Abstract
The architect of Timurid have four systems or sets of proportions that could have combined them, but in general, a system had a major role. These systems can easily be equated to musical steps that although they are run by geometric progression, they are repeated. Each system is set based on an integer, but it is balanced by the root of that integer, according to geometric principles. Integers 2, 3, and 5 are each associated with geometric shapes determining the other elements of the scale. It was indeed Farabi who could discover the kinship of architecture with music, and then it was discussed by Bolatov. The nature of this system is well illustrated according to Farabi stating that the side of square and sector of circle in architecture is used as measuring instruments, and is similar to the theorem in logic and refrain in poetry, as well as poetry rhythms. It is precisely because of such an issue that Bolatov’s view can be accepted. Accordingly, the geometry of the design is not comparable with Western imaginations of proportion, which deals with the repetition of similar or related forms. In addition to its practical value, as an implementation procedure, the Islamic system provided the coordination and harmony for all parts, thereby the entire parts were associated with a single nature, like the relation of the parts of squares, triangles and pentagons with each other. 
Keywords: Applied Geometry, Buildings Abubakr Taybadi, Goharshad Mosque, School of Ghiasieh Khargerd.

Introduction
A feature of the Timurid architecture is the use of geometry, which is manifested in the magnificence and verticality of the Timurid buildings. Also, during this period, exact sciences and geometry significantly developed. These sciences were practically applied in architecture and used as a pattern in the construction of buildings. The application of geometric formulas had a major role in coordinating proportions, balancing and overall balance and its elements, which are the features of the Timurid architecture. After preparing the design, the architect has been entered the practical research stage. Therefore, the following questions are raised in this study: What is the pattern and geometrical ratio used in the design of these buildings? The architect of the Timurid Period which geometrical principles have used in the design of these buildings?

Research Findings
Timurids architects applied all of the geometric systems used since the tenth century, including: 
Rule 1: Square and its derivatives, the most important of which are the diameter of √2 of half and its double, and the side of an octagon (√ 2-1).
Rules 2 and 3: Equilateral triangle and its derivatives, i.e. sides and height (√3/2). Such triangles play a role in dodecagonal figures (the sides are equal,) (2-√3). Sometimes, the geometry of square and equilateral triangle were combined, as it is seen in (√ 2: √3) rectangles whose height is half the generatrix square. Bearer (√3) was often used. The size of this dimension can be drawn by encircling a pentagon and extending its radii.
Rules 6, 5, 4, and 7: A half-square is usually formed by dividing the square of a room into halves, so that by drawing diameters of two half-squares, a square in the center is obtained whose side is 1/ √5. The diameter itself (√5/2) plays a major role especially in determining the heights. Another method to get a rectangle with the same proportions yields a triangle with a ratio of 2:3√5. A common form associated with the half-square was a triangle made of diameters and two sides that could be used to separate the proportional parts of the line 1√5 and (√5-1) 1√5. This was done in a way that an arc was separated along the chord, the radius which was a triangle height, was then entered through this point to the base. These proportions were sometimes used for designs of façades. 
Rules 8 and 9: The √5 of a rectangle or the √5 of orthogonal: using a half-square, the base could be divided in another way, previously known to the Greeks as “moderate limit” which is involved in the construction of the “golden section”. This is done in such a way that an arc with the length of the height along the chord is separated like the previous state, then a secondary arc whose center is smaller in the angle is drawn at the point on the chord. In the point where this arc intercepts the triangle the line is divided into two parts that one is larger {(√5-1)/2} represented by M, and another one is smaller {3-√5/2}} represented by m. The multiples of this section are usually used in the design of interior and exterior façades and many other spaces. A number of decreasing triangles were applied in the same way as used for the diameter of the minarets {2 / (√5 3-7); 4 / √53-7) ...}. 
Rule 10: A decagon encircled in a circle with a radius of 2 has a side equal to √5-1. The golden rectangular was made by adding unit 1 to the larger part M {1: 2 / (√5+1)}. Using the half-square as a base, a rectangle can be easily drawn.
 
Conclosion
Abubakr Taybadi’s Tomb: The use of the rules 2 and 3, i.e. the equilateral triangle and its derivatives, like in the height of the triangle. The use of rule 5 of half-square, i.e. √5 and its derivatives and the rule 9, namely, √5 of the rectangle. The use of rule 4, i.e. half-square. Dividing the square of a room which is divided into halves. The ratio was used in this rule.
Goharshad Mosque: The combined is use of the rule 5 of half-square, namely √5 and its derivatives, and the rule 9, i.e. √5 of rectangle.   
School of Ghiasieh Khargerd: The use of the rule 1, namely √2 and its derivatives such as By analyzing such patterns and the system of proportions used in the construction of Ghiasieh Khargerd School, Goharshad Mosque and Zayn al-Din monument, the present study describes the role of mathematicians and the application of geometry knowledge by architects such as Qavameddin Shirazi in the development process of architecture during the Timurid period.

Abstract
Of the common types of late architecture in Iran various mastery buildings some examples of which were made during the Qajar period, that some examples these types are considered by the rulers of the cities and villages of this period. The Varkaneh village is located in the Eastern Alvand district and in the central part of Hamedan in the mountains area, and with Arzanfood-Varkaneh valley 15 km is away. The village has been governed in the Qajar and Pahlavi periods by Naqikhan and Mehri-Khanoom. From the presence of Qaragozlou’s family in the village of Varkaneh are two monuments of the “mastery house” and “stables of breeding horse” with distance of 100 and 500 meters outside the village respectively. Among the buildings of state as selected patterns two different types of local court architecture and comparable to the master’s buildings collection (Qaravol Khaneh) Aghovlar in Talesh will be investigated and analyzed. The main purpose of this paper is to recognize the patterns and transformations created in traditional roral architecture Based on ideas and methods of transformation in two different types of mastery buildings of the Qajar period and beyond. Accordingly, in the present study in addition introduces a descriptive - analytical method, has done analysis and classification of elements of rural architecture and fluently social transformations in the formation mastery architecture of the Qajar period in the Varkaneh village. Questions of this study: What factors have led to placement of these buildings outside context of the village? These buildings under study, how much have been effective of the area architecture? The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials.
Keywords: Qajar Architecture, Varkaneh, Mastery House, Stables of Breeding Horse.

Introduction
From examples of architecture courtesy in Qajar period is mastery architecture of Qaragozlou tribe in Varkaneh village of Hamedan. These buildings in terms of construction and materials are the most unique architectural works of this period. “Naghi Khan Qaragozlou” has been “Khan” in the village of Varkaneh that after him his daughter becomes ruler. From the Qaragozlou tribe are two buildings of “mastery house” and “stables of breeding horse” left in the village. The “mastery house” is related to the Qajar period and “stables of breeding horse” related to the early Pahlavi period. Therefore, in this study raised the following questions: What factors have led to placement of these buildings outside context of the village? These buildings under study, how much have been effective of the area architecture? The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials.

The Mastery House of Varkaneh
The mastery house of Varkaneh is located about 100 meters south of the village. It building related to the Qajar period. It is a two story building and has a crucifixion map.

The Stables of Breeding Horse of Varkaneh
Mehri Khanom Qaragozlou after becoming the ruler of the village, with help of the royal society, she made a stables in the south of the village. This stables for was taking care horses in spring and summer. This stables is to form of separate building, but it is part of the Varkaneh village. The building has a length of 22×72 meters and a total area of 1584 square meters. The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials.

Conclusion
Protecting and maintaining buildings, especially monuments is one of the most important steps that can be taken in relation to the valuable work of past ancestors. Where cannot be keep well or continue to use it, it definitely disrupts the life cycle of the building and causes irreparable damage to it. In these situations, natural and human factors always effect the building and damage it. Since the damage caused by the building gives it an unpleasant appearance, it is also difficult to operate and maintain it. Today are monuments that life cycle has been destroyed due to negligence. The collection of historical works in Varkaneh, is one of the most valuable remains of the Qajar period, because of neglect exposed to distraction. This collection can be moong the effects of the master rural area. Which has been driven by the central government, feudalists, and the productivity of the agricultural and natural an ability to meet the needs of the court. The Varkaneh master collection in fact has been one of the buildings local governor’s seat. These boilding have been governed by the family of Qaragozlou and used for nomadic residence in the spring and summer. The Varkaneh master house has been made white rocky material and cruciate map of unique works. That with method the extrovert architecture and interior spaces are enclosed between walnut and poplar tree. The stone building master’s house shows the innovative use of local and native capabilities so as to resist the cold weather of the mountain. Horse stables have been made white and this kind of approach, property and clever thinking of choosing a place, built in a stalemate valley due to the lack of written evidence, it is not possible to accurately determine the date of construction of both buildings. The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials. These both buildings related to the Qajar period these buildings are comparable with Aqhovlar building in Talesh.

Abstract
The Marivan Plain is a small elongated alluvial plain which lies at the westernmost extent of the Zagros Mountains in the Iranian province of Kurdistan and c. 80 km west of the provincial capital Sanandaj. The plain is c. 60 km from the Iraqi city of Sulaymaniyah and less than 20 km from the Sharizor Plain in Iraq to the west. The plain is located between two archaeologically important regions of western Iran: the central Zagros to the southeast and the Lake Urmia region to the northeast. Early studies of prehistoric periods were mainly conducted in these two regions, while little attention was paid to the region of Marivan. Prior to the commencement of the 2018 project, an earlier survey in the Marivan region had been carried out by Department of Archaeology at Bu-Ali Sina University in Hamadan (Iran). Research focused on the Palaeolithic and Neolithic periods and, unfortunately, evidence from the Chalcolithic periods is yet to be published. In 2018, we began to re-examine ancient settlement in the Marivan region with a 4 week survey. The survey identified and documented more than 60 sites. Preliminary studies of the material collected during the survey resulted in the identification of about 13 sites dating to the Chalcolithic period; it was possible to differentiate the material sufficiently to allocate occupation at the sites to the Early, Middle and Late Chalcolithic periods. This paper presents the important and new evidence of the development of Late Chalcolithic period settlement and is starting to provide an insight into the impact of the Uruk Expansion in this part of the Zagros Mountains. Even the Late Chalcolithic (LC) period in Marivan area is somewhat overlap to Uruk (early, middle and late) period in Mesopotamia, until LC5 phase (Tepe Rasha), not any Mesopotamian influences is evident in Marivan sites. 
Keywords: Marivan Plain, Late Chalcolithic, Uruk, Mesopotamia, Tape Godin.

