Iranian traditional architecture

in environmental design of Iranian houses, along with examining and comparing case studies in some Iranian cities like Tabriz,… could determine various aspects of environmental and climatically factors in Iranian traditional architecture and provide approaches for contemporary architecture. "Climate is integration in time of the physical state of the atmospheric environmental characteristic of a certain geographical location. There are different geographical locations in Iran and this provides various climates and every climate has its special characteristics. Iranian researchers, like M. Tavasoli, M. Kasmaee, Dr.H.Ganjee worked on climatic divisions of Iran but the method of Dr.H.ganjee is the best. He divided Iran based on Koppen's method. Koppen divided the world based on growing of plants. Microclimates have effected on urban planning and architecture. In a vast country such as Iran, with different climatic zones, traditional builders in the past have presented a series of logical solutions for human comfort. Iran is basically divided into four climatic regions: Mild-Humid Climate-Cold, Climate-Hot-Mild Climate-Hot-Arid Climate."1 The courtyard in a cold climate is usually the heart of the dwelling spatially, socially, and environmentally. Although, the size of the land, to some extent, is influential, the average sizes of the courtyards are generally determined according to the latitude. They are narrow enough to maintain a shaded area during the heat of the day in summer, but wide enough to receive solar radiation in winter. A courtyard can provide security, privacy, and a comfortable place within the house. The courtyard where it is usually planted with trees, flowers and shrubs, not only provides comfortable condition and beautiful setting. In Tabriz and some other cities of the western part of Iran, the cold weather and snow. On the side opposite the open archway where often are rooms with ABSTRACT This paper concentrates on the results of sustainability caused by Courtyard as a climatic element in Iranian traditional architecture of cold regions. Traditional architecture of Iran is perceived sustainable for having sustainable features. It is able to response to environmental problems from a long period. Its features are based on climatic factors as well as local construction materials of cold regions and Courtyard (hayate-markazi) is one of this features .Courtyard as one of the determining and organizing factor of traditional architecture in cold regions involves varies aspects. This research uses library documents and Internet sites as well as analyzing building plans. Result of this paper; show that considering the experience in traditional architecture of cold regions, it is possible to create an environmental and sustainable architecture.

This article investigates the artistic milieu of the Qajar dynasty through a critical analysis of the distinctive and sophisticated style of Mahmud Khan Malek al-Shuʿara ˉ(1813-93), contextualizing his work alongside that of his contemporaries, with particular emphasis on Kamal al-Mulk (1859-1940), the most renowned painter of the period. Through close analysis of selected paintings, this study reveals the layered complexity of Mahmud Khan's visual language and underscores the broader interplay between Qajar art and European artistic traditions. Although this inquiry does not seek to provide a reading of modern Iranian art, it contends that Mahmud Khan's oeuvre warrants serious critical attention-especially within non-Persian language scholarship-as a pivotal yet overlooked juncture in Iranian art history and a missed opportunity for articulating a meaningful continuum between Iran's classical aesthetic heritage and its modern visual expression.

در شماره‌ی تازه‌ی مجله‌ی بخارا (شماره ۱۶۸، خرداد و تیر ۱۴۰۴)، مقاله‌‌ای از من منتشر شده با عنوان «راز کاغذهای خاموش»؛ تحلیلی بر سه برگ نقشه‌ی ناشناخته که استاد حسین لرزاده برای مسجدی در آموزشگاه خیریه نمازی در شیراز طراحی کرده بود—پروژه‌ای که هرگز به مرحله اجرا نرسید.

این نقشه‌ها، نه‌فقط اسنادی فنی بلکه گنجینه‌هایی معماری‌اند؛ نمونه‌ای از سبک طراحی دقیق، نظام فضایی و نگاه استاد به تداوم معماری سنتی در دوران معاصر. انتشار و تحلیل این نقشه‌ها برای من فرصتی بود تا بر ضرورت مستندسازی و بازخوانی منابع آرشیوی معماری ایران تأکید کنم—به‌ویژه آثاری که تا امروز از چشم پژوهشگران و معماران جوان دور مانده‌اند.

📍منتشرشده در: مجله بخارا، شماره ۱۶۸
🗓 تاریخ انتشار: خرداد و تیر ۱۴۰۴
📄 صفحات ۵۰۱ تا ۵۲۳
📌 همراه با یادنامه‌ای برای داریوش مهرجویی

During archaeological fieldwork conducted in Sarbaz County, numerous sites have been identified. However,
much of the data collected from these sites remains unexamined, and no comprehensive interdisciplinary studies
have been undertaken to date. Consequently, the primary research question guiding this study is: What influence
does the geographical environment have on the formation and variation of settlement patterns in the ancient
settlements of Sarbaz County? Accordingly, the key objectives of this research are twofold: (1) to assess the
impact of environmental factors on human activity and settlement formation in the region, and (2) to examine the
relationships between these factors and the spatial distribution of settlements. To address these objectives, the study
first examines the geographical environment of Sarbaz County. Next, the distribution of settlements is analysed
using Geographic Information Systems (GIS). Finally, by applying branch classification, ecology, and economy
theories, the ancient settlements are categorised based on their chronological period, elevation, size, and type. This
framework allows for an analysis of how the geographical environment influences the spatial distribution patterns
of these settlements. The findings of this study reveal distinct patterns in settlement distribution. The northern
regions of Sarbaz County are predominantly characterised by single-period sites, featuring temporary and seasonal
settlements located in the highland areas, which reflect the semi-mountainous terrain. In contrast, the southern
regions, particularly the Jakigur area and its surroundings, exhibit a relatively flat topography. In these areas,
evidence of sustained agricultural land use is apparent, with continuous activity traced back to the pre-Islamic
period.

Rapid urban growth is a common phenomenon the world over,particularly in the developing countries. Africa is no exception in this respect. Lack of affordable housing in African towns has pushed most people into the peri-urban areas. These new settlement areas, often hitherto agricultural lands, are normally unplanned. "Development", therefore, seems toprogress ahead of planners instead of the other way round. By implication, therefore, these periurban areas often lack vital services necessary for human settlement such as proper sanitation, particularly human excreta disposal. In these areas the most affordable and therefore most common method of human excreta disposal is the use of pit latrines. In few homes, however, isolated cases of use of cesspits and septic tanks can be found. In comparison with conventional methods of human excreta disposal, ecological sanitation (eco-san) is a viable and feasible alternative in these peri-urban areas since it has a lot of advantages...

The change in the use of the Baharestan building from a house (internal) to a residence (ceremonies) and a council (the house of the nation) over a short period of time during the Qajar period is very interesting. These changes were made in all aspects; for beauty and by force or in the simplest possible way in the building. Also, information, news and documents that show who made these changes are very few, vague and somewhat contradictory.

هندسه را می توان زیربنای هنر و معماری سنتی ایران دانست که در تمامی بناهای معروف و با کیفیت گذشته ردپایی از آن به جای مانده است. از آنجا که مبنای کار معماری «ساختن» است و برای ساختن لازم است از تناسبات و نظم دقیق استفاده شود، هندسه اهمیت ویژه ای پیدا می کند. در این میان آثار معاصر معماری نیز همانند آثار گذشته، از این هنر در خود بهره فراوانی برده اند. شناخت دقیق از اصول هندسی موجود در معماری ایران و ریشه‎های فکری و مبانی نظری آن که معماری اسلامی را نیز شامل می گردد، بسیار پر اهمیت می باشد. با استفاده از منابع در دسترس و انجام مشاهدات مختلف بر روی ساختمان­های مختلف و معروف در شهر اصفهان، می توان به نقش هندسه و اهمیت آن در این بناها به خوبی پی برد. استفاده از ساختارهای هندسی منظم در طراحی پلانها به همراه ایجاد درک هندسی با استفاده از احساس ایستایی، بیشتر از سایر مفاهیم در معماری مورد توجه قرار گرفته‎اند. می توان استفاده از الگوهای کهن هندسی و معمارانه را در بناهای مدرن امروزی نیز در شهرهای کشور پیاده نموده و از این طریق راهکاری بهینه شده برای داشتن حس مطلوب از زندگی در فضا را ارائه نمود.

