Abstract
he results of experiments on the materials of this building revealed that most of the material was composed of very small amounts of rock, lime, sand and gypsum, the brick baking temperature is below 800 c and some gypsum is used inside the bricks. The bricks used in Semnan game Mosque are different in terms of construction and baking technology in many parts of the building we are witnessing the wear and tear of the brick layers, that have been imbalanced either in terms of increased vulnerability or aesthetically impaired. Some of the 200- meter- high bricks on the side of the city entrance were used by Russian occupation forces to build a swimming pool in the midst of world war II. With the current state of the building, we needed to put them in our context for a complete understanding of the data and to achieve a reasonable result by adapting to the context. All the data in this building were partial and incomplete parts that we had to put together in order to build a unit, understanding them will help us achieve the best possible results. The lack of historical documents about the building, the construction in the words of the local people    about the building and the belief that the Mosque was destroyed in the flood of 1346 AH, (some past floods have been blamed for the devastation). While there were no traces of belongings except this porch and the two hogreh, and the lack of architectural work around the building reinforced this hypothesis, from the beginning there was no trace of the building or residential area that was destroyed and before that, gardens and farmlands surrounded the building needless to say, small finds were scattered around the building in a small area and as we move away from this set, the number of findings is also greatly diminished.
Keywords: Safavid Era, Gate, Jomeh Mosque, Zavaghan.

Introduction
Many efforts have been made to introduce and identify Irans multi- thousand- year- old architecture many researchers have in recent decades erased dust from the face of historical monuments and reappeared them, in the meantime, a number of buildings remain unknown and even a number of them that have been in traduced are in doubt, also keep in mind that some popular buildings have different uses. The building dedicated to the mosque of Zavaghan in similar to this, this building is in the middle of the narrow gardens of Zavaghan region and when we reach it we face the high door, inside this alley, the gardens look unexpected. Because it is not visible around the building except for garden and fields and some water engine, of this building, only the entrance and the two surrounding Hojreh are left, and only a few remnants have suffered natural and human damage in the past decade. The people of Zavaghan call Zavaghan Jame Mosque and they believe that Imam Reza door prayed in the mosque while heading to Marv, but besides the above the mentioned there is no other work to deter mine the use of this mansion. According to archaeological findings and data, what period does this building belong to? What is the use of this building based on the appearance and evidence found? 
The main purpose of the authors was to describe this particular monument in general, archaeological findings conclude that it probably belongs to the Timurid period, which was abandoned in the late Safavid period. The building belonging to the Zavaghan Jame Mosque is located in the north of Zavaghan and Imam Hossein street and among the green gardens on the western edge of Semnan, Zavaghan region is one of the old areas of Semnan and it is common that in Zavaghan area some of the innocents are buried that the burial of some of them is unclear. 
No traces of inscriptions were found around the building, which heightens our suspicions that the mosque was not. The surrounding land is all agricultural and horticultural, and there is no new about the old texture of the Zavaghan Alleyways of gardens and water ways pass all around the texture.

Findings Gone Bacheh
This type of pottery is found in this area with delicate, white and porous paste that is usually clean and free of additives. Green glaze and dark green, brown and black paint under the transparent glaze adorn the dishes. Containers are small and medium sized bowls and bowls with a short concave base. The motifs include the role of geometrical and plant motifs and are difficult to identify because of the small number of other diagnostic parts. The oldest of these pottery is attributed to the late 9 th century and is known as Mashhad, Neyshabur, Ray, Varamin and Alamut Castle.
Blue and white type: This kind of clay is cooked with every delicate and pure white paste without good additives made with solid, firm paste, the thin wall and translucent white glaze make it easily distinguishable from other types.
Blue and white ornamented pottery was produced in the early centuries of Islamic urbanization in major Islamic urban centers and probably the earliest method of making this type of pottery started in China in the eighth century B.C.E, but the type found in this area was later. The earliest date of its construction in Neyshabur goes back to 6 AH. This type of pottery was manufactured in several production centers in Iran until the year 6 AH. Because of their fracture potteries are not detectable by the finer parts of the dishes, but only by the shape of bowl.

Conclusion
Conclusions about the building are now early and more studies are needed on the building. Undoubtedly extensive archaeological research and finding authentic historical documents can open many unknown angles. However, due to the impact of environmental and climatic factors and human intervention many of the impacts have been lost perhaps having a tall verandah will create the remains of a mosque, but merely placing it in the alley of the garden and not having the inscription will cast another vote.

Abstract
Muhammad Zaman, painter of the Safavid era, in some of his paintings has copied the western (“Farangi”) works. He has also used some of the techniques of the Western Modern age painting in some of his original works, having a traditional theme. Among these techniques, perspective has a great significance. In his copied works, Muhammad Zaman has used the perspective correctly, but in his original works, sometimes the perspective has been done correctly and sometimes incorrectly and unaligned. Until now, some commentators have argued that the use of perspective by Muhammad Zaman was due to a kind of incompetency and lack of academic education. In this article, in contrast to this view, it is argued that the point about Muhammad Zaman’s correct/incorrect use of perspective has been underestimated and therefore, there is a need to reinterpret what has hitherto been considered as a simple inaccuracy. In his original works, Muhammad Zaman, has arisen a question about the relation between traditional Persian miniatures and Western painting. Hence, in this paper, by examining some of the original works of Muhammad Zaman, this question is discussed and it is claimed that in the absence of theoretical discussions concerning the relation between the old and the new elements in painting, the inevitable result was the domination of Western perspective on Iranian painting. In other words, the works of Muhammad Zaman can be considered as a vehicle for “thinking”. Imaginary atmosphere of Persian painting and the Western perspective are mutually exclusive, and Muhammad Zaman transformed this incompatibility to the image as a “question”.
Keywords: Muhammad Zaman, Perspective, Painting of Safavid.

Introduction
The title of my Ph.D. thesis was “The problem of basis in theoretical Iranian art studies”. While writing the thesis, I encountered issues that needed further study. Perspective was one of those issues. Formerly, I had read important works such as Panofsky’s Perspective as Symbolic Form and Belting’s Florence and Baghdad: Renaissance Art and Arab Science, but it seemed to me that the Perspective issue in Iran had certain conditions that had to be examined in the greater context of the nature of art in Iran. It is not possible to describe that framework in detail here, but I would point out that at the time of the emergence of perspective in Iranian painting, there was not even a word for “Fine Arts” in Iran. Of course, in Europe at that time such a term had not yet been formed as well, but the situation in Iran was different. So, there was no theoretical understanding of the arts at that time and there was also no treatise on perspective. The issue of perspective was important because, unlike other western techniques, the structure of Iranian painting and western perspective were mutually exclusive. Muhammad Zaman was among the first painters to use perspective, but as I will explain, this use was problematic. In this article, I will try to show how his works can be considered as a vehicle for this problem.   

Muhammad Zaman and the Problem of Perspective
In some of his paintings, Muhammad Zaman has copied the western paintings. In Persian, it calls “Farangi-sazi” (This terms means making paintings by imitating western themes or techniques). In these paintings perspective has been used almost correctly and shows that he was briefly acquainted with this technique. But he also has “original works” which are more important to my discussion. In the latter works, sometimes the perspective has been done correctly and sometimes incorrectly and unaligned. Although these “original works” have a Persian theme, their form is a combination of western and Persian principles.  Contrary to the supposition of a group of researchers, some other scholars have proven that Muhammad Zaman has never traveled to Italy and India. In this article, this issue is not discussed and, instead, his remaining works are addressed. So, in this article, five “original” paintings of Muhammad Zaman are examined: “A meeting between Afrasiab and Garsivaz”, “Fitna and Bahram Gur”, “Simurgh appearing at the birth of Rustam”, “Bestowal of a ring”, and Finally “Head of Iraj presented to Salm and Tur”. I will first show that in them the structure of Iranian painting is combined with the wrong and correct perspectives. There are two hypotheses about the combination of incorrect and correct perspectives of these works: First, Muhammad Zaman did not have a proper understanding of the western linear perspective, which indicates that he had not traveled to Italy and he did not have academic education in painting. The other hypothesis is that he, consciously or unconsciously, realized the contradiction between the Imaginary atmosphere of Persian painting and the Western perspective, and therefore transformed this contradiction to the image as a “question”. In this paper, taking into account some considerations, the second hypothesis is defended. In the final section, two issues are considered: Before Muhammad Zaman and after him. Before him, Behzad, Reza Abbasi and their followers had provided a groundwork for the encounter between Western and Iranian paintings. But perspective was never a problem for them. It was Muhammad Zaman who, using perspectives in his original works, dared and crossed the boundaries of tradition (“Sunnah”). However, he could not find a clear answer. After him, this question was neglected and considered as a style in Iranian painting, the so-called “Farangi-sazi”. His question, however, had the potential to be viewed as a question of painting style, as well as the question about the larger context of our relation with the West.

