Abstract
The tombs or funerary monuments are one of the most important elements of Iranian-Islamic architecture that in different fields require careful investigation. This group of buildings is important among Iranians; for this reason, in each period of the Islamic era of Iran the most important and most used arts related to that period have been used in their construction. Generally, the decoration in buildings has a more effective role, because, if it is understandable in terms of form and structure for archaeologists and designers, it’s possible this isn’t understandable for the general public. So, decorations in the buildings at first sight are attracts the viewer. In this article epigraphy art as one of the most important decorative elements of Islamic buildings have been reviewed in the four Seljuk tombs of Northwest of Iran: Gonbad Sorkh, Borj Modavar in Maragheh, Seh Gonbad, and Gonbad Kabood. The research method in this study is interpretive – historical. In this study with analytical method have been studied decorations of these four tombs (especially in terms of architecture, motifs, inscriptions and their position on the buildings). Also, in addition to reviewing the articles, books, and evidences, with field survey from these tombs, plan and decorations, and then a comparison table of inscriptions has been provided. In this regard, the following questions are raised:
- How is architecture, motifs and decorations of the Seljuk tombs in northwest Iran? And, their inscriptions are divided into several categories in terms of content?
- What are the effects of concepts of the inscriptions on position them on the buildings?
Reviews show that inscriptions of Seljuk tombs in the Northwest are divided into four groups: The Quranic verses, inscription with the theme of the date of construction, inscription with the topic of prayer, and inscription with the theme of the architect and the builder. On the other hand, position these inscriptions in the buildings have been differed proportional in their content. Inscriptions of the Quranic verses in the highest section of building, inscription with topic of prayer in the lower, inscription with the theme of date of construction and architect and builder are placed on the lower levels and on the body of building.
Keywords: Islamic architecture, Seljuk tombs, Northwest of Iran, decorations, inscription.

Introduction
Generally, one way of cognition more about periods of Islamic architecture besides of decorative elements and motifs, is study of inscriptions and their texts. In the Seljuk period, one of their architectural features, are create inscriptions and decorative lines from shaved bricks, that in most of buildings this period (especially tombs) is seen. Furthermore, due to the difficulty of shaving the bricks and the formation of letters and words with it, during this period, the Naskh script was replaced by the Kofi script and inscription with style of stucco was used (Hatam, 1999: 162).
In this article, in addition to reviewing the historical background and the process of build tombs in the Seljuk period to study and compare four tombs in the Seljuk period in Northwest of Iran, first have been introduce architectural features and decorative motifs them. Then, in comparative tables have been specified types of inscriptions and their position on the tombs. In this regard, following questions are raised: How are architecture, motifs and decorations of the Seljuk tombs in northwest Iran? And, their inscriptions are divided into several categories in terms of content? And, what are the effects of concepts of the inscriptions on position them on the buildings?
This study shows, inscriptions of Seljuk tombs in the Northwest are divided into four groups: The Quranic verses, inscription with the theme of the date of construction, inscription with the topic of prayer, and inscription with the theme of the architect and the builder. On the other hand, position these inscriptions in the buildings have been differed proportional in their content. Inscriptions of the Quranic verses in the highest section of building, inscription with topic of prayer in the lower, inscription with the theme of date of construction and architect and builder are placed on the lower levels and on the body of building.

Buildings under study
Gonbad Sorkh: The Gonbad Sorkh is oldest tomb in the Maragheh that is located in the southern part of the city and west side of Hashtrod road. Generally, in the Gonbad Sorkhon and in different parts and also on all sides this tomb is inscription.
Borj Modavar: The Borj Modavar is second tomb built after the Gonbad Sorkh and inside the city of Maragheh. This tomb now is located in Khaje Nasir Street and behind the building of Bank Melli. The Borj Modavar has two inscriptions that both of them are located in the main direction of the building and facing the North. 
Seh Gonbad: The Seh Gonbad is third tomb that was built in the Seljuk period in Azerbaijan. This tomb is located in the southeastern of Urmia city. The three inscriptions with Kofi script and geometric motifs at the facades of this tomb have created beautiful view.
Gonbad Kabood: The Gonbad Kabood after the Gonbad Sorkh and the Borj Modavar is third of building that has been made in the Maragheh city. In this building 5 inscriptions are visible.

