Abstract
The purpose of this research is analysis and survey architecture decorations of wooden pillars in the mosques of Maragheh. The research method in this study is based on surveying and descriptive analysis. The data of this research are contains 14 mosques in Maragheh, that from these numbers 8 mosques haven’t been studied because of that general reconstruction or without being pillars. So, in this study 6 mosques of Maragheh have been surveyed and analyzed. Today, because of the lack of use this kind of decorations in the construction of mosques and their uniqueness, this study is essential. The wooden capitals in this research are decorated with motifs of stalactite work and woodturning with shapes of geometric dangling, stair, and crenate. On these capitals are abundantly seen decorations of arabesque motifs. The colors are used in this motifs contains black, white, red, green, yellow, blue, light brown and dark, turquoise, and ranges of these colors. The alongside these decorations has been used calligraphy of verses and holy names. The results of this study indicate that decorations architecture of wooden pillars in the mosques of Maragheh despite having art style of unit, they have variety of colors, designs and form of pillars. The method of doing this research is field-library. The field data have been collected with direct observation from wooden pillars, and then designed them with using software Corldraw. Thus, two main questions in this research that the authors try to analyze them is as follows: Can with compare and analyze the decorations of pillars common tips between them found? And, what have decorations of pillars pattern? 
Keywords: Decorations, wooden pillars, mosques of Maragheh, Islamic architecture.

Introduction 
In monuments and mosques have been used from the wood as the main components and also as a decorative element. The slender and long wooden trunks with decorations as carrier pillars of roof have been used in buildings. These wooden pillars have played a key role in holding pillars and prayers hall of mosques. The decorating the inner surface of wooden roofs has been of evolved over time and arrived in the late centuries of Islamic to ultimately development. During the Safavid period, that construction of wooden ceilings, known as Chehelsotun, has become spread (Soleymani et.al, 2011: 27).
In Maragheh city is remained wooden mosques of beautiful from Safavid period. These mosques have been contains 14 mosques, but in this research have been studied decorations of pillars mosques Molla Rostam, Molla Moez Aldin, Zarir, Sefid, Ghazi, and Najarlar. These mosques have wooden decorations and the capitals of wooden stalactite in these mosques have been decorated with motifs of arabesque and calligraphy. The artists tried in decoration of these pillars have been used the most beautiful and diverse designs. The authors in this research, after survey all of the pillars, have been presented the fixed pattern from them. So, due to the registration of Maragheh wooden mosques in the national monuments list and wooden decorations of unique them, do this research is essential.
The field data have been collected with direct observation from wooden pillars, and then designed them with using software Corldraw. The study of library resources is contains of study the articles and books published in this field and also use the archive of cultural heritage administration of Maragheh County.

Introducing samples of mosques
Mosque of Molla Rostam: This mosque is located in the south side of the Molla Rostam square and among the Chay Osto Bazaar. Most of the pillars of this mosque are made of wood and stalactite motifs. The wooden pillars in this mosque have been prepared from Sepidar tree and woodturning to form of octagonal.
Mosque of Molla Moez Aldin: This mosque is located on the west side of the Khoshkbar square (Salar neighborhood and Hatam alley) in Maragheh city. The mosque of Molla Moez Aldin has two prayers halls of eastern and western. These two prayers halls have roof with flat cover and beamed ceiling, and with the capitals of stalactite.
Mosque of Zarir: This mosque is located in the northeastern part of Maragheh City and in street of Mir Habib Agha. The roof with flat cover of prayers hall in mosque of Zarir has six wooden pillars in two rows. Each of these pillars are consists of a stone pedestal, stem of wooden pillar, and capitals of stalactite.
Mosque of Sefid: This building is located in the southeastern part of the historical context of Maragheh city, and along one of the historical and main gates of this city in the name of “Darvazeh Biron Ghaleh”. The prayers hall of this mosque has the pillar, and the pillars of them are numbers three.
Mosque of Ghazi: This mosque is located in the Ghazi neighborhood of Maragheh city and corner of Ghods street. The date of construction this mosque is Safavid period. The prayers hall mosque of Ghazi has roof with flat cover, and six of pillars with capitals of stalactite.
Mosque of Najarlar: This mosque is located in the Qom neighborhood of northern in Maragheh city. The plane of this mosque is to form of rectangle, and has a prayers hall with three numbers of pillars with stalactite.