Introduction
This paper presents the first results from the Marivan Plain Survey (MPS) in the province of Kurdistan – one of the westernmost regions of Iran and the Zagros Mountains. The project recorded important new evidence of the development of Late Chalcolithic period settlement and is starting to provide an insight into the impact of the Uruk Expansion in this part of the Zagros Mountains. The MPS project began work on the Marivan Plain in the summer of 2018. It is undertaking a review of previous survey work in the region and is directed by Morteza Zamani with the assistance of Sirvan Mohammadi Ghasrian. The Marivan Plain is a small elongated alluvial plain (UTM 38S 603000E, 3930000N) which lies at the westernmost extent of the Zagros Mountains in the Iranian province of Kurdistan and c. 80 km west of the provincial capital Sanandaj. The plain is c. 60 km from the Iraqi city of Sulaymaniyah and less than 20 km from the Sharizor Plain in Iraq to the west. In the past, the plain of Marivan with its picturesque Lake Zerewar an important node in the communication routes between Iraq and Iran. The plain is located between two archaeologically important regions of western Iran: the central Zagros to the southeast and the Lake Urmia region to the northeast. Early studies of prehistoric periods were mainly conducted in these two regions, while little attention was paid to the region of Marivan. In 2018 the MPS began to re-examine ancient settlement in the Marivan region with a 4 week survey. The survey identified and documented more than 60 sites. Preliminary studies of the material collected during the survey resulted in the identification of about 13 sites dating to the Chalcolithic period; it was possible to differentiate the material sufficiently to allocate occupation at the sites to the Early, Middle and Late Chalcolithic periods.

Conclusion
Investigations conducted by the MPS on the Marivan Plain have resulted in the identification of two preliminary trends related to LC period sites:
Firstly, the MPS has recorded several sites dating to the Middle Chalcolithic and the later part of the LC period. Except for a few earlier LC (2) shreds (Godin VII/VI:3 period) identified from the site of Aba Fatol, not any LC 2 sites have yet been confirmed on the Marivan plain. This contrasts with other areas of western Iran and the province of Kurdistan where early LC2 sites are common. At this stage of research on the plain, it seems that there was a lower number of sites in the earlier LC (LC2) compared to both the previous Middle Chalcolithic period (Seh Gabi and Dalma pottery traditions) and the subsequent later part of the Late Chalcolithic –LC 3-5 (Godin VI: 2-1).
Secondly, the MPS recorded Uruk culture related material from a single site (Tepe Rasha) and only in the form of Bevelled Rim Bowl shreds. This is surprising and suggests that cultural interaction with southern Mesopotamia was limited or that what impact there was from cultural interaction was low and did not permeate into the local cultures. Limited evidence of contact with Uruk Mesopotamia is also evident from recent surveys in north-western Iran and in northern parts of the Iraqi foothills of Zagros. In contrast, distinct and substantial evidence of contact with the south is to be found in the central Western Zagros and Central Plateau of Iran and on the plains south of the Greater Zab River in north-eastern Iraq. Iran  and particularly  its western regions is crucial for the understanding of key events in the history of Mesopotamia, one of which is the spread of Uruk culture from southern Mesopotamian into neighbouring regions during the Late Chalcolithic (LC) period (5th-4th millennia B.C.). 

Abstract
Tabaristan State (Mazandaran) has always been of great importance due to its numerous economic and commerce potentials. Moreover, it has politically been much valued by Qajar rulers. Accordingly, an old mint was actively working in this city up to 1288 AH which issued (uring Naser al-Din Shah Qajar (1264-1313 AH) numerous silver qirans in the following years: 1264-1266, 1269-1274, 1280-1283, and 1287-1288 AH. The coin issuing system was although superficially obeying Tehran rules, each city acted independently in practice, and the coins in many cities were issued with different grades of silver purity. Such problems raise two questions regarding Tabaristan mint: how much was the silver purity grade of the coins issued in Tabaristan, and how have they changed during the history? What was the position of Tabaristan’s coins which was an important state in comparison with other important states such as Mashhad, Tabriz, Isfahan, and Shiraz? Therefore, to answer these questions, the elemental analysis of this era coins (using PIXE method) was chosen as the main base of the present research due to not being destructive, being quick, and being highly precise in order to present an analysis of the Tabaristan’s mint commitment level to the central system of coin issuing during different times in comparison with other main states and cities in Qajar dynasty. In the present research, 17 coins from 17 different historical periods were elementally analyzed. Based on the numbersshowing the average silver purity grade changes during two periods of 1264-1278 AH and 1280-1288 AH, the results are 90.13 % and 84.33 %; the average for the whole period is then 88.08 %. At the same time, the silver purity grades of other mints are as follows: Mashhad (84%), Tabriz (82%), Tehran (90%), Isfahan (84%), and Shiraz (90%). Also, valuable information was obtained on the type of silver mines used, namely the Cerussite mines and how the coins were minted with copper and iron metals.
Keywords: Numismatics, PIXE Experiment, Tabaristan, Naser al-Din Shah Qajar, Economy.

Introduction
The Naseri period currency system was extremely disorganized; actually, coins were considered local! Every city issued silver qirans with different purity grades, and their rate of exchange with gold tomans was not the same. In fact, a city’s common money was not the same value in other cities (Matthee et al., 1396: 281-282). Tabaristan had always been important in terms of commerce and economy with a high political position for Qajar rulers, but even Tabaristan was not different from other places concerning coin issuing: there were numerous local silver qirans issued there with different values from 1264 to 1288 AH.
Here, coins could be considered priceless archeological data and documents facilitating economic analysis because coins belong to that time and, like texts, were not meant to be read again later (Kianzadegan et al., 1398: 182). Accordingly, elemental analysis of this era’s coins using Archaeometry can offer important information regarding economic-political conditions which could lead to a better understanding of those ears atmosphere (Beck et al., 2004: 153-162). The present research aims at investigation of the Naser al-Din Shah coins issued in Tabaristan covering all issuing dates with the help of PIXE experiment: the results can help us analyze the level of commitment to the coin issuing central system and Tabaristan economic power in different times in comparison with other states and cities.
The coins used in the present research belong to the personal collection of Seyed Hasan Sadat Razavi (Hyderabad, India) which were lent to the authors. Naser al-Din Shah coins (belonging to Tabaristan) were issued inthe following dates: 1264-1266, 1269-1274, 1280-1283, and 1287-1288 AH. They include 17 coins issued in 17 different dates in general. Therefore, for each specific issuing date, one coin was selected; The total number of coins was 17, which were analyzed by Pixie method at Institute of Physics, Bhubaneswar (Odisha, India).

Identified Traces 
Archaeometry studies, especially elemental analysis methods, are considered very useful in evaluating the coins carat (here: silver). Therefore, to answer these questions, 17 coins issued in Tabaristan at different times during 1264-1288 AH To do elemental decomposition by PIXE method, it was transferred to The Institute of Physics, Bhubaneswar.
Based on PIXE experiment results, silver, copper, and iron were considered the main metals for analyzing the economic power of Tabaristan state in Naseri era; the purity grades have undergone drastic changes in 3 periods as follows:
1. 1264-1278 AH: silver (90.13%), copper (6.07%), and iron (1.99%)
2. 1280-1288 AH: silver (84.33%), copper (9.54%), and iron (4.45%)
The whole period average: silver (88.08%), copper (7.29%), and iron (2.86%)
Normally, less than 2 percent of the coins was naturally copper; if it is more than 2, it will not be considered natural, and for sure the mixture is done arbitrarily. The coins in the present research have 7.29 % copper which is a sign of intentional mixing done for alloying the coin metal. 
The existence of iron, also, is due to surface contamination because of the place in which the coins were buried, but the present research coins contain a little amount of iron; the original coins were not buried at all and contain an average amount of 2.86 %. It is a sign of alloying for regulating the coins metal carat.
The silver purity grade of the coins issued in Tabaristan has decreased in two periods and has undergone changes but the silver carat of 88.08 % is extremely high in comparison with main mints in Mashhad (84%), Tabriz (82%), Tehran (90%), Isfahan (84%), and Shiraz (90%). It normally shows the economic power and flourishment of Tabaristan in Naseri era.
Moreover, the existence of 0.86% lead is a sign of using lead mines for silver, haste, and carelessness while extracting. Furthermore, lead mines are of two kinds: Cerussite and Galena. Cerussite mines contain 1.5 to 2 percent gold and Galena less than 2 percent. So, these coins contain an average of 0.31% gold which could be another sign of using Cerussite mines.

Conclusion 
In this research, 17 coins belonging to 17 different periods have been elementally analyzed. As a result, the trend of silver purity grade changes for two periods of 1264-1278 AH and 1280-1288 AH is 90.13% and 84.33%: on the average, 88.08%. Therefore, its position was estimated among other mints in Mashhad (84%), Tabriz (82%), Tehran (90%), Isfahan (84%), and Shiraz (90%). Finally, it was clear that copper and iron were added (7.29% and 2.86%, respectively, on the average) in order to reduce the coins silver purity grade. Also, the existence of lead and gold (0.86% and 0.31%, respectively, on the average) is a sign of hasty extraction of silver and using Cerussite mines.
 

Abstract
The 4th millennium BC is one of the most important periods of the history. During the 4th millennium BC, the first urban societies were established in southern Mesopotamia and south-western Iran. Even southern Mesopotamia and southwestern Iran are among central regions of urbanization, but adjacent areas, particularly Central Zagros in western Iran, have played the main role in this process. Godin Tepe is one of the most important archaeological sites during the 4th millennium BC in western Iran which has main role in the urbanization studies. The excavation of this site and Seh Gabi in Kangavar shaped the cultural sequence of Central Zagros until now.  Even this site has close cultural interaction with northern region such as Urmia basin during 5th millennium BC, but later in the 4th millennium BC, this interaction has changed from north to east and to the Central Plateau. The most significant characteristics of the interactions between Godin and the Central Plateau, is some fair painted buff pottery (Godin VI painted pottery) which is reported from the late chalcolithic period sites of the Central plateau (Sialk III6-7b). Regarding the existence  of this painted pottery throughout chalcolithic period ( not only late chalcolithic) in the Central plateau and the absence of this ware in preceding  period(Godin VII) in Godin sequence, it should be noted that the Godin VI painted buff ware is not local in Kangavar area. It has a foreign provenance that should be looked after in Central Plateau. Our methodology in this paper is comparison of this fine painted buff pottery from Godin VI period with the previous coarse ware of Godin VII, and with same ware of late chalcolithic period sites of the Central plateau.  We do not believe in immigration hypothesis about this intrusive ware in Godin sequence. Obviously future studies will be needed.
Keywords: Prehistory of Central Zagros, Late Chalcolithic, Godin VI Pottery, Sialk III Pottery.