Conclusion
It’s certain, in Seljuk period and in the method architects and artists of this period, concepts of inscriptions have played an important role in location of inscriptions. According to this, inscriptions of Quranic verses and inscriptions of mystical concepts and prayers have usually been located at higher levels. Other inscriptions (such as inscriptions with historical or political themes) have usually been located in lower levels. The location of inscriptions in buildings from the down to up in four sections 1, 2, 3, and 4 in the table below is shown.

 Abstract
The Varjuy rocky temple is one of the prominent buildings with religious purposes and troglodytic architecture on the slopes of Sahand volcanic mountain. It is located in Varjuy village, Maragheh City, East Azerbaijan Province. Verjui Village is located Varouy in the vernacular. The name “Varouy” is composed of two words of “var” with the meaning of sun and “ouy” with the meaning of house in Turkish. So, the name “Varouy” means the house of sun. This name plays a key role in understanding the meaning of this valuable Varjuy complex. Maragheh City was one of the most important cities in Azerbaijan during the Seljuk period. As the first capital of the Il-Khanid (or Mongol) dynasty, this city played a key role in the developments of that era. Maragheh city, with an area of about 5388 km2, is located on the southern slopes of Sahand Mountain in East Azerbaijan Province. It is located in 130 km of Tabriz and limited to Tabriz city from the north, Hashtrood City from the east, Urmia Lake from the west and Miandoab City from the south.
Keywords: Maragheh, Troglodytic Architectural, Varjuy Rocky Temple, Architectural Decoration, Inscription.

Introduction
Today, that room of this temple which was decorated with Muqarnas is known as Mullah Maso’om Imamzadeh, which is the burial site of Mullah Maso’om Maragheh (a scholar lived in Maragheh in the 13th century AH). Until recently, it has been the dome-shaped cover above the openings of Varjuy Rocky Temple but is now destroyed. In previous references, less attention has been paid to the architectural decorations of this troglodytic complex, and in general, many previous studies have repeated the history, use and rock reliefs of this troglodytic buiding. Since no specialized studies have been done on the architectural decorations of this complex so far despite a variety of architectural decorations in this building and the evidence of the use of decorations made by materials other than stone in this building, the present study aims to recognize and introduce the architectural decorations applied in the troglodytic architecture of Varjuy rocky temple in Maragheh. Considering the research objective, field study (coding, photography of architectural spaces and architectural decorations, and detailed exploration of them) and library study are applied to verify the obtained information and then, content analysis is performed. The present study is applied-developmental research.
Data collection methods: A. Review and study of Persian texts in the field of troglodytic architecture will be done to extract historical and technical information. B. Field study and documentation of the status quo: Field studies will be performed to understand the troglodytic architecture of Varjuy Rocky Temple and especially, its architectural decorations. In the present study, observation is one of the necessary methods for deep understanding of the nature of the phenomena and variables studied. C. Analysis: After analyzing the information obtained from field studies and observations, at this stage, a more detailed analysis of the data and identified components will be performed and in this regard, important concepts and points will be extracted.
The review of historical and comparative studies on the troglodytic architecture of Varjuy Rocky Temple showed that there is still no single opinion about the uses of this complex in different periods, especially about its temple use. However, current studies show that this building was used in the Middle Islamic period (around the Il-Khanid period). Moreover, after introducing the spaces and their architectural and structural features, as well as studying the surfaces of the interior of this rocky temple, it was found that this building has architectural decorations, which have been not described and studied in other studies on this building. In addition, there are shortcomings in the identification and accurate reporting of the verses carved on the building body, as well as the lack of recognition of architectural layers and decorations of this building in previous studies. This building has been considered and applied in the Middle Islamic period and some architectural decorations of calcareous mortars have been executed on the body of its main Gonbad-khaneh (the space under the dome), and there is a need to revise the previous interpretations of rock reliefs of this building. We now know that in addition to rocky decorations in the form of Quranic Surahs, interior plaster is observed in the troglodytic architecture of this building and all the decorations in the interior of the main Gonbad-Khaned (V-6 space) were of plaster and not rock. In addition, the plaster has been renewed in different periods and different plastering techniques have been used for the interior.
Another point is that in most of the interior spaces, a plastering mortar has been used. The plaster in this building is considered architectural decoration. Considering the stiffness, color and materials of the mortar, it seems a kind of Pozzolan-lime mortar. The mortar has been applied in several layers, all of which belong to the Middle Islamic period, because there are Thuluth calligraphies below these layers. In the architectural decorations of this collection, the inscription has been executed in two different spaces using two different techniques: carving technique in space V4 and painted inscription technique in space V6. This point was identified for the first time in this research. Evidence shows the three layers of mortar applied to the dado of the main Gonbad-Khane of the studied temple. Among the characteristics of the abovementioned mortar, one can mention the high stiffness, gray color, low thickness and similarity of the bottom layer to the surrounding stone. Evidence also indicates the use of red pigment in the structure of the mortar, which made it red (top layer). Also, in the middle layer, plant fibers have been used extensively and their remains can be clearly seen.

