Abstract
Of the common types of late architecture in Iran various mastery buildings some examples of which were made during the Qajar period, that some examples these types are considered by the rulers of the cities and villages of this period. The Varkaneh village is located in the Eastern Alvand district and in the central part of Hamedan in the mountains area, and with Arzanfood-Varkaneh valley 15 km is away. The village has been governed in the Qajar and Pahlavi periods by Naqikhan and Mehri-Khanoom. From the presence of Qaragozlou’s family in the village of Varkaneh are two monuments of the “mastery house” and “stables of breeding horse” with distance of 100 and 500 meters outside the village respectively. Among the buildings of state as selected patterns two different types of local court architecture and comparable to the master’s buildings collection (Qaravol Khaneh) Aghovlar in Talesh will be investigated and analyzed. The main purpose of this paper is to recognize the patterns and transformations created in traditional roral architecture Based on ideas and methods of transformation in two different types of mastery buildings of the Qajar period and beyond. Accordingly, in the present study in addition introduces a descriptive - analytical method, has done analysis and classification of elements of rural architecture and fluently social transformations in the formation mastery architecture of the Qajar period in the Varkaneh village. Questions of this study: What factors have led to placement of these buildings outside context of the village? These buildings under study, how much have been effective of the area architecture? The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials.
Keywords: Qajar Architecture, Varkaneh, Mastery House, Stables of Breeding Horse.

Introduction
From examples of architecture courtesy in Qajar period is mastery architecture of Qaragozlou tribe in Varkaneh village of Hamedan. These buildings in terms of construction and materials are the most unique architectural works of this period. “Naghi Khan Qaragozlou” has been “Khan” in the village of Varkaneh that after him his daughter becomes ruler. From the Qaragozlou tribe are two buildings of “mastery house” and “stables of breeding horse” left in the village. The “mastery house” is related to the Qajar period and “stables of breeding horse” related to the early Pahlavi period. Therefore, in this study raised the following questions: What factors have led to placement of these buildings outside context of the village? These buildings under study, how much have been effective of the area architecture? The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials.

The Mastery House of Varkaneh
The mastery house of Varkaneh is located about 100 meters south of the village. It building related to the Qajar period. It is a two story building and has a crucifixion map.

The Stables of Breeding Horse of Varkaneh
Mehri Khanom Qaragozlou after becoming the ruler of the village, with help of the royal society, she made a stables in the south of the village. This stables for was taking care horses in spring and summer. This stables is to form of separate building, but it is part of the Varkaneh village. The building has a length of 22×72 meters and a total area of 1584 square meters. The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials.

Conclusion
Protecting and maintaining buildings, especially monuments is one of the most important steps that can be taken in relation to the valuable work of past ancestors. Where cannot be keep well or continue to use it, it definitely disrupts the life cycle of the building and causes irreparable damage to it. In these situations, natural and human factors always effect the building and damage it. Since the damage caused by the building gives it an unpleasant appearance, it is also difficult to operate and maintain it. Today are monuments that life cycle has been destroyed due to negligence. The collection of historical works in Varkaneh, is one of the most valuable remains of the Qajar period, because of neglect exposed to distraction. This collection can be moong the effects of the master rural area. Which has been driven by the central government, feudalists, and the productivity of the agricultural and natural an ability to meet the needs of the court. The Varkaneh master collection in fact has been one of the buildings local governor’s seat. These boilding have been governed by the family of Qaragozlou and used for nomadic residence in the spring and summer. The Varkaneh master house has been made white rocky material and cruciate map of unique works. That with method the extrovert architecture and interior spaces are enclosed between walnut and poplar tree. The stone building master’s house shows the innovative use of local and native capabilities so as to resist the cold weather of the mountain. Horse stables have been made white and this kind of approach, property and clever thinking of choosing a place, built in a stalemate valley due to the lack of written evidence, it is not possible to accurately determine the date of construction of both buildings. The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials. These both buildings related to the Qajar period these buildings are comparable with Aqhovlar building in Talesh.

Abstract
In the history of architecture, one of the elements to transfer the vertical forces in buildings has been columns. They appeared in various forms depending on the nature of forces, architectural styles, available materials and joints applied. Examination of columns may revive and reveal certain parts of the lost knowledge of Persian architecture. Also, such an examination may help to categorize columns in terms of form and structure. The final form of the stone columns in pre-Islamic Iran has been directly influenced by their size and form of the trunk, base as well as capital. In this regard, columns have been often examined only in case studies. The present article, however, has studied the stone columns in pre-Islamic Iran in terms of geometric aspects. Data were mainly gathered based on library sources and field studies. In order to do a systematic classification, the stone columns were photographed. This article aimed to study the impact of form and size on the structure of the stone columns in pre-Islamic Iran. The results implied that the forms of base and shaft in stone columns of ancient Iran were mainly influenced by the vernacular motifs common at the time; bases of the stone columns were in cubic form or in the form of inversed vase. Similarly, the shafts of the columns were in simple, fluted and gadrooning forms. However, formation of the capitals is an adoption of forms found in columns of other civilizations. The forms include floral, zoomorphic a human images. 
Keywords: Geometry in Architecture, Structure of Stone Columns, Persian Monuments.

Introduction
Architecturally speaking, the formation of columns might be attributed to the idea that a given space was supposed to be extended. Columns transfer the weight load of the roof to the ground. At the same time, some archeologists believe that columns appeared when large flat roofs were built (Firouzmandi, 2008: 29). The oldest columns in Iran date back to the 6th millennium BC. Certain examples of which can be seen in western and North-west archeological sites of the country (Rezaienia, 2008: 329). The existence of columns went on to subsequent eras. However, since some of them were made of wood they did perish and only their stone bases survived (Firouzmandi, 2008: 29). The oldest examples of stone columns can be found in Median catacombs. This trend can also be observed in next eras and even in given monuments which columns played no structural role, columns embedded in walls were used. Geometrically, the stone columns used in pre-Islamic Iran functioned not only as structural element, transferring vertical forces, but also as architectural decorations presenting beautiful images in spaces. Hence, examination of the stone columns may help reveal the ancient architects’ capabilities to transfer forces structurally and to form architectural spaces aesthetically. So, in this study, the following questions are raised: Are any specific geometric proportions between forms and motifs used in column capitals of the pre-Islamic Persian monuments? Which kinds of geometric forms have been used more commonly in Persian column bases? What are the most commonly used geometric forms in the structure of Persian ancient columns?

Research Finding
One of the oldest usages of stone columns can be observed in columned halls in Māni sites. Hassanlou hill is a prime example in this respect. The survived monuments from Median era in which columns have been used can be divided into two groups: The first includes certain columned halls like those existing in archeological sites. The second includes Median catacombs.In terms of functional columns, Median  catacombs can themselves be divided into two groups: The first includes catacombs which have free columns in entering gate. The second group includes catacombs which have half-columns in entering gate. Columns in Achamenid architecture played more important role compared with earlier eras. The column bases appear in different forms including cubic and bell-shaped the latter of which are different from each other in terms of patterns and motifs applied. The trunks are either smooth or fluted. In addition, in Achamenid era, the column capitals appear in a variety of animal forms including bull, lion, horse, griffin and bull-man. The columns built in Seleucid era have been adopted from Roman order. Columns in Arsacid era can be grouped into three classes: Greek order, Persian order and vernacular style. The columns adopted from Greek-style generally appear in three common Greek orders: Corinthian, Doric and Ionic. In addition, the columns adopted from Achamenid style have cubic bases and capitals representing two animal heads in opposite directions. Columns in vernacular style represent square or octagonal trunks with or without patterns. Columns in Sassanid monuments, however, are the continuation of those in Arsacid monuments in form and style. The most commonly used capitals are in the form of truncated pyramid. The upper base of the pyramid is square in form and the lower one is circular decorated with repetitive animal or floral patterns. There are, of course, capitals adopted from Corinthian order. The trunks survived of the Sassanid columns are in simple, fluted or spiral forms with or without relief pat. 

Conclusion 
Column capitals in ancient Persian architecture include a variety of forms and decorations. Some of the forms like spiral patterns may play decorative role on the trunks. However, the spiral forms may only appear on capitals. Also, column bases are mainly cubic, bell-shaped or circular in form. Cubic bases are more common which appear in different forms visible in all but eras examined. In terms of form and decorative elements, column capitals in two Achamenid and Arsacid eras are more similar to each other than those in other eras. Other than decorative forms used in the bases, trunks and capitals, geometric patterns have been also used as decorative elements including floral, animal and human ones. Of course, floral forms have been most commonly used. With respect to the trunks, smooth circular trunks have been common in all eras studied. They may appear with or without fluted or spiral forms. Despite the importance of columns in pre-Islamic Persian architecture and their role in forming columned spaces, no comprehensive examination, in terms of geometric classification, has been made in this regard. In this study, the components of Persian stone columns in different pre-Islamic eras were classified geometrically. Other researcher may carry out similar examinations on architectural columns in Islamic era, classify them and determine the similarities and contrast. 

Abstract
Throughout the period of Sassanids, as well as in the Islamic period, trade played a very important role in their economies and livelihoods. Meanwhile, due to political reasons in Late of Sassanid period, access to the Persian Gulf has been of particular importance. The city of Kuvar was part of the Fars province’s trade route because it led to the Persian Gulf on one side and to the central areas of the empire, for this reason, it has played a colorful role throughout history. Due to the presence of the riverside (Qara-aqag) near this city, the commercial convoys had to use a bridge to cross the river. In this study, attempts to by studying archaeological studies as well as library research investigate the water source of Kuvar city by, the role of Kuvar, bridge in connection with Persian Gulf as well as the etymology of city name. Bridge Kovar’s survival has been one of the possible caravans pass options. By examining the original geographical texts from the early centuries of Islam, as well as examining the current bridge structure, one can infer that this city had a very important role in establishing and sustaining trade from the Sassanid period to the Islamic period. Also, the durability and survival of this city has historically been dependent on water obtained from the Bahman Dam through specific facilities. Accordingly, in the present study, it has been attempted to explain how and these facilities function, as well as, in addition to Paul Kuvar’s ontology of construction technique and its application and performance, based on existing written sources, the landscape of the area has been reviewed and finally Evaluate the results, report the proposed chronology. This study attempts to answer the following questions: How is the main source of water in the city of Kuvar evaluated and what is the mechanism of water transfer to the city of Kuvar? How is the role of Kuvar city as a Midways on the route to the Persian Gulf and Siraf evaluated and the main evidence that what was the significance of the historic bridge of Kuvar?
Keywords: Kuvar, Kuvar Bridge, Bahman Dam, Road, Persian Gulf.

Introduction
In the end of the Sassanid period, transit from the Silk Road had been restricted due to the Iranian and Byzantine wars, so the Persian Gulf had replaced this route and thereby continued trade links with the east and west of the empire. Undoubtedly, the main need of every city is a permanent source of water, so the location of cities is a function of the factors that are undoubtedly the among main one’s access to water. It is also one of the most important needs of governments in commercial, political, military and social communication in urban areas is the construction of bridges. Clearly, the existence of rivers, especially permanent waterways and valleys will be a major obstacle to these communications, on this basis, material evidence has remained to show that such buildings are prominent examples of the bard Borid Bridge, the Daughter Bridge and other ancient bridges from the Sassanid period. This has continued in the Islamic era with the construction of new structures, the restoration of old bridges. The element of commerce has been one of the important reasons to pay attention to these structures, In the Islamic era, a large volume of trade was carried out through the central and southern cities of Iran, including the Persian Gulf ports at the head of the Siraf port. Meanwhile, Fars province has played a vital role in this trade route due to its proximity to the Persian Gulf. Also, of other important factors in the creation and survival of the city have been access to other areas. Among these cities is Kuvar, the city has it long time a major Role of connection Shiraz to the Persian Gulf, and this city a few hundred yard away from the Qareq Aghaj river.

