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

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

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

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

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

Abstract
One of the shortcomings of this field is the study of architectural remains individually and without considering the text layers and textural changes affecting it. This study described intertextuality connections of architectural and urbanization collections of Tabriz during the Il-khanate period in two levels: micro (Tabriz city) and macro (regional and international) through discourse analysis and using historical and archaeological data in order to reveal the evolutions and implicit semantics of text layers (architectural and urbanization collections). It is question that how intertextuality connections of the mentioned remains from point of view layer semiology have been and how have manifested semiotic systems. In this study in order to understand data is used qualitative method in the form of descriptive-analytical. Findings show that the use of intertextuality reading of layered semiology leads to the understanding of hidden layers of meaning in architectural remains and involves the effect of broader paradigms in study. In the intertextuality connections of different layers of architecture and urban planning of Tabriz in the Il-khanate era at micro and macro levels, codes such as the main elements of government, including political power, cultural-religious power and economic power, the layers (temporal, spatial, cultural-social) are entered into a syntagmatic and paradigmatic connections and have become a semiotics.
Keywords: Il-Khanate Period, Tabriz, Layered Semiology, Intertextuality Connections, Codes.

Introduction
Although fundamental research on semiology in general and architectural semiology, in particular, are rather abundant, it has been neglected as an approach for many artistic instances in a monographic and independent manner. Therefore, the current study seeks to determine the intertextuality relations and interpretation process between architectural and urban collections in Tabriz during the Ilkhanid era, such as Shanb Ghazan, Rab’-e Rashidi, and Citadel of Alishah, using semiology studies and especially, post-structuralism and its layered approach to identify the evolution and different semantic layers within the architecture and urban development of the city during that period. Although various scholars investigated the architecture and urban development of the Tabriz during the Ilkhanid era in different books and papers, no study took a semiotics and semantic approach to examine the semantic meanings. The applications of semiology in Iran were mainly limited to linguistics and literary or religious texts. Many researchers neglected the architectural perception (including historic architecture) and its different structures as a kind of language having all required semiotics systems, or they were influenced by common methods of reviewing the history of art, including traditionalism (especially mystical and historic approaches). This study sought to answer the following questions: (1) what were the semantic evolutions of Tabriz architectural works caused by contextual changes (i.e., time, location, society-culture, and intertextuality relations) on a macro (i.e., Iran and the region) and micro (i.e., Tabriz city) level? (2) What are the intertextuality relations between prominent architectural works in Tabriz during the Ilkhanid era based on the semiology approach, and (3) how are different semiotics systems manifested in different layers of texts (architecture)? The research is a fundamental qualitative study using a descriptive-analytic approach and the interpretative post-structural semiology method, aiming to represent the hidden meanings of prominent architectural works of Tabriz during the Ilkhanid era in the form of “text”, “context”, and “codes.” The main goal was to investigate the process and how the meaning changed in the architecture and urban development collections of Tabriz during the Ilkhanid era, along with its contextual variations.

Discussion
Many architecture and urban development collections were constructed in Tabriz during the Ilkhanid era, especially during Ghazan Khan’s reign. There is not enough archaeological information about the plan and structure of architecture and urban development collections of that era, except for the Citadel of Alishah. However, the main architectural structures of the collections can be determined, and their different meanings and aspects might be analyzed using major historical sources of the era and the remnants of the collections. For Shanb Ghazan, buildings such as congregational mosque, Shafi’i and Hanafi religious schools, Beyt al-Ghanoon (House of Law), etc., as symbolic systems and the location of the Sultan tomb in the centre as the most important system are instances of the bond between political power and religion. Ghazan Khan was thoughtfully seeking to monopolize political power and religion for his government and himself. In fact, when the caliphate collapsed, and a kind of void was felt by the people, Ghazan Khan manifested the political power-religion bond in his buildings based on the theories of Khawaja Rashiduddin, which can be found in Shanb Ghazan. Roshidyeh Town was the utopia of Rashiduddin, who tried to build the town based on his national and Islamic school of thought regarding political philosophy. The economy of Rashidi depended on surrounding villages and gardens. So, unlike Shanb Ghazan, the city was economically independent. Citadel of Alishah was built by Tajuddin Alishah, the vizier of Öljaitü and Abu Sa’id Bahadur Khan, between 1316 and 1324. In fact, Tajuddin Alishah concentrated and associated symbolic elements of religious power (i.e., mosque and Khanqah), political power (i.e., governmental buildings and palaces), and economic power (i.e., bazaars) in Citadel of Alishah to lessen the importance of Rashiduddin’s brilliant works and gain legitimacy with people and Sultan. His actions remained incomplete by his death. If political, religious, and economic powers are considered the three pillars of governance, Rab’-e Rashidi is the true example of establishing a bond between politics and religion and a symbol of religion. However, all power elements (i.e., political, religious, and economic) accompany each other in Citadel of Alishah, reflecting the general power structure and network at that time.