Abstract
One of the most important and controversial prehistoric cultural periods is Proto Elamite period, which can be considered as a revolution in the development, growth and development of communication and interaction of the people of that period, in the period of 3300 to 3000 B.C Many changes took place in this golden age, which itself is due to the existence of political and social complexities. During this period, livestock unions were formed, which had an Proto Elamite  writting on the inscriptions of this period. The union’s livelihood was based on animal husbandry. The economies of monogamous and farming communities are fully integrated with the livestock nomadic economy, and farmers are therefore the direct economic dependents of nomadic unions. Of course, it goes without saying that nomadic ranchers also need farmers, but this was not always the case. Farmers provided some of the farmers’ grains, but the farmers continued to cultivate. They usually had rainfed agriculture. But in general, the most important livestock economy is herding, and farmers needed to migrate to find forage, and on the other hand, the very hot weather in the area of Susa was not tolerable for livestock, and farmers had to migrate to colder areas. The inscriptions are very important in this cultural period. Inscriptions changed from counting mode to scrolls for managing office and animal documents that were thought-provoking. One of the most significant areas of the fourth millennium BC is the area of Susa, which in this period has a lot of livestock inscriptions. In this article, the authors try to analyze the type and number of livestock inscriptions, the existence of a nomadic union, and subsequently the bipolarity of the Susa community in the early Elamite period.
Keywords: Fourth Millennium BC, Proto Elamite, Susa, Animal Husbandry, Inscription.

Introduction
Proto Elamaite refers to a period in history that chronologically shows 14 carbon samples obtained from millions of times between 3300 and 3000 BC.( Dahl et al, 2013: 358). But the end of this cultural period is not very clear yet (Pats, 1396: 99). Today, there are various sites from this period in Iran, some of which have been excavated, but according to the excavated sites, it covers a large part of the Iranian plateau, and so far 8 of its sites have been identified with an integrated writing standard.some of them like 1. Susa (Vallat, 1971) 2. Sialk (Ghrishman, 1938: XXXI) 3. Tal Geser (Alizadeh, 2014). Proto Elamite writing has an integrated structure in terms of form, writing and in terms of illustrating the ideas of the drawings. For example, in the field of animal texts, all of them have used a series of common or close signs, and in most cases, all of them have shown the difference between male and female goats, male and female sheep, and lambs with a single sign .Also, the same collection counting system is used.
Objective: To study the duality of the population of Susa (monogamous and nomadic) in the fourth millennium BC is based on the inscriptions of Proto Elamaite period, based on which it can be seen that Susa in Proto Elamate period is a bipolar society. Indigenous and probably in the same language, the Mesopotamian family is in the south of the Acropolis hill of Susa and a farming and pastoral community in the north of the Acropolis hill. Each nation provided the economic market for the other.
Research Questions: Has a union of animal husbandry communities been formed in Iran during Proto Elamaite period? Was Susa a community, farmer and cattle breeder in the Proto Elamite period?? What cultural connections have there been between livestock and monogamous communities?
Hypothesis: Considering the similarity of the structure and texts of Proto Elamite in the Iranian plateau, it can be seen that there was a connection between these areas and since the most consistency in the signs as well as the areas found in the herd. Early Elamite writings are related to animal texts, it can be seen that the livestock community may have played a role in this collection. These livestock communities in southwestern Iran were in close contact with Susa to meet their material needs, and probably half of Susa communities were forced to migrate to the highlands due to the large number of livestock in the warmer months of the year.
Research Method: In this research, the aim is to reconstruct the herdsman community living in the Susa area in the second half of the 4th millennium BC, which according to the statistical analysis of the number of livestock tablets compared to other Proto Elamite texts, shows that the most Note that these tablets have livestock provisions. In fact, it is possible to understand the type of livelihood of the Sush community in the Proto Elamite period from reading the tables, which is that the people of Sush were cattle breeders in the north of the hill and farmers in the south of the hill. The tablets obtained, which are mentioned in the research proposal, how to discover and decipher them, are very effective in achieving the goal of this research.

