, economic, legal, cultural, social, and political fields can be introduced and revived in the heart of Iran’s historical farmsteads.

A) Physical system
1. Order of position and formation including; Methods of choosing the location of farmsteads with two priorities of water and security (Raie, 2020: 59);
2. Order of form, including; Building a farmstead based on two forms; Agricultural castles (figures 7 and 8), and agricultural complexes concerning the security (Moradi et al., 2016: 6-13);
3. Order of Water and agriculture lands including; Methods of exploiting and extracting the water of the rivers, Qanats (figure 3), wells and springs, irrigation and water supply and the like (Tavangar Marvasti, 2015: 269);
4. Formation order of physical elements, including; Methods of construction and maintenance of dependent structures (figure 4) such as; the Lord’s and serf’s castles, reservoir, mill, caravanserai, bath, mosque, Hosseiniyeh and Selkh (Beheshti & Raie, 2016: 10).

B) Functional system
1. Order of ownership and exploitation, including; types of ownerships, customary law for planting and harvesting, the terms of exploitation between the lord and the “Diwan”, methods of assigning real estate and land, endowed farmsteads (Lambton, 1966: 250; Foran, 1999: 57; Pollak, 1982: 351; Sheikh Al-Hakmaei, 2009: 9 and Safinejad, 1989: 43);
2. Social and demographic order, including; compilation of the social pyramid of the farmstead by the lord, methods of selecting serfs and residents of the farmstead from tribes far and near the farmstead, settlement methods and living standards in castles attached to the farmstead and the like (Tavangar Marvasti, 2015: 298- 305 and Yaghmaei, 1990: 296);
3. Order of economy and livelihood, including; Methods of collection and audit of taxes and tributes by Diwan and lord, rules of income generation, selling and sending products, communication between the lord and serfs and the like (Taleb & Anbari, 2008: 153- 155). 
 
Discussion
The FAO provided five criteria for identifying agricultural heritage systems worldwide; biodiversity, traditional knowledge and technology, socio-cultural values, food and livelihood security, and visual landscape. This research investigates the locality of Iranian historical farmsteads in conjunction with agriculture heritage criteria. Regarding the first criterion, there is a significant relationship between historical farmsteads and agro-biodiversity. The presence of water in different regions diversifies agricultural products, livestock and poultry.
Planting of damask rose and the production of rosewater in Niasar farmstead, as well as straw oil extraction in Nahchir farmstead in Isfahan, can be cited as good examples in this regard. Concerning the criterion of local knowledge, the farmsteads are said to be based on living experiences and old knowledge. These problems are recognized in terms of two physical and functional characteristics. The third criterion deals with cultural values and social entities at the farmsteads. Fixed population rates and the presence of a group of beneficiaries and stakeholders suggest that farmsteads have achieved sustainability with the collaboration of these groups of people over time. The fourth criterion concerns food and livelihood security. Historical farmsteads have, at various periods, been regarded as economic and production businesses for people, landlords and the government, making significant contributions to the agro-tourism sector. The fifth criterion evaluates the farmsteads’ landscapes. The population, physical environment, and agricultural lands can all be used, to illustrate the natural, cultural, and historical landscapes of central Iranian regions. Landscapes are presented on both an internal and external scale.

Conclusion
The study concludes that the historical farmsteads in Iran significantly met the five criteria after carefully examining them. In addition to their historical significance, historic farmsteads continue to exist today and contribute to food and agricultural security in various places. They have gradually adapted to their surroundings, producing assorted products based on cultural and economic values while retaining and increasing agro-production knowledge and practices.
Local residents and stakeholders have worked together in this regard throughout time to maintain the farmsteads. Farmsteads have been a product of continuous human presence in the environment, creating cultural, historical, agricultural, and visual landscapes. The GIAHS secretariat can first identify historic farms in the central regions of Iran and then have them registered globally using executive guidelines. It makes it possible to study a variety of vital and previously disregarded farm data, leading to their dynamic conservation based on location and time needs.

Abstract
In the past decades, archaeology has turned toward research on societies that lie temporally between the industrial age and the present, what can be considered a “late historical  archaeology.” The cultural materials for the study of this branch of archaeology include archival written sources, audio and video sources, and eyewitnesses, all of which are analysed together with the findings of archaeological excavations. Studies of the modern period in archaeology, which includes the industrial age and the era of globalization, document both individual and collective processes. Archaeology of modern times requires an interdisciplinary perspective, drawing on the disciplines of art history, history, sociology, anthropology, and even criminology in analysing and interpreting its findings. The present article is the result of a study in the archaeology of modernity, in which the authors investigated a World War II Nazi training camp in Wustrau, located in the German state of Brandenburg, about 70 km northwest of Berlin. The camp was built to “retrain” - or brainwash -non-Russian members of the Red Army such as Ukrainians, Muslim Tatar prisoners as part of a plan to send them into the territories of the Soviet Union as trained Nazi administrators. The archaeological excavation in Wustrau was conducted jointly by members of the Free University of Berlin, Isfahan Art University and the Cultural Heritage and Tourism Research Institute. 
Keywords: Modern Archaeology, Indoctrination Camp, World War II, Wustrau.

