Abstract
The monuments of Qajar and early Pahlavi periods in the valley of Darreh-Shahr of Ilam province are among the works that reflect the political and social developments of this era. The purpose of this study is to investigate the adaptive study of the spatial and temporal structure of Ghala Poursharf, Mirgholam Hashemi and Ghaleh Jahangirabad, the causes of their formation and pattern of distribution. The research method in this study was experimental research, field and library studies. In this regard, by studying the architectural elements each of the buildings, the Appellation of them according to their spatial-physical structure is to be re-evaluated. The results of the research are show that the construction of the studied buildings in the city of Darreh-Shahr, according based on military and security necessity and then on political and social grounds. The results of the research are show that the construction of the studied buildings in the city of Darreh-Shahr, have been according based on military and security necessity and then on political and social grounds. These buildings are located at the most appropriate geographical locations and related to agricultural affairs and tax affairs. On the other hand, according to architectural and archaeological studies, other buildings of Pourashraf fortress, has been built on the basis of military and security necessity, and the buildings of Mirgholam Hashemi and Jahangirabad have been manor house and where built at the beginning of the Pahlavi period for political and social reasons. So, in this study, these questions are raised: What is the pattern of distribution of these buildings in Darreh-Shahr? How are the spatial structure of these buildings? Can be used the title of fortress for these buildings?
Keywords: Darreh – Shahr, Late Qajar and Early Pahlavi, Fortresses, Comparative Study.

Introduction
From the location, the fortresses of Iran have been made in different ways in relation to the natural situation of the place and materials. So that, construction of fortresses in the Pre-Islamic Era and the Islamic period of Iran had a close connection with the political, economic and geographical necessities. For this reason, they have made the fortresses in the harsh mountains and beside the water and springs, around the cities and overlooking them. They have made these fortresses for their role in various political developments, such as the rise and fall of governments, the internal crises and used in the onslaught of foreign nations as a refuge for political opponents. Also build these fortresses have been important in the formation of cities. The shape, type, and number of Iranian fortresses towers in the Islamic period have been depend on the social, natural and military conditions of each region. The Iranian fortresses have a long, wide and long wall, cylindrical and multifaceted towers, one or more gates for entry and exit, and sometimes entrenchment on around fortresses. The type of relations governing the life of the fortresses was almost the same. These relations, along with the natural and geographical factors of the region, played a decisive role in function of the various parts of the fortresses, and they all brought together in a special type of architecture. In general, fortresses had several functions that including: for holding detainees, state treasury holdings and the status of government. With this introduction, the monuments from the Late Qajar and Early Pahlavi periods in the city of Darreh-Shahr called “fortress” have been selected for study. The main purpose of this research is to first introduce, describe and analyze the spatial structure of the buildings of Pourashraf, Mirgholam, and Jahangirabad, and then analyze their structure and location. The main purpose of this research is to first introduce, describe and analyze the spatial structure of the buildings of Pourashraf, Mirgholam, and Jahangirabad, and then analyze their structure and location.

Finding Research
The archaeological excavation in the Ziyat area is considered to be a collection of rescue researches of the ancient sites of the basin of the Kurih dam. In order to, this study has done identify and understand the status of the remains architecture and the ancient layers this site. Ziqi enclosure is one of the sites that was quickly destroyed by the first stages of dewatering in the dam buried lake, due to its location and texture; therefore, the implementation of ancient archaeological research on this site before the dam drainage of Amiri, It was essential and important to carry out these researches a valuable step in the process of recognizing and introducing this ancient work before its complete destruction. The Ziqi area has always been part of it due to its proximity to the Guria Monument. The first mention Piran in 1380 was identified during the first chapter of the Ancient Cognitive Examination of the Ivan County of Guria, which Zich was also part of it (Pirani, 2001: 159-183). In 2004, Ibrahim Moradi introduced the Ziqi site in an archaeological study of the Kyrgyz Dam basin independently of the “Guria” building (Moradi, 2004: 40-53). 

Conclusion
The archaeological excavation of the archaeological site of Zich has done in three parts distinct but related sections, including systematic survey, speculation to determine the area and extensive exploration of the site was accomplished. The results of these studies have ultimately led to the recognition of the temporary deployment area (seasonal settlement). The study of the architectural and architectural remnants of the spaces in the excavated workshops and their comparative comparisons with contemporary samples in the region has showed that the Ziqi area was a temporary deployment site (seasonal deployment) and a one-stage deployment that during a period (to Seasonal but for several years) has been used by the Cubans. Establishment in tents that surrounding it with single or double-edged stone and one or two row strips separated from each other, have been outside the tent space (outside the tent) cooking utensils and other day-to-day activities. The nomads have been set up stairs and set up tents on their slopes and have been facilitates their settlement. The healthy and complete example of such settlements that are related to the life of contemporary localities is to the present day and in the same style, and their works are clearly visible around the site.

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

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

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

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

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

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

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

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

Abstract
In the Qajar period, the relationship between the visual elements and the composition of the paintings follows certain precise principles that are consistent with the art of Laquer painting. In Persian lacquer the base is almost always of papier-mâché. The surface was thinly coated with a fine plaster, or gesso, and upon this the painter executed his design in the miniature-painting technique of the time. The whole was then covered with a layer of transparent lacquer or varnish, which not only protected the painting, but enriched and mellowed the colors. The difference between the iconography of the Qajar period and the previous period is that folk themes are prevalent and their types are found in tiling, oil painting, Laquer, and Lithography. The main questions of the study are: 1- How is the Qajar period illustrated on the Laquer artworks from the iconography approach? 2- What are the intertextual elements in the Qajar iconography on Lacquer’s artworks? The main problem of research is about iconographic reading of the icons in the Qajar period Laquer painting. For this purpose, in this article, two exemplary examples of artworks with emphasis on iconography have been analyzed. The research method is descriptive-analytical. The purpose of this research is to identify the role of the common themes of the Qajar period in the iconography of these works. In order to achieve this goal, it is necessary to identify literary, historical and artistic sources. Identifying sources and gathering information has been in a library manner. Data analysis has been qualitative. The research hypothesis is that in almost all works there are signs to reach another story or text. Findings and results indicate that: In addition to the common features of the Qajar style of painting, these works have a strong relationship between literary, religious and political texts and intertextual relations.
Keywords: Laquer, Qajar Jllustration, Jconography, Jntertextuality.

Introduction
Lacquer painting during the Qajar era, in addition to the usual Qajar art style, also had visual and practical decorative aspects, and was a good platform for illustration. This type of painting, which was applied to various objects in the applied context, peaked during the Qajar era and then declined. The argument of this research is that the influence and interactions of cultures on each other should not be taken into account, as this transfer of data and information is exchanged across territories in different ways, resulting in the creation of artistic styles over time. It has become indigenous to every region. The present study is descriptive in terms of its fundamental purpose and nature. The issue facing the research is how to characterize the iconography of papier-mache paintings and lacquer paintings. In this period, we see the increasing influence of Western painting on Iranian painting and iconography. Incomplete western perspective principles, the use of color shades to represent the volume, and the use of a variety of angels and a variety of techniques have made artists more instrumental. Each of these techniques also has its own language and makes the theme of iconography different depending on the technique. This study first examines Laquer’s art in the Qajar era and then analyzes its methods, contexts, applications, and themes, specifically, Laquer’s imagery and its types. The purpose of this article is to identify and introduce the values of Lacquer’s works from the point of view of iconography and to study and classify the iconographic themes of the icons in the Qajar period on the artworks of the aliens. The last years of the nineteenth century saw a tendency towards an even more marked Westernization. This took two forms. Firstly, the depiction of single figures and scenes of an almost photographic realism, under the influence of imported Russian pieces made for the Persian market. But, as already mentioned, much lacquer painting of this late Qajar period takes the form of exercises in the Safavid style, There can be no doubt that many of these works in Safavid style were intended to deceive, including endless versions of Shah Ismail at the battle of Chaldiran and Nadir Shah at Karnal derived from the large murals Chehel Sutun in the Isfahan. We will also try to answer the following questions: 1. How is the Qajar period illustrated by the iconography of the Lacquer’s paintings? 2. What are the intertextual elements in the Qajar iconography on the artifacts?

Identified Traces 
In this short paper have made no attempt to present a full and coherent history of lacquer painting in the Qajar period; that would require a full-length book. I have merely tried to draw attention to some interesting points, a handful of outstanding objects, and one or two remarkable personalities. Qajar lacquer may not be great Art with a capital A, but its spirit is light-hearted, its technical brilliance is undeniable, its colors are warm and bright, and it has given, and continues to give, an immense amount of quiet pleasure both in the land of its origin and in the West. This pen-box is belongs to a group known as qalamdan-i kayani or “royal penbox”, notable for their style of decoration, with figural scenes extending to the base of the cover, and to the sides, base and sometimes to the inside of the sliding drawer as in the present lot. The basic template for the layout is common to extant examples and these pen-boxes were clearly made to order rather than as workshop pieces for the market. The figures surrounding the Shah differ from example to example and many represent known personalities. Generally, the theme of kingship dominates the exterior whilst the internal decoration consists of panels showing miracles and other episodes from the lives of Sufis. The importance of this pen-box is not only the colophon, but also the only-known self-portrait of the artist. Sayyid Muhammad was a painter of the Nasir al-Din Shah period. The top has a central cartouche depicting Nasir al-Din Shah Qajar sitting on the Peacock throne flanked by princes on the left, and ministers and court officials, ambassadors and foreign dignitaries on the right, inscription-filled cartouches above and below with a couplet in his praise. Other cartouches to either side of the Nasir al-Din Shah scene contain depictions of the courts of Persian kings mentioned in Firdousi’s Shahnama. 

Conclusion 
In many of papier-mache paintings, the widespread use of epic, religious, and literary texts has established a kind of intertextual connection. In the case Kiyani (royal) penboxes with cartouches framing audience scenes, celebrate Persian kingship by linking the ruling monarch with Iran’s great historic and legendary rulers. This example features the court of Nasir al-Din Shah Qajar (r. 1848–96) at the center of the lid. Other audience scenes of Persian rulers, such as Genghis Khan and Khusrau Parviz, as well as legendary kings from the Shahnama (Book of Kings), such as Afrasiyab and Manuchihr, are each identified by inscriptions. Such penboxes were not made for the market but were often commissioned and given as presentation pieces. The image and text element are the main elements that make up this image text. The writing is often about artist signatures or in relation to the subtext that the themes play as the text. Case studies of the present study include Shahnameh, Khamseh Nezami, Mantegh- al-Tayr Attar, and Qessas- al-Anbiya as the textual paintings. In this search, it is clear that the paintings of  Laquer work, like other texts, are not independent and original, but consist of thousands of literary, religious, and political cultural texts.

Abstract
Having a favorable environment, the southern coasts of the Caspian Sea have hosted human settlements for millennia. So far, as a result of archaeological excavations as well as illegal diggings, a considerable number of ancient artifacts have been unearthed from archaeological sites in this region. The nature of many finds from unauthorized excavations and accidental discoveries are still unclear. These objects, generally found as hoards, often have unknown provenance and unknown fate. However, some of the objects, which are discovered from the Mazandaran region during the last centuries, are unique and their analogous have never been found from elsewhere. These are the main questions this research tries to answer: 1. given quantitative aspects of the accidental or unauthorized finds from Mazandaran, what sorts of information can be achieved by the study of these objects? 2.Which groups of sources can be helpful for the study of historical objects found by accident in the territory of the Mazandaran province? In this research, we will focus on certain historical objects from Mazandaran, which have been discovered either accidentally or by unauthorized diggings during the last two centuries. A number of these objects are currently kept in museums not only in Iran, but also in some western countries. Their provenance and fate can sometimes be traced in historical books, newspapers, travelogues and oral narratives. This study attempts to show the necessity of reconsideration of the provenance of certain objects as well as their historical and artistic significance. 
Keywords: Mazandaran, Ancient Objects, Qajar and Pahlavi Periods, Unauthorized Excavations, Accidental Discoveries.

Introduction
The name of the treasure and desire to achieve it, has always been tempting for some people, even kings and princes. Treasure finding, antiques, buying antiques and collecting of antiques have been prevalent among the Iranians, at least since the Qajar era. At the time of Naser al-Din Shah (1264-1313 AH), some scattered concessions have been granted to the various western governments for excavation in some historical sites of Iran. In the historical books of Mazandaran, during the Islamic Middle Ages and even in the works of ancient poets such as Omar Khayyam Neyshabouri (440-536 AH), have been mentioned to the treasury and the legend of its discovery, which some of them are fictional. For example, in the book of Tabaristan history, have been mentioned to the digging of Hissam al-Dawlah Ardeshir (636-647 AH) in the city of Amol and discovering of a woman’s skeleton. As well as it is said about the Marashians that they seized the property of the defeated clans and people’s and buried part of it underground and hiding another in the fort of Mahaneh-sar. This treasury was so important that Taimur Gurkan (771-807 AH) always said that the Marashian Treasury was more than the property of several monarchs which he had dominated over them. In common belief, historical objects have often of a commercial and profit-making nature, and of course many exaggerated stories and narratives have been made and discussed about it. In the past few centuries, some of the folk tales about the monuments of Mazandaran have been mentioned by Orientalists and Western travelers. Similar to such stories that derives from the folk notions about the historical treasuries, is heard from the whole of Iran. In general, the narratives related to the discovery of historical objects in Mazandaran are scattered, but significant. This article points to the discovery of historical objects in Mazandaran that are more relevant to the contemporary period (before the Islamic Revolution of 1979).