Proto Elamite inscriptions obtained from Susa
Proto Elamite inscriptions were first found in the excavations of Susa in 1900. (De Morgan, 1900: 130) Inscriptions are flattened clay fragments made by hand. They have formed. And are cooked at low heat or not cooked at all. In their study, the authors divided the Elamite inscriptions from Susa into two categories. One is the texts obtained from MDP.17, most of which were found from the north of Susa hill, and the other is the rest of the Susa inscriptions, which are generally obtained from the south of Susa hill. Demorgan’s large trench in MDP.6 had less than 10 percent of the animal texts But MDP.17 has the highest percentage of livestock statistics

Animal Texts of Susa
The content of all Elamite texts is administrative and related to the production, storage and distribution of the product (Dahl, 2015). In Proto Elamite texts, various signs are used for animals and livestock, but among them, only the sign of sheep and goat can be recognized with complete certainty due to the similarity with the example of the beginning of cuneiform can be distinguished from other animal signs. All livestock and domestic animal signs used in the herd are shown with abstract signs. Also, one of the most important factors related to livestock communities is the use of signs of livestock products.

Conclusion
Today, in the southwest of Iran, there are nomadic communities that have land in summer and winter, and apart from animal husbandry, whose main occupation is seasonal and rainfed agriculture, which does not meet the consumption of the whole year. And trade in livestock products and grains with the surrounding farming communities, and since the life of nomads depends on climate and environment, and since the end of the fourth millennium BC, major changes in water conditions and the weather in southwestern Iran has not happened. It is possible that the life of the nomads in Proto Elamite period was the same as now. By examining Proto Elamite tablets of Susa, it can be found that a significant part of them (nearly one third of the texts) are concepts related to wages, payment and in the field of livestock activity or collection and audit of livestock, and Attention is also regular with agricultural activity or payment of wages. By classifying the tablets and also according to the statistical concepts and percentages, it is determined that more than 32% of Proto Elamite texts obtained from Trench I of Domkenam in the north of the Acropolis hill are directly related to the counting and trading of livestock and may be part of the payment inscriptions whose goods Not specified, also related to livestock. According to Domkanem’s explanation, part of the inscriptions of the Great Trench of Damurgan is probably related to the texts of grain, storage and payment of labor wages, and at the time of publication, it was merged with a part of the tablets of the Great Trench in other Sush collections such as the book MDP.17 It has been reported that if they are separated, the number of livestock in the north of Shush Hill will probably reach a much higher number than %32. which in general can be understood the livelihood and life of the people of Susa in Proto Elamite period.

Abstract
In the past, there existed a relief known as Fath-Ali Shah’s lion hunting in Shahr-e Ray. Regrettably, this precious piece of history has undergone significant damage due to the mining activities of Ray Cement Factory. Presently, only a fragment of this relief is preserved. Since most of this relief is lost, there are many uncertainties about it; For example, the exact location of the relief in Shahr-e Ray remains unknown. Various studies attribute the construction year of this relief to 1246 AH, but its accuracy is still subject to debate. Additionally, there was an inscription surrounding the relief containing poetic verses in Nastaliq script, which have not been deciphered yet. On the other hand, due to the proximity of this relief to Cheshme-Ali’s relief, the information related to these two is sometimes mistakenly attributed to the other, causing researchers to make mistakes. This research aims to give a clear picture of this relief and to remove the gaps surrounding it. This research intends to answer the following questions: What was the original location of the relief on Sorsore Mountain and when was it built? What precisely is the content of the poetic inscriptions surrounding it? What alterations has this relief undergone over time, and what has ultimately become of it? This research adopts a descriptive-analytical approach, relying on historical texts and images as primary sources to guide the investigations. Finally, by the primary sources, the location of this relief on Sorsore Mountain is determined. The results show that the poems of the inscription are in praise of Fath-Ali Shah, and the chronogram indicates the year of its construction in 1246 AH. eventually, sometime between 1340 and 1345 SH, due to the explosions of the Ray Cement Factory, this relief was destroyed, and only a fragment of it including the lion’s tail and the inscriptions around it remained, which is kept in the museum of the Ray Cement Factory.
Keywords: Rock Relief, Fath-Ali Shah, Shahr-e Ray, Inscription.