Introduction
This paper offers an account of two seasons of excavations in 2020 and 2021 in Wustrau, northwest of Berlin. At the edge of this village, the Nazis had erected in the 1940s an indoctrination camp for Soviet prisoners of war. The framework of our research in this former camp is informed by the archaeology of modernity, which goes beyond the search for cultural-historical chronologies to identify connections among material remains, historical documents and the violent conditions under which they emerged (fig2 -3). Fieldwork was funded by the “Peace and Conflict Studies” program of the Free University of Berlin and supported by the Regional Heritage Office of the state of Brandenburg.
The work is the result of a joint research program of the Free University of Berlin, Isfahan University of Art and the Iranian Cultural Heritage and Tourism Organization. This German-Iranian joint excavation was designed to counter traditional expectations, in which European, American or other archaeologists of foreign nationalities travel to Western Asian countries to carry out field research. Instead of researching the cultural history of Iran, the archaeological excavation took place in Germany with the goal to reconstruct a part of 20th century German history. The archaeology of modernity, is the second exceptional characteristic of the project. Investigating the material culture of the 20th or 21st centuries is still unusual in both Germany and Iran. 

Research History 
A brief historical background shows that after the First World War (ending in 1918), nationalism and extreme racism grew quickly in Germany. In this general climate, National Socialism was able to gain power and turn the racist Adolf Hitler into its “leader“ in 1933 and continuing until 1945. In the short time of 12 years, the repressive regime incarcerated more than 10 million people from 20 European countries in more than 44000 forced labor and extermination camps; the highest number of prisoners came from Poland and the Soviet Union.
 In the year 1941, Germany invaded the Soviet Union and opened a new theater of war, the „Eastern Front.“ The German attack was initially successful and the Wehrmacht occupied large parts of the western Soviet Union. In a short time, the German military also captured more than one million Red Army soldiers. To handle the occupied territories and the large number of prisoners, a new „Reich Ministry for the Occupied Eastern Territories“ was established within the government. The handling of prisoners of different ethnicities and religions was planned in this ministry. One case concerned the recruitment of different ethnic groups of Soviet prisoners into the Wehrmacht and sections of the repressive special units of the Nazi system such as the SS. 
With the establishment of the Prisoner of War Department in July 1941, prisoners of war were screened and segregated by ethnicity. As the war continued, the Reich Ministry for the Occupied Eastern Territories started a “re-education” program for Red Army prisoners of Turkic origin to turn them into administrators or Wehrmacht members. Before being sent back to the east, a system of indoctrination and training was established. At the end of the program, the prisoners were integrated into battalions such as the “Eastern Muslim Battalion”, others into special SS units. According to preserved documents, the military formation aimed at uniting all Muslim Turks into such fighting units (Volga Tatars, Azerbaijanis, Turkestanis). One of the ethnic groups that was separated from the bulk of Russian Red Army prisoners were the Tatars. Many of them had been captured in 1941 and early 1942 around Byalistok, Lviv, Kerch and Kharkiv.
In 1942, around 1,500 prisoners of war of various ethnicities, some of them Tatars, were held in the camp of Wustrau and trained there to be later recruited into the battalion “Idel-Ural”(fig. 1). The most famous of these prisoners in Wustrau was Musa Jalil, a person who later formed a resistance group against the Nazi regime. Unfortunately, the group was discovered by the Gestapo, and most of its members were executed on August 25, 1944 in Plötzensee prison. 

Wustrau
Wustrau is located in the district Ostprignitz-Ruppin about 70 km northwest of Berlin. It has the geographical coordinates 52°51’N, 12°52’W and lies at an altitude of 38 meters above sea level. The area is characterized by lakes formed at the end of the last ice age. Wustrau is located at the southernmost end of one of the Ruppin lake. The area has been inhabited by Slavic groups since at least the 13th century C.E., was invaded several times by the Swedes in the 17th and 18th centuries, and then ruled by the von Zieten family, a branch of the Prussian dynasty, after 1766, as attested by a small palace in the village(fig.4).

