Abstract
Stucco art in Islamic period, in terms of technique and decorative motifs, pattern is taken from decorative art of Sassanids period. Motifs of stuccoes Sassanids period with inspiration from nature, does communicate (communication doesn’t exactly, but close to it), and can be easily identified similar samples it. This shows that unrealistic patterns less used in these motifs, and artist has shown less tendency to this direction. But these elements under the influence Islamic wisdom, have changed their form and meaning. One of the important findings and indicator in Aveh site were decorations stucc, that during the excavation in Imamzadeh Fazl Ibn Soleyman, obtained in the third chapter excavations this historic site in 2009. According to the date mentioned on one of the luster tiles found from this building (684  A.H.), this decoration is belongs to Ilkhanids period. The authors seeking to prove such dating, have done shape and technique used in this motifs and compare them to other historic sites stucco decorations from Ilkhanids period. This research has done to study this question related with Imamzadeh Fazl Ibn Soleyman building that, basically, this building based on stucco decorations, related with which period? And, stuccoes related to which style? In this regard, the present study seeks to prove these assumptions in execution of decoration motifs of stuccoes this building, has been used two styles stucco decorations with high bulge and decoration motifs caved. The decoration motifs are contains foliate, geometric, and inscribed. These motifs and their styles have been modeled from Ilkhanids styles. The method of doing this research is descriptive – analytical – comparative. Data in this study are taken from Library resources and field work. Field works in this study are contains extensive excavations in Aveh plain and in Imamzadeh Fazl Ibn Soleyman. Furthermore, cultural material obtained from excavation, have been drawn.
Keywords: Ilkhanids, Stucco decorations, Decorative motifs, Imamzadeh Fazl Ibn Soleyman of Aveh.

Introduction
The decoration of buildings Islamic period of Iran, usually have been used from brick, plaster, and tile. From of stucco, from early Islamic period to Timurids period as there has been template element in the decoration, and it has been most used in prayer niches and inscriptions of buildings (Pope, 1987: 166). Stucco at first has been more used for cover the rugged surfaces and decorate them; but, in the fifth century  A.H., stucco has been transformed from a simple decorative mode to unique coating of decorative. Traditionally, stucco art has been among of decorative art dependent on architectural of Iran, that after from flourishing in the Sassanid period in middle centuries of Islamic and in Ilkhanids period has reached the peak of flourishing.  In fact, Ilkhanid period is golden age of stucco in Islamic period Iran. This art in Ilkhanid period in vast areas as a decorative element in architecture of this period has used. From this period are remained traces very beautiful and unique. 24 km from Saveh County to Salafchegan is separate road to Qom; this is road of Jafarabad – Qom. The village of Aveh is located about a 6 km from this road. (Hashemi, 2007: 125). Imamzadeh Fazl Ibn Soleyman in Aveh plain, based on obtained indications from field works of authors (discover the luster tile in this building with date 684  A.H.), is one of the architecture monuments in Ilkhanid period with decorations of tile-making and stucco. Stucco decorations this building, although a small number is obtained, but they are represents the pinnacle of stucco art Ilkhanid in middle centuries of Islamic. The main purpose of authors in this study, in first place, have been presented available sample from stucco art Ilkhanids from Aveh area; In second place, have been analysis of their decorative motifs (technique), and type of motifs used (foliate, geometric, and inscription), and comparison them with other similar samples in other historical places.

Stuccoes of Imamzadeh Fazl Ibn Soleyman Aveh
After reviews on these stuccoes, their technique was studied in two groups: stucco decorations with high bulge, and decoration motifs caved. Techniques of shaping stucco decorations are with high bulge to form of in situ, mold, or combined from both techniques. In technique decoration motifs caved, has used from both techniques in situ, and mold. Furthermore, decoration motifs of stuccoes this building has been studied in tree group foliate, geometric, and inscribed. The foliate motifs of stuccoes is to form of arabesque and cinquefoil motifs (high and stretched), and Rosette flower. The most of foliate samples obtained in decorations of stuccoes Imamzadeh Fazl Ibn Soleyman Aveh, are from of type of foliate motifs six and eight of fimbria, flowers and leaves (several of fimbria) with buds, and arabesque motifs.The geometric motifs used in stuccoes of Imamzadeh Fazl Ibn Soleyman building are most to form of the honeycomb motifs. 
In stuccoes of Imamzadeh Fazl Ibn Soleyman building has been seen inscribed. Unfortunately, inscriptions used in decorations this building, aren’t in good position for recognize the type of script and decorative style. Authors have been results based on speculation and also based on lines used in decoration of tiles luster painted this building (that from of types of Sols and Naskh script).