Print making is an art that creates a limited number of works that are done by hand in all different and complex stages of work, such as preparation, coloring, and printing operations. Creativity and coincidence in manual printing are among the things that can happen in the process of preparation and execution of the works. Given this, it is important to use some substantial, effective, practical ideas and techniques related to creativity in education. Meanwhile, one of the prominent and important techniques in creativity and idea generation is SCAMPER. SCAMPER is a practical technique in the field of creative thinking, which can be effective in improving the teaching and learning process. The SCAMPER technique consists of the first letters of seven English words, which are: Substitute, Combine, Adapt, Modify (magnify/minify), Put to other use, Eliminate, and Reverse. Therefore, the core question of this research becomes whether the creative thinking technique of SCAMPER has the ability to be used in teaching different fields of art and specifically in teaching printmaking techniques. In some branches of art, especially manual printing, due to the need for a workshop, special tools, and specific conditions and necessities of execution, certain printing techniques either cannot be taught at all or come with serious difficulties, limitations, and special conditions hard to overcome. Therefore, if creative methods can be implemented in the education process at all, different results with different implications will be created. Accordingly, the aim of the current research is to investigate the feasibility of presenting a creative model in printmaking teaching and learning based on SCAMPER creative thinking technique, which facilitates the learning conditions and processes without introducing any defect in the desired printing technique. In terms of approach, this research is considered a case study, and from the perspective of the research goal, on the one hand, it has a fundamental aspect and deals with theorizing in the field of art education, and on the other hand, it has a practical aspect and offers new practical solutions for art education. Also, the present research is in the field of descriptive-analytical research in terms of nature, quality, and method. Used data was collected through document and library research by examining books, articles, and both Persian and particularly non-Persian sources related to creativity, education, and SCAMPER. Finally, by examining and studying the case study of teaching manual printing techniques, the use of SCAMPER in their teaching has been analyzed. By examining and analyzing the creative thinking technique of SCAMPER regarding the main techniques of printmaking, it can be found that the SCAMPER technique is aligned and overlaps with most of the techniques of printmaking. Based on this, the claim and hypothesis of this research is that, based on practical examples, SCAMPER is widely applicable across a very broad spectrum of manual printing techniques. Therefore, the SCAMPER technique can be used in various ways to improve teaching methods and foster creativity in art education and especially printmaking education and should be implemented as an effective instructional method.

چکیده

در نظام مالی عصر ساسانی (651-224م.)، علاوه‌بر دو واحد پولی اصلی، یعنی دینار (طلا) و درهم (نقره)، واحدهای کم‌ارزش‌تر دیگری نیز در گردش بودند که به‌ویژه در بخش‌هایی از ایران در مبادلات اقتصادی مردم از اهمیت ویژه‌ای برخوردار بودند. این واحدهای کم‌ارزش‌تر که شامل اجناس نقره با وزن پایین، مس، برنج و مفرغ می‌شدند، نقش عمده‌ای در اقتصاد عمومی و مبادلات روزمره ایفا می‌کردند. بررسی این سکه‌های خرد، علاوه‌بر نشان‌دادن نوع مواد اولیۀ آن‌ها، به کشف نقوش و نمادهایی خاص نیز منجر می‌شود که در هیچ‌کدام از سکه‌های طلا و نقره ساسانی مشاهده نمی‌شود. نکتۀ جالب‌توجه در این سکه‌ها، درج نقوش و نمادهایی ویژه است که به‌هیچ‌وجه بر دینارها و درهم‌ها به‌کار برده نمی‌شد؛ نقوشی بزرگ از خورشید و ماه و ستاره و آتشدانی افروخته در روی سکه که بی‌شک نماد یک موضوع و باور خاص هستند. می‌دانیم که خورشید و ماه که بر پایۀ اوستا  از ایزدان زردشتی هستند با بررسی مسکوکات خُرد مانند پشیز و مطالعۀ متون پهلوی ساسانی و کتاب دینی اوستا که مملو از به تصویر کشیدن نمادهای دینی است؛ و همچنین تحلیل رویدادهای تاریخی و شاهان مختلف عصر ساسانی، می‌توان به این نتیجه رسید که این نقوش درحقیقت نشانگر عقاید و باورهای دینی مردم آن دوران بوده‌اند. در این‌میان، تنها نقوش نمادین نیستند که اهمیت دارند، بلکه نام ضرابخانه‌هایی که این سکه‌ها در آن‌ها ضرب می‌شدند نیز در این مطالعه مهم به‌شمار می‌آیند. ‌افزون‌بر این، سکه‌های پشیز موزۀ ملک نیز به‌عنوان نمونه‌های مهم درنظر گرفته شده‌اند؛ لذا در این پژوهش قصد آن دارد تا به بررسی جامع تمامی این نقوش و نمادها، همچنین معرفی ضرابخانه‌ها و کارکرد آن‌ها در دورۀ ساسانی پرداخته و به تحلیل ارتباط آن‌ها با باورهای دینی و فرهنگی این دوره را ارائه دهد.

The Socratic conversation of "Lysis" is one of the first works of Plato. In this conversation Achaemenid empire and issues related to it were mentioned twice. At first, the great Achaemenid king with his domination of Asia and his legacy to his son are mentioned. It is also written about Darius I and her wealth in this conversation. The purpose of this article is to reflect on some of the images and appearance of the Achaemenid Empire in the minds of its contemporaries. From this point of view, in this article, only one of these two cases, namely Plato's words about rulership and dominion of the great king of Persia over the entire land of Asia, has been studied. This research, through a critical reading of "Lysis" and a several contemporary Achaemenid Greek texts, tries to investigate what ideas caused the image and concept of the Persian king dominating Asia in the minds of the Greeks of the 5th and 4th centuries BC to be created.

The articles in this special issue exam ine the interactions o f religious, econom ic and political power by exploring the im pact on multi-ethnic societies in Malaysia and Singapore o f prom inent non-m ainstream Christian an d Muslim groups whose significant business activities relate to th eir religious faith. A study of the enterprises developed by these groups provides insights into the im portance of religion to their leaders an d the groups they represent when initiating and operating these businesses. Because these enterprises are engaged in sustained contact with different publics, the question is raised w hether they are im plicated in proselytization and if this leads to social conflict resulting in fragm entation an d polarization, or w hether they can be a force for positive change in society by contributing to th e reso lu tio n o f social a n d eco n o m ic p roblem s. M oreover, state authorities concerned about rival centres of power find it difficult to ignore p o ten t com binations of econom ic and religious influence, b u t both the developm ent of these com binations and the political response to their existence owe much to the globalization o f religious ideas, current economic orthodoxies and the Southeast Asian context.

Locating fort settlements in Iran's Sistan region during different historical periods have always been associated with changes in the direction of Hirmand River which often occurred due to various natural and human factors. One of the most important determining factors in locating the aforementioned settlements is changes in hydrographic network. This study aims to identify the relation between the Iranian province of Sistan hydrographic networks and the fort settlement during the Qajar era. The research method applied, here, is descriptive-analytical, historicalcomparative, documentary, library and the field study in Iran's Sistan area. The main focus of the study is on the issue of changes in the hydrographic network of the Hirmand River. The main question is to what extent have the changes in the direction of the hydrographic network of Hirmand played a role in locating fort settlements of the Qajar era in Iran's Sistan region. Records, documents, data and historical information related to the Qajar era were collected and comprehensively compared and analyzed regarding the current and the past situations in the geographic information system (GIS) using ArcGIS software. The results show that the highest number of the locating and the density of fort settlements during Qajar are related to the hydrographic basin of the Sistanriver. The main reason is branching of the Hirmand River's Hydrographic Basin through the Sistan Canal or Sistan River in the west. Also from 6 to 12 AH, in both the northern and southern delta region of Sistan, there have been settlement areas. However, in the Qajar era, 100 percent of the settlements in the northern delta area have been site selected.

