Abstract
Arrows and arches are among the weapons of the Safavid period that, in addition to battlefields, have a special place in courtier and hunting ceremonies .Therefore, it is undeniably important to identify the arches of this period. A small number of remained arches and the scarcity of relevant resources have made them difficult to study, but to study Safavid arches, one of the most important documents of this period namely Miniatures ,can be used; Because Safavid period Miniatures  were portrayed in a very realistic way in addition to aesthetic values. As a result of the war, various sites, including the arch, can be followed well. In addition to the introduction; classifying all kinds of bows and related tools, such as bow case and quiver, as one of the oldest and most important tools in the Safavid period is one of the main goals of this study. What are the types of answers to questions such as the arch and related tools in this course? What is the connection between their appearance and their function? And what decorative designs have been applied to the bows of this period? In this research, which has been done by the descriptive-analytical method and by collecting data as a library, comparison, analysis, and classification of arches are performed through 70 figures and the effect was drawn from the beginning to the end of the Safavid period. The results showed that at least four types of arches and six different types of quivers were used in different Safavid periods. Among them are the arches that were sunk in the center and had corners to the outside; more widely used and simple arches have been less useful. Among the types of motifs engraved on arches, commonly written inscriptions have played the most important role on the surface of arches, mostly in order to stimulate morale and the use of divine forces to defeat the enemy. Also, the role of bow or instrument related to it, such as archery ring, shows the importance of these objects in showing the authority of the Iranian court in foreign relations and its position as the official array of court men of this period.
Keywords: Bow, Bow Case, Quiver, Safavid Period, Safavid Miniatures.

Introduction
The bow and arrow was considered as one of the royal weapons in the Safavid period. Due to the nature of the bow, few examples of this weapon remain, making it difficult to study bows and other related devices. In this study, in addition to emphasizing the position of the mentioned war tool in the army and Safavid society, the bows attributed to this period were studied and classified, and the information was obtained through a review of historical sources and related travelogues; Moreover, a comparative study was conducted between 20 paintings and 3 index murals with the role of bows and related tools in the Safavid era, which were selected from 70 collected samples. 
The purpose of this study was to introduce and classify different types of bows and related devices and to answer the questions: What types and patterns of use the bows and related devices in this period had? And what decorative motifs were used on the arrows of this period?
Research method: The information required for the research has been collected in the form of documents-library research and the data have been studied in a descriptive-analytical and comparative manner. The bow was one of the weapons with the string in the Safavid period. This toolkit has been used in wars and chases. The bow had a special place in the court structure of the Safavid period what we will examine in the following.

Safavid Period Bows
 The bow had a special place in the military structure of the Safavids, and like the sword, it was one of the basic weapons. Carrying this weapon has also been an honor for the upper classes of society, and it has been part of the rituals in the homes of people from different regions. 
Until the reign of Shah Abbas the Great, the weapons of the Ghezelbash were mostly bows and arrows. He made changes to the organization of the army to improve it, and one of the consequences was that the importance of using bows on battlefields diminished. 
Bow and related devices: To use this weapon in addition to a bow, one needed arrows and supplies such as archers or shrapnel and the box.
Types of bows: Examining the drawings and comparing the shapes of the bows showed the image of the four types of arches in this period.
Bow decorations: Most bows were gilded with bright colors. Sometimes the bow was covered with Saghari leather. These measures also protected it from the effects of weather and heat.
The bow case: Due to the negative effect of moisture on wood, bows were kept in special containers called “the bow case”.
Quiver: Among the paintings of this period, six types of arrows can be seen.
Tailpiece: One of the most important and common tools related to the bow is the tailpiece ring also known as the tailpiece. This group of rings has become common since the 9th century AH.