Conclusion
The results showed that the meanings of Ilkhanid architectural collections of Tabriz became a trend, manifesting through architectural works of other cities and creating a series of particular relations, which are completely affected by contextual changes on a micro and macro level. The prominent architectural works of Tabriz during the Ilkhanid era represent a system of codes composed of different layers, such as Shanb Ghazan, Rab’-e Rashidi, and Citadel of Alishah. On the macro level, Tabriz had intertextuality relations with cities such as Maragheh, Soltanieh, Baghdad, and Karakoram/Beijing and meaning was constantly flowing and communicated between these cities. As intertextuality relations were interpreted, it was established that different layers of Tabriz city, including Shanb Ghazan, Rab’-e Rashidi, and Citadel of Alishah, on the micro level, and Maragheh, Soltanieh, Baghdad, and Karakoram/Beijing on the macro level are the representation and external instances of the relations between codes of political, religious-cultural, and economic powers with various sub-codes as the main pillars of governance. These cities became a semiosis for each pillar in a certain period due to the meanings exchanged during the Ilkhanid dynasty.
On the micro level, Shanb Ghazan is an example of the bond between politics and religion accompanied by sub-codes, such as Persian approaches to town management and supporting Shafi’i, Hanafi, mystical, etc. religions or building religious schools near Ghazan tomb. With Gonbadkhaneh (Dome Room) in the center (the tomb of Rashiduddin), Rab’-e Rashidi outshines Shanb Ghazan as a religious and scientific semiotics. In the layered semiology perspective, Rab’-e Rashidi encompasses a company and then a substitution relation between religion and science. The gathering of main government codes, including political power (i.e., governmental buildings and palaces), religious power (i.e., mosque and Khanqah), and economic power (i.e., bazar and downtown) in a structural system was achieved for the first time in Citadel of Alishah during Öljaitü reign. However, when he died and was replaced by Abu Sa’id, the Citadel of Alishah lost its statute to Soltanieh Dome due to the different viewpoint of the new Sultan toward religion. In the next eras and especially when Safavids came to power, the Citadel of Alishah was considered a virtual representation of military power against Ottoman invasions because the capital was changed to Ghazvin and Isfahan and the locational context was changed.

Acknowledgment
The Authors of the article consider it necessary to appreciate the anonymous referees of the journal who accepted the effort and added to the richness of the text of the article with their constructive suggestions.

Observation Contribution
The Authors declare that according to the extraction of the article from the doctoral thesis, the writing was done by the first Author with the guidance and supervision of the second Author and the consultation of the third Author.

Conflict of Interest
The Authors, while observing the publishing ethics, declare the absence of conflict of interest and material and administrative support from the Research and Technology Vice-Chancellor of Mohaghegh Ardabili University.

Abstract
Khoy county, as one of the archeological fields of Iran, has been one of the most important centers for the presence of human societies, and the process of formation of ancient societies from prehistoric to historical and Islamic eras is quite obvious and can be explored. One of the landmarks of this city is Shams Tabrizi, which is located in the northwest of Khoy county between Rabat neighborhood and Imamzadeh neighborhood, and on its southern front, there is a monument called Shams Tabrizi minaret. This area was excavated in 2007, in 2018, with the aim of studying the layers and archaeological deposits and being aware of the existence of cultural periods, by creating 3 boreholes in the northern and eastern parts. This research is the result of studying the pottery data of the mentioned area. Accordingly, the main question of this research is posed as follows; Given the diversity of pottery species and their adaptation to other sites, what cultural periods does the site chronology include? Findings of this study; The pottery of this area is classified into two main groups of glazed pottery (monochrome pottery, multicolor painting on glaze and painting under glaze and Esgrafiato) and unglazed (molded and ordinary pottery) based on the typology of pottery. And their adaptation to other areas should be said; Shams Tabrizi Khoy area is a settlement belonging to the Middle Ages to the late Islamic period. The peak of prosperity of this area was related to the Middle Islamic centuries and it should also be noted that the pottery index species show close similarities with other centers in the northwest and west. It indicates the existence of an extensive communication and cultural network in the region, and historical texts and travelogues reinforce this conclusion.
Keywords: Khoy County, Shams Tabrizi Area, Pottery, Chronology.