Introduction
The 4th millennium BC is one of the most important periods of the history? During the 4th millennium BC, the first urban societies were established in southern Mesopotamia and south-western Iran. Even southern Mesopotamia and southwestern Iran are among central regions of urbanization, but adjacent areas, particularly Central Zagros in western Iran, have played the main role in this process. Godin Tepe is one of the most important archaeological sites during the 4th millennium BC in western Iran which has main role in the urbanization studies. The excavation of this site and Seh Gabi in Kangavar shaped the cultural sequence of Central Zagros until now. The focus of our studies is on Godin VII-VI strata which overlapped somewhat with Uruk period in Mesopotamia.  About this period and particularly those well-known Godin V rounded building, many papers were published. Our goal is to study the buff painted pottery of period VI (VI1).  Comparing to the previous period (Godin VII) characterized by coarse and plain chaff tempered pottery, the fine wheel made pottery of period VI is an intrusive one. Noted that the same painted buff pottery was reported from the late chalcolithic period sites of Central plateau, Sialk III6-7b and Ghabristan IV (Fazeli et al 2013, Majidzadeh 1978, 1981). In contrast to Central Zagros where this buff painted pottery was introduced in period VI abruptly, in Central Plateau this pained ware was reported from the previous period (Sialk II-III). Also the Central plateau wares have more divers shape and motif comparing to the Central Zagros so our evidence showing that the original provenance of this painted pottery is in the Central plateau and not in Central Zagros. Noted that east of central Zagros and Central Plateau of Iran during the fourth millennium BC had a great interaction with each other that as a result such painted pottery was developed from the Central plateau to Kangavar.  
Question, Research Method: As mentioned, the focus of this paper is on the fourth millennium BC and on the chalcolithic period strata of Tepe Godin and particularly Godin VI painted buff pottery (Levine and Young 1987, Young 2004, Rothman and Badler 2011, Moghaddam and Javanmardzadeh 2012, Wiess and Young 1975, Young 1969, Young and Levine 1974, Badler 1995, Mattews 2006). Godin tepe reached its maximum level of social complexity in the fourth millennium BC and has great interaction with neighboring areas and particularly the Central plateau of Iran.
 This painted buff pottery is reported from the late chalcolithic period sites of the Central plateau of Iran. Our methodology in this paper is comparison of this fine painted buff pottery from Godin VI period with the previous coarse ware of Godin VII,and with same ware of late chalcolithic period sites of the Central plateau. Introducing this painted pottery in the Godin sequence abruptly, the occurrence of this ware not only in late chalcolithic period sites of Central Plateau but throughout the chalcolithic period and diverse shape and decoration of this ware in chalcolithic period sites of Central Plateau, demonstrated that this ware is related to the  Central Plateau. It was considered as an intrusive ware in the eastern Central Zagros area such as Godin Tepe. Godin Tepe has solid cultural interaction with neighboring areas during the prehistory. During the middle chalcolithic period, this interaction was toward the north and particularly the lake Urmia basin. But in 4th Millennium BC this interaction was changed from north to east and to the Central Plateau.(Roustaie and Azadi 2017). This painted buff pottery is considered as a main evidence of this interaction. Future studies will tell us more about the eastern Central Zagros- Central Plateau interaction.

Conclusion
Introducing this painted pottery in the Godin sequence abruptly, the occurrence of this ware not only in late chalcolithic period sites of Central Plateau but throughout the chalcolithic period and diverse shape and decoration of this ware in chalcolithic period sites of Central Plateau, demonstrated that this ware is related to the  Central Plateau. It was considered as an intrusive ware in the eastern Central Zagros area such as Godin Tepe. The main question regarding this fine painted pottery is about the sudden emergence of this pottery in the sequence of Godin and how it developed from the central Plateau and reached the eastern Central Zagros in the west of Iran?    
 We do not believe in immigration hypothesis about this intrusive ware in Godin sequence as those theory explained for Godin VII Plume ware at Central plateau. As noted at fourth millennium BC, Godin tepe at west of Iran reached its maximum level of social complexity and is one of the most important trade centers which has great contact and interaction with neighboring areas and particularly the Central plateau of Iran. This trend was started at Godin VII period and those plume wares of Zagros were reported from the Central plateau of Iran. noted that before Godin VII period and during the fifth and sixth millennium BC, west of Iran had great interactions and contact with the northwest of Iran. With the beginning of Godin VII period and specially Godin VI period, the direction of communication was changed from north to the east and the areas like the Central plateau become the main commercial partner of the western Iran at fourth millennium BC. Consequently, this fine painted ceramic was evidence of this interactions and communications.  Obviously future studies and excavations will tell more about this fine painted ware in western Iran.

Abstract
Fakhr and Madin are the networks inside the fence and religious places that are repeated in the form of grids. Such walls are made with pieces of baked clay in geometric and non-geometric shapes, and because holes have appeared between them, they have tried to make their form beautiful as well. In the Islamic era of Iran, mausoleums and tombs after mosques are among the most important works of architecture and urban planning. The construction of this building began in the fourth century AH and continues with ups and downs until the Safavid era. According to the surviving works, the Ilkhanate period in Iran can be considered as the peak period of the popularity and prosperity of the construction of “Fakhr and Medin” in tomb buildings. In this article, a number of tomb buildings from the Ilkhanid, Timurid and Safavid eras are comparatively studied. The paper follows the main question of what evolution Fakhr and Madin have undergone in the Islamic period with emphasis on the three mentioned periods, and how its application can be explained and traced in comparison? This research is a combination of two types of qualitative and quantitative research methods and descriptive-analytical method based on logical reasoning. Data collection was done through library study and valid historical documents and review of images and documentation centers. In this regard, first, the historical background and theoretical foundations of the topic have been examined. Then, all the types of Fakhr and Madin in the tombs of the three Ilkhanid, Timurid and Safavid periods (a total of 25 case studies) have been analyzed according to the geometric patterns, location and materials used in their construction. The result of a comparative study shows that “Fakhr and Madin” has been compiled in the form of seven physical-semantic indicators. These characteristics include: spirituality, transparency, environmental comfort, security, visual interaction, privacy and beauty, and it was found that in the Ilkhanate period, the characteristics of “spirituality” and “visual interaction”, in the Timurid period, the characteristics of “environmental comfort” and “Visual interaction” and in the Safavid period, the characteristics of “spirituality” and “environmental comfort” have been emphasized.. 
Keywords: Fakhr and Madin, Tomb, Ilkhani, Teymouri, Safavid.
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Introduction
Iranians have always revered their dead throughout history, but this reverence has never been for the deity of beings, either before Islam or after Islam. This attention and respect can be considered as a mixture of theology and fear of death and love and affection for parents and ancestors, which has never reached the stage of worshiping the dead.
In the Islamic era of Iran, the tomb, with the exception of the mosque, has received more public attention than any other type of architecture, so that in few cities there is no share of such buildings. On the other hand, assuming the obvious connection of many architectural and urban works of early Islamic Iran with pre-Islamic heritage, it is worth emphasizing that in pre-Islamic times, with the exception of the magnificent tomb of Cyrus, there are no important signs of tombs that were built independently. 
Tomb buildings from the fourth century AH, after both religious and non-religious in Islamic architecture and urban planning in Iran, have opened their place, with the difference that the buildings are part of the religious group and mostly Shiite tombs and holy shrines have been given special attention in terms of sanctity and have been renovated over the years. But the non-religious tombs, which include the tombs of the rulers, princes and elders of the country, have not been given much importance and most of them have suffered various injuries or changes over time or have changed their nature and have become religious tombs and buildings. In this article, in line with the above, it has been tried to study and explore the architectural-urban works of the Islamic period (tombs and mausoleum) with emphasis on the three periods of Ilkhanids, Timurids and Safavids, and in particular “Fakhr and Madin” in these tombs should be analyzed.

Comparative Study: The position of “Fakhr and Madin” in the Ilkhanid, Timurid and Safavid Periods
This type of bricklaying (Fakhr and Madin) with its lattice module which is composed of regular and sometimes irregular geometric shapes, in the case of gardens, in order to illuminate and clarify the building, play with light and shadow, pay attention to the issue of privacy and prevent the view of the object directly and from the inside, be safe and secure, was actually used. This porosity in the garden fence in addition to creating vision and perspective into the garden and visual interaction with the internal environment, with shadows and stylized space, with the weakening of the light intensity for pedestrians providing a favorable path, causing its lattice body. 
In this section, the tombs of the Islamic period are studied with emphasis on the status of Fakhr and Madin. As mentioned earlier, Fakhr and Madin has been one of the elements of Iranian indigenous architecture, which has a special place in various types of Iranian architecture. Architects have used this technique to create shadows and lights for visual beauty as well as to attract attention to the building. The selection of 25 case studies of the tomb in the three periods of the Ilkhanids, Timurids and Safavids is the basis of a comparative study of this part of the study. The use of Fakhr and Madin dates back to the pre-Ilkhanate period, but due to the small use of this element, their study has been abandoned. At the same time, for example, the Nain Grand Mosque in the Albuyeh period and the Ardestan Grand Mosque in the Seljuk period have benefited from its pride and use. In the first case, Fakhr and Madin have been used as skylights and connectors for air conditioning, as well as in Patio. In the second case, Fakhr and Madin on the ground floor and the first floor, with the aim of visual interaction and shading, air conditioning and light transmission, have been considered.
In order to summarize the discussion and the possibility of comparing the results, Fakhr and Madin indicators (7 indicators) in 25 samples were presented comparatively in the form of a table and separately for the three periods studied.

Conclusion
The result of this comparative study shows that in the Ilkhanate period, Fakhr and Madin were used in different parts, including under the dome of the outer fence of the altar porch and the porch of the tombs. This course includes the most variety in the places used. Of course, the greatest benefit of Fakhr and Madin was identified under the dome and then in the walls around the compound. Therefore, it can be concluded that the most important subject of the Ilkhanate was “spirituality” and then “visual interaction”. This is while in the Timurid period, the most use of Fakhr and Madin was in the outer body and then in the porch, dome and lanai. So in this period, the most important topics are “environmental comfort” and “visual interaction”. In the Safavid period, Fakhr and Madin was used in the dome and the outer wall. In this period, “spirituality” and “environmental comfort” have been the most important characteristics used by Fakhr and Madin. On the other hand, according to the studies done, in the case of different types of tombs, the most use of Fakhr and Madin has been in individual tombs, although a mass tomb was also found during the Ilkhanid and Timurid periods (who used Fakhr and Madin). Also, the most varied form of Fakhr and Madin is under the domes and around the courtyards and fences, almost a fixed form of Fakhr and Madin has been used. As expected from the definitions of Fakhr and Madin, the most used materials were bricks. But other materials such as pottery and wood have also been used in its construction. Finally, the most important indicator used of pride and civility was “transparency” and then “environmental comfort” and in the next category “spirituality”, although it seems that in the collection of tombs, the indicator of “security” was considered and Special emphasis has been placed on it.

Abstract
The ancient site of Dinavar, known by the locals as the city of Khāvarān, is located northeast of Kermānshāh, on the Kermānshāh-Sonqor road. The importance of the site is still evident despite environmental damage such as floods and earthquakes and agricultural development. Historical findings and archaeological evidence show that the central hill and the surrounding areas were inhabited from the Seleucid period to the present day. This site is the city of Dinavar. A city that was one of the cultural centers of western Iran in the first centuries of Islam and this issue is received from the list of thinkers attributed to Dinavar. During the surveys, in addition to the potteries, a collection of mills and large weights were observed, which indicates a pressing workshop in the site. The typology of the pressing method in this workshop and its chronology is the main issue of this research, which is addressed by asking two questions: first, what period does this data belong to, and second; What products have been produced in this workshop? Given the needs of urban communities and the need to manage and plan workshop activities, a hypothesis based on the data belonging to the time of the flourishing of the city of Dinavar and the production of oil and grape syrup is proposed. Based on the comparison and study and study of environmental data, written sources and documents of archeology and ethnoarcheology, Dinavar workshop to the time of growth and prosperity of this area in the 2nd to 4th AH. It is attributed and in addition to the production of grape syrup, the possibility of oil-pressing is also raised. Since known specimens from central and western Iran belong to the late Islamic centuries, the site data reveal part of the history of this activity.
Keywords: Pressing, Dinavar, Archaeology, Typology, Chronology.