Excavation
The main goal of our archaeological soundings in Wustrau was to recover material remains that would reveal practices within the camp, including those of repression and racism. A brief and unsystematic surface survey in the surroundings of Wustrau in 2018 had already revealed elements of the indoctrination camp in the form of a barrack’s foundations still visible on the ground surface. In the first of two short seasons, architectural traces and finds were recovered in a series of five excavation trenches labeled 1, 2, 6, 7, and 8(fig.5). In 2021, three more trenches were added to investigate open areas of the camp and another barrack that was located next to the small river Rhin at the southern edge of the camp. In 2020, three of four corners of a barrack were uncovered, including massive concrete foundations that reached a depth of up to 1m(plan.1). Deep foundations were necessary because of the marshy environment of this area. The upper walls of the barracks consisted of a footing of kiln-fired bricks and walls of wooden planks, covered by a gabled roof (knowledge of the walls and roof come from documentary sources) (fig.6 A-C). 
One of the most interesting finds was a button of a uniform that was decorated with a five-pointed star as well as hammer and sickle, clearly from a Red Army uniform(fig.7). Since documents inform us that the barracks had been built by the prisoners themselves, they must also have been responsible for leaving this (subversive) trace of their presence. Rediscovered more than 80 years later, it is a sign of resistance against the conditions of confinement.
Historical documents attest to daily lessons lasting six hours, followed by supplementary discussions. Prisoners were even taken to various German cities to learn National Socialist principles. Excavation finds confirm the sources that mention teaching: we discovered many broken pieces of thin slate tablets, some with incised lines or grids for writing letters and numbers. Styli for writing on the slates were frequent finds as well(fig.8-9).  
At the opposite end of the barrack, we found a more recent layer from the times of the German Democratic Republic that contains finds from a doctor’s office. Apparently, parts of the barrack continued to be used by people from the nearby village of Wustrau after the demise of the Nazis in 1945. An aerial photograph from 1953 shows that the northeastern portion of the school barrack was partitioned off from the southwest section. In the northeastern segment, we discovered partially melted test tubes, needles from syringes, and small containers for medicine. One test tube contained the inscription “VEB Leipziger ...”, which should be completed with “… Arzneimittel werk “(fig.10). The company was founded in 1957, and we therefore assume that the doctor’s assemblage dates from around 1960. 

Conclusion 
This project of an archaeology of modern times in Germany helped to reconstruct elements of violent practices and ruthless indoctrination by the Nazis and their murderous system, the forced education camp for Tatar Muslims and other prisoners of war from the east. This system sought to deploy the ethnicities of the Soviet Army in what the Nazis conceived of as their eastern European colonies. However, as we know now, the project of indoctrination of Soviet Muslim prisoners to serve the Nazi system failed badly. Miraculously, two notebooks with poems of Musa Jalil survived (fig.11). They give ample testimony of his feelings while in Berlin’s Moabit prison awaiting his death. 

Abstract
Among the most eye-catching features observable on the cultural materials of 12th-14th centuries, are painted or drawn scenes which narrate a specific story and can be classified as “narrative motifs”. One of these narrative motifs are scenes which depict Faridun’s victory over Zahhak. These motifs bring the famous story of Zahhak in Firdowsi’s Shahname to the mind. Most researchers consider these motifs exactly in the same vein i.e.  as part of “Shahname-related motifs”. But this author is doubtful on asttributing these motifs to Firdowsi’s grand masterpiece. The main question here is to understand that how and in which regard this motif can be related to Firdowsi’s story of Faridun. To reach to an answer two kinds of evidence have been studied: pictorial narratives; and written narrative which describe the story of Faridun. For this reason, in the first step, all the depictions related to this story from the 12th through the 14th centuries, have been described. The repeated and distinctive motifs in these depictions have been discussed under the thematic subject termed the “Mace-wielding bull-rider”. In the second step, this thematic subject has been compared with written narratives from Firdowsi’s Shahname and the other historical sources. considering the fact that the main data used here are depictions that lack any written descriptions, the earliest illustrated manuscripts of Shahname were also studied so that we can reach a more comprehensive conclusion. In the last section, the author, by collating the pictorial and written documents, refutes the theory that takes the Shahname as the origin of the depictions of Faridun’s victory over Zahhak, and explain its as an independent and distinct narrative of Faridun’s Story. 
Keywords: Narrative, Firdowsi’s Shahname, Faridun, Zahhak, Bull-rider, 12th-14th centuries.