Introduction
In the past, there existed two rock reliefs of Fath-Ali Shah Qajar in Shahr-e Ray, one of which has been disappeared. This relief, which is located on the southern part of Sorsore Mountain, is known as “Fath-Ali Shah’s lion hunting”. An older, probably Sassanid relief had been erased and replaced by the Qajar one. There are many uncertainties about Fath-Ali Shah’s lion hunting; For example, the exact location of the relief in Shahr-e Ray remains unknown. Various studies attribute the construction year of this relief to 1246 AH, but its accuracy is still subject to debate. Additionally, there was an inscription surrounding the relief containing poetic verses in Nastaliq script, which have not been deciphered yet. On the other hand, due to the proximity of this relief to Cheshme-Ali’s relief, the information related to these two is sometimes mistakenly attributed to the other. It is necessary to do detailed research on this relief to solve these mistakes and answer the ambiguities raised. This research intends to answer the following questions: What was the original location of the relief on Sorsore Mountain and when was it built? What precisely is the content of the poetic inscriptions surrounding it? What alterations has this relief undergone over time, and what has ultimately become of it? This research adopts a descriptive-analytical approach, relying on historical texts and images as primary sources to guide the investigations.

Literature
For the first time, Mustafavi wrote a note in the monthly information magazine, in which he stated the location and address of access to the lion hunting relief, the year it was made, and introduced the artists involved in making it (Mustafavi, 1953: 10). Luft, in an article entitled “The Qajar rock reliefs”, in a short mention to the Lion Hunting relief, tries to estimate the year of its construction (Luft, 2001: 32). Mirzaei-Mehr also describes the artistic aspects of the relief in Abdullah Khan’s book (Mirzaei-Mehr, 2014: 43-45). Doroodian has done a detailed research on the incomplete relief that Fath-Ali Shah erased in “A study about the Sasanian rock relief of Ray”. Doroodian introduces this role in his article and tries to identify its character. (Doroodian, 2016: 63&64). Safinejad has given an estimate of the size of the relief and the inscription around it in the book of Ray’s Historical Places and has described the details of the figure of Fath-Ali Shah and lion. He also deciphered the poems around the inscription, but his reading has many mistakes. (Safinejad, 2015: 344&345). Movathagh has given some information about Sassanid relief, which he has referred to the book of Kariman (movathagh, 2017: 110).

Discussion
First of all, the exact position of the relief is examined with the help of the remaining drawings and maps. According to Mustafavi’s descriptions of Ray cement factory near the relief in the 1960s, Jules Laurence’s painting in 1848, William Ouseley’s painting of the location of the Sassanid relief that existed former the lion hunting and his explanation of the access route to relief, its position can be determined on Schmidt’s aerial photo of the Sorsore Mountain. Before Fath-Ali Shah’s figure was engraved on the body of the Sorsore Mountain, there was an old relief. That relief was first found by Robert Gordon and James Morier in 1812. (Morier, 2007, Vol. 2: 229). Morier drew a sketch of this relief (image 7). William Price, William Ouseley, and Ker Porter also visited the relief, and described it in their travelogues. It can be concluded from their texts and images, that there were two flat tablets in the mountain at the rock site, one on top of the other. The lower plate was a half-finished sketch of a horseman with two orbs on his shoulder and one on his head, attacking an opponent whose horse’s head is depicted only. The upper slab was without a design. Fath-Ali Shah ordered to erase the mentioned ancient relief and replaced it with his own figure. Both Fraser in 1834 (Fraser, 1985: 150) and Korf in 1834 pointed out its disappearance. (Korf, 1993: 215).
There are many pictures of Fath-Ali Shah’s lion hunting relief in the archives of Iranians and foreigners who came to Iran. These images have been presented in order of creation date. (Images 11 to 21) In Roger Viollet’s 1958 photo collection, the inscriptions around the image, the king’s beard and crown, his horse’s boots and saddle, as well as the inscription under the horse, are all painted over. Another change is the frame above the relief, which is not present in the older images. These changes were apparently made by Ray cement factory in 1949 (Mustafavi, 1953: 10).
The inscription around the relief contains 11 verses and its poet is Mirza Taghi Aliabadi. In order to read and accurately record what was executed, several photos were used in each part of the inscription. (Images 23, 24, 25 and 26) Examining the remaining images and reading the inscription shows that some words of the poet’s original poem have been changed in some verses. Also, some verses have been removed and replaced by others in the execution of the inscription. The chronogram in the last verse includes the words after “ke”: “shod inak musiye emran ayan be sineye sina” gives the year 1246 AH. The last historical photo of lion hunting relief was taken by Hossein Malek-Iraqi in 1961. Kariman states in his book, which was published in March 1966, that the lion hunting relief was destroyed by an explosion. (Kariman, 1966, Vol. 1: 302)

