Abstract
The present descriptive-analytical study and its findings are based on field and document studies, and examines and analyzes the tombstones of the Qajar period of Dar al-Salam Cemetery in Shiraz, and tries to study and understand the designs of the tombstones of Dar al-Salam Shiraz, their symbolic themes, and their traces of mythical and religious beliefs of each historical or cultural period. Studies on tombstones related to the Qajar era of Dar al-Salam Cemetery in Shiraz prove that these tombstones contain various designs of human, animal, plant, geometric, and inscriptions. In general, most of these motifs, while having special meanings and symbols, are influenced by the culture of the region, beliefs, and their temporal and spatial place. On the other hand, due to the predominance of nationalist thought in the Qajar period, the images of these tombstones show a continuation of the motifs of the Sassanid and Achaemenid eras, which were created with a relatively different form and content. On the other hand, due to the predominance of nationalist thought in the Qajar period, the images of these tombstones show a continuation of the motifs of the Sassanid and Achaemenid eras, which were created with a relatively different form and content.
Keywords: Shiraz, Daral-Salam Cemetery, Tombstone, Nationalism, Achaemenid, Sassanian.

Introduction
Fars province, like other regions of the Iranian plateau, has been inhabited by various groups and ethnic groups since ancient times, and in this regard, several cemeteries have been established to bury their dead. Dar al-Salam Shiraz is one of the seven old cemeteries in Shiraz that Moinuddin Abolghasem Junaid Shirazi mentioned in his book. There are tombstones from the early Islamic centuries to recent times, which indicate the importance of this cemetery. There are several designs on the tombstones of Dar al-Salam cemetery. Including human motifs, animal motifs, plant motifs, geometric motifs, calligraphy, and inscriptions. In general, discovering the meaning and concept of the designs created on tombstones and their symbolic nature can unify many of the forgotten secrets and points of regional and national history, art, and culture with more unity and meaning. In this regard, the present study examines and analyzes the tombstone motifs of Shiraz Dar al-Salam Cemetery, especially the tombstones of the Qajar period, and by examining them, in addition to identifying the created motifs and their symbolism, seeks to trace the motifs through periods and among the mythical beliefs and religions of past periods.
Research & Hypotheses Questions: 1- What are the designs of the tombstones of Dar al-Salam Shiraz and what are their symbolic themes? 2- The designs created on the tombstones of Dar al-Salam Shiraz shows which traces of mythical and religious beliefs of the historical or cultural period of Iran?
1. These tombstones contain various designs of human, animal, plant, geometric, and inscription images. In general, most of these motifs, while having special meanings and symbols, are influenced by the culture of the region, beliefs, and their temporal and spatial place. 2. Considering the predominance of nationalist thought in the Qajar period, the images of these tombstones show the continuation of the motifs of the Sassanid and Achaemenid periods, which was created with a relatively different form and content.

Classification of Tombstones of the Qajar Period of Dar al-Salam Shiraz
In general, the images engraved on the tombstones of Dar al-Salam Shiraz, except lines and inscriptions, can be divided into a general category into the following groups: 1- Plant motifs, 2- Human motifs, 3- Animals and birds Motif, 4- Patterns of objects and geometric and abstract shapes

Conclusion
The study of the tombstones of the Qajar period of Dar al-Salam Cemetery in Shiraz proves that these tombstones have various designs, including anthropogenic images, animal, plant, geometric, calligraphy, and inscription. Studying the motifs of this group of works and examining the social, political, and religious situation of the Qajar era, shows that most of these motifs are symbolic and rooted in the history and culture of Iran and are influenced by the region’s culture, beliefs, and temporal and spatial position. Also, the images of these tombstones are a kind of continuation of the motifs of the Sassanid and Achaemenid periods, which have been created with a relatively different form and content. The motifs of cypress trees and lotus flowers are among the main paintings of Persepolis and the human images with lotus flowers in his hands, in a way reminiscent of the role of the Achaemenid kings in Persepolis and palace paintings. Sassanid monuments such as Bishapour Palace, which are among the first examples of images in Iran with a flower in hand. Horsemen and hunting scenes of animals such as lions, which are often seen on the tombstones of the Qajar period Dar al-Salam Dar al-Salam Shiraz; It has its roots in the history and culture of Iran, especially in the Persian region; Such patterns can be seen on Achaemenid seals found in Persepolis and other places, as well as on Sassanid gold and silver vessels. Finally, it should be acknowledged that among the reasons for creating these common themes between the tombstones of Dar al-Salam Shiraz and the remnants of ancient civilizations of Iran such as the Achaemenids and Sassanians, in addition to the rule of nationalist thought in the Qajar period and the influence of the Persian climate (from The cypress tree, which is one of the special trees and vegetation of the region and is found in abundance in the region (especially Shiraz), is the location of Dar al-Salam Cemetery in a place that was once the center of the rule of the Achaemenid and Sassanid states, which itself is the main The most influential factors on the thoughts of the people of the Qajar period and the continuity of the designs of the past.