Conclusion
Although there are few surviving examples of bows and related tools in the Safavid period, the study of historical texts and documents and drawings, answers many questions about this warfare. The importance of the role of paintings and drawings of this period in responding to the types of bows and related tools is clearly visible. Studies on the works of this period found that the classification of bows into two types of hunting and war is incorrect about Safavid bows.
Regarding the appearance of the bow and its related instruments, the studies performed showed four different types of bows and six different shooting patterns. Variety in the shape of bows raises the question of whether there was a connection between their appearance and their function. In response, it should be said that the different shapes of the bow were by no means the reason for its different uses, and the comparison of the bows depicted in the scenes of war, hunting, and court showed no distinction between the bows.
In the decoration of the bows, the colored colors and the painted Saghari leather had a special place and in this way, they were protected from the effects of weather and heat. As mentioned earlier; the handles and corners of the bow of “Shah Ismail I” were gilded with plant elements and two inscriptions were written on the surface of the bow, mentioning the date of construction and the name of the builder and religious verses and phrases. This is true of the decorations of the arrow box and fragments, and with more emphasis on the tailpiece rings, so that their presence, even in non-combat images, indicates their existence as part of the official accessories of the Safavid court men.

Abstract
The art industry of locksmithing, like other metal arts in Iran. Is a kind of reflection of the customs. Beliefs and traditions of the people of this land. This art is in a delicate fusion of aesthetics with steel and iron, and finally leads to a thoughtful accompaniment of art and craft. Therefore, it can be understood that we are facing a valuable category that has various visual, formal and aesthetic capacities. The purpose of this research, while categorizing locks and features of form and role, recognizing different capabilities and functions, is to decipher the patterns and traditions and beliefs around them. The main research questions and raised about, this is where the designs of Safavid locks were adopted? What are the formal and conceptual characteristics of the designs used in the locks of the Safavid periods? And to what extent is it related to the doctrinal aspects of the Safavid period? This research is of a fundamental type and is descriptive and analytical in nature. The method of collecting information will be field and library based on description analysis and history.  In this study, an attempt has been made to show that in Safavid era, locking, in addition to the protective aspect (practical), had a ritual aspect and had a direct and close relationship with The Islamic tradition. The mental concepts of the craftsman artist also played a role in a making the locks. Which often contain symbolic information, besides being made based on culture and custo. 
Keywords: Looking, A Simbel and Semiotics, Safavid Period.

Introduction
The art of lockmaking, like other metal arts of Iran, is a kind of reflection of the customs, beliefs and traditions of the people of this land. This art is in a delicate blend of aesthetics with steel and iron and finally leads to a thoughtful companionship of art and industry. The first human locks were made of wood. The key that was discovered from the excavations of the “KhorsAbad” palace in Nineveh is the oldest part of the lockmaking profession obtained so far. This key is nearly four thousand years old and belongs to a wooden colony. According to the available evidence, Iranians have been familiar with locksmithing for a long time and are among the nations that have played a major role in the development and completion of this discipline, but there is little mention of it in Western sources. The lockmaking industry also continued to evolve during the Islamic era in Iran, and valuable examples were created both technically and aesthetically. The Safavid era is also considered a turning point in the history of Iran. At this time, the traditional artists of the Safavid community, especially the metalworking artists, also displayed the signs and symbols of the Shia religion and the national, mythological and Iranian identity in their works and created symbols with their national and religious identity. In the approach to the Iranian lock as an art, what is sometimes left out of consideration is the connection of the content of this art with the upper and mythical world and the use of symbolic elements in this field. Examining the relationship between the form of locks, mythology and semiotics and the use of symbols, in addition to defining the richness of the place of symbols and signs in different ages, also adds to the spiritual richness and external beauty of Iranian locks.

Research Method
The collection method in this research will be field and library based on description, analysis and history. In the library method, by using the written resources of the library, documents, the use of articles, the use of internet resources, dissertations, photography, after careful examination in terms of form, concept (symbol), content, classification and then examined  and we will study and research about them in the field method by referring to museums and taking photographs.