Introduction
Research on cultural materials from 12-17th centuries show that in this period use of visual language reached an unprecedented apex. Among the most important subjects depicted in this period, scenes of War and Festivities, scenes different personalities on throne, Astronomical scenes and Narratives scenes can be mentioned. The last, i. e. Narrative images, is one of the most challenging part of this body of Iranian visual culture. These scenes have been depicted on potteries, tiles, vessels, metal objects, textiles and murals. Many researchers consider these scenes to be mainly derived from the great book of kings written by Firdowsi. Stories such as Bahram-e gur and Azade, Bizhan and Manizhe, and Faridun and Zahhak are among the most famous “Shahname-related figures.” Considering the fact that the first illustrated manuscripts of Shahname belong to 8th century A. H./ 14th century A. D., The importance of depictions on other material culture, which have been created 300 years before the first illustrated manuscripts, becomes clear. In another word, the tradition of illustrating scenes from the book of kings’ Stories began 300 earlier. whether there was any illustrated Shahname before the 14th century is a matter of debate, but many researchers who work on the earliest manuscripts of Shahname use the material culture created before the 13th century as a reliable point of reference in their study. In their opinion the “Depicted Shahname-related Scenes” are vital links which connect the time of creation of the firdowsi’s book to its first extant written manuscripts. All of these opinions are based on the assumption that the book by firdowsi is the main source of scenes painted on these material culture. This author is doubtful on this matter. It seems that many of these “Shahname-related figures” were not studies so that their relationship to the actual text of Shahname become transparent.  Besides, till now none of these motifs have been studies individually. Here the “Mace-wielding bull-rider” visual pattern is chosen to clarify the relationship between the Shahname-related figures and the actual text of Firdowsi’s Shahname.

Materials and Methods
Typical objects with scenes of Fariduns’s victory over Zahhak are Mina’I bowls on which the inner parts are completely covered by painting. Other specimens are luster bowl and tiles and some metal vessels. In most specimens, scenes are depicted from left to right.
Three characters can be recognized in these scenes; each one has specific attributes which are numerated below (Tab. 1)
Here considering the central position of the mace-wielding bull-rider and its larger stature, he is the most important character in the scene. In all depiction of this specific scene in this period, the large body of the bull has been intentionally emphasized so that the focus of observer’s attention will be directed toward this part of the scene.
Among the characters’ attributes, the snake on the shoulders of one of the characters clearly identify him as Zahhak and the bounded hands and naked upper body refer to his defeat. Thus, the central person is none but Faridun who, in epic narrative, is closely related to bulls and wields a bull-shaped mace. The person who raises the flag is probably no one but Kaveh, the Iron-smith who began the rebellion against Zahhak. Therefore, this becomes clear that the creator of this scene has used some figurative signs to show the main attributes through which these characters can be identified. This scene clearly shows the victory of Faridun over Zahhak.

Discussion
When comparing the “mace-wielding bull-rider” visual pattern with Firdowsi version of the story, this should be mentioned that although the story of Fardiun is one of the longest and most important throughout Shahname, taking Zahhak to Damavand is described very briefly, in only two couplets (Firdowsi 1987: 84). In contrast, the mace-wielding bull-rider pattern, depicts exactly this neglected scene. Beside this, in the first look, there are two major narrative differences between this visual pattern and Firdowsi’s story: first, according to Firdowsi, Kaveh was not present when Faridun took Zahhak to Damavand. Second, in Firdowi, Faridun put Zahhak on a ride and then take him to Damavand, but on the Visual pattern, he is on foot.
An important Iconographic point here is depicting Faridun as a bull-rider. This attribute is emphasized to such an extent that this motif can be calld “mace-wielding bull-rider”. some secondary attributes (For example mace of Fardiun or nakedness of Zahhak) or characters (Zahhak or Kaveh) are absent in some specimen, but this never occurs in the case of Faridun and the bull. Here it should be reminded that in Shahname, Faridun never rides a bull. In Shahname, especially in story of his rebellion against Zahhak, he specifically rides horses. It seems that the use of bull as constant motif on this visual pattern is intentional and not an accident or mistake. Here it is vital to resort to other sources beside Shahname. In Tarikh-e Tabarestan and Zin al-akhbar (both written in the 5th century A. H.) Faridun rides a bull (Ibn-e Isfandiyar 1941: 57-8; Gardizi 1984: 524). In Nouruzname, Faridun is a personality who never use horses (Khayyam1951: 51). The same conclusion can be drawn from Aburayhan Biruni (4th century A. H.) and Ibn-e Balkhi (Biruni 1998: 346; Ibn-e Balkhi 1984: 12). Therefore, this visual pattern is closer to the texts which were written before Firdwosi.