Research Finding
From the Sassanid to the Islamic periods, maritime trade, which was directly linked to the Persian Gulf, has been very important in the Iranian economy. Among the maritime trade gear were cities that facilitated Caravans access to the Persian Gulf. Sometimes in some geographical situations due to obstacles such as rivers, the caravan movement was dependent on the construction of bridges that made caravan movement possible. But the construction of the historic Kuvar Bridge in the Sassanid period has been eliminated the problem. The bridge, which a historical background in style and architecture, has been survived to this day despite extensive damage. The city needed a permanent source of water, which has done by building an avalanche and raising the water level and mounting water on the ground by avalanche installations. But due to surface effects, such as several hills that prevented water from moving, a Qanat were used to pass through the water and flow to the surface. This method has been observed in other parts of Iran such as Arrajan. Due to the size of the kuvar city, it was necessary manage the water that flowed into the city. In the Islamic period a village called Khaffr was established to manage the water that flowed into the Kuvar, which was responsible for managing and distributing the required water to the Kuvar. This article also deals with the etymology of the name of the city, Ardeshir Babakan report is the first text to come up the name of this the city, in this book the city is called Guar, and in the Islamic era the name of this city has evolved.

Conclusion
It has been said, that the city has long been regarded for its role and importance in the way it has been concerned, Bridge Kuvar and the Bahman dam and its associated subdivisions, since they were directly linked to the creation and survival of this city. Undoubtedly, the city of Kuvar built has been to communicate with the Persian Gulf. Since the water factor is one of the most important factors for the formation and survival of the city, undoubtedly, the avalanche and its associated structures have also been built since the foundation of the city. Concerning the dating of the Kuvar Bridge, according to the boulders cut at the base of the bridge can be said was originally built in the Sassanid period. As mentioned, that there was a village called Khaffr near the city of Kuvar which was responsible for water management in the Islamic era, which indicates the high water consumption due to the size and importance of the city, which also has been required special management.

Abstract
Tepe Betaki is one of the most known ancient area in Aleshtar and for the reason there were some studies about it from so yours ago. The primitive studies shows that there is cultural periods from prehistory periods to Islamic periods. In this connection to maintain of Tepe Betaki, the writer had mission to study to determine the limits of it. The surface analyzing was continued in this mound from 29 July to 11 August 2018. In the time, it was studied carefully and 17 trench 1/5×1/5 m were made in different directions during the surface analyzing. The purpose was to record the ancient cultural findings in different areas. For this purpose, the mound was divided to 5 zones North, West, South, east and central and each was studied carefully. The purpose was to separate different zones to record cultural findings and to recognize the different cultural material of the mound. Therefore, the analyzing of bronze era existence in Tepe Betaki and the mound studying to show the spreading cultural material of different zones are the samples of Bronze era were collected and studies typologically. These samples were selected from 330 samples. It means that only 22 tile samples were about Bronze era. Therefore, in spite of wide extent of Tape Betaki and enrichment of culture in the next period the Bronze era is not considerable. 
Keywords: Aleshtar, Tepe Betaki, Bronze Era, Ceramic, Typology.

Introdution
One of the main challenges of archaeology researchers always was to description of chronology study is chronology that exist during working in decades. Therefore, in fact the study which was done in this area was a part of a great archaeological project including trench in order to determine of limits. During the actions trench of the mound limitation 17 trench 1/5×1/5 m around the mound was performed. After studies and excavations, 330 tile samples were obtained which only 22 samples were about Bronze era. The collected tiles were categorized typologically. Therefore, the studying of Tepe Betaki in Bronze era in different phases of Godin III and spreading of Bronze era cultural material in different parts of the mound are the 3 km distance between Tepe Betaki and Tepe Gariran (the biggest mound in Aleshtar plain). The central position and surrounding theory is also studies.
In these areas, the archeological studies have been done in past decades. There were less archeological studies in Aleshtar in proportion to Nahavand and Kangavar. Orel Stine studies areas the first archaeological studies in this area (Stine, 1940). Davoud Davoudi had done survey and documentary is Aleshtar archaeological site in two periods in 2006 and 2007 (Davoudi, 2006, 2007). Clare Gaff archaeological excavations in Babajan Tepe are as the first in Norabad (Goff, 1969). He did some wide surveys in Lorestan in addition excavation in Babajan Tepe (Goff, 1971). Abbass Motarjem was excavation in autumn 2017 in Tepe Gariran. 

Geography and Topography of Tepe Betaki
Aleshtar is one of the 11 cities in Lorestan province which is located in North of Lorestan province. The central part includes wide plain called Aleshtar plain. Tepe Betaki is located in North – West of the plain and near a village by point is highest 1603 meter above sea level. The topography of the mound related to the mound high and around lands in North has more gradient and less in other sides. Tepe Betaki was recorded as national monument of Iran in 2 October 2011 (2011/10/2). 

Surface Studies Finding
Before, trenching group did a survey analyzing. It is important in some aspects:
- The study of cultural material dense in different parts of the mound.
- The study of cultural material in Tepe Betaki.
For this purpose, trenching group was divided into 5 groups. They began to study in 5 parts. The 5 parts were: South, East, North, West and center of this mound.

Bronze Era File Findings of Tepe Betaki
As said, 17 trench were done to determine the Tepe Betaki. From these trenches 16 trenches were about bronze era. The findings were obtained respectively one sample of T.T.A trench, one sample of T.T.D trench, two samples of T.T.F trench, five samples of T.T.G trench, five samples of T.T.G1, one sample of T.T.G2 and one sample of T.T.H. Besides tile findings of trench, six samples also were obtained in surface studying. Therefore, from excavated 17 trench and analyzing of 22 samples from survey were about Bronze era.

Conclusion
All the ceramic findings of surface analyzing and excavations were 330 samples which only 22 samples related to Bronze era. Bronze era ceramics of Tepe Betaki show that phases III:4 and III:2 are available. Meanwhile these two phases tiles are a few. In the period in Aleshtar plain, Tepe Gariran with 3 km distance from Tepe Betaki has 13 hectares and all kinds of Bronze era ceramics. Therefore, it seems that Tepe Betaki in Bronze era was surrounding settlement rather than Tepe Gariran. The surface monuments show cultural periods pre-history, history and Islamic periods. 41 samples of typology materials in surface analyzing in Tepe Betaki, 18 samples were related to pre-history period, 11 samples to Islamic and 6 samples to Bronze and 5 samples to Chalcolithic periods. Therefore, most of typology materials were related to history period and mostly Parthian period.

Abstract
The Caspian Sea surface has undergone many changes and fluctuations. As the sea level has changed, many postal land has fallen underwater or parts of shallow coastal waters have left the water. In the past ten years, due to changes in the surface water of the Caspian Sea and the drop in water, a number of historic ships have been revealed. Identifying several wooden logs on the banks of Talesh, Rudsar, Neka and the Gulf of Gorgan will provide valuable information on the structure of the Caspian Sea historical ships and shipping. In this paper, which is based on field research and library study, Introducing historic ships that have emerged due to sea-level changes, the lack of older prototypes in this closed sea-due to the absence of monsoon winds, irregular wave movements, the absence of neighboring civilizations, And, consequently, the absence of maritime business routes, the progressive and sequential return of seawater and other factors will be studied. This wood is an imported product and now it comes from Russia to Iran. The oil found in the wood chips seems to have the stability of wood in the presence of water. The drilling of the lower parts of the ship showed that the body of the ship was saturated with water and its texture was sponge-shaped. The enclosure of the Neka coastal shores is made from wood-framed wood of the needle leaf trees, and puts outer-wall nails to vertical beams and internal walls.
Keywords: Changes in Sea Level, Caspian Sea, Historic Ships, Sunken Ship.

Introduction
With the change in the sea level of the Caspian Sea, during recent decades, a number of historic ships have escaped from the water and exposed to the air. The most important historical ships identified on the southern shores of the Caspian Sea are as follows: 
Ships of Talesh: About 500 meters from the old site of the Gorganroud Harbor, the remains of the ship’s broken ship are located at the seafront, most likely in relation to the port of Gorganroud. The length of the ship’s remaining length is approximately 20 meters and the width is about 5 meters. It looks like the ship is slightly left-hanging between the sand and sand beach and perpendicular to the sea. Most of the lower parts of the ship seem to be healthy, but the front of the ship is likely to be broken and slightly angled toward the body. Because of the withdrawal of seawater, the ship has been evacuated and exposed to open air and sea waves, which has put the structure in an emergency. Of course, the damage to this ship is not limited to environmental damage and damages caused especially to severe burns in the anterior part of the ship due to deliberate fire. The upper part of the ship and its deck have generally disappeared, and what is seen on the sandy beach and on the edge of the water is its lower part, most of which are buried beneath the beach. The exact study of this structure requires archaeological exploration and the liberation of the ship from the subsoil. The tangible volatility of the sea level in the coastal strip of the Mazandaran Sea and its changes on the banks of the city of Talesh have caused the ship to come out of the water. The wood used in the construction of this Siberian tree will help to identify the site of the ship.

Caspian Sea Historic Ships
Chamkhaleh Historical Ship: in the vicinity of the village of Lall-e-Rood and about 7 km north of Rudsar, the functions of the Langrood city in the east of Gilan province have been revealed by the remnants of a wooden ship due to climatic changes, including changes in the surface of the Caspian Sea and the flooding of the river.  The ship is located at a short distance from the sea and in the estuary of the Langrood River, standing in a northern direction. The ship, which was buried under the coastal waters, was revealed by the outbreak of the Langrood River. The bulk of this ship is still buried under the coastal spit, and only part of its nose is visible near the river’s water. Considering the size and size of the observable, it is possible to consider the length of the ship’s historic ship, about 30. Neka Historical ship: An archery ship on the coast of Mazandaran, which has been explored in recent years, is located in the village of Zagmarz and approximately one kilometer southwest of the Miankaleh Inland. The ship is 26 meters long and 6 to 7.5 meters wide, perpendicular to the coastline. The upper surface or deck of the ship, the shelter or the deck wall and a large part of the sailing mast have been lost over time due to the presence of sea waves and only its lower spaces are left. The ship is located in the direction of the northeast, southwest, and is located on the mainstream wind of the Mazandaran Sea. The wood used in the ship is from the family of long-tailed leafy trees and is the closest family to the wood. 

Conclusion
Based on archaeological studies and historical sources, shipping and navigation in the Mazandaran Sea began in the Safavid period, and before this period, there is no evidence of historical ships and commercial ports. The main reason for the lack of shipping and maritime business in the Caspian Sea prior to the Safavid period was the absence of monsoon winds for sailing ships and irregular winds and waves in it. The fluctuations in the level of the sea level in Mazandaran over time are due to other reasons for the lack of historical ports and shipping on this sea. The advancement and rebounding of the surface of the Caspian Sea may drowning many potential ports under water or buried under the sandy beaches that are nowadays far from the coast; on the other hand, these fluctuations are filled the canals and beaches. 