Discussion
In this research, the issue of lockmaking industry in the Safavid era was first discussed and it was shown that lockmaking in this period is a continuation of the previous tradition. During this period, locks were made both fixed and movable. In this period, the locks were made of metal, gold, silver and brass. IN the continuation of the research, the design of motifs in the third Islamic period and from the 10th to the 12th half of the Ah period was discussed. In the following all patterns of locks were examined and divided into three categories: 1- inscription patterns, 2- slimy patterns, 3- geometric patterns. In order to analyze the reason for this design on the locks, the symbology of the text of the inscriptions, geometric motifs (circle, rectangle, square, and triangle) and types of plant motifs were discussed. Which showed that in addition to the aesthetics of motifs, the content of motifs is also very important. 

Conclusion
The form of the locks shows a series of certain beliefs and beliefs, for example magic lock (rammal locks) are included in the category of fortune-telling locks. Locks also have ritual uses and are used as vows and to fulfill needs, or as a means against unfortunate events. Various designs of locks are designed according to the prevailing culture, social and economic conditions, internal mechanism and locksmith equipment so that the consumer has more connection and motivation to use it. Due to the reasonable price of steel, its high resistance and also its availability, most of the locks that have been used and produced more in the regions of Iran are of this type. On the other hand, the political and social conditions prevailing in a region could affect the form and mechanism used in locks. During the Safavid era, the lock had a protective (practical) aspect and mostly a ritual aspect and had a direct and close relationship with the Islamic tradition. During the Safavid era, different forms of locks were made based on culture and customs, and special artists and craftsmen started the profession and art of lockmaking. In the investigations, it was found that steel locks have less decorations than other brass and bronze locks, and due to the movement and transfer of locks, which is a natural thing, the place of manufacture has not been mentioned, which is considered a problem. Some locks are functional and some are symbolic. In addition to the fact that the locks are made based on culture and customs, the artisan’s mentality and interiority also played a role in making the lock, and often the motifs contain symbolic and symbolic information. It has been observed that sometimes the symbols used are very similar, and most of them do not have any signification with the subject in terms of appearance, and its true meaning cannot be understood from their appearance.

Abstract
Mohammad Saleh Esfahani was one of the prominent calligraphers and inscription writers of the Safavid period, under the rule of Shah Suleiman and Shah Sultan Hussein. According to the findings, a significant number of Nastaliq inscriptions in the buildings of Isfahan belong to him. In addition, there are several Chalipas by Mohammad Saleh. Based on this, it is important to explore his works in the field of calligraphy studies for finding methods of analysis of other works in this field. The purpose of this research is to investigate the differences between the pieces of Chalipa and the inscriptions of Mohammad Saleh Esfahani in three systems of baseline, composition and the visual weight. The question is, what are the differences between the Chalipa pieces and the inscriptions of Mohammad Saleh Esfahani according to the principles (which was mentioned)? And what are their reasons? The hypothesis of this research indicates that there are differences between the Chalipa and inscriptions of Mohammad Saleh, which can be recognized and investigated by three mentioned calligraphy systems. This descriptive-analytical research is done by use of library resources in order to analyses some of Mohammad Saleh Isfahani’s works, including the inscriptions  were found in three buildings in the city of Isfahan (Chaharbagh School, Imamzadeh Ismail, and the tombstone of Saeb Tabrizi Tomb) and some Chalipa pieces (available in museums and libraris). The results of the research show that there are differences in the application of calligraphy principles in the three systems of baseline, composition and the visual weight in pieces of Chalipa and inscriptions because of various reasons such as: text content, limitations of design , pen Dang. , the appropriate level of the works  and  etc. based on these reasons, it can be found that Mohammad Saleh Esfahani has adopted different methods and principles for the calligraphy of Chelipa and inscriptions.
Keywords: Principle of Calligraphy, Mohammad Saleh Isfahani, Chalipa, Inscription, Nastaliq Script, Safavid Period.