Conclusion
As was mentioned, decorative motifs of stuccoes in Imamzadeh Fazl Ibn Soleyman building are divided to foliate, geometric, and inscribed, and they have been created to two styles: stucco decorations with high bulge, and decoration motifs caved. With comparison decorative motifs this building with decorations other traces in Ilkhanids period Iran, could be seen significantly specifications of decorative style of Ilkhanids in this building. So, decoration motifs Imamzadeh Fazl Ibn Soleyman building are related to Ilkhanids period. Therefore, date mentioned on the tiles this building and decoration motifs of stuccoes have been contemporaneous. On the other hand, comparison of shaping stuccoes Imamzadeh Fazl Ibn Soleyman with contemporaneous buildings, power of architects Islamic in Ilkhanids period is show.

Abstract
The purpose of this research is analysis and survey architecture decorations of wooden pillars in the mosques of Maragheh. The research method in this study is based on surveying and descriptive analysis. The data of this research are contains 14 mosques in Maragheh, that from these numbers 8 mosques haven’t been studied because of that general reconstruction or without being pillars. So, in this study 6 mosques of Maragheh have been surveyed and analyzed. Today, because of the lack of use this kind of decorations in the construction of mosques and their uniqueness, this study is essential. The wooden capitals in this research are decorated with motifs of stalactite work and woodturning with shapes of geometric dangling, stair, and crenate. On these capitals are abundantly seen decorations of arabesque motifs. The colors are used in this motifs contains black, white, red, green, yellow, blue, light brown and dark, turquoise, and ranges of these colors. The alongside these decorations has been used calligraphy of verses and holy names. The results of this study indicate that decorations architecture of wooden pillars in the mosques of Maragheh despite having art style of unit, they have variety of colors, designs and form of pillars. The method of doing this research is field-library. The field data have been collected with direct observation from wooden pillars, and then designed them with using software Corldraw. Thus, two main questions in this research that the authors try to analyze them is as follows: Can with compare and analyze the decorations of pillars common tips between them found? And, what have decorations of pillars pattern? 
Keywords: Decorations, wooden pillars, mosques of Maragheh, Islamic architecture.

Introduction 
In monuments and mosques have been used from the wood as the main components and also as a decorative element. The slender and long wooden trunks with decorations as carrier pillars of roof have been used in buildings. These wooden pillars have played a key role in holding pillars and prayers hall of mosques. The decorating the inner surface of wooden roofs has been of evolved over time and arrived in the late centuries of Islamic to ultimately development. During the Safavid period, that construction of wooden ceilings, known as Chehelsotun, has become spread (Soleymani et.al, 2011: 27).
In Maragheh city is remained wooden mosques of beautiful from Safavid period. These mosques have been contains 14 mosques, but in this research have been studied decorations of pillars mosques Molla Rostam, Molla Moez Aldin, Zarir, Sefid, Ghazi, and Najarlar. These mosques have wooden decorations and the capitals of wooden stalactite in these mosques have been decorated with motifs of arabesque and calligraphy. The artists tried in decoration of these pillars have been used the most beautiful and diverse designs. The authors in this research, after survey all of the pillars, have been presented the fixed pattern from them. So, due to the registration of Maragheh wooden mosques in the national monuments list and wooden decorations of unique them, do this research is essential.
The field data have been collected with direct observation from wooden pillars, and then designed them with using software Corldraw. The study of library resources is contains of study the articles and books published in this field and also use the archive of cultural heritage administration of Maragheh County.

Introducing samples of mosques
Mosque of Molla Rostam: This mosque is located in the south side of the Molla Rostam square and among the Chay Osto Bazaar. Most of the pillars of this mosque are made of wood and stalactite motifs. The wooden pillars in this mosque have been prepared from Sepidar tree and woodturning to form of octagonal.
Mosque of Molla Moez Aldin: This mosque is located on the west side of the Khoshkbar square (Salar neighborhood and Hatam alley) in Maragheh city. The mosque of Molla Moez Aldin has two prayers halls of eastern and western. These two prayers halls have roof with flat cover and beamed ceiling, and with the capitals of stalactite.
Mosque of Zarir: This mosque is located in the northeastern part of Maragheh City and in street of Mir Habib Agha. The roof with flat cover of prayers hall in mosque of Zarir has six wooden pillars in two rows. Each of these pillars are consists of a stone pedestal, stem of wooden pillar, and capitals of stalactite.
Mosque of Sefid: This building is located in the southeastern part of the historical context of Maragheh city, and along one of the historical and main gates of this city in the name of “Darvazeh Biron Ghaleh”. The prayers hall of this mosque has the pillar, and the pillars of them are numbers three.
Mosque of Ghazi: This mosque is located in the Ghazi neighborhood of Maragheh city and corner of Ghods street. The date of construction this mosque is Safavid period. The prayers hall mosque of Ghazi has roof with flat cover, and six of pillars with capitals of stalactite.
Mosque of Najarlar: This mosque is located in the Qom neighborhood of northern in Maragheh city. The plane of this mosque is to form of rectangle, and has a prayers hall with three numbers of pillars with stalactite.