Introduction
The city of Khoy has been an important gateway and a crossroads for trade in distant and nearby lands. This area, due to its location in communication centers, connects to the Urmia Lake basin on one side, the southern Caucasus region on the other side, and the eastern Anatolia, making it strategically important for prehistoric societies and significant in studies related to the formation of societies. The region’s archaeological explorations indicate that the oldest settlements in the area date back to the late Neolithic period (sixth millennium BCE). The environmental and biological components of the region have created favorable conditions for permanent and temporary settlements in various cultural periods, playing a very important role throughout history. Despite its great importance in Iranian archaeology, this region has received less attention. However, archaeological findings and historical documents attest to the significance of this region in cultural periods. In the field of archaeology, ceramic findings in the stratigraphy of sites and the study of cultural changes are of great importance. Systematic research on the types of ceramics in the Shams Tabrizi Khoy area is no exception to this rule. Given the lack of attention to this site in Iranian archaeology studies, it is necessary to investigate and study these data, as archaeological findings and historical documents indicate the importance of this region in cultural periods. The study of ceramic typology in this region is essential for understanding the prosperity and decline of the city, as well as cultural and trade relations with neighboring regions. Therefore, the main objective of this research is to study the Islamic period ceramics of this site, their typology, and relative stratigraphy. In the study of ceramics resulting from excavation and considering the type of data, the following questions are raised: 1) Which areas have similarities with the incised ceramics in this site? 2) Which regions have similarities with the turquoise-black ink ceramics of this site? 3) Based on the comparative study of ceramic types, what are the fundamental steps in understanding the prosperity and decline of the city and its cultural and trade relations with neighboring regions?

The Text of the Article
The Shams Tabrizi complex is located in the northwest of the city of Khoy, situated between the Rabat and Imamzadeh neighborhoods. Three trenches were created in the north and east fronts of the complex for identifying layers and accessing cultural deposits. Regarding the typology of ceramics in the Shams Tabrizi complex and their similarities with other complexes, it can be said that similar ceramics have been found in regions such as Rey, Sultaniyeh, Saveh, Sultanabad, Kashan, Hamadan, Bojnourd, Aqkand, Yazkand, Sultaniyeh, Sheikh Tappeh in Urmia, and others. Khoy was part of the Seljuk territories, especially under the Seljuk Rum branch, due to its strategic location on the trade route between the East and West. During the reign of Sultan Sanjar Seljuki, he appointed Khoy as a peer to Rey and considered Khoy and Rey as part of his special territories. The similarity of ceramic types with Rey is evidence of this statement. After flourishing during the Seljuk era and suffering damage during the Mongol invasions, especially in 628 AH, Khoy gradually regained its prosperity during the Ilkhanid period. Ceramics from the Ilkhanid period have been found in this complex, comparable to complexes of that time. In the Safavid era, Khoy gained attention from Shah Ismail I, who chose it as his winter capital. Historical sources indicate that Islamic historians attribute Khoy’s prosperity and fame to the middle centuries, particularly the 5th to 8th centuries AH. Ceramics from this period show undeniable similarities with complexes in eastern, western, and central Iran, likely due to cultural, economic, and trade exchanges between Khoy and those centers. Key ceramic types in this complex include multicolored underglaze, simple turquoise glazed ceramics, red and beige ceramics with black, blue, and purple patterns under and over turquoise and white glazes, orange and reddish ceramics with black patterns under yellow, turquoise, white, and aubergine glazes, orange ceramics with black and crackled (sgraffito) patterns under turquoise glazes, and unglazed ceramics.

