حسین مهرپویا

The study of building architecture in cities in terms of form, climate and historical-evolutionary in order to coordinate the urban physical environment, is of particular importance. Due to its geographical and climatic location, the city of Zahedan has special buildings in the Pahlavi period, the entrance of which is one of the most significant parts of them. In this study, the purpose of studying the architecture of prominent buildings of the Pahlavi period in the city of Zahedan is to develop in line with the physical coordination of the city with a focus on decoration. The research method is descriptive-analytical and quantitative-qualitative. Data has been collected through interviews with 10 experts about 13 important works of this period in Zahedan. Through the questionnaire tool and using the AHP method, the characteristics of the building as well as 13 important buildings of this historical period were prioritized. Examining the quantitative results and comparing these buildings based on facade decorations shows that the courthouse with a final weight of 0.247 compared to 12 other buildings is known as the most important building of the Pahlavi period due to various architectural features, which ranks first in this priority. The classification is located. The second rank of this priority of building importance is related to Zahedan Post Museum with a weight of 0.2020. Also, Abui house with a weight of 0.113 and Shams house with a final weight of 0.092 are in the third and fourth ranks. According to the results, the total of workers' dormitories with a weight of 0.014 and also the complex of Ghods dormitories with a weight of 0.017 are ranked 13th and 12th in this priority. Therefore, based on the results of the Justice Building and the Post Museum, the most important buildings of the Pahlavi period in the city of Zahedan are known, which have a significant value and architecture compared to other buildings and architecture compared to other buildings and they can be used as a model for designing the body of urban roads.

The need to pay attention to the recognition and details of the buildings from various climatic, form and historical-evolutionary aspects is not hidden from any researcher. Understanding the architecture of buildings can help the development of urban spaces and its sustainable evolution. In Zahedan, due to its geographical and climatic location, special buildings with climatic characteristics were built in the second Pahlavi period, and the capital of these buildings is one of their most important features. In this article, the aim is to recognize the recess of the Pahlavi buildings in Zahedan city. The research method is descriptive-analytical and quantitative-qualitative. Data collection in the first stage is through content analysis method based on images and researcher observations of 19 buildings in the city. Out of 19 buildings in the central and old neighborhoods of this city, 8 buildings were analyzed in the secondary monitoring. In the second stage, building features were prioritized through a questionnaire tool and using AHP method. The number of experts to weigh the criteria was 10 people. The result of the research shows that the architectural style of the 8 buildings studied is the traditional architectural style. Examining the facades of the buildings shows that out of the 8 buildings, 6 buildings have recess, which were built with brick materials in a simple way and without side decorations. Therefore, the predominant type of buildings at the entrance of Zahedan city is of traditional architecture and in a simple way and decorations are also based on bricks.

In this article, the aim is to Recognition the features of the entrances of Pahlavi period buildings in Zahedan and then prioritize these features. The research method is descriptive-analytical and quantitative-qualitative. Data collection in the first stage is through content analysis method based on images and researcher observations of 8 buildings in the city. In the second stage, building features were prioritized through a questionnaire tool and using AHP method. The number of experts to weigh the criteria was 10 people. The result of the research shows that the architectural style of the 8 buildings studied is the traditional architectural style; A study of the typology of the entrance of the building based on the facade decorations shows that the decorations are based on the traditional architectural style and most of the designs, shapes and inscriptions on the entrance of the building include brickwork, use of simple designs and shapes. In fact, the use of bricks and materials compatible with the climate of the region with simple designs and in many cases without designs on the entrances, is the dominant species. Therefore, the predominant type of buildings at the entrance of Zahedan city is of traditional architecture and in a simple way and decorations are also based on bricks. The result of AHP method showed that simple, truncated, snake and vein decorations weighing 0.282 are known as the most important decorative features of the entrance of the building in Zahedan. The use of simple brick inscriptions weighing 0.181 is also in the second place in terms of importance in terms of decorations on the entrance of the building.