Discussion
In the contemporary era, many unique historical objects have been obtained in Mazandaran while digging in agricultural lands, road construction, landslides, floods and so on. According to Ezatollah Negahban, before the excavations of Marlik and Pileh-Qaleh, most of the ancient artifacts in the Mazandaran and Gilan areas were obtained as a result of unauthorized and commercial diggings.  many of these discoveries are including of silver objects, especially silver coins. In generally regarding to the accidental way in which such objects were discovered, the available sources do not give much detail about them and the available references are usually transient and sometimes ambiguous. Some of the most important artifacts or collections found in the Mazandaran accidental discoveries that have been specifically studied in this article include: Historical objects obtained from the cemeteries of Voraw, Ozirak and DerooshKor all located in the vicinity of Kandlus village in Kojur section of Nowshahr city at the time of Nasser al-Din Shah Qajar, which included pottery wares, earrings, necklaces, beads and so on. The accidental discoveries of Konim village and Hezar-jerib of Mazandaran which discovered by a shepherd in time of ruling of Nasser al-Din Shah including three inscribed vessels belonged to the Islamic period, the Sassanid silver mirror frame discovered from Chalus with a Pahlavi inscription, three Sassanid silver vessels discovered from Sari in 1333, three other Sassanian vessels from Mazandaran purchased for the National Museum of Iran in 1334; the Kelardasht treasury discovered in 1318 in Reza Shah palace including exquisite objects such as a famous gold cup and some Sasanian silverwares, the treasury of Adineh mosque of Jawaherdeh acquired in 1330, the Sawadkuh Shirgah treasury discovered in 1334, 129 silver coins belonging to the Sassanid and Islamic periods from the village of Islamabad and Zaid and some other scattered objects which discovered from accidental discoveries of Mazandaran.

Conclusion
Undoubtedly, the Mazandaran region is one of the most prominent historical and cultural regions of Iran. A look at the position of this region in the Iranian history and mythology as well as the quality of its historical monuments and artifacts remain from different periods attests the historical importance of Mazandaran. In the folk narratives about Mazandaran have repeatedly referred to the discovery of historical artifacts by various rulers which indicating their attention to such objects and artifacts. However, many of the existing narratives are exaggerated and some time the validity of some of them is questionable. The treasure and trove searching has historically been popular among the people in this area, which some of them has been mentioned in this study.
In this article, we only study some historical objects discovered from unauthorized excavations or accidental discoveries during the last two centuries until the Second Pahlavi Period. The mean of accidental discoveries is the artifacts which discovery in result of actions such as plowing, various constructions, floods, unintentional destruction, and so on and constraint by related offices. The sources cited in this article are mainly are historical texts and documents, travelogues, and press of the Qajar and Pahlavi periods. The fate of many historical objects discovered from unauthorized diggings or accidental discoveries is unknown. Some of these objects are scattered in internal museums or in the foreign museums and private collections. These objects are often unorganized and have not an obvious condition. However, some of the artifacts found in Mazandaran, including the Gold Cup of Kelardasht and the Sasanian silverwares, are unique in terms of artistic and historical value. In this article, we tried to explore some of the hidden and explicit angles related to these objects. Achieving better results depends on the efforts of other researchers.

Abstract
Tabaristan State (Mazandaran) has always been of great importance due to its numerous economic and commerce potentials. Moreover, it has politically been much valued by Qajar rulers. Accordingly, an old mint was actively working in this city up to 1288 AH which issued (uring Naser al-Din Shah Qajar (1264-1313 AH) numerous silver qirans in the following years: 1264-1266, 1269-1274, 1280-1283, and 1287-1288 AH. The coin issuing system was although superficially obeying Tehran rules, each city acted independently in practice, and the coins in many cities were issued with different grades of silver purity. Such problems raise two questions regarding Tabaristan mint: how much was the silver purity grade of the coins issued in Tabaristan, and how have they changed during the history? What was the position of Tabaristan’s coins which was an important state in comparison with other important states such as Mashhad, Tabriz, Isfahan, and Shiraz? Therefore, to answer these questions, the elemental analysis of this era coins (using PIXE method) was chosen as the main base of the present research due to not being destructive, being quick, and being highly precise in order to present an analysis of the Tabaristan’s mint commitment level to the central system of coin issuing during different times in comparison with other main states and cities in Qajar dynasty. In the present research, 17 coins from 17 different historical periods were elementally analyzed. Based on the numbersshowing the average silver purity grade changes during two periods of 1264-1278 AH and 1280-1288 AH, the results are 90.13 % and 84.33 %; the average for the whole period is then 88.08 %. At the same time, the silver purity grades of other mints are as follows: Mashhad (84%), Tabriz (82%), Tehran (90%), Isfahan (84%), and Shiraz (90%). Also, valuable information was obtained on the type of silver mines used, namely the Cerussite mines and how the coins were minted with copper and iron metals.
Keywords: Numismatics, PIXE Experiment, Tabaristan, Naser al-Din Shah Qajar, Economy.

Introduction
The Naseri period currency system was extremely disorganized; actually, coins were considered local! Every city issued silver qirans with different purity grades, and their rate of exchange with gold tomans was not the same. In fact, a city’s common money was not the same value in other cities (Matthee et al., 1396: 281-282). Tabaristan had always been important in terms of commerce and economy with a high political position for Qajar rulers, but even Tabaristan was not different from other places concerning coin issuing: there were numerous local silver qirans issued there with different values from 1264 to 1288 AH.
Here, coins could be considered priceless archeological data and documents facilitating economic analysis because coins belong to that time and, like texts, were not meant to be read again later (Kianzadegan et al., 1398: 182). Accordingly, elemental analysis of this era’s coins using Archaeometry can offer important information regarding economic-political conditions which could lead to a better understanding of those ears atmosphere (Beck et al., 2004: 153-162). The present research aims at investigation of the Naser al-Din Shah coins issued in Tabaristan covering all issuing dates with the help of PIXE experiment: the results can help us analyze the level of commitment to the coin issuing central system and Tabaristan economic power in different times in comparison with other states and cities.
The coins used in the present research belong to the personal collection of Seyed Hasan Sadat Razavi (Hyderabad, India) which were lent to the authors. Naser al-Din Shah coins (belonging to Tabaristan) were issued inthe following dates: 1264-1266, 1269-1274, 1280-1283, and 1287-1288 AH. They include 17 coins issued in 17 different dates in general. Therefore, for each specific issuing date, one coin was selected; The total number of coins was 17, which were analyzed by Pixie method at Institute of Physics, Bhubaneswar (Odisha, India).

Identified Traces 
Archaeometry studies, especially elemental analysis methods, are considered very useful in evaluating the coins carat (here: silver). Therefore, to answer these questions, 17 coins issued in Tabaristan at different times during 1264-1288 AH To do elemental decomposition by PIXE method, it was transferred to The Institute of Physics, Bhubaneswar.
Based on PIXE experiment results, silver, copper, and iron were considered the main metals for analyzing the economic power of Tabaristan state in Naseri era; the purity grades have undergone drastic changes in 3 periods as follows:
1. 1264-1278 AH: silver (90.13%), copper (6.07%), and iron (1.99%)
2. 1280-1288 AH: silver (84.33%), copper (9.54%), and iron (4.45%)
The whole period average: silver (88.08%), copper (7.29%), and iron (2.86%)
Normally, less than 2 percent of the coins was naturally copper; if it is more than 2, it will not be considered natural, and for sure the mixture is done arbitrarily. The coins in the present research have 7.29 % copper which is a sign of intentional mixing done for alloying the coin metal. 
The existence of iron, also, is due to surface contamination because of the place in which the coins were buried, but the present research coins contain a little amount of iron; the original coins were not buried at all and contain an average amount of 2.86 %. It is a sign of alloying for regulating the coins metal carat.
The silver purity grade of the coins issued in Tabaristan has decreased in two periods and has undergone changes but the silver carat of 88.08 % is extremely high in comparison with main mints in Mashhad (84%), Tabriz (82%), Tehran (90%), Isfahan (84%), and Shiraz (90%). It normally shows the economic power and flourishment of Tabaristan in Naseri era.
Moreover, the existence of 0.86% lead is a sign of using lead mines for silver, haste, and carelessness while extracting. Furthermore, lead mines are of two kinds: Cerussite and Galena. Cerussite mines contain 1.5 to 2 percent gold and Galena less than 2 percent. So, these coins contain an average of 0.31% gold which could be another sign of using Cerussite mines.

Conclusion 
In this research, 17 coins belonging to 17 different periods have been elementally analyzed. As a result, the trend of silver purity grade changes for two periods of 1264-1278 AH and 1280-1288 AH is 90.13% and 84.33%: on the average, 88.08%. Therefore, its position was estimated among other mints in Mashhad (84%), Tabriz (82%), Tehran (90%), Isfahan (84%), and Shiraz (90%). Finally, it was clear that copper and iron were added (7.29% and 2.86%, respectively, on the average) in order to reduce the coins silver purity grade. Also, the existence of lead and gold (0.86% and 0.31%, respectively, on the average) is a sign of hasty extraction of silver and using Cerussite mines.
 

Abstract
The idea and inspiration of an artist derived from the life experiences which artist gained from the interaction and exchange with the society and surroundings.  This society is also affected by the conditions and incidents that have universal influence on societies in local and regional levels. Based on this flow of influences, the paintings can be recognized as the pictorial history of every society which can present the historical conditions and social specifications of the time and place the paintings created. This becomes more important when the work of art is custom-made or aimed at announcing and displaying authority or a state-political statement. Studying the Qajar royal wall paintings from the sociological point of view, will open up a door to the current culture of the society and the ideology of that era. Due to so many reasons these wall paintings are the most important in the artistic works of the Qajar period. The great variety and diversity in the subjects, color palettes, and theme, the compilation of tradition and modernism in the style all represent signs of a desire to achieve a great goal, which is the same as the influence and authority of the sovereignty. The complexities of the social and political conditions of the Qajar dynasty on the one hand and the correlation between the artistic movements and these conditions on the other hand, make the solid studying and analyzing the wall paintings of this period , regardless of the social and political influence of this historical period, difficult or even in vain.In this research, after presenting the definitions related to historical sociology and studying the relation between the histo-sociology and studying the works of arts, effective factors in the study of the wall paintings of the Qajar period are discussed. As the first factor, the social class of the painters and patrons of these paintings is discussed. The painters categorized based on their work, style and also the type of artwork they create. Based on the fact that these paintings were designed and implemented for the purpose of transmitting a certain message, the next factor was the audience of this type of paintings, according to which the language and composition of the design and images were determined. After examining these components, the influence of royal wall paintings of Qajar in historical sociology is discussed on the basis of social and political specifications of that time. The purpose of this discussion is not to consider these spesifications and factors in a general overwiew, but to study the role of different factors in the process of formation of the royal paintings of this period. This research is based on descriptive-analytical and comparative approach and using library studies and observations of works, investigates the wall paintings of the Qajar period in terms of structural and visual elements, identifying different aspects of them. The impact of historical sociology and its relationship with the wall paintings of the Qajar period is considered as the main objective of the research. The main question in this study is whether the Qajar royal wall paintings represent the social and political relations at the national and international levels of the Qajar era. The impressive influence of the political, social and historical conditions on the Qajar royal wall paintings as a result of this research has made it possible for these wall paintings to be valid and credible clues and documents in the studies of sociology of this historical period in Iran.
Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society.
Keywords: Art Sociology, Historical Art Sociology, Qajar Art, Royal Wall Paintings, Pictorial History.