Conclusion
Based on the archaeological studies and historical texts such as Ibn Hawqal, Masudi, Hamawi, and Emad al-Din Zakariya, Khoy has been a prosperous city during the Islamic period, especially from the 5th to the 8th centuries AD, due to its location on the East-West trade route. The pottery collection unearthed from the archaeological excavations of the Shams Tabrizi area also indicates that this region had cultural, commercial, and economic interactions with other centers during that time, reaching its peak during the Seljuk and Safavid periods. However, due to political and historical events, especially during the Ilkhanid and Safavid periods, all its cultural achievements were destroyed by invaders such as the Mongols and Ottomans (during the reign of Suleiman, Murad III, and Murad IV). Nevertheless, it has managed to regain its dynamism and greatness.
In this regard, the Shams Tabrizi area in Khoy is one of the prominent Islamic settlements in the region, possessing valuable cultural data, including diverse pottery artifacts. These pottery artifacts, classified based on comparative typology, belong to the Middle to Late Islamic periods and are divided into two main groups: glazed and unglazed pottery. The unglazed pottery consists of molded pottery and ordinary pottery, while the glazed pottery includes single-colored glaze, multi-colored glaze, overglaze painting, underglaze painting, and sgraffito. Due to the diversity of pottery types in terms of form, they mostly consist of various pottery bowls, and in terms of technique and decoration, they include distinctive types such as sgraffito, molded pottery, underglaze painting, and overglaze painting. Therefore, it can be said that pottery known as sgraffito in other regions such as Aqkand, Yazkand, Sultaniyeh, Sheikh Tappeh in Urmia, Hamadan, Kangavar, Taq-e Bostan, and Takht-e Soleiman, has been obtained, and in terms of style and technique, there are similarities between the turquoise pottery of this area and other regions in some cases. Similar turquoise pottery from this area has been obtained in Sultanabad, Kashan, Sultaniyeh, Hamadan, Bojnourd, and other regions, and can be compared to them in this respect. The results of the study of different types of pottery in the Shams Tabrizi area indicate that the pottery of this area mainly belongs to the Middle Islamic periods.

Abstract
Damage to cultural artifacts after discovery occurs due to various factors. One of these harmful cases is moisture originating from underground water, which appears as soil moisture, and over time, due to the oxidation process and the salts and ions in the water, as well as the incompatible pH of the environment with the texture and construction of the artifacts, it aggravates the process of destruction. In line with the mission of archaeometry as a bridge between archeology and other sciences, hydrogeology is used in this study in order to protect ancient artifacts. Iron Age Museum of Tabriz is located in the central area of the city and among the young Quaternary sediments that form the free aquifer of Tabriz. Underground water is one of the main factors causing corrosion and decay in the bones in this museum site. There are various solutions for lowering the water table locally, which according to the location coordinates and technical requirements of the site, the best method is to use underground water pumping. In this study, by using the available data in the study zone which is taken from the Tabriz urban train project and the data obtained from the Regional Water Company of East Azarbaijan, by using computer methods, the appropriate amounts of water pumping have been simulated according to the optimal water level drop and We define the placement of bones in a dry position. The use of new sciences for archeometric purposes is the main goal of this study and an attempt is made to solve the problem of destruction of ancient bones by establishing this connection.
Keywords: Conservation, Groundwater, Pumping Well, Soil Moisture, Tabriz Iron Age Museum.