Abstract
Throughout Iran’s history, there have been governments, however large and small, of local rulers and rulers that have been the source of significant influences in the history of our country’s art and civilization. These local rulers are not well-known throughout history, among them the local government of Al Inju and then al-Muzaffar. After the collapse of the Ilkhanid dynasty in Iran, the regions of Kerman, Yazd, and Fars were presented with a competition between the two families claiming al-Inju and Al-Muzaffar. However, the period of the local rule of Al Inju and Al-Muzaffar is bed into significant artistic and cultural developments, which can be seen in Shiraz’s orthography. This is because the remaining copies of the book-layout of Al-Inju and al-Muzaffar are proving to this claim. The question is: What effects has Shiraz’s painting school had on the Iranian Painting art during Al-Inju and Al-Muzaffar? The method of this research is descriptive-analytical with library data collection. Case studies are paintings of Shahnameh version 733 AH in the Russian National Library in St. Petersburg and Shahnameh 731 AH in the Topkapi Museum of Istanbul, Turkey, and Shahnameh Qavam al-Din Hasan 741 AH, all belonging to the Al Inju period, as well as paintings of the 771AH Shahnameh, exists in the Topkapi Library of Istanbul in Turkey, as well as the Khamseh Nezami version, in the late 8th century related to the Al-Muzaffar period in the National Library of Paris. Studying the characteristics based on formal, structural, and themes of Shiraz Artography during the Period of Al-Inju and Al-Mozaffar, the effects of Shiraz Painting School on the art of painting are distinguished. Based on the results of this research, al-Inju’s paintings were under the effect of the tradition of old Iranian painting (reminiscent of Sassanid graffiti) and visualization of Ferdowsi’s Shahnameh and it’s martial scenes, and the use of specific tables for writing parts (calligraphy), the illustration of lyrical systems in the Period of Al-Muzaffar, the application of brilliant colors in the painting of Al Inju and Al-Muzaffar have had a tremendous impact on Iranian Painting in the later era.
Keywords: Shiraz School of Painting, Painting, Local Government, Al-Inju, Al-Muzaffar.

Introduction
The Inju family were the descendants of the subordinate leaders of the Ilkhans, and after the death of Abu Sa’id in 1335 AD/ 735 AH, they became independent and from that date till 1353 AD/ 753 AH, they ruled Persia until they were banished by the Muzaffar dynasty, who were the rulers of Yazd.
The Al-Muzaffar dynasty ruled the whole southwest of Iran until 1393 AD/ 795 AH. They were taken down by Timur. By studying the history of the rule of these two local governments in Shiraz, it can be seen that Abu Ishaq Inju and Shah Shoja Mozaffar were both supporters of Hafez and perhaps that is why they hired skilled painters to illustrate books (Gary, 2005: 56). The art of painting in Shiraz was specially and seamlessly formed during the Alainjou period and showed a special type of painting that had exactly the characteristics of Iranian Painting and was far from outside influences or felt less salient. “Shiraz’s cultural prosperity continued during the Mozaffarian era (remember that Hafez’s poetry prospered at that time)” (Pakbaz, 2005, p. 69). Shiraz’s art continued to change with cultural perceptions during the reign of Al-Muzaffar, and until the early ninth century, it produced works worth mentioning. Shiraz’s art continued to change with cultural perceptions during the reign of Al-Muzaffar, and until the early ninth century, it produced precious works.
Research Method: The research in this article was performed in a descriptive-analytical manner and the documentary method (library) was used in the collection of research material and images. This research benefited from the historical books of writers from different periods about the history of Alyanjo and Al-Muzaffar, as well as the illustrated manuscripts of that period in Shiraz. Because their paintings are portrayed in a crude and precipitous style and reminiscent of the popular painting art. In the paintings of the Shiraz school, the main topic is “human” and other elements were used as a role and only as decoration and fill the empty spaces in the picture. Moreover, other elements such as the use of tables and a kind of harmonious and delicate coloring can be seen in most of the work of this school (Tavousi, 1390: 16).