Introduction
The study of ancient technologies is one of interests to many researchers. Archaeologists study technology to make social and economic analyzes and study human societies. Pressing and related objects are one of these ancient technologies. The ancient site of Dinavar, whose data are classified from the Seleucid era to the present day, has been one of the cultural centers of the Islamic world and one of the most important cities in the Jebāl province. Some of the archeological data of this area show that the pressing workshop was active in it. This study identifies the pressing in Dinavar with the aim of relative chronology of this method. Pressing workshops that have been built since the Safavid era near the important cities of that time provide significant signs of technical architecture, access to these structures and the continuation of the activities of some to this day, they have led to a detailed study of these works. However, it is not clear what the workshops were before the Safavid era. The present study tries to deal with how this activity took place in the pre-Safavid period. The most important questions are: 1. What period does the pressing data of the Dinavar area belong to? 2. What products have been produced in Dinavar Workshop? Considering the environmental and ethnographic data, and the necessity of managing and planning the workshop activities that are possible in the shadow of the urban system, in answer to the research questions, the hypothesis of the activity of the Dinavar workshop at the time of flourishing and Its urban growth; And the production of oil and grape syrup is measured. Field survey data are compared with similar samples to determine how this activity works, and environmental data measure the oil and grape syrup production hypothesis, or grape syrup. Archaeological and pollenological data trace evidence of olive use in the fertile crescent to ancient Paleolithic and before the beginning of agriculture (Niklewski and van Zeist, 1970; Liphschitz et al., 1991., Lovell et al., 2010 and Zohary et al., 2012). But pressing in the general sense have arisen following the complexity of societies. Pollen and archeological data show that suitable species of this practice have existed in prehistoric Iran (Van Zeist and Bottema, 1977; Djamali et al., 2010, 2016 and Mashkour et al., 2010), but the mode of operation is known only on the basis of data from the late Islamic centuries.

Materials and Method
The Dinavar is a complex site including the central hill, the religious complex and the cemetery, the remains of a castle and a Qājār bath. In a recent study, the authors found stone objects in the north of the central hill, including a healthy mill sandstone, five damaged millstones of various conglomerate dimensions, and four large conglomerate weights. The data do not provide complete information on how to press, but due to the presence of weights and the presence of four millstones, the upper surface of which shows a depression with a depth of 10 to 20 cm. The use of lever and weight pressing is discussed. In Dinavar Plain, whose vegetation has changed due to agriculture, oilseeds are native. Written evidence of pressing silenced in and around the study area, but in addition to the Celine and Satyr, the Bistun object and the stone of Tāq Bostān collection, which is obtained from the east of Kermānshāh and is considered a part of Roman mill, shows that pressing was common in this region. Ethnorchaeological studies also confirm the use of castor oil as a lamp fuel in the Qājār period up to the Pahlavi. It is worth mentioning that Dinavar community has always been a rural community and its economy has been based on agriculture, from the beginning until today. This society became one of the cultural centers of the Islamic world in the beginning of Islam. It seems that the spread of workshop and production activities such as pressing is also possible in such a structure and with the help of management and planning of the urban system, as the establishment of similar complexes near large cities has been common and pressing the ones that have been identified so far show the economic prosperity of the great Safavid cities.

Conclusion
Pottery production, pressing, milling, and in general workshop and production activities, along with labor and energy, require management and planning. This management is formed in urban system and in order to meet the needs of the urban society. Historical texts about Dinavar urban society have been silent in the first centuries of Islam, but the splendor of this society and its cultural growth is evident from the long list of thinkers attributed to this land. In this urban society, which is formed in the bed of a rich plain, the pressing of fruits and oilseeds is common. The rich vegetation and vineyards of the region confirm the production of grape syrup and oil. Extraordinary data of the area and their location near the central hill where it was located from the beginning of Islam to the ninth century AH. It goes on to show that this activity was common in the form of lever and weight, and its growth was at least from the 2nd to the 4th AH, at the same time as the establishment and development of Dinavar city and culture. Accordingly, pressing objects in Dinavar provide the basis for the study of pressing from the beginning of Islam.

Abstract
Ardebil’s Jomeh Mosque is located on an ancient beat that has been the city’s cemetery for centuries. All written sources and archaeological evidence state that the mosque has gathered artistic and architectural innovations from the early Islamic centuries to the Qajar era. Today’s remnants of the building are located in the northeast of Ardabil city and due to measures to preserve the building, it still maintains its firmness. The main purpose of this research is to identify the structural, physical and decorative characteristics of the building in different historical periods. The present study seeks to answer the following questions. What changes have been made to the spatial structure and structure of the mosque from the beginning of its emergence to the contemporary period? And in terms of map and archaeological evidence, which buildings are comparable to the Jomeh mosque? The research method is interpretive- historical and analytical. In addition, documentation and comparative studies have been the basis of the work. The data collection tool is library and field. Based on the results of the research and according to the narratives and writings of researchers and the results of archaeological studies, it can be concluded that its original building dates back to the early Days of Islam, which has been destroyed and rebuilt several times during different periods and has elements of Deilami, Seljuk, Ilkhanid and Qajar architecture and contemporary era. The current persistence of the Jomeh Mosque has Seljuk architecture, but the interior and decorative arrays of the building are in contrast to its façade. In terms of architectural structures, this building has a combination of four arches with porch, which is very similar to seljuk-like, comprehensive and comprehensive buildings of Uremia. Also, the pillar discovered in The Nave have a clear similarity with the historical mosque of Damghan and Jomeh Nain.
Keywords: Ardebil, Friday Mosque, Historical Developments, Analysis of Physical Structure, Building Decoration.

Introduction
Ardebil’s plural mosque is located in the northeast of Ardabil city over an artificial pulse of approximately 5 meters, among the neighborhoods of Pir Shams al-Din and Abdullah Shah. Among the people, it is known as “Jomeh Masjid” and is among the early centuries-old Islamic buildings in Ardabil. Studies have been conducted by domestic and foreign researchers about the emergence and evolution and the manner of the destruction of this cubic building. Today, only the remnants of the dome and porch, which were later reshaped and transformed into an indoor nave, and the minaret remains solitary.
Even some scholars are skeptical about the use of this building as a mosque. In recent decades, archaeological excavations have been carried out in this mosque and have been able to recognize some of the architectural features of this mosque. Considering that this mosque reflects the art and architecture of different periods of the Islamic period in Ardabil and also as one of the few remaining buildings in the primary and historical core of the city, identifying and studying the characteristics of this mosque can help to further understand its architecture, decoration and comparison with its contemning buildings. It has been tried to collect as much information as possible from the characteristics of this mosque through library studies, reporting archaeological excavations and using surveys and visits to the site.
The research questions are as follows: 1) what changes have been made in the structure of the mosque from the beginning of Genesis to the contemporary period? 2) Which decorations belong to which periods? 3) In terms of the physical and decorative Friday of the mosque is comparable to which buildings? The research method is descriptive-analytical and the data collection method is a combination of two methods of field and documentary (including identification, study, classification of information, analysis of them and data collection on the subject of the study).

Materials and Methods
The research method is descriptive-analytical and the data collection method is a combination of two methods of field and documentary (including identification, study, classification of information, analysis of them and data collection on the subject of the study).

Data
Jomeh Mosque, which was once the most elevated building of the city, is formed in the present situation from three parts: 1- dome house 2- Ivan, which is now a mosque and its southern side leads to the dome space through a large mouth and elevation. 3- Minaret located along the middle axis of Seljuk Mosque (Shahbazi Shiran, 2019:9). Considering the present situation of the mosque, it seems that this building is the same mosque that historians of the early centuries have described about it. In some sources, historians have generalized descriptions of the space of the old mosque.
In the early Islamic centuries, a space called a mosque, a large fence around the city with gates on four sides and a crucifix-shaped market that formed these factors formed the main core of the city. Archaeological studies in recent decades (1974, 1988 and 2019) can help. The discovering of northern and western naves with the base of the pillar as well as their similarity with the pillars of early Islamic mosques is consistent with the statements of Islamic historians. Descriptions mentioned in historical texts about the mosque can help effectively within the area of the building. It is also said that in the early centuries, the city had a mosque (Baladi, 1967:167-163). The Safavid travel writers’ report also mentions the Friday of Ardebil Mosque and shows that the building was still functioning in worship before this period despite destruction in some parts and has attracted the attention of tourists (Yousefi, 2020:913). This is a reason for historians and Orientalists who have described and visited this building.

Discussion
Our knowledge of the building in the early centuries is based on historical sources and archaeological reports. The mosque in the Deylamian era had the foundations of thick and polygonal pillar. In the Seljuk period, it was fourfold (Torabi Tabatabai, 1355:284) and a low-rise dome. In the Ilkhanid era, in addition to the construction and restoration of destroyed sections, the thickness of the southern wall has increased (Siro, 1988:184). And tile and gypsum decorations were added to it. From the Qajar era, the foundations of four-sided pillar were obtained (Shahbazi Shiran, 2004:28). Archaeological discoveries have led to the identification of three architectural periods indicating the evolution of architecture from historical period (problems) to Qajar era in this section (Yousefi, 2020:912).
The ancient excavations of Shakhti have shown that contrary to what was thought until then, the Jomeh Mosque was not exclusive to the dome and the remains of the porch, but had several extensions and components and encompassed a wide space. In total, seven pillar stands emerged from the total base of western nave pillar and showed that more remained intact (i.e., 34 and 35). Also, in 1988, the first trench encountered the remains of a huge stone wall stretching west along the outer wall of the southern wall of the dome. The wall itself is built on ancient remains and underneath it are buried pieces of brick inscriptions in the prominent Kufic script.
The construction of northern pillar is based on a kind of reminiscent of the pillars of our pre-Seljuk mosques (3rd and 4th centuries AH) including the historical Damghan Mosque and the Nain Grand Mosque, and these pillar should be considered as pre-Seljuk. The minaret of this building is completely solitary and there is no sign of its connection to the Seljuk building. In terms of the type of plan, it is possible to compare the Jomeh Mosque of Ardebil with the Bersian Mosque and the Grand Mosque of Uremia, which is one of the buildings of the Seljuk era.

Conclusion
In the 4th century AH, Ardabil city was the largest and most important city of Azerbaijan according to historical sources and the center of that state and the headquarters of the army. On the ruins of the primary mosque, one of the primary pillar mosques, which is composed of different courtyards and naves, parts of it have been destroyed and the soil has been destroyed. According to archaeological evidence, the initial mosque had a columned nave map with a map and pattern of early Islamic mosques. Ardebil Mosque in its Seljuk form consists of a dome and a porch in front of it, and the results of the Jomeh mosque survey show the continuation of the application of such proportions before the construction of the Ilkhanid era. According to the map, these mosques are comparable to their contemporary buildings including the Bersih Jomeh and the Jomeh Mosque of Uremia. According to the comparison of the building with the Barsian community, it can be said that by following the usual customs, the Chahartaghi Mosque of Barsian has at least definitely influenced part of the detailed structure, façade and map of the Jomeh Mosque, and the plans of the building (Barsian Mosque) have been expressed completely differently in the work of the next architects (Jomeh Mosque). The other is that Ardebil’s plural mosque is so closely based on the Jomeh Mosque of Uremia that the direct architectural impact of the Jomeh Mosque of Ardebil on it is hardly undeniable.
Considering that the quadrilateral and porch composites are more closed than Fermi’s four-porch plan, therefore it is more proportional to the cold climate of Ardabil region and finally, due to the fact that the body is subject to climate or function and the porch is located in the four-fold plan on the northern jab, it is naturally used in mosques as a cold part. Also, the decorative arrays used in Ardabil’s plural mosque have been used in perfect harmony with the construction periods. Considering the identification of decorative arrays, the Seljuk period to the end of the Qajar era was enumerated for interior and exterior decorations of the mosque.

