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
Archeology is the scientific study of human activity through the recovery and analysis of the remained material culture. The prerequisite for the development of archeological knowledge in the country is access to equipped laboratories, hiring experienced specialists, and expanding national, and international cooperation. Due to rapid advances in instrumental analysis, relevant people in the fields of art and archeometry should be aware of the advantages and limitations of different types of instrumental analysis. In this paper, facilities and research opportunities in analytical archeometry using natural science in Iran are presented and discussed. To introduce the technical capacities of the country in this field, the available equipment and facilities for performing nuclear analysis techniques and their related data analysis are investigated. Moreover, to identify the materials used in the cultural heritage samples and to determine their origin, characterization of some of these samples has been done using nuclear analysis methods. The activities performed in this research include X-ray and neutron imaging of the structure of an ancient jar belonging to the early Qajar period, elemental analysis of miniature in an ancient manuscript using elemental analysis method, investigation of the golden threads in the precious carpet belonging to the Safavid period using elemental and structural, and elemental analysis of luster tiles belonging to the Kashan using elemental analysis. The results of this research show that the existing technical capacities in the country can provide new opportunities for archeologists to understand the nature of the cultural heritage samples in more depth and to provide more accurate analysis of the investigated samples.
Keywords: Analytical Archeometry, Cultural Heritage, Elemental Analysis, Structural Analysis.

Introduction
Archeology is an interdisciplinary science that studies ancient artifacts using analytical methods of various sciences and provides a deep insight into biological, social, cultural, and economic processes, and technologies used by humans throughout history. From the 20th century, cultural heritage researchers used the experts of all sciences and their new methods for the comprehensive reconstruction, biological and cultural transformation of humans, and knowledge of ancient artifacts and previous civilizations. As a result of this synergy, the recognition of cultural findings from archaeological excavations went beyond their mere description and classification, and more detailed analyzes of them were presented. Today’s archeology can be seen as the result of chemical studies in archeology since 1795 in Europe (Pollard, 2007: 5). These studies included preliminary investigations regarding metals, minerals, glass, and some organic remains. In 1853 A.D, in the archaeological reports, the first appendices related to chemical analysis were presented by the archaeologist Austen Henry Layard, which was the beginning of the scientific and systematic cooperation in the two fields of chemistry and archaeology (Layard, 2018: 9).

Materials and Methods
Neutron and X-ray radiography: A jar sample from the Qajar period has been used for radiographic images. Figure .1 shows the results of the experiment. 
PIXE analysis of the miniature: The PIXE analysis of the miniatures from the 15th century is measured in this work. Figure 2. Shows the setup of the experiment. 
Micro-PIXE and RBS of the gold fibers in the Safavid carpet: Figure 3 shows an exquisite carpet from the Safavid period from the Iran carpet museum. The elemental analysis of the fibers used in this carpet is performed by micro-PIXE and RBS. The detail of this experiment is presented in (Torkiha, 2010: 17).
PIXE-PIGE analysis of the Zarrinfam tiles: Figure 4 shows the ancient Zarrinfam tile related to the Tapehsilk shrine in Kashan. To check the presence of the Azure pigments in the blue color, the PIXE-PIGE analysis of the carpet is performed. The detail of this experiment is presented in (Ghadiri, 2015: 9).

Data
The elemental map of the fiber of the carpet obtained by micro-RBS and PIXE is shown in Figure 5. The PIXE and PIGE of the Zarrinfam tiles are presented in Figures 5 and 6, respectively. 