Conclusion
The motifs and schemes in architecture decorations of wooden pillars in the mosques of Maragheh, in addition to the have artistic style of unit, they have color variation, scheme, and form in pillars. According to the construction period these mosques, we can see differences in them. The main decorations in these mosques are contains of the rich motifs and arabesque motifs. The colors are used in this motifs contains black, white, red, green, yellow, blue, light brown and dark, turquoise, and ranges of these colors. The alongside these decorations has been used calligraphy of verses and holy names.

Abstract
The tombs or funerary monuments are one of the most important elements of Iranian-Islamic architecture that in different fields require careful investigation. This group of buildings is important among Iranians; for this reason, in each period of the Islamic era of Iran the most important and most used arts related to that period have been used in their construction. Generally, the decoration in buildings has a more effective role, because, if it is understandable in terms of form and structure for archaeologists and designers, it’s possible this isn’t understandable for the general public. So, decorations in the buildings at first sight are attracts the viewer. In this article epigraphy art as one of the most important decorative elements of Islamic buildings have been reviewed in the four Seljuk tombs of Northwest of Iran: Gonbad Sorkh, Borj Modavar in Maragheh, Seh Gonbad, and Gonbad Kabood. The research method in this study is interpretive – historical. In this study with analytical method have been studied decorations of these four tombs (especially in terms of architecture, motifs, inscriptions and their position on the buildings). Also, in addition to reviewing the articles, books, and evidences, with field survey from these tombs, plan and decorations, and then a comparison table of inscriptions has been provided. In this regard, the following questions are raised:
- How is architecture, motifs and decorations of the Seljuk tombs in northwest Iran? And, their inscriptions are divided into several categories in terms of content?
- What are the effects of concepts of the inscriptions on position them on the buildings?
Reviews show that inscriptions of Seljuk tombs in the Northwest are divided into four groups: The Quranic verses, inscription with the theme of the date of construction, inscription with the topic of prayer, and inscription with the theme of the architect and the builder. On the other hand, position these inscriptions in the buildings have been differed proportional in their content. Inscriptions of the Quranic verses in the highest section of building, inscription with topic of prayer in the lower, inscription with the theme of date of construction and architect and builder are placed on the lower levels and on the body of building.
Keywords: Islamic architecture, Seljuk tombs, Northwest of Iran, decorations, inscription.

Introduction
Generally, one way of cognition more about periods of Islamic architecture besides of decorative elements and motifs, is study of inscriptions and their texts. In the Seljuk period, one of their architectural features, are create inscriptions and decorative lines from shaved bricks, that in most of buildings this period (especially tombs) is seen. Furthermore, due to the difficulty of shaving the bricks and the formation of letters and words with it, during this period, the Naskh script was replaced by the Kofi script and inscription with style of stucco was used (Hatam, 1999: 162).
In this article, in addition to reviewing the historical background and the process of build tombs in the Seljuk period to study and compare four tombs in the Seljuk period in Northwest of Iran, first have been introduce architectural features and decorative motifs them. Then, in comparative tables have been specified types of inscriptions and their position on the tombs. In this regard, following questions are raised: How are architecture, motifs and decorations of the Seljuk tombs in northwest Iran? And, their inscriptions are divided into several categories in terms of content? And, what are the effects of concepts of the inscriptions on position them on the buildings?
This study shows, inscriptions of Seljuk tombs in the Northwest are divided into four groups: The Quranic verses, inscription with the theme of the date of construction, inscription with the topic of prayer, and inscription with the theme of the architect and the builder. On the other hand, position these inscriptions in the buildings have been differed proportional in their content. Inscriptions of the Quranic verses in the highest section of building, inscription with topic of prayer in the lower, inscription with the theme of date of construction and architect and builder are placed on the lower levels and on the body of building.

Buildings under study
Gonbad Sorkh: The Gonbad Sorkh is oldest tomb in the Maragheh that is located in the southern part of the city and west side of Hashtrod road. Generally, in the Gonbad Sorkhon and in different parts and also on all sides this tomb is inscription.
Borj Modavar: The Borj Modavar is second tomb built after the Gonbad Sorkh and inside the city of Maragheh. This tomb now is located in Khaje Nasir Street and behind the building of Bank Melli. The Borj Modavar has two inscriptions that both of them are located in the main direction of the building and facing the North. 
Seh Gonbad: The Seh Gonbad is third tomb that was built in the Seljuk period in Azerbaijan. This tomb is located in the southeastern of Urmia city. The three inscriptions with Kofi script and geometric motifs at the facades of this tomb have created beautiful view.
Gonbad Kabood: The Gonbad Kabood after the Gonbad Sorkh and the Borj Modavar is third of building that has been made in the Maragheh city. In this building 5 inscriptions are visible.