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

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

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

Abstract
Today, religious-educational buildings in the city of Tehran, which were built during the Qajar period, have undergone adverse physical changes due to natural erosion and urban expansion. Also, these semantic and intangible values of these buildings have faded over time, so that the position of these schools in society has declined. In order to rehabilitate these buildings, it is necessary to identify and pay attention to all the effective values in the conservation process. Therefore, the main purpose of this article is to study the architectural phenomena in the value protection of religious-educational buildings of the Qajar period in Tehran. To achieve this goal, the combined research method (qualitative-quantitative) has been used. The method of data collection is in the form of documentary-library studies, field visits and interviews with experts. Also, the method of data analysis is information using open coding, Chi-square test and Pearson correlation. The reliability of the questionnaire was confirmed by Cronbach’s alpha and the validity of the questionnaire was confirmed by consultation with experts. Findings show that there is a significant relationship between architectural phenomena and the protection of physical, behavioral and semantic values in religious-educational buildings of the Qajar period in Tehran. Also, the most important value in religious-educational buildings is related to the non-physical dimensions of the building, ie behavioral values with a correlation coefficient of 0.91, then semantic values with a correlation coefficient of 0.87. Therefore, in order to rehabilitate and revive the worthy values of this building, only paying attention to physical protection (tangible aspects of the building) with a correlation coefficient of 0.70 is not enough and intangible aspects of the building should be given serious attention. It was finally determined; The most important micro-variables affecting the phenomena of Qajar architecture in Tehran: design view in terms of form, use of the building in terms of performance, moral value in terms of idea, type of arch and roof in terms of technology and social value in terms of integrity have been identified.
Keywords: Mosque-School, Value Conservation, Architectural Phenomena, Qajar, Tehran.

Introduction
Schools are the most well-known educational spaces that have undergone fundamental changes over time in various fields, including architecture (Alaqmand et al. 2018: 5). The educational environment in Iran during the Islamic period was school. In line with the importance of learning science, the Prophet of Islam says: “Seeking knowledge is obligatory upon all Muslims”; Learning science is obligatory on every Muslim. The school can be briefly defined as an institution for higher education in which traditional Islamic sciences such as hadith, commentary, jurisprudence, etc. were taught (Brand 2012: 173). Religious sciences were taught in mosques and ulema houses in the early centuries. Gradually, with the expansion and advancement of the religious sciences, the prolongation of the period of education and the necessity of housing the students, the grounds for the emergence of schools were provided, most of which were located around mosques, markets, residential neighborhoods, squares and main passages or It has been the streets (Soltanzadeh et al. 2019: 450). The emphasis on teaching religious sciences had increased significantly during the Qajar period (Akbari 2012), so schools of religious sciences also became very important. Meanwhile, the city of Tehran, as the capital of Iran in the Qajar period, is the place of greatest concentration of religious schools. With the arrival of the Qajar period in Tehran and during the 130 years of rule, 38 schools of religious sciences have been built, of which 19 schools are still under the titles; Sadr School, Khan Marvi, Hakim Bashi (Agha Mahmoud), Haj Rajabali, Abdullah Khan, Sheikh Abdul Hussein, Old Sepahsalar (Shahid Beheshti), Haj Ghanbar Ali Khan, Moayer Al-Malak, Khazen Al-Molk, New Sepahsalar (Shahid Motahari), Kazemieh, Memarbashi , Majdal Doleh, Aqsa (Mushir Al-Saltanah), Philosopher Al-Dawlah, Mahmoudieh, Nizam Al-Dawlah and Mu’izz Al-Dawlah have remained (Neyestani et al. 2016: 146). All these schools in the old part of Tehran and in its six neighborhoods are called; Arg, Odlajan, Sangalaj, Bazaar, Chal Maidan and the government are located. Unfortunately, many of these schools have been destroyed and many others have undergone inappropriate physical and semantic changes that have caused irreparable damage to the values underlying this practice. The schools surveyed in this study are the same 19 schools that remain and are introduced. The reason for examining these schools is to identify the values that have led to the survival and stability of these schools to this day.

Statement of the Problem
The expression of the problem and the research concern can be examined in two parts. A) The known aspect of the issue, which indicates the position, importance and necessity of value-based protection in architectural heritage based on world literature. B) The unknown aspect of the issue, which expresses the lack and necessity of value-based protection in the use of Qajar religious-educational buildings in Tehran.
A. The obvious aspect of the problem: The Appleton Charter states that the better the values of an architectural heritage are known and interpreted, the better its protection and preservation (ICOMOS 1983). Architectural protection means the protection of valuable architectures or architectural values (Falahat et al. 2018). In the meantime, the way of recognizing and expressing the values hidden in the work has become of special importance (Ebrahimi Nejad and others 2014, 92) and value is one of the determining factors of validity and importance in special issues related to conservation science. It plays a very important role in the development of protection policies (De la Torre 2013; De la Torre et al: 2005). This type of protection is called value-based protection (Fredheim & Khalaf 2016). Values related to architectural heritage can be observed in three main aspects, tangible values (physical elements), intangible values (semantic values) and semi-tangible values (combination), which are appropriate in different societies according to the cultural context. And their environment includes a variety of priorities (Del et al. 2020; Del & Tabrizi 2020).
B) Unknown aspect of the problem: In the value-based protection process, considering the performance and use of the building, effective values in regeneration should be identified and the necessary protection measures should be taken based on it. In other words, effective values in the conservation process depend on the performance and use of the building (Fredheim & Khalaf 2016). For example, in the process of value-based conservation, the physical and semantic values of a historic cathedral will not be the same as the physical and semantic values of a historic castle (Del & et al. 2020). Therefore, due to the lack of knowledge of the latent and worthy values of protection in the religious-educational practice of Qajar Tehran, recognizing these values with regard to architectural phenomena is necessary and addressing it has priority.

Conclusion
Based on the results and data obtained, it can be stated that there is a significant relationship between architectural phenomena and the protection of physical, behavioral and semantic values in religious-educational buildings of the Qajar period in Tehran. Also, the most important value in religious-educational buildings is related to non-physical dimensions. Therefore, in order to revitalize and revive the worthy values of this performance, it is not enough to pay attention only to physical repair and management (tangible aspects) and the intangible aspects of the building should also be considered.
The results show that in physical values, it is the only construction technology that significantly affects the stability of the building. Also, in the behavioral values of all five levels of form, performance, idea, technology and integration affect the behavior of individuals to show the impact of the building and the built environment on the occurrence of value-based behaviors in the individual. In semantic values, the three levels of performance, idea and integration lead to the creation of semantic, mental and intangible concepts and themes.
In the study of the independent variable of the form related to religious-educational buildings of Qajar period of Tehran, it was observed that the most important subject is the designed facades which include courtyard facades, clock towers, porch and cell facades, exterior dome facades, minarets facades and entrances Is set. In the facades, attention is paid to fixed design principles such as symmetry and balance, optimal decorations and vertical orientation. The same principles in the design of the facade have caused these buildings to become an urban landmark in their time in terms of volume and form on the scale of the local texture and like the Sepah Salar Mosque-School. An examination of the performance-independent variable shows that the most important issue is user value. Tehran religious-educational buildings in order to realize three main uses; A) Residential use, b) Educational use and c) Prayer use have been designed and built that the combination of these three uses in a single building, shows the attention to the educational structure of students in the long run. In the study of the independent variable of the idea, the most important issue is moral value, so all the architect’s attention has been on the promotion of moral values through architecture and spatial examples. These ideas can be explored in the discussion of creating sociable spaces to enhance group interactions or the use of symbolic embellishments based on spiritual and moral themes. In examining the independent variable of technology, paying attention to choosing the type of arch and roof considering the use of space has been the most important issue; So that in these spaces, each arch has its own structural and geometric identity. In examining the independent variable of integration, attention to social value has been the most important issue. It is important to pay attention to social value at both levels of public presence and social interactions between students.

Abstract
This research intends to investigate, describe, and analyze architectural decorations by focusing on Kashan Tabrizi Mosque during the Qajar Period. The data was collected based on field and library (documentary) studies and interpreted through a comparative descriptive-analytical method. This research has been conducted to identify and classify the main motifs and themes of the architectural decorations of the Kashan Tabrizi Mosque, including buildings that belonged to the early Qajar period, and to compare with the Sepah Salar School Mosque of the middle of the Qajar monarchy in the center of their rule. There were two main questions: What are the architectural decorations of the Tabrizi Mosque in terms of decoration and themes? and what are its differences and similarities with the Sepah Salar School Mosque? The results indicate that the Sepah Salar Mosque-School in Tehran was built by a person who had an outstanding position in terms of political and social rank; thus, it has a more decorations compared to the Kashan Tabrizi Mosque. The architectural decorations for Kashan Tabrizi Mosque include tiling, carving, inscriptions, wall paintings, and plaster-molding, following the decorations of the earlier traditional architecture. The main religious motifs employed in the mosque include plant and geometric motifs that have been accomplished in the form of painting and tiling techniques.
Keywords: Tabrizi Mosque Kashan, Sepah Salar Mosque-School Tehran, Architectural Decorations, Qajar Period.

Introduction
During the Qajar period, many mosques were built in Iranian cities, including the Tabrizi Mosque in Kashan, one of the religious buildings of the Qajar period, about which no comprehensive research has been done. Accordingly, in this study, we examine one of the religious buildings that a businessman from Kashan built during the first years of the reign of Fath Ali Shah. Meanwhile, Sepah Salar Mosque-School (Shahid Motahari) in Tehran was built in the second period of Qajar architecture (Mohammad Shah and Nasser al-Din Shah) or other words, in the middle of the Qajar dynasty (Zarei, 2017: 424). During the time that Tehran, in particular, were affected by the urban development of Paris, and Western elements (such as the Clock Tower, the Pit, etc.) can be detected in the city, and especially in the Sepah Salar School Mosque (such as Gol Farangi), while there are no signs and such elements in Kashan Tabrizi Mosque.
Research Methodology: The data was collected using the field method and library research (documentary) using written sources. This research has been conducted in the descriptive-analytical method, and subsequently, the main motifs and themes of the decorations associated with the architecture of the mentioned mosques were recognized and classified based on the attributed tables.

Introducing Kashan Tabrizi Mosque
Tabrizi Mosque is located in Bab-ul-Hawaij Street and the historical context of Kashan Bazaar/Market, near the Mian Chal Safavid Mosque-School. This mosque was built in a unique location, and one of the entrances of Kashan Bazaar/Market passes through this place and Malek bazarche, built by Haj Mohammad Hussein Tabrizi, one of the merchants from Kashan.

Analyzing and Comparing the Decorative Arrays of Kashan Tabrizi Mosque
A set of cultural developments and new sciences were formed in the West, including the invention and presentation of photography, and the extensive application of stamps in postal items. These developments affected the decorations of the mosques of the Qajar Period so that the natural scenes of architecture, flower and vase designs, particularly roses and lilies in the designs and decorations of tiles and carvings have been applied in these buildings (Sajjadzadeh et al., 2017: 227). The inscriptions were as important as in the previous period, and mainly the chirography of Qajar inscriptions is in two types: Thuluth and Nastaliq, Quranic inscriptions and narrations have been written in the Thuluth and narrative phrases or history and poems have been written in the Nastaliq (Husseini and Ahmadzadeh, 2017: 72). The decorative motifs of the Tabrizi Mosque can be generally divided into two classes: plant motifs, geometric motifs, and the type of inscription scripts, and each one has different components.
1. Plant motifs include: a) Arabesque traceries/motifs b) Khatai flowers (Lotus motif with buds and leaves) c) Flower and plant motifs; 2. Geometric motifs include: a) embroidery b) rhombus motifs c) star-shaped motifs d) Mogharnas /decorated with paintings; 3. the type of inscription scripts including a) Thuluth b) Nastaliq c) Naskh.
A) Tile decorations: Tile decorations have been performed in the Kashan Tabrizi Mosque in the form of seven-color and mosaic techniques. Motifs are geometric and plant, but tiles have been extensively used in the form of seven-color, Bannai, and mosaic techniques, along with the various natural, geometric, animal, religious, and western themes in Sepah Salar School - Mosque. But, except for plant and geometric themes, no other motifs have been used in the Tabrizi mosque.
B) Carving decorations: The carving in Tabrizi Mosque is in the form of spiral columns, the base of the vase around the crescent of the altar of the nave, and the cypress motif on the side dado of the entrance of the mosque. Foreign decorations in the form of flower and vase designs have been performed naturally in the carving of Sepah Salar Mosque-School.
C) Inscription decorations: The inscriptions applied in Tabrizi mosque include the Thuluth, Naskh, and Nastaliq scripts, which the Thuluth has been used for writing in the inscriptions of the porch and the altar of the mosque, the Naskh has been used for writing the four-pillar inscriptions of the nave column, and the Nastaliq has been used for short phrases on the walls of the nave and on the inscription on the seven-colored tile at the entrance of the mosque, and all of their themes are Quran verses, hadiths, and divine names. The Nastaliq scripts of Tabrizi Mosque are simple and frequently have no decorations and have been performed in rectangular frames. The inscriptions have more variety and themes in Sepah Salar Mosque-School and include verses of the Holy Quran, hadiths, divine names, founders, calligraphers, tilers, architects, sculptors along with the materials of history, which have been used Naskh, Kufi, Thuluth, and Nastaliq scripts for writing.
D) Plaster-molding decorations: The plaster-molding / Stucco of Tabrizi Mosque has been used to construct the decorative moqarnas in front of the mosque altar entrance and the construction and writing of inscriptions on the entrance and porch of the mosque. Stucco /plaster has been used in abundance in decorating and writing inscriptions and plant motifs, including stucco flowers and vases in Sepah Salar Mosque-School.