Kormanj and Turkmen are two major ethnic groups in the geography of Iran. Due to the distribution of these tribes in geographical areas, they behold their own culture and cultural elements. The housing of these communities bestows specific coordinates and features. Subsequently, the construction of a house and its body and spatial order is strongly influenced by the environment and culture to which it belongs, reading and analyzing the structure and body of the architecture of houses based on the needs and culture of the indigenous people that construct that community can aid designers and assisted planners in achieving the pattern of housing structure in that border and climate. This research is theoretically applied in terms of type of purpose and in terms of method combined with a descriptive and analytic outlook. Results indicate that in the old houses of Kormanj tribes, the role of privacy and gender characteristics in the separation of spaces and boundaries are more noticeable than the houses of Turkmen tribes. Features such as privacy, gender roles, the structure of family relationships and social relations and lifestyle are among the cultural features that have played a significant role in the formation of settlements in Kormanj and Turkmen.

Comparative study of cultural factors of Kormanj and Turkmen ethnic groups in shaping the architecture of settlements in Bojnourd city of North Khorasan province.
Recognizing the priority in physical and spatial elements in the architecture of Kormanj and Turkmen ethnic groups.

Which cultural factors in Kormanj and Turkmen ethnic groups are influential in shaping the architecture of settlements in Bojnourd city of North Khorasan province?
Which cultural factors in Kormanj and Turkmen ethnic groups have the greatest impact on the physical and spatial elements of houses in these two ethnic groups and in this region, respectively?

The architecture of the houses of Qaleno village in Sistan has responded to the slope of the village as well as taken into account the climate and culture consideration. The main question of this research is whether introversion is only for adaptation to climate or in addition to environmental force, cultural factors are involved. The main purpose of this study is to carry out a spatial analysis of indigenous architecture to show the components of introversion in Qaleno village. This research has a fundamental nature and applies a qualitative method to address the issue with a descriptive-interpretive approach. There are eight types of housing in Qaleno village, and they all have the element of Miansara (courtyard) in common. After introducing and analyzing the elements and components of the houses, the spatial arrangement of the houses has been investigated by using graphs to show how the spaces are organized and how they relate to each other. Due to the linearity and normal distribution of statistical data, the Pearson correlation coefficient was used to analyze them. The value of the obtained coefficient in two cases indicates that in the first case, introversion correlates with the number of Miansaras; and in the second case, introversion correlates with the number of spaces. Moreover, the studies showed that Qaleno houses have no windows towards the public space, and they are substituted with Koulak and Sourak, which also act as blinds. In addition, elements such as Hashti and Kham are used to divide the exterior and the interior. Miansaras are the major elements of the houses to the extent that some houses have up to five Miansaras, which are connected to every room by windows and doors. The results of this study show that the indigenous architecture of Qaleno village is influenced more by cultural factors rather than climatic ones and is different from the architecture of other areas because of the slope and the number of Miansaras it has.

In different periods of history, tribal, ethnic, climatic, religious, etc. cultural characteristics have had an impact on the design of the architectural body. Differences in the cultural characteristics of different climates have led to the emergence of distinct shapes in living spaces and the shape of habitats. The purpose of this study is to investigate the role of culture in the design of the architectural body in North Khorasan, Bojnourd city. Since the residents of this province and city are composed of different ethnicities, we selected two Turkmen and Kermanj ethnic groups and put the studies and studies done by focusing on these two ethnic groups, which constitute the majority of the residents of this city. In order to achieve this goal, three basic questions are raised: 1- What is the role of culture in the type of architectural body of North Khorasan province? 2- What is the most important cultural indicator influencing the form of cultural settlements in North Khorasan? 3- What is the most influential space of culture in architecture? Following the answers to the above questions, he studied systematic and systematic documents and then conducted a semi-structured interview with several elites in the relevant field. The results show cultural characteristics such as representation of relationships and gender roles, privacy and Privacy based on gender culture, individual and social ties have had the greatest impact on North Khorasan's colonial body. Based on the above cultural features, the architectural body between these two ethnic groups is classified into two types of introverted and extroverted architecture. Introverted architecture with an emphasis on the separation of public and private arenas among Kermanshah and extroverted architecture with an emphasis on the integration of public and private arenas among Turkmens.