Introduction
Understanding the rules, discerning the structure, and grasping the principles that govern the Nastaliq script are essential aspects for a comprehensive comprehension of the development and evolution of this script. The Nastaliq script is employed in various formats tailored to its specific applications and purposes. Among the noteworthy calligraphers and epigraphers during the Safavid era, particularly under the reigns of King Suleiman and King Sultan Hossein, Mohammad Saleh Esfahani stands out. He has been associated with a considerable number of Nastaliq inscriptions adorning buildings in Isfahan, alongside his contributions to the creation of Chalipa pieces. Thus, it is imperative to closely examine his artistic works in the realm of calligraphy studies and adopt suitable methods of analysis. The primary objective of this research endeavor is to investigate the distinctions between Chalipa pieces and Mohammad Saleh Esfahani’s inscriptions across three key systems: Baseline, Combination, and Visual Weight.
This research endeavors to explore the dissimilarities between Chalipa’s pieces and Mohammad Saleh Esfahani’s inscriptions within the context of calligraphic principles, specifically in the three systems of Baseline, Combination, and Visual Weight. The underlying inquiry revolves around identifying the reasons behind these disparities. The working hypothesis of this study postulates that distinct variations exist between Chalipa’s pieces and Mohammad Saleh’s inscriptions, and such distinctions can be examined through the application of the principles governing the calligraphy above systems.
Research Method: This research is structured into three main parts, preceded by examining the research background and collecting relevant library information. The initial two parts entail a comprehensive study and scrutiny of the principles above, as evidenced in the works of Mashakhi and Mohammad Saleh Esfahani’s inscriptions, respectively. The third part aims to analyze the gathered information to address the research questions. The descriptive-analytical research method has been employed in this article to achieve a precise and thorough response. The data is primarily derived from an exploration of Mohammad Saleh Isfahani’s works, including inscriptions discovered in various buildings within Isfahan City (such as Chaharbagh School, Emamzadeh Ismaeil, and the tombstone of Saeb Tabrizi) and certain handwritten pieces sourced from museums and libraries. Ultimately, a qualitative analysis has been performed to interpret the findings.

Discussion and Analysis
This research delves into the investigation of the principles governing Mohammad Saleh Esfahani’s works, focusing on the three systems of Baseline, Combination, and Visual Weight. The study involves a separate examination of these systems in both Chalipa’s pieces and his own inscriptions. The research findings reveal that Mohammad Saleh employed distinct techniques to achieve the desired outcomes in each of the three systems. Specifically, in Chalipas, the consistent slope contributes to proportion, balance, and overall aesthetic harmony. To achieve these effects, Mohammad Saleh employed a subtle curve at the beginning and end of each line while carefully observing the ratio between them.
Additionally, the presence of identical rhymes played a significant role in harmonizing the Baseline curvature of the calligraphic pieces. In cases where identical rhymes were absent, Mohammad Saleh achieved proportional and balanced combinations by adjusting the positioning of letters and altering the degree of inclination of the stanzas. The meticulous selection and utilization of strokes emerged as another vital factor in the combination system, which Mohammad Saleh adeptly employed in conjunctive writing to achieve this artistic aim. As observed in Mohammad Saleh’s works, creating a hypothetical perpendicular line stands out as another pivotal factor in forming the Combination system. This hypothetical line becomes apparent through the careful selection of words and the establishment of rhythm, achieved by employing isomorphism in Chalipa’s pieces.
Moreover, the strategic utilization of dots, in accordance with the principle of ownership, as well as the positioning and direction of punctuation on letters and words, play influential roles in creating positive and negative spaces, ultimately achieving a balanced visual weight - techniques skillfully employed by Mohammad Saleh. When examining the three governing systems in calligraphic inscriptions, it becomes crucial to consider several principles. The initial principle revolves around the proportionality of inscriptions, focusing on the relationship between the width of the pen and the dimensions of the inscription’s length and width. Calligraphers ensure that the text is written so that its length and width exhibit uniformity and consistency from the beginning to the end. Another significant aspect involves acknowledging the distinction between forms of exercises and books, which are typically written by calligraphers themselves, and the execution of calligraphic pieces for inscriptions by various artisans such as tilers, plasterers, and stonemasons. This disparity can lead to unregulated variations in implementing letters and words.
Furthermore, in examining and analyzing inscriptions, considering three factors, namely color, light, and pattern, holds significant importance. Incorporating color alongside light as a contributing element plays a pivotal role in establishing the Visual Weight of the inscription. The color contrast achieved through distinct implementation techniques exerts a considerable influence on the visual arrangement for the audience and enhances the inscription’s legibility. For instance, in the sculpting technique applied to the inscriptions on Saeb’s tombstone, the monochromatic and uniform lighting choice relegates the inscription’s visual priority to the audience. Another aspect to consider is the motifs strategically placed around or between the lines of each inscription, which often serve as decorative elements. These motifs are among the various influential factors impacting the readability of inscriptions and the principles of combination, encompassing elements like Calligraphic Strokes and Lacuna, punctuation, and so forth.