Discussion
The structural investigation of a jar from the Qajar period by the X-ray and neutron radiography showed that neutron radiography can show the detail of the sample. The PIXE analysis of the blue pigment in the miniature shows that the origin of this pigment is Lazorite stone (Kakuee, 2014: 124). The presence of the characteristic element of the mercury in the pink pigment shows that the origin of this color is the mineral Shangerf, which was also used to make red color in the Iranian ancient times. The bright pink color is also due to the green malachite pigment added to the main pigment of Shangerf (Kakuee, 2012: 178). The composition of the elements in the yellow pigment also indicates the use of gold in this pigment in order to increase its brightness. The use of gold to decorate the paintings in this form is still used. Regarding the black color, due to the presence of the characteristic element Mn in this pigment, its origin can be attributed to the mineral Pyrolusite (Clark, 2002: 7).
The micro-PIXE and RBS of the gold fibers in the Safavid carpet shows that there are large amounts of the sulfur element in the composition of all 3 fibers which is related to the silk thread used in making the fibers. The elemental distribution map of all 3 samples shows that gold, silver, and copper were used to make and decorate these fibers. In other parts of the fibers, no other characteristic element indicating the presence of pigment in the fibers was observed. Therefore, the silk used in making these fibers is raw and without dyeing. Micro-PIXE elemental analysis also shows that in the old samples of Golabatoon fibers, a thin layer of gold is covered on silver wires.
The PIXE analysis of the ancient Zarrinfam tile related to the Tapehsilk is performed by WinQxas (WinQxas, 2009) and the PIGE analysis is done by Fitzpeak software (FitzPeaks, 2011). Elements with an atomic number greater than aluminum have been detected using the PIXE analysis and elements F, Na, and Mg have been detected by PIGE analysis. The characteristic element for identifying lapis lazuli is Na, which is detected in large quantities in the samples 2 and 3. The amount of Na element in the sample 1 is very small and sample 4 also lacks this element. To confirm the results, all the 4 samples were exposed to the proton beam. In this case, induced light emission was detected only from the samples 1 to 3. Therefore, we can safely say that sample 4 is not lapis lazuli. Moreover, as shown in Table 2, the high amount of Co element in Zarrinfam tile distinguishes it from lapis lazuli stone. In fact, the combination of Co element with a glaze of Na alkaline elements in the sample is the origin of the azure color in Zarrinfam tile. The results of this research provide a suitable solution for determining the origin of lapis lazuli in the ancient samples and can be a suitable solution for monitoring of the economic and cultural relations of the past.

Conclusion
In this article, the scientific and technical capacities of the country and the active centers in the field of archeology, the state of analysis and software related to the data analysis are presented. To identify the active laboratories in the field of analysis of ancient artifacts, several active laboratories in the field of the analysis of archaeological samples and cultural heritage were introduced in this paper. Moreover, the results of the analytical archeology using several techniques were presented and discussed. 

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

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

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

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

Abstract
This article discusses the structural analysis of ancient mortars used in Ojai’s Castle, which belongs to the Ilkhanid period in Bostanabad County, East Azerbaijan Province. Various methods, including field studies for documentation, sampling, and laboratory analysis using X-ray diffraction (XRD) and X-ray fluorescence (XRF), were utilized to investigate the structural and physicochemical properties of the ancient mortars. For this purpose, ten mortar samples were collected from different sections of the outer walls of the castle, which were excavated in the past five years, and their dominant phases and compositions were identified using XRD and XRF. The results show that the composition of the mortars used in the castle is significantly similar. Contrary to existing assumptions based on the use of lime-based mortars in cold regions and stone structures, the mortars in Ojan Castle are composed of gypsum and quartz-based high-purity gypsum mortars. These mortars were used for structural reinforcement and, especially, for enhancing their compressive strength. Based on these findings, this study can serve as a reference for future research on the structural analysis of ancient mortars to restore the castle.
Keywords: Characterization, Seljuks-Ilkhanid, Ojan Castle, Mortar, XRD, XRF.