Conclusion
Iran has inevitably encountered West since the Safavid era, and its arts were no exception. In that time, Muhammad Zaman made new experiences in painting, of which perspective was the most problematic one. His style continued until the Qajar period among some painters. According to some scholars, Kamal-ol-Molk eventually corrected them. But did they make a mistake? Can art be said to be true and false? No! I finally conclude that Muhammad Zaman’s “gaze” was lost, and today we can regard his work as a “visual question” that helps us understand the nature of Iranian art in the modern era.

Abstract
Arrows and arches are among the weapons of the Safavid period that, in addition to battlefields, have a special place in courtier and hunting ceremonies .Therefore, it is undeniably important to identify the arches of this period. A small number of remained arches and the scarcity of relevant resources have made them difficult to study, but to study Safavid arches, one of the most important documents of this period namely Miniatures ,can be used; Because Safavid period Miniatures  were portrayed in a very realistic way in addition to aesthetic values. As a result of the war, various sites, including the arch, can be followed well. In addition to the introduction; classifying all kinds of bows and related tools, such as bow case and quiver, as one of the oldest and most important tools in the Safavid period is one of the main goals of this study. What are the types of answers to questions such as the arch and related tools in this course? What is the connection between their appearance and their function? And what decorative designs have been applied to the bows of this period? In this research, which has been done by the descriptive-analytical method and by collecting data as a library, comparison, analysis, and classification of arches are performed through 70 figures and the effect was drawn from the beginning to the end of the Safavid period. The results showed that at least four types of arches and six different types of quivers were used in different Safavid periods. Among them are the arches that were sunk in the center and had corners to the outside; more widely used and simple arches have been less useful. Among the types of motifs engraved on arches, commonly written inscriptions have played the most important role on the surface of arches, mostly in order to stimulate morale and the use of divine forces to defeat the enemy. Also, the role of bow or instrument related to it, such as archery ring, shows the importance of these objects in showing the authority of the Iranian court in foreign relations and its position as the official array of court men of this period.
Keywords: Bow, Bow Case, Quiver, Safavid Period, Safavid Miniatures.

Introduction
The bow and arrow was considered as one of the royal weapons in the Safavid period. Due to the nature of the bow, few examples of this weapon remain, making it difficult to study bows and other related devices. In this study, in addition to emphasizing the position of the mentioned war tool in the army and Safavid society, the bows attributed to this period were studied and classified, and the information was obtained through a review of historical sources and related travelogues; Moreover, a comparative study was conducted between 20 paintings and 3 index murals with the role of bows and related tools in the Safavid era, which were selected from 70 collected samples. 
The purpose of this study was to introduce and classify different types of bows and related devices and to answer the questions: What types and patterns of use the bows and related devices in this period had? And what decorative motifs were used on the arrows of this period?
Research method: The information required for the research has been collected in the form of documents-library research and the data have been studied in a descriptive-analytical and comparative manner. The bow was one of the weapons with the string in the Safavid period. This toolkit has been used in wars and chases. The bow had a special place in the court structure of the Safavid period what we will examine in the following.

Safavid Period Bows
 The bow had a special place in the military structure of the Safavids, and like the sword, it was one of the basic weapons. Carrying this weapon has also been an honor for the upper classes of society, and it has been part of the rituals in the homes of people from different regions. 
Until the reign of Shah Abbas the Great, the weapons of the Ghezelbash were mostly bows and arrows. He made changes to the organization of the army to improve it, and one of the consequences was that the importance of using bows on battlefields diminished. 
Bow and related devices: To use this weapon in addition to a bow, one needed arrows and supplies such as archers or shrapnel and the box.
Types of bows: Examining the drawings and comparing the shapes of the bows showed the image of the four types of arches in this period.
Bow decorations: Most bows were gilded with bright colors. Sometimes the bow was covered with Saghari leather. These measures also protected it from the effects of weather and heat.
The bow case: Due to the negative effect of moisture on wood, bows were kept in special containers called “the bow case”.
Quiver: Among the paintings of this period, six types of arrows can be seen.
Tailpiece: One of the most important and common tools related to the bow is the tailpiece ring also known as the tailpiece. This group of rings has become common since the 9th century AH.

Conclusion
Although there are few surviving examples of bows and related tools in the Safavid period, the study of historical texts and documents and drawings, answers many questions about this warfare. The importance of the role of paintings and drawings of this period in responding to the types of bows and related tools is clearly visible. Studies on the works of this period found that the classification of bows into two types of hunting and war is incorrect about Safavid bows.
Regarding the appearance of the bow and its related instruments, the studies performed showed four different types of bows and six different shooting patterns. Variety in the shape of bows raises the question of whether there was a connection between their appearance and their function. In response, it should be said that the different shapes of the bow were by no means the reason for its different uses, and the comparison of the bows depicted in the scenes of war, hunting, and court showed no distinction between the bows.
In the decoration of the bows, the colored colors and the painted Saghari leather had a special place and in this way, they were protected from the effects of weather and heat. As mentioned earlier; the handles and corners of the bow of “Shah Ismail I” were gilded with plant elements and two inscriptions were written on the surface of the bow, mentioning the date of construction and the name of the builder and religious verses and phrases. This is true of the decorations of the arrow box and fragments, and with more emphasis on the tailpiece rings, so that their presence, even in non-combat images, indicates their existence as part of the official accessories of the Safavid court men.

Abstract
The Imamzadeh of Shahzadeh Abd al-Momen is located in Habibabad, 18 km northeast of Isfahan. This unknown tomb deserves attention because of its construction period, architectural features, and decorative arts. Decorative arrays, especially wall paintings, are of special importance, according to the time period, the existence of inscription, themes, the method of drawing, and the creators of art. In this article, considering chronology, plan and structure of the building, the decorations are presented, and as much as possible, content, and aesthetic analysis are discussed. The present study benefits from a descriptive-analytical method and a comparative approach, in addition to the field interpretations of the building. As the results of this study show, the Imamzadeh building was probably built during the Ilkhanid period. During the reign of Shah Abbas II Safavid and Nasser al-Din Shah Qajar, repairs, constructions, and decorations were conducted in it. The main activities carried out in the Safavid and Qajar periods were the creation of decorations such as murals, moqarnas, and karbandi, among which the murals are significant. These designs are based on oil painting, and watercolor techniques and consist of a variety of geometric knots, Coffee-house (Qahvehkhaneh) motifs, flowers and brids, bush and flowers, and the Western views. The themes of the motifs and inscriptions of the building have been directly related to Shiite thought and the symbolic concept of the exaltation of the deceased soul.
Keywords: Ilkhanid, Safavid, Qajar, Tomb of Abd al-Momen, Wall Paintings.

Introduction
Architecture is one of the important features of art and civilization, which human groups has always been a great effort in the development of various aspects of that. Among the architectural subdivisions, tomb architecture has a special place and includes a special and significant part of the architectural remains of the past periods. Meanwhile, the tombs of the great men of religion and politics, especially the tombs of the Imams and their descendants, are of great importance in the Islamic architecture of Iran and the growth and expansion of decorative arts, architecture, applied arts, urban spaces. Similarly, in the origin of some towns and villages, have been important and influential factors. However, some of these monuments, which have mostly appeared in the building of Imamzadegan, are still unknown, and the need to identify and study. The Imamzadeh of Shahzadeh Abd al-Momen is one of such buildings that, despite the existence of various decorative arrays, the type, and the artistic value of them, has been neglected. Hence, this research introduces the building and studies the architectural forms and the evolution of architectural decorations. In addition, there is not any proper chronology for this building, as a consequence of the original building destruction, numerous repairs and constructions of especially the contemporary period. To properly understand the context of the studied decorations, chronology, and the evolution of the architecture of the building has been taken into consideration.
Abd al-Momen’s tomb consists of a courtyard, a mausoleum room with surrounding rooms and porches, a columned nave, and three openings on the north and northwest fronts of the courtyard. The courtyard has been used as a cemetery from ancient times to the present day, and there have been crypts as the house dead bodies. The decoration of the building in the outer part of the dome includes tiles, which have been done in recent years, but as mentioned, the outer covering of the dome had been decorated with tiles at the same time as the construction period. Another decoration of the outer space of the building, which was described earlier, is the muqarnas of the upper part of the western entrance of the dome. Interior decorations include murals and carbandi. Painting decorations according to the inscription belong to the Safavid and Qajar periods. Safavid motifs include knotted motifs under the dome, which contain various names of God, some verses and hadiths. According to the inscription, these motifs are related to the time of Shah Abbas II Safavid. Qajar murals are more diverse. These motifs include motifs of flowers and plants, flowers and birds, Hazrat Ali and Hasnain, and noon of Ashura and belong to the period of Nasser al-Din Shah Qajar. The artist of these designs was Seyed Hossein Emami, one of the famous painters of Isfahan. 