Conclusion
The investigation aimed to address the research question concerning the disparities between Chalipa’s works and Mohammad-Saleh Esfahani’s calligraphy in terms of the principles of calligraphy, specifically focusing on the three systems of Baseline, Combination, and Visual Weight. The study also sought to understand the underlying reasons behind their respective utilization. The findings demonstrate that the calligrapher employed these principles in both Chalipa’s pieces and his inscriptions. However, distinctions in the form of Chalipa and inscriptions led to variations in how these principles were applied in their respective works. Notably, the choice of surface played a significant role, with paper being the preferred medium for Chalipa pieces, while materials like stone, tile, or wood were used for inscriptions.
Additionally, the constraints imposed by the customer, including limited space and frame for inscriptions, exerted a noteworthy influence, restricting the calligrapher’s application of the principles governing Baseline, Combination, and Visual Weight compared to the more flexible format of Chalipa. For instance, regardless of word count, the uniform size frame for all stanzas limited the calligrapher’s ability to achieve optimal combinations, baselines, and visual weight, a limitation not present in Chalipa pieces. Other factors contributing to these differences included adjustments in surface size for Chalipa or inscriptions and the limitations inherent in inscription implementation, such as using a dang pen. Taking into account the reasons identified in the research, Mohammad Saleh employed distinct methods and principles in applying the Baseline, Combination, and Visual Weight systems in his works.

Abstract
Dehdasht is one of the most significant historical cities in the southwest of Iran, which in its flourishing period was considered the center of a region that was important from the Sassanid period and after that with the names of Beladshapur and Kohgiluyeh had. This city is one of the historical cities of Iran, which despite many historical developments, it can still be considered the healthiest historical city with stone architecture in the country. During its heyday, Dehdasht had all the components of a city, including government citadel, tower and ramparts, mosque, school, caravanserai, bath, market, square, and other public buildings and more than a thousand residential houses. The purpose of this research is to understand the history and how the formation, development and decline of this valuable city. In this research, which was conducted in a historical-analytical way, it was attempted to compare the results of field studies, cultural materials (coins, architecture, pottery finds, inscriptions and inscriptions on tombstones) and Documents (written sources) be answered to this question, how was the historical course and the way of formation, development and decay of the historical city of Dehdasht? The obtained results indicate the growing trend of Dehdasht from the middle Islamic centuries and the peak of its development and prosperity in the Safavid period and the gradual decline of the city after this period. The results of the field studies also revealed that the initial location of the city was probably first formed in the neighborhood that is called “Rawaq neighborhood” today, and later in the Safavid period, the concentration and prosperity of the city increased in the eastern(main) part, and then the western part falls from its initial prosperity. Despite the development of Dehdasht in the west-east axis, with the fall of the Safavid rule, this city lost its prosperity so that today its historical context remains uninhabited and abandoned.
Keywords: Beladshapur, Kohgiluyeh, Dehdasht City, Jumeh City, Safavid Period.