Conclusion
It’s certain, in Seljuk period and in the method architects and artists of this period, concepts of inscriptions have played an important role in location of inscriptions. According to this, inscriptions of Quranic verses and inscriptions of mystical concepts and prayers have usually been located at higher levels. Other inscriptions (such as inscriptions with historical or political themes) have usually been located in lower levels. The location of inscriptions in buildings from the down to up in four sections 1, 2, 3, and 4 in the table below is shown.

Abstract
Using stucco as decoration in buildings has a long precedent. Scrutinizing the surviving edifice from historical periods shows that the art of plastering has been methodical and has a special style since the Parthian era. These methods evolved in the Sassanid era and continued with nuance in the Islamic era. Our knowledge of the art of stucco decoration of the Sassanid period is mostly based on the excavation of several important sites of this period, including the historic city of Bishapur. Bishapur is the center of the Shapur-province which was considered to be one of the cities or the state of five states of Persia and it was established during the reign of Shapur I, the second Sassanid emperor. Manifold artworks have been found in Bishapour’s excavation such as unique mosaic paintings as well as plastering and painting on plaster, especially in the part of the royal citadel. Many of these findings which are some important artifacts and features, exploring in the ninth season of excavation such as the revelation of architectural spaces in the south of the mosaic porch in the part called “Royal Citadel” and stone objects such as mortars, Xunak: stone table, stone statues made of marble and decorative beads, glass kilns and pieces of glassware, pottery and metal. The most important architectural works revealed in the excavation are the corridors on the south side of the mosaic porch, rooms with plaster works’ niches, while some of them are painted and decorated with red ocher clay, plaster of the walls, and plaster of the floor of architectural spaces have been found in these rooms as well. The plaster artworks are mostly included the parallel strips that are used at the edges of niches and entrances. Gypsum mosaic porch decorations include plaster coating and painting on the plaster, as well as plaster works and remains. Considering that all these pieces belong to the Sassanid period, the main question in this research is: How were they made? The method of data collection has been done in two ways, fieldwork and by researching in the library in this article. Besides, the tendency in this research was to introduce and analyze these findings in the context of the plaster art of the Sassanid period in this historical city
Keywords: Sassanid Period, Bishapur, Architectur Decorations, Stucco.

Introduction
The city of Bishapur, with an area of about 155 hectares, is an enormous area where comprehensive exploration is impossible in a short time. The ninth season excavation program started on 22/05/2011 and lasted until 6/07/2011.
The most important objects found from the excavation were: Three pieces of human sculpture of a man as well as a piece of human sculpture of a woman, both made of marble. A significant number of archaeological findings in the ninth season of the excavation of the historic city of Bishapur were metal fragments. The metal findings based on the type of metals are iron, copper, and silver, in order of frequency respectively. In addition to these findings, several earthenware jars and pots of different dimensions are among the main objects of the ninth season of the excavation of the historical city of Bishapur. For the first time, in the same excavation season, all the pottery pieces founded in the excavation, have been collected, washed, and classified. The first category includes decorative objects such as statues and precious and semi-precious stones, which include ring agate stones and necklace beads, as well as turquoise stones; and the second category, including oil trays, mortars, and stone tables which is known as “Xunak” by the locals. There were also recovered many pieces of broken glassware along with a glass kiln during the ninth season of excavating the historic city of Bishapur. In the same season, manifold remnants of glass-making furnaces and mosaic pieces were discovered. The most important findings of architectural works include the corridors on the south side of the mosaic porch, rooms with bedside niches, which are sometimes painted and decorated with red ocher mud. Another finding in this season was plaster pieces which is the purpose of writing this article, is to introduce and classify these plaster findings.