Conclusion
 Considering the plan of the dome chamber of the building and its adaptation to the examples of the Ilkhanid period, it is possible that the building of Abd al-Momen was one of the constructions of the Ilkhanid period. As usual in many holy shrines and shrines, during the Safavid period (Shah Abbas II) and Qajar (Nasser al-Din Shah) repairs, construction and decorations were done in the building. Due to the destruction, the lack of archeological excavation, and the impossibility of peeling the walls of the dome chamber, accurate diagnosis of how the physical changes and how the components of the building in different periods, especially the shape of the dome chamber of the Ilkhanid period, is not possible. However, as it turned out, the dome chamber was one of the Ilkhani components of the building, and in the Safavid and Qajar periods, due to the special religious requirements of these two periods, other spaces of the complex have been added to it. The existing decorations belong to the Safavid and Qajar periods, and among them, murals constitute the main decorations of the building. Considering the concept and content, the use of these motifs, along with the decorative inscriptions of the building, has been directly related to Shiite thoughts like the depiction of heaven, and the symbolic concept of the exaltation of the deceased soul. In the meantime, the motifs depicting the event of Ashura along with Imam Ali’s tales, which was one of the most effective ways to transfer religious beliefs to the public, as one of the topics of interest to Qajar painters. These widely used motifs in the decoration of holy shrines and Imamzadegan of the Qajar period have a special effect in comparison with other existing examples of Iranian tombs, especially the examples in the tombs of Gilan which has the highest quantity. In one hand, the high artistic quality, the existence of the painter’s signature, the existence of the inscription, and subsequently being considered as the oldest example with the inscription of this type of motif in the tombs of Iran, shows the artistic importance of the motifs related to the Ashura of Abd al-Momen’s tomb, and on the other hand, it shows the influential role of Isfahan Qajar painters in the growth and expansion of such motifs.
 

Abstract
Vaqf (endowment) is one of the admirable Islamic traditions which have made the Muslims construct the buildings and different complexes based upon religious advises and also fair-minded of devotees such as kings and their relatives, ministers, politician, princes, merchants, and the other fair-minded people during the Islamic period. Most of these buildings still survived and lasted up to now. The nature of the devotion and its existence reasons not also was the cause of public utility constructions but also has guaranteed the preservation of those buildings and their urban zones. The Safavid period was one of the flourishing periods in terms of public utility constructions in the frame of devotion. This study aims to introduce the Aligholi complex and the influence of devoting traditions and its consequences on how it lasted from the construction till now. The base of this study is around educing devoting deed information of Aligholi Agha complex and benefitting from its contents and comparing the stated cases to the existing position and showing this point that how a building or complex-forming under the support of devoting system, and how devotee could guarantee the survival and durability of the complex after the construction.To influence the preservation of religious buildings and to regulate the urban zone around them, in this article we have studied the historical complex of Ali Qoli-Agha, which is an architectural masterpiece of Safavid era public buildings in Isfahan and formed within the framework of the endowment. In addition to regulating and forming the urban zone around it, this complex has also been the cause of its preservation and survival in the following periods. The Aligholi Agha historical complex is an architectural masterpiece of public utility in the Safavid period in Isfahan. This valuable historical complex has been built in the late Safavid period by the order and economical support of Aligholi Agha, who was one of the eunuchs in Shah Sultan Hussein Safavid’s court and then devoted to charity affairs. This historical complex included a mosque, bath, Bazar, Sagha Khane, Timche, Caravanserai, school, and Zoorkhane, which the three late places have ruined during the time.
Keywords: Vaqf (endowment), Formulation, Urban Context, Safavid Architecture, Aliqli Agha Bath.

Introduction
One of the objectives of this study is the effect of the endowment tradition and its consequences on the formation of public buildings and the durability and survival of such complexes from the time of construction to the present, with a case study of the Aligholi Agha complex as one of the complexes established in the Safavid period in the city of Isfahan. In this study, we seek to answer issues such as how the endowment affects the formation of the Aliqoli-Agha complex and its role in shaping the urban zone around us, and the preservation and survival of this complex from the time of construction onwards. The basis of this research is around extracting the contents of the endowment deed of Alighali Agha complex and benefiting from its contents and matching the items mentioned in it with the current situation and stating how a building or complex is formed under the endowment support and after construction, the endowment tradition and how the Vaqif (the person who endows) conditions could have ensured its permanence and survival.
With the development and flourishing of the architecture of the Islamic period in the Safavid era, the construction of religious and public buildings such as mosques, schools, baths, caravanserais, bridges, in the form of a complex in the city appear. During this period, the practice of constructing public benefit complexes with the financial support of kings and other philanthropists and benevolent of that period and the interest in this type of architecture under the influence of Vaqf spread. In addition to the influence of Vaqf as a factor influenced by religion, other factors including political, cultural, and economic factors have also played a role in their creation. The collections are formed together with the construction of a mosque, bazaar, bath, caravanserai, and school, such as the beautiful complex of Dar Dasht (Shah Abbas I period, 1660 BC). The complex of Vazir (Shah Abbas I period), Saroutaghi complex (Shah Abbas II period, 1673BC) in Isfahan were among them and the complex under our research, namely the Aligholi-Agha complex, is one of the most significant of these complexes, which will be built at the end of this period with the creation of the original core of the complex, namely the neighborhood mosque, in 1744 BC, respectively, Caravanserai, School and Zurkhaneh have been added to it, the last three of which have been destroyed during the last three decades.
One of the valid and important endowments of the Safavid period is the endowment deed complex named after him: school, mosque, bazaar, two baths, and other personal property such as mills, agricultural lands, qanats, and gardens. One of the things that give credence to this endowment is the signs and seals of several high-ranking persons, scholars, and prominent personalities of this period in different parts of this endowment deed. 

Conclusion
Accordingly, the Aligholi Agha complex in Bidabad quarter of Isfahan in the form of a quarter center with maximum preservation of the original complex as an urban space that with its physical elements has influenced the formation and regulation of the surrounding texture has been studied as a case study. This research is of historical-analytical type and has been done by library study method by reviewing the relevant materials and also referring to first-hand sources such as endowment letters from the collection as well as reviewing and surveying the historical context and its existing buildings. The questions that are followed in this research are: 1- How has the tradition of waqf and the conditions governing it influenced the formation of the Aliqoli Agha complex and the formation of the texture around it? 2- What has been the role of waqf in preserving and surviving the Aliqli-Agha complex since its construction?
Considering the importance of Aliqoli Agha endowment complex in Bid Abad historic quarter of Isfahan, which is a clear example to show the role of endowment in the formation of this complex and its impact on the formation of the surrounding urban fabric, as well as durability and survival from the construction period to the present according to tradition. The preferred endowment is selected as a case study in the framework of this research. In this regard, the valuable endowment document of Aliqoli-Agha collection has also been studied and its important and key points include quality of endow the collection by Aliqoli Agha, the location of the collection in the neighborhood, endowment places and competitions dedicated to endowments, appointing a trustee, custodian, and supervisor, how to maintain and protect the collection, the names of people present at the meeting and their seals and signs at the end of the endowment and some important points This document has been analyzed in line with the objectives of the research.

Abstract
During the Safavid period, the Shiite denomination spread in the Dekan peninsula and some sultans of the region having some common religious beliefs established good political relations with the Safavid government. The migration of Iranian shiits to one of the eighth century AH had significantly increased and reached its peak in the tenth and eleventh centuries. One of the emigrants who played a decisive role in strengthening the political relation between Nezam Shahian dynasty and the Safavid government was Shah Tahir. This paper aims to study the role of Shah Tahir, the factor in that ralationship and its impact on both governments. The authors applying a descriptive- analytical method try to explain the role of Shah Tahir in propagation of Shiism and consolidation of relations between the two countries. Data was collected through a research and library method. Although Nezam Shahian unlike Adel Shahian and Qutb Shahian had initially no connection with Iran and the Safavid dynasty, in fact they weren’t among those who had migrated to southern India, Shah Tahir’s migration led to the establishment and development of political, cultural relations with the Safavids. However the Nezsm Shahian lagged significantly behind the other Shiite governments in southern India, converting to Shiism, its attitude to Shiism was closer to that of the Safavid to it. And this led to a special connection between the Safavid government during Shah Tahmasb’s reign and Nezam Shahian dynasty. So we can say that the factor of religion played a key role strengthening the relation between the Safavid and Nezsm Shahian and the person who caused such a religious closeness was the Iranian bureaucrat, ShahTahir. In fact the migration of the Iranian bureaucrats to the southern India led to the spread of Shiism in that region and Shah Tahir influencing the king of Nezam Shahian caused the Shiite to become official in the region. That was the beginning of a Safavid-Nezam Shahian solid relation. 
Keywords: Shiite, Shah Tahir, Safavid, Nezam Shahian, Dekan Peninsula.