Introduction
The historical city of Dehdasht is located in the current province of Kohgiluyeh and Boyar Ahmad, located in the southwest of Iran and on the southern side of the new city of Dehdasht(Fig. 1 and 2). This city was the center of a region that became known as “Beladshapur” from the Sassanid era due to the construction of a city by Shapur I. Beladshapur was one of the important rastaqs of the Shapur khoreh and then the Arrajan khoreh, which were considered the most famous areas of Fars in the Sassanid and the Islamic era (Ibn Khordadbeh, 1889: 45; Maghdasi, 1411: 28; Estakhri, 2004: 135). In the 2nd and 3rd centuries, Beladshapur district was under the administration and control of a person named Giloyeh (Gilo/Gelo, Gilo Mehr) and his family, who, thanks to his bravery, was called “Ram Giloyeh, Kohgiluyeh “also became famous (Estakhri, 2004: 144). According to historical sources, the city that was founded by Shapur I in the region of Beladshapur was called “Jumeh”, which was also known as “Beladshapur” after the name of the region itself (Maghdasi, 1361: 635; Estakhri, 1373: 98). Jumeh, the main center of Beladshapur, was destroyed during the Ismailian conflicts (Ibn Balkhi, 1374: 351 & 353; Mostoufi, 1362: 127), but after this destruction, it could not regain its past prosperity. With the decline of Jumeh, Dehdasht started its prosperity and replaced Jumeh as the main center of Beladshapur. Despite the importance of the Dehdasht, comprehensive, continuous and purposeful archaeological studies based on methodical archaeological excavations were not recorded, and there are many questions about this city, especially its history and how it was formed. Finding, development, decline and reasons for its decline remain unanswered. Answering these questions, while explaining various aspects of the developments of this city, provides valuable information about historical developments in Iran, which is necessary in its own way. In this research, it is tried to analyze the information left from the historical texts and cultural materials, while answering the questions to explain the historical course and how it was formed. It is assumed that the initial core of that formed in the current neighborhood of Rawaq and grew and developed relatively in the middle Islamic centuries, and although it flourished in the early Safavid with the development in the west-east axis, but in at the end of this period, it has experienced its gradual decline.

Discussion
Historical sources do not provide any information with the name Dehdasht before the 9th century AH. The correspondence of Dehdasht with “qhariyeh” that is mentioned as a station on the Arrajan-Isfahan route is also possible, and assuming its authenticity, it does not provide the correct form of the qhariyeh (Dehdasht). The information about the 9th century AH is also very little. In the first decade of the 9th century A.H., the name of Dehdasht came along with the districts and big cities such as Ramhormoz, Behbahan, Kuh-Giloyeh and Zaidon. According to numismatic documents, Dehdasht was an important and highly important city in the history before the 9th century A.H. and also during this century, so that during the mentioned century it had extensive commercial relations. Trade was with big cities on both sides of Zagros and especially Isfahan. In this way, there is no doubt that this city has gone through its growth stages before and its formation was related to earlier periods. In addition to the numismatic documents, the pottery obtained from Dehdasht and to some extent some architectural works and single findings such as tombstone inscriptions on the importance of Dehdasht in history before the 9th century AH and also during this century, they testify. Documented by written sources, there is no doubt that with the beginning of the Safavid period, the importance of the Kohgiluyeh area and the city of Dehdasht doubled. The archeological studies conducted also place most of the buildings of the historical context of Dehdash and the formation of the main context of the city in connection with the Safavid period. This issue also shows that the significant growth and physical development of the city took place in the Safavid period. A topic that the study of pottery data, the analysis of historical sources and the analysis of cultural materials also reflect well. Dehdasht lost its importance and prosperity at the end of Safavid rule and at the same time as it fell. As it can be seen from the analysis of historical sources, the analysis of the remaining works and the analysis of cultural materials, the last periods of construction, reconstruction and repairs of construction works, as well as the activities and efforts for the development of the city of Dehdasht, related to the Qajar period and its last half. is the period. 