Abstract
The first spark of music in the human mind began with hearing the sound of nature, and it has probably been accompanied by dancing and singing. These acts have been performed at ceremonies, prayers, and perhaps celebrations of the product’s gathering, gradually uniforming they have been creating rhythmic movements, multiplication, and rhythm. They could by playing hand together and body, knocking two sticks together and hitting two hollow logs and any other object get the sound out. They came slowly to assonance and believed that these sounds had magical effects. There are also legends about the emergence of music in different ethnic groups that have been quoted for many years. Among the Lear instrument mad white Apollo casings or back turtle bowls cut by Hemes or the goddess of the sun, and even the Emperor’s chains command, Hakong T is to invent music and imitate the sound of birds with the instrument music. The focus of this research is necked incense, whose works can be found in the art of ancient Ilam and Mesopotamia. The main purpose of this study also focuses on the study and analysis musical instrumentation, its types and methods of construction, and has attempted to explain the necked incense in a field method and library. Also about the turtle found in archaeological excavation, especially in the tombs, and the main trunk of these instruments, in this research has been studied. Two types of necked incense instruments including Melodic structure and Harmonic necked incense were investigated from the author’s point of view, that these instrument are show the evolving music instruments in the present age. The instruments of Tar, Setar, Tanbour, and other instruments are music multiplicative.
Keywords: Ilam Music, Necked Incense, Turtle of Tortoise, Wooden Bowl.

Introduction
With the advent of urbanization in the fourth millennium BC and the arrival of a number of people in specialized human development work, a great change took place and the basis of society was divided into various sectors most importantly the creation of a house of worship and a state base and above all market creation has continued to his day other division in human social, political and economic an affairs have been made more detailed. During that time some people started to build instrument and music in general, which may be said to be one of the earliest countries to enter the urban period and probably the oldest instruments in Iran. The instrument that we can say was the beeps. The earliest specimen of this type of beep is from the millennium BC and was found in the Shahdad Hill on the Lut plain in Eastern Kerman. Among the discovered objects is a beep 29 mm long with a span of 63 mm and a pipe span of 10 mm. In the middle of the tube of this beep, there is a human head on both sides of the tube, which can be said to be a combination of the human larynx and lip. The second finding of the beep species is in Hesar Damghan hill. The enclosure has three floors and at the newest level has three layers A, B, C, and three beep damaged by ground pressure, all three of which were taken from the third layer. They are made of the silver. This layer of IIIC of history have about 1800 to 2200 BC.

Research Finding
One of the boxes is keeping in Tehran and two others at the university of Philadelphia in addition to these three  beep another pottery  beep was found in the revision drilling in year 1976. The diameter of the blower tube is 32 mm and its height is 430 mm and its span is about 200 mm. In Chaghamish his seal impression has been found which depicts a group dating back to the fourth millennium BC. In this scene, in addition to role of harpist, there is a singer an instrument skin player and a person perform. In Iran, there are various forms of snick instruments such as timpani, Senj double drums, large drums, castanets and other musical instruments that we see through the seal impression and figurines. The most important findings is a type of lute instrument to be more precise, the mother of all instruments including: Tar, Setar, Doutar, Tanbour, and similar instruments. The Lut plays an important role in shaping them, it needs to be examined more closely in Archaeological excavations. Two types of necked incense instruments including Melodic structure and Harmonic necked incense were investigated from the author’s point of view, that these instrument are show the evolving music instruments in the present age. The instruments of Tar, Setar, Tanbour, and other instruments are music multiplicative.

Conclusion 
The traces of musical instruments in ancient Iran are unique to the small muddy sculptures statue of Luteinst musicians. Befor Achaemenid period, in the third and second millenniums BC, traces of wind instruments called beeps have been found in Shahdad and hill Hesar. But wood_ made musical instruments such as the turtle neck lute, which were usually resource bowls or baxes. These are used to break down wood or organic matter such as the intestines as warp, curtains, and Dastgah. But Eichmann has reported that a cauliflower has been found in healthy Egypt and respected masters of archaeology say that the organic matter is likely to survive in very wet or dry environments, and the Egyptian specimen may be in this condition. Two types of necked incense instruments including Melodic structure and Harmonic necked incense were investigated from the author’s point of view, that these instrument are show the evolving music instruments in the present age.  

Abstract
In architecture a native of Iran is one of the principles of designing urban spaces people heir. Iranian architect has always been the human needs and demands into consideration. The architect of the past based on the desired climate space architecture in order to provide the human comfort design. Climatic conditions, along with other environmental factors, including the most important factors in the formation of the urban tissue. According to the characteristics of the architecture of the hot and dry climate of the burning sun of Iran and high thermal grade set, one of the last in the direction of the architect prolegomena ghosting in designed and produced Gzarha, awning. The awning are enable in the alley and Gzarha, which is part of Ford’s baths and climatic elements as well as the optimum biological requirements, in addition to making in retrofitting buildings of both sides of the Gzarha role. Unfortunately, nowadays in Iranian architecture, awning, to have been forgotten and the urban tissue of the awning or totally destroyed or have been to have been abandoned. With the recognition and evaluation of the architectural had knowledge of the geometry of the design knowledge can be structural elements of the ‘ climate-and once again, and also can be found in contemporary design and the urban tissue of the upcoming hot and dry climate of these special elements of the template. Between the geometry and the architecture of Yazd Fahadan quarter awnings body, and there is significant direct relationship. Based on the literature reviewed thus far, little research on the subject of the typology of Iranian awning and reviews of this climatic elements-from the perspective of structural knowledge of geometry.
Keywords: Indigenous Architecture of Iran, Geometry and Proportions, Consecutive Awning, the Yazd Fahadan Quarter.

Introduction
More research on the concept of the awning as the climatic element, check its stability in the amount of Gzarha and typology in the cities of Isfahan, Yazd, Kermanshah and because Shushtar. This document first geometric features of the architecture of the neighborhood, Yazd Fahadan awnings case is assessed. In the present study research methodology in terms of the objective applied-and in terms of the fundamental, method, method of inductive reasoning. The data field of a library, and on the left-hand tyranny. As well as the method of the analysis of qualitative data, quantitative methods-. After the library studies about the awning and its species, the hot and dry climate, awning, city of Yazd. Given that the neighborhood is one of the valuable historical neighborhoods Fahadan city of Yazd and had the original on the awning has chosen this neighborhood Neighborhood and 25 examples of this continuous awnings precious historic texture of the randomly selected, shooting data and to invoke the method of inductive analysis of the entire case apart. In this study, 256 Motalah sample random item selection and expressed. Between the geometry and the architecture of Yazd Fahadan quarter awnings body, and there is significant direct relationship. Based on the literature reviewed thus far, little research on the subject of the typology of Iranian awning and reviews of this climatic elements-from the perspective of structural knowledge of geometry.

Research Findings
This article focuses on the impact it has had on the geometry and shape of the neighborhood architectural desired awning case analysis. This research was completed in line with the previous research and reviews of historical proportions awning Fahadan quarter of Yazd. Based on the review conducted, became apparent between the geometry as a factor influencing the Fahadan quarter of Yazd awning architecture machines. The awning case study in terms of the geometry of the plan and the facade proportions and comply with the Iranian. The planning rectangular Fahadan quarter of Yazd awning is complete to the ratio of 1.73 and the ratio of that follow. This was evident in the analysis of the maximum number of the awning case reviews in terms of placement location in the middle of the pass. The largest number of covering arch with arch, and most of these Mazh awning in the direction North-South geographic have been drawn. As mentioned, an important element of the native architecture awning and climate are considered that Iran nowadays knowledge making it to oblivion. With this special climatic elements can be revived by the ancient native patterns as well as in the construction of the urban tissue and forming of new concepts that are of interest. In this study, the historical neighborhood of awning plan and valuable knowledge from the perspective of Yazd Sahadan geometry and rectangular proportions of Persia were analyzed. In future research can be found other than to work in Iran and other Persian architecture in the structure and architecture of the climatic elements-structural (awning) about the investigation. This test also can be used for other cities and places of historical texture of Yazd.

Conclusion
As mentioned, an important element of the native architecture awning and climate are considered that Iran nowadays knowledge making it to oblivion. With this special climatic elements can be revived by the ancient native patterns as well as in the construction of the urban tissue and forming of new concepts that are of interest. In this study, the historical neighborhood of awning plan and valuable knowledge from the perspective of Yazd Sahadan geometry and rectangular proportions of Persia were analyzed. In future research can be found other than to work in Iran and other Persian architecture in the structure and architecture of the climatic elements-structural (awning) about the investigation. This test also can be used for other cities and places of historical texture of Yazd.

Abstract
Hamadan great mosque, the oldest mosque in the old urban context, is located between the city market and the central square. This prominent mosque belongs to the early Islamic centuries, which has been rebuilt during various periods, especially the Safavid and Qajar periods, but isn’t remains of the ancient structure of the mosque, and the current structure belongs to the Qajar period. Despite the general features of this work, the shape of the mosque building has a great impact on bringing the building in line with the climate. Now the question arises to what extent has the region’s climate been able to influence the process of mosque formation?  And to what extent does climate modeling ensure the durability of the mosque’s structure? Based on the above questions, the purpose of the present study is to introduce and analyze architecture of great mosque by using descriptive-analytical method and relying on study resources and field studies to provide answers to the questions raised. The result of such a study can be seen in influencing the architectural features of the mosque from the region’s climate; this work, in addition to its religious function, the location of the mosque and its location along the main market of the city, has led the mosque to play an important role. According to the architectural structure of the mosque, the major developments in the building are related to the Qajar and contemporary periods; the structure of the columns of the nave of the mosque, It has a dome, minaret and sangab, and is the only example of a dome mosque of historical value in the urban context of Hamadan.
Keyword: Hamedan, Great Mosque, Architecture, Climate.

Introduction
Hamadan great mosque has always been one of the most important historical, architectural and archeological studies in Hamadan. About change, development and restoration carried out in the Mosque of historical, geographical and social remained critical of the Islamic period. Which can sometimes be compared with evidence in the current structure of the mosque, and sometimes little archaeological evidence suggests that parts of the building existed in the past. As it comes from historical sources, the core of the structure of the Hamadan mosque dates back to the Early Islamic period, which has been repaired and added to over the course of the following centuries (Hojbari, 2006). In addition to the religious function, the location of the mosque and its location along the main market of the city have led the great to play an important role in shaping the design and layout of the city (Mehriar et al., 1999: 54). Due to the architectural structure of the mosque, the major developments in the building are related to the Qajar and contemporary periods. The structure of the mosque is subordinate to the pillar-shaped hall, has a dome, a goldsmith and a Sangab, and is the only example of a dome mosque in the urban context of Hamadan. Structural features and climatic principles governing the structure of the mosque led the author to fully describe the architectural structure of the mosque of Hamedan in a descriptive-analytical way.  Undoubtedly, this method of analysis can greatly eliminate the gaps in the study of structural, decorative, and climate change in the structure of the mosque. Based on the aforementioned approach and based on geographical, historical and architectural texts, a comprehensive and complete analysis of the mosque’s location and its architectural and structural analysis is obtained. Therefore, in this study raised the following questions: What extent the climate of the region has been able to influence the process of mosque formation? And to what extent does climate modeling ensure the durability of the mosque’s structure? 
 