Introduction
The purpose of this study is to investigate the role of Shah Taher as an Iranian bureaucrat who, by migrating to Deccan during the reign of the Shah, has caused the spread of Shiism in this region and the political relationship between the two governments.
The important question raised in this study is what role did the Iranian bureaucrats, including Shah Taher, play in strengthening the relations between the Shahs and the Safavid government? It seems that the similarity of religion was the most important reason for the closeness and strengthening of political relations between the Shahs and the Safavid government. Among them were Iranian bureaucrats who led the Shiites to accept the Shiite religion, and Iranian bureaucrats, including Shah Taher, who operated in the royal court, promoted Shiism among the Shahs and the Safavids, strengthening the religious unity of the Shahs and the Safavids and strengthening their political, economic and cultural relations.
The present research is descriptive-analytical and its data collection method is library.
Cultural and civilizational relations between Iran and India have a long history. Among them, Iranian bureaucrats have played an indispensable role in deepening these relations and relations, especially in the Deccan region. The Iranian bureaucrats, who were themselves great scholars and had the Shiite religion, by infiltrating the court of various sultans, tried to attract their attention in order to gain the material and spiritual support of these rulers, and by inviting Shiite scholars and elders from Iran to Deccan and on behalf of Other appropriate mechanisms in the Deccan have promoted their Shiite ideas. Among these people are Mir Fazlullah Injui, Khajeh Mahmoud Gavan, Shah Nawaz Khan Shirazi, Afzal Khan Shirazi, Shah Taher, Mir Mohammad Mo’men Astarabadi, Ibn Khatun are among the great Shiite scholars and politicians who migrated to Deccan from Iran during the various governments of Deccan. They entered the system of government and progressed rapidly. They played a very important role in establishing governments and suppressing the uprisings and oppositions of that time, and by inviting Shiites, giving them positions, building mosques and schools, they played a very important role in the cultural and political developments of Deccan, especially deepening and spreading beliefs. They had Shiites. Among them, Shah Taher was an Iranian bureaucrat who played a key role in the tendency of the Shahs to Shiism as well as the strengthening of relations between the Shahs and the Safavids.

Discussion
The Shahs were a dynasty of Deccan kings who ruled in Ahmadnagar province from 895 AH to about 1042 AH. The founder of this dynasty was named Ahmad Shah, whose father held the position of minister in the court of Bahmani sultans. Ahmad Shah was also called Nizam al-Muk Bahri and it was because of this Nizam al-Mulk that this dynasty was called Nizam al-Shahi. After the death of Queen Ahmad Nizam Shah Bahri in 914 AH, his son Borhan became king. He was a lover of science and scholars. Many scholars depended on him. He had a special interest in Iranian scientists. During his reign in 928 AH, Taher Ibn Razi Hamedani, known as “Shah Taher Hosseini”, entered Ahmadnagar from Iran and created a map in the religious and political environment of the court. He influenced the argument with his knowledge and grace. Burhan Nizam Shah chose him as his minister and Shah Tahir settled that land and tried to serve Burhan and caused that in 962 AH, Burhan Nizam Shah turned to Shiism and introduced it as the official religion.
Shah Tahir, who was initially a supporter of Shah Ismail Safavid in Iran, opposed him and was about to be killed. He secretly went to India and lived in the court of a very honorable royal system. He trained many scholars in various Islamic subjects and his field of study was one of the largest in India. Burhan Nizam Shah Ahmad Nangari, the second ruler of the Nizam Shah dynasty in Ahmad Nangar, under the influence of Shah Tahir, converted to Shiism with his relatives and rulers and made it the official religion of his country.

Conclusion
About 3,000 people converted to Shiism in imitation of the Shah. The Sunni people and the great Sunni scholars reacted strongly to this move, they even besieged the royal palace, but to no avail. Following the change of the official religion of Ahmadinejad’s monarchy, there were changes in relations with foreign countries and conflicts with neighboring countries, but good relations were established with the Iranian government. Shah Ismail Safavid showed interest in friendship with Borhan and sent his ambassador to Ahmadnagar. Until the time of Shah Tahmasb, good relations between the Shahs and the Safavids continued.

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.
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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 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.

Abstract
Bulbous domes are among discontinuous double-shell domes and were built in Iran in the early nineth century A.H. Previous domes were shaped pointed and there was no bulge coming out beyond their base diameters. But in the Timurid period, dome profile was changed so that it began a return below the base of the arch, producing thereby a slight bulge. The main question is that what are the reasons for the changes in the appearance and structural elements between two shells after the initial formation of these domes in Central Asia and then their evolution in Iran. This research is written with the aim of finding the hidden aspects in the development of bulbous domes based on both historical documents, and architectural remains, and also examines the reasons of the changes created in these kinds of domes during four centuries in the context of cultural Iran. This study has a descriptive-analytical approach for exploring case studies, which are selected based on primary and secondary sources and also field research. The appearance changes of bulbous domes include removing flutes from the outer shell, adjusting the height of the drum and creating more bulge at the place where the outer shell joins the drum. In this article, the structural changes to improve the strength of the domes, the change in the number and proportions of the stiffeners to prevent the damage of the dome, as well as the shape and arrangement of the wooden struts to increase domes flexibility against seismic shocks, have been examined.
Keywords: Bulbous dome, narrow ribs, stiffeners, wooden struts, Timurid-Safavid architecture.

Introduction
Since the most obvious feature of Timurid architecture is its splendor, the architects of this period paid special attention to the dome than other architectural elements. In this era, domes were raised on high drums, and in order to achieve desired height on the exterior, architects usually built another shell on the top of the internal one. In such a way the dome profile is changed, so that it began a return below the base of the arch, producing thereby a slight bulge. Therefore, the bulbous dome is one of the innovations of the Central Asian architects during the Timurid period. The first cases of the bulbous domes in Central Asia have flutes on the outer shell; in addition, they have an oval-shaped structure. Construction of this domes continued with a few changes during the reign of Timur’s successors in Great Khorasan and within the current borders of Iran. To put it more clearly, after the Timurid period and during the rule of Safavids in Iran, construction of these domes continued with few changes. This study is dedicated to the analysis of the process of changes and also reasons for these changes in the appearance and structural elements of the bulbous domes according to the case studied in Central Asia and Iran during the Timurid and Safavid eras. The main question is, what changes have occurred in the appearance as well as structural elements, and as a result, the stability of these domes in the Timurid and Safavid periods in Central Asia and Iran, and what were the reasons for them.
Theoretical method of this research is based on the cultural history approach. Therefore, each case is viewed as a culture. Concerning this, three domes were selected from different regions of Central Asia (Turkestan, Samarkand, and Herat) and seven cases from Iran (Khorasan and Isfahan). Three main criteria for selecting the case studies can be listed: 1. Geographical and historical context; 2. Similarities of the cases during the Timurid period in Central Asia and the Safavid period in Iran, and; 3. Authenticity of the domes.  

Discussion
All the studied domes in Central Asia have a lofty cylindrical drum. The height of the drums was adjusted in Iran during the Timurid era, in Khorasan and also in the central regions of Iran. It is worth to mention that, construction of high drums in Central Asia, during the reign of Timur, and in Iran, during the reign of Shah Abbas I, can be seen as an expression of the visual effects of architecture as a manifestation of the power and reflection of the perfectionist personality of those Kings. 
The most important exterior characteristic of the studied domes is in the external shell (Avgon), where the drum and the external shell connected to each other. Therefore, in the bulbous domes, part of the weight load of the outer shell at the junction of the dome and drum is directed inward and less pressure is applied to the base of the monument.
Flutes move from their common place at the top of the external shell to the bottom, and transfer forces and lateral loads to the inside, and enhance the resistance of the dome against the thrust forces.
In Central Asia’s domes, we couldn’t find narrow ribs on the surface of internal shell. This is despite the fact that in most of the studied cases from the Safavid period, narrow ribs were used to transfer the weight of the stiffeners to the lower parts and base of the monument. It seems that, utilize of the narrow ribs in the Safavid domes was the invention of the Iranian elite architects to give cohesion to the double-shell domes, especially bulbous ones.
From the earliest bulbous domes, we can see stiffeners between two shells. These elements have different shapes. Establishing stiffeners, especially in the Avgon part, greatly reduce the destruction of the dome during earthquakes and shows the architects’ awareness of stiffener’s structural role and function.
The wooden struts are arranged somewhat circularly to help connect the stiffeners to increase flexibility against earthquake shocks.