Conclusion
Architects have always considered the most important mosque as the most important religious building of a city and a religious, political, and social focus. Examining the architectural arrays related to the architecture of Tabrizi Mosque and comparing them with the arrays of Sepah Salar School Mosque in Tehran as the Qajar capital, as well as analyzing their structural and decorative features, indicate a combination of Iranian and Western elements. There are many rooms built around the courtyard for summer, but the winter naves here are not comparable to the Sepah Salar School Mosque in Tehran, which was built for high-ranking government officials in the form of four porches, tall domes, and minarets, and is so glorious. This small mosque is built as a summer and winter nave on two floors. Kashan Tabrizi Mosque includes tile decorations, inlays, inscriptions, murals, and plastering to write inscriptions in terms of decorations and follows the art and decorations related to the traditional architecture of the previous periods as this mosque was built in the early period Qajar in 1212 AH and many natural themes can be seen in its decorative elements, as it can be considered the only building in which there are weak influences of Western culture. Tehran Sepah Salar School-Mosque was built in 1296 AH and its decorations and decorative motifs originated from traditional and western architecture. In such a way that western elements such as architectural landscaping have been used as a house or church, in contrast to which there were no western elements in the Tabrizi Mosque of Kashan.

Abstract
Khosf county with a hot-dry climate is located in South Khorasan province in eastern Iran and on the eastern edge of the Lut desert. Despite the existence of historical monuments in this region of Iran, little is known about them to archaeologists, urban planners, architects, and art historians. Special attention was paid to the historical urban fabric and residential houses which are mainly related to the late Qajar and early Pahlavi eras, in the archeological survey conducted by the authors in the Khosf region in 2014. Three relatively intact and well-established historical urban fabric in the city of Khosf and the villages of Khor and Noghab were studied during this study and 45 historical houses in these areas and other historical villages of Khosf were examined. The studied historical/traditional fabrics are mostly active and today with some changes in the body of the building, they are still used by the local people of the region. The method of this research is descriptive-analytical and the way of collecting data is also based on archaeological studies in the region to document and collect information about traditional houses of Khosf, and Then based on library studies. This research seeks to answer three main questions: 1- How much has the climate affected the type of structures and architectural components of traditional Khosf houses? 2- Do these conditions prevent the influence of the changes and developments of the common architecture of the Qajar and Pahlavi periods or not? 3- And what have been the common decorative techniques in the architecture of Khosf houses? Based on the research questions, the main objectives of the present study are to investigate the impact of the climatic conditions of the region on traditional houses Khosf and developments in Iranian architecture, as well as the study of different structures and architectural components of these buildings and their related decorations. Despite the general resemblance to traditional architectural patterns in hot and dry regions of Iran, the results show that it is strongly influenced by the climate of the region and in terms of architectural structure and related decorations is slightly affected by Qajar to Pahlavi period architectural developments..
Keywords: Khosf, Residential House, Qajar, Pahlavi.

Introduction
Man has always had many buildings from distance past, many of which have been destroyed over time. Among these, residential houses are the most important and abundant architectural structures that have always been built or reconstructed by humans. But these buildings are generally destroyed over time and turned into a pile of soil. Therefore, it is necessary to study and document the remaining traditional and historical buildings of the country and study their construction and decoration methods and topics such as the impact of climate on them. In Iran, due to the richness of the country’s historical antiquity, many relics of traditional houses and urban fabrics have been left. At present, most of the ancient houses in Iran mainly belong to the Qajar to the first Pahlavi period. Many studies have been done on the architecture of traditional houses in different parts of Iran, which are mainly based on the historic and magnificent houses of Yazd and Kashan, but less attention has been paid to the study of simpler houses in small towns and suburbs. One of such areas where a large number of traditional/historical houses and to some extent some of its traditional fabrics have survived is the city of Khosf in South Khorasan Province, where no independent research has been done on the urban fabric and historical houses. Accordingly, the present study is the first step in studying and analyzing these architectural spaces. in this study, 45 historical houses located in three historical contexts of Khosf city and Noghab and Khor villages and surveyed by the authors in 2014 are considered as the statistical community. Considering that traditional houses, in addition to using the knowledge of their predecessors, have also been affected by climatic conditions and changes in Iranian architecture, it is necessary to know the extent of these effects in different regions. The main objectives of the present study, based on research questions, include the study of the decorations, structure, and various architectural components of traditional Khosf houses and recognizing their impact on climatic conditions and architectural developments in Iran.
Research Questions: The present study seeks to answer three main questions: 1- How much has the weather condition affected the type of structures and architectural components of urban fabrics and traditional houses of Khosf? 2- Do these conditions prevent being affected by the changes and developments of the common architecture of the Qajar and Pahlavi periods or not? And 3- What are the common decorative methods in the architecture of Khosf houses and how have they been?
Research Method: The method of this article is a descriptive-analytical one and the method of collecting data is also based on archaeological studies in the region to document and collect information about traditional houses in Khosf and then Based on library studies.

Article Text
With a hot and dry climate, Khosf is one of the southwestern counties of South Khorasan province, which is located in the eastern margin of the Lut desert. In most parts of the year, most of this area sees wind that has direct and indirect effects on the type of architectural structure of the region. Archaeological study of Khosf county has resulted in the identification of 45 residential buildings that date back to the Qajar to the early Pahlavi period. These buildings were identified in different parts of the county, from mountainous and foothill areas such as Ark and Bein Abad to desert areas such as Khosf, Khor, and Noghab. According to the objectives of the present study, Khosf traditional houses are studied based on the principles of traditional Iranian architecture such as urban form, introversion, direction, scale, spatial hierarchy, and architectural components of houses such as the entrance, courtyard, building materials, plan, colors and decorations and the effect of climatic conditions of the region and Iranian architectural developments on these works were investigated. For example, in terms of direction, most of the traditional houses of Khosf have been built in the northeast-southwest direction, and climatic issues such as the direction of the sunshine and the direction of the wind have had a direct impact on this choice. On the other hand, the studied buildings have a compact plan as much as possible and try to keep the external surface of the building smaller than its volume. This density and compactness of the house plan minimize the amount of heat exchange through the outer walls of the building in both summer and winter, thus preventing the penetration of heat into the building in summer and its loss in winter. Also, many of the studied buildings had one-way wind deflectors that brought cool air into the house in summer. Other features of the traditional Khosf houses include: having a central courtyard and rooms around it, having two porches on either side of the courtyard, having one or more windbreak rooms, having a room fireplace for winter, use of local and traditional materials, have very little decoration such as plastering or brickwork. 

Conclusion
Khosf is one of the hot and dry cities on the eastern edge of the Lut Desert that is directly affected by this climate. From the past until now, this county has largely preserved its traditional identity in the construction of various architectural works, due to its distance from very large cities. One of these works is the traditional houses of this county, which currently have a large number of them in areas such as Khosf, Khor, etc. Given that these houses have not yet been studied and surveyed, and at the same time have largely retained their traditional texture, it was necessary to address them in an independent study. Accordingly, the present study was conducted with the general purpose of studying traditional and old houses in Khosf city and with other purposes such as investigating the role of climatic and traditional factors in the formation of various spaces of these buildings. According to these studies, it can be concluded that the traditional houses of Khosf show their great influence on the climate and geographical conditions of the region. This issue can be observed in various factors such as the direction of the construction of alleys and their dimensions, direction of the construction of buildings, location of rooms in a building, type and number and direction of the windbreak, number and structure of porches, dimensions of rooms, little use of opening spaces such as windows, etc. Of course, with some factors such as the isolation of the Khosf region, its distance from the main route of commercial and communication highways, and its lack of proximity to major cities, this city will benefit less from the architectural and urban developments of the Qajar and Pahlavi periods. This issue is seen in the introverted architectural structure of buildings as well as related decorations. Accordingly, the traditional architectural model of this region can be introduced as a traditional, indigenous, and unique model, and it is necessary to take more measures for the continuation and further prosperity of this model. 

Abstract
The architecture of the Qajar period due to being in the transition from traditionalism to modernity has special features and this issue makes it important and attractive to study, also the evolution of buildings in this period due to changes in architectural culture and urban life is very important. The influences of various other factors such as climate, cultural relations, the influence of Western architecture, etc., and has had a remarkable effect on the formation of the architecture of Tehran’s palaces. In this study, in addition to studying the above factors in the field of differences, especially in how the architectural effects of each era, its evolution in each period is also examined. In this regard, the present study examines the architecture of palaces of each period of the Qajar kings and examines the process of its changes and compares their differences and similarities in terms of architectural style. In this study, in order to understand why and how. The achievement of architects in this specific pattern and the degree of influence of past techniques and the impact of Western architecture on the architecture of this period are presented. The most important buildings of this period have been studied by field observation and library studies and previous researches by descriptive-analytical and comparative research methods, and the differences and commonalities of each of them have been evaluated. Considering that no significant research has been done on Tehran palaces and Qajar period architecture from the point of view of stylistics and their characteristics, this article can cover the existing research gap to some extent by recognizing the factors and the formation of palaces architecture. The findings of this study show that despite some influences of Western architecture in this period, the architecture of this period is still based on the basic principles of Iranian-Islamic architecture such as the principle of introversion, privacy and... 
Keywords: Qajar Period, Tehran Palaces, Golestan Palace, Aristocratic Mansions.

Introduction
The formation of architecture of the Qajar period can be divided into two time stages. Safavid period architecture and Isfahan style and the second part are integrated and taken from the architectural style of the second half of the 18th and 19th centuries. Maghrib is the earth, this style entered the architecture of Iran as a symbol of modernity and strongly influenced the architecture of Iran (Rezaei Nabi and Salehi Tabrizi, 2012: 6). Of course, this effect is much greater in the last years of the Qajar period than in the early years. In fact, the reign of the last Qajar king can be considered completely different from previous periods. Some historians consider this period as a mere imitation of Western architectural style (Talebzadeh, 2007: 14). Others, however, believe that the self-critical view resulting from the defeat in the Iran-Russia wars caused transformational tendencies to form in Iranian society during the Qajar period, and that the different Qajar architecture is the product of this idealistic approach. This can be attributed to the lack of importance to the tradition and original identity of the past in this period, and socially, the class gap between sections of society has increased and also political relations with Western countries caused the affluent strata of society after traveling to Western countries with what. They chose Western architecture and used it in their mansions (Saremi and Radmard, 1997: 143) and because the information was transmitted through the minds of these people, it was similar to the same building - with local and experimental materials and technology. And not scientific - they built, which often formed a fusion of traditional and Western architecture.
Objectives and necessity of research: Our purpose in this article is to examine the historical maps and documents and the results of field research, the formation and changes over time on the palaces of this period. In this research, the process of formation and evolution of Qajar period architecture and the influence of Western architecture on it are studied. The necessity of such research can be expressed in the physical analysis and typology of palaces of this period.
Research Questions and Hypotheses: Considering the fact that the establishment of the Tehran Government Citadel coincides with the capitalization of this city and the construction of the Nasserite fence, the main question is how the palaces of the Qajar period were formed and evolved? The present study seeks to understand why and how architects achieve this specific pattern and be influenced by past techniques and Western neoclassical style, as well as how they relate to each other and their similarities.
Research Methodology: The research method is based on the purpose of basic research, the research method is descriptive-analytical and comparative, the subject matter is obtained using the basic and basic data required through field studies. In order to compare and contrast the simultaneous data, the method of data collection has been done in a library manner and by comparing and analyzing them, it has come to a conclusion.

Background Research
In terms of the background and thematic background of the research, it should be acknowledged that fortunately in the field of architecture of the Qajar period and especially Golestan Palace, extensive research and studies have been conducted by several researchers, the most important of which are in the form of two thematic axes. They include general architectural studies of the Qajar period as well as studies on the architecture of Qajar royal mansions, some of which are mentioned below. One of these researches can be found in the book History of Construction.