Introduction
Historical architecture exemplifies the dynamic progression and development of knowledge, structure, recognition, and production of diverse materials. Mortars, as significant architectural elements, play a crucial role in this evolution. Remarkably, numerous mortars have retained their structural attributes for centuries. These historical mortars represent cultural accomplishments, exhibiting distinct properties influenced by raw materials, technological methods, and their manufacturing and utilization processes. The analysis of historical mortar’s composition serves as a valuable tool in understanding the construction techniques and technological advancements employed in the past. By studying the structure, composition, and processing methods of traditional mortars, we can make informed decisions regarding their conservation, restoration, reproduction, and identification of potentially damaging factors in historical buildings. Furthermore, mineralogical and chemical analysis of mortars provides essential insights into their setting characteristics, mineral grading, and compound quantities, offering a comprehensive understanding of their properties. Concerning the specific topic of this research, which is related to the historical and cultural mortars of the Seljuk-Ilkhanid era we can say undoubtedly, the Ilkhanid era can be considered one of the brilliant periods in the history of urban planning in Iran and another beginning in the emergence of a new style in creating and developing urban spaces. This style, which is known as the “Azeri style”, hastened the creation of royal cities such as Ghazaniyeh and Soltanieh and the strategic mother city of Tabriz, which is the manifestation of the ideals and urban planning ideas of the Mughal Ilkhanid. It has remained unstudied until today. In this research, the structural analysis and identification of the mortar composition of the historical castle of Ojan (figure1-3), related to the Seljuk-Ilkhanate period, will be examined and studied. Until now, five seasons of scientific archeological excavations have been carried out in the historical castle of Ojan from 2018 to 2022, and the results show remarkable stone architecture and architectural decoration such as Muqarnas made by gypsum, tiles, shaped stones, and various objects. Belongings include copper coins, pieces of pottery from the Seljuk-Ilkhanate period, glass, metal nails, etc. (figure4-7 & table 1) 
The most important research questions regarding the mortars used in Ojan Castle are: 1. What types of mortars are present in Ojan Ilkhanate castle? 2. What are the fundamental characteristics of the mortar used in Ojan Castle? The research methodology for this study consists of three main components:  1. Gathering documentary information through library studies. 2. Conducted field studies, including sampling from the historic Ojan Castle and documenting the current condition of the site to understand the nature of the building under investigation. 3. Performed laboratory studies, specifically analyzing samples taken from the outer wall of the castle. This analysis includes structural analysis and qualitative examination of mortar materials.

Materials and Methods
In this study, after examining the explored sections of the Ojan castle, mapping of the structure was carried out. Based on the current condition of the walls and the materials used in the construction (Fig. 8), 10 random representative samples were taken from different sections of the castle, including the outer parts of the main walls and the areas between the main materials. The samples were selected from different parts of the walls to ensure sufficient dispersion. The sampling method involved separating layers from both intact and deteriorated sections. Fig. 9 and indicates the locations where the samples were taken. Based on field observations, the mortar layers, especially in shallower and more exposed areas, had weak and powdery structural conditions. However, at depths greater than 20mm from the wall surface, the mortar exhibited better strength compared to the surface layers. The color of the mortar was mostly white, with some areas having a slight grayish tint, and no traces of plant remains or other components were observed. In the next stage, images and visual information related to each sample were recorded on-site. Descriptions of the visual characteristics of the samples, along with images and sampling locations, were collected and documented in Table 2. All samples were powdered and passed through a 200-mesh sieve. They were then barcoded and sent to the laboratory for XRF (table 3, 4, figure10) and XRD (table 5, Fig. 11) analysis. The samples were barcoded using the following format: “Ojan Castle, 2020 (OC20), Tranche number (T), Sample code (S)”. For example, a sample would be labeled OC20-T16S01.

Discussion 
With the aim of structural analysis of the mortar used in the stone walls of Ojan Castle belonging to the Seljuk-Ilkhanate historical period in Bostanabad city, 10 samples of mortar were selected from different parts of the outer walls. Based on the results of the experiments (XRD, XRF), the use of mortar with the leading and dominant phase of gypsum is used in all samples, and also all types of phases with silicate structure and phases in the soil can be seen in all samples. To construct this mortar, high-purity gypsum and sand were used. Approximately %8 of the mortar composition consisted of other components, mainly soil elements such as Muscovite, Albite, Salts, etc. The presence of these materials and phases is natural due to the inherent porosity of gypsum mortar and the fact that this architectural structure has been buried in the soil for several centuries.