Conclusion 
Changing process of bulbous domes in Iran includes removing the flutes from the external shell, adjusting the height of the drum and creating an avgon with more bulge at the junction of the external shell and drum. Domes with flutes in the Central Asia were a main characteristic of monuments. It seems that use of flutes, in addition to structural reasons, also had an aesthetic aspect; because, vertical and parallel concave and convex lines on the external shell make the domes look higher and add to the glory of the whole monument. Moreover, flutes help in transferring the thrust forces entered into the building and have a function like an avgon at the place of joining the dome’s drum. It seems that removing the flutes from domes in Iranian architecture of Timurid period should be considered as a result of the lack of a single political power in different regions of the country. Among other fundamental changes, we can notice domes with more bulge. During the Safavid period, architects learned and experienced the basic stages of bulbous domes and gained sufficient skill with regard to the morphological elements of dome and its strength. In this way, for aesthetic purposes, structural solutions such as creating narrow ribs on the internal shell of the dome and deepening the stiffeners in the avgon part have been used to maintain the integrity of the external shell. One of the reasons for the construction of narrow ribs is to transfer the compressive force of the stiffeners to the lower parts and bases of the dome and to strengthen their stability. In some cases, ribs were not used to connect stiffeners to the internal shell due to small diameter of the dome span. The changes made in the stiffeners from the Timurid period to the end of the Safavid period should be considered more related to their number, shape and proportions, which can be attributed not only to the creativity of local architects, but also to the architects’ complete awareness of the role and function of the stiffeners. These structural elements prevent the destruction of domes due to thrust forces (wind and earthquake). Wooden struts also make it possible to create a better connection between the stiffeners and external shell, as well as the connection between the components of the dome.

The Turban helmet is a type of war helmet during the 14th to 16th centuries AD in Middle East countries. This type of helmet has become known by Western scholars by this name because of the special decorations that made it look like a turban as well as the visibility of the helmet from under the warriors’ turban. Based on the numerous documents remaining, one can say that the use of Turban helmets was popular in Middle East territories’ armies during the Middle Ages. Despite being widely used and in style for more than two centuries and among many west Asian countries, among all the remaining samples of this type of middle eastern helmet, only two distinct styles, the Turkoman and the Ottoman styles, have been examined and introduced. This can be due to a large number of remaining samples of these two being kept for years in the armouries of the Ottoman Empire. Apart from these two known styles, few studies have been done so far on investigating other possible types of turban helmets. The purpose of this research is to study the turban helmets that were popular among the armies of the Il-khanid, Jalayirid, Muzaffarid, Timurid, Turkoman, and Safavid that ruled respectively in the cultural Iran region, by relying on the remaining documents from the 14th to the 16th centuries, such as the collection of helmets and illustrated manuscripts. The results of this research reveal that the changes that occurred in the making of turban helmets during the 14th to the 16th centuries have led to the representation of four different types of helmets: Mongolian style, Timurid style, Turkoman style, and Qizilbash style.

Abstract
Mohammad Saleh Esfahani was one of the prominent calligraphers and inscription writers of the Safavid period, under the rule of Shah Suleiman and Shah Sultan Hussein. According to the findings, a significant number of Nastaliq inscriptions in the buildings of Isfahan belong to him. In addition, there are several Chalipas by Mohammad Saleh. Based on this, it is important to explore his works in the field of calligraphy studies for finding methods of analysis of other works in this field. The purpose of this research is to investigate the differences between the pieces of Chalipa and the inscriptions of Mohammad Saleh Esfahani in three systems of baseline, composition and the visual weight. The question is, what are the differences between the Chalipa pieces and the inscriptions of Mohammad Saleh Esfahani according to the principles (which was mentioned)? And what are their reasons? The hypothesis of this research indicates that there are differences between the Chalipa and inscriptions of Mohammad Saleh, which can be recognized and investigated by three mentioned calligraphy systems. This descriptive-analytical research is done by use of library resources in order to analyses some of Mohammad Saleh Isfahani’s works, including the inscriptions  were found in three buildings in the city of Isfahan (Chaharbagh School, Imamzadeh Ismail, and the tombstone of Saeb Tabrizi Tomb) and some Chalipa pieces (available in museums and libraris). The results of the research show that there are differences in the application of calligraphy principles in the three systems of baseline, composition and the visual weight in pieces of Chalipa and inscriptions because of various reasons such as: text content, limitations of design , pen Dang. , the appropriate level of the works  and  etc. based on these reasons, it can be found that Mohammad Saleh Esfahani has adopted different methods and principles for the calligraphy of Chelipa and inscriptions.
Keywords: Principle of Calligraphy, Mohammad Saleh Isfahani, Chalipa, Inscription, Nastaliq Script, Safavid Period.

Introduction
Understanding the rules, discerning the structure, and grasping the principles that govern the Nastaliq script are essential aspects for a comprehensive comprehension of the development and evolution of this script. The Nastaliq script is employed in various formats tailored to its specific applications and purposes. Among the noteworthy calligraphers and epigraphers during the Safavid era, particularly under the reigns of King Suleiman and King Sultan Hossein, Mohammad Saleh Esfahani stands out. He has been associated with a considerable number of Nastaliq inscriptions adorning buildings in Isfahan, alongside his contributions to the creation of Chalipa pieces. Thus, it is imperative to closely examine his artistic works in the realm of calligraphy studies and adopt suitable methods of analysis. The primary objective of this research endeavor is to investigate the distinctions between Chalipa pieces and Mohammad Saleh Esfahani’s inscriptions across three key systems: Baseline, Combination, and Visual Weight.
This research endeavors to explore the dissimilarities between Chalipa’s pieces and Mohammad Saleh Esfahani’s inscriptions within the context of calligraphic principles, specifically in the three systems of Baseline, Combination, and Visual Weight. The underlying inquiry revolves around identifying the reasons behind these disparities. The working hypothesis of this study postulates that distinct variations exist between Chalipa’s pieces and Mohammad Saleh’s inscriptions, and such distinctions can be examined through the application of the principles governing the calligraphy above systems.
Research Method: This research is structured into three main parts, preceded by examining the research background and collecting relevant library information. The initial two parts entail a comprehensive study and scrutiny of the principles above, as evidenced in the works of Mashakhi and Mohammad Saleh Esfahani’s inscriptions, respectively. The third part aims to analyze the gathered information to address the research questions. The descriptive-analytical research method has been employed in this article to achieve a precise and thorough response. The data is primarily derived from an exploration of Mohammad Saleh Isfahani’s works, including inscriptions discovered in various buildings within Isfahan City (such as Chaharbagh School, Emamzadeh Ismaeil, and the tombstone of Saeb Tabrizi) and certain handwritten pieces sourced from museums and libraries. Ultimately, a qualitative analysis has been performed to interpret the findings.

Discussion and Analysis
This research delves into the investigation of the principles governing Mohammad Saleh Esfahani’s works, focusing on the three systems of Baseline, Combination, and Visual Weight. The study involves a separate examination of these systems in both Chalipa’s pieces and his own inscriptions. The research findings reveal that Mohammad Saleh employed distinct techniques to achieve the desired outcomes in each of the three systems. Specifically, in Chalipas, the consistent slope contributes to proportion, balance, and overall aesthetic harmony. To achieve these effects, Mohammad Saleh employed a subtle curve at the beginning and end of each line while carefully observing the ratio between them.
Additionally, the presence of identical rhymes played a significant role in harmonizing the Baseline curvature of the calligraphic pieces. In cases where identical rhymes were absent, Mohammad Saleh achieved proportional and balanced combinations by adjusting the positioning of letters and altering the degree of inclination of the stanzas. The meticulous selection and utilization of strokes emerged as another vital factor in the combination system, which Mohammad Saleh adeptly employed in conjunctive writing to achieve this artistic aim. As observed in Mohammad Saleh’s works, creating a hypothetical perpendicular line stands out as another pivotal factor in forming the Combination system. This hypothetical line becomes apparent through the careful selection of words and the establishment of rhythm, achieved by employing isomorphism in Chalipa’s pieces.
Moreover, the strategic utilization of dots, in accordance with the principle of ownership, as well as the positioning and direction of punctuation on letters and words, play influential roles in creating positive and negative spaces, ultimately achieving a balanced visual weight - techniques skillfully employed by Mohammad Saleh. When examining the three governing systems in calligraphic inscriptions, it becomes crucial to consider several principles. The initial principle revolves around the proportionality of inscriptions, focusing on the relationship between the width of the pen and the dimensions of the inscription’s length and width. Calligraphers ensure that the text is written so that its length and width exhibit uniformity and consistency from the beginning to the end. Another significant aspect involves acknowledging the distinction between forms of exercises and books, which are typically written by calligraphers themselves, and the execution of calligraphic pieces for inscriptions by various artisans such as tilers, plasterers, and stonemasons. This disparity can lead to unregulated variations in implementing letters and words.
Furthermore, in examining and analyzing inscriptions, considering three factors, namely color, light, and pattern, holds significant importance. Incorporating color alongside light as a contributing element plays a pivotal role in establishing the Visual Weight of the inscription. The color contrast achieved through distinct implementation techniques exerts a considerable influence on the visual arrangement for the audience and enhances the inscription’s legibility. For instance, in the sculpting technique applied to the inscriptions on Saeb’s tombstone, the monochromatic and uniform lighting choice relegates the inscription’s visual priority to the audience. Another aspect to consider is the motifs strategically placed around or between the lines of each inscription, which often serve as decorative elements. These motifs are among the various influential factors impacting the readability of inscriptions and the principles of combination, encompassing elements like Calligraphic Strokes and Lacuna, punctuation, and so forth.