Great Mosque
The square-rectangular square-plan mosque is incomplete, with a rectangular courtyard spanning three porches in the South, East and North, several bedrooms, a brick-covered dome, a dome, six minarets and several chambers.  The building under consideration from the perspective of construction and architecture from several different and interrelated parts such: Entrance, Vestibule, Courtyard, Ivan, Chambers, and the hall is formed around. The main entrance of the mosque has been West and market in the past, but with the creation of new buildings and a new entrance on the North side of “Ekbatan Street” the main entrance has been moved to this direction. The old mosque entrance to the market can be accessed through a vestibule to various parts of the mosque. Another entrance to the mosque is on the Southeast side of the market through a corridor. The courtyard of the mosque has a large pond in the middle, porches, chambers and halls around, the courtyard is about 2 meters below the adjacent alleys. The South porch of the courtyard has two shallow arches that have two short and thick minarets on top of this porch. Behind the porch is the dome space of the mosque, which, along with the porch, forms the core of the old mosque, with an altar built on the South side. The dome is of two-shell type and is of architectural suitability; the dome leads to the columned bed sheets through the side porches; on the West side of the dome is a mosque with proportional stone columns that access the courtyard and dome through the entrances. On the West side of the courtyard and adjacent to the aforementioned nightclub is another columned hall, opposite the South porch and on the other side of the porch aisle and bed sheets in a new way with flat cover built on top of the middle porch of the two minarets, which is an extension of the recent period, the porch overlooking the new mosque on Ekbatan Street also has two minarets (Molazadeh and Mohammadi, 2000: 243-244).  

Conclusion
Designers of Hamedan great Mosque have applied techniques to adapt to the climatic conditions of the cold foothills, a major problem in these areas is winter cold. Therefore preventing heat dissipation in different parts of the building is a top priority for designers (Tahebaz and Jalilian, 2011: 63). The plan of the mosque is a square-rectangular mosque that is integrated with the surrounding area and the mosque building is adjacent to the adjacent buildings, which also helps maintain the heat inside the mosque as well as the adjacent buildings (Pourshabanian, 1397: 67). The mosque has a central courtyard with a low infrastructure compared to the entire mosque. Part of the body of the mosque is submerged in the ground due to the lower level of its adjacent street texture, leading to greater vulnerability of various parts of the building to moisture(Ibid: 47-48). And besides the beauty of the building materials, it is also damaged (Ibrahimzadeh, 2015, 2: 796).  

Abstract
The Shahnameh of Madhi was painted by ottoman artists in the first half of the seventeenth century. Introducing this book and Studying the paintings is important because ottoman paintings has existed in the history of Islamic art, especially in Iran, because there is a close connection between the Safavi and Ottoman governments that can clarify many issues around the two countries and a historical analysis of the historical name and identity of one of the prestigious manuscripts of the Shahnameh is performed in a language other than Persian abroad. This book is writing in Arabic and in Turkish in Istanbul. The Turkish translation book is one of the Iranian texts with a worldwide reputation. The purpose of this study was to identify and understand the art of the Ottoman period and the impact of Iranian culture and literature on that art. Is referred to the Uppala library repository for reading and researching this book. The library has registered this book as a miniature Shahnameh 29. Original version of the book, for information on the paintings of this book, reference was made to Islamic art books, especially Ottoman painting, especially to the second Ottoman whose writing was commissioned by him.
Keywords: Ferdowsi Shahnameh, Madhi Shahnameh, 29 Miniatures Shahnameh, Ottoman Miniature Style, Ottoman Art.

Introduction
Shahnameh is one of the greatest literary and historical achievements of Iranians. This book hasn’t only been respected by the Iranian kings, but also by the kings of neighboring countries, who has translated and compiled copies of the Shahnameh of the examples writes outside of Iran cultural and political borders is a Shahnameh kept in the library of Uppsala University is Sweden and ordered by Sultan Ottoman by a person named Madhi who was the story teller of Ottoman kings. Translated into Turkish prose in the years 1024, 1028 AH, this book has been writed the middle of March 1620 AD to Nastaliq script The purpose of the study of these paintings, in general, was first to identify the influence of literature and the art of the Ottoman on its neighbors, and then to identify the effects that these neighbors, had on its drawing, as well as to analyze the painting and research on the original name and identify of this version varies and methods of painting the subject of Ottoman are and their approach to were quite different a grateful Iranian painting at the times covered in colorful flowers and beautiful tree and decorative springs emphasizes the scene. This isn’t the as vast plain or solitary hills the background colors in Ottoman painting are mild and neutral and details such as rivers, bridges, castles, and trees were portrayed only if they were important to the narrator. This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows: 
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD). 

Madhi Shahnameh 
This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows:
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD). 

Conclusion
The Persian kings created conditions at the court led artists to create beautiful works. But the spirit of the Ottoman court has been different due to the struggle for decolonization. In continuation, the Ottomans were began a wide range of activities in the field of art. The Ottoman artist has been recorded history and geography with realistic visuals of the surroundings such as the clothing of the people and the faces of the rulers. This artist hasn’t been looking for mysticism or religion. Probably for this is it simply blends the two opposing ideas of East and West. In the Ottoman painting, there are exaggerated views of Eastern painting with realistic elements. Elements like perspective that have been taken in account in the drawing of buildings. In some pictures the western face is also visible in the clothes folds. The aim of the Ottoman artist is to express events. The Ottoman artist clearly depicts the culmination of the narrative. In every book, he depicts the king in a palace of glory. These points are also clearly seen in the Madhi Shahnameh (29 miniatures). This Shahnameh was created during the period when the Turkish language tried to dominate. This translation is just like the pictures, is the duplicate direct and devoid of decorating, and expressing the sincerity of the word. The translation of this Shahnameh as mentioned, by a person named “Madhi” has done in the year 1027 AH.

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

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

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

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

Abstract
The coffeehouse painting, a school of oil color narrative painting, was formed in the late Qajar government during the constitution movement by untrained artists in coffeehouses with martial, artistic and religious themes. With the suppression of people’s liberty by such tyrannical government, the constitution revolution led to people’s movement in coffee houses where was made as one of the most important societies in the Qajar era playing a major role in shaping this movement. In the following article, it has been attempted to establish the coffee house as an institution with social and cultural functions in order to strengthen the national and religious spirit of the individuals. The research methodology includes library and field study based on the research of coffeehouse painting, the constitution revolution, and the study of Qajar coffeehouse atmospheres. After having analyzed and adapted the data, the following results are presented: the process of coffeehouse painting in coffee houses during the constitution Revolution was an anti-authoritarian and a critical movement against the Qajar government. Also, the content of the discourse in coffeehouses during the noted regime affected the themes of the paintings with a significant influence on the constitution revolution.
Keywords: Coffee House Painting, Coffee House, Qajar Autocracy, Constitution.   

Introdction
Due to the need and demand of people and the respect for their beliefs, coffeehouse painting is a kind of oil color narrative painting that was emerged by untrained artists with martial, religious, and artistic themes during the constitution movement, based on the traditions of folk and religious art. Although the basis for this painting was an ancient tradition of storytelling and sorrow expressing in Iran, conditions for the growth of this popular art in coffee houses were provided during the Qajar era, and some painters in this school came up with a procedure that was beyond the domain of that time art (Saif, 2011). During this period (Nasser al-Din Shah’s long reign from 1848 to 1896 B.C, 1264-1313 A.H), with the emergence of foreign wars and the internal problems, the internal legitimacy crisis appeared by which influential religious and social heavals were created. This circumstance expresses the transformation of social forces and anti-authoritarian movements against the government of the time and the constitution revolution, which was the foundation of these radical changes, created profound and great social transformations that remarkably affected the strengthening of public institutions. Therefore, the coffeehouse, which was more important and long-lasting than the other institutions, became a place for attending these communities and as a strong and active social institution, played a very significant role in appearing public movement and had an undeniable effect on coffeehouse painting. With the assumption that the coffeehouses were the main factor of shaping the coffeehouse painting during the constitutional period regarding the social governing conditions, the influence of this public institution in its era on coffeehouse painting is reviewed, considering the atmosphere of coffeehouses during the constitution revolution and the Qajar dynasty.
 
The Influence of Constitution on Art and Culture Changes
Coffeehouse painting is a style of Iranian painting that reached its peak in the late Qajar era simultaneous with the constitution movement (Saif, 2011).
In the trend of the formation of constitution movement and the general awakening of the people and their awareness of the condition in the country, all the urban classes participated in the revolution, and there was not even one social class entered the scene against the revolution. Accordingly, a coalition of different groups of cities and various classes participated in the movement of constitution, and such a revolution was a public, democratic, mass and urban movement, instead of a bourgeoisie one (Yazdkhasti & Esmaili, 2008: 108). 
In the field of culture and art, new conditions came to the fore. The Iranian people were involved in a new world-wide view by observing the new situation and suppressing the liberationist movements while facing their state and religious leaders who were involved into the battle. The Persians were witnessing new colonial intrigues on the one hand and the pressures of domestic tyranny every day on the other hand. Those who were not hopeful for the improvement and the destruction of seven-headed colonial and tyrannical dragons by observing the chaos and hypocrites in their real life were subconsciously attracted to the mythical and historical heroes and revived them (Saif, 2011). The constitution revolution, if not the turning point, was a breakthrough in Iran’s social transformation. It deeply changed Iran’s social and intellectual history. In this regard, two important issues should be mentioned:
1. In such a movement, people dared to present their social rights for the first time. It is very important for the people to have the right to think and to comment rightfully.
2. The society of Iran at that time focused on the main obstacle of the community improvement, and that was the terrible domination of despotism. In the view of Constitutionalists, the autocracy dried out sapling of thought and human growth, disclosed the liberation of the thought and the act of humans. This was the center of attention of the warriors and intellectuals (Nazari, 2007: 33).

Conclusion
In the definitions given to the coffee house, it was a place where attention was paid to the political, social and cultural considerations of the Qajar dynasties, and the presence of painters in this space, due to its simultaneity with the constitution movement, is a reason for their reconciliation with the atmosphere of the coffeehouse against the tyranny of the government. Just as the political revolutions originate from the lower and middle classes of the society and are based on the structure of the people’s organization, such as the workers and religious revolutions that rise against the autocracy and insurrection, the coffeehouse painting is formed from the lower layers of the society, and painters, who generally had a career other than painting, have shown a kind of intellectual awakening in their work, without being trained in a particular school.

Abstract
The western Lut desert is well-known in the archaeology of Southwest Asia because of the existence of an early urban center (Shahdad) that dates back to the 3rd millennium BC. The site of Shahdad, as one of the major urban centers of the Bronze Age of Southeastern Iran, plays an important role in the Near Eastern archaeological studies. After half a century of Shahdad excavations, it is time to have a new look at Shahdad and its objects in light of our present knowledge from the archeology of southeast Iran. Here is an assessment of Shahdad data obtained from Shahdad excavations such as seals, metal and clay objects. In another article, we discussed the rest of finds of Shahdad. In this study we tried to present a revised chronology for Shahdad. This article also provides information on the status of the regional and trans-regional cultural interactions of Shahdad.
Keywords: Shahdad, Chronology, Metal Objects, Seals, Cultural Interactions.

Introduction
The site of Shahdad is located at the base of an alluvial fan where it was in antiquity surrounded by the Shahdad River and a number of streams flowing east from their origin in the western mountains. In 1968, during a general geographical reconnaissance of the Lut depression, the Early Bronze Age site of Shahdad was identified. Excavations lead by Ali Hakemi of the Archaeological Service of Iran began in the following year and continued until 1978. The work concentered on a necropolis in which 383 graves were cleared including many with spectacular grave goods, including impressive human statuettes, elaborate metal objects such as a bronze standard, numerous stone and ceramic containers and ornamental finds. Hakemi also did some excavations in the east of the site, Operation D, which he identified as an industrial area of the urban center of Shahdad. Overall, excavations in necropolis and industrial area provided evidence for local craft activities and cross-regional contact. This article reevaluates the results of Shahdad excavations conducted by Hakemi.