Conclusion
In the traditional architecture of Iran, one point has always been considered by architects and that is the observance of interior and exterior spaces in architecture. From ancient times, Iranians were more spiritually and emotionally compatible than indoor and outdoor spaces to modern spaces. These elements and patterns were observed and preserved in Iranian architecture during the Safavid, Zandi and the first years of Qajar rule.
Certainly, architecture changes in each period in accordance with the lifestyle of human beings in each country. From the middle of the Qajar period, with the change of intellectual resources and ideas governing the society and also being aware of the developments, different needs were felt than in the past. These needs did not develop much at first and were more prominent among the courtiers and the affluent classes. They considered responding to these needs and the solution in modeling Western methods. The establishment of the Academy of Arts, sending students to Europe, hiring foreign teachers and publishing newspapers changed the social and political attitude in the Qajar period. The atmosphere of Qajar architecture followed the same attitude. From the middle of the Nasserite era onwards, the confrontation between tradition and modernity led to the victory of modernity, and architecture has since lost its ancient forms and taken on a Western appearance. The palaces of this period played the most important role in carrying out this evolution by being a pioneer in reflecting the architectural developments of their time. This architecture is a break from the previous tradition and in line with Western traditions and the achievements of Western civilization. The weakness of the Qajar government and the inability of the traditional system to confront the Western traditions created changes and currents in Iranian architecture. Iran’s entry into the Third World during the Qajar period caused Western civilization to become a model in many fields, including architecture, and among these, the first examples were seen in palaces and mansions. The decline of Iranian architectural traditions began in the middle of the Qajar period. In fact, the Qajar period is the era of weakening the historical and original Iranian traditions and the development and spread of Western architecture in Iran.
 Over time, in the years following the reign of Fath Ali Shah, buildings were erected that were considered the source of changes in traditional architecture. With the construction of a building such as Shams al-Amara, which has not benefited much from Western technology and can only be pointed out to be high-rise. Towards the end of Nasser al-Din Shah’s reign, the shape and construction of buildings and palaces shifted to the European neoclassical style.
As we approach the end of the Qajar rule, the construction of buildings has become easier and there is no more traditional and introverted architecture, and modern buildings are being replaced by western and extroverted methods. Towards the end of this period, a number of elements of European architecture entered Iranian architecture and were used in combination with the same so-called traditional architecture. Some of these elements were borrowed from classical and neoclassical European architecture, and others were influenced by modern architecture. In short, Qajar architecture rightly upgraded the old Iranian architecture along with Western architecture, principles, principles and patterns and created innovations in terms of space. But it did not seem to have the strength to create a new architecture. In fact, in this period, due to the influence of Western architecture in Iran, our architects immersed it in the principles and patterns of traditional Iranian architecture, but by combining the two, they could not create a new style or pattern.

Abstract
Bampur historical complex is located in Makran – Jazmourian Basin in a flat plain in the Northwest of Bampur city, the capital of the region and 4 km to the North of Bampur River (20 km to the east of Iranshar). Extensive firing and burnt vestiges are one of the most characteristics phenomena at Bampur Castel. The evidence of firing is scattered nearly all over the site and it is not limited just to spaces like pits or kitchens. The diversity and abundance of brunt materials (seed of cereals, fruit remains, woods, charcoals and mat-made shoes) allowed us to use them for archaeobotanical studies. Due to the limited archaeological excavations especially in prehistoric sites, Iranian Baluchestān has so far been less-known from archaeobotanical and history of vegetation point of view. This research present the results of studies on the plant remains obtained from some pits and firing debris belonged to the Qajar period’s layers. The purpose of the study was to recognize the vegetation around the site and the type of plants used by the inhabitants during that period. Microscopic observations and analyze of 2301 charcoal fragments, woods, seeds, rachis segments and fruit remains showed that the vegetation cover around the Castel included trees such as tamaris, willow, acacia, musquit bean and date palm. They used the wood of these trees to meet their fuel needs (especially tamaris) or as construction materials (willow, acacaia and mesquites). Given the current ecology and geographical distribution of these species, it is reasonable to assume that the identified trees are native to the area and have grown around the Castel. Also the remains of Cereals (wheat and barley), fruits (date palm) and Cucurbits (Watermelon and melon) found in the firing debris testify agricultural activities. In addition, further evidence is attested by the presence of burnt seeds of the wild plants or weedy such as rye, bermuda grass, brome, wild grass, vetch milk, vetch, medic, goosefoot family, knotweed, seepweed, cowherb, asphodel and sedge family (present in the fields along with agricultural products).
Keywords: Archaeobotany, Bampur Castle, Wood utilization, Qajar Period, Southeastern Iran.

Introduction
The study of vegetal remains is not solely limited to climate change that occurs normaly over a long period of time. It could be used for reconstruction of vegetal cover, cultivation patterns or the introduction of non – native species compatible with the environment of a specific region. 
Bampur castel is located, in a flat plain on the northwest side of Bampur city, 4 km north of Bampur River and 20 km east of Iranshahr. The castel have a rectangular – oval shape in the northeast- southwest axis. Due to the best state of conservation at the site, large quantity of vegetal remains including seeds, fruit remains, woods, charcoals and reed mat and other artefcats were found in archaeological contexts. 
The present research will study plant data obtained from the excavated layers in the second season of excavations at Bampur castel conducted by Nozar Heydari in 2018 (heydari 2018). Here, we will try to answer to the following questions: 1. What was the vegetal cover around Bampur in the late Islamic period (Qajar period)? 2. Which kind of woods were used by the inhabitants of the region during that period? 3. What plants species were cultivated by the inhabitants as food resources?
Unfortunately archaeobotanical studies have not been realized in Iranian Baluchestān. Henece, for the first time archaeobotanical studies have been applied to identify the vegetation history of the area, the plant resources and the possible existence of non – native species. The Information on the agriculture and plant economy of Pakistani Baluchestān during the prehistoric times has been available (Tengberg, 1998; 1999; Tengberg & Thiebault, 2003; Costantini, 1981; 1990). However in the Iranian Baluchestān, no specialized study has been conducted in this field. In the southeasten part of the Iranian Plateau and in the Indo-Iranian Borderlands (Sistan, Baluchestān and Kerman) several long-term environmental studies have been carried out in some prehistoric sites by iranian and foreign experts resulted in obtaining valuable information on the history of agriculture and vegetal cover of the area (Costantini & Costantini-Biasini, 1985; Costantini, 1977a-b;  Costantini, 1979; Meadow, 1986; Shirazi & Shirazi, 2012; Tengberg, 2008; Mashkour et al., 2013 ; Vaezi et al., 2019; Hamzeh et al., 2016; Gurjazkaite et al., 2018; Shirazi 2019; Kavosh et al., 2020).

Material and Method
In the second season of excavations a total of six trenches were excavated including:  W1.T2, W1.T3, W1.T4, W1.T5, W1.T6, W1.T7. The archaeobotanical data were obtained from W1.T2, W1.T3, W1.T4, W1.T5. Extensive traces of fire and ashe were scattered all around the castel. Considering the diversity and large quantities of plant remains (grains, fruitstones, charcoals, woods and artefacts) it was decided to select them for archaeobotanical studies. In total, 10 samples from contexts such as pits and fire debris have been collected. From 153 litres of collected debris by water sieving, about 5690 ml. plant remains including seeds, fruitstones and rachis segments were obtainted. Laboratory studies of these data have been done in the Archaeobotanical Laboratory of the World Heritage Site of Shahr-i Sokhta.

Discussion
A total of 310 fragments of charcoal and woods and 1991 seeds, fruit stones and rachis segments were studies. Anthracological digramme indicates the presence of various trees and shrubs such as tamaris (Tamarix spp.), willow (Salix sp.), date palm (Phoenix dactylifera), acacia (Acacia sp.) and mesquites (Prosopis sp.). The relative abundance of tamaris and willow is higher (79%) than other plants. Tropical plants such as acacia and mesquites (15%) and fruits like date palm (6%) are in the second and third ranks respectively. This evidence shows that the inhabitants used the wood of tamaris as fule and willow, acacia and mesquites as construction materials. Given the habitat and geopraphical distribution of the actual vegetation, it is quite reasonable to assume that the identified trees are native to the area.
In addition to the identified trees, carpological digramme indicates the existence of various crops like cultivated cereals  (emmer wheat/Triticum dicoccum), bread wheat /T. aestivum, club wheat /T. compacteum and barley/Hordeum vulgare), fruits and cucurbits (date palm, melon and watermelon), wild grasses (rye, bermuda grass, brome), wild pulses (vetch milk, vetch, medic), and wild plant or weedy (goosefoot family, knotweed, seepweed, cowherb, asphodel and sedge family) that were present in the fields along with agricultural products.

Conclusion
According to our study, plant resources around Bampur includs trees such as tamaris, willow, acacia, date palm and mesquites. Tamaris is the main source of fuel in the region and willow, acacia and mesquites have been used as construction materials (beams for building strengthen). The remains of charcoal and wood of these trees in the explored contexts show that the inhabitants of the castel did not need to import wood from other areas to meet their needs and were completely self-sufficient in this regard. In addition to these tree, which grew naturally in the past as they do today, Baluchestān also enjoyed favorable conditions for cultivation of cereals (emmer wheat, bread wheat, club wheat and barley), cucurbits (melon and water melon) and other fruits especially date palm. 

Abstract
Due to the existence of fertile alluvial soil and more than one hundred aqueducts (Qanats), agriculture and horticulture were prosperous in the Borkhar plain, north of Isfahan during the Qajar period. Furthermore, its location on the Isfahan highway to the capital of government made it easy to export products to other regions. Accordingly, livelihood in the Borkhar plain was affected by agriculture and horticulture. The questions are: how was the exploitation and management of resources in the Borkhar during the Qajar period? What were the strategies of livelihood based on agriculture and horticulture in the Borkhar during that time? What were the characteristics of the architecture of gardens and farms in the Borkhar? Data were collected via documentary and field methods, and the research method is descriptive-analytical. Based on the archaeological data such as gardens with the irregular plan and vast gardens with the designed and regular plan, it can be concluded that the type of agriculture and horticulture in the Borkhar plain was subsistence agriculture and agribusiness. In the early Qajar era, subsistence agriculture was common in the Borkhar plain. But in the second half of the Qajar era, agribusiness became common in this region like in other parts of Iran. Therefore, the income of agribusiness was allocated to livelihood and biological needs in the second period. If historical sources are also studied through content analysis, the above two strategies of livelihood are concluded. There was subsistence agriculture in this plain, such as wheat, barley, watermelon, carrots, pomegranates, apples, legumes, turmeric, and beets, as well as commercial cultivation of melons and cotton. This agribusiness helped to strengthen economic power and livelihoods based on agricultural incomes.
Keywords: Strategies of Livelihood, Agriculture During Qajar Period, Architecture of Qajar Period, Borkhar in Isfahan, Khan’s Gardens.

Introduction
Livelihood means human assets, behaviors, and activities that determine the standard of living of an individual, family, or community (Ellis, 2000: 10). According to Chambers and Conway, livelihood also means the capabilities and necessary activities to survive and determine lifestyle (Chambers and Conway, 1992: I-II). The strategies of livelihood were developed in different communities to increase social welfare and public health (Gaillard et al., 2009: 120). These strategies were included agricultural and horticultural livelihood, animal husbandry, fisheries, industrial activities, road services, and trade. In this article, the architectural features of gardens and buildings related to agriculture in the Borkhar plain were explained. Then, the strategies of livelihood in this plain during the Qajar period were analyzed.
As the entrance passage of Isfahan from the north, Borkhar plain was a strategic area on the north-south communication route of the country. This plain was considered an agricultural and horticultural area on the periphery of Isfahan.
The questions are how was the exploitation of resources in the Borkhar during the Qajar period? What were the strategies of livelihood based on agriculture and horticulture in the Borkhar during that time? What were the characteristics of the architecture of gardens and farms in the Borkhar?
The importance of this research is that it recognizes the systems of management and exploitation of natural resources in the past, especially with an emphasis on the methods of achieving sustainable livelihoods based on the capabilities of the region. While today, some cities and villages in the region are facing serious risks in terms of conservation of natural resources and livelihood, due to incorrect policies in local and regional development and lack of attention to local capabilities.
Data were collected via documentary and field methods, and the research method is descriptive-analytical. Analyzes were performed by “content analysis” of historical sources and “spatial analysis” of architectural monuments related to horticulture and agriculture.

Exploitation and Resource Management in Borkhar 
Geologically, the Borkhar plain is an alluvial plain and its settlements were developed in these alluviums (Shafaqi, 2002: 97). These alluvial soils cause fertility in this plain. The fertility of the Borkhar plain on the one hand, and the rise of the landowners class in the Qajar period on the other, led to the division of ownership of agricultural lands and gardens between lords and large landowners. Accordingly, the number of lords increased and they gained higher social prestige during the Qajar period. In addition to building residential castles on their agricultural lands and gardens, the lords and employers hired several farmers and settled them to increase the production and use of the land (Amirhajloo et al., 2012b: 115). 
Despite the fertile soil, the amount of rainfall in Borkhar plain was low. Therefore, groundwater extraction methods were important and aqueducts were created in the plain for this reason. The remains of “Pang-khaneh” buildings as a place for the distribution of aqueduct water in the Borkhar plain are important. Factors affecting the water distribution of aqueducts in Borkhar plain were: the features of the place, the amount of water of aqueducts, the number of households using water resources, type of cultivation, and laws governing the region. Exceptionally, for private aqueducts located on lord’s farms, all aqueduct water belonged only to the landowner.