Identified Traces
The ninth season of the excavation in the historical city of Bishapur focused on the south and west sides of the mosaic porch, and although in the development of the excavation and the pursuit of walls and spaces, the scope of the excavation was extended to the eastern boreholes; But most of the findings come from southern boreholes, especially the D-3, D-4, and D-5. In terms of plastering and decorations, these three boreholes were richer than the other boreholes.
In general, there are two types of indicator hypotheses about the construction of gypsum decorations; In the first hypothesis, it is believed that the plaster decorations in this area were drawn on the walls at once, and then the artist created his desired designs on the plaster with a tool similar to a scraper; But in the second hypothesis, it is believed that the plaster’s decorations were made in the form of molding and then installed in place. Given the available evidence, it is not wise to simply accept or reject any of these theories. Applying and combining these two methods was certainly not impossible, and the artists of the Sassanid period could create innovative and new methods in this field; Because it seems that in some cases the designs have been prepared by molding method and in some cases, the plasters have been applied on the wall at once; Thus, in Bishapur, the two methods of in-situ shaping and fabrication using mold can be considered as the main methods in performing plastering techniques. In the in-situ shaping method, after applying the gypsum paste on the desired surface, such as a wall or ceiling, etc., and the expiration of the gypsum setting to a suitable level that does not cause the gypsum to fall, the gypsum master forms the gypsum mortar. In the method of using the mold, it is done in two ways: in situ and prefabricated. In the in-situ method, gypsum mortar is poured into a one-piece or multi-piece wooden mold that has been pre-made, and in some cases, it is injected and after setting the plaster and kneading it, it separates the mold from it and the masterworks on its joinery. In the prefabricated mold method, all the parts are pre-made and the master connects them and after joining all the parts, he pays them. Gypsum pieces with geometric designs found from the ninth season of excavation in Bishapur are usually mold-making and do not have various shapes, and are usually spoon-shaped, in other words, tube-shaped. It seems that all these parts have been used to cover around the ledges, corners of walls, windows, and doors. Parts of this type of plastering around a ledge have also been found. Another example of stucco is “shell designs”. These pieces represent a bunch of bivalve mussels. The use of these parts is all as fillets next to the dome and porch as well as the corners of the rooms. These pieces were also made by molding and probably did this on the spot.
Other parts are plaques that are found in the form of broken pieces. These parts usually belong to the edge of the plate and are only one part of the center of the plate. The plaques sometimes have human motifs depicting kings, princes, princes, and gods, and provide valuable information for researchers in the analysis of political history, art, and archeology. The face of a king or prince was found inside a plaque in the Bishapur, the preliminary stages of which have been completed and the results will be published in the future. The designs of these gypsum boards are usually geometric and floral. The geometric patterns are mostly related to the square border of the plate. Several pieces of red and black colored plaster are also obtained, which are related to flat walls.
The artists of the Sassanid period could create innovative and new methods in the field of plastering; Because it seems that in some cases the designs have been prepared by molding method and in some cases, the plastering has been applied on the wall all at once; Thus, in Bishapour, the two methods of in-situ shaping and fabrication using molds can be considered as the main methods in performing plastering techniques, which are usually prefabricated parts made in two sizes; One of them is 12 x 12 cm and the other is 18 x 18 cm.

Conclusion
From all the discovered artifacts, little information can be figured out from the plastering around the ledges. Upper back injuries are more common than lower back injuries. These plasters consist of two categories; The first category is plastering that is prefabricated in parts that have been molded due to mass production and the findings of this category are more. The second category is plastering which is built on-site and this category has a greater role. From the first category, most of the stucco is found with a cross and spoon design, and from the second category, there are a little number of gypsum plates. In terms of shape and role, it can almost be said that role limitations are observed in the discovered samples and the designs are not very diverse. These parts had the least similarity with the parts discovered from other Sassanid sites.

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
Studying architectural decorations in public buildings leads to identifying the artistic features of the buildings and also representing the interests of their builders and ordinary people. Bathhouses are public buildings with special importance in Persian culture. They were also among the most important urban buildings after the Islamization of Iran. The reason for such special attention is the sanctity of water and the significance of washing ceremonies among Persians. Sanandaj city had been traditionally one of the cleanest cities in Iran and a proper resort for nobles and government officials. This study uses a descriptive-analytical method and adopts a historical and comparative approach. The data was gathered using field and library research methods. The research questions are (1) what were public and governmental bathhouses during the Qajar dynasty and who were their builders? (2) What kind of decorations were mostly used in these bathhouses? (3) What architectural motifs were used in these bathhouses? The main objective of the current study includes studying prominent public and governmental bathhouses ad their decorations during the Qajar dynasty. The results indicated that a large portion of the decorations for changerooms, washrooms, and rinse rooms are composed of ornamental elements, such as lime work, tiling, and wall paintings. The decorative motifs include pictures of animals, plants, geometrical shapes, tools, and celestial bodies. Plant and celestial motifs are composed of arabesques indicating plurality in unity and unity in plurality. Animal motifs include lions, dragons, birds, goats, eagles, peacocks, and snakes, indicating the victory of right over wrong and a sign of justice. Therefore, the symbolic meaning of these motifs is common for all bathhouses during the era.
Keywords: Bathhouse, Decorations, Sanandaj, Qajar, Lime Work, Tiling.