Conclusion 
The use of semi-fired, semi-pounded gypsum, with the addition of sand as an intermediate mortar between stones, as well as for pointing in various sections of the outer walls of Ojan Castle, indicates the use of processed gypsum mortar in cold regions such as Bostanabad in the northwest of the country. As we know, in the field of conservation and restoration of historical architecture, the use of authentic materials that correspond to the original substance is crucial for preserving the authenticity, historical value, and cultural significance of ancient artifacts.
Based on this principle, the use of traditionally processed gypsum for constructing traditional mortar in the conservation of this ancient site can be considered significant in terms of maintaining authenticity. Considering recent seasons of excavation and access inside the castle, conducting similar tests on samples of interior plaster can reveal the differences between the mortars used on the outer and inner surfaces. This information can provide insights for proposing restoration and conservation procedures for the site.

Abstract
Mausoleum buildings with ridged Dome, is one of the characteristics of religious architecture in the southern regions of Iran which was founded during the Ilkhanid to Safavid period. The main form of a ridged Dome is conical which the arrangement of its cubic components with different and varied shapes has a stepped mode. Studies that so far have been done on the structure of mausoleums with ridged Dome are more holistic. Therefore, the most important purpose of the present research is to explain and establish the architectural differences and similarities of four tombs which are located in different geographical areas in Southern Iran and belong to The Ilkhanid-Timurid era; and to study their susceptibility to various methods. The architecture of the mentioned historical periods under the title of Governmental (including the central sphere of governance of the Ilkhanid) and Local style (including special architectural and artistic features of the southern regions of Iran). The goal of the present research is to answer this question that what a meaningful form and decorative relationship is there between mausoleum buildings with non-governmental/indigenous ridged Dome and governmental structures? The result of the research clarifies that the architectural ornaments, which are used in the mausoleum of Mir Muhammad especially the high and deep vaults in the dome chamber and using the brick in the crown of its fluted Nar dome, represents the governmental style. The simplicity of the tomb form and usage of local material, building of conical Nar crown in the tombs of Baba Monir and Do-gonbadan and establishing symmetric ridged Dome in studied mausoleums is affected by local architecture of the mentioned regions. Also, it has been observed a kind of coexistence between local architecture and governmental style in some of the studied mausoleums. This research has been done with the approach of cultural history and descriptive-analytical method. The information has been gathered with the method of field investigation and library studies.
Keywords: Mausoleum Buildings, Ridged Dome, Ikhanid-Timurid Era, Architectural Style.

Introduction
The general shape of the ridged Dome is rock or conical; with the difference that its components, instead of a complete cone, has a scalariform (Zemorshidi, 2010: 349). This cover has been used in the late Seljuk era tomb buildings of Iran, especially in the south and southwest areas and its construction is significant throughout the Ilkhanid to Safavid eras (Sajjadi, 2017: 306). Most of the researchers believe that building of the ridged Dome follows specific geometric patterns. Its inner and outer cover represents that this structure comprises of several floors with similar geometric shapes and the geometric floors of the dome ascend rotationally from the Bashn of the dome chamber to its top. Moreover, meanwhile the floors of the dome go up, the dimensions of its ridged cubes become smaller and their height is reduced. Finally, they join together at the top of the dome (Zemorshidi,2017:350; Mashayekhi & Mahdavinejzad, 2012:297). Most of the conducted researches have a holistic framework and less attention has been paid to the structure of buildings with the ridged Dome and its changes in a certain period of time or a certain geographical area. The goal of the present research is to answer this question that what a meaningful form and decorative relationship is there between the non-governmental and governmental structures-at the intended political field-in the mausoleums with the ridged Dome. The importance of the present research and the necessity of doing it is also in identifying the tomb buildings with the ridged Dome that less researches have been done on it, and criticizing opinions which are provided by other researchers.