Conclusion
The results obtained from the analysis of historical sources and cultural materials indicate the gradual development of Dehasht from the 8th and 9th centuries AH and after that. If the matching of Dehdasht with the “qhariyeh” mentioned by maqhdasi in this article is correct, Dehdasht was a station on the Arrajan-Isfahan communication route in the 4th century. Before this date and even after that until the beginning of the 9th century, there is no name from Dehdasht or “qhariyeh” in historical texts. In addition, among the studied cultural materials, there is no reliable data that can be confidently attributed to before the 8th and 9th. Despite this, the analyzes obtained from the documents of this research testify to the importance of Dehdasht during the 8th and 9th centuries and even before that, and confirm the existence of Dehdasht earlier than the mentioned date. Although, many remains of architecture and older parts of the historical context of Dehdasht have been lost, the available data show evidence from the 8th and 9th centuries and most of them belong to the Safavid period. According to studies, the initial growth of Dehdasht took place in the western part, Rowaq neighborhood, and with the significant development of Dehdasht at the same time as the Safavid, this part of the city fell from prosperity and the city was formed in the eastern part. As it can be seen from the analysis of the studied cultural materials, Dehdasht was considered one of the main centers of Kohgiluyeh in the 8th and 9th and had a mint and significant trade exchanges with the big cities around it.  The results obtained from the study of historical texts, the Evidence remains and the analysis of cultural materials, place the main growth and development of the city of Dehdasht in relation to the Safavid. At the end of Safavid rule and its fall, the city of Dehdasht gradually lost its past prosperity. According to historical sources, wars, rebellions, consecutive looting, insecurity, destruction of roads, destruction of bridges, intermediate stations, deterioration of the economic situation and heavy taxes led to the decline of the city of Dehdasht and the city’s depopulation, so that not a single household remained in it. The final collapse and the end of the political-social life of the city is related to the Qajar and the end of the reign of EhtEsham al-Douleh (1281-1298) in Kohgiluyeh.

Abstract
With the election of Isfahan in 1597 A.D. As the capital of the Safavid dynasty, many buildings were built in the city, most of their interior and exterior surfaces were decorated with tiles. The miniaturists of this era came to the help of tile artists and created beautiful and eye-catching works by drawing various motifs. In the Safavid period, and with the flourishing of the Isfahan school, the restriction of human figures, disappeared. According to this study, with the aim of relative dating of tiles by comparing their human motifs with the dated miniatures motifs of this period, has tried to answer these questions:  What effects did the painting of the Safavid period have on the human motifs of the tiles of this period, and these effects How can it be used in the dating of tile paintings? The method of gathering the findings of this research; Findings were made through library and field studies and by identifying more than 80 tile frames with human figures from non-religious buildings and works in different museums, and the research method is descriptive, analytical, and comparative. The results of the research indicate that the human motifs on the tiles from the Isfahan school of the Safavid period have been deeply influenced, and according to the themes of the motifs, the characteristics of the drawing of clothes (Turbans, hats, shawls wrapped around the waist, long and flowery dresses), facial expressions, eyebrows, even The type of designed dishes and their matching with the motifs of figures, it is possible to consider the time period between the end of the first half to the beginning and the end of the second half of the 11th century AH for the frame of the tiles.
Keywords: Safavid Period, Dating, Human Figure, Tile, Painting.

Introduction
Tiling is one of the practical methods in architectural decoration. Since the invention of tile, this art and craft has been used in a wide way to enhance and cover the surfaces of interior and exterior of Iranian buildings. With the emergence of the Safavid dynasty, art and craft found a new life and the Safavid rulers, who were art lovers, made their court as the center of artistic and industrial gathering. Although the art of tiling is not considered an innovative art of the Safavid period, but in this time, it was not limited to the mere adaptation and imitation of the art of the predecessors, and the expansion and manifestation of this art was given special attention. The motifs drawn on the tiles of this period were more diverse than in the past, and included all types of plant motifs, geometrical, inscriptional, human, animal and even mythological motifs, while in the Timurid period, mostly plant motifs, geometrical, and inscriptional were drawn and the use of human and animal motifs was not acceptable. Such a trend had an influence on painting and, as a result, the motifs drawn on the tiles of the early Safavid period, as the tiles of the first Safavid period mostly had geometrical, Islimi and inscription motifs, but gradually with the flourishing of the Isfahan school of painting and the tendency abundant with human images, the use of single faces in terracotta works and tiles also spread.
Since the drawing of motifs on the tiles and pottery of each period was done by contemporary painters and in line with the common painting school, based on this, the following article has tried to study the human motifs of the tiles left over from the Safavid period (on buildings or separated from them).
Research questions: The current research has been carried out in the direction of the relative dating of the tiles with human motifs that have remained from the Safavid period, so the main questions of this research are What effects did the painting of the Safavid period have on the human motifs of the tiles of this period, and these effects How can it be used in the dating of tile paintings?
Research method: In this research, the information is collected through collecting library documents and texts, and field investigations in works, buildings (such as baths and churches) and museums and indoor collections (such as national museum) and  museums of outside Iran (such as the Louvre or Metropolitan) have been collected. In this regard, 80 tile frames with human motifs, all were made in underglaze technology, were identified, 13 frames are still in the buildings, in their own place, and all of them are in the city of Isfahan and the rest, are separated from their main places and scattered in museums and collections inside and outside of Iran. It should be mentioned that for comparison, 50 paintings of Isfahan style, which have human motifs and have the most similarity in terms of subject and theme, style and execution method with the human motifs of the tiles, were selected. Based on the research goal and questions; the research method are descriptive, analytical and comparative.