Introduction
During the Islamic period, decorations were very common in Iran, and they developed based on the technology of each era. Architectural ornaments are an inseparable and a major part of Islamic era architecture (Maki Nejad, 2009:97). Reviewing the ornamental motifs used in architecture can lead to common meanings the builders used to form their social interactions. By meeting more than physical needs, these spaces contained a lot of meaning and represented rituals and, consequently, culture. Since these motifs originated from human interactions with the ambient environment based on collective and ritual activities, they are categorized as ritual scenes (Mansouri, 2013:5). Among these spaces, bathhouses were of special importance and regarded as one of the most ritual spaces in cities and a place for social exchange, as well as their services and public functions (Nahrfruzani, 2019:36). Traditional baths, known as bathhouses, are recognized as historical monuments with tangible cultural heritage value due to their special architectural design, stucco, and paintings with literary, mythological, and religious motifs (Omidvar & Razmjooie, 2019:492). Evaluation of motifs in architecture-related ornament is a researchable feature for these bathhouses. Lime works and especially tiling created a pleasant and eye-catching environment with various plant, animal, and human motifs as well as their insulation function (Mansouri Jazabadi & Hosseini, 2016:104). This paper seeks to assess Sanandaj bathhouses during the Qajar dynasty and describe their major ornaments. The author tries to outline the tiling and lime works used in the bathhouses of Sanandaj and describe their semiology. Bathhouses were important buildings due to the special attention of Iranians to cleanliness and their various social and cultural functions. Bathhouses are related to Iranian cultures in different aspects, and their historical architecture and cultural features are a part of the cultural and regional identity of those people. To this end, the current study adopts a descriptive-historical-analytical-comparative approach to describe the decorations (motifs) used in prominent governmental, private, and public bathhouses during the Qajar dynasty. The field study data were gathered by photography and sketching the pictures and how they were painted and analyzed using library references. All collected data were ultimately analyzed.

Data
Public Bathhouses: From a structural aspect, public bathhouses usually have flexuous inlets leading to changerooms. The bathhouse reception was located at a corner in the changeroom (Zandi et al., 2017:3). Public bathhouses were naturally separated from residential buildings, and people paid a fee to use the facility. However, nobles might pay a higher fee to use the facility privately (Wills, 1989:372). Some public bathhouses of the Qajar dynasty include Khan, Salahi, Khalife Fattah, and Shoja Lashkar. Khalife Fattah and Shoja Lashkar bathhouses are located in Sanandaj currently without any decorates, and it seems unlikely that they had any decorations (lime work and/or tiling) during that era. For lime works in the Qajar era, plant, geometrical shapes, and animal motifs, especially peacocks and birds-of-paradise, were decorating the bathhouses. Unlike the previous era, tiling was not limited to mosques, tombstones, and khanqahs during the Qajar dynasty, and it was employed to decorate palaces and mansions of nobles, city gates, and government symbols. Furthermore, traditional patterns are mixed with realistic iconography and illustration (tiles with flower and leaf motifs and vase designs) in the tiling, conveying a kind of vitality and life (Farie, 1995:291).
Private and Governmental Bathhouses: Built inside or adjacent to a residential building, private bathhouses were only used by nobles. These bathhouses were the fourth area of noble houses, in addition to the exterior, interior, and den (Roshevar, 1999:206). However, some private bathhouses were used by the public with or without paying a fee. Private and governmental bathhouses of Qajar include Mollatafullah Sheikhul Islam, Asif, Moshir Diwan, and Khosrowabad.

Discussion
Each architectural work can be analyzed based on different underlying reasons for creating such a work. Each reason can establish a part of the process and implication of the building. Lime works and tiling are decorative elements and an inseparable part of Iranian-Islamic architecture that was used in most buildings during the Qajar dynasty. Based on the research on public and governmental-private bathhouses in this era, the decorations can be categorized into three different themes: politics, religion, and symbols. Regarding the nature of tiles and lime works in bathhouses, the motifs manifest the features of Qajar art, and they represent Qajar identity and culture. Decorations such as tiling and lime work were very common in public bathhouses. In private bathhouses, such as Mollatafullah Sheikhul Islam, Asif, Moshir Diwan, and Khosrowabad, decorations were mostly lime work, and simple turquoise and yellow tiles were only used for dadoes. The theme of each motif in bathhouses referred to ancient Persia. Mollatafullah Sheikhul Islam and Khan Bathhouses are different due to the difference between the demands and expectations of their customers. Therefore, Amanullah and others tried to showcase their power and social status in their private bathhouses, and so they put their name on the building to last forever. However, private bathhouses tried to recognize justice and righteous judgment among people. Private bathhouses tried to keep the connection between the government and the people. The raised platforms in some public bathhouses, such as Khan, and the material used to show the structural glory and majesty of the building tried to implement urban development policies in important regions, especially downtown.