Materials and methods 
This research has been done with the approach of cultural history and descriptive-analytical method. The information has been gathered with the method of field investigation and library studies.

Data
Mausoleums of Do-gonbadan in Kookherd: The two mausoleums of Do-gonbadan are located in Hormozgan province, Bastak county and Kookherd village. Both mausoleums are burial places of two members of the Bani Abbasid family of Bastak (Bani Abbasian Bastaki,1960:57 & 58). The plan of both mausoleums is similar and consists of a simple square dome chamber. Also, both tombs have a ridged Dome with a star base. The decorations of Do-gonbadan tombs are associated with stucco, one of which is stalactite work in the interior view of the dome.

The mausoleum of Mir Muhammad 
The mausoleum of Mir Muhammad Hanafi is built on Kharg island of Bushehr county. Based on the tomb inscriptions, the building is attributed to Mir Muhammad Hanafi and was built during the Ilkhanid period. This tomb consists of a cruciform shrine and a square mausoleum which is adjoined to the south side of the dome chamber. A ridged Dome is constructed on top of the shrine that has a star base. The decorations of the tomb include mosaic-faience tilework and lustre tiles of dado which have animal, geometric and vegetal motifs on their surface, Also, the interior surface of the dome is decorated with chalky muqarnas.

The mausoleum of Baba Monir
The mausoleum of Baba Monir is located in Fars province, Noorabad Mamasani county and in a village called Baba Monir. The plan of the tomb is square. Its interior view includes a central dome chamber and a vaulted corridor that surrounds the dome chamber. Deep piers have given a cruciform design to the dome chamber. The dome of the tomb is ridged and has a star base. Chalky muqarnas is used in the interior surface of the dome.

Discussion
The conducted researches indicate that all the studied mausoleums belong to religious personages. Also, all of them have been built on the commercial path or near the commercial path. Moreover, there are similarities and differences in the features of studied tombs; The most important similarities between studied tombs are the usage of cruciform plan in the dome chamber of Baba Monir and Mir Muhammad mausoleums, the usage of the ridged Dome with the star base on top of dome chambers of all mausoleums, and the application of chalky muqarnas in the interior view of the dome of these tombs. The differences include using the simple square plan in the mausoleums of Do-gonbadan in Kookherd, and existence of the fluted Nar crown on top of the Mir Muhammad dome while there is a simple conical crown on top of the Baba Monir and Do-gonbadan dome. Besides, the only tilework decoration is in the Mir Muhammad tomb. In sum, the architectural features represent that Mir Muhammad tomb is more affected by the architecture of the governmental style. Because, it was built on the main trade route. But, the architectural features of Baba Monir and particularly Do-gonbadan are more non-governmental/local. Because these tombs were built on the side trade roads. Therefore, architects of these two tombs have not had much chance to become familiar with other architectural methods.

Conclusion
Studied mausoleums are the burial place of important religious personages and are built single, in an open space. These tombs were located on the trade routes. The location of Mir Muhammad tomb in Kharg island and on the transregional trade route of Islamic lands with East Asia has increased its importance. The architectural decorations of Mir Muhammad mausoleum have more variety in comparison with other mausoleums and it reveals the influence of various architectural styles, especially the Ilkhanid-Timurid architectural style. This effectiveness has been observed to a small extent in Baba Monir tomb compared with Mir Muhammad tomb. Whereas, mausoleums of Do-gonbadan in Kookherd have the least influence from the governmental buildings of the Ilkhanid-Timurid era. However, the method of constructing the ridged dome in all mausoleums has been executed skillfully in terms of structural and geometric form. In general, the constructing of the ridged symmetric domes in each four tombs signifies the powerful influence of the local architectural style in their structure. However, the influence of other architectural styles in these mausoleums is not the same. There is a kind of coexistence between the local and governmental architectural styles in the tomb of Mir Muhammad in Kharg. The influence of the local architecture is more obvious in the mausoleums of Baba Monir and particularly Do-gonbadan.