Conclusion
The investigation aimed to address the research question concerning the disparities between Chalipa’s works and Mohammad-Saleh Esfahani’s calligraphy in terms of the principles of calligraphy, specifically focusing on the three systems of Baseline, Combination, and Visual Weight. The study also sought to understand the underlying reasons behind their respective utilization. The findings demonstrate that the calligrapher employed these principles in both Chalipa’s pieces and his inscriptions. However, distinctions in the form of Chalipa and inscriptions led to variations in how these principles were applied in their respective works. Notably, the choice of surface played a significant role, with paper being the preferred medium for Chalipa pieces, while materials like stone, tile, or wood were used for inscriptions.
Additionally, the constraints imposed by the customer, including limited space and frame for inscriptions, exerted a noteworthy influence, restricting the calligrapher’s application of the principles governing Baseline, Combination, and Visual Weight compared to the more flexible format of Chalipa. For instance, regardless of word count, the uniform size frame for all stanzas limited the calligrapher’s ability to achieve optimal combinations, baselines, and visual weight, a limitation not present in Chalipa pieces. Other factors contributing to these differences included adjustments in surface size for Chalipa or inscriptions and the limitations inherent in inscription implementation, such as using a dang pen. Taking into account the reasons identified in the research, Mohammad Saleh employed distinct methods and principles in applying the Baseline, Combination, and Visual Weight systems in his works.

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

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

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

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

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

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

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

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

Abstract
Ashraf, the modern Behshahr, was built in 1021 AH (1612 AD) by Shah Abbas the Great. The flooring of its royal buildings was made by carved stones, some of which have the mason’s marks of Safavid sculptors. Despite the great importance of this collection, apart from a short reference by De Morgan in the late 19th century, no independent study has been done on the mason’s marks of the Behshahr collection. In this research, which was conducted based on both field research and library studies, 266 blocks, including 309 mason’s marks from the Safavid period, were identified and documented in Bagh-e Shah and Abbasabad in Behshahr. The aim of this research is to answer questions about the nature and meaning of the mason’s marks in the Behshahr collection, their classification, and to obtain information about the constructions of the aforementioned collection through the study of mason’s marks. To achieve this goal, the aforementioned marks have been studied and classified, and some of the visual and conceptual aspects of these marks have been clarified through comparative comparison with similar examples in Iran and other neighboring regions. The result of this research indicates that some of the mason’s marks of the Behshahr collection have similar examples, even among the oldest examples from the Achaemenid to the Qajar periods. Most of the mason’s marks of the Behshahr collection can be classified as geometric marks, then tools and objects, and a smaller number can be classified as plant or animal motifs. Some signs have similarities with the Armenian and Georgian alphabets, which probably indicates the presence of sculptors from these regions in the construction of Behshahr complex. However, almost none of the signs can be called religious motifs with certainty.
Keywords: Behshahr, Ashraf, Safavid, Shah Abbas, Bagh-e Shah, Abbasabad Palace, Mason’s Marks.

Introduction
In the book Tarikh e Alam-ara-ye Abbasi, it is stated that in 1612 AD, in Ashraf (modern Behshahr), one of Mazandaran’s towns, urban development was carried out by the order of Shah Abbas the Great and palaces, gardens, baths, and buildings were constructed there (Skandarbeig, 1971: Vol. 2, 855-856). Today, in Behshahr, only remnants of the Safavid palaces of Chehelsotun, Abbasabad and Cheshmeh Amarat have remained, albeit with many changes from the Afshariya, Qajar and Pahlavi periods (Fig. 1). During the Authors visit to Bagh-e Shah and Abbasabad Palaces, traces of mason’s marks were observed on a large number of stone blocks used in the construction of the building’s floor. This study investigates the mason’s marks in the Behshahr complex, including the palaces of Bagh-e Shah and Abbasabad.

Research Background
In 1890, De Morgan traveled to Mazandaran and prepared a sketch including 25 mason’s marks of the stone blocks of Bagh-e Shah (Fig. 2). However, a significant number of signs registered by the Authors are not seen among De Morgan’s sketch, and this article is the first research dedicated to the mason’s marks of Behshahr exclusively.

Data 
Safavid Complexes of Behshahr 
a. Abbasabad: The palace of Abbasabad, named after its founder Shah Abbas I, was built in 1020 A.H. at the same time as the city of Ashraf was founded by him. Some parts of the Abbasabad complex, including the floor of traffic routes, stairs and the bottom of the pool are paved with stone blocks. The stone blocks are made in both square blocks with dimensions of about 45 cm and rectangular blocks with dimensions of about 25 x 60 cm. The average thickness of these stone blocks is about 7 cm. The Authors observed mason’s marks on four stone blocks located in the northeastern part of the Abbasabad complex (Fig. 3).
b. Bagh-e Shah: Bagh-e Shah is one of the most important complexes in Behshahr, dating back to the period of Shah Abbas I, with many changes since then. According to Della Valle, during Shah Abbas’s reign, the building was called Diwan-khaneh (Della Valle, 1991: 217). The mason’s marks of Bagh-e Shah are carved on a number of stone blocks on both sides of the stream, about 365 meters in length (Fig. 6). The dimensions of the largest stone slab recorded by the Authors in Bagh-e Shah were 110 x 192 cm and the smallest was 82 x 57 cm. The average thickness of the stone blocks is about 15 cm. On many stone blocks, depending on the dimensions of the stone, there are one or more small holes called “candle place.
Despite extensive changes to the Bagh-e Shah complex in the last four hundred years, due to their large size, the stone blocks have not been moved and have preserved their original state. In the Authors’ survey, 262 stone blocks were identified in Bagh-e Shah, each with one or more mason’s marks on their surface. Therefore, considering the four marked blocks of Abbasabad, the total number of identified blocks in the Safavi complex of Behshahr will be 266, with a total of 309 signs identified. All the mason’s marks in the Behshahr complex, including Bagh-e Shah and Abbasabad, are engraved on the flat surfaces of stone blocks. Most of the engraved marks are about 4 to 5 cm long, with an average depth of about 1 cm.

Discussion 
All the remaining examples of mason’s marks in the Behshahr complex are those that were engraved only on the carved stones used in the floor. Although most of the marked stone blocks of the Behshahr collection bear only one mason’s mark, a considerable number of stone slabs have more than one sign, mainly two or three signs (Fig. 8).
Among the 309 signs identified in Bagh-e Shah and Abbasabad, by removing duplicate and similar signs, 56 independent and separate signs can be identified. Additionally, all six mason’s marks identified in the Abbasabad collection are also seen among the Bagh-e Shah samples. In general, the signs identified in the Behshahr complex can be divided into different categories such as geometric shapes, animals, plants, objects, and alphabets. The largest number of mason’s marks in the Behshahr collection are geometric signs such as circles, ovals, curved types, triangles, rhombuses, squares, multi-branched shapes, wavy lines, straight lines and cruciform shapes, etc. The most frequently occurring sign in the Behshahr complex is number 28 with a total of 45 (Fig. 9).
Some signs in the Behshahr collection, such as signs No. 38 and 50, may be animal motifs (scorpion and goat). Some other signs like numbers 15 and 18, could represent plant motifs. Additionally, a significant number of signs seem to depict war tools such as swords (25), bayonets (24), bows and arrows (23). Some signs may represent specific objects, for example, a hookah (No. 21), which, due to its popularity in that period, could have been used as a mason sign. Tavernier, a French traveler of the 17th century AD, provided an interesting description of hookah and hookah-smoking habits of Iranians in the Safavid era (Tavernier, 1382: 309).
Some other signs in the Behshahr collection resemble Arabic and Persian alphabets (for example, numbers 53 and 54) and even alphabets of northern peoples such as Georgian and Armenian (for example, symbols of numbers 5, 35, 39 or 44). De Morgan referred to many signs in the Behshahr collection as Georgian letters. European travelers like Della Valle and Chardin have mentioned the presence of Georgians and Armenians in Iran during the reign of Shah Abbas I (Della Valle, 1370: 212-13, 216; Chardin, 1350, vol.4, 25-6).