Introduction
The discovery of ancient bones belonging to the Iron Age of the first and second millennium BC in the area of Tabriz Blue Mosque in 1997 is an important event in the field of archeology and ancient anthropology in Azarbaijan. When this ancient area has been discovered, studies have been carried out in the fields of dating about these bones and studies related to the origin and the migration (Kasiri, 2019) and the conservation and restoration of the graves in the Iron Age Museum area in 2016 was carried out by Majidi and Razani. In recent years, the effect of humidity on buried organisms in the soil has been the subject of many researchers’ studies. Soil moisture can play an important role in decomposition (Swift et al, 1979). Fluctuations of groundwater in the soil is one of the most important factors affecting microbial activity in the field conditions (Lund and Goksoyr, 1980). Iron Age Museum of Tabriz is located in the central area of this city and among the young Quaternary sediments that form the unconfined groundwater aquifer of Tabriz. Tabriz aquifer has an alluvial nature, which has expanded as a result of the Mehran Rood River flowing in its ancient path and creating numerous meanders during geological time. Hydrogeology as a new branch of earth sciences and engineering studies the condition, behavior and hydrological characteristics of the layers of the earth. As a porous environment, the basement contains soil grains, and the empty space between these grains can be saturated with water and provide a path for the flow of groundwater. The voracity of water movement in the basement compared to the surface currents is very low and varies from a few centimeters per year to several meters per day. Due to passing through various minerals and rocks, groundwater often has a significant amount of different solutes and has relatively high electrical conductivity (E.C). These solutes can cause a lot of damage to cultural works by sedimentation or crystallization in case of evaporation of groundwater. The climatic conditions of each region are different in the occurrence of damaging moisture factors and their effects in different seasons of the year (Nawai, 2016). The amount of humidity in the environment, which can cause destruction due to freezing with the participation of the temperature change parameter, will cause serious damage due to the transport of new solutes and sedimentation at each stage and the recrystallization of previous sediments. In addition to the above, the penetration of moisture through underground water can change the pH of the environment, and this change causes the destruction of cultural works by increasing the acidity.

Discussion
Iron Age Museum of Tabriz, as a result of its archaeological excavations, 108 graves were identified, based on the typology of pottery and metal artefacts and the method of burial and comparing them with the collections discovered from the excavations of Hassanlou Hill and Dinkhah Tepe, dating from around 1200 to 800 BC and the period of Iron Age I and II have been estimated for them, which of course is relatively consistent with the results of carbon 14 dating of these sites (Hojbari Nubri, 1381 and 1383). Its cultural, historical, social and economic nature, along with the aesthetic quality and historical and cultural importance of that area; The type of constituent materials and the composition and method of construction of the works found in it, the value, validity and information and messages hidden in those findings and how they are used are valuable documents of its cultural heritage collection. These works, mainly from archaeological excavations, have been obtained over several years, and their preservation in relatively inappropriate conditions has led to the progress of damage caused by the burial of these objects in the ground, and after a rather long period of time, they will disappear (Bagherzadeh Kasiri, 2016, 8). Based on the studies of Tabriz Urban Railway line 1, water level data is available near the study area of Asr Ahan Museum site, and according to the principle that the groundwater level almost follows the topography, it is possible to estimate the groundwater level in The location of the museum was found. For this purpose, the water level data was collected in the study boreholes near the study area (Table 8) and the map of the ISO lines of ground water in the study area was drawn (Fig. 10). It is necessary to explain that ISO lines or equipotential lines of groundwater are curves on each of these curves, the level of ground water has the same values and the map of parallel lines shows the changes of the level of ground water in the study area. It is possible to draw this type of map both manually and by using software that allows for interpolation and drawing. Next, modeling of groundwater drawdown due to pumping from the extraction well was done using GMS software version 16.4. For archeological stratification, before installing the drilling machine, a manual well should be dug to the desired diameter and to the depth of the ground water, and after reaching the depth of the underground water, the drilling machine will continue drilling from inside this well until it hits The stone should be foamed.

Conclusion
The Iron Age Museum site of Tabriz is one of the prominent sites in the northwest of the Iran, which is facing major problems due to the groundwater infiltration. This research uses information and data of the studies of the aquifer of this region with taking account to the problem of how to intervene in the ancient sites. It has provided a solution to deal with the problem of groundwater in order to reduce its flow, and in this regard, by introducing the place of preliminary evaluations using speculation and Finally suggests a piezometric well to start working in this area and control the groundwater level. Noting that the change of seasons and amount of rainfall can affect the condition of groundwater to some extent; Therefore, by changing the flow rate and duration of pumping, other values of drawdown can be achieved. For this reason, it is suggested that if the plan is implemented, a piezometer well should be drill as close as possible to the museum site so that the condition of the groundwater as well as the amount of its draw done due to pumping from the extraction well can be under immediate control. To prevent the water used in the green space and other uses of the museum site from returning to the area of ancient graves, drainage channels should be used between the area and the main space of the museum.