Abstract
Among the architectural arrays of Imamzadeh Hossein in Qazvin that can provide valuable information to researchers, are the remaining parts of the murals. Considering that Qazvin was the capital during the second period of Safavid rule, the study of Safavid and Qajar period buildings in this city can be of great importance. Compared to the existing historical monuments, few studies have been done on the technical knowledge of the layers of historical murals.In the present study, the identification and recognition of pigments related to the remaining murals of this monument and gilded layers has been considered. Also, in order to complete the technical information of the murals, the mortar of the fine coat (finishing plaster) and scratch coat (levelling coat) under the paint has been studied in terms of structure and chemical composition. To identify the pigments used in the murals as well as the materials used in the mortar of the underlying layers of the mural and the floor mortar, the hydraulic properties and the mineral and chemical composition of the mortar from X-ray diffraction, scanning electron microscopy coupled with energy dispersive spectroscopy and digital microscope have been used. As a result of the studies, it was found that the Pastiglia in the murals is made of a mixture of gypsum and Bole (Armenian Bole, Hormoz Bole). Apply a white Primary layer on the pastiglia on which the gold leaf is applied with low copper impurity. In this murals, three types of gold sheets have been executed. Green: A mixture of arsenic pigment with azure blue and Prussian blue; Green-blue: a mixture of green earth pigment (Celadonite) with white lithopone; Blue: a mixture of azure and Prussian blue pigments with White lead; Red: A mixture of ocher red and orange arsenic; Primary layer filler: a mixture of Huntite and White lead; black: It is a mixture of cobalt black and iron black. The structure and composition of mortars were also identified.
Keywords: Mural, Pigment, Gilding, Structural Study, Mortar, Qazvin.

Introduction
The technical diversity of murals in the Safavid and Qajar periods is one of the important issues of knowing historical murals. To technical understanding historical mural, its different layers are subjected to careful scientific study. The main layer is the color layer which consists of two parts: dye and binder. It should be noted that the array of gilding in the mural and the borders of the mural is also considered as a mural. Imamzadeh Hossein is one of the prominent buildings of Qazvin city. Most of the murals of this building belong to the Qajar period. Evidence shows that traces of the Safavid periodare also left in this building in the lower layers.
The aim of the current research is to obtain technical information about the layers of murals of this historical building. Identifying and recognizing the pigments in historical murals from archeology point of view helps completing the technical information about the use of pigments by artists. Some pigments have a specific starting date, which helps clarify the date of making the murals.
In archeology, studies have been conducted regarding the technical knowledge of different layers of historical murals in Iran, but very few studies have been done considering the volume of murals in Iran in different periods. Therefore, it is necessary to more complete these studies over time which its result is to complete the database in this field. In the upcoming research, in order to know more about the murals, technological studies were done on it. After field studies, the pigments used in the murals were sampled and identified. To complete the information, the lining layers and the substrate and a sample of the floor mortar were also studied. In this regard, the main questions of the current research are: What pigments are used in the murals of Imamzadeh Hossein in Qazvin? What method was used for gilding in these murals? What are the physical and structural characteristics of the lining layers and substrate of the studied murals?

Discussion in the Results and Findings
a. Scanning Electron Microscope: In the sample (2021.Q.IH.1) there is a large accumulation of gypsum crystals and intertwining has been created between them. The empty space between the crystals is little and also the crystals are irregularly placed together at different angles. In 2021.Q.IH.10 sample, needle- shaped gypsum crystals that are intertwined can be seen in many parts. In 2021.Q.IH.11 sample, gypsum crystals in different sizes are placed at different angles. In this sample, there is no long needle crystal and instead, the crystals have grown a lot in the width direction. In 2021.Q.IH.12 sample, the gypsum crystals are slightly different in terms of shape from the samples of the floor and lining layer.
b. Energy-dispersive X-ray spectroscopy (EDX): In 2021.Q.IH.1 sample, there is a small amount of silicon, aluminum and magnesium, which is related to soil. In 2021.Q.IH.2 sample, the amount of sulfur is about 13% which some part of it is related to yellow pigment and some part is related to blue pigment. In 2021.Q.IH.3 sample, elements of potassium, aluminum, iron, magnesium and silicon can be seen next to oxygen. These elements are related to Verona green or green earth pigment. In 2021.Q.IH.5 sample, a high percentage of gold and a relatively low percentage of copper were detected in the sample. In 2021.Q.IH.6 sample, two coloring elements, iron and arsenic, along with sulfur have been detected. In 2021.Q.IH.7 sample, the main filling material is huntite or chalk. On the other hand, a small amount of lead has been detected in this sample. Gold, copper and iron have been detected in 2021.Q.IH.8 sample. In 2021.Q.IH.9 sample, two elements, cobalt and iron, along with sulfur, are significant and influential elements in making black color. In 2021.Q.IH.10 sample, the highest percentage of elements is related to calcium and sulfur. In 2021.Q.IH.11 sample, except the main elements of gypsum, a very small amount of elements of silicon, aluminum and magnesium have also been detected.
c. X-ray diffraction spectroscopy: As a result of the phase analysis of 2021.Q.IH.1 sample which is related to the lay-up under the gold sheet, quartz has been detected. The quartz detected in the lay-up is related to the red flower (Armenian flower) that was added to the plaster during the mortar processing. The next identified phase is gypsum. As a result of the phase analysis of 2021.Q.IH.10 sample which is related to the floor coating mortar, quartz has been detected. The next identified phase is gypsum. As a result of the phase analysis of 2021.Q.IH.11 sample, which is related to the floor coating mortar, anhydrite phase has been detected in the studied sample. The amount of anhydrite in the lining layer is higher than gypsum. As a result of phase analysis of 2021.Q.IH.12 sample, which is related to the substrate layer in the studied mural, quartz has been detected. The granularity of the quartz phase in the substrate was much finer than the previous samples. The next identified phase is gypsum.

Conclusion
The lay-up used in the murals of this building is made of a mixture of plaster and red flower (Armenian flower, Hormoz flower). Green color is a mixture of arsenic pigment with lapis lazuli and Prussian blue. Blue-green color is a mixture of green earth pigment with lithopone white. The blue color is a mixture of lapis lazuli and Prussian blue pigment along with white lead. The golden color of embossing is gold sheet with a small amount of copper impurity. The layer that is applied on the lay-up is also a gold sheet with a small impurity of copper. In line with the studies on the shiny brown sample, it was concluded that this layer is a gold sheet with copper and iron impurities, which its surface has corroded and darkened over time. In fact, three types of gold sheets have been used in the studied murals that two of them are similar and seem to belong to the same period. A layer that is different in terms of the composition of elements and impurities belongs to later periods. The red color in these murals is a mixture of red ocher and orange arsenic. The white color filling the preparatory layer is a mixture of huntite and white lead. Black color of embossing is a mixture of cobalt black and iron black. Contrary to imagination, the floor mortar is a gypsum mortar with two phases of gypsum and anhydrite to which some sand and soil have been added. Due to proper processing, this mortar has adequate strength, although humidity has caused damage to the work over time. The lining layer and the substrate in the studied murals are made of plaster mortar. There is a difference that the thickness of the lining layer is greater than that of the substrate and it has coarser graining and more impurity. On the other hand, the looser mortar of the substrate is due to the way of processing, and the arrangement of gypsum crystals is different from that of the lining layer.

Abstract
Saqanefars are kinds of wooden ritual monuments with religious functionality, found only in Mazandaran province, north of Iran, and date back to the Qajar era. In these buildings, the mourning of Muharram and other mourning rituals are held every year. Despite the cultural importance of Mazandaran’s Saqanefars, the type of wood used in these buildings has not yet been identified and researches have been focused on their architecture and paintings. In this research, the wood used in different structural members of five Saqanefars in different areas of Qaemshahr including Ghadikola Nokandehka (GN), Seyed Abosaleh (SA), Reykandeka (RK), Ahangarkola Bishesar (AB), and Vostakola (VK) were examined macro- and microscopically. After extracting a list of wood anatomical features from the stained microscopic sections, each specimen was identified. All studied specimens were of ring-porous hardwoods. Except for GN, other wood samples turned the water golden after immersion. The wood species used in the Saqanefars of SA, RK, AB, and VK were identified as Zelkova (Zelkova carpinifolia) while the Saqanefar of GN were made of Persian oak (Quercus macranthera). Both kinds of wood are durable, have little moisture uptake, and do not require much repair and maintenance work. Oaks and other tree species with high-quality constructional timber were as widespread as Zelkova in the forests near studied Saqanefars. Hence, the preference for Zelkova could not solely be related to its availability and technical quality. Considering that from the 16th century onwards, Zelkova wood became one of the most popular types of timber for the construction of historical and religious buildings in the Far East (especially in Korea and Japan), and the similarity of the architecture and painting of wooden Saqanefars to the temples in these countries, choosing this wood could partly be influenced by cultural exchanges.
Keywords: Wooden Structure, Cultural Heritage, Sacred Building, Wood Identification, Iran.

Introduction
A Saqanefar is a kind of ritual monument in Mazandaran province, north of Iran. Some older Saqanefars are completely wooden and were built in the late Safavid and early Qajar periods, and due to cultural exchanges between the local people and Chinese merchants, they are partially influenced by the architecture of Buddhist temples. Despite the cultural importance of Mazandaran Saqanefars, the type and age of the timbers used in them has not been investigated so far, and researches have been limited to their architecture and surface paintings. However, knowing the type of constructional timbers used in ancient wooden structures and objects can provide many unknown facts about the history, culture and trades in a region. Moreover, for the maintenance and renovation of ancient buildings, it is essential to know the type of wood used in them. In this research, the types of used timbers in the historical Saqanefars of Qaemshahr city were identified and discussed. The main hypothesis of the research was that due to the sacredness of Saqanefar s, lumbers from a certain tree species was used in their construction.

Materials and Methods 
Five Saqanefars were identified in different areas of Qaemshahr city, located in the villages of Ghadikola Nokandehka (GN), Seyed Abosaleh (SA), Reykandeka (RK), Ahangarkola Bishesar (AB), and Vostakola (VK). Small wooden samples were extracted from different parts of each monument, using a handsaw or an increment borer. The transverse surface of the samples was sanded and first examined macroscopically. Then, thin sections were cut, stained, and analyzed, microscopically. The anatomical features of the wood of each sample were extracted based on the IAWA list of microscopic features for hardwood identification (Wheeler et al., 1989) and finally, each sample was identified.