The Strategies of Horticulture and Agriculture Livelihood in Borkhar
If we want to analyze the livelihood strategies of horticulture and agriculture in the Borkhar plain, we must pay attention to “subsistence agriculture” and “Agribusiness”. Subsistence agriculture is a type of agriculture that aims to produce as much as the needs of the family, tribe, or village and does not pay attention to foreign markets and earnings (Mosher, 2008: 6). While Agribusiness means specialized cultivation, production over subsistence needs, and product sales in the various markets (Amini, 2016: 549). While from the middle of the Qajar era, especially from the time of Mohammad Shah and Nasser al-Din Shah, “Agribusiness” also became popular (Mansour Bakht, 2009: 123, 147). 
Archaeological evidence of the Qajar era in the Borkhar plain indicates both of the above farming strategies. Archaeological remains show the subsistence agriculture strategy in this period; For example, small enclosed gardens, scattered and irregular gardens with an organic plan on the periphery of the villages of Morchekhort, Gaz, Gorgab, Sin, Dormian, Zaman Abad, Dastgerd, Dolatabad, Dombi, and Margh. While there is other evidence that shows the strategy of Agribusiness in Borkhar in the Qajar era, such as regular lordly gardens with a pre-designed plan and residential spaces for lords and farmers, as well as castles of landlords.
The content analysis of Qajar sources also confirms the existence of the above two livelihood strategies in Borkhar. For example, crops such as wheat, barley, watermelon, carrots, pomegranates, apples, legumes, summer vegetables, turmeric, and beets were grown for local consumption. But crops such as melons and cotton were grown commercially and then exported.

Conclusion
Based on the archaeological data and historical sources, subsistence agriculture was common in the Borkhar plain during the early Qajar era. But in the second half of the Qajar era, agribusiness became common in this region like in other parts of Iran. Therefore the income of agribusiness was allocated to livelihood and biological needs in the second period. If historical sources are also studied through content analysis, the above two strategies of livelihood are concluded. There was subsistence agriculture of wheat, barley, watermelon, carrots, pomegranates, apples, legumes, turmeric, and beets in this plain, as well as commercial cultivation of melons and cotton. This agribusiness helped to strengthen economic power and livelihoods based on agricultural incomes.

Abstract
The special conditions of the Qajar period have made it possible for Europeans to obtain Iranian carpets more than before. During this period, Europeans interested in Iranian rugs took advantage of the unique opportunities available to them to create, develop, and complete the assets of their rug collections in the best way. Familiarity with the fields of creating these opportunities on the one hand and knowledge of European strategy regarding the acquisition of Iranian carpets in this period are among the important and contemporary issues and concerns of carpet studies and of course museum studies and can complete our knowledge in this field. Accordingly, this article intends to follow the most important methods and strategies of Europeans in acquiring and owning Iranian rugs to identify and introduce the factors affecting their access to these rugs and their storage. In fact, in this research, we want to know what factors were involved in the formation of the process of collecting Qajar rugs by Europeans. For this purpose and to find the answer to this question, in this article, we have used the descriptive-analytical research method. We also collected our data in a library method and used a qualitative method to analyze them. Findings and results of this study indicate that the tradition of offering rugs to ambassadors and European courts on the one hand and the rugs export industry of this period have been the most important traditional factors in collecting valuable Iranian rugs by Europeans. Also, due to the cultural changes and modernization of the Qajar kings, especially Nasser al-Din Shah, and the welcome to participate in the famous international exhibitions of the nineteenth century is also one of the newest methods and facilities of European carpet collecting in this period. 
Keywords: Persian carpets, Qajar period, Carpet Collection, European collections.

Introduction
The special conditions of the Qajar period had made it possible for Europeans to obtain Iranian carpets more than before. During this period, Europeans interested in Iranian carpets took advantage of the unique opportunities available to them to create, develop and complete the assets of their carpet collections. Today, one of the topics of concern and contemporary concerns in carpet studies is getting acquainted with the fields of creating these opportunities on the one hand and becoming aware of the facilities and methods used by Europeans about Iranian carpets on the other hand. Just as the quantity and quality of the presence of Iranian carpets in European collections and museums is important, so are the factors influencing the transfer of these carpets and the manner in which they were taken over by the Europeans.
Therefore, this article intends to follow the most important methods and possibilities of Europeans in acquiring and possessing Iranian carpets in the Qajar period to identify and introduce the effective factors in their acquisition and storage of these carpets. In order to achieve this goal, in order to explain this issue in principle, the contents of this article were organized under two general sections. At the beginning and in the first part of the article, the role of the court tradition of donating carpets to ambassadors and European courts, which has been common, in examining Iranian carpets to European collections, was examined. On the other hand, in the continuation of this section, the contribution of the carpet export industry to the prosperity of European collections was studied and analyzed. Here, the role of Iranian merchants in transporting carpets to Europe was mainly discussed. In the second part of the article, the effect of international exhibitions on increasing popularity and subsequently expanding the desire of Europeans to own Iranian carpets was discussed. International exhibitions are considered a relatively new phenomenon that the holding of these events facilitated and accelerated the development of Iranian carpet collections in Europe even more than the previous factor.
This article has been written using descriptive-analytical research method and has collected its data by library method. The statistical population is based on books, articles, catalogs and some related documents that have been analyzed qualitatively.

Discussion
This article tried to follow the most important methods and possibilities of Europeans in acquiring and possessing Iranian rugs in the Qajar period, to identify and introduce the factors influencing their access to and storage of these rugs. To achieve this goal, and to explain the principles of this issue, we have organized the contents of this article under two general sections. First, and in the first part of the article, we examined the role of the court tradition of donating rugs to ambassadors and European courts, which has been common, in finding Iranian rugs to European collections. 
On the other hand, in the continuation of this section, we have studied and analyzed the contribution of the rug export industry to the prosperity of European collections. Here we have mainly dealt with the role of Iranian traders in transporting rugs to Europe. In the second part of the article, we have discussed the effect that international exhibitions have had on increasing popularity and, consequently, expanding Europeans’ desire to own Iranian carpets. International exhibitions are a relatively new phenomenon and are specific to the Qajar period. Holding these events has facilitated and accelerated the development of Iranian rug collections in Europe even more than the previous factor. 

Conclusion
Numerous factors have paved the way for Europeans to embroider carpets during the Qajar period and their access to exquisite Iranian carpets. Items such as the tradition of offering carpets to European ambassadors and courts on the one hand, and the export of carpets by Iranian merchants on the other hand are among the most common and prevalent of these factors. Of course, during this period, in addition to embassies and European courts, their collections were also among the targets of these offerings. Museums such as Victoria and Albert have acquired excellent carpets in this way. Tabriz merchants have also played a special role in warming the Iranian carpet market in Europe. A significant part of Iranian carpet customers in Europe have been wealthy urban consumers. Although the carpets sent to these houses have in some cases been taken from private and public collections, the museum brokers have not neglected the Iranian carpet export markets and have started carpet weaving for their collections directly by purchasing these carpets. During this period, due to the development of exports, in addition to old and worn carpets, which were not originally woven for export purposes, new carpets were introduced that were woven specifically for presentation in European markets.
One of the unique ways of offering Iranian carpets in the Qajar period is attending international exhibitions in the nineteenth and early twentieth centuries. During this period, exhibitions were held in Vienna, London, Paris and Munich, in which Iranian carpets were also able to participate. Many of the rugs on display at these exhibitions belonged to the Safavid period. These carpets were more popular than the carpets of the Qajar period. Nevertheless, the carpets of both periods have attracted European customers. Many rugs were identified by Europeans by attending these exhibitions and were able to enter European collections and museums.

Abstract
The Iranian house is full of structural units. The cohesion of the units creates more complex patterns, which, as a result of their location in different parts of the building, also form its physical structure and functional and cultural characteristics. Since the combination of these patterns in the home is always a reflection of the customs and lifestyle of residents and local conditions, knowing each of the patterns allows them to be used on a larger scale in the design of new homes. The content of structural patterns and the extent of their impact on Iranian-Islamic residential architecture is the basis of research inquiry. The research intends to take a physical approach to express the structure of the architectural language of the house in the sample buildings of the Qajar period; and in this way provide the basis for restoring the architectural values of the past. The research method is descriptive-historical and the method of finding research is a combination. The basis of observational studies has also been done through the presence of buildings that have a relatively complete architectural composition, and citation of existing maps, images and texts. The abstracted contents with the help of AutoCAD software introduce the basic units in geometric shapes and check their applicability in 50 houses of historical-cultural value. One of the important results of this search is the generalizability of the logical order of the initial units identified in various combinations and the production of more complex spatial units than the initial units of 5040 patterns. The results show that the patterns participate in various proportions from 0.06% to 27.16% and 42 in selected houses. Among these, pattern number 8 has the most (453) presence; while Patterns 12, 33 and 42 have the least (1) applications.
Keywords: Iranian-Islamic Architecture, Architectural Model, Architectural Physical Order, Language of Architecture, Qajar House.

Introduction
Due to the common economic and social prosperity, the residential houses of the Qajar period define a rich language in architecture that can be extended to Iranian-Islamic houses in the contemporary and future periods. Field studies show that there are a variety of patterns in residential homes that are physically part of a sequential structure and order. From the coherence of these initial units, more complex patterns emerge, which, according to their location in different parts of the building, express the physical structure and functional and cultural characteristics of the building. Since the combination of these patterns in the home is always a reflection of the customs and lifestyle of residents and local conditions, knowing each of the patterns allows them to be used in the design of new homes on a larger scale.
Housing construction in the contemporary era of Iranian architecture and urban planning, especially in recent decades, has found significant differences with the previous era. Field studies and observations indicate a significant reduction in physical-cultural values arising from new housing methods. For example, the gradual obsolescence of the middle fabric of cities is an issue that easily causes their instability. 
This study tries to identify the past methods in housing architecture and highlight the points of emphasis in its structures and concepts, and then shaping those features into a new format, introduce the most important effective spatial patterns in order to improve the physical and quantitative structure of modern house.
According to historical background of home architecture in Iran, and the need to review the structure of modern home architecture, research seeks to find answers to these questions: 1- What are the basic spatial units in the architecture of the Iranian-Islamic house? 2. What patterns does the spatial order of the units create? 3- What is the frequency of these patterns in the existing samples?

Survey of Basic Spatial Units
The research has summarized the data using a descriptive-historical method. A review of studies conducted by researchers and experts in Iranian and non-Iranian architecture and urban planning confirms the similar and sometimes different points of view of the linguistic structure of Iranian-Islamic architecture. Each of the statements has somehow emphasized the characteristics of Iranian-Islamic architecture; and they are summarized at the crossroads of the world of meaning and the world of matter and are located in six directions (Falamaki, 2012, 194).
In the Iranian- Islamic culture, it is believed that matter or the material world is opposite to light or the spiritual world (Holy Quran, Esra: 70). In Iranian-Islamic architecture, the spatial arrangement of the body shows that, in its spatial organization, attention is directed from light to matter. In fact, “it is a journey from pure light to the depths of matter” (Holy Quran). Although architecture is shaped by the combination of matter and space, form is created by the domination of space. Therefore, the form depends on the arrangement of the initial units that make up the architecture of the building. These units include a closet, room, living room, hall, porch, Platform, courtyard and basement.
Examination of the frequency of practical application of patterns in sample houses shows that out of a total of 42 patterns used, pattern No.8 has the highest presence among the 42 units; Patterns No. 12, 33, and 42 have the least presence in the composition of houses. Among the most complex patterns, pattern No. 1 with 15 times the company had the least and pattern No. 18 with 40 times had the most use. The results also show that the patterns contribute in various proportions from 0.06% for patterns No. 12, 33 and 42 to 27.16% for pattern No. 8 in the sample houses.

Conclusion
The seven structural foundations of house architecture in Iranian-Islamic, including: basement, room, living room, hall, porch, platform and courtyard are clearly recognizable. Each of these seven primary units is distinct due to its purity and structural simplicity. The reason for the differentiation of the primary units is their placement in a successive series from darkness to light. For this reason, these units are turning points in marking the evolution of syntax and syntactic language of Iranian-Islamic housing architecture, and their location in the series of units generates patterns that allow them to produce a significant variety in housing architecture. In order to accept this theoretical view, field observations on houses of historical-cultural value make the existence of diversity correct. Based on factorial 7 mathematical calculations, there are 5040 possibilities for the logical arrangement of the initial space units and the production of a pattern; while according to field observations, only 42 possibilities have been used in sample houses so far. Primary units, in part or in whole, can communicate with other units in four directions. Studies show that the two directions of north-south and east-west are the most important patterns in terms of complexity and the extent of their use in Qajar period houses. Patterns together create a large, controlled space that joins together in hot conditions to create a larger space; while in cold conditions, these spaces separate from each other and create small and independent single spaces.
The coherence of the patterns in both longitudinal and transverse directions shows that the design language of the Iranian house, based on the flexibility of the constituent patterns in practice, has the ability to create newer examples. The flexibility of the patterns is affected by the integrity of the initial units, which is provided by adding and subtracting some initial units in the form of order.