Conclusion 
While some specific marks and shapes in the Behshahr complex, such as cruciform motifs (No. 44), may be ideological and religious symbols (possibly related to Christianity due to the presence of Christian sculptors from the Caucasus region), overall, none of the mason’s marks in the Behshahr collection can be definitively classified as a religious symbol. Additionally, none of the letters and signs in the Behshahr collection have a clear connection with the official religion of the Safavids (Islam/Shi’a).
Some mason’s marks in the Behshahr collection have similar or identical counterparts among the Achaemenid mason’s marks of Persepolis (Herzfeld, 2002: Fig. 339; Schmidt, 1953: 144-45), Pasargad (Herzfeld, 2002: Fig. 338), Susa (Maras, 2010: fig. 18.2) and signs on Achaemenid pyramidal seals and coins from Asia Minor and other places (for example, see Boardman, 1998: fig.1, D1, D1.1, D1.2, D11, D37, D51.1, D.52.1, Fig. 4). They also bear resemblance to the signs of other periods, such as the Anahita Temple of Kangavar from the Achaemenid to Sassanid era (cf. Kambakhsh Fard, 1987, Figs 2-6), the Parthian site of Bisotun, as well as the marks on Sassanid buildings, like Takht e Suleiman (Shah-Mohammadpour, 2013), Shahr i Gur of Firozabad, and the Sassanid collection of Bisotun including Khosrow’s palace, Farhadtarash and Khosrow’s bridge (Alibaigi, 2013). Among works related to the pre-Islamic era, the mason’s marks in this collection perhaps have the most similarity with the Caucasian Darband collection (Narin Qala) (Gadjiev, 2010: 147).
However, a larger number of the mason’s marks in the Behshahr collection are similar to the mason’s marks of the Islamic era, especially the Safavid period. A significant number of mason’s marks in the Behshahr collection can be found among the signs of the Safavid period in Isfahan, such as Pol e Khaju, Chehel-sotun, Ali-Qapu and Shah-Musa. The mason’s marks of the Behshahr collection can be considered an important source for studying the system of mason’s marks of the Safavid period.

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

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

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

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

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

 Abstract
During the Safavid period, innovations were created in Stucco decorations. the Koshtehbori Stucco decoration is one of the most attractive and unique architectural decorations of the Safavid period, which was implemented with various motifs in some of the buildings of that period and has a special creativity and innovation that is different from the implementation of other types of Stucco decorations. Knowing the methods and implementation steps of Stucco decorations in restoration projects and studying them is considered as one of the essential elements and an inseparable part of the protection of historical Stucco decorations. The purpose of this research is to identify the similarities and differences, the variety of methods and the stages of implementation of Koshtehbori Stucco decoration with other Stucco decorations in the architecture of the Safavid period. The questions of this research are: What are the similarities and differences of Koshtehbori Stucco decoration with other Stucco decorations in Safavid period architecture in terms of the method and stages of construction and execution? What is the appropriate classification for technical types of Stucco decorations in Safavid architecture? The research method is descriptive-analytical and comparative, and the collection of findings is in the form of library studies and field observations. The results of the studies showed that, unlike other Stucco decorations of the Safavid period, in the execution of the Koshtehbori Stucco decoration, Finishing, polishing, Convex or concavity was not done on the surface of the motifs, and only the background of the design or some carving motifs. In terms of the method, stages and sequence of execution, the Koshtehbori Stucco decoration, is the most similar to the Stucco decoration with carved colored layers. These similarities are in terms of the thickness of each layer of one millimeter and the method of cutting at an angle of 90 degrees to the surface of the motifs and polishing and smoothing the carved parts. Is. Also, in terms of the method, steps and sequence of execution, the Koshtehbori Stucco decoration, is the most different from the carved decoration filled with colored gypsum.
Keywords: Koshtehbori, The Technique of Implementing Stucco Decorations, Classification of Stucco Decorations, Safavid Period Architecture.

Introduction
Stucco decorations in Iran’s architecture have been implemented with different techniques and methods, one of which is the Koshtehbori Stucco decoration. The method and technique of execution of the Koshtehbori Stucco decoration in the Safavid period architecture is different from the Stucco decorations before it and required less time and economic cost per unit area than the relief Stucco decorations of the previous periods. This ornament has a special beauty, it has a variety of colors or different motifs. Previous research by experts in Iranian architecture and art history has focused mostly on Stucco decoration motifs and less on stucco types, comparative analysis of construction methods and techniques. A special classification and understanding of the execution method of Safavid period Stucco decorations can draw more attention to documentation and practical aspects in their basic maintenance and restoration. This research aims to identify the similarities and differences, variety of methods and stages, and execution order of the Koshtehbori Stucco decoration in comparison with other Stucco decorations of the Safavid period, as well as classify the Stucco decorations of this period.
The research questions are: What is the appropriate classification for technical implementation types of Stucco decorations of Safavid period architecture? What are the similarities and differences between the Koshtehbori Stucco decoration and other Stucco decorations of the Safavid period in terms of construction methods and stages? Research method: This research used a descriptive-analytical method to investigate some architectural Stucco decorations in Iran through library studies and field observations. The statistical population of this research includes 6 types of common Stucco decorations in Safavid architecture. The common features and differences between the Koshtehbori decoration and other Stucco decorations of the Safavid period were presented in a descriptive-analytical and adaptive-comparative method in terms of execution methods and stages. For this purpose, common Stucco decorations were examined in terms of the order of executive layers, such as support, scratch coat(arriccio) and fine coat (intonaco) layers, type of background, design drawing and stabilization, plastered layer, and finishing steps. The findings of this research were collected through written and documented sources, as well as field investigations by the authors, including pictures of examples of common Stucco decorations of the Safavid period architecture. In addition to proposing a new classification and naming of some decorations, the research analyzed different types of Stucco decorations by comparing samples to identify similarities and differences between Safavid period Stucco decorations.
 
Discussion
- Presenting a suitable classification of Stucco decoration of Safavid period architecture
This research proposes a new classification system for Stucco decorations in Safavid period architecture based on seven specific criteria. These criteria include the method of shaping, the kind of materials used in the background, the appearance of the surfaces on the motifs, the size and amount of relief, finishing works, in terms of the background and shape of the motifs. Each criterion has a different category, which allows for a more precise identification and recognition of different Stucco decorations. This classification system is crucial for the conservation and restoration of these decorations, as it helps to avoid unprincipled interferences in restoration interventions.
 
- A comparative study of the Stucco decoration of Koshtehbori with other Stucco decorations in Safavid period architecture
In this regard, six different Stucco decorations that were commonly used and innovative during the Safavid period were selected and compared with the Stucco decoration of Koshtehbori in terms of execution method and order. These are:
A: Stucco decoration of Koshtehbori: This decoration, with different techniques and motifs, has been implemented in some buildings of the Safavid period. These decoration are often prepared, designed and implemented with various geometrical, Khataei and Slimy motifs on a background of plaster mortar, which is different from other plaster ornament methods.
B: Stucco decoration with carved colored layers: Among other Stucco decorations in the architecture of the Safavid period, this decoration is the most similar to the Stucco decoration of Koshtehbori.
C: Stucco decoration on Simgel: This decoration is different from the Stucco decoration of Koshtehbori in terms of grouting with mud in the background (empty space between the motifs), the curvature around the motifs, the relief of the motifs, and the shape of the motifs.
D: Stucco decoration on a flat mirror: In this Stucco decoration, flat mirrors are used as a Stucco substrate. In terms of the mirror background between the patterns, the curvature around the patterns, the relief of the patterns, and the shape of the patterns, this Stucco is different from the Stucco decoration of Koshtehbori.
E: Stucco decoration on the Koj mirror (Kopbori): This Stucco decoration is made using the combination of Koj mirror and Stucco parts. This decoration, in an additional stage of initial drawing and transfer of the design, adhesive plaster mortar behind the mirror, in terms of the mirror background of Koj between the motifs, the curvature around the motifs, the relief of the motifs and in the shape of the motifs with the Stucco decoration of Koshtehbori is different.
F: The Naghri Stucco decoration filled with colored gypsum mortar: the Koshtehbori Stucco decoration is the most different from the carved Stucco decoration filled with colored gypsum mortar compared to other Stucco decorations in Safavid period architecture
In the end, the six Stucco decorations of the Safavid period are compared with their sub-groups in the seven classifications in the architecture of the Safavid period. Based on this comparison, we can observe their similarities and differences in the subgroups. For example, the shaping technique of the six types is done in situ, and the type of material used in the background of the Koshtehbori Stucco decoration, the Stucco decoration with carved colored layers, and the Naghri decoration filled with colored plaster is gypsum. However, in the other three decorations with different materials, it is Simgel, flat mirror, and koj mirror.

Conclusion
Through the study and research conducted, a more comprehensive classification and suitable division for Stucco decorations in Iranian architecture has been presented. In this research, Safavid period gypsum decorations are classified based on a specific seven criterion, which includes shaping technique, material used in the background, surface appearance of patterns, size and amount of relief, and complementary works, in terms of both background and pattern shape. Each of these criteria has its own subgroups. 
Stucco decorations in Safavid architecture have similarities and differences in terms of their technical aspects and design. In the execution of the Koshtehbori Stucco decoration, unlike other Safavid Stucco decorations, carving, polishing, convex or concaving on the surface of patterns was not performed, and only the background or some parts of the pattern were carved and polished. In terms of the method, stages and sequence of execution, the Koshtehbori Stucco decoration, is the most similar to the Stucco decoration with carved colored layers. These similarities are in terms of the thickness of each layer of one millimeter and the method of cutting at an angle of 90 degrees to the surface of the motifs and polishing and smoothing the carved parts. Is. Also, in terms of the method, steps and sequence of execution, the Koshtehbori Stucco decoration, is the most different from the carved decoration filled with colored gypsum. Stucco decorations on Simgel, on flat mirrors, on Koj mirrors, in terms of the surface of the motifs, which may be Koj or a combination of Koj and Kav, and also, the type and appearance of the motifs, are different from the Koshtehbori Stucco decoration.