As a Persian Hebrew work, Bahram-Nameh represents Jewish art in the context of Iranian art. This work is derived from a Persian manuscript of Haftpeikar and by choosing and changing some special sign systems in it, an adapted manuscript of Bahram-Nameh was created. The problem is the reason for the re-creation and adaptation of the Hebrew manuscript of Haftpeikar from its Persian manuscript in the Safavid era. The goal is to achieve and identify the type of transformations in the Bahram-Nameh hyper textual. Questions: In the derivation process, what sign systems were changed or removed in the Hebrew manuscript that led to a change in meaning? what are the differences between the two Persian and Hebrew manuscripts of Haftpeikar? Examining Bahram-Nameh together with the available pretexts can fill the void of studies in this field. The statistical population includes paintings of the Haftpeikar section of the Persian manuscript of Khamsa of Nizami in 1076 A.H. and the paintings of the Hebrew manuscript named "Bahram-Nameh" belonging to 1112 A.H. The images of the paintings of both manuscripts are available on the website of the British Museum. The study sample also includes seven paintings from both books called Seven Places. This research is descriptive-analytical and comparative and has examined the two manuscripts in question with the approach of Gérard Genets’ Intertextuality. The method of collecting information is also in the form of a library (recording) and observation. In Iran, much research has been done regarding adaptation, but so far Persian-Hebrew works have not been examined with this approach. Outside of Iran, there have been researches about Persian-Hebrew manuscripts and most of them have been published in Hebrew, but none of them are from the point of view of derivation and adaptation. In this article, we are faced with the adaptation of the tradition of Jewish illustration from Iranian paintings and after that with the literary pre-text, so it is also a cross-cultural study and the formulation of the research has several different sign systems. One is literary (the text of Haftpeikar of Nizami) and the other is pictorial, which includes illustrations of the Persian and Hebrew manuscripts and the Lampstand of Menorah. The paintings of the Hebrew manuscript could not be created without a visual pretext, i.e. the pictures of the Persian manuscript could not be created and it can be said that the relationship between these two is based on pretext because the number of figures, the totality of the work and the creation of space all confirm this issue. On the other hand, the illustrations of the Persian manuscripts are also taken from the literary text of Khamsa of Nizami. In its heart, the Hebrew manuscript contains references to the Menorah candlestick, so this Lampstand is also a pretext for the Hebrew manuscript. Based on the acquired results, Bahram-Nameh shows something more than the imitation or reproduction of the text by transitioning from intertextuality to hypertextuality. This book has changed the seven conducts mentioned in Nizami's poetry and by simulating the appearance of the Haftgonbad story, it shows an allegory of the religion of Moses and the Jewish religion, which means it has been adapted from the coexistence of Nizami's poetry. The signs are sometimes a reference to Judaism and sometimes a quote from Nizami, so this illustrated text fluctuates in a continuous rotation from Islam to Judaism and vice versa, and the dominant type of change is Transposition. The adaptation in the Hebrew manuscript of Haftapeikar was formed in cultural-linguistic and international research, following the connection between two different Iranian and Jewish communities during the Safavid era. In this study, the difference between two hypertexts was investigated. In the first step, it was determined that Bahram-Nameh has a literary pretext of Khamsa of Nizami and a pictorial over text of Haftpeikar (11th century A.H.). By examining the cases considered in the collection of studies, it was determined that the Hebrew text related to the Persian manuscript of intertextuality is the dominant form of transposition. The changes that have been made in some symbolic systems of the paintings of Haftpeikar have led to huge changes and transformations in the second adapted and hypertextual work (Bahram-Nameh). Most of these transformations are related to the replacement and displacement of the days of Friday and Sabbath in the Hebrew text compared to the Persian text because in this way we encounter the exchange between the images of the Bahram-Nameh and the Menorah candlestick as a symbol of Judaism. This study is interdisciplinary, i.e. between literature, painting, and religion. The second hypertext (Hebrew manuscript) was produced based on the changes made in the Iranian manuscript and accordingly the literary text of Khamsa of Nizami. These changes are the result of a change in the text of Haftpeikar Khamsa of Nizami, so the literary text of Haftpeikar Nizami is a pretext for Bahram-Nameh. The creation of the illustrations of the Hebrew manuscript has been made possible in such a way that if it is examined with the criteria of Genets’ theory, in terms of quantity and size, it has been reduced in size compared to the Persian manuscript, which can be expressed in terms of external structure and appearance. From a qualitative point of view, the Hebrew manuscript has changed. Also, there was an intertextual relationship between Bahram-Nameh and Menorah paintings as a symbol of Judaism, and due to this influence, the style of the works has changed. The identification and replacement of the seven stages of conduct and the seven places with the seven branches of the Menorah and the seven planets has been done, and following that and in a broader sense, the Nizami mystical conduct has been oriented towards Jewish mysticism. These changes have occurred in the painting tradition of Iranians, and therefore, the art of Jews residing in Iran has tended to be hidden among Iranian art and culture. In the adapted work of Bahram-Nameh, the confusion of the arrangement of the images itself means an order in the Jewish religion, which, in accordance with the Iranian hypertext, has an unusual expression to achieve enlightenment and transcendental truth. In this study, the relationship between two hypertexts is based on the influence system. In the Hebrew manuscript, we have a movement from intertextuality to hypertextuality. On the surface, the Hebrew manuscript is depicted exactly according to the pentagram and tells the stories of Bahram Gur, but on the inside it has references to the Jewish tradition. The number seven is sacred in Islamic and Jewish thought and is a level of perfection and excellence. On the surface, the Hebrew manuscript is depicted exactly according to the pentagram and tells the stories of Bahram Gur, but on the inside it has references to the Jewish tradition.  Therefore, by dealing with authentic Iranian stories and by producing the manuscript, the artist has pursued a goal, which is a metaphorical comparison and expression of Moses and the Jewish religion, which reminds the audience secretly and with implicit concepts. According to Genets’ theory of intertextuality, among the four possibilities of intertextuality (quotation, allusion, reference, and plagiarism) and six hypertextual possibilities, co-presence and overlap are both present. A series of Jewish religious elements have been formed in the context of Iranian art and literature, which has led to the change of Nizami's poetry. In this way, the Persian-Hebrew text of Haftpeikar has been in constant rotation from Islam to Judaism and vice versa, and thus the gender and nature of the images have changed compared to the text and writing of Khamsa of Nizami.

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Bir Türk hanlığı olarak İran' da (1795-1925) 130 yıl hüküm sürmüş Kaçar Hanedanlığı gerek kültürel gerekse sanat açısından İran için bir geçiş dönemidir. Bu devrin hemen başında Feth Ali Şah (1797-1834) zamanından itibaren İran' da etkin bir mimari yapılanma meydana gelmiştir. Bu mimari yapılar arasında dikkate değer ve üslup birliğinin görüldüğü eserlerden biri evlerdir. Evler bireylerin yaşam biçimleri ve kültür düzeyleri arasında sıkı bir ilişkinin olduğunu göstermenin yanı sıra halkın sosyo-kültürel yaşam biçimiyle de paralellik olduğunun bir kanıtı niteliğindedir. Bu bildiride Tebriz' de bulunan Kaçar Hanedanlığına (1795Hanedanlığına ( -1925) ) ait bir grup sivil mimari eser olan üç ev tanıtılacaktır. Bu evler, Emir Nizam, Alavi, Anayasa (Kuzeh Konâni) evleridir. Evlerde ön plana çıkan en önemli özellikler; kuzey-güney olarak iki cepheli olmaları, cephelerin eyvanlı balkonlarının varlığı ve bu balkonların simetriğinde düzenlenmiş olan iç-dış bahçe oluşturulması, ön cephe olan kuzey cepheye açılan "tenabi" adı verilen büyük ve süslü odaları, bu odanın hemen alt kısmında yer alan "havuz odası", yine bu odayı takip eden ve genellikle batı cepheye yerleştirilmiş, Kaçar Hanedanlığının erken, orta ve geç dönemlerinde yapılan yapılarda ana mimari elemanlardan biri olan zemin katta bulunan depo-kiler kısımlarıdır. Restore edilerek korunan bu yapılar, Kaçar döneminin mimari gelişmelerinden olan bütün bu özellikleri kendinden sonra gelen dönemde de devam ettirmesi bakımından önemini korumaktadır. İran toplumunda hâkim olan kapalı ilişkiler ve toplumun dışa dönük olmayışının ev mimarisi üzerinde nasıl bir etki bıraktığı plan, mimari ve süsleme özellikleri ile açıklanıp bilimsel olarak tanıtılmaya çalışılarak evlerin İran' daki ev mimarisine katkıları ve dönem içerisindeki önemleri vurgulanacaktır.

Highlights-Location is a critical concept in retail, especially in the clothing sector.-Many clothing stores opt for street locations over the Bazaar (retail agglomeration).-Factors such as business hours, accessibility, parking availability, and social networks play a significant role in avoiding retail agglomerations (Bazaar and shopping centers).-Parking, street activity, visibility, and proximity to major urban centers are key reasons for establishing stores on the street.-Using MaxQDA software is highly effective for qualitative data analysis and interview coding.