Conclusion
The motifs and schemes in architecture decorations of wooden pillars in the mosques of Maragheh, in addition to the have artistic style of unit, they have color variation, scheme, and form in pillars. According to the construction period these mosques, we can see differences in them. The main decorations in these mosques are contains of the rich motifs and arabesque motifs. The colors are used in this motifs contains black, white, red, green, yellow, blue, light brown and dark, turquoise, and ranges of these colors. The alongside these decorations has been used calligraphy of verses and holy names.

Abstract
Despite of studies about acceramic Neolithic period in west of Asia (especially Levant area), little has been done archaeological activities related to this period in Central Zagros. The Central Zagros is one of the important areas of west Asia that in this area has been done sedentary, domestication animals, and cultivation for first time. In Central Zagros, Seimare River is the largest river. The Seimare archeology project was done based on surveys and excavations archaeology in dam basin of Seimare. The Dangjoun from sites was excavated in related to Seimare archeology project in year of 2010. In total, 70 square meters was excavated from this site that led to discovery three phase of settlement. In Dangjoun wasn’t achieved of terra cotta ware, but architectural remains were achieved from all trenches with different quality. The architecture this site has been affected from Central Zagros environment. The materials used in this site are taken from the surrounding environment. This study was done with a fundamental purpose, and method of data amassment in this research is library – field method. In this research, in addition to the introduction and description architecture of Dangjoun, the complete descriptive has been done about architecture of A and B periods of acceramic Neolithic. In this regard have been explained specific architectural features of each period in Anatolia, Syria and Northern Zagros (in Iraq). Main questions of research: Due to the architectural condition of this site as right corner architecture, and …, this site belongs to, which period of acceramic Neolithic period? Due to the permanent architecture in Kapargah (that including of homes four corners, and built of homes on the ground), it seems, this site is belong to period B of acceramic Neolithic period and can’t be attributed it to earlier periods.
Keywords: Acceramic Neolithic Period, Seimare, Central Zagros, Architecture.

Introduction
In the history of human culture, the Neolithic period is of particular importance. The Neolithic period is including from 11000 to 7000 BC. The human societies has been experienced many changes in this period. Some of the most important changes in this period as: Starting and developing agriculture and animal husbandry, permanent establishment, population increase, long distance commerce as obsidian, skill in the production of stone tools, beginning of metallurgy, production of pottery, use of fire in the industry, indication of personal ownership of objects, accumulation of wealth and beginning of social inequalities, construction of public and religious buildings (Hole, 2000: 192; Byrd, 1994). However, the most significant consequence of Neolithic revolution was emergence of a compound economy with emphasis on domestic plants and animals (Hole, 1984). On the other hand, production of pottery in this period is led to cleave Neolithic period into two periods: Acceramic and ceramic Neolithic. According to the hints top, the main concept of Neolithic period is with food production, appearance of village, and architecture. The Central Zagros is one of the important areas of west Asia that in this area has been done sedentary, domestication animals, and cultivation for first time (Zeder, 1999). The Central Zagros because of the strategic position and placing in between areas like Mesopotamia, Khuzestan, Azerbaijan and central parts of Iran, and also Due to the appropriate environmental facilities in this area as: fertile fields, good agricultural lands, abundance of water resources, … has always been a concern for human societies for a long time. Main questions of research: Due to the architectural condition of this site as right corner architecture, and…, this site belongs to, which period of acceramic Neolithic period?