Abstract
Iranian architects often designed structures to serve multiple functions beyond their primary purpose, a practice heavily influenced by Iran’s hot, arid climate and long summers. This multi-functionality is most evident in water-associated architecture, particularly in Isfahan’s historical bridges. Despite extensive research on Isfahan’s architecture, this specific aspect of its bridges has been understudied. This research aims to re-examine the non-transportation functions of four Isfahan bridges: Pol-e Shahrestan/Ji, Pol-e Allah-Verdi Khan/Si-o-se-pol, Pol-e Khaju/Shahi, and Pol-e Jubi/Sa’adat-Abad, highlighting their role in ceremonial and environmental landscape architecture. Main Research Question and Hypothesis: The study investigates how and why ceremonial functions were integrated into these bridges. It hypothesizes that this practice was inspired by Indian Jal Mahals (water palaces), introduced to Iran via extensive political and cultural exchanges during the Safavid era. Research Method: This study employs a historical-descriptive approach, with data gathered through documentary research and analysis of historical sources and travelogues. The findings indicate that while the concept of ceremonial water pavilions (Cheshmeh Emarat in Iran, Jal Mahal in India) pre-existed, its application on bridges was an innovation in Safavid Iran. The bridges served as ceremonial platforms for royal events like the Abrizan (Water Sprinkling Festival), receptions for ambassadors, and public spectacles. Furthermore, they played a crucial role in microclimate moderation by creating reservoirs that increased humidity and helped recharge underground aquifers, addressing critical environmental needs of the capital city.
Keywords: Historical Bridges, Cheshmeh Emarat, Safavid Isfahan, Jal Mahal, Ceremonial Architecture, Landscape Architecture.

Introduction 
This paper explores the multi-functional design of Safavid-era bridges in Isfahan, which extended beyond mere river crossings to incorporate significant ceremonial and environmental roles. This architectural ingenuity was a direct response to Iran’s challenging arid climate and the socio-political ambitions of the Safavid court. The study focuses on how the bridges Pol-e Shahrestan, Allah-Verdi Khan, Khaju, and Jubi were integrated into the urban and royal landscape. While the paradigm of the water pavilion (Cheshmeh Emarat) was known in Persian and Indian (Jal Mahal) architecture, its adaptation onto bridge structures represents a unique Safavid development. This research addresses a gap in the existing literature by systematically analyzing these bridges not just as feats of engineering, but as central elements of ceremonial life and environmental engineering in the capital.

Materials and Methods 
This research is based on a historical-interpretive methodology. Data was collected through meticulous documentary research, including analysis of primary sources like European travelogues (e.g., by Chardin, Tavernier) and Safavid chronicles. Secondary sources encompass modern scholarly works on Safavid architecture and urbanism. Architectural analysis was conducted by examining historical plans, photographs, and existing structures to understand the form and function of the pavilions. The comparative method is used to draw parallels between the Iranian Cheshmeh Emarat and the Indian Jal Mahal tradition, tracing potential routes of cultural and architectural influence during the 17th century.

Data and Findings 
The investigation reveals distinct evolutionary stages:
• Pol-e Shahrestan: An older bridge onto which an octagonal pavilion (Hasht Behesht plan) was added during the Safavid period, representing an architectural annexation rather than an original design.
• Pol-e Allah-Verdi Khan (Si-o-se-pol): Built by Shah Abbas I, its primary function was connectivity. Ceremonial activities were initially held in the vaulted spaces beneath the bridge deck due to structural constraints, serving as a royal loge for the Abrizan festival and receiving dignitaries.
• Pol-e Khaju: Constructed by Shah Abbas II, it represents the pinnacle of this integration. Two central pavilions (Beyglarbeygi), adapting the Hasht Behesht plan to the bridge’s axis, were purpose-built as ceremonial platforms. The bridge could be dammed to create a vast lake for boating, fireworks, and reflections of upstream palaces like Ayeneh-Khaneh.
• Pol-e Jubi: This bridge provided private access to royal gardens. It featured a central pavilion (now destroyed, but documented in European engravings) similar to the one on Pol-e Shahrestan, offering the royal family a secluded vantage point.

Discussion 
The findings confirm the hypothesis that the sophisticated development of bridge-pavilions in Safavid Isfahan was influenced by cultural and political exchanges with the Indian subcontinent, where the Jal Mahal tradition was well-established. The Safavids adeptly synthesized this influence with pre-existing Iranian concepts like the Cheshmeh Emarat and the ancient Abrizan festival. This discussion argues that these structures were not merely aesthetic additions but vital components of urban infrastructure. They served as instruments of royal propaganda, stages for displaying sovereign power to both the public and foreign emissaries. Furthermore, the creation of artificial lakes through damming was a brilliant hydrological strategy. It addressed Isfahan’s environmental needs by significantly moderating the microclimate through evaporative cooling and critically recharging the subterranean aquifers that supplied the city’s water via qanats.

Conclusion
In conclusion, the historical bridges of Safavid Isfahan exemplify a profound integration of multifunctional design. Iranian architects, responding to climatic necessities and royal ambition, masterfully extended the function of these structures from mere utilities to complex ceremonial platforms and environmental regulators. The practice of adding pavilions to older bridges or incorporating them into new designs was a strategic innovation in the landscape architecture of the era. While inspired by the Indian Jal Mahal, the Safavid implementation on bridges was an original contribution. These structures became iconic urban elements, central to the city’s public ceremonies and essential to its ecological balance. They stand as testament to a holistic architectural vision where utility, ceremony, and environmental technology were seamlessly woven together, defining the grandeur of Isfahan as a Safavid capital.

Among the most significant historical and ancient sources in Iran are local handwritten deeds and manuscripts. Through their examination and study, valuable historical information can be obtained. These documents contain detailed accounts of geographical, economic, social, cultural heritage elements, customary laws, and traditional customs. Today, they serve as valuable and primary historical resources. In this context, the province of Isfahan stands out as one of the richest regions in terms of historical depth and the tradition of deed writing in Iran’s local and traditional history. Notably, the handwritten deeds related to the Gourt neighborhood in eastern Isfahan (Eastern Jay) have not yet been studied from historical, archaeological, or codicological perspectives. This research aims to present the writing style, structure, and valuable historical content of these documents, introduce them by their original and traditional names, and highlight their importance as precise historical and archaeological sources. It also seeks to showcase the artistic features used in their illustration and decoration as part of the region’s art history. The central question of this study is: How can we extract historical and artistic information from handwritten deeds and evaluate them as credible historical sources? To achieve this goal, three historical manuscripts from the Gourt neighborhood in eastern Isfahan have been scientifically and analytically examined: Deed of the Dove Tower at Darb Deh (Aziz Tower), Deed of the Dove Tower of Agha Hossein, (New Tower) Deed of the Gourt Farm Qanat. These manuscripts belong to a private local collection, preserved as family heritage, and have all been registered as movable historical artifacts by the Cultural Heritage Organization of Isfahan.

Among the finest artistic productions of the Safavid period is lusterware, which continued the tradition that flourished during the Middle Islamic era. Despite brief references in some sources to the distinctive nature and form of Safavid lusterware, no independent and focused study has been conducted to date. Therefore, given the formal characteristics of existing lusterware, this study aims to classify them in detail to achieve a more comprehensive understanding of their forms and then to conduct a comparative analysis with blue-and-white ceramics. To achieve this goal, the following questions have been raised: “Into what formal categories can the lusterware of the Safavid period be classified?” and “In terms of form, how do Safavid lusterware correspond to, or compare with, their contemporary blue-and-white counterparts?” In this research, data collection has been carried out through library and field methods, and the study has proceeded with a descriptive-comparative-analytical approach. The statistical population comprises 69 Safavid lusterware pieces and 40 blue-and-white vessels, which, in turn, represent 486 lusterwares and 106 blue-and-white ceramics selected as representative samples of each type based on their formal characteristics. The results of the typological study of these vessels indicate that the lusterware comprises 17 groups, which fall into two main categories: Open forms, such as dishes, bowls, and cups (Piyaleh); and closed forms, such as ewers, bottles, and pitchers. Moreover, although the two pottery types exhibit considerable typological similarity, the lusterware demonstrates greater formal diversity, whereas the blue-and-white ceramics are relatively finer in execution and somewhat larger in scale.