Conclusion
One of the most important and extensive visual patterns on the material culture form the 6th to 8th centuries/ 11 to 13th century, is depiction of captured Zahhak who is being taken by Faridun to mount Damavand. Here this visual pattern is defined as “mace-wielding bull-rider” scene. Three persons (Faridun, Kaveh and Zahhak) are depicted in this scene and every one of them has his own iconographical attribute. The main question of this study was to understand the extent that these attributes were related to Firdowsi’s Shahname. Intimate study of these attribute and verses in Shahname, showed that some of the main motifs especially Faridun’s bull-riding is not mentioned in Shahname but is described in other, earlier, sources. Therefore, this visual pattern is not related to Shahname, and in fact, it is an independent interpretation of story of Faridun by artists from this period who were influenced by wide variety of Sources, both oral and written.
 

Abstract
Since during this era, Yazd involve less social vicissitudes and because of the training performance in the middle ages of Islam, the tradition of school building that started from the Seljuk dynasty in a quiet environment. Being away from security concerns and creating relative peace during the middle ages and the high acceptability of building a school has provided the emergence of its construction in the city of Yazd. Therefore, considering the numerous references to the schools of this era in Yazd historical texts and the absence of research on the architecture of the historical schools of this city, the article describes the building features of these ones. Answering this question is the purpose of this article: what are the features of school mentioned in the historical texts and what were components of spatialization and arrays of these schools? The research method of this article is based on historical documents and library studies. This is a historical-analytical research and its main reference is historical sources such as books of Ta’rikh-e Yazd (History of Yazd), Ta’rihk-e Jadid Yazd (New History of Yazd) and Ja’me’ Mofidi. Historical schools are explored in this article from the aspects of architecture, decoration, function and constructers. The results of this research show that schools in Yazd have local and indigenous features that were prevalent in this area, before Ilkhanate dynasty, and the influence of local architectural and decoration methods on the school building is undeniable according to historical sources. Schools have a lot in common with the architecture of mosques, houses and Khaneqahs (monasteries) considering that schools are usually used as a graveyard, these buildings can be classified as burial schools, and finally, various classes of people have played a major role in building these historical schools as founders.
Keywords: School Architecture, Muzaffarids, Timurid Era, Yazd.

Introduction
In the 77-year rule of Muzaffarids dynasty (718-785 A.H.), in addition to the proceedings taken in the field of city development and increasing the area of battlement, basic measures were done in the field of the construction of religious schools and Khaneqahs (monasteries), so that it can be said that this region reached the glory of cultural prosperity within itself (Shamseh, 2006, P.31). Muzaffarids rule, whose beginning coincided with the end of the Ilkhanate era, should be considered one of the most powerful, best and most prosperous governments in the middle history of Iran, because at that time nowhere in Iran had cultural, social and economic development as much as their territory, and the importance of cultural affairs and attention to science and schools was so much that most possession of the desert region, means water aqueducts and gardens were dedicated to school, and this was apart from the devoted Bazaars and Caravanserais. (Mohammadzadeh & Razavi, 2011, P.21). It has been mentioned in various sources that nearly one hundred schools, two hundred Gonbadkhaneh (domes) and Khaneqahs (monasteries) as well as twelve mosques were built in the 8th century A.H. in Yazd city (Masahebi Naini, 1997, P.302), from the abundance of schools that were built in Yazd, Kerman, Shiraz and other cities during this period, it is possible to understand the level of people’s attention and dedication to the study of religious sciences. (Setoodeh, 1967,P.274). Muzaffarids kings, as well as the great personalities of this era, paid special attention to religious buildings such as mosques, schools and Dar-al Siadeh {a porch that is a gathering place for Seyeds and followers of Imam Ali (peace be upon him)}. In fact, the movement that started during the era of Khajeh Rashid- al Din with the construction of building such as “Gonbad Soltaniyeh” and “Rabَ –e Rashidi” ,other schools and religious places and the tradition of endowment became common in them; then in this era, it grew and expanded significantly, so that whenever there is talk of building a mosque, an order was given to build a school next to it, and endowments were also awarded to (Rais- al Sadat, et al., 2011,P.96). The cultural and artistic actions of Muzaffarids rulers caused the growth and development of Islamic culture and civilization, which provided the basis for its connection with later periods, so that the Timurid and Safavid eras, which are considered the glory the growth and development of Islam can be attributed to Muzaffarids proceedings. (Sarabadani, 2010,P.102). 
Questions of Research: 1- What architecture and arrays do the Yazd schools have, referring to historical texts? 2- What developments and functions do schools have?
Method of Research: The current research has explained the architecture of the historical schools of Yazd from the Ilkhanid to the Timiurid era with an analytical historical approach. In this research, the necessary historical information has been collected, especially from local historical texts such as Ta’rikh-e Yazd (History of Yazd), Ta’rikh Jadid Yazd (New History of Yazd) and Ja’me’ Mofidi, because these texts refer to different schools that were used in that era, but today there are no traces of some of those schools. Discussions such as examining architectural spaces, decorations, performance, development and school constructer are the subjects of this research.