Research findings
The Kapargah is located in Lorestan and part of Kuhdasht County and Konani region. The nearest city to this site is Badreh city in Ilam Province. The Kapargah is located in Cham Ghoileh valley and for difficult transit this valley, in this area is living of wild animals. In terms of size, the Kapargah is small size and about 2000 square meters. Around this site rarely is obtained stone tools. This site is to form of rectangle and has 70 meters long and 30 meters wide. The Kapargah isn’t located on the floor of the plain, and with the passage of time have been created sediments about 6 meters on the site. The distance of this site to the river is about 50 meters, and surrounding lands are very prone to farming and animal husbandry. It seems, primary village because of located in between mountainous plains has been built on a gentle slope. The architecture this site has been affected from Central Zagros environment. The materials used in this site are taken from the surrounding environment. Workshop 1 was created with 5 m long and wide, and relative to workshop 2 had less architecture. All the walls have been made with rubble from mountain and river and sticking together with mortar. In this site was discovered three phases of architecture that hasn’t been seen structural difference between phases. Workshop 2 first was created with 3 m long and wide and then developed, and extent it was reached to 54 square meters. In this workshop too, discovered three phases of architecture that all the walls have been made with rubble from mountain and river and sticking together with mortar.

Conclusion
Due to the permanent architecture in Kapargah (that including of homes four corners, and built of homes on the ground), it seems, this site is belong to period B of acceramic Neolithic period and can’t be attributed it to earlier periods. The difference in architecture in two trenches this site probably because it is workshop 1 has been created in around of the village and this area has been temporary residential homes. Two warehouses in this workshop show each home has its own warehouse. The climate situation of this area has been influenced the construction of houses. Because of the air temperature above zero in this area, the walls aren’t thickened.

Abstract
Qal’eh Dokhtar, as one of the important historical sites on the eastern outskirts of Kerman, has been described in historical texts with different names such as Qal’eh Kooh and Qal’eh Kohan, as a place of political and social events. One of the important features of this castle is its special location in Kerman plain, as well as the extent of its architectural structures and type of materials. The purpose of this study is to analyze the nature, function, and chronology of Qal’eh Dokhtar. This study was done based on the results of an archaeological survey, sounding, and archaeological excavation in 2019 in this site. This study can explain the role and position of Qal’eh Dokhtar in the social and political developments of Kerman during the Islamic era. Data collection was done by documentary and field methods and the research method is descriptive-analytical. The questions are: When were the foundations and renovations of Qal’eh Dokhtar made and what were the functions of this complex? For this purpose, the data of previous archaeological research and recent field activities of the authors were studied and reviewed, and while studying the historical geography of the region, a correct idea of the nature, formation, and function of this building in relation to cultural developments, Political and social of this area in the different period were presented. The study of cultural materials along with the study of historical sources shows that this site is probably almost continuously inhabited from the pre-Islamic period and certainly from the first centuries of Islam to the tenth century AH. The results show that this structure has played a decisive role in the political and social developments in the region. It seems that Qal’eh Dokhtar was probably constructed and reconstructed from the pre-Islamic period and certainly from the first centuries of Islam to the Safavid era for establishing a military and defense base, as a place to hold political prisoners, a treasury, a safe haven for sit-ins and the rulers and their families.
Keywords: Qal’eh Dokhtar in Kerman, Qal’eh Kooh, Qal’eh Kohan, Historical Castles, Islamic Architecture.

Introduction
Based on historical evidence, Kerman city was founded due to an economic-military necessity. The necessity that required the important branch of the Khorasan arterial road, that is, the spice route of India and the coasts of the Oman Sea, passes through the deserts of Kerman and Baluchistan and connects to the Khorasan arterial road. The Kerman region was located in the center of the intersection of the mentioned roads (Zarei and Heydari, 2013: 202). Because of this special situation, Kerman was also subject to internal and external attacks since historical times (Bastani Parizi, 2016: 40). Therefore, large castles were built for military and defensive purposes to prevent damage and protect lives and property from enemy attacks. Qal’eh Dokhtar is one of the important castles that was founded in response to such needs. In its ups and downs history, this castle has been one of the most famous and eventful castles, especially during the Islamic era, compared to other historical castles in the southeast. Based on the historical sources, political events in the history of Kerman in different periods are connected with this castle (see: Afzal al-Din Kermani, 2016: 124; Vaziri, 2016: 102; Monshi Kermani, 2018: 62; Sykes, 2016: 80).
Despite this, none of the above studies gives a detailed understanding of the nature, function, and chronology of this monument in connection with the social and political developments of Kerman. Historical sources also show a number of contradictions about the date of construction and function of Qal’eh Dokhtar. Most of these contradictions have been caused by the lack of detailed and comprehensive investigation or the ignorance of historians. Considering that the previous researches related to Qal’eh Dokhtar were only descriptive, the importance of the research is that it studied the nature and use of this castle with an analytical approach.
Materials and Method: In this research, by studying historical texts and architectural structures and cultural data (including the remains of pottery from the archaeological excavation and survey in Qal’eh Dokhtar), an attempt was made to create a clear understanding of the history of construction, the process, and stages of renovations, its functions based on the developments. Data collection in this research has been done by field and documentary methods. Based on this, the study and analysis of the findings of the authors’ excavation and survey in Qal’eh Dokhtar has been done to explain the construction chronology, the process and stages of renovations, and the functions of the castle. Also, the historical texts related to this work have been analyzed in the “content analysis” method, and by matching the data from these documents with the archaeological findings, new analyzes have been tried to be presented about this work.