Research background
Based on the investigations carried out, it can be said that the researches that have been carried out on the motifs of the Safavid period tiles have mostly focused on plant motifs, geometrical, and inscription motifs, and have only pointed to human motifs. Their relative dating also has not been researched. The most important references made in this area among the sources of the first category belong to travelers such as “Pietro Della Valle” (2005), who in his travelogue briefly discussed the general patterns of the tiles of this period. Among the second-hand sources, researchers such as “Sourani”(2017) have investigated the effects of painting on human and animal motifs of Safavid period fabrics. “Bakui” (2014) has also paid attention to the investigation and comparative study of the human motifs of the metals of this period. “Reisi” (1990) briefly mentioned only the introduction of a few human motifs in some of the buildings left from this period. “Mansouri Jazabadi” (2013) investigated different motifs of Safavid to Qajar bathroom tiles in the city of Isfahan and among the introduction of different motifs, she also discussed some human motifs. Despite these studies, no independent and focused research has been done on the human motifs of the tiles and their relative dating with other works, which is what the present study aims to achieve.

Discussion 
The spread of Isfahan’s painting style had an impact on all arts such as tile work, metal work, pottery, or cloth weaving. This was more evident in the art of tiling, because the selection of Isfahan as the capital led to an increase in the process of urban development and the construction of various private and public works and buildings, and the need to cover their internal and external surfaces with tiles quickly. This was made possible with the help of seven-color (Haft Rang) tile technology. Among the motifs drawn on the tiles, human motifs found a revival after centuries, but these motifs were mostly used in the decoration of palaces, baths and churches. Since it was not customary to mention the date of making the tiles with human motifs, nowadays it is enough to attribute them to the Safavid period. Whereas, by classifying the themes and matching and comparing the elements in the tiles’ patterns with figures, a relatively more accurate history can be obtained.

Conclusion 
By checking and studying the themes of the collected tiles and also examining the way of drawing motifs, we can be witnessing the influence of the Isfahan school by carefully observing the details of the patterns on the tiles. What is often seen in the paintings of the Isfahan school are motifs of flower-watching and recreation scenes by men and women in gardens, motifs of everyday life scenes, single faces, hunting or escape, which can also be seen in the surviving examples of tiles from this period. Investigations indicated that there are many similar features in the patterns of the tiles with Isfahan style paintings. The most important commonalities can be classified into four general sections. Drawing facial and body expressions; Clothing and its types; Objects in the scenes such as containers or patterned backs; and natural elements such as trees, flowers and bushes. So following the painting style of the Isfahan school with careful attention to the details of the motifs, the enlargement of motifs in the middle of the frame and the dominance of motifs over the frame and the placing of single faces in the center can be clearly seen in the collected examples.
In general, according to the matching of the mentioned cases on the frames with the paintings, it seems that the tiles with human motifs with hunting themes and themes of young people studying in the time frame of the first half of the 11th century A.H.(16th A.D) and human motifs with the themes of flower procession and fun and single faces are placed in the second half of the 11th century A.H.(17th AD) according to the European clothes, aprons and hats.

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

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

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