The Azeri-style residential architecture of buildings has largely disappeared, their interior architectural elements have been lost, or their arrangement patterns have changed according to the tastes of space users. A significant emphasis has been placed on research conducted on the history of Islamic art and architecture on the architecture of Iran during the recent era and its architectural details. Iranian art flourished during the patriarchal period and has produced numerous paintings from this period. Many of these paintings depict details of interiors; given that the surviving buildings from this period are few, historical evidence is needed. There is no validation of drawings and study of the history of Iranian architecture in that period. By comparing the architectural buildings left from later periods, one can find many similarities between the spatial elements displayed in the paintings and architectural buildings after the Azeri style, which shows the connection between different fields of art in different schools. This study aims to study the furniture and elements of Iranian interior architecture in the surviving paintings from the patriarchal period to the early Safavid period. The purpose is to present the arrangements of Iranian interior spaces during that period. The studies were conducted to answer these questions: What are the standard features between Iranian architecture in the Azeri era and surviving paintings from that period? How were the architectural buildings displayed in the paintings? This research examines and analyzes historical documents with the method of historical research. Based on historical documents such as surviving paintings from the patriarchal to early Safavid period and other contemporary painting styles with that period and comparing them with surviving buildings from that period and later periods, the data needed to study the types of interior architectural elements and layout patterns of spaces. The interior of residential houses was obtained during the Azeri period.

The paper explores the semantic potential of the Farsi term mandegari (māndigārī) to describe historic places within the context of built environment. This word holds significant meaning for characterizing the attributes of different phenomena. To start, a comprehensive review of Farsi literature highlights its utilization in scholarly research, where scholars and researchers have employed this term to express the enduring qualities of historic places. The paper delves into the terminology of mandegari in Farsi dictionaries, exploring its various nuances and associations. The surface definition of mandegari is identified as meaning someone or something who stays in a place, possessing stability and durability. Conventional content analysis is then employed to extract themes and sub-themes from dictionary definitions and examples. In the next step, the research extends to an examination of peer-reviewed Farsi articles on built environment as a case study, using summative content analysis to unearth the semantic dimensions of mandegari. From this analysis, themes of positivityneutrality, objectivity-subjectivity, and perenniality-metamorphosis emerged. While the connotations of mandegari are predominantly positive, the term also contains objective and subjective dimensions. Then, the dual aspects of perenniality and metamorphosis are explored to understand how places evolve over time while maintaining their essential attributes. By illuminating the convergence of these seemingly opposite concepts, the paper shows how they coexist to shape a place's character. The paper also highlights a gap in the literature on built environment concerning a precise understanding of the concept of mandegari in the Farsi language. It aims to encompass shared meanings and experiences of this concept among scholars. By exploring these tensions and providing a thorough exploration of the semantic dimensions of mandegari, the research contributes to the field's theoretical framework. The study aligns with the tradition of introducing new concepts to enrich architectural discourse, like how Christian Norberg-Schulz introduced the concept of genius loci (spirit of the place) from ancient Roman culture. In essence, the research provides a valuable exploration of the nuanced meanings and implications of mandegari in the context of historic places.

The purpose of this research is to investigate the architecture of mosques and explain the architectural index elements in local and Jame Mosques. "Mosque" from the root of prostration is an allusion to a place of worship, the building of which should be able to induce a sense of worship in its audience. The forms and roles in the building are the shapes that are influenced by the content and affect the human sensory perception and are directly related to people's beliefs and religion. Therefore, the architecture of the mosque represents the depth of the perceptions of the intellectuals and ordinary people about the essence of the mentality and faith of the Muslim society, and the main issue in its design is the suitability of the architecture of the mosques with their dignity and functional content. When Islam emerged, there was no idea of the principles of building a mosque and the only pattern was the Prophet's house-a simple building with wooden pillars. Iranian architectural styles have changed and evolved during different periods of history, in accordance with governments, religions and beliefs, and with the arrival of Islam, the Iranian architectural style underwent many changes. In general, several prominent elements are used in the architecture of the mosque: the courtyard, the porch, the shabistan, the mihrab, the dome and the minaret; however, some mosques lack a courtyard or minaret and some have several mihrabs. So, in this research, the study of the historical local and Jame Mosques of Zanjan, by examining their architectural features, the architectural index elements which are unknown aspects of this research, as well as to determine the factors influencing the design of these mosques that take the ambiguous dimension of the problem, with library studies and the descriptive/analytical method of existing documents and research.

The Impacts of Golden Ratios on Visual Aesthetics in the Historic City of Masouleh*

Saeid Hasanpour Loumer1*, Ahad Nejad Ebrahimi 2, Hassan Sattari Sarbangholi3, Ali VandShoari4

1. Ph.D. Graduated in Architecture, Department of Architecture, Faculty of Art and Architecture, Islamic Azad University of Tabriz Branch, Tabriz, Iran. 
2. Professor of Architecture, Department of Architecture, Faculty of Art and Architecture, Tabriz Islamic Art University, Tabriz, Iran. 
3. Associate Professor of Architecture, Department of Architecture, Faculty of Art and Architecture, Islamic Azad University, Tabriz Branch, Tabriz, Iran. 
4. Associate Professor of Carpet Studies, Department of Carpet, Faculty of Carpet, Tabriz Islamic Art University, Tabriz, Iran.

Abstract
The historic city of Masouleh, located in Gilan Province, is a prime example of the application of golden and geometric proportions in Iranian architecture, resulting in visual beauty and conveying spiritual concepts. This research investigates the effects of golden ratios on Masouleh's visual beauty, exploring the concepts that influenced its architectural patterns and the utilization of golden proportions in its structure.The research method is descriptive-analytical, using field studies and software like AutoCAD 2024, Atrise Golden Section 5.9.2, and PhiMatrix 1.618 to analyze the patterns and golden proportions present in Masouleh's architecture. The findings indicate that religious beliefs, respect for nature, climatic and structural needs, and the use of local materials are key factors shaping Masouleh's architectural design. Golden proportions, such as the golden circle, golden rectangle, golden spiral, and Khayyam-Pascal triangle, are extensively used in building designs and decorations.The results suggest that golden proportions create visual balance and harmony, establishing an appealing and sustainable rhythm in Masouleh's physical structure. These proportions also aid in the transmission of cultural and spiritual concepts through the design of openings, doors, and interior decorations such as religious and floral motifs. The alignment of Masouleh's stepped structure with the Fibonacci sequence and Khayyam-Pascal triangle demonstrates intelligence in harmonizing with environmental and climatic conditions, facilitating easy access in sloped terrains. Additionally, the examination of architectural decorations reveals that using small and large modules plays a significant role in creating local identity and adapting to indigenous materials. In conclusion, Masouleh's architectural structures successfully demonstrate harmony between nature, culture, and architecture. The integration of traditional and modern design principles offers a valuable model for contemporary architectural endeavors in similar regions, fostering a sustainable and culturally enriched built environment, ensuring that future designs respect and reflect the rich heritage and natural beauty of the area.