Data
Qal’eh Dokhtar is built on a high rock overlooking the landscape of Kerman plain. This high rock is stretched lengthwise from east to west and its length is more than 720 meters. The architecture of Qal’eh Dokhtar follows the topography of this rock. Some of the architectural spaces of Qal’eh Dokhtar were formed on large stone slabs, and in some others, space was provided for construction by carving the mountain rocks, and buildings were formed with mud-brick, crushed stone, Sarooj, plaster, and lime. In the eastern part of the complex, architectural evidence of two and three stories has been left. In the northernmost part of the middle section, the architectural structures of this section were probably the ruling buildings. In the northwest of the middle part of Qal’eh Dokhtar, there is a wide and half-ruined gate, a small pedestrian gate, and a high and solid tower. In the south of the middle part of Qal’eh Dokhtar, there are remains of a brick water basin.

Discussion
Analyzing the content of historical sources provides information about the functions of Qal’eh Dokhtar during the Islamic era. For example, the first function of Qal’eh Dokhtar as a “place for opponents of the government” can be mentioned (Monshi Kermani, 1328: 23; Hafez Abro, 1375: 53-52). The second function of Qal’eh Dokhtar was based on the analysis of the content of historical texts, “a place to store government treasures” (Katabi, 1985: 100; Hafez Abro, 1996: 157). The third function of Qal’eh Dokhtar can also be considered as “the residence of rulers and their families” in some periods (Afzal al-Din Kermani, 1977: 124). The last function of Qal’eh Dokhtar can be seen as a shelter for besiegers (Khabisi, 1994: 187). In addition to these, we can also mention the role of Qal’eh Dokhtar in keeping political prisoners, which is hidden in historical sources (Monshi Kermani, 1949: 15; Hafez Abro, 1996: 20). Based on this, Qal’eh Dokhtar has had different functions in different eras and as a part of the spatial organization of Kerman city, it has played a special role in the political and social developments of this city in the Islamic era.

Conclusion
Qal’eh Dokhtar in the east of Kerman city was one of the important castles that was founded in the pre-Islamic and early Islamic period due to the need to deal with the threat of invading tribes on the south and southeast highway of the country, and it became the throne of the rulers of Kerman in different periods. For two reasons, Qal’eh Dokhtar played a role as a military and defense structure along with other castles in Kerman in providing security to the east of Kerman and the highways of the region. The First reason is “its location on top of the natural elevation and dominates the Kerman plain”, and the Second is “the important position of the city of Kerman from a military point of view during the Sassanid era”. However, the analysis of the content of Islamic written sources and the study of archaeological evidence, including pottery and architectural structures, show a basic reconstruction phase in the 4th century AH, a deliberate destruction phase in the late 6th century AH, two phases of reconstruction in the early and at the end of the 7th century A.H. and a stage of reconstruction took place in the second half of the 8th century A.H. in Qal’eh Dokhtar. Along with these developments and renovations, other functions were added to the security and defense functions of Qal’eh Dokhtar. As it has functioned as a place to keep political prisoners, in other times as a place to keep government treasures, sometimes as a safe haven for the opposition and in other periods as a residence of rulers and their families.

Acknowledgments
The authors are grateful to Dr. Asadullah Jodaki Azizi for his advice.

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

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

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

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

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

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

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

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

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

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

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

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

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