Conclusion
in this article, the location of Fath-Ali Shah’s relief on the southern body of Sorsore Mountain was identified by the help of historical texts and images. Also, re-reading of the inscription’s poems was done, which showed that the content of the inscription’s poem is in praise of the statue of Fath-Ali Shah Qajar. According to the last verse and the chronogram of the inscription poem, this relief was made in 1246 AH. Rereading the poems made it clear that there were changes in the poem during its performance and the original poem of the poet was not performed. It was also identified that the designer of this relief is Abdullah Khan-e- Memar and its sculptor is Mohammad Qasem Khan-e- Hajjarbashi. On the other hand, numerous pictures revealed that this relief was painted during the repair by the Ray Cement Factory in 1949. The relief of Fath-Ali Shah, which was made by erasing the previous ancient relief, was finally destroyed sometime between 1961 and 1966 due to the explosions of the Ray Cement Factory, and its pieces fell to the foot of the mountain. The big piece of the relief was at the foot of the mountain for years, but there is no information about its fate. The smaller piece, which includes the lion’s tail and the inscriptions around it, was later moved to Ray Cement Factory by one of the technicians. It is kept in the museum of Ray Cement Factory now in 2023.

Abstract
Atigh Jameh Mosque, also known as Masjid-e-Atigh in Persian, is the oldest mosque in Shiraz, Iran. It is situated on the east side of the Shah Cheragh Shrine. The construction of the mosque began in the year 276 and was completed in 281 AH to celebrate the conquest of Shiraz by Saffarid Amroleiss. The mosque has been restored several times during the Atabeg, Timurid, and Safavid eras. It has six entrances, but the main entrance is located on the northern side, which was restored during the Safavid era. This mosque holds a special cultural and historical significance for the people of Shiraz. The Jameh Mosque of Atigh in Shiraz is an exceptional historical mosque in Iran. It boasts unique architectural decorations, including a stone-and-tile inscription placed in the God’s House of the mosque. Pir Yahya Sufi, one of the famous calligraphers in the 8th Hijri century, inscribed the writing of the inscription. According to historical documents, the mosque has been restored several times. Unfortunately, some restoration practices have tarnished the originality of the work by ignoring the calligraphic style of the original description. In the present study, the restored parts of the tile inscription have been examined. The examined parts were compared with other works of Pir Yahya Sufi and with other parts of the original inscription itself. 
Keywords: Atiq Shiraz Mosque, Authenticity, Inscription.

Introduction
The notion of historical region is crucial in understanding a work, as it is inherently transferable from its physical existence to its historical context (Benjamin, 2003). Therefore, it is important to identify, formulate, and evaluate the notion of originality during different historical periods (Araoz, 2008:36). The most common way to prove originality is by demonstrating the historicity of the work, which is not limited to a single era but encompasses the entire historical context in which the work was created and its various influences. Article 12 of The Venice Charter for the Conservation and Restoration of Monuments and Sites stipulates that replacements of missing parts must integrate harmoniously with the whole, but at the same time must be distinguishable from the original so that restoration does not falsify the artistic or historic evidence (URL‌1). In this respect, inadequate guidelines for restoring inscriptions led to subjective approaches and unfaithful outcomes. When creating an inscription, calligraphy is also an important factor to consider. As such, the conservator must take into account the 12 principles of calligraphy, which include combination, baseline, proportion, weakness, strength, surface, distance, virtual ascent, purity, place, privacy, and magnificence. (Rahjiry n 1967: 48-51.8-51). Architectural inscriptions play a significant role among the decoration of historical buildings and are considered to be live documents. In the research, we examined the restoration work done on a stone-tile inscription from the perspective of its originality. Ignoring the original calligraphic style, visual art principles, as well as the principles of calligraphy, has resulted in irreparable mistakes overriding the originality of the inscription under discussion. As such, before restoring any inscription, the conservator must have a complete understanding of its components. In this case, both the previous restoration methods have been analyzed, and the restored inscription has been studied based on calligraphic principles. 
The Methodology: The study is qualitative. The data were collected from library sources and field studies and compared analytically. The findings showed that during the restoration process, there were noticeable discrepancies between the restored calligraphic parts and those of the original ones. This implies that the conservator did not have sufficient recognition of the original inscription. As a result of excessively arbitrary and justifiable interventions, the conservator tarnished the originality of the mentioned historical work.