Highlights
 Extensive Use of Golden Ratios in Masouleh's Architecture
 Influence of Religious Beliefs and Respect for Nature on Architectural Formation
 Alignment of Masouleh's Terraced Structure with the Fibonacci sequence
 Transmission of Cultural and Spiritual Concepts through Architectural Decorations

Keywords: Golden ratios, visual aesthetics, architectural elements, Masouleh
*The article, derived from a doctoral dissertation titled "Typology of Motifs and Architectural Decorations in the Historic City of Masouleh," was conducted at the Department of Architecture and Art, Islamic Azad University, Tabriz Branch.
Author Corresponding
Email: stu.saeidhasanpourloumer@iaut.ac.ir
Phone: +9809119863952
Introduction: Urban aesthetics, as a fundamental aspect of urban design and planning, plays a crucial role in shaping harmonious and visually appealing spaces. Among the various principles influencing urban aesthetics, the golden ratio stands out as a key mathematical and geometric concept that enhances balance and beauty in urban environments. This ratio, approximated as 1.618, is widely found in nature, art, and architecture, and has been admired for its harmonious proportions throughout history. From ancient monuments like the Egyptian pyramids and the Parthenon to modern architectural designs, the golden ratio continues to be a guiding principle in achieving visual harmony. In urban design, the golden ratio is employed to create balance in public spaces, influencing the organization of elements such as form, color, and spatial composition. When applied in the design of streets and squares, it enhances aesthetic appeal and fosters a pleasant experience for citizens. Studies suggest that spaces designed with these proportions evoke a sense of tranquility and satisfaction, making them more inviting and comfortable. Iranian-Islamic architecture, deeply rooted in geometry and proportionality, has traditionally relied on unwritten principles passed down through generations. However, this valuable heritage has gradually faded, and today only a few artists are familiar with its foundations. In the past, Iranian architects skillfully used golden and geometric proportions to create structures that reflected cultural beliefs and artistic excellence. The historical city of Masouleh, with its unique architectural style, is a remarkable example of this tradition. Its physical structure and decorative elements are based on geometric principles and golden proportions, contributing to its distinct visual appeal and attracting researchers and tourists alike. Preserving and understanding Masouleh’s architectural heritage is essential to maintaining its historical significance. Research highlights the impact of the golden ratio not only on visual aesthetics but also on the perception and experience of urban spaces. Public areas such as parks and squares, where social interactions take place, benefit greatly from the harmony created by these proportions. Moreover, the thoughtful application of the golden ratio in urban planning can enhance the overall quality of life. However, its improper use may result in imbalanced spaces that disrupt visual harmony and user experience. Therefore, a precise understanding of its effects and applications is necessary for effective urban design. This study explores the influence of the golden ratio on the aesthetics of Masouleh’s urban spaces. Through case study analysis and literature review, it examines the role of proportionality in shaping architectural elements and its impact on user perception. The key research questions include: What concepts have influenced the formation of Masouleh’s architectural features? And which geometric patterns and proportional systems have been used in its design? The findings aim to provide insights for urban designers and planners in creating visually harmonious urban environments. With increasing urban expansion, preserving historical sites like Masouleh is more important than ever. Rapid and uncoordinated development threatens the integrity of historic urban fabrics, accelerating the decline of traditional arts. Although Masouleh has been recognized as a national heritage site and is in the final stages of UNESCO World Heritage registration, research on its geometric and proportional systems remains scarce. Additionally, due to its mountainous location, use of traditional materials, and lack of modern infrastructure, the city faces significant risks from natural and human-induced disasters. Given these concerns, this study seeks to highlight the importance of preserving Masouleh’s architectural identity and ensuring its sustainable development.
Materials and Methods: The research methodology in this study follows a descriptive-analytical approach, incorporating field studies and software-based analysis to examine the geometric and golden proportions in the architecture of Masouleh. In the initial phase, out of 564 existing buildings in Masouleh—primarily categorized into residential, market, and religious structures—a total of 151 buildings from the city's six districts were selected for an in-depth analysis of their geometric and golden proportions as well as the architectural elements shaping their ornamentation.Subsequently, through field studies, the physical proportions and architectural features of these 151 buildings were drafted using AutoCAD 2024. The collected data were then analyzed with specialized software such as Atris 5.9.2 for golden section divisions and Phi Matrix 1.618, along with manual sketches, to assess the geometric and golden proportions of Masouleh’s structures.Specialized software like Phi Matrix and Atris, which are based on mathematical and geometric principles, enabled precise analysis of these proportions. Architectural plans and decorative elements of the buildings, documented through field surveys and drafted in AutoCAD, were imported into Atris and Phi Matrix for further examination of their proportional relationships. Additionally, library research was conducted to explore the conceptual foundations of these architectural elements.This methodological approach contributes to a deeper understanding of traditional Iranian architecture and can serve as a model for future research in this field.
Discussion and Conclusion: The historic town of Masouleh, known for its unique architecture and visual harmony, exemplifies the application of the golden ratio and geometric proportions in creating aesthetic beauty. This study explores the impact of golden ratios on Masouleh’s visual appeal, examining the concepts, patterns, and proportions in its architecture and decorations. Findings indicate that golden ratios significantly contribute to harmony, balance, and visual attraction in the town. 
1. Influential Concepts in Masouleh’s Architecture: Religious beliefs, respect for nature, climatic needs, and the use of local materials have shaped Masouleh's architecture, impacting geometric designs, materia...

🔷 با آتش آه!: از «خرقه‌سوزی» تا «روسری‌سوزی»
 

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🔶 در پی جان باختن نه چندان روشن مهسا (ژینا) امینی، در ۲۵ شهریور ۱۴۰۱، دختری مسافر در شهری غریب، و در بازداشتگاه «گشت ارشاد» یا نیروی «امنیت اخلاقی» تهران، که به احتمال بسیار ناشی از حادثه‌ای غیرعمد اما به دلیل رفتار خشن و بی‌مبالات مأموران در هنگام دستگیری او، به اتهام آسانگیری در حجاب و انتقال به بازداشتگاه بود، خیزشی انقلابی در ایران برخاست که از اعتراض به قتل غیرعمد و اتفاقی دختری جوان به دست مأموران نیروی انتظامی فراتر رفت و به خواست «تغییر نظام («رژیم»)» و حتی «فروکشیدن» و «به زیر آوردن» آن رسید، چون رخ دادن چنین رویدادی در نتیجهٔ چنین رفتار ناشایست و بی‌مبالاتی استثناء نبود بلکه قاعده بود و در بیش از چهار دهه بارها به تجربه درآمده و به اثبات رسیده بود. در این پژوهش نخست می‌کوشم به این پرسش پاسخ دهم که چرا چنین واکنش احساسی و عاطفی نیرومند و خشمگینانه‌ای نسبت به «حجاب اجباری» و «خشونت دولتی» در اجرای آن برخاست و آن‌گاه با رجوعی به تاریخ فرهنگی گذشتهٔ ایران به ماجرای میان «شریعت» و «طریقت» و تجربهٔ صوفیان و عارفان و شاعران و حکیمان روشن‌رای و نقد آنان از «دین زور» و «ظاهرپرستی» و «شریعت‌پرستی» فقیهان و دیگر مدعیان «اهل شریعت» و «دکان‌داران دین» وآن‌گاه بی‌ارزشی ظاهرسازی‌های دینی در چشم اهل حقیقت و خرد می‌پردازم. از آنجا که تاکنون در تاریخ‌ فرهنگی و اجتماعی ایران چیزی به نام «روسری‌سوزی» نداشته‌ایم، اما در شعر شاعران پارسی‌زبان و پارسی‌گوی چیزی به نام «خرقه‌سوزی» داشته‌ایم می‌کوشم با گزارشی از معانی متعدد «آتش به خرقه زدن»، و به‌ویژه آن معناهای منحصر به فردی که عطار و مولوی و حافظ از آن به دست داده‌اند، به فهمی از علل و دلایل «خرقه‌سوزی» و «روسری‌سوزی» و اهمیت کنونی آن برای تاریخ معاصر ایران دست یابم.

کلیدواژه‌ها: عطار، مولوی، سعدی، حافظ،  خرقه افکندن، خرقه دریدن،  تخریق خرقه، تصوف، عرفان، خرقه  سوختن،  رندی، خرقه‌سوزی، روسری‌سوزی 

The Fars cultural area in the south of Iran has different ecosystems including high mountainous and cold areas in the north, vast intermontane plains in the center, and low and dry areas along the coasts of the Persian Gulf. This ecological diversity led to the formation of various settlements from Paleolithic to modern era. With the beginning of scientific excavations in this cultural zone, monuments such as Persepolis became the focus of archaeological studies, and due to their excavation, archaeological research on prehistoric periods, especially the Neolithic period, has also been done. Although more than eight decades have passed since the beginnings of the excavations of the Neolithic sites in this area, there are still many difficulties in studying this period. Prior to the excavations of Tepe Rahmatabad, the Mushki period was the oldest Neolithic phase in Fars, but excavations at Rahmatabad revealed cultural deposits related to the pre-pottery Neolithic and the beginning of the pottery Neolithic periods. During the survey carried out by Zare and Karami, Tol-e Sangi in the Morghab plain was identified near Pasargadae, the surface pottery of which was comparable to the Rahmatabad pottery, which Azizi Kharanaghi has named “the Mushki formation pottery style.” Therefore, excavations were carried out at this site to identify the cultural and economic characteristics of Fars at the end of the pre-pottery Neolithic period and the beginning of the pottery Neolithic period. During the excavations, cultural deposits about 5 meters thick, including two periods of the pre-pottery Neolithic and the beginning of the pottery Neolithic, were explored.