Abstract
Since the formation of the Silk Road, the route has been the main route between East and West Asia. With the beginning of the age of colonialism, the process of globalization began and so direction-function of communication evolved greatly, which reached its peak in the nineteenth century and the close relationship of Iran-Japan became possible. the question of the present article is which areas or ports of Japan and Iran in the nineteenth century were used foreign trade, did the designated areas had a history and what factors affected trade. answer is that the products of the Sassanid and Safavid types reflect the political position of Japan and the trade role of other nations rather than a demonstration of the Iran-Japan relationship but in 19th century because of Imperialist pressure and needs of global trade this drastically changed .A historic review of this relationship reveals areas in Japan that were the main centers of state trade, such as the ports of Osaka and Kobe to Kyoto and Nara plains, the port of Nagasaki, and the ports of Kanagawa Bay specially Yokohama, which all of them played a similar & synchronized role in the 19th century to make trade possible from the ports of Bushehr, Lenge and Abbasi in Iran and even because of Opium trade it expanded to Taipei too. So before nineteenth century the trade in question was always influenced by the culture of closeness in Japan, but in the new era due to the pressure of imperialism and the trend of modernism gates were opened and strategic goods such as Opium exported from Iran to Imperial Japan. In order to achieve the above, artifacts and written sources along with the analysis of geographical data by using a socio-historical approach have been used.
Keywords: Japan, Iran, Globalization, Qajar Era, Meiji Era.

Introduction
Since earliest times humans had trade relations to each other and so created trade routes which by developing and increasing of social complexity these routes became longer and connect more and larger societies, one of ancient and maybe first truly international routes known as Silk Road and so colonial powers (such as at first Dutch & USA) same naval routes. In result western countries connected Iran to Japan & those two as a process of modernization opened their doors to globe and started their embassies. our question is which areas/ports of Japan and Iran in the nineteenth century were used for trade with each other, did the designated areas had a history and what factors affected trade relations. Hypothesis is the same marine areas of Japan, Omura, Osaka & Kanagawa bays along different eras, Same with Bandar Abbas and Bushehr in Iran. Answering to this non-studied socio-historical title matter is very important. plus at least in Iran, because of social situation study of Qajar period always been hard and easily can effected by non-academic believes.

Main
Japan is an archipelago at the east end of Asia which as Nihongi say, made of eight main islands. Such geographic setting makes a special cultural which before anything is barred from outside and there is a self-aware hierarchy which despite shatter nature of geography, make centralize system possible. because of this cultural, Japan closed its borders to foreign relation many times such as in Heian, Kamakura and Edo periods. so despite creation of Silk Road in 119B.C Japan did not benefit it until Jingu invasion of Korea in 3th century, exactly when Sassanid artifacts alongside Korean ones found northern Kyushu & central Honshu. which most of them made in Korea not Iran. The only sources in advent of Islam are Geographer’s mention of Japan as Vaq. In early Colonial era everything changed when Portuguese and Dutch traders came to Safavid Iran and Japan at war. We do know Safavid cloth, salt, rug and even maybe marble exported to Japan by all of it foreign traders to Nagasaki and Osaka ports. By beginning of Sakoku or closed door policy of Edo period almost everything came back to first step. In 19C because of economic pressure of modernization Iran began it global trade, at first by silk and then Opium which make Iran close to eastern Asia and particularly Qing China. At the same time, Japan ended Sakoku and enters Meiji era so by the will of Nasereddin shah two countries began their relation which strengthen by Japanese conquest of Taiwan, where most of Iranian opium exported from ports of southern Iran like Bushehr and it follows by oil and Japanese exports from main ports like Yokohama and Osaka which were used during history because of their fine geography that make grow and trade easier.

Conclusion
With establishment of the Silk Road a great opportunity created for meeting of both civilizations of Japan & Iran but China & specially Korea had their monopoly in trade & relation. So least of acknowledgment and indirect relation was possible for Japan and Iran. In fact, the artifacts are more show of Japanese power & prestige than it economics. Another reason was closeness in Japanese cultural. In early colonial era were another lords of monopoly in foreign trade at least for Japan. Despite these trade happened in the same route and trade areas through history until 19C which because of Imperialist pressures new order began and so both countries began their globalization process and so for the first time direct political, cultural and economic relations were possible. The area of Omura bay and mainly Nagasaki alongside of northern parts of Kyushu to the Shimonoseki since early centuries of AD was main place for trade, the reason other than great gulfs is it nearness to main body of Asia. eastern Osaka area (or Osaka and Kobe) is a great place for establishment of a megapolis trade port and always was in use because of its route to Kyoto and other ancient capitals. We can see the same situation for Bushehr which is very close to Shiraz and other places of power to Tehran. But Kanagawa and Hormozgan areas have way better situation for making cities and ports specially their situation is more attractive for foreign traders. Because of that by modernization those ports roused immensely. Another port which grow because of 19C modernization is Taipei which used for importation of Iranian goods and have physical geography as good as Nagasaki.

Abstract
The customs buildings complex at the Persian Gulf in Bushehr Province was built at the end of the Qajar era and the beginning of the Pahlavi era. These buildings are very similar. All these buildings are architecturally built in the same way. All these buildings have two floors and match each other. The architecture of these buildings is derived from the architectural style of the second half of the 18th century and 19th century of the West. This style entered Iran’s architecture as a symbol of modernity and strongly influenced Iranian architecture. It has to be mentioned that this influence was much greater in the last years of the Qajar era compared to its first years. By using the historical research method and library studies, it is tried to collect the necessary data about the research subject and obtain adequate understanding of the customs and telegraph offices in Bushehr Province. 
Keywords: Telegraph Offices, Customs, Bushehr Province, Qajar Era.

Introduction
Bushehr was considered one of the important commercial and cultural centers since ancient times, which would connect the Elamites with the Mesopotamia on one hand and the Melos in present-day India with Oman and the Mesopotamia on the other hand, and this is emphasized in linguistic sources apart from archaeological data. (Hesari et al., 2011; 247) There are some ruins of an Elamite port that are found in a place called Reyshahr, near Bushehr, where an inscription of Šutruk-Nahhunte was discovered and read. This city is probably Liyan Elamite, and it seems that until the 15th century BC, it was under the control of the Elamites and it was a city dependent on Anshan, rather than Khuzestan. Even its name has an Elamite root, and the word NIM is placed in front of the name of this city. Based on the texts of Ur III, Steinkeller has dated Liyan to Bushehr of the late 3rd and 2nd millennium BC and has suggested that Anshan had a direct route to Mesopotamia through this port (Steinkeller, 1982: 252). The new history of trades in Bushehr began with the kingdom of Nader Shah Afshar, which has played a special role in the last two centuries of Iran. By the order of Nader Shah, the main boundary of Bushehr was built by Sheykh Naser Abu Mehiri. (Hamidi, 2010: 50), but the overall structure of Bushehr today was formed in the Qajar era (Ranjabr et al., 2010: 24). In the 18th century, Bushehr was considered as the most important commercial port of Iran in open waters. (Dashti, 2001: 117). The presence of customs in Bushehr Province during the Qajar era caused most of the major countries of the world, including England, Russia, Germany, France, etc., to have a political representative office in this city. This city became the southern gate of Iran for the exchange of political ideas and cultural relations. During the Qajar era, the English telegraph line extended from London to India. This line in Bushehr Province extended to Fars Province, and the line was transmitted from different countries, including Iran, either on land or sea cables. 

Research Introduction 
The main objective of this research is to study the reason for the exitance of customs in Bushehr and the telegraph houses and studying their architecture. The research question is: why are there several customs and telegraph houses in Bushehr? And what are their architectural characteristics? 

Bushehr Custom Building 
The first modern custom building of Bushehr Province, known as Chehar Borj (Four-Tower) is in Bushehr City. This custom was built and established during Naser al-Din Shah Qajar era, by Mo’in-O-Tojjar-e Bushehri at his expense with the plans of the Belgians. This mansion was known as Four-Tower at the time of its building and it was the center of the governance of Persian Gulf ports and islands during the Qajar era. Whenever the governer of Bushehr would come to Bushehr City for the governance of the city from Tehran or Shiraz, they would settle in this place. This building was designed by Joseph Naus, known as Belgian Monsieur Naus. (Fig. 1-8)

Bulkheyr Custom 
This building is a two-floor building facing the sea. The eastern and western façades of the building are similar. The two floors match each other and share the same façade. There are three rooms on each floor and all three rooms are connected to each other. There is a small room on the north side which might have been a pantry. There are stairwells on the northern and southern sides of the building. (Fig. 9-14)

Dayer Custom 
This building is a two-floor building facing the sea. The eastern and western façades of the building are similar. The two floors match each other and share the same façade. There are three rooms on each floor and all three rooms are connected to each other. There is a small room on the north side which might have been a pantry. There are stairwells on the northern and southern sides of the building. (Fig. 15-19)
Kangan Custom 
This building has two stories and both stories are similar and they both match each other. The balcony with its beautiful round columns has led to prominence of the building. There has been a stair well in the south part of the building that would connect the second floor to the roof. There is an office, a lobby and a kitchen on each floor. There are squares on the top of each door that were used for lighting. (Fig. 20)

Mohammad ‘Ameri Custom
The unique feature of this building is its shape and design, which was built uniformly on the entire coast of the Persian Gulf. This building is one of the buildings of the Qajar customs whose remains are left, and it was used in the early Pahlavi era. (Fig. 21) 

Lavar-e Saheli Custom 
This building is built in two floors and has an entrance that opens to the west. The two floors are built in the same shape and match each other. There has been a staircase in the south of the building that connected the upper floor and the roof. (Fig. 22) 

Bushehr Telegraph Office 
The telegraph office was initially in Jabri neighborhood and then it is moved to Haft Bangleh in Bahmani neighborhood. The marine transmission cable line extended from Haft Bangle to Karachi in India. The last telegraph and post office in that time was located in Kuti neighborhood near British Consulate behind Shahdokht school, that is ruined now. During Naser al-Din Shah era, telegraph offices were only established by the British and they were managed by British presidents and Iranian employees. 

Conclusion 
Undeniably, architecture changes during any era according to the lifestyle of people in any country. From the middle of the Qajar era, with the change of intellectual resources and thoughts ruling the society, as well as the awareness of the progress, different needs were felt compared to the past. They saw meeting these needs and the solutions in following the Western methods. The establishment of Dār ul-Funun, sending students to Europe, hiring foreign teachers and publishing newspapers, triggered a change in social and political attitudes during the Qajar era. The atmosphere ruling the architecture of Qajar era also followed the same attitude. From the middle of Naser al-Din Shah era, the confrontation between tradition and modernity gradually led to the victory of modernity, and architecture lost its old forms and found on a western form. It seems that the frequent trips of the Qajar kings to Europe left a significant impact in the field of architecture. The kings and princes wanted to implement the western architectural design in their land. Western examples also quickly became popular among the people and all over Iran. This architecture is characterized by the protruding and columned main entrance and grand ceremonial stairs, and the rooms are built in two wings on the first and second floors. The customs buildings in Bushehr Province were built at the end of the Qajar era and the beginning of the Pahlavi era, and they were among the first buildings in Bushehr Province that appeared with a different architecture, and their design is not derived from the architecture of that period, but it is influenced by the architecture of the West, and due to extensive connections of Bushehr with other countries, the role of foreign architects has been prominent in this province. Care should be taken in order to preserve valuable buildings such as these customs building which were studied in this article, so that they are not destructed.

Abstract
Despite the importance, position and high role of the city of Hamadan in the political, economic, social and cultural developments of Iran during the Qajar era, targeted studies that determine the spatial organization and social structure of this city during that period have not been carried out, and there are many questions regarding the nature of the changes in the context. Its history remains unanswered. The current research seeks to answer questions about the transformation and development of the spatial structure of Hamedan city during the Qajar era by relying on written sources, architectural works and archaeological evidence. In order to achieve this goal, while using all the written sources related to this city in the mentioned period, the changes of the urban context and the structural characteristics of its spaces were determined and the factors affecting the growth and development of the city were determined during this period. The result of the research made it clear that due to its ancient background, special geographical location, benefiting from suitable environmental capabilities such as abundant water resources, and also due to its location on the path of important trade-pilgrimage routes in the Qajar period, Hamedan was one of the cities with social and economic importance and status. It has gained merit and accommodates a relatively large population and has attracted the attention of various social groups, especially merchants. Thus, suitable conditions have been created for the construction and discovery of numerous architectural works and monuments with different functions (defense facilities, residential neighborhoods, squares and plazas, markets and caravanserais, mosques, schools, baths, churches, etc.) and the urban space, especially in aspects The south and southeast have developed and expanded significantly.
Keywords: Iranian Cities, Qajar Era Cities, Historical Context of Hamadan, Spatial Structure, Written Sources.