Identified Traces
From the beginning of the eighth century, workshops in Shiraz began to illustrate literary texts, particularly the Shahnameh. Indeed, to confront the Ilkhans and consolidate their position, they continued a policy of celebrating Iran’s ancient history. Consequently, Chinese art which was common in Tabriz had the least influence on Shiraz painting. Thus, along with innovators such as Ahmad Musa and Shams al-Din, the Shiraz school continued the tradition of Iranian painting (Pakbaz, 2005:68). The most common feature of all Aligno school manuscripts is the copious use of red and yellow, ochre, or gold. Lively and dynamic design, free movement of pen and brush to express members and the exaggerated use of stems and plant flowers are other important features of these paintings.
The art of painting at the Al-Muzaffar School took on a different style than the usual illustrations of Shiraz Alainjo, which not only influenced the works of southern Iran during the first half of the fifteenth century AD but also Indian works. The elegance of this painting contrasts with the composition of Alinejo’s paintings (Titley, 1983: 41). These drawings and compositions of the Al-Muzaffar School were transferred to other art centers through libraries that were illustrated in Shiraz in the eighth century (Blair et al., 2014: 137).
The peculiarities of Mozaffarian’s painting were: round hills, high horizon, scrubland earth, large statues with large heads and bearded faces, delicate design, and sometimes rough craftsmanship. A small part of the overall picture specializes in the blue sky, and the natural landscape is described by several classic patterns. Humans and animals are out there, but they seem more important. In general, compositional elements are increasingly conceptual and symbolical (Pakbaz, 2005: 69).

Conclusion
The way Shiraz school was presented in the periods of Al-Inju and Al-Muzaffar is the continuation of ancient Iranian art and its innovations. These two schools, with their elementary painting and innovations, continued the tradition of book-painting and painting in the 5th and 6th centuries AD, which evolved over the next two centuries and became the dominant special characteristic of painting. 
The style of special book-painting of Shiraz’s school of painting during Al-Inju and Al-Muzaffar can be searched in illustrated versions of Shahnameh.
The characteristics of the painting of this era can be divided into three categories: formal, structural, and themes. Shiraz illustrators presented their past cultural and artistic heritage and the extension of Iranian artistic taste before Islam (Parthian and Sassanid graffiti and carvings) as well as attention to the original literature. Like illustrated Shahnameh, the visualization of martial arts scenes was also placed on the agenda of the artists during Al Inju and Al-Muzaffar.
The effect of this theme feature can be seen in schools of later periods, such as Behzad’s painting of Bahram’s battle with dragons in Herat school during the Timurid period. Natural effects and landscape in the form of a formal feature in the al-Muzaffar period painting were much more than al-Inju’s painting. These natural manifestations continue and diversify in the schools of painting in later periods. During the period of Al-Jalayer, the Jalayeri school, these formal features can be seen in the paintings of Junaid Shirazi (see Humay and Homayoun) in the illustrated version of Khajavi Kermani Divan, and also in the illustrated version of Khamseh Nezami (Khosrow and Shirin), and also noticeable during the Turkman period in Tabriz. Illustrators of the Al Inju era attached great importance to the image of humans and animals in paintings, which can be considered as a special feature of Iranian painting in the scene of Bahram battle against dragons by Behzad in Herat school during the Timurid period, as well as tthe scene of the pillar removal by Imam Ali in the School of Turkmens in Shiraz (See Humay and Homayoun), Khajavi Kermani’s Divan in the Period of Al-Jalayer, and Khosrow and Shirin’s paintings in the Turkmanan School of Tabriz.