The Friday mosque of Faryūmad is located in eastern Iran (the Khurasan region). Ilkhanid written sources, such as Nuzhat al-Qulūb by H. amdullāh Mustaufī (1281-1344), recount that Faryūmad was known as the centre of Juvayn. Earlier Saljuq sources (e.g. Tārīkh-i Bayhaq) note that Faryūmad was a large district and had its own governor in the period prior to reaching its significance in the Ilkhanid period. Despite the monument's significance for the understanding of the evolution of construction technology from the Saljuq to the Ilkhanid period, it lacks consistent research. This paper proposes the first systematic analysis of the monument's epigraphic corpus and includes its full documentation. It suggests new information regarding the history and patronage of the Faryūmad Friday mosque. The examination of historic inscriptions of the monument also provides new information regarding the identity of the patron of the mosque. Furthermore, examination of inscriptions and stucco revetments allows for a revised chronology of the construction and decorative phases of the monument.

The Khanjar Pb-Ag (Zn) deposit is one of the stratabound deposits of Cretaceous age in Central Iran. The ore bodies may be grouped into two main geometric (k2b).Three ore bearing facies have been distinguished in the Khanjar area: 1) Siliceous limestone facies; galena, sphalerite and pyrite are the main ore minerals. Minor amounts of chalcopyrite are also visible. 2) Mullusca, Echinoderm wackstone facies with galena and sphalerite. 3) Rudist limestone facies with large amount of galena. As with other stratabound and stratiform Pb-Zn deposits, the main ore minerals are simple and few in number. In addition, galena, sphalerite and pyrite, some tetrahedrite, barite and minor amounts of copper minerals are observed. Pyrite often with framboidal texture and sphalerite with spheroidal texture form always part of paragenesis. Fluid inclusion investigations on saddle dolomite located in fractures with galena and sphalerite demonstrated the homogenization temperature of 145-230 centigrade and salinity of 17.5-23% NaCl equivalent.Geometry of ore bodies, occurrence of ore horizons in certain Khanjar Pb-Ag(Zn) deposit is an MVT deposit.

The Isfahan Grand Mosque, which Galdiri considers a unique work throughout Islamic architecture, is rightly titled the Encyclopedia of Islamic Architecture. Many of the decorations of this mosque are undated inscriptions which, in addition to their decorative function, are a reflection of the political-religious history of Isfahan and the presence of Sunni and Shiite governments, whose presence in different centuries has had a great impact on development, construction and decoration. In this research, inscriptions without date of the entrance of the south nave of the east porch have been studied. The present study was conducted in a field-library method. Although researchers have made brief references to the date of its construction, they have not provided sufficient evidence. In the studies done, its history has been obtained by referring to contemporary buildings, execution methods and writing style. Relatively, it is possible to date the wall of the eastern nave of the Grand Mosque relying on the date of construction of Soltanieh Dome (1306-1313), the mihrab of the Isfahan Grand Mosque (1310), the tomb of Pir Bakran (1304 and its inscription 1312) and the Ashtarjan Grand Mosque (1308-1315), setting a time range between 1306-1315 AH, which covers the early fourteenth century. This date is about one hundred years different from Grabar's proposed date, which he considers to be older, preceding the fourteenth century.

گفته شده است نبرد هرمزدگان بین اردشیر بابکان ساسانی و اردوان پنجم اشکانی در سمت گلپایگان-نیاسر اتفاق افتاده و به پیروزی اردشیر بابکان به انجام رسیده است. بنابراین چارتاقی نیاسر، طاق نصرت اردشیر بابکان به مناسبت پیروزیش بر اردوان پنجم بوده است.

The subject of supplying thermal energy, i.e providing comfort inside the building for residents and supplying cold and heat by building is essential to be discussed in architectural term. The majority of dwelling spaces were designed on the basis of corresponding man demands and environmental conditions and gradually created an exceptional combination of art and technology. However, in the architecture related to 20 th century, by giving extreme importance to so-called modernism is distinguishable. Of course, the cost for being technological is going to ignore other values. A challenging question, which is always raised when scholars review the methods and characteristics in sustainable architecture, is the claim that Iran's vernacular architecture has complied sustainable principles.

The study aims to discuss the Saljuq dome chamber of the Masji-i Jami'at Marand in detail. The building is mainly famous for its Ilkhanid Mihrab. The dome chamber is part of a larger structure that was expanded in various periods. The mosque was examined by previous scholars, who mainly focused on the Mihrab. Sarre, Pope, Siroux and Wilber are wellknown scholars of Iranian architecture who have published their survey about the mosque. In his lengthy studies, Robert Hillenbrand categorises the Marand mosque, with other domed mosques of northwest Iran, as the "School of Qazvin". However, no hard evidence confirmed a Saljuq date for the Marand Jami'except for architectural similarities. The present study mainly focuses on the dome chamber of the building. The article first introduces the mosque and then examines its dome chamber. The dome chamber is placed in a rectangular structure in the historic part of the city. The building was developed and changed at various times. The building has neither a courtyard nor a historic entrance. Despite its vanishing dome, the dome chamber still preserved its original architectural features. The building's main features are the square dome chamber, the stunning transition zone that differs from other Saljuq cases, and an inscription band of carved stucco encircles the dome chamber. Providing a comprehensive reading of the Mihrab's inscriptions as much as possible based on previous studies and the fieldwork of the writer is a further purpose of the study. The inscription band of the dome chamber has not received enough attention from earlier scholars. The fresh material that was found in the conservation procedures of the building shed light on the mosque's history. The founded date confirmed the erection of the dome chamber in the Saljuq period. The study also provides some unpublished drawings of the building.

Throughout the history of architecture, the structure has always played an effective role on architecture. Paying attention to the fact that the structure is a necessary and unavoidable part of the building can play a significant role in improving the quality of architecture. The traditional Iranian architect, by using the principles of Islamic architecture and geometry in the implementation of the building, has been able to be effective in improving the quality of the architecture of the implemented buildings. As a museum of traditional and Islamic architecture, Khorasan Architecture presents numerous and diverse works in this field. In this research, 41 historical monuments were selected by examining the religious buildings of Mashhad. The condition of the studied buildings was investigated in terms of the qualitative improvement of the Plate structure, the spatial structure and the illustrative structure in different historical periods from the Sassanid era to the Pahlavi period. With field surveys, it was found that 26 buildings have 65% improvement in the quality of plate structures, 15 buildings have 37.5% improvement in the quality of spatial structures, and 2 buildings have illustrative quality improvement in their records. Through the analysis, it was observed that most of the buildings were executed during the Safavid period and the quality improvement of the internal surfaces due to the plate structure was the most used with 22.5%.

Schools are the most familiar learning spaces in the mind, which have undergone fundamental changes over time in various sectors, including architecture. The aim is to compare the architecture of Qajar and Pahlavi period schools and the effect of paradigm shift and transformation in Tabriz and Urmia schools. In this research, the evolution and continuity in the architecture of schools in the Qajar period was analyzed with regard to the spatial indicators and the body of learning the open space of Iranian schools. The research is important from two practical and descriptive-analytical aspects, it is practical for exploiting all kinds of schools of the Qajar and Pahlavi periods and fundamental for how to face them in the space of transition from architecture in the city. The method of doing the work is mixed and qualitative-quantitative. First, library information is collected and then the interview technique is used. The components extracted in the questionnaire were compiled with a Likert scale and distributed among the experts. In the qualitative part of the interview method, he collects data, and in the Atlasti software, he extracts the components and changes of schools based on open and axial coding and the results of the questionnaire with the SPSS software, analysis of variance, regression (ANOVA) for data analysis with statistics. During the Qajar period, the arrival of modernity in Iran caused a transformation and a paradigm shift in school architecture. With the establishment of Dar al-Funun by Amir Kabir, a huge change in the model of schools took place, which led to the separation of schools from mosques. As a result, the educational spaces from the school mosque with the pattern of the central courtyard later changed to the schools with the elongated plan pattern, and the educational evolution in the Qajar period followed the concept of physical-shape continuity of the traditional Iranian architecture and items such as the central courtyard, module and frame. The arrangement of views and symmetry, introversion and appropriate geometry, etc. can be seen.