Conclusion
Construction of Muzaffarids and Timurid Schools in Yazd continues the school-building tradition that began in the Kakuyids dynasty. The speed of school-building in Yazd during the Muzaffarid era is very intense, but it moderates during the Timurid dynasty. The concern of school-building in this era includes different strata of society from the aristocratic and royal class to religious scholars and all of them involved in this noble tradition. These schools were mostly built for the burial place of their founder after their death, and in order to legitimize it, the tomb was dome-shaped. For this reason, the Gonbadkhaneh (dome) is an integral part of Yazd schools, and in some ones, they are satisfied with the construction of this morsel. Parts such as elongated Soffeh (terrace), the pair of minarets on the façade, Tanabi (a large room in the middle of the building, without a window or door, surrounded by other spaces), and dome usually with an array, the central courtyard, the Baghtche-e Moshajar (a garden planted with different trees) at the end of the building are considered parts of the school spaces of this era. Utilizing the native structure and decoration methods in “Gonbadkhaneh and Tanabi”, and local architectural mechanisms all give these schools a regional display. The schools of this era with local and indigenous basis have adopted some of their architectural and array features from the era of “Kakuyids and Atabakan”. According to the remaining schools and with the help of historical texts, a general model for schools can be presented (Scheme 1). Schools like mosques and houses of this era, have a similar pattern, although there are common spaces between these functions. The existence of the elongated and lofty porch, which is usually located on the south facade, a small and compact yard,”Gonbadkhaneh or Tanabi” next to or behind the south porch, three-part divisions similar to mosques in the view facing the yard, the presence of a rear garden behind the porch or Gonbadkhaneh like the houses or Khaneqahs, creating a linear structure in spatial organization and many other cases, all confirm this paradigmatic similarity. The tradition and pattern of building these schools were forgotten after the abundance of school building in the Timurid era. The studies and researches of this article can be extended to the Safavid to Qajar era as well, so that a detailed understanding of the architecture and school building method in Yazd throughout history can be obtained through it.

Abstract
According to historical and archaeological sources, the ancient city of Esfarayen was one of the important settlement centers of the Islamic era. During its existence and prosperity, this city was a link between the two famous and big cities of Nishapur and Jurjan, but from the end of the Safavid period onwards, due to various reasons, it declined and its inhabitants gradually moved to the new city. So far, parts of the ancient city of Esfarayen have been excavated by archaeologists during several different seasons. In the meantime, choosing a suitable place for archaeological excavations in this area has always been one of the most important issues for its explorers, because due to the limitation of financial resources and the large area of the area, it was necessary to determine suitable places for excavation in advance. so that its archaeological exploration can be done with more certainty. For this purpose, at the beginning of the third season of excavations, six hectares of the city were investigated with the help of magnetometric method. Then, based on the results of magnetometry, the excavations of this season were carried out. According to these explanations, the main goal of the current research is to present the results of magnetometry and compare it with the findings of the archaeological exploration of the ancient city of Esfarayen. In the current research, the descriptive-analytical method has been used using the results of field and library studies. As a result of these studies, many evidences of industrial activities were identified in the site, including architectural remains of a pottery kiln and many evidences of pottery production, which are important in the archaeological studies of the Islamic era.
Keywords: Magnetometry, The Ancient city of Esfarayen (Balqis), Esfarayen.