Abstract
Qal’eh Bandar is situated on top of the mountain on the northern edge of the Shiraz plain. It overlooks a gorge which, along with Allah Akbar Gorge, was one of the few access routes from the Shiraz plain to the northern plains and the Marvdasht plain. The remains of this castle, including its towers and its three intriguing deep stone wells, are overlooking the street that leads to Saadi Tomb. According to historical and archaeological evidence, before the construction of the new city of Shiraz Qal’eh Bandar, alongside other fortifications such as Qasr-i Abu Nasr and possibly Pol-i Fasa Qal’eh, controlled the Shiraz plain during Sasanian and early Islamic periods. There are limited archaeological investigations of this fort, however the authors attempt to reconstruct the history, periods of occupation, and abandonment of this significant castle in the Shiraz plain by gathering and analyzing historical documents and archaeological findings. The main question of this research is the history of settlement of Qal’eh Bandar, as well as its connection to the name “Shahmubad Castle,” mentioned in some early Islamic geographical sources. The study results indicate that Qal’eh Bandar was used intermittently and frequently, at least from the Sassanian to the Safavid period, after which it was abandoned. However, there were also periods when the castle was abandoned and possibly unused. Folklore literature and culture reveal interesting similarities between the narratives of Qal’eh Bandar and the stories of the “One Thousand and One Nights,” which have not been previously considered. Additionally, contrary to common belief, “Shāhmubad Castle” does not correspond to Qal’eh Bandar but rather to the ruins of “Qasr-i Abu Nasr.
Keywords: Shiraz Plain, Qal’e Bandar, Pahandar, Shāhmubad, Qasr-i Abu Nasr.

Introduction
Historical evidence suggests that the Shiraz region lacked urban structures prior to the establishment of the new city in the latter half of the first century AH. Ibn Balkhi clearly indicated the absence of any city in this area before the Muslim Arab invasion. He described pre-Islamic Shiraz as a region with strong Castles. Considering the use of names similar to Shiraz and the mention of the Shiraz Castle in the Elamite tablets of Persepolis (Ti-ra-iz-zī-iš / Šir-zī-iš / Ti-ra-zī-iš / Ši-ra-iz-zī-iš), which reflect the Elamite version of the Old Persian name *Dīrāčiš, Richard Frye proposed the hypothesis that during the Achaemenid period, the name Shiraz referred to a region encompassing several villages and Castles. After the Achaemenid era, the name Shiraz reappears in the form of šyrɔcy as part of the Ardashir-Khwarrah district in Sasanian seals discovered at the site known as Qasr Abu Nasr in Shiraz. These pieces of evidence are significant for two main reasons. They help in determining the precise location of Shiraz in Sasanian era. They also provide insights into the political and administrative divisions of that period. It appears that, alongside Qasr Abu Nasr, other Castles were important in controlling and administrating of the Shiraz plain before Islam. Among these castles, Qal’eh Bandar holds great importance. Researchers have often identified it with the Shāhmubad Castle, the most important Castle in Shiraz according to early Islamic sources. However, no clear evidence has been provided to support this identification yet. The present research intents to answer two primary questions. First, is there a historical and geographical connection between Qal’eh Bandar and toponym Shāhmubad castle? Second, based on historical texts and archaeological evidence, when this Castle was inhabited and abandoned? Despite the significant historical and archaeological importance of Qal’eh Bandar, there has been little comprehensive research on the history and archaeology of this castle. By examining and analyzing the historical and geographical sources, and then correlating them with archaeological findings, this article reveals information on the history and periods of settlement and abandonment of Qal’eh Bandar in the Shiraz plain. It also provides a more detailed understanding of the role and significance of Qal’eh Bandar in the context of the broader historical and administrative landscape of Shiraz.