In this manuscript; preparation of gold nanoparticles using the pulsed laser ablation of gold target in water has been described. Optical absorption spectrum of nanoparticle suspensions in water has been observed and nanoparticles sizes have been analyzed by transmission electron Microscopy. The optical limiting measurement method is explained and obtained results are presented. The results of optical limiting experiments with CW ND YAG laser beam (wavelength 532nm) indicate linear response of samples when input power is below about 70 mW and nonlinear respons to large powers than this limitation. Results reveal that thermal nonlinear refraction index due to surface plasmon resonance is the main responsible for the limiting behavior of the metallic nanoparticles suspensions.

City of Karaj Abu-Dolaf is one of the important cities in Islamic period which formed in early Islamic period then got prosperity in middle centuries. Knowledge about this city was limited to written resources till three decades ago. At present, we have more information about its location and remains through enough archaeological surveys as well as study of texts. One of the most important remains of it are Khanqahs. Khanqahs were constituted as centers for teaching the bases of religious learning and the principles of the Sufi orders from the fourth century in Islamic lands. Besides the city of Karaj Abu-Dolaf had several Khanqahs, so the aim of this research is to investigate those through archaeological survey then documents and texts. This research has three questions as following: 1. what time is supposed to formation and development of Khanqahs based on written documents and historical evidence? 2. What role documents and archaeological evidence has in coincidence of Karaj place with Astaneh city? 3. What were the location of Khanqahs in spatial structure of Karaj city? The approach of this article is historical-descriptive-analytical and information was obtained via documentary and field researches. Till now, no research has done about Karaj Khanghahs and based on documents and archaeological surveies, in addition to coincidence of current location of Astaneh city with old city of Karaj Abu-Dolaf, we can state Khanghahs of Karaj city were parts of spatial structure of city and sustained its functional relations with the architectural structures and remains after city's decline.

The mosque and Imamzada of Murcha-Khurt castle were tiled during the reign of Fath‘Ali Shah. After the flood of 1956, some of the tiles of both buildings were destroyed. During the repairs in 1991, almost all the tiles of Imamzada were removed. Sixty-four pieces of them were installed irregularly on the walls of the iwan, about 250 pieces were kept in storage, and at least 130 pieces were transported to the mosque for completion of the walls. Their tiles fell, and some were destroyed. Based on the field study, this article tries to answer questions such as the tiles’ themes, stylistic features, and identification of patron and tile makers. The importance of this article is not only in the publication of Imamzada tiles for the first time but also in the fact that some of them were destroyed after the completion of this research. The findings reveal that the tiling of the mosque and Imamzada was done in 1232 AH by the patronage of Haji Sulayman ibn Haji Ibrahim, who may have been the patron of the tiles of the Qajar iwan of Imamzada Harun Vilayat in Isfahan. Abulhasan ibn Ustad Mahdi Sabbaj made the mosque tiles, and their painting subject is limited to vegetal and floral motifs. The Imamzada tiles are the work of his brother Hassan ‘Ali and contain a wide range of vegetal, human, animal, and architectural motifs. They can be considered as a real example of popular art.

Köy odaları, geçmişten günümüze kadar devam eden önemli Türk mimarlık geleneklerinden biridir. Geçmişte köy halkının birlikte veya köydeki zengin ailelerden bir ya da birkaçının inşa ettirdiği köy odaları; günümüzde taziye evi, köy konağı, konuk odası, köy odası gibi isimlerle varlığını devam ettirmektedir. Günümüzde köy odaları; düğün, cenaze, bayram vb. zamanlarda halkın toplanma ihtiyaçlarını karşılayarak eski köy odası geleneğini devam ettirmektedir. Köy odalarının temelde halkın toplanma ve konaklama ihtiyaçlarına hizmet ettiği bilinmektedir. Bu odalar, Türk kültürünün en belirgin özelliklerinden olan konukseverlik ve dayanışma olgularını gözler önüne seren önemli mekânlardır. Mimarî açıdan dış cephede genellikle gösterişten uzak bir görünüme sahip olan köy odaları, iç mekân süslemeleri ile dikkat çekmektedir. Bu çalışmada, Sivas'ın Merkez ilçesine bağlı Menşurlu köyünde yer alan Şekerzade Osman Ağa'nın odası incelenmiştir. Oda, içerisinde yer alan ve yapıyla çağdaş olduğu düşünülen ahşap çerçeveli "Mâşallâh Teâla" kitabesindeki tarihe göre 1880-1881 yıllarında inşa edilmiştir. Doğu-batı doğrultuda dikdörtgen planlı oda nim sekili ve tek katlı olarak inşa edilmiştir. Kaba yonu taş, moloz taş ve ahşap malzemeler ile inşa edilen yapının içerisinde yoğun ahşap süsleme kompozisyonları yer almaktadır. Günümüze değin çeşitli tahribat ve tadilatlar geçirmiş olan odanın inşa edildiği dönemde ahşap süslemelere ek olarak duvar resimlerine de sahip olduğu iç mekânda günümüze gelebilen tek parça ağaç tasvirinden anlaşılmaktadır. Sivas İlbeyli köylerinde benzer örnekleri bulunan "nim sekili" planda inşa edilmiş ve geleneksel konut mimarisinin ahşap bezeme özelliklerini barındıran bu yapı, günümüzde kaderine terkedilmiş durumdadır. Köy odasının aslına uygun biçimde restore edilerek yeniden kullanıma açılması elzemdir. Tanzimat Dönemi'ne ait, banisi ve tarihi belli olan bu önemli halk mimarisi örneği koruma altına alınarak gelecek nesillere aktarılmalıdır.