Introduction
The ancient city of Esfarayen, which today is known as the city of Belqis, is located in a vast plain, three kilometers southwest of Esfarayen, with an area of nearly 200 hectares. Currently, this city consists of different parts such as Arg, Sharistan, Rabz, Hesar and Khandaq. According to the documents obtained in the archaeological excavations, the city of Balqis had a settlement from the first centuries of the Islamic era to the beginning of the Qajar period (Vahdati and Nik-Govtar, 2016: 98). Due to the importance of this city in the past, several seasons of archaeological excavations have been carried out in it (Vahdati, 2016, Vahdati and Nik-Govtar, 2018 A and B, Farjami and Sotoudeh, 2019). But Balqis has a large area and the excavations that have been carried out so far do not even cover a small part of the city. For this reason, it was necessary to use remote sensing methods to identify at least a significant part of the city’s landscape and buried bodies. One of these methods, which is considered one of the branches of geophysics, is magnetometry. According to these cases, in 2009, and with the aim of identifying part of the layers buried under the soil and choosing better places for exploration, first a part of the area was surveyed for magnetometry (Aminpour, 2010). In this investigation, about six hectares of the area in a place called Tepe-Minar and also the northern part around the citadel in the southwest side of the city were surveyed by geomagnetism. By carrying out this investigation, results were obtained, based on which the third season of archaeological excavations of the site was carried out. According to the aforementioned, the main purpose of the current research is to investigate and analyze the results of the magnetometric survey of the area and the exploration that was carried out based on it. The most important question that we are trying to answer in this research is to determine the effect of the magnetometric method on choosing a better place for the purposeful exploration of the Balqis area. The method and approach of the current research is descriptive-analytical, and the method of gathering information is based on field studies from magnetometry and archeological excavations of the site, as well as library studies.

Discussion
A- The area known as Tepe Manar The results of magnetometry survey: This section included 36 grids of 10 x 10 meters. In some parts of this section, confused and jumbled magnetic anomalies were recorded, which probably indicate the transformation and destruction of its subsurface artifacts. But in other parts, the magnetic gradient anomaly map showed evidence of architectural structures and other buried ancient phenomena. Accordingly, in the part marked with the letter F, anomalies were revealed that could be related to heated masses such as brick structures or terracotta masses. The results of archaeological excavations: In order to measure the investigated parts of Tepe Manar with magnetometric method, three test boreholes were dug in the discussed area. In the first borehole, all the piles of clay and ash were encountered. In the second borehole, layers were identified, the surface and subsurface layers are sand, sand and soil, respectively, and there is a mixture of ash and soil in the lower layers. Inside the texture of soil and ash, a large amount of welding furnace and pottery was obtained. Borehole No. 3 also did not find any architectural works and only a pile of clay and ash was identified in a hole. B- The north-eastern area of the citadel the results of the magnetometric survey: In the magnetometric survey of this part of the city, several anomalies were identified. In this range, anomalies have been revealed in the form of light-colored extensions and in some cases perpendicular to each other, which can be related to the buried clay architectural structure. The results of archaeological excavations: In the scope of the second part of the geophysical survey, three boreholes and trenches were opened and explored. Borehole number one hit a pile of glazed pottery from the 6th century AH. It seemed that there was a pottery workshop around this place, because most of these pots were covered by the wastes from the pottery activity. For this purpose, a trench was excavated near borehole 1, measuring 6 x 6 meters. After removing the surface layer, a pile of pottery shards and pottery kiln debris was encountered, which were scattered on the surface of the trench at different depths. For this purpose, another borehole with dimensions of 2 x 2 meters was created at a distance in the southern part of trench 2, and after removing the surface layers at a depth of 30 cm, the remains of a pottery kiln were identified. The reason for the large amount of strong magnetic anomalies in this area is the presence of many pottery pits in this area, in addition to the pottery kiln. The date that can be determined based on the pottery obtained from this kiln is the second half of the 12th century A.D.

Conclusion
Today, in the world, magnetometry is widely used by archaeologists to identify architectural structures and buried structures. By using these methods, it is possible to examine and study many parts of an ancient site without destruction in a limited time. For this reason, in the archeology project of the old city of Esfarayen, the magnetometric method was also used during a period. Because not only the area was large, but also the limitation of resources prevented it from being able to explore a large part of it. About six hectares of the area were studied in the magnetometric survey of the area, which was carried out with the Fluxgate device. After investigating and preparing the related map, anomalies were observed in some parts of the map, which were probably related to industrial activities. Based on these anomalies, six boreholes and trenches were dug in two parts of the area to measure the results of the magnetometric survey. In almost all boreholes and trenches obtained from the excavation, evidences of industrial activities such as pottery production or pits of potter’s pits were identified. The existence of these convincing evidences is a clear proof of the magnetometric anomalies of the area. In a trench, very clear evidence of an Islamic era pottery kiln was found, around which there were several waste places. Considering these cases, it can be said that the results of the archaeological excavations of this site are a confirmation of its magnetometry project. If these studies continue and boreholes or trenches are created in other parts, we can gain more knowledge about the different spaces of the ancient city of Esfarayen.