Discussion
Several famous Islamic geographers referred to an ancient castle called “Shāhmubad” in Shiraz. Moreover, Istakhari mentioned a Tasuj called “Shāhmubad/Shāhmarnak” among the thirteen Tasujs of the Shiraz plain. Most modern researchers have considered Shāhmubad castle to be the same as Qal’eh Bandar without any evidence. Moreover, Whitcomb has attempted to define the area of Tasuj Shāhmarnak/Shāhmubad in the Shiraz plain based on Qal’eh Bandar’s location (or Shāhmubad castle, in his opinion and that of other researchers). The authors, however, believe that Shāhmubad’s castle is not actually Qal’eh Bandar but rather the ruins of Qasr-i Abu Nasr. In support of this location, one should consider a bulla discovered at Qasr-i Abu Nasr, which is the most common seal impression in this collection. It bears the Middle Persian inscription šylɔcy mgwx. The legend “mgwx” or “mgwh” referred to the most common administrative position seen in the administrative seal impressions on Sasanian bullae. There has been much discussion about it. Frye suggested that “mgwx” is an abbreviation of /magu-x[wadāy]/ mgwx[wtɔy], meaning chief magu/chief priest. To support this reconstruction, Frye referred to a bulla in the British Museum which bears the full form of the word mgwxwdɔt. 
Since the Middle Persian word xwadāy means Lord, and it was usually translated to Shah in New Persian texts—such as the translation of Khwaday-Namag into Shahnameh—the authors believe that “Shāhmubad” could also be a new translation of magu xwadāy. Furthermore, if a Sasanian and early Islamic castle was named “Shāhmubad” or a similar version of this word, the castle is not Qal’eh Bandar but possibly Qasr-i Abu Nasr, where magu xwadāy or his administrative institution was located.
Based on historical texts, nine phases can be identified in Pahander Castle, including construction, restoration, addition, and destruction:
- Phase 1: Construction, Sasanian period, probably Shapur II’s reign
- Phase 2: Addition, Sasanian period, probably Yazdgird III’s reign
- Phase 3: Destruction, Arab conquests, 1st century AH
- Phase 4: Restoration, Buyid, Imad al-Dawla (327 AH)
- Phase 5: Restoration or addition, Buyid, Aḍud al-Dawla
- Phase 6: Restoration, Buyid, Abu Qanim ibn-i Amaid al-Dawla
- Phase 7: Restoration or addition, Muzaffarids, Shāh Shoja (760 AH)
- Phase 8: Restoration, Timurid, Amir Sunjak (796 AH)
- Phase 9: Final destruction, Safavid, Imam Quli Khan (after 1031 AH)
Moreover, three phases of abandonment can be considered:
- Phase 1: From the late 1st century AH until the Buyid period
- Phase 2: From the middle of the Seljuk period until the Injuids
- Phase 3: From the middle of the Safavid period until the present
The mentioned phases are based only on historical evidence and should be complemented with archaeological surveys and investigations.

Conclusion
Before the construction of the newfound city of Shiraz in the second half of the first century AH, a system of fortifications, including Qal’eh Bandar, Qal’eh Pol-i Fasa, and Qasr-i Abu Nasr as the center, were erected to control the Shiraz plain during pre-Islamic (particularly Sasanian) and early Islamic periods. It remains unclear why previous researchers have identified Qal’eh Bandar as the Shāhmubad castle mentioned in Islamic geographical sources. The present study clarifies that there is not solid evidence to substantiate this claim. In addition, the sigillographic evidence from Qasr-i Abu Nasr indicates that it is very probable that Qasr-i Abu Nasr, rather than Qal’eh Bandar, considered as the Shāhmubad castle. Although Qal’eh Bandar is situated on a rather low mountain, its strategic position allowed to control the Shiraz plain and the adjacent gorge, which was one of the few significant routes providing access from the Shiraz plain to the northern regions and the Marvdasht plain. This location advantage resulted in intermittent occupations at Qal’eh Bandar from its construction during the historical period—probably Sasanians—up to the later Islamic centuries. The significant strategic position of Qal’eh Bandar is evident from its intermittent settlements over the centuries. However, when the adjacent route lacked its importance, and the Safavid sought to reduce government expenditures, Qal’eh Bandar was destroyed by Imam Qoli Khan. Following its destruction, the castle was never rebuilt again. Despite its destruction, Qal’eh Bandar left a rich legacy in the collective memory of the people of Shiraz. This legacy persists in both bitter and sweet memories; Most often bitterly, due to the harsh punishment inflicted on adulteresses by throwing them into the well of the castle, or sometimes sweetly, through the recollection of its rock slide, which has become a part of local folklore.

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

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

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

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