Results and Discussion 
With the macroscopic and microscopic examination of the samples, it was found that all samples extracted from different structural members of a Saqanefar are made of the same wood species. The wood used in the four Sqanefars of SA, RK, AB, and VK were all from zelkova trees (Zelkova carpinifolia), while the Sqanefar GN was made of Persian oak (Quercus macranthera). This distinction was evident in the golden color of the water after immersing the wood of the first four Saqanefar and the absence of such a state in the last one. Zelkova is a high-quality wood and is known as one of the best construction timbers. Zelkova wood has a low moisture uptake, and in addition to wooden structures, it was also used to make the door and window frames of mosques in Iran (Browicz, 1982). This wood was widely used for construction of historic timber structures (Hwang et al., 2009) and places of worship in the Far East, and is considered the most important hardwood in building of old temples in South Korea (Kim & Choi, 2016). In Japan, Zelkova wood has been used to build temples since the 16th century. In fact, it was the Chinese carpenters who taught the Japanese how to work with this tough wood and suggested its use in the 15th century (Mertz, 2016). Oak has been one of the most popular type of wood for building timber for centuries due to its high durability and the little need for maintenance and repair. 

Conclusion 
Most of the old, timber-structured Saqanefars in the villages of north Iran were made of zelkova, and only one of the five investigated structures was from oak wood. Considering that these two woods are of good and comparable quality, and almost the similar abundance of these two species in the forests around the location of Saqanfears, the preference for using Zelkova is not only due to technical and economic issues, and could be related to cultural reasons. Zelkova wood is mostly used for the construction of shrines and religious sites in the Far East and especially in Korea, and due to the similarity of the architecture and painting of Saqanefars to the temples in these countries, the choice of Zelkova timber for the construction of these places can be partly influenced by cultural exchanges. 

Abstract
Archaeological excavations in Yelsuie Germi Castle, very rich findings and valuable documents such as pottery, architecture and other handicrafts were identified and excavated from under a mound of soil that can play an important role in the detailed analysis of this area. One of these landmarks is an unknown structure with complex architecture and building elements located on the hills of the castle near the Sambur Chay River. This building has sections and spaces of four corners that the presence of water conduction paths into the building on the walls and water outlet channels in the floor, has increased the importance of the building and has made it more difficult to identify and evaluate the main function of the building. In this regard, the present research is descriptive-analytical and based on field studies and review of library documents, while identifying and introducing the mentioned building, seeks to find a logical answer to the following questions: What is the usage of the unknown building of Yelsuie Castle and how did it work? What era does the unknown building of Yelsuie Castle belong to? Studies were carried out show that the unknown building is due to the presence of ponds and inlets and outlets water conduction paths was in association with water usage, which is probably used for the preparation and processing of clay, and accordingly by the authors, The name of the building is called “clay processing building”. On the other hand, the study of pottery obtained from different spaces of this building and its comparison with other areas, confirms that this building belongs to the Islamic Middle Ages and the Seljuk period.
Keywords: Germi, Yelsuie Castle, Clay Processing Building, Pottery, Medieval Islam.

Introduction
The current research method is based on a descriptive-analytical and historical approach and its data collection is in the form of library and field studies and archaeological excavations in the area. According to this, at first, the whole building and its various spaces have been drawn, designed and three-dimensional with the help of various software; Also, in order to achieve the most accurate information and general analysis of the building, the obtained pottery from inside the brick building has been compared and matched with the pottery works of other areas of the Islamic era. The ancient place of Yelsuie Castle in the Ingot section of Germi city consists of a small castle on top of a high natural hill and a residential area located in its southwestern part. Yelsuie Castle is located in the watercourse of Sambur Chay River. Easy access to river water resources as well as the precipice situation in the southern and eastern part of the hill on which the castle was built, is one of the most important strategic features that has been influential in choosing this place to form such an area. In general, this area can be considered as one of the most key Islamic area in northwestern Iran. The brick building is located on the eastern side of the castle and on the watercourse of the Sambur Chay River. In this regard, in order to identify this brick building, a workshop called Workshop No. 4 was created in this part of the area by the excavation team. While continuing the excavation process, a brick building with special architecture and unknown usage was discovered. The mentioned building has an almost rectangular plan that includes several spaces inside. The main materials used in the structure of this building are bricks with gypsum and lime mortar, and in some parts, especially in the outer parts of the building, river rubble has been used. The walls of the brick building are completely smooth and flat and are made with an average width of 50 cm and the height of all of them is the same and is about 70 cm.

Discussion
In general, according to the general structure of the brick building, the most reasonable usage for this architecture is being a pottery workshop and processing and preparing clay in it. One of the most important steps before making pottery is to find the right clay or grinding clay, without clods and other materials. Therefore, for this purpose, it is necessary for the pottery clay to be well shaped, sifted, cleaned and prepared. It seems that small ponds that are embedded lengthwise in different parts of the brick building; Along with water inlet and outlet channels, they are made for just such a use.  In fact, in this building, water is directed into these ponds and collected in them through small canals that are embedded on the walls. After filling them, in the next stage, the clay, which was suitable for pottery, was mixed with water inside these basins and became a slurry. While mixing the clay with water, the water flow is redirected into these ponds again, and during this operation, the excess material inside of the soil as well as other additional materials are poured out of the ponds along with the excess water into large side spaces. And was led out  of the building by floor channels. Also, the grains of sand that may have been inside the clay, due to the weight of the bottom of the ponds and the parts that are embedded in the bottom of the floor, were deposited. After doing this, the water flow was cut off and the produced clay was deposited in the ponds for a few days and remained there until it was soft and smooth and so-called settled. After a few days, the prepared clay was collected and transferred to pottery workshops and then to pottery kilns. 

Conclusion
In fact, it should be added that the existence of various pottery in various forms, styles and techniques in Yelsuie Castle indicates the possible presence of pottery kilns in this site, which also confirms the fact that the brick building is a workshop for producing high quality clay. On the surface of Yelsuie Castle, there are limited traces of pottery balls that indicate the presence of pottery kilns in the area, so that with the help of these balls, the temperature of the kilns was regulated. In this article, 3 maps and 13 images including the castle itself, its geographical location, as well as the brick building and its various parts are given. Also, in two tables, the types of obtained pottery from the brick building are displayed, and in another table, similar samples of obtained pottery from other sites of the Islamic period in other parts of Iran have been compared and matched. According to potteries and other artifacts, the date and time of construction of this building should be belong to the Middle Ages of Islam and the Seljuk era.

Abstract
Lorestan province has established the connection between the capitals and important cities of Iran during different eras. The need for quick and easy access and permanent communication between these areas has led to the construction of huge bridges despite the rivers full of water and deep valleys. Because these bridges are a natural interwoven complex and have interactions with humans, bridges over time in the geographical area of Middle Zagros of Lorestan connect with great civilizations and in a way realize human rights and religious, ethnic, and economic relations. and cultural as well as the development of welfare, security and comfort are used in difficult mountainous areas, they can well represent the concepts of the cultural landscape. Studying these properties and their cultural landscape can help to identify the components of cultural landscapes and their conservation in addition to conserving the bridges themselves. On the other hand, the first and most important step is to identify the challenges that have not been identified and classified so far. Based on this, the research aims to identify the challenges of conserving the cultural landscapes of Lorestan’s historical bridges through the review and analysis of documents related to this issue. In this research, library and field information was collected on the valuable historical bridges of the Kashkan River, and then the concepts of challenges and their subsets through analysis using the qualitative research method. Data analysis was done through coding operations at 3 levels and finally, the challenges and sub-challenges related to it were categorized into 6 general categories according to the characteristics and indicators of the study samples.
Keywords: Conservation Challenges, Historical Bridges of Lorestan, Cultural landscape, Kashkan River, Coding.

Introduction
Bridges have existed in the mountainous land of Iran as buildings with Iranian architecture since prehistoric times. These properties made the distances shorter and faster because they made it possible to pass easily and safely through the natural complications of rivers and valleys. The need for quick and easy access and permanent communication between these areas has led to the construction of huge bridges (Minorsky, 1937). So far, a significant number of bridges have been reported in the mountainous land of Zagros, which surrounds Khuzestan (Siroux, 1949). Most of these bridges are located in Lorestan. Lorestan is located between the two ancient capitals of Susa and Hamedan. Therefore, the existence of roads, highways and bridges has been necessary as a means of communication. The traces of 100 historical bridges have been observed in more than 25 ancient sites on the map of Lorestan, some of which were built in the Sassanid period in parallel with the expansion of cities and have made great progress in terms of engineering methods and understanding of hydrodynamics it has been observed. Lack of awareness and knowledge of the high value of these properties and related elements (cultural landscape) have caused them to be exposed to much damage. On the other hand, the custodians of conservation have never been able to achieve the necessary successes in the field of conservation of Lorestan historical bridges due to a lack of knowledge of the challenges of conserving these properties and the context in which they are located and the one-dimensional view of conservation on this issue.
The challenges faced in conserving cultural landscapes show the inefficiency of the current system of conserving cultural landscapes, which, if not identified and categorized and solutions are not considered, can lead to the following crises at different times:
• The emergence of a one-dimensional perspective (mere physical protection) and one-dimensional approaches such as a product-oriented approach to the issue of cultural conservation of historical bridges of Lorestan;
• Ignoring the important and key issues in planning the cultural landscape of Lorestan historical bridges;
• Inability to educate and attract the participation of the public to preserve these valuable properties;
• Failure to provide appropriate solutions and not identify internal and external threats in the field of policy and legislation to conserve the aforementioned properties;
• Making the problem of increasing the level of expertise of experts concerning the mentioned cultural landscapes.
Therefore, this research has tried to introduce and categorize the challenges as far as possible to understand. Considering the qualitative and objective of the research, to achieve the research objectives, the following questions are raised:
• What are the challenges of cultural conservation of Lorestan historical bridges? 
• How can we achieve a classified, classified structure of the challenges of conserving cultural landscapes of Lorestan historical bridges?

Identified Traces 
Since each qualitative research is unique and inimitable, the analytical approach used in this research is also unique, but as mentioned, coding was done in 3 Stages through searching in documents, and related charters and used in the form of first-round, second-round (middle) and third round (post-coding). The term “cultural landscape” itself has been a double essence in its nature since the early years of its creation in the field of scientific societies. The challenges posed in conserving cultural landscapes themselves demonstrate the inefficiency of the current system of cultural landscape conservation. Eventually, 137 codes to 68 codes and finally 18 common codes in the field of cultural landscape conservation challenges were achieved. This research has been conducted by continuing to analyze and adapt the common outcomes with the study samples, reaching 10 common categories and 6 main concepts that form the main framework and conclusion framework of the research.
“These concepts are the beginning of writing theories, reading the challenges of conserving the cultural landscape of Lorestan historical bridges, and the last stage of the journey from reality to abstraction.”
Therefore, as mentioned, the challenges that have been achieved from the researcher’s study in the literature of the research subject to conserve cultural landscapes have been used and adapted with the field studies of the researcher to achieve the challenges of cultural landscape conservation of historical bridges, were finally categorized into the following 6 categories:  
• Policy making and legislation;
• Conservation approaches;
• The level of expertise of cultural landscape experts in the areas of identification, evaluation, monitoring and management of cultural landscapes;
• Educating the community to conserve cultural landscapes
• Threats arising from internal and external factors of cultural landscapes; and
• The paradigm shift of Conserving Cultural Landscapes.