Chronology, Seals, Metal and Clay Objects
The comparative study of the metal artifacts of Shahdad with those of the sites of Southwestern Asia revealed some results. First, the interactions of Shahdad with long-distance areas such as Indus valley, Central Asia, East, West and southwest of Iran were identified, then the evidence of the existence of a very homogenous style in metal objects in a wide geographical area was revealed and third, Shahdad was a metal production center with its own characteristics. Due to the comparative chronology, Shahdad metal artifacts date back from the mid third millennium BC to the early second millennium BC.
According to the comparative studies, Shahdad seals share some similarities and characteristic with those of Early Bronze Age sites such as Shahr-e Sokhta, Jiroft, Tepe Yahya and the remote areas such as Central Asia and the Indo-Iranian borderlands. It was also revealed that most of Shahdad seals are not comparable with those found from other regions and they had their own local characteristics. One-cylinder seal was also uncovered from workshop D that is not yet published. Due to erosion, its motif is not very clear. It seems to represent a winged goddess.
Two unique artifacts were found from Shahdad; one human statues and one house models. In total, 24 human clay statues were discovered from Shahdad cemetery which had ritual functions. The clay house models were uncovered from 33 graves of the cemetery of Shahdad. They are cubical and 20-30 centimeters long. Some researchers take them as a 3D example of house motifs on chlorite vessels. Hakemi called them shrines.
The comparative analysis of the funerary goods reveals that the cemetery A of Shahdad dates to the mid third millennium BC and lasts until the late third millennium BC (2500-2000). This dating is based on the comparative studies on pottery, chlorite and marble vessels, bronze objects and seals of Shahdad with the contemporaneous areas of southeastern Iran and neighboring regions such as Shahr-i Sokhta, Jiroft, Bampur, Tepe Yahya, Mundigak, Umm-al Nar, Susa and the sites of the central Asia. Also, the dating of the second half of the third millennium BC was proposed for the artisans ‘area (area D), the residential areas excavated by Kaboli and, in general, the entire area of the city of Shahdad. In other words, the flourishing period of this city is the second half of the third millennium BC. Furthermore, the early 2nd millennium BC was proposed for the culture after the collapse of the urbanization of Shahdad (cemeteries B and C).

Conclusion
The revision of Shahdad data yielded some new information. Shahdad had been inhabited for a long period from the middle third millennium BC to the early second millennium BC and it was flourished during the second half of the third millennium BC. By studying cultural materials found from Shahdad area, one can find cultural interactions of Shahdad with other regions. The impact of Shahdad on Central Asia through the Bronze and chlorite materials can be easily observed. Despite all the cultural interactions with all these regions, the local and regional cultural traditions dominated in Shahdad and it has all the characteristics of a city with local cultural character in 3rd millennium BC. In general, the similarity and harmony between the cultural materials of Shahdad and different parts of the Southwest Asia, from Mesopotamia and Southwest Iran to Central Asia, the Indus valley and the south of the Persian Gulf indicate the existence of a cultural interaction sphere in the west of Asia during the early and middle Bronze Age.

Abstract
Tapeh Giyan in Western Iran, which is well known to the archaeological academia, is one of the most important prehistoric mounds in Central Zagros which has always been noticed by both Iranian and foreign archaeologists. The last season of field works at Tapeh Giyan was done under Ali Khaksar in the spring and summer of 2012 in order to determine its boundaries. For this purpose, 27 test pits were dug all over the mound, and in trench no. 12, a distinctive burial was discovered. Since none of the 122 graves excavated by the French expedition over the years 1931 and 1932 were documented, the excavation continued on this newfound grave; it was entitled no. 123. Its burial’s corpse’s position is a combination of bent and supine position, and its mouth is abnormally wide open; also, there are 19 funerary objects buried with it. In the present study, we are going to discuss the very unique burial position of this grave together with its historic and comparative aspects.
Keywords: Iran, Central Zagros, Tapeh Giyan, Burial, Bronze Age.

Introduction
Tapeh Giyan is a well-known archaeological site located 12 km from the west of Nahavand and 70 km from the south of Hamadan city, in the marginal parts of a small town with the same name. As it was mentioned above Tapeh Giyan is situated in the Northern peripheral parts of the town, and it meets residential units in the south. This mound is 350 m long and 150 m wide, and it is also 17 m higher than the surface of the adjacent lands. Lastly, the average height of the mound is 1600 m above the sea level. This archaeological site was excavated by French archaeologists (Contenau and Ghirshman) over the years 1931-1932 and its results were published in 1935. Giyan became less important till it was once again excavated in 27 test pits in 2012 in a research program for delimitating the mound and determining its boundaries. In the course of conducting this research program, the true area of the mound was determined. The mound spreads towards the south, east and also southeast, and it continues to the beds beneath streets and houses; this was confirmed by an in-situ burial located in the outer parts of mound’s boundaries dating back to the middle Bronze Age. The burial was to excavated and studied owing to the fact that the other 122 burials were not completely/fully documented by the French expedition. 

Discussion 
Tapeh Giyan is one of the most prominent archaeological sites in Central Zagros from which artifacts from 5th to 1st millennia have been reported in the course of archaeological excavations. This mound’s excavations could undoubtedly bridge the gap between non-scientific/unsystematic and scientific/systematic archaeological excavations in Iran. At that time, the system of stratigraphy (was not interpreted in the same way) it does now, and what was regarded really important during excavation was finding the origin of a particular pottery from the region of Giyan as well as the bronze artifacts of Lurestan. Considering the fact that most information about Tapeh Giyan has been yielded from its burials, it cannot be reliable enough from the stratigraphic point of view; however, it’s been about 50 years that the chronology covering mid-3rd millennium to 2nd millennium B.C.E. in western Iran has been established based on Tapeh Giyan’s excavations. 
Overall, 122 graves have been excavated in scattered spots of Tapeh Giyan at different depths during the previous excavations at Giyan. 119 graves in the depth of 9.5 m. from the mound’s surface, and 3 graves in depths of 11.5, 13 and 14; one in each, have been dug. These graves are in form of simple elliptical pits in the ground. The children’s skeletons have been buried in almost large jars. The corpse body and skeleton have been bent and it seems that this position pattern had not been obligatory. In the course of this season’s excavation, an accompanied burial was found in test pit number 12 in the depth of 200 cm from the mound surface. In this grave, 19 objects have also been found together with the skeleton; this assemblage of objects includes: 6 ceramic pots, 4 bronze pots, 1 bronze spear, 1 bone object, 2 bronze earrings, 2 bronze rings which were joint to the jaws, 1 metal ore-like blade, and 2 bronze rings on elbow bones. These objects which are considered funerary objects and grave gifts were mostly put above skeleton’s head and at the same level with the skeleton. As we know, the funerary objects represent both functional and ritual importance in burying traditions, and the funerary objects in this newfound grave constitute majorly potsherds. 
The notable point about this burial is the skeleton’s position pattern; this skeleton’s upper part along with its pelvis is both in a complete supine position, and its mouth is unnaturally open. Considering the existence of two bronze rings at the joint of the upper and the lower jaws (mandible and maxilla), we could conclude that some changes have been exerted on the primary status of the burial. The jaw bone and the teeth are completely sound except for the premolars which have traces of wearing on them; all this makes us presume that this person would do an activity with them when he had been alive. His legs are tucked in toward his stomach on the right side of his pelvis. The toes and ankles of his both legs were below the right side of pelvis, and the pelvis itself had been dislocated after burial due to external pressures. The bone of left leg’s femur was located on the pelvis, and the femur’s head had been situated on the right hand’s elbow as well. 

Conclusion
According to the paleoanthropological studies, this skeleton belongs to a hefty man aging 35- 40 years old. This skeleton, despite being almost well-preserved, bears some evidence which indicates a number of changes applied in the primary burial including lack of some hand and foot phalanges as well as the existence of the rings put on the two papillae on the lower jaw joint. It is highly likely that these rings have caused the mouth to remain open, which could imply sort of burial tradition. According to Ghrishman’s excavations in 1933 and 1934 in the Tapeh Giyan, the earrings have been among the funerary objects of men. In addition, the rings couldn’t be earrings in that in addition to the rings, there are two earrings in the grave. Because of the abundant muscles and vessels existed between upper and lower jaws, the rings could not be placed there in a living human. Therefore, the rings must have been placed in these places after death intentionally. Furthermore, the symmetrical position of the rings in the two papillae on the lower jaw joint, the impossibility of putting and removing the rings easily in this place and also having no evidence of the natural post- depositional processes, in other cases such as earrings, and the object place on the collar bone, are the reason for rejecting the natural post-depositional processes and accidental disturbance. Ceramic wares constitute the majority of the gifts. These wares are all morphologically typified as Giyan (IV, III) and Godin types which all date back to mid-third millennium through late- second millennium B.C.E. Existence of metal objects in this grave and studying the type of bronze alloy utilized in these objects’ structures shows that the method and technique used in producing these dishes and pots has been lost wax method, and beside that hammering has been applied in making the other metal objects. Finally, on the basis of the historic-comparative studies, and also with considering the chronology of prehistoric cultures at Tapeh Giyan, we can infer that this burial belongs to (middle) Bronze Age and dates back to a period of time from 2500 to 2000 B.C.E.

Abstract
Proto-Elamite writing system known as phase 2 in proto-writing system in the Iranian plateau. Unfortunately, in decipherment and interpretation of the Proto-Elamite texts, they are always Under the influence of their contemporaneous writing system, proto-cuneiform. With further study at this system, albeit they have a common ancestor, but we have to consider to its specific and unique properties like Ecological geography, subsistence system, social hierarchy and etc., that make this culture. 
Keywords: Proto-Elamite, Susa, Proto-Cuneiform, Tablet.

Introduction
During the early French excavations of Susa, more than 1600 texts and fragments were found and were recognized to be a very early writing system (Dyson, 1968), and called the Proto-Elamite writing system (Scheil, 1900). After a while, Proto-Elamite texts have been found at sites across Iran. Due to the nature of the available radiocarbon data, the Proto-Elamite tablets can only to be dated with confidence to around 3300-3000 BC (Dahl, 2014:24). Current archaeological research suggests that many important sites across Iran were abandoned around 2800 BC. However, there is no consensus of how we understand the data, and we can here only note that there exist no samples of writing from Iran between the disappearance of Proto-Elamite writing system around 2900 BC and the introduction of cuneiform around 2300-2200 BC (Ibid:26).
Since Proto-Elamite texts record administrative transactions within a cultural and economic setting which is not entirely unknown to us, and since the scribes who wrote the texts had inherited certain bookkeeping techniques the content-specific numerical system, from their western neighbours in Mesopotamia, we can decipher the content of many texts. In 1978-79, Joran Friberg proposed a partial decipherment of a group of texts based on the number of cereal products found in these texts, the use of specific numerical systems, and the resemblance to text from Mesopotamia. Building on the results of him Peter Damerow and Robert K. Englund, a few years later proposed several sign identifications. Years after them, Jacob Dhal, also proposed a partial decipherment of sheep and goat terminology in Proto-Elamite texts(Ibid).
Though all these decipherments are true for part of these texts, but they consist of the relationship with Mesopotamian writing systems. Following this article, we can find at least two texts that could not verify all their signs and numerical systems match with that decipherment, and they could suggest that we need to review the decipherments manner with more Accuracy and independent from Mesopotamian texts.