Discussion
Preserving the originality of an inscription is crucial, and one of the essential factors that contribute to it is the form and design. By originality of design and form, we mean that the inscription’s initial design and structure must be restored. For instance, if the inscription was initially written in Thuluth or Naskh script, the same calligraphic style must be retained during the restoration process. To evaluate the degree to which this criterion has been met for the inscription under discussion, we need to compare it with other surviving works of Pir Yahya Sufi and examine the original and unrestored parts of the inscription. As such, the restored inscription was compared with the only surviving written work of Pir Yahya Sufi, which is a written copy of the Holy Quran, along with old documents and images. The calligraphic lines of the inscription were compared, letter by letter, to the original works of Pir Yahya Sufi. During the first phase of the analysis, the Arabic letters و and ر in the papillae of the inscription (a triangular prism serving as a support strap) were compared with three surviving images, which included original parts, newly restored parts, and handwritten copies of Pir Yahya Sufi. This comparison revealed differences in the calligraphic styles of the letters. However, the similarity between the survived calligraphic lines of the inscription and those of handwritten copies suggested that the papillae area must have been the restored part. While in the papillae part, the Arabic letter “و” was written with an upward inclination, the other two letters of و were sharp and inclined downward. A noticeable difference was observed in the way that the word “Allah” was written in the handwritten copy of Pir Yahya Sufi compared to the restored inscription under study.  In the handwritten copy of Pir Yahya Sufi, the last letter of the word “Allah” is inclined upward. However, in the restored inscription, the last letter of the word “Allah” is inclined downward. Additionally, the calligraphic style of the letters “د” and “ل” in different parts of the inscription were examined and found to be similar to those in the handwritten copies that were studied. Likewise, upon studying the calligraphic style of the letter ر, it was found to be similar in all handwritten copies. Different parts of the inscription involving this letter were considered to be the main parts. If we examine the handwritten copies of Pir Yahya Sufi closely, we can see that the calligraphic style of the letters such as م, ر, and د is elongated and inclined leftward and downward. The Arabic word “من” has been written in a similar calligraphic style both in the restored inscription and the handwritten copies of Pir Yahya Sufi. The Arabic letter م has been written with a broken curvature, at the button, and a turned-up extension.  

Conclusion
The preservation of the originality of works of art has been a major concern among art conservators for years. It can help experts to methodically restore historical monuments. In this study, we focused on one of the most outstanding monuments in Iran, which had undergone significant damage. We aimed to analyze the stone-tile inscription of God’s House in Atigh Mosque while keeping the original form and shape intact. It is important to consider the form of the work when dealing with it as ignoring it can lead to damaging its originality. During the study, the restoration of the inscription had been done unjustifiably due to ignoring the calligraphic style, form, and design. To rectify this, we conducted field studies and gathered various works of Peer, the calligrapher of the inscription, to analyze the restored parts. We compared them with the surviving original parts of the inscription and with handwritten copies of Pir Yahya Sufi for further examination. After conducting a restoration on the inscription, it was discovered that there is a noticeable difference between the calligraphy style of the restored parts and the original ones. This is especially evident when comparing the surviving photos of the original inscription. For example, the Arabic letter و has been written differently in the restored version, with some parts sloping downwards and others upwards. However, in the surviving original copies of Pir Yahya Sufi kept in Pars Museum in Shiraz, the letter و is inclined downward. The restoration of works of art, especially those with inscriptions or works by known calligraphers, requires sensitivity. Conservators must thoroughly examine the work from different angles and understand the calligrapher’s style before taking any action. Each calligrapher has their unique style, which must be taken into account during restoration. Tarnishing the originality of the work is equivalent to fabricating the inscription, which must be avoided. By analyzing and criticizing the restoration of architectural decoration and inscriptions, the historical fabric can be preserved.