Abstract
The art industry of locksmithing, like other metal arts in Iran. Is a kind of reflection of the customs. Beliefs and traditions of the people of this land. This art is in a delicate fusion of aesthetics with steel and iron, and finally leads to a thoughtful accompaniment of art and craft. Therefore, it can be understood that we are facing a valuable category that has various visual, formal and aesthetic capacities. The purpose of this research, while categorizing locks and features of form and role, recognizing different capabilities and functions, is to decipher the patterns and traditions and beliefs around them. The main research questions and raised about, this is where the designs of Safavid locks were adopted? What are the formal and conceptual characteristics of the designs used in the locks of the Safavid periods? And to what extent is it related to the doctrinal aspects of the Safavid period? This research is of a fundamental type and is descriptive and analytical in nature. The method of collecting information will be field and library based on description analysis and history.  In this study, an attempt has been made to show that in Safavid era, locking, in addition to the protective aspect (practical), had a ritual aspect and had a direct and close relationship with The Islamic tradition. The mental concepts of the craftsman artist also played a role in a making the locks. Which often contain symbolic information, besides being made based on culture and custo. 
Keywords: Looking, A Simbel and Semiotics, Safavid Period.

Introduction
The art of lockmaking, like other metal arts of Iran, is a kind of reflection of the customs, beliefs and traditions of the people of this land. This art is in a delicate blend of aesthetics with steel and iron and finally leads to a thoughtful companionship of art and industry. The first human locks were made of wood. The key that was discovered from the excavations of the “KhorsAbad” palace in Nineveh is the oldest part of the lockmaking profession obtained so far. This key is nearly four thousand years old and belongs to a wooden colony. According to the available evidence, Iranians have been familiar with locksmithing for a long time and are among the nations that have played a major role in the development and completion of this discipline, but there is little mention of it in Western sources. The lockmaking industry also continued to evolve during the Islamic era in Iran, and valuable examples were created both technically and aesthetically. The Safavid era is also considered a turning point in the history of Iran. At this time, the traditional artists of the Safavid community, especially the metalworking artists, also displayed the signs and symbols of the Shia religion and the national, mythological and Iranian identity in their works and created symbols with their national and religious identity. In the approach to the Iranian lock as an art, what is sometimes left out of consideration is the connection of the content of this art with the upper and mythical world and the use of symbolic elements in this field. Examining the relationship between the form of locks, mythology and semiotics and the use of symbols, in addition to defining the richness of the place of symbols and signs in different ages, also adds to the spiritual richness and external beauty of Iranian locks.

Research Method
The collection method in this research will be field and library based on description, analysis and history. In the library method, by using the written resources of the library, documents, the use of articles, the use of internet resources, dissertations, photography, after careful examination in terms of form, concept (symbol), content, classification and then examined  and we will study and research about them in the field method by referring to museums and taking photographs.

Discussion
In this research, the issue of lockmaking industry in the Safavid era was first discussed and it was shown that lockmaking in this period is a continuation of the previous tradition. During this period, locks were made both fixed and movable. In this period, the locks were made of metal, gold, silver and brass. IN the continuation of the research, the design of motifs in the third Islamic period and from the 10th to the 12th half of the Ah period was discussed. In the following all patterns of locks were examined and divided into three categories: 1- inscription patterns, 2- slimy patterns, 3- geometric patterns. In order to analyze the reason for this design on the locks, the symbology of the text of the inscriptions, geometric motifs (circle, rectangle, square, and triangle) and types of plant motifs were discussed. Which showed that in addition to the aesthetics of motifs, the content of motifs is also very important. 

Conclusion
The form of the locks shows a series of certain beliefs and beliefs, for example magic lock (rammal locks) are included in the category of fortune-telling locks. Locks also have ritual uses and are used as vows and to fulfill needs, or as a means against unfortunate events. Various designs of locks are designed according to the prevailing culture, social and economic conditions, internal mechanism and locksmith equipment so that the consumer has more connection and motivation to use it. Due to the reasonable price of steel, its high resistance and also its availability, most of the locks that have been used and produced more in the regions of Iran are of this type. On the other hand, the political and social conditions prevailing in a region could affect the form and mechanism used in locks. During the Safavid era, the lock had a protective (practical) aspect and mostly a ritual aspect and had a direct and close relationship with the Islamic tradition. During the Safavid era, different forms of locks were made based on culture and customs, and special artists and craftsmen started the profession and art of lockmaking. In the investigations, it was found that steel locks have less decorations than other brass and bronze locks, and due to the movement and transfer of locks, which is a natural thing, the place of manufacture has not been mentioned, which is considered a problem. Some locks are functional and some are symbolic. In addition to the fact that the locks are made based on culture and customs, the artisan’s mentality and interiority also played a role in making the lock, and often the motifs contain symbolic and symbolic information. It has been observed that sometimes the symbols used are very similar, and most of them do not have any signification with the subject in terms of appearance, and its true meaning cannot be understood from their appearance.