MDP31, 33 and MDP31, 27
Both are administrative Proto-Elamite clay tablets and first published by Roland De Mecquenem in 1949 and keep in Louvre Museum.
In the seventh entry of MDP31, 33 texts, there is a string of signs: M024+M004+M218+M263~b+M038~a, that shows the owner(s) name of products M263~a which count with 2 N01. Because of the fading, it also might be two strings of names, but the important thing is the sign M263~b appeared in the string of the names and its very common in other texts that one sign which represents as products or workers, used as a syllable of the names. The other important thing like MDP31, 27 is behind the tablet, where we had an entry that normally should be the total account, but the entry contains sign M243~g which does not appear in the rest of the text and counting with numerical signs: N39b+1N24+1N30C and this number is not equal with this tablet’s front text. So, we can offer that, this tablet is not about the accounting of few products and their final total, but it represented several products that they had been donated to the warehouse (maybe the elite warehouse) and the sign M243~g is an introduction for the module and its size which, each product counts with this. The other suggestion for this Inequality can be: the products accounting with another numerical system that could not be recognised for us by now. 
In MDP31,27, also, the above result could be true, but the other impressive difference in this text is the absences of the signs of owner(s) before product signs, which shows that all these products (grain and dairy which usually did not account together) belongs to the household or institute that came at header entry sign and that’s why the scriber didn’t need to separate them.

Conclusion
As a conclusion to sum up, the texts that were reviewed shows that hypothesis based on proto-cuneiform texts contemporary Proto-Elamite period which considered for the decipherment of these texts couldn’t be true and need more investigating.
In addition, the lake of material evidence from Proto-Elamite sites that showing their subsistence system and management system, hasty look and compare this period with its neighbors in Mesopotamia, Leads to more problems to its decipherment.
So, it’s worthy to consider in additional of Semantic structure, notice to the subsistence system, the economic and social hierarchy of the Proto-Elamite period.
So far, the assumption in the interpretation of Proto-Elamite texts has been revealed that everything on the tablet count should be accounted as their final total on the reverse the tablet exactly. But these two tablets presented that this rule might be a break and we might search on the new numerical system or consider them as text that contains products that offer to a warehouse, and this entrance wasn’t important as export from the warehouse or to have final total.

Abstract
Sassanian metalwork is one of the most influential ancient arts in Islamic art, especially metal working. in the art of this period, aesthetic dimensions including all kinds of mythical and symbolic concepts in the art of metallurgy were revealed. with the advent of Islam and the development of the art of metallurgy, in addition to the aesthetic dimensions, the technological aspects including methods and techniques of making and decorating in the art of the metalwork of the Islamic era and especially the metalwork of Mosul reflected and continued. in the metalwork school as one of the most prominent centers for the production of metal works in the Islamic world, various types of metallurgical works were produced and presented for various purposes. in these works, there are well-known traces of various types of motifs and concepts commonly found in the Sassanid Empire. therefore, the important question of this article is: what are the motifs and concepts used in the works of Mosul metal that is influenced by the art of Sassanian metallurgy? concepts such as hunting (riding or walking along with arrows or arrows or sword), two beasts on either side of the sacred tree or life, the sultan (motif) sitting on the bed with legs stretched out and servants in Two sides and a hand on a sword or in a quadrangle (And the crescent of the moon or cup of wine in hand), Bahram and Azadeh, bass, dance and music, plant motifs including the tree (cypress, pine), tangled and interconnected ivy (slavic), various flowers (lilies , Leafy leaves, multicolored flowers), animals and birds (lion, hog, bear, elephant, camel, ram and gooseberry), gazelle, deer, ram behind me, hawk (eagle), birds in front. Pearl strings (rows of round shapes). is the result of this research? This research is of fundamental type and research method is descriptive-analytical. the method of data collection is in the form of a library and search in museums.
Keywords: Sassanid, Seljuk, Metal Working, Khorasan, Mosul.

Introduction
During the observation of Iranian art and its civilization, it is possible to find a lesser period that was as impressive as the Sassanid art of the art of the contemporary civilizations and, more importantly, beyond itself. metalworking is one of the most prominent Sassanian arts that has made itself in the manufacture of all types of metal works, especially silverware. Artists of this age, using the techniques of making, decorating and reflecting many old Iranian beliefs and traditions in metal works, have preserved the identity, artistic values and experiences of the past, and transmitted and continued it to the Islamic era. the artistic work of the Islamic era and the geography of Iranian civilization, especially during the rule of the Seljuk Empire, expanded rapidly in the light of security and tranquility, and outstanding metallurgical schools appeared in the production of metal works such as Khorasan and Mosul. artists active in these two schools, while paying attention to and modeling the Sassanian art of art in technical and artistic dimensions, were able to with their innate innovations, ingenuity and creativity, as well as the attention to common religious beliefs in some sciences such as astronomy and astrology, the nature They created a new artistic dimension for this art. the mentioned schools, especially Khorasan, were very dynamic and thriving during the Seljuk period. In addition to the influence of Sassanid art, there were significant effects, especially in decorative styles, on visual effects and roles on the metal works of Mosul. in fact, Mosul was directly (neighboring the Sassanid-Madan capital - and included in the Sassanid civilization) and indirect (the modeling and influence of the metal art of Khorasan through the interactions and the migration of artists from Khorasan, especially the artists of Herat to Mosul in the direction Mongol invasion) has benefited from Sasanian art and this is evident in Mosul’s works. The purpose of this research is to identify the dimensions of the influence of the Sassanian metalwork art on Mosul’s metalwork, its introduction and documentation in order to protect and protect an important part of Iranian art and civilization. what are the motifs and concepts used in the Mosul metal works affected by the Sassanian metalwork art? the topics discussed in this article are as follows: The influence of the Sassanian metalwork art on the art of metalworking of the Islamic period, the impact of the Mosul metal school on the metalwork of Khorasan [Herat], and the impact on other metalworking schools, the general coordinates of the Sassanid metal works of Khorasan and Mosul, decorative practices and content (Patterns and roles mapped from Sassanid art and specific themes and roles of Mosul) Mosul metal works.

Type and method of research
This research is of fundamental type and research method is descriptive-analytical. What is the way to collect data in a museum-like book-house?

Conclusion
The most important result of this research is the introduction and reflection of the concepts and motifs of Sassanid metal works in the metal works of the Mosul metalwork school. Hence, the metalworkers have been instrumental in aesthetic and technological aspects of the methods of making, decorating and paying the art of Sassanid metalworkers through the metalwork school of Khorasan during the Seljuk period. In the aesthetic aspect, we can refer to a variety of themes and motifs commonly used in Sassanian Iranian art that also reflected Seljuk art. The themes of hunting, the two beasts on the two sides of the tree of life, the Sultan (ruler) sitting on the throne with legs, Mars and Azadeh on horseback, which, of course, has been used in camel works in place of horses, music, Dance, plant motifs including the tree (cypress, pine), various flowers such as flowering flowers, palm trees, etc.

Abstract
Using the column element provided the necessary context to extend the architecture spaces. According the archeology findings the north-west area of Iran, due to the existence of abundant wood and stone resources has been leading using this element. In view of the remaining of the ancient columned buildings, the importance of column in the past is understood. Also during the Islamic era the element play a key role in the buildings of this region. In the Ilkhanid and Safavid era due to the climatic and cultural reasons, stony and wooden columns were used with abundant decorations with capital and base plinth in some mosques of Azerbaijan. It seems that Asnagh and Jamalabad Mehrban mosques are the start point of columned architecture with laborious decoration that in the following they reach to peak beauty in the Safavid columned palaces. The present article, on one hand, studies the process of column evolution in this region and, on the other hand, looks for the origin of the architecture tradition of decorative columns used in the mosques and palaces of Safavid era such as Ali Ghapoo in Isfahan, Bonab and Maragheh. The data gathering method include field visits, recording and documenting the data that finally was analyzed using descriptive-analytical method and using library studies. 
Keywords: Architecture, Azerbaijan, Column, Asnagh Mosque, Jamalabad Mosque.

Introduction
Architecture of every nation is a reflection of its thought and economic situations. The climate circumstances, beside these factors, also play a role an essential role in the formation of architecture. Materials and decorations also have a close relationship with these factors. Using column in the great building has a long history. Column is designed mainly to support the heavy load of roof and generally plays the role of strength and beauty of a building. In the ancient hills such as Yaniq Tapeh probably to cover the ceiling of the circular rooms the central columns have been used. The columned halls of Hasanlloo (Dyson: 1989), Nooshijan (Stronach:1978), Goodin Tapeh (Young: 1969), Babajan (Goff: 1969), the Mad’s catacombs and Achaemendis palaces (Sarfaraz and Firoozmandi, 2006), Parthian and Sassanid temples (Herman, 2008) and palaces represent the use of column in the past architecture that shows the importance of column in the pre-Islamic architecture. In the Azerbaijan area due to the mountainous climatic conditions, the architecture features of Iranian mosques such as porch and central courtyard are less observed. And the central courtyard in this climate is converted in harem (shabestan) through covering the ceiling and using column (Omrani, 2007: 18).  
In the Ilkhanid and Timurid era the element of column was applied in stony form with moqarnas capitals in the mosques of Azerbaijan. By the beginning of Safavid era, we observe changing the material of column and capital from stone to wood in the mosques. In this period, the procedure of using column was maximized and in the following affected on the columns and capitals of Safavid palaces as well as the buildings of Qajar era, particularly in the bathrooms and mosques. This article studies the background and evolution of applying column and its function in the architecture of Azerbaijan and the role that played in the architecture of the columned palaces of Safavid era. 

Review and Analysis 
The main element in the columned buildings to construct column and ceiling coverage is wood. Probably one of the reasons that in the early centuries of Islam the normal form of dome and porch becomes the most common architecture method is lack of wooden resources in some regions (Ukan, 2002: 203). But in Azerbaijan due to the suitable environmental conditions for growth of trees and availability of them, the columned architecture continues its life more or less during the medieval Islamic centuries. Entering the Ilkhani era and transferring centrality to Azerbaijan, the old procedure of columned architecture appeared again and was represented in the local mosques of Asnagh and Jamalabad and then became the architecture pattern of mosques of Safavid era in Azerbaijan and columned palaces of this era. 
The most important feature of Asnagh and Jamalabad mosques is stony walls and columns and using timber to cover ceiling and also the decorations of capitals and columns that continues to exist in Safavid era in the columned mosques of Maragheh, Bonab and columned palaces of this era. The height of the stony columns of these mosques is consistent completely with the height tendency of Azeri style of Ilkhanid era. The stony columns of Mollarostam and Sheykhbaba mosques that are related to the Timurid era are the climax of the art of column carving. They are implemented by the same procedure of Asnagh and Jamalabad mosques with the difference that inscriptions have been made on the columns body. Given the remaining of these columns it seems that in the Timurid era, construction of columned buildings was in Ilkhanid method with the same materials. 
In Safavid era due to developing many buildings and acceleration in architecture, the stony columns were substituted by wooden columns with the same dimension and decorations in order to speed up the construction of buildings. In this era the high wooden columns were put on the stony plinths. The capitals were made from timber and moqarnases were decorated by inscription and painting. 
Among the most famous wooden-columned mosques of the early Safavid era affected by Ilkhanid and Timurid stony-columned mosques are: Mollarostam, sheykhbaba, Rihan, sheykhtaj, Zarir, Mehrabad, Zargaran, Ajabshir etc. among the most important decorative features of these mosques can refer to the moqarnas decorations and paintings on the plinths, high wooden narrow columns, stony plinths as well as the painted wooden ceilings that in the continuation of their evolution process effect on Safavid palaces of Isfahan including Chehel Sotoon and Ali Ghapoo palaces and other columned buildings of this era. 