As a Persian-Hebrew work, Bahram-Nameh represents Jewish art in context of Iranian art. This work is derived from a Persian manuscript of Haftpakar and by choosing and changing some special sign systems in it, an adapted manuscript of Bahram-Nameh was created. The problem is the reason for the re-creation and adaptation of the Hebrew manuscript of Haftpakar from its Persian manuscript in the Safavid era. The goal is to achieve and identify the type of transformations in the Bahram-Nameh hypertextual. Questions: In the process of derivation, what sign systems were changed or removed in the Hebrew manuscript that led to a change in meaning? And what are the differences between the two Persian and Hebrew manuscripts of Haftpakar? Examining Bahram-Nameh together with the available pretexts can fill the void of studies in this field. The statistical population includes paintings of the seven-figure section of the Persian manuscript of Khamsa Nizami in 1076 AH, and the other is the paintings of the Hebrew manuscript named "Bahram-Nameh" and belonging to 1112 AH. The images of the paintings of both manuscripts are available on the website of the British Museum. The study sample also includes seven paintings from both books called seven places. This research is descriptive-analytical and comparative and has examined the two manuscripts in question with the approach of Gérard Gennet's transtextuality. The method of collecting information is also in the form of a library (recording) and observation. In Iran, many researches have been done regarding adaptation, but so far Persian-Hebrew works have not been examined with this approach. Outside of Iran, there have been researches about Persian-Hebrew manuscripts and most of them have been published in Hebrew, but none of them are from the point of view of deriveration and adaptation. In this article, we are faced with the adaptation of the tradition of Jewish illustration from Iranian paintings and after that with the literary pre-text, so it is also a cross-cultural study and the formulation of the research has several different sign systems. One is literary (the text of Haftpakar Nizami) and the other is pictorial, which includes illustrations of the Persian and Hebrew manuscripts and the candlestick of Manorah. The paintings of the Hebrew manuscript could not be created without a visual pretext, that is, the pictures of the Persian manuscript could not be created and it can be said; The relationship between these two is based on pretext because the number of figures, the totality of the work and the creation of space all confirm this issue. On the other hand, the illustrations of the Persian mannuscripts are also taken from the literary text of Khamsa Nizami. In its heart, the Hebrew manuscript contains references to the Menorah candlestick, so this candlestick is also a pretext for the Hebrew manuscript. Based on the obtained results, Bahram-Nameh shows something more than the imitation or reproduction of the text by transitioning from intertextuality to hypertextuality. This book has changed the seven conducts mentioned in Nizami's poetry and by simulating the appearance of the Haftgonbad story, it shows an allegory of the religion of Moses and the Jewish religion, which means that it has been adapted from the coexistence of Nizami's poetry. The signs are sometimes a reference to Judaism and sometimes a quote from Nizami, so this illustrated text fluctuates in a continuous rotation from Islam to Judaism and vice versa, and the dominant type of changes is Transposition. The adaptation in the Hebrew manuscript of Haftapakar was formed in a cultural-linguistic and international research, following the connection between two different Iranian and Jewish communities during the Safavid era. In this study, the difference between two hypertexts was investigated. In the first step, it was determined that Bahram-Nameh has a literary pretext of Khamseh Nizami and a pictorial overtext of Haftpakar (11th century AH). By examining the cases considered in the collection of studies, it was determined that the Hebrew text related to the Persian manuscript of Taragungi is the dominant form of transposition. The changes that have been made in some symbolic systems of the paintings of Haftpakar have led to huge changes and transformations in the second adapted and hypertextual work (Bahram-Nameh). Most of these transformations are related to the replacement and displacement of the days of Friday and Sabbath in the Hebrew text compared to the Persian text, because in this way we encounter the exchange between the images of the Bahram-Nameh and the Menorah candlestick as a symbol of Judaism. The study in this article is interdisciplinary, that is, between literature, painting and religion. The second hypertext (Hebrew manuscript) was produced based on the changes made in the Iranian manuscript and accordingly the literary text of Khamseh Nizami. These changes are the result of a change in the text of Haftpakar Khamsa Nizami, so the literary text of Haftpakar Nizami is a pretext for Bahram-Nameh. The creation of the illustrations of the Hebrew manuscript has been made possible in such a way that if it is examined with the criteria of Gennet's theory, it can be said; In terms of the quantity and size of the works, the Hebrew manuscript has been reduced in size compared to the Persian manuscript, which can be expressed in terms of external structure and appearance, but from the qualitative point of view, the Hebrew manuscript has changed. Also, there was an intertextual relationship between Bahram-Nameh and Menorah paintings as a symbol of Judaism, and due to this influence, the style of the works has changed. The identification and replacement of the seven stages of conduct and the seven places with the seven branches of the Menorah and the seven planets has been done, and following that and in a broader sense, the Nizami mystical conduct has been oriented towards Jewish mysticism. These changes have occurred in the painting tradition of Iranians, and therefore, the art of Jews residing in Iran has tended to be hidden among Iranian art and culture. In the adapted work of Bahram-Nameh, the confusion of the arrangement of the images itself means an order in the Jewish religion, which, in accordance with the Iranian hypertext, has an unusual expression in order to achieve enlightenment and transcendental truth. In this study, the relationship between two hypertexts is based on the influence system. In the Hebrew manuscript, we have a movement from intertextuality to hypertextuality. On the surface, the Hebrew manuscript is depicted exactly according to the pentagram and tells the stories of Bahram Gur, but on the inside it has references to the Jewish tradition. The number seven is sacred in both Islamic and Jewish thought and is a level of perfection and excellence. On the surface, the Hebrew manuscript is depicted exactly according to the pentagram and tells the stories of Bahram Gur, but on the inside it has references to the Jewish tradition. The number seven is sacred in both Islamic and Jewish thought and is a level of perfection and excellence. On the surface, the Hebrew manuscript is depicted exactly according to the Haftpakar and tells the stories of Bahram Gur, but on the inside it has references to the Jewish tradition. The number seven is sacred in both Islamic and Jewish thought and is a level of perfection and excellence. Therefore, by dealing with authentic Iranian stories and by producing this work, the artist has pursued a goal, which is a metaphorical comparison and expression of Moses and the Jewish religion, which reminds the audience secretly and with implicit concepts. According to Gennet's theory of transtextuality, among the four possibilities of intertextuality (quotation, allusion, reference, and plagiarism) and six hypertextual possibilities, co-presence and overlap are both present. A series of Jewish religious elements have been formed in the context of Iranian art and literature, which has led to the change of military poetry. In this way, the Persian-Hebrew text of Haftpakar has been in constant rotation from Islam to Judaism and vice versa, and for this reason, the gender and nature of the images have changed compared to the text and writing of Khamsa Nizami.
Keywords: Adaptation, Painting, Safavid, Bahram-Nameh, Nizami, Gerard Gennet

The invention of the printing press and the introduction of the camera to Iran in 1842 led to the widespread dissemination of text and image-based media across various genres. The press, as a medium with a mass audience, had significant capacity to convey scientific, cultural, political, literary, artistic, and humorous concepts, among others. This capacity allowed the press to become a tool for diplomacy, capitalism, and communication between the state and the people. These developments, supported by other tools such as language, images, symbols, and signs, created a structured framework for transmitting a variety of concepts. Among these concepts was modernization, which was essential for industrialization. This study examines and analyzes the Iqbal magazine, which operated from 1918 to 1934, a period when modern industry had not yet fully developed in Iran but was emerging. The research adopts a media archaeology approach to investigate the interaction between industry and society through media. The main research question explores how industry and society interacted via the media, with the hypothesis positing that media in various forms played a crucial role in advancing the goals of industrialization and modernization. This study aims to understand how media functioned during the late Qajar period, employing a media archaeology approach and Julia Kristeva's post-structuralist method of intertextuality, with an emphasis on textual and visual layers related to industry. The research data was gathered through library studies and archival materials from the University of Tehran's journal repository. The most important finding of this research is the direct connection between industry, society, and media. Additionally, it highlights the Qajar and early Pahlavi court's oversight of the press, media propaganda aimed at promoting modernization and nationalism, and the reinforcement of cultural imperialism.

One of the main problems in human life is achieving an inexhaustible source of energy. One of the most important renewable energies is wind and human being has been always thinking about application of this energy in industry and construction of buildings. Oldest method of using wind energy is documented in returns to ancient Iran. For the first time, Iranians succeeded to invent waterwheels by using wind force and send water from their water wells to farms. In Iranian traditional architecture, natural ventilation was the main part of building design that came to existence by creating natural air current into buildings. Native architecture reached to a phenomenon of stable architecture. For example, in North of Iran (Gilan, Mazandaran and Golestan Provinces) architecture in humid and moderate weather, as a sample of native architecture mixed with nature, has an ancient history in which a soothing space compatible to climate was created by considering nature. This architecture guaranteed its stability by using ecological buildings and proper storage of energy resources that one of the main samples is in Qajarieh era and has considerable importance in art and architecture history of Iran because in that period, based on architecture of their ancestors heritage and also intercommunication with west, salient revolutions and innovation produced in domain of art and architecture. This review was aimed in identifying stable architecture and useful alternatives that were used for utilizing air current in humid and moderate climate.

این کتاب در پی پاسخ‌دادن به این پرسش است که چگونه می‌توان از تقسیم‌بندیِ شرق‌شناسانۀ تاریخ معماری ایران به دو دوران پیش و پس از اسلام گذر کرد و جایگزینی متناسب با تاریخ فرهنگیِ این سرزمین برای آن برگزید؟ برای این مقصود، پس از مقدمۀ کتاب، پیشنهاد خود برای نامیدنِ برهۀ زمانیِ ساسانیان تا قرون نخستین هجری را تبیین کردیم: دوران باستان متأخر. یکی از مسائل پیش روی ما در این تحقیق این بود که کدام گونه ‌‌بناها را در مقام نمونه‌های موردی برای بررسی در دوران مذکور انتخاب کنیم. از آن‌جا که مشترکاتِ هنرهای غیر دینیِ فرهنگ‌های گوناگون بسیار بیشتر از هنرهای دینی بوده است، از میان کاخ و معبد، کاخ‌ها را برگزیدیم و آن‌ها را  با تمرکز بر بخش تشریفاتی مطالعه کردیم. در ادامه، به بررسی انتقادیِ دانسته‌هایمان دربارۀ کاخ‌هایی ساسانیان پرداختیم، یعنی به جای آن‌که بررسی‌ بناها را از نقطۀ صفر آغاز کنیم، نخست به دنبال یافتنِ گره‌ها در روش و نتایج پژوهش‌های دانشوران رفتیم. سپس معماری کاخ‌های ساسانیان و نیز آن‌هایی را که در قرون اولیۀ هجری در ایران ساخته شده‌اند، تحلیل کردیم. هدف نهایی‌مان ارائه دادنِ تصویری روشن‌تر از فضای تشریفاتیِ کاخ‌های ایران در روزگار باستان متأخر و صیرورت مکانی‌اش در آن بازۀ زمانی و گسترۀ جغرافیایی بوده است.
https://B2n.ir/b14698