Introduction
Cities are one of the main centers of the emergence of civilization and valuable cultural treasures, without knowing them, it is not possible to study the history of various developments in human life. For this purpose, the study of the cities left from the past plays a significant role in understanding the political, administrative, social, economic and cultural structure of the societies that created them (Krimian, 2014: 121-111) and can provide clear horizons in recognizing the physical, social and cultural structures And reopen the past civilizations to researchers (Krimian and Seyedin, 2009: 69). The study of the ancient living spaces of Iran and the historical contexts of the cities is a necessity that has allocated a part of the scientific activities of archaeologists. Although the historical fabric of Hamedan has suffered a lot of damage due to various reasons, including indiscriminate and irregular constructions, but a number of its historical and valuable buildings have survived the ravages of various times and manipulations. Recovered and recognized to a great extent. Hamadan is one of the few historical and ancient cities in the country that has survived historical developments with strength and has preserved its historical context to some extent. Undoubtedly, Hamedan’s location on the path of communication routes in different eras, as well as its special geographical location and the benefit of environmental capabilities are the main reasons for the continuity of this city throughout history. Fortunately, valuable elements of the architecture of the Qajar era have survived in this city, and by studying them, it is possible to analyze and restore the spatial structure of Hamadan city to a great extent.
The purpose of the Research: The main purpose of the research, the results of which are presented in this article, is to find out how the physical structure and spatial organization of Hamadan was created, developed and transformed by relying on architectural works, archaeological evidence, written sources and visual documents left from the Qajar period.
Research Questions: In this study, we have attempted to answer questions about space structure, different types of architectural works, scope and physical realm, as well as the extent to which different social groups have been influenced by the space organization and architectural works of Hamadan in the Qajar era.
Research Method: The study presented in this article is historical -analytical in nature and content, and has been conducted in both field and library methods.
The original text of the previous article consists of several different sections. In the discussion of the research background, the most important studies on the historical context of Hamadan have been emphasized with the emphasis on the Qajar era. In the context of the structural characteristics of the Iranian cities in the Qajar era, the main characteristics and components of the identity of Iranian cities in the Qajar period as well as how the structural characteristics of Iranian cities from the Safavid era to Qajar has been discussed. The next section of the article is analyzed and explained by the Qajar Space Organization in the Qajar era based on written sources. Travelogues and historical texts from the Qajar era have formed the most important study sources in this section. In the other section, the urban spaces of Hamadan during the Qajar period are discussed. In this section, relying on written sources and existing architectural evidence, some of the most important physical and historical spaces recovered by the Qajar era of Hamadan, including defense facilities, residential neighborhoods, inter -and -outskirts, squares and squares, commercial spaces and markets And the disposal of sewage, mosques, baths, churches, and so on. It was also known that marketers and traders were more involved in the phenomenon of the city’s architectural works in the Qajar era than other social groups.

Conclusion
In the present article, it was attempted to find out what the space structure of Hamadan had in the Qajar period by relying on the written sources and existing architectural works. With what was done, it turned out that the city was forming from three internal (city center), middle (urban areas and neighborhoods) and exterior (fence and suburbs). Hamadan Space Agency is also influenced by the pattern of Islamic cities of Iran, has a citadel (government, bureaucratic and administrative headquarters), Jame Mosque (Religious Center) and Market (Economic Heart) and other urban elements (schools, blessed shrines, intra city caravans, baths And ...) Somehow they were related to these three. Relying on written documents, it can be said that areas outside the city’s defense walls were exploited for agriculture and horticulture. During the Qajar period of Hamedan, with the center of the mosque and the bazaar in the south and southeast direction, it expanded and some new neighborhoods, along with urban elements such as mosques, baths, etc., are being constructed in this area. Most of the reasons for the expansion of the city’s texture in this area can be considered as the proper slope of the land and the lack of natural effects that could have been a barrier to construction. Due to the flow of the four rivers inside and outside the city during the Qajar period and their annual floods that occur as a result of heavy and long -term rainfall, as well as the slope of the city in the south -north, as a result of the flooding of the northern parts, as well as the natural complication. The so -called Mosalla hill in the eastern part, which prevented the development of the city’s physical structure, was the best way to develop it, southern and southeast side, along the rivers in the inner -city rivers of al -Wawsger and Davin. According to written and illustrated documents as well as existing architectural works and archaeological evidence, it can be said that the city of Hamedan in the Qajar period from the north to the Goulan Heights, Nazarbaig and Shalabafan, from the east to the neighborhoods of Imamzadeh Yahya and Zandis, from the West to the Bonehbazar and Sabadbafan neighborhoods were confined to the Kolapa, Doroudabad and Doguran neighborhoods from the south. Also, the result of studies on the role and influence of different social groups and classes in the formation of Qajar architectural works of Hamadan indicated that the traders and marketers of the marketers top the list of builders and sponsors of various buildings (religious, commercial, residential and public).

Abstract
The reign of the Qajar dynasty is one of the most important eras of the evolution of Iranian art, especially in the form of murals. In the geographical area of Iranian cities, the connection between religion and art according to the Shiite religion of the society of this era is obvious. In the present article, an attempt has been made to identify the effective factors of geographical territory in the way of reflecting Shiite themes in the mentioned works in the important Shiite cities of the Qajar era. The authors seek to answer these questions: What are the influential factors of the geographical territory in the way of reflecting Shiite themes in the murals of religious Monuments of the Qajar era? Which cities of the Qajar era had the greatest influence in the way of reflecting Shiite themes in the murals of religious buildings of the Qajar era? The present research is developmental in terms of purpose and descriptive-analytical in terms of nature and method. The method of collecting information was library and field and the method of qualitative analysis. Findings indicate that the effective factors of geographical territory in how these murals are reflected are included in these sections: the refuge of the Prophet’s family in mountainous areas, the rule of the Zaidi Alawites, the rule of Sadat Marashi, the formalization of the Shiite religion in the Safavid era, religious architecture Iran, the support of princes for Shiite art, pilgrimage to places on pilgrimage. The results of the research show that the geographical territory of each religious building is a link between indigenous architecture and the religious view of Islam to the Shiite religion.
Keywords: Qajar, Religious Monuments, Murals, Qajar Politics, Shiite Themes.

Introduction
Statement of the problem: The historical investigation of the developments of the Qajar period is very important due to the scope and intellectual, cultural, religious and political diversity and due to the continuity of its results until the present day. Religious buildings are one of the most basic structural and formative elements of cities. The continuity of the presence of religious buildings in the shape of the city has been known since the dawn of the first cities and has been intertwined with the life of the cities until today. In the historical context of Iranian cities, religious buildings as an important use with various functions have played a basic role in shaping urban spaces and hierarchies, and the link between religion, culture and politics with art is found in different spaces in Islamic cities. Examining these relationships with works of art is a topic that provides a wide field for research. Islam in general and Shia religion in particular are the creators of unique works of art in the field of architecture, such as takayas and saqanfars. Religious mural painting in connection with the formalization of Shi’ism in the beginning of the Safavid period and in the Qajar era, because the Qajar rule is one of the most important periods in the evolution of Iranian art, especially in the form of mural painting. In this era, due to developments after the constitution, religious painting was mainly limited to folk paintings. This particular type of mural painting is aimed at popular artists. These artists have acquired the themes of their works from popular beliefs and beliefs.
Objectives and Necessity of the Research: The research was carried out with the aim of knowing the effective factors of the geographical territory in the way of reflecting the themes in the murals of the religious buildings of Qajar cities. In this research, the wall paintings of the religious buildings of the mosque, the saqanfars and the tekke of the important Qajar cities are examined with an emphasis on the Shia themes of folk art, as well as the study of the role of the Shia religion and its development in mural painting under the influence of historical and geographical conditions in the Qajar period, which is a necessity in the study. The valuable effects of its wall paintings are noted.

Methods
The current research is developmental in terms of purpose and descriptive-analytical in terms of nature and method. The method of collecting information is library and field. The most important tool for collecting information is the preparation of an ID card, the use of tables and forms made by researchers, observation cards and visual documents. The research community, among dozens of murals in numerous religious buildings, 14 murals from among 6 historical and religious monuments of Qajar era Iran from the provinces of Mazandaran (2 murals from Babylon and 4 murals from Babolsar), Kermanshah (6 murals) and Fars (2 murals). It is purposefully selected. The authors have examined the most representative samples in a selective manner (non-probability sampling) based on the factor of Shia religion and geographical location using the qualitative data analysis method.
First, the themes and factors of the emergence of numerous themes in the murals of religious buildings of the Qajar era are discussed. Then, the effective factors of the geographical territory in the way the themes are reflected in the murals of the religious buildings of this era are evaluated and read. In this essay, an attempt is made to study the wall paintings of Qajar era religious buildings, which represent a relationship between art and geographical location, with a methodical scientific and structural approach.

Discussion  
Factors have caused the emergence of numerous religious and non-religious themes in the murals of religious buildings of the Qajar era. Among these factors can be mentioned: the shock of the rule of the rulers, the tendency to ancient Iran, relations with Europe, the constitutional movement, the need for spiritual space, the need for a religious hero, alignment with the function of religious buildings, belief in propaganda and dissemination Shiite religion, messaging based on Quranic stories and narrations, instruction and lessons from the life events of the Imams.
Shiism as one of the Islamic religions was created almost at the same time with the advent of Islam. The main claim of this religion was the legitimacy of the succession of Imam Ali (AS) after Prophet Muhammad (PBUH), which according to the followers of Shiism, the Prophet had publicly announced this issue in the event of Ghadir Khumm in the last year of his life. This religion has always been in the minority in terms of the number of followers and this issue has undergone serious changes in its continuation until today. (Kowsari, 1390: 9 and 35) One of the influential factors in the emergence of various themes in the murals of religious buildings of the Qajar era is the geographical territory; This factor also has factors that have been effective in the way of reflecting the Shiite (religious) and non-religious themes in the murals of religious buildings of the Qajar era (Table 1). Factors such as attention and importance as the origins of ancient Iranian art and the increase of trade and cultural exchanges and correspondence with other nations by placing some cities on the trade route are factors that have been effective in reflecting non-religious themes, but in this article the most important themes. Shiites are being explored.

Conclusion 
The geographical territory of every religious building is the connection of native architecture with the ritual attitude of Islam to Shiism, so the wall paintings of religious buildings of the Qajar era were created from the ritual transformations of Shiism and influenced by the culture and political developments of the society of their time. According to the findings of the research, the answers to the questions can be stated as follows:
What are the effective factors of geographical territory in the way themes are reflected in the murals of religious buildings of the Qajar era? One of the influential factors in the appearance of numerous themes in the murals of religious buildings of the Qajar era is geographical territory, this factor also has factors that have been effective in the way of reflecting the themes of the murals of religious buildings of the Qajar era. The most important factors include the following: decisive historical events (refuge of the Prophet’s family to the mountainous areas from the evil of the Caliphs of Baghdad, the presence of the Zaydi Alawites and the establishment of their government in 250 AH, the rule of Sadat Marashi of the Shiite religion in the 8th and 9th centuries AH ., the formalization of the Shiite religion in the Safavid era, Islamic-Shiite religious architecture in Iran), princes’ support of Shiite art in prominent cities, pilgrimages to religious places with some cities being on the pilgrimage route, the manifestation of folk beliefs of different cities on murals. s, attention and importance as the origins of ancient Iranian art, the influence of lithographic books and the increase of commercial and cultural exchanges and correspondence with other nations with the location of some cities on the trade route (Table 1).
What was the way of reflecting Shiite themes in the murals of religious buildings in different cities of the Qajar era? The manifestation of Shia themes and topics in all the murals of different cities was not the same, according to the nature and climatic characteristics of that city, they were a more suitable source and platform for the manifestation of such themes. For example, the cities of Mazandaran, Gilan and Kermanshah have been effective in reflecting Shiite themes in Qajar era wall paintings, considering the conditions of their geographical territory.
Wall paintings are the borrowers of Shia spiritual heritage among the common people and have high values of Shia anthropology and sociology. All the murals are like a valuable treasure that shows the life and livelihood of the native people and contains their culture, habits, customs and beliefs. It is hoped that by identifying and introducing these works, they will respect their roots and gems more and respect themselves and their origin. Let’s come back.