Conclusion
This research tried to identify the meanings and concepts of challenge, as qualitative and applied research, and to classify the challenges of cultural conservation of historical bridges of Kashkan River in Lorestan by analyzing the literature and theoretical foundations. Finally, these challenges were divided into 6 groups through coding in three stages and the path from reality to abstraction, with related sub-challenges of each category. The number of codes and percentage of each of the challenges were presented in the relevant tables to be able to familiarize readers with them, study the most important of these challenges and their impact on the studied properties in different dimensions if needed and be aware of them. 
In response to the first question of the research, all the challenges of conserving the cultural landscapes of the mentioned historical bridges were obtained through library and field studies and then by analyzing the literature and theoretical foundations of the subject in 6 general categories along with the sub-challenges. Challenges that each one needs to understand, plan and use different experts to meet them at different time intervals.
In response to the second question, the research attempted to achieve a structured, classified, and categorized framework by collecting, and analyzing the literature and theoretical foundations of the research, exploring the concepts and challenges of conserving cultural landscapes through the process of conservation in charters, conventions and treaties related to the subject, and localizing the mentioned challenges to be adaptable and using them as a conservation factor.
These achievements are certainly not complete and only part of the researcher’s achievements in this field are due to interest and dependence on valuable and unrepeatable properties of the historical bridges of Lorestan. properties that have embraced the identity and cultural values of a people from a long time ago and require the participation of all people, especially local communities whose main beneficiaries. In all stages from identifying challenges to conserving cultural landscapes of Lorestan historical bridges, the unmatched role of indigenous people and local communities should be considered the most important factor in conserving historical bridges, because they are the main owners of these monuments and the most important unclaimed conservationists.

Abstract
Earthquakes have always been considered a threat to human settlements. According to the results of archeological studies, one of the behavioral patterns of humans in the face of earthquakes has been to permanently change their place of residence. The fact that the major part of Iran’s plateau is located in one of the earthquake-prone areas of the planet makes the research and investigation about the impact of these natural events on the human way of life, especially in the prehistoric era, to be studied more. In this direction and with the aim of assessing the impact of this natural phenomenon in Central Zagros and in order to know how humans react to this phenomenon, it has been studied. Our main question in this research revolved around how ancient earthquakes can be identified in archaeological contexts, and based on what evidence? What were the effects of this destructive phenomenon on the change in people’s biological patterns in the period after the incident? The information of this research has been collected from the archaeological excavations of Godin Tepe, Kangavar and Baba Kamal Tepe Tuiserkan from the Bronze Age to the end of the Iron Age III BC. In the following, based on the evidence of the severity of the destruction caused by the earthquake, an attempt has been made to reconstruct the intensity scale of the earthquakes based on the Mercalli scale. As a result, it was determined that the occurrence of destructive earthquakes with an intensity of more than 6 degrees on the Richter scale in the area of the investigation, especially in the Bronze and Iron Age, was not unrelated to the impact of climate change caused by the intensity of melting glaciers and the change in the hydrological conditions of the earth. After the Late Bronze Age, the events caused by this event caused the relative collapse of many settlements until the Iron III period, and practically at this time, the population of the region was reduced to the minimum possible.
Keywords: Ancient Earthquakes, Archeology of Eastern Central Zagros, Godin Tepe, Baba Kamal Tepe, Bronze & Iron Age.

Introduction
Throughout history, villages and cities have always been threatened by cultural or natural disasters such as war, fire, earthquakes, floods, and storms. Earthquakes are natural events that have been important causes of damage and destruction for humanity. The land of Iran, due to its location in the middle part of the Alpine-Himalayan orogenic belt, is always exposed to high-intensity earthquakes and is known as one of the centers of destructive earthquakes.
Studying and researching the remaining signs of ancient earthquakes in Iran according to archaeological data can provide information on long-term seismicity in different parts of this land for researchers. By using archaeological data and matching their information with specific regional geological conditions, it tries to recognize the occurrence of earthquakes that occurred in prehistoric times and their effects on the formation of settlement patterns. 
In this regard, the Kangavar Plain and the eastern region of Central Zagros have been studied and researched, focusing on the archaeological information of Godin Tepe and Baba Kamal Tepe. This research aims to investigate and identify the archaeological studies carried out in Godin Tepe and East Central Zagros to study and investigate the events that are suspected to be natural earthquake hazards in Godin Tepe and Baba Kamal. Also, the role and effect of these earthquakes in the distribution of settlements after the earthquake will be studied in the region, seeking to answer questions such as: How can the earthquake during the settlement of Tepe Godin and Tepe Baba Kamal be recognized? In what period of the settlements of Tepe Godin and Baba Kamal and with what approximate magnitude did these earthquakes occur? How can the role and effect of these earthquakes be explained by the change and distribution of settlement patterns in the post-earthquake era of the region? In the investigations and field studies, the evidence and signs of earthquakes in the Bronze Age of Godin Tepe Kangavar and the Iron Age of Baba Kamal Tepe Tuysarkan have been observed, which can be the hypothesis proposed in this regard.

Discussion
The investigation of different cultural layers showed that the Godin site experienced at least three important events that changed the lives of the people at that time. Evidence of these events can be seen in layers III5, III4, and III2 in the Bronze Age in different years between 2400 and 1650 BC. Yang, the explorer of Godin Tepe, believes that the earthquake in these phases caused destruction and destruction in the buildings, which caused the settlement to leave and the site to be abandoned at the end of phase III2. Among the damages caused by the earthquake in Godin Tepe and Baba Kamal, the following can be mentioned:- Collapse of ceilings and walls;
• Collapse of ceilings and walls;
• Debris left on the floor of the rooms;
• Crushing of healthy pottery under the debris;
• Humans being buried under the rubble and being killed by falling bricks;
• Cracks in the walls
• Abandonment of the site after the earthquake
Using the empirical relationships and the Mercalli intensity scale (MMI), we can attribute an average magnitude of 6 to Godin III2 and Iron III Baba Kamal events, and an average of 7 to Godin III4 and III5 events. 
 According to the archaeological surveys conducted in the studied area, it can be seen that the region has experienced a decrease in human settlements and population collapse in the periods after the Godin earthquakes. The reduction of settlement areas during different phases of the Middle and New Bronze Age compared to the previous layers is observed in the plains of Kangavar, Nahavand, Asadabad, Tuysarkan, Malair, Sanghar, Sahne and Borujerd. In layer III2, the number of sites with artifacts from this period increases in the region. Young and Henrikson believe Godin III2 pottery at the same time as this phase, or probably at the end of this phase, we see an increase in the nomadic process, and it is likely that this issue has influenced the increase in the number of ancient sites. 
During the Iron Age, the central Zagros region underwent changes that led to the reduction of human settlements in Iron Age I. Archaeological data show that there was no population density in Iron Age I/II in areas like Kangavar Plain. Several abrupt climate changes occurred during the Holocene epoch. This change in weather conditions, along with the earthquakes in the region, could have been a factor that affected the settlement of human populations and settlements in the region in prehistoric times and caused a change in the settlement pattern and a decrease in human populations.

Conclusion
In this study, in order to investigate the seismicity of the eastern central Zagros region and the earthquakes that occurred in the Bronze and Iron Ages of the region, the collection of evidence and documentation of the earthquakes of the mentioned periods, obtained from archaeological excavations, was collected. Earthquake evidence in Baba Kamal Tuiserkan Tepe was obtained in the form of disturbed layers with cracks in the Iron Age III clay structure. Also, these signs have been observed in the form of ruins and human remains found under the debris, scattered artifacts and pottery on the floors of residential houses, and cracks on the walls in the Bronze Age of Godin Kangavar Tepe. Godin Tepe has witnessed three destructive earthquakes in phases III5, III4, and III2, which, in addition to the destruction that followed, caused the area to be abandoned for a long time. The abandonment of the area can also be seen on Baba Kamal hill, which was without settlement until the Parthian period.
After the Godin III period until the end of the Iron Age I and II, the reduction of settlement areas is observed not only in the Kangavar plain but also in most of the surrounding areas of the Kangavar plain in the east of central Zagros. However, some researchers have pointed out the change in weather conditions as another reason for the decrease in the number of settlements in the region, and climatological research has proven that during this period, climatic dry events occurred in Southwest Asia. According to the seismicity of the central Zagros region and the evidence of earthquakes from Godin Tepe and Baba Kamal, these climate changes, along with the occurrence of earthquakes in this region, are both factors that have provided unfavorable conditions for life in the region at the same time. Based on the data obtained from the Godin and Baba Kamal sites, a magnitude of 7 was estimated for the Godin earthquakes of layers III5 and III4 and a magnitude of 6 for the earthquakes of Godin layer III2 and Iron Age III of Baba Kamal.

Abstract
Mausoleum buildings with ridged Dome, is one of the characteristics of religious architecture in the southern regions of Iran which was founded during the Ilkhanid to Safavid period. The main form of a ridged Dome is conical which the arrangement of its cubic components with different and varied shapes has a stepped mode. Studies that so far have been done on the structure of mausoleums with ridged Dome are more holistic. Therefore, the most important purpose of the present research is to explain and establish the architectural differences and similarities of four tombs which are located in different geographical areas in Southern Iran and belong to The Ilkhanid-Timurid era; and to study their susceptibility to various methods. The architecture of the mentioned historical periods under the title of Governmental (including the central sphere of governance of the Ilkhanid) and Local style (including special architectural and artistic features of the southern regions of Iran). The goal of the present research is to answer this question that what a meaningful form and decorative relationship is there between mausoleum buildings with non-governmental/indigenous ridged Dome and governmental structures? The result of the research clarifies that the architectural ornaments, which are used in the mausoleum of Mir Muhammad especially the high and deep vaults in the dome chamber and using the brick in the crown of its fluted Nar dome, represents the governmental style. The simplicity of the tomb form and usage of local material, building of conical Nar crown in the tombs of Baba Monir and Do-gonbadan and establishing symmetric ridged Dome in studied mausoleums is affected by local architecture of the mentioned regions. Also, it has been observed a kind of coexistence between local architecture and governmental style in some of the studied mausoleums. This research has been done with the approach of cultural history and descriptive-analytical method. The information has been gathered with the method of field investigation and library studies.
Keywords: Mausoleum Buildings, Ridged Dome, Ikhanid-Timurid Era, Architectural Style.

Introduction
The general shape of the ridged Dome is rock or conical; with the difference that its components, instead of a complete cone, has a scalariform (Zemorshidi, 2010: 349). This cover has been used in the late Seljuk era tomb buildings of Iran, especially in the south and southwest areas and its construction is significant throughout the Ilkhanid to Safavid eras (Sajjadi, 2017: 306). Most of the researchers believe that building of the ridged Dome follows specific geometric patterns. Its inner and outer cover represents that this structure comprises of several floors with similar geometric shapes and the geometric floors of the dome ascend rotationally from the Bashn of the dome chamber to its top. Moreover, meanwhile the floors of the dome go up, the dimensions of its ridged cubes become smaller and their height is reduced. Finally, they join together at the top of the dome (Zemorshidi,2017:350; Mashayekhi & Mahdavinejzad, 2012:297). Most of the conducted researches have a holistic framework and less attention has been paid to the structure of buildings with the ridged Dome and its changes in a certain period of time or a certain geographical area. The goal of the present research is to answer this question that what a meaningful form and decorative relationship is there between the non-governmental and governmental structures-at the intended political field-in the mausoleums with the ridged Dome. The importance of the present research and the necessity of doing it is also in identifying the tomb buildings with the ridged Dome that less researches have been done on it, and criticizing opinions which are provided by other researchers.