Conclusion
The analysis of decorative motifs in the Qajar bathhouses of Sanandaj showed that these bathhouses were either private-governmental or public, and the decorations were in the form of lime work or tiling. Regarding the function of the studied bathhouses, it should be noted that what distinguishes public bathhouses from private ones is the space, dimensions, and privacy of the users. Some public bathhouses, such as Khan, are more glorious than others. The architectural principles are perfectly conformed. The builders of public bathhouses tried greatly to achieve their goals, be with people, and support them. Their efforts are manifested in different places of the bathhouse in the form of engraved decorations and symbols. Therefore, although bathhouses are structured and built under a specific dynasty, the method and vision of builders significantly affected attaching spaces and even the construction material. Most decorations and motifs referred to people’s life and aimed to induce peace of mind in people. Tiling in public bathhouses is very beautiful, with diverse motifs, including animal, geometric shapes, and plant pictures. However, the tiles in private-governmental bathhouses are simple, without any motifs, and in yellow and turquoise. In all bathhouses, the lime works are covered with geometric shapes, plants, and animals on walls. The plant motifs are composed of arabesques indicating plurality in unity and unity in plurality. Animal motifs include lions, dragons, birds, goats, eagles, peacocks, and snakes, indicating the victory of right over wrong and a sign of justice. Therefore, the symbolic meaning of these motifs is common for all bathhouses during the era.

Abstract
In the traditional architecture of Shushtar, as one of the architectural types of Iran, there are examples of architectural regionalism approach. Houses decorated with motifs, designs and decorations, which have given a special glory to the architecture of this city with a combination of three materials, stone, plaster and brick. A small part of the patterns and decorations of these houses is in the entrance area of the main door, but most of the decorations and arrays are in the interior of the houses of this city. Most of these houses are known by the name of the owner or owner. One of these houses is “GhasabNejad” house. This house is a dominant example of Shushtar decorated houses. This research is done with the aim of getting to know better about the decorative elements and motifs of Shushtar city as an example of warm and dry regional architecture and at the end of the article, the question of what and why are the three decorative motifs and elements of Shushtar Butcher House, based on the critical regionalism approach The answer is given. The information of this article was collected in the field using visual and library evidence and presented in a descriptive and analytical way.
Keywords: Shushtar Traditional Architecture, Ghasabnejad House, Critical Regionalism, Anthology Networks, Brick and Stone Decorations.

Introduction
Shushtar is one of the old cities of Iran, where there are monuments from different historical periods. This city was prominent as the center of Khuzestan during the Qajar period and most of the existing works of residential architecture with decorative elements are attributed to this period. Among the important buildings of this city, we can mention the “Afzal” complex, the houses of “Marashi”, “Mustafi”, “Bakal-Sadat”, “Gazer”, “Qasabnejad” and the like. In addition to the specific and functional architecture, the mentioned buildings are decorated with arrays that stand out like a beautiful painting on the walls. Harmonious proportions, various visual elements including line, surface, volume and texture in combination with light and shadow, appropriate combination of components such as lungs, frames and borders, headers and the quiet whisper of change from pattern to frame and from frame to surface of some of these buildings. The city built something that the concept of well-formed calligraphy tradition can be applied to parts of these buildings. In the area surrounded by the two branches of the Karun River in Shushtar, the building studied in this research is GhasabNejad’s house. This building located in “Dol Dol (Moghi)” neighborhood is located in the vicinity of Gazer’s house and belongs to the Qajar period, which was renovated in 2016 under national registration number 29157 and at the end of 2016. This house consists of four floors, ground floor, first floor, Shabestan, and Shawadan. Due to its area, this house is one of the historical, large and highly decorated houses of Shushtar and has triple motifs of stone, plaster and brick. According to what has been said, the purpose of the current research is to study the types of motifs used in GhasabNejad’s house in order to better identify the historical houses of Iran, and finally to the question of what and why are the motifs and three decorative elements of Shushtar’s Butcher’s house, based on the approach of critical regionalism The answer is given. The discussion about the architectural and structural elements of this house, such as arches, columns and the like, is out of the scope of this research.

Theoretical foundations
Since this research focuses on architectural decorations, the three decorative elements of butcher houses are analyzed as an example of Shushtar houses, based on the approach of regional architects. Critical regionalism is a middle ground between the two, with regional preferences that are not identical to native architecture. From Frampton’s point of view, local cultures should be viewed in a way that is modern and has the ability to become modern. Achieving critical regionalism is the exploitation of local characteristics inside and outside the modern building form and does not mean returning to traditional building. Frampton calls this type of architecture, which resists the trend of homogenization of world architecture, as critical regionalism (Tadjdee and Islami 2018: 22, quoted by Frampton). In Table 1, the features of regionalist architecture are stated in terms of Islamic and modernism.