Conclusion
Column in architecture is used mostly in the regions in which the resources of wood and stone are available sufficiently. Azerbaijan is among these regions. Existence of sufficient wood and stone resources has resulted in construction of columned mosques in this region of which most prominent examples are Asnagh and Jamalabad mosques. The columns of these mosques represent the peak of column carving in the Islamic era. How these mosques are constructed and ceiled affected on the architecture of the next periods throughout Iran, such that a close similarity is observed in the columns of these mosques with the Safavid and Qajar era. Further, it can be concluded that construction of Safavid columned palaces somehow complement Ilkhani columned architecture that was represented in Asnagh and Jamalabad mosques and after its evolution period in Safavid wooden mosques of era was utilized in the construction of palaces. 

Abstract
The Marivan Plain is a small elongated alluvial plain which lies at the westernmost extent of the Zagros Mountains in the Iranian province of Kurdistan and c. 80 km west of the provincial capital Sanandaj. The plain is c. 60 km from the Iraqi city of Sulaymaniyah and less than 20 km from the Sharizor Plain in Iraq to the west. The plain is located between two archaeologically important regions of western Iran: the central Zagros to the southeast and the Lake Urmia region to the northeast. Early studies of prehistoric periods were mainly conducted in these two regions, while little attention was paid to the region of Marivan. Prior to the commencement of the 2018 project, an earlier survey in the Marivan region had been carried out by Department of Archaeology at Bu-Ali Sina University in Hamadan (Iran). Research focused on the Palaeolithic and Neolithic periods and, unfortunately, evidence from the Chalcolithic periods is yet to be published. In 2018, we began to re-examine ancient settlement in the Marivan region with a 4 week survey. The survey identified and documented more than 60 sites. Preliminary studies of the material collected during the survey resulted in the identification of about 13 sites dating to the Chalcolithic period; it was possible to differentiate the material sufficiently to allocate occupation at the sites to the Early, Middle and Late Chalcolithic periods. This paper presents the important and new evidence of the development of Late Chalcolithic period settlement and is starting to provide an insight into the impact of the Uruk Expansion in this part of the Zagros Mountains. Even the Late Chalcolithic (LC) period in Marivan area is somewhat overlap to Uruk (early, middle and late) period in Mesopotamia, until LC5 phase (Tepe Rasha), not any Mesopotamian influences is evident in Marivan sites. 
Keywords: Marivan Plain, Late Chalcolithic, Uruk, Mesopotamia, Tape Godin.

Introduction
This paper presents the first results from the Marivan Plain Survey (MPS) in the province of Kurdistan – one of the westernmost regions of Iran and the Zagros Mountains. The project recorded important new evidence of the development of Late Chalcolithic period settlement and is starting to provide an insight into the impact of the Uruk Expansion in this part of the Zagros Mountains. The MPS project began work on the Marivan Plain in the summer of 2018. It is undertaking a review of previous survey work in the region and is directed by Morteza Zamani with the assistance of Sirvan Mohammadi Ghasrian. The Marivan Plain is a small elongated alluvial plain (UTM 38S 603000E, 3930000N) which lies at the westernmost extent of the Zagros Mountains in the Iranian province of Kurdistan and c. 80 km west of the provincial capital Sanandaj. The plain is c. 60 km from the Iraqi city of Sulaymaniyah and less than 20 km from the Sharizor Plain in Iraq to the west. In the past, the plain of Marivan with its picturesque Lake Zerewar an important node in the communication routes between Iraq and Iran. The plain is located between two archaeologically important regions of western Iran: the central Zagros to the southeast and the Lake Urmia region to the northeast. Early studies of prehistoric periods were mainly conducted in these two regions, while little attention was paid to the region of Marivan. In 2018 the MPS began to re-examine ancient settlement in the Marivan region with a 4 week survey. The survey identified and documented more than 60 sites. Preliminary studies of the material collected during the survey resulted in the identification of about 13 sites dating to the Chalcolithic period; it was possible to differentiate the material sufficiently to allocate occupation at the sites to the Early, Middle and Late Chalcolithic periods.

Conclusion
Investigations conducted by the MPS on the Marivan Plain have resulted in the identification of two preliminary trends related to LC period sites:
Firstly, the MPS has recorded several sites dating to the Middle Chalcolithic and the later part of the LC period. Except for a few earlier LC (2) shreds (Godin VII/VI:3 period) identified from the site of Aba Fatol, not any LC 2 sites have yet been confirmed on the Marivan plain. This contrasts with other areas of western Iran and the province of Kurdistan where early LC2 sites are common. At this stage of research on the plain, it seems that there was a lower number of sites in the earlier LC (LC2) compared to both the previous Middle Chalcolithic period (Seh Gabi and Dalma pottery traditions) and the subsequent later part of the Late Chalcolithic –LC 3-5 (Godin VI: 2-1).
Secondly, the MPS recorded Uruk culture related material from a single site (Tepe Rasha) and only in the form of Bevelled Rim Bowl shreds. This is surprising and suggests that cultural interaction with southern Mesopotamia was limited or that what impact there was from cultural interaction was low and did not permeate into the local cultures. Limited evidence of contact with Uruk Mesopotamia is also evident from recent surveys in north-western Iran and in northern parts of the Iraqi foothills of Zagros. In contrast, distinct and substantial evidence of contact with the south is to be found in the central Western Zagros and Central Plateau of Iran and on the plains south of the Greater Zab River in north-eastern Iraq. Iran  and particularly  its western regions is crucial for the understanding of key events in the history of Mesopotamia, one of which is the spread of Uruk culture from southern Mesopotamian into neighbouring regions during the Late Chalcolithic (LC) period (5th-4th millennia B.C.). 

Archaeological evidence and the study of remains from prehistory to the Islamic era show that astronomy has been prevalent among ancient peoples for thousands of years. Astronomy made a great progress in the Islamic era and was used in both science and astrology. In the middle Islamic Period, the motifs used on pottery varied widely, so that the origins of pottery motifs on the one hand and the interpretation of its concepts on the other challenged scholars and has been caused disagreement and divisions between them, insofar one group refers to pre-Islamic influences especially the Sassanians and the other seeks to interpret it with the ideas of the community context in which these motifs were formed. The necessity of this research, therefore, is due to the vacuum felt by the authors in locating the purports of pottery motifs by an astronomical approach. The forgoing essay is rooted in questions such as "Should the origins of medieval pottery motifs be merely searched in the pre-Islamic era?", "How the constellations were reflected on the pottery motifs of this era?" The methodology of this paper is historical-analytical-comparative and based on and library studies. In the process of researching, we first done to gathering statistical samples from museums, drawing the motifs with CorelDraw software and matching the pottery designs with constellations and in the continuation of the research, library studies have been carried out to trace the semantic themes and meanings of historical documents. The achievement of a comparative study of pottery motifs with constellations showed that astronomy and constellation discussions formed part of the credence and beliefs of the medieval peoples that often incorporated with superstitions and supernatural beings. Therefore, some of the themes of pottery motifs can be attributed to superstitious beliefs of constellations.
Keywords: Pottery, Middle Ages, Constellations, Astronomy, Astrology.
 
Introduction
Astronomy in Islamic times consists of two parts: Astrology (Astrology and Superstition) and Science (Vegetarianism, 2009: 20). Agriculture, prediction of phenomena such as, eclipse and calendar design and timing are the most important reasons to pay attention. Evidence suggests that astronomical rulings were popular during this time, so that the dependence of the affairs of life on the celestial bodies gave rise to a wide range of superstitions. Due to the prohibition on the use of gold, silver and metal utensils in the Islamic era, one of the important sources of this "pottery" era is the beliefs and values ​​of artists and clients in the motifs of Islamic pottery. Pottery has greatly improved in the Middle Ages, with a variety of pottery construction techniques, motifs and ornaments.
The origins of pottery motifs and the interpretation of its concepts have challenged, disagreed and multiplied the researchers. Hence the necessity of research on pottery of the Middle Ages is due to the lack of comprehensive research and void felt by the writers on the astronomical approach of pottery ornamentation.
Questions and Hypotheses: Two questions are asked, "Should the origins of the medieval pottery motifs be searched only in pre-Islamic times?" And "How have the constellations reflected the motifs?" Hypotheses state that "the similarities of the motifs of these two eras cannot be understood solely as the reason for their origin from the pre-Islamic era and must be found in the intellectual context of those who ordered them at that time and in social and political conditions" and "given the progress of astronomy and its influence. It is possible for people to trace the origin of motifs in constellations and astronomical topics. "
Methodology: The method of this research is historical-analytical-comparative based on library studies which initially collected statistical samples from museums, designed drawings with CorelDraw software, and compared pottery designs with constellations.
 
Matching the Pottery Motifs of the Middle Ages with the Constellations
This section of the paper studies the reflection of astronomy on medieval pottery motifs from two scientific and superstitious perspectives on the basis of different and common statistical examples of the time, which have not been studied from an astronomical approach so far. These works include three specimens of ceramics with scientific function and 11 specimens of astrology and superstitions that are further adapted to their motifs and themes by the constellations mentioned in the Suralququebb book.
 
Reflection of the Constellations on Pottery with Scientific Function
The scientific reflections of the constellations on the motifs include three containers held at the Ashmolean, Metropolitan and Boston Museum.
The designs on these three containers include the role of the sun in the center and the six famous planets (Moon, Mercury, Venus, Mars, Jupiter, and Saturn) and the twelve eclipses that collectively exist on earthenware and can be used for special purposes such as education, Clay astrolabe set the calendar and courtyard because astronomy education and learning was in the hands of the rulers, scientists, and scholars at that time, and the limited number of these dishes confirms the public claim of the dishes.
 
Reflection of Constellations on Pottery Using Astrology (superstitions)
This section refers to the constellation symbols of the North Face, the Exterior Area, and the South Face on the pottery.
Deb Akbar: A blue-and-black plate with the role of a bear and 27 stars inside it and eight stars outside it (sixth century AH) is held at the Los Angeles Museum of Art. (Dehkhoda, 1373: below Deb Akbar).
Figures (inflamed): Plate of Zarrinfam (6th and 7th centuries AH) with human role in his hand 11 stars and outside those two stars, made in Kashan, is kept at the Aga Khan Museum in Toronto. (Sufi, 2002: 44).
Essence: Enamel plate (6th and 7th centuries AH) with the role of a woman sitting on a 13-star bed, made in Kashan at the Metrolithin Museum. (Sufi, 2002: 74).
Nasr Ta'air: From the north faces is a bird that is adaptable to the two eagle (5th and 6th century AH at the David Museum) and vulture (6th and 7th century AH at the Metropolitan Museum) there are nine stars inside it and six stars outside it. (Sufi, 2002: 102)
Al-Fars al-Thani: A Seljuk-era gold plate with a winged horse and 20 stars inside it, built in the city of Rey, is kept at the Metropolitan Museum (Sufi, 2002: 109).
Thor: Gross-style green pottery with the role of a cow and 33 stars inside it and 11 stars outside it (5th and 6th centuries AH) is preserved in the Sincinati Museum. (Sufi, 2002: 129).
Cancer: Porcelain clay molded with white monochrome glaze with 9 stars inside it and four stars outside it (5th and 6th centuries AH) probably produced by Kashan or Ray and is kept in the British Museum. (Sufi, 2002: 148).
Assad: The Golden Lion Bowl with the role of a lion inside him of 27 stars and outside of the eight stars (sixth century AH) made by Kashan is held at the Metropolitan Museum of Art. (Sufi, 2002: 152).
Kolb and Arneb: The Albarlow-style Zinfam jar with the role of dog and rabbit (sixth century AH) made by Kashan is kept at the Brooklyn Museum. (Sufi, 2002: 230, 233)
Courageous: The bowl is kept in the Boston Museum by painting it under the snake's glaze inside the 25 stars and outside those two stars, related to the Seljuk era, made by Kashan. (Sufi, 2002: 250)
 
 
Conclusion
The comparative study of medieval pottery motifs with constellations shows that astronomy and its topics were widely popular among the people of this period because of the rulers' support for it in both scientific and superstitious dimensions. Also, the twelve-face facial motifs, with the greatest number of illustrations, are of particular interest to the people of that time. Now the answer to the question, "Should the origins of medieval pottery motifs be searched only in the pre-Islamic era," said the origin and concept of many bizarre animal and human motifs derived from widespread superstitious beliefs about constellations in That is the era. In response to the second question, "How have the constellations reflected on the motifs?" It can be said that the male and female gender constellations come in two groups for special containers and single use, superstitiously derived from people's belief in supernatural powers. However, the illiteracy of the potter in this regard, and only the aesthetic attention, as well as the distortion of astronomy by superstitious beliefs, have made the difference between motifs and constellations.