Materials and methods 
This research has been done with the approach of cultural history and descriptive-analytical method. The information has been gathered with the method of field investigation and library studies.

Data
Mausoleums of Do-gonbadan in Kookherd: The two mausoleums of Do-gonbadan are located in Hormozgan province, Bastak county and Kookherd village. Both mausoleums are burial places of two members of the Bani Abbasid family of Bastak (Bani Abbasian Bastaki,1960:57 & 58). The plan of both mausoleums is similar and consists of a simple square dome chamber. Also, both tombs have a ridged Dome with a star base. The decorations of Do-gonbadan tombs are associated with stucco, one of which is stalactite work in the interior view of the dome.

The mausoleum of Mir Muhammad 
The mausoleum of Mir Muhammad Hanafi is built on Kharg island of Bushehr county. Based on the tomb inscriptions, the building is attributed to Mir Muhammad Hanafi and was built during the Ilkhanid period. This tomb consists of a cruciform shrine and a square mausoleum which is adjoined to the south side of the dome chamber. A ridged Dome is constructed on top of the shrine that has a star base. The decorations of the tomb include mosaic-faience tilework and lustre tiles of dado which have animal, geometric and vegetal motifs on their surface, Also, the interior surface of the dome is decorated with chalky muqarnas.

The mausoleum of Baba Monir
The mausoleum of Baba Monir is located in Fars province, Noorabad Mamasani county and in a village called Baba Monir. The plan of the tomb is square. Its interior view includes a central dome chamber and a vaulted corridor that surrounds the dome chamber. Deep piers have given a cruciform design to the dome chamber. The dome of the tomb is ridged and has a star base. Chalky muqarnas is used in the interior surface of the dome.

Discussion
The conducted researches indicate that all the studied mausoleums belong to religious personages. Also, all of them have been built on the commercial path or near the commercial path. Moreover, there are similarities and differences in the features of studied tombs; The most important similarities between studied tombs are the usage of cruciform plan in the dome chamber of Baba Monir and Mir Muhammad mausoleums, the usage of the ridged Dome with the star base on top of dome chambers of all mausoleums, and the application of chalky muqarnas in the interior view of the dome of these tombs. The differences include using the simple square plan in the mausoleums of Do-gonbadan in Kookherd, and existence of the fluted Nar crown on top of the Mir Muhammad dome while there is a simple conical crown on top of the Baba Monir and Do-gonbadan dome. Besides, the only tilework decoration is in the Mir Muhammad tomb. In sum, the architectural features represent that Mir Muhammad tomb is more affected by the architecture of the governmental style. Because, it was built on the main trade route. But, the architectural features of Baba Monir and particularly Do-gonbadan are more non-governmental/local. Because these tombs were built on the side trade roads. Therefore, architects of these two tombs have not had much chance to become familiar with other architectural methods.

Conclusion
Studied mausoleums are the burial place of important religious personages and are built single, in an open space. These tombs were located on the trade routes. The location of Mir Muhammad tomb in Kharg island and on the transregional trade route of Islamic lands with East Asia has increased its importance. The architectural decorations of Mir Muhammad mausoleum have more variety in comparison with other mausoleums and it reveals the influence of various architectural styles, especially the Ilkhanid-Timurid architectural style. This effectiveness has been observed to a small extent in Baba Monir tomb compared with Mir Muhammad tomb. Whereas, mausoleums of Do-gonbadan in Kookherd have the least influence from the governmental buildings of the Ilkhanid-Timurid era. However, the method of constructing the ridged dome in all mausoleums has been executed skillfully in terms of structural and geometric form. In general, the constructing of the ridged symmetric domes in each four tombs signifies the powerful influence of the local architectural style in their structure. However, the influence of other architectural styles in these mausoleums is not the same. There is a kind of coexistence between the local and governmental architectural styles in the tomb of Mir Muhammad in Kharg. The influence of the local architecture is more obvious in the mausoleums of Baba Monir and particularly Do-gonbadan.

Abstract
Material remains bearing figurative representations constitute one of the most significant repositories of historical-cultural information within archaeology and art history. Among such remains, artefacts depicting the cheetah are of particular importance. The interpretation of surviving cheetah imagery in ancient artefacts undoubtedly yields a deeper understanding of coexistence and confrontation between human societies and this predatory animal. Archaeological findings and iconographic analyses conducted thus far on the cheetah indicate that variables such as geographical distribution, temporal multiplicity, and the frequency of cultural interactions have played a considerable role in explaining the transformation of cheetah motifs across different historical periods. Accordingly, after examining the history of studies on the cheetah, as well as investigating the developmental trajectory of cheetah images among coeval cultural horizons in Iran—which have predominantly confined the origin of cheetah motifs from prehistoric times to the late Islamic period to two interpretive models, namely the narrative-mythological and the ritual-ideological—the present study seeks to examine visual examples of the cheetah, while emphasizing the role of predatory hunting animals in human societies, and furthermore to highlight the importance of the functionalist-subsistence interpretive model. This model is grounded in historical texts, specifically hunting manuals, as one of the fundamental causes for the representation of cheetah images, in contrast to the two aforementioned models. For this purpose, archaeological evidence together with comparative studies of historical texts, through an analytical-comparative method, have been re-examined to demonstrate that functionalist interpretations concerning the capture and domestication of this predatory animal by cheetah-keepers in the natural world are of equal or even greater importance than prevalent mythological and ideological interpretations, which are exclusively concerned with political authority and ritual legitimation within the cultural sphere.
Keywords: Hunting Cheetah (Cheetah as a Hunting Auxiliary), Archaeological Findings, Historical Texts, Functionalist-Subsistence Interpretive Models, Mythological and Ideological Interpretive Models.

Introduction
Material remains featuring cheetah depictions are vital sources for understanding the coexistence of human societies and this predator. Previous iconographic analyses suggest that geographical distribution, temporal shifts, and cultural interactions have shaped the evolution of cheetah motifs across rock reliefs, seals, and pottery. While researchers typically attribute these stylistic transformations to decorative, mythological, or ritual concepts, this study proposes a “functionalist -economic” interpretive model as a fundamental driver for these representations.
Tracing cheetah imagery from prehistory to the late Islamic period through archaeological evidence and historical texts—such as hunting treatises (šikār-nāmes) and training manuals (bāz-nāmes) like the Bazname-ye Nasavi—this research challenges purely symbolic readings. The central hypothesis is that the domestication and control of the wild cheetah in Iran were primarily pragmatic processes tied to survival. Ancient humans first harnessed the animal’s hunting abilities to secure food and mitigate risks in the open landscapes of the Iranian plateau, only later embodying these functional roles in mythical and ideological discourses.
By employing an analytical-comparative method across field data from various Iranian regions and reliable library sources, the findings indicate that functionalist interpretations (related to capture and taming) hold equal or greater significance than purely ideological motifs of political authority. Ultimately, this research emphasizes that cheetah representations in ancient Iranian artifacts reflect humanity’s core subsistence concerns and evolutionary adaptation. The functionalist model of human-cheetah coexistence is a long-standing reality that should not be overlooked in favor of purely symbolic or mythical interpretations.

Discussion
This article examines the representation of the cheetah in two principal categories of historical written sources: literary texts (hunting poetry and travel narratives) and technical manuals (bāznāmas/šikārnāmas). Findings indicate that in literary sources, the cheetah is predominantly depicted with attributes such as speed, agility, and ceremonial status within the royal court. Poetic examples from Ferdowsi (“one hundred and sixty cheetah handlers”) and Gorgani (“you think we are the deer and he is the cheetah”) suggest that the cheetah served not only as a hunting companion but also as a symbol of royal authority over nature. Travel accounts, such as Chardin’s, provide tangible details regarding the practice of carrying the cheetah on horseback and removing its blindfold at the moment of the hunt.
The analytical turning point, however, lies in the examination of technical manuals, particularly the Bāznāma-ye Nasavi. This monumental work constitutes the most comprehensive historical document concerning the capture, domestication, and training of cheetahs. Nasavi details a seven-stage process: digging pits for live capture, transferring the animal to royal facilities, sleep and food deprivation, training on a “clay donkey,” mounting a horse, entering the hunting ground, and ultimately achieving hunting success.
The principal contribution of this article resides in its systematic correlation of these technical texts with six visual specimens. The Jiroft image (Fig. 12), depicting a human holding a cheetah’s tail, corresponds precisely with the role of the “tail-holder” (domdār) described in the Bāznāma-ye Nasavi. The Sanandaj Museum bowl (Fig. 13), showing a cheetah springing onto the back of a clay bull, directly represents the “clay donkey” training stage. The Samanid-era vessel (Fig. 14), portraying a cheetah seated on a horse, aligns perfectly with descriptions found in hunting manuals.
In conclusion, this article demonstrates that a functionalist-biological reading of cheetah imagery—grounded in written evidence from bāznāmas—possesses equal validity and fundamentality to mythic and ideological interpretations, and may, in certain historical contexts, constitute the very foundational basis for these representations.

Conclusion
The history of studies and interpretations of the visual evolution of the cheetah indicates that cheetah motifs from the fourth millennium BCE to the Islamic period developed gradually, moving from a “decorative singular depiction” toward “mythological-ritual narrations” and finally to “political-ideological symbols.” As demonstrated, most of these studies have predominantly considered the mythological-ritual and political-ideological approaches as the main foundations of the cheetah motif’s evolution, and within their interpretive framework, they have frequently referred to the cheetah as a symbol of power, mastery over nature, and political authority. The present study, through an examination of case studies and their correspondence with historical written documents, has shown that the factors underlying the visual representation of the cheetah, in addition to the above interpretive models, are primarily based on functionalist-biological interpretations, in which the predatory animal was utilized by ancient humans for the purpose of fulfilling their subsistence and biological needs, aiding and facilitating the hunting process, and thus constitutes one of the most important factors in the visual representation of the cheetah.
Accordingly, since the simultaneous re-examination of archaeological evidence and technical-historical texts such as the Bazname-ye Nasavi demonstrates that the stages of capture, domestication, and training of the cheetah for hunting are rooted more in subsistence necessities and human survival than in mythological or ideological representational models, the functionalist-subsistence interpretive model is not only equivalent to the two narrative-mythological and ritual-ideological models, but also temporally and causally precedes them. In other words, before humans embodied the cheetah as a manifestation of supernatural power or political legitimacy, they had mastered it as a “hunting assistant” and employed it in their encounter with the natural world. This very mastery and essential coexistence between humans and cheetahs provided the necessary material and behavioral foundation for the formation of subsequent symbolic layers. Therefore, reducing the evolution of cheetah imagery to two interpretive models—mythological and ideological—without considering its biological-subsistence context is a limited and highly reductive reading.