GhasabNejad’s house 
GhasabNejad’s house is one of the historical houses of Shushtar city, which is located in “Doldol (Moghi)” neighborhood, adjacent to “Gazer” house. This house, like most of the remaining traditional houses in this city, belongs to the Qajar period, which, in addition to the traditional architecture, has different decorative arrays. About the history of ownership of this house (Fig.  1) (Fig.  2) shows the plan of these two complexes. Currently, both parts of this historical house have been registered in the national register. The architect of this house is “Mohammed Taghi Mimarbashi Shushtri” according to the inscription that is located near the porch of its outer part (Gazar House) and the date of completion of the building is 1277 AH (photos 3).

Decorations of GhasabNejad house
GhasabNejad house has triple decorations of stone, plaster and brick. Brick patterns are like (Fig. 4). Another part of the decorations of the old houses of Shushtar is the butcher house of Setonah, which is built with materials such as stone and brick, and their decorations include the motifs of “Kartele”, “Baik” and “Congress” (Fig. 5). Plaster grids are among other motifs used in Shushtar houses, which are placed on the facade of the building and usually between the arches and above the windows. In addition to decorative use, these elements were used to ventilate the air and let light in. (Fig.  6). Fig. 7, shows the three decorations of GhasabNejad’s house. The stone decorations include animal and plant motifs, each of which has different meanings. (10) The location of the plaster grids is also shown. Also, pictures (11 and 12) show other brick motifs in the butcher’s house building.

Conclusion
Three elements, brick, stone and plaster, are the main materials of Shushtar architecture and its decorative arrays, which were used in GhasabNejad’s house with refinement and merit in the structure and decorations of the building. The materials, motifs, form and decorations are common in most Shushtar houses, with the difference that each architect has made changes in them according to the personal taste and interest or the opinion of the owner of that building. The stone carvings of the butcher’s house include animal motifs such as peacocks, parrots and plant motifs such as lotus flowers. The roles of these animals and plants are sometimes mythical and probably liked by the architect or owner of the building and according to the cultural conditions of that time and the owner’s financial ability. The motifs of Golchin Gachi networks are a combination of Islamic geometric Chinese knot motifs and its famous shamsehs, and one case is a combination of Chinese knot and cedar tree. The decorative brick motifs of this house are arranged on the top of the porch and the edges around it. There are three motifs, Serzi Sarbala (in the local language), on the top of the porches, and complex key armband motifs, and one, two, and three plains, are engraved on their margins. The technique of performing brick patterns above the porch is flat and their edges are highlighted. The pattern of the columns was from the Moqrans design shared by the houses of Shushtar, such as the pattern of Kartele, Congress and Beyk. Some roles have been named according to their resemblance to something else. Like the pattern of the head below the head, which is similar to the pattern of the mat.
The reason for the use of these decorations is to align with Shushtar’s traditional architecture and this feature is consistent with the regional preferences side of the critical regionalists’ approach in architecture. Following this tradition, there are brick patterns on the front of the porches and on the outside of the houses, stone patterns are on some of the gates, considering the structural function of the stone, and plaster grids are also implemented in the upper part of the building. Among the three elements used in GhasabNejad’s house, the patterns of the front bricks of the porches were functional, mostly decorative, and the stone carvings and plastered grids had both decorative and practical functions. In this building, in addition to the decorative function, these three elements have been used to express the spiritual, material or traditional interests of the owner of the property. Among the three mentioned elements, according to the long-standing media tradition, stones have always been the representation of the personal feelings of the architect or the owner of the building.
Relying on the approach of critical regionalism, it can be said that the stone element is a special functional and decorative element in the architectural structure of Shushtar city as well as GhasabNejad’s house, which makes the architecture of this city different even compared to its neighbor, Dezful. It originates from the stone bed of the city and the presence of stone mines near the city of Shushtar. It seems that the architects of Shushtar have taken advantage of their unique native and regional element in building in the right place. Also, perhaps the use of stone for personal expression reminds us that the oldest means of expressing human emotions in a space other than its original place, i.e. mountains and deserts in the man-made environment, is still capable of expressing human emotions. The tradition that started from the heart of the mountains, rocks and caves continued in the cemeteries and the like, and in public and private places, it has a dual function of structure and media.
  The adaptation of architectural elements, especially the triple arrays of GhasabNejad house as a relatively complete example of Shushtar’s traditional houses, showed that the architecture of this house is compatible with most of the features of the critical regionalism approach, despite the time difference and the youth of the critical regionalist architecture discussion with ups and downs. The use of stone in the building as a special local element and the presence of a parrot in the stone bearer inscriptions as a non-regional bird in this building are two important features of the critical regionalism approach that has been digested in Shushtar’s architecture.

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

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

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