Abstract
The audience of every work of art is willing to receive its meaning, and the exact recognition of an image or image for its meaning and content requires reading and even interpretation, and iconography is essentially trying to express the meaning of the image.  In visual arts, a symbol is an image, a plant, an animal, or a sign that has a deeper meaning than what is seen. It is often not easy for us to get the meaning and interpretation of the symbols of the past centuries. Occasionally, symbols refer to an event or story, and a group of symbols replaces personalities and individuals. In this regard, the monastery of the Ghareh Kelisa is one of the most important Armenian churches in Iran, located in the northeastern part of Chaldoran. Throughout the northern and southern walls of the church, as well as the bell tower, it has unique and unique carvings. Sculptures This monument can be divided into five categories, including: human designs, animal motifs, plant designs, geometric patterns and mythological motifs. The designs are beautifully crafted, crafted, and beautifully crafted by experienced and experienced craftsmen, and the artist’s creative, abstract, decorative look is best illustrated in all designs and each role is a special symbol and symbol. Among the paintings of the Ghareh Kelisa, the role of animals is more than other motifs, both due to the variety of animal species in the surroundings and the symmetry of many animals such as milk, ram, cow, horse, etc. These motifs have no merely decorative aspect and offer higher meanings and concepts, and are one of the most diverse symbolism for symbolic aspects. In this article, it has been attempted to introduce and interpret the animal designs of this monument.
Keywords: Chaldoran, Ghareh Kelisa, Animal Figures, Symbols.

Introduction
Some ancient works bear the institutional values and messages that are embodied in the form of artwork and in the form of their roles based on the beliefs and beliefs of the ancient human body, and to understand the meaning of these ancient designs, one needs to know the symbolic components. That once, because the verbal language had a certain meaning in ancient cultures and somehow represented a mythical belief (Rafi Farr and Malek, 2014: 7). The motifs used in Iranian art from late to present, have always included symbolic meanings in addition to its decorative and aesthetic aspects (Sabagh pour and Shayestefar, 2010: 31).
The role of the elements in the art of Iran has been bearing the concepts and themes of interest of the people of different ages, and the continuation of their design reveals the visual changes of each period. One of the most important paintings that has always been considered in Iran and even continued with the change of religion is artifacts arranged in various arts (Mortezaei and Sedaghatzadeh, 2013: 47). 
In this regard, the construction of the Ghareh Kelisa is one of the most important and most representative Armenian churches in Iran, located in the northeast of Chaldoran. Throughout the northern and southern walls of the church, as well as the bell tower, it has unique and unique carvings. Sculptures This monument can be divided into five categories, including: human designs, animal motifs, plant designs, geometric patterns and mythical motifs. These designs are carved by artist and experience mastermanship with elegance, flair and beauty, and each role is a symbol and symbol.
 the Ghareh Kelisa sculptures actually reflect the culture and the arts, beliefs, cultural and social relations of ancient societies and have a special place in various studies and researches, especially archeology and anthropology. In this essay, it attempts to introduce and interpret the animal designs of this monument.

Ghareh Kelisa Animal Characters and Their Symbolism
Animal statues are one of the oldest paintings man has made in his works. These motifs in Iranian art (like other designs) were not merely decorative, but sometimes expressing hope, fear, or resort to a force to fight the dangers of nature and life, and sometimes express religious beliefs and myths. The same values and special expressions sometimes transformed motifs into symbolic and symbolic symbols that used them as a message transmission during the course of history (Khazaee and Samavaki, 2003: 8). Animal designs, including roles that have been dominant and frequent in many ancient civilizations, including Iran. Cassirer believes that in the course of the worship of primitive human beings, we see that a human beast has become and worships animals, such as worshiping a variety of phenomena and things encountered in its surroundings, and Kasier is referred to as gods It commemorates a moment and, through this worship, leads to functional gods (based on their interests and their function in life) (Kasier, 2012: 75-76).
In this regard, the structure of the Ghareh Kelisa, consisting of two parts of the eastern (black) and western (white), the eastern or black part, which is the oldest part of the building, does not have much role and only in the part of the side Northeastern and southern skylights are cross-linked and surrounded by chainsaws. But the western part (white) of the Ghareh Kelisa is divided into 5 rows by stripes of simple profile, which can be categorized into five groups: human designs, animal drawings, plant designs, geometric patterns and mythological motifs.
Most of the sculptures in the third row have been carved into the third row. These motifs are the ones directly hunted by humans or in some way related to the subject of predation and daily routine of hunters, or rooted in past religions, and most of the beliefs are that these images are abundantly and the numbers can be distinguished in the following order.
 

Conclusion
In the meantime, the archeology of Iran’s religious architecture, and in particular the  Ghareh Kelisa of God, is a rich treasure of motifs that, in addition to values and beauties, expresses the secret and need for cultural and religious secrets in themselves. This role of the motifs due to the deep roots in Iranian culture expresses the noble concepts that have remained in popular belief in the form of visual arts in simple and prolonged forms. 
Among the paintings of the Ghareh Kelisa, the role of animals is more than other motifs, both due to the variety of animal species in the surroundings and the symmetry of many animals such as milk, ram, cow, horse, etc. These motifs are associated with the continuation of some ancient Iranian art traditions and is one of the most important interconnected circles of Iranian art before and after Islam. Drawing Animals in a Dynamic Mode, Variety in the Size of Animals; Small, Large in Nature; Attention to Exposure; Increasing Naturalism; Variety in the Design of the Foot, Eye, Horn, Head and Neck, Wings and Body; Characteristics of Animal Drawings The Ghareh Kelisa is the artist’s most abstract, creative, decorative look, best illustrated in all designs, and each role is a special symbol and symbol.

Abstract  
Sustainable regeneration is an approach whose objective is to improve the economic, social and physical state of the historic environment and it is an approach which is familiar in the field of conservation and heritage protection. Documents and statements of this approach have been restored since the 1990s. Many studies have been done on this topic. Each of them proposes principles for the realization of regeneration but until now, none of them has provided comprehensive view in urban sustainable regeneration. This research aim is Explaining of the conceptual framework for sustainable regeneration of historical fabric. The Methodology of this research is functional on objective and content analysis in method. Analyses, comparison and summation are used in this paper. The conceptual framework is explained by analyses of documents, statements, charter and previous research. The zone of this research is all of the historical fabrics. In this research, regeneration of historical fabric is defined in 4 dimensions: economic, social, management and cultural. Property value, private investment and branding are Economic scales in Sustainable regeneration of historical fabric. Resource supply, Sustainable urban management, Citizen Participation and promoting the level of knowledge and awareness of society from historical fabrics are Sustainable regeneration in the field of management. Social status, social identity, Social capital and Social Security are social scales in Sustainable regeneration. Cultural scales in Sustainable regeneration are creative industries, cultural neighborhoods and Cultural events. So, this research seems necessary because of the attention to the dimensions and criteria of sustainable regeneration of historical fabrics. The aim of the present is to explain a conceptual framework for sustainable regeneration of historical fabric.
Keywords: Historical Fabric, Regeneration, Urban Sustainable Regeneration, Urban Regeneration Documents.

Introduction 
Historical fabrics face a variety of problems today, such as Exiting residents from area, Existence. Low-income people in it, and the imposition of high costs to conservation these areas. Experience shows that applying a single-dimensional model in the urban system in which historical fabrics is located, generally leads to serious problems. Therefore, when making a model, it is vitally important to take various aspects of the issue into consideration including economic, social, cultural, demographic, and management indexes. Accordingly, one of the most recent approaches dealing with historical fabrics in urban planning, is urban regeneration approach. This approach was originally emerged from the principles raised in sustainable development and from the growing importance of the participation of relevant groups in the process of urban planning. One of the salient features of urban regeneration approach is that it simultaneously takes into consideration social, economic, cultural and management indexes in historical fabrics. In similar studies previously done by other researchers, certain factors were suggested to realize sustainable regeneration. However, no integrated model has been so far suggested to comprehensive attention of historical fabrics. In this research, in order to provide a model for the dimension of social sustainability. So, this research seems necessary because of the attention to the dimensions and criteria of sustainable regeneration of historical fabrics. The aim of the present is to explain a conceptual framework for sustainable regeneration of historical fabric.
 
Text of paper
Regeneration approach focuses on improving economic, social, and environmental conditions of the city. It covers a wide range of activities which makes deserted regions, worn-out buildings and those being reconstructed, habitable again. Regeneration, broadly speaking, is meant to improve the general conditions of city and citizens (Hull, 2000: 77). Different definitions of sustainable regeneration indicate that this approach focuses on improving economic, social, cultural, environmental and physical conditions.
Economic in historical fabric’s regeneration: To English Heritage (2008), the main purpose of regeneration historical fabrics is to make the productivity of the place. It provides return of fund for owners or developers. So, it provides income for conservation and preservation of historical buildings and fabrics. 
Management in historical fabric’s regeneration: The preservation of historical contexts does not make without the presence of the people. So, attracting and creating the necessary context for people’s presence requires management tools.
Social in historical fabric’s regeneration:  To Assefa and Frostell (2007), although all principles of sustainable development are involved in regeneration, it is the recently-poised issue of “social sustainability” which is the main topic in sustainable places. While it has been suggested that the final goal of development is social sustainability, economic and environmental sustainability are also two pivotal tools by which sustainable development is reached.
Culture in historical fabric’s regeneration: To pour Ahmad et al (2010), the most important aspects of this approach are the attention to the role of culture, the use of historical and cultural values as resources for development and the leisure time of the people.
Regarding the dimensions of the historical fabrics’ regeneration approach, this study categorized the regeneration variables into four economic, managerial, social and cultural dimensions. To this end, major document and charters released since 1990s, when the idea of urban regeneration started to emerge, and studies related to this subject were examined.

Conclusion
In this study, the criteria for sustainable regeneration of historical fabric were identified with reference to documents, statements and charters and previous researches. The results of the study have introduced criteria in four economic, managerial, social and cultural dimensions for sustainable regeneration of historical fabric. Economic value, private investment, and branding are criteria of the economic dimension of sustainable regeneration of the historical fabric. Criteria for management of historical fabric have been introduced such as resource preparation, sustainable urban management, citizen participation, and the development of knowledge and awareness. Social capital, social security, social status, and social identity were defined as dimensions of social dimension in regeneration. Creative industries, cultural neighborhoods and cultural events are criteria for cultural regeneration of historical fabrics. The table below shows the sustainable regeneration criteria of historical fabrics.