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.