Enjoying a long history and holding profound concepts, the Turkmen carpets possess many forms most of which, such as animal motifs, have been derived from nature. The paper at hand intends to study the sheep motifs in the Turkmen carpets, as well as its conceptual and historical origins. Employing a historical and descriptive-analytic method of research, the research aims to address two main questions including: how this motif is associated with the history and customs of Turkmens? And how these motifs have been reflected in these carpets? for this purpose, primarily the historical role of sheep in Turkmen's history, ancient traditions, nomadic lifestyle and customs will be reviewed followed by a survey of this animal's designs and motifs in Turkmens' carpets in terms of form. Moreover, sheep comprised one of the major totems among the ancestors of Turkmen tribes in ancient times. Sheep was also considered a useful and beneficial animal in nomadism. therefore, the tribes' carpet-weavers have used several sheep motifs in diverse, abstract forms ranging from simple and primitive forms to complex and intricate ones, with some sheep designs having various horn forms. These motifs are found both in the middle of the carpets and their margins next to other Turkmen designs.  Generally, the sheep design is reminders of the memories of their forefathers and tribal life for Turkmens and a symbol of power, bravery, perseverance and blessing.

Given its rich cultural dimension and influence over other arts, including painting, Iranian literature is one of the most distinctive contexts in the field of comparative literature. This field can explore the relationship between poetry and painting from two aspects: First, how an identical concept is manifested in both written and visual arts and, second, how written art or poetry could affect visual arts or painting. Ferdowsi’s Shahnameh is one of the cultural, mythological texts which goes beyond its initial coding system, becomes present in various epistemological and artistic realms, and affects them. One of the important themes in Iranian painting is the battle betweenDiv (Demon) and human beings. The present paper intends to investigate the form of Div in the painting schools of the Ilkhanid period to the end of the Qajar period and the reasons for differences in portraying it based on Paul Ricoeur’s theory. This study seeks to provide some answers to the following questions: 1) What are the formal characteristics and distinctive features of the image of Div in the different painting Schools between the Ilkhanid and the late Qajar periods? 2) How could the differences between the images of Div in the painting schools of the mentioned time interval be explained? The results of the study indicate that the images of Div in the paintings of this period have been drawn with animal features in the body of human beings. On the other hand, the existing differences in this regard originate initially in the metaphorical aspects of Shahnameh and then in the personal perception of painters and their understanding of the text, the artistic taste of their period and the school in which they have been trained, and the social, cultural, political, and gnostic conditions and necessities of their time. This study has been conducted following the descriptiveanalytic, comparative, and library methods.

European expeditionary groups who visited Iran in Safavid period wrote about various topics of Iran’s society in Safavid period and left reports as travel memoirs which later were considered seriously in reviews and studies of historians. Persian painting has always been a precise and appropriate tool for researchers and painters. Savafid painters also helped a lot in recognizing some parts of the cultural and social history of that time through representing the details of men’s clothes. These details are useful in showing how to wear the different parts of men’s clothes; since men’s clothes were composed of various layers and components.
The present research aims to answer the questions regarding how men’s clothing in Safavid era is reflected in travel memoirs and drawings of this period and to what extent they coincide with each other. Whether we can use the travel memoirs to study the men’s clothing in Safavid period? And whether these travel memoirs are reliable to study the clothes? For investigating this issue and hypotheses based on, the most important travel memoirs written in Safavid period have been studied and their contents regarding men’s clothes have been investigated comparatively with drawings of Safavid period. This research is a theoretical one and a mixed method of descriptive-analytical-comparative has been used and the data is collected from library documents.
The results of this research imply that the contents of Europeans’ travel memoirs in this period can be considered as a written and reliable source about men’s clothes in Safavid period; particularly with drawings of this period, they can be regarded as valid documents.

The confrontation between good and evil forces, the division of the world into two realms of light and darkness, and the belief in the permanent quarrel between Ahoorian and Devilish phenomena, is a common belief among all folks and nations, a struggle that continues till the world is set up, and the ultimate victory belongs to the light front. Demons, who are the inhabitants of the darkness, are abnormal, black creatures with long, hog-like teeth, thick and black lips, and occasionally blue eyes. The body of these cannibals is covered with thick hair and they have several heads, horns, tails and large ears with a pair of wings. Demons are one of the most devilish creations in Iranian mythology, whose main goal is to eliminate Ahoorian creatures. Ferdowsi has shown this idea in his Shahnameh; it is even seen in the epic poems afterward. Meanwhile, Demons, which represents the devil and enemy, is shown as naked animal figures with horns and tail, possessing primitive weapons. The painters have somehow emphasized the superiority of the creation of the goddess against devilish creation by displaying these features. The main goal of the research is to study the role of the Demons in Ilkhani and Timurid eras (Herat and Shiraz) and their differences in their images. The main questions of this research are: 1. what are the characteristics of Demons in the paintings of the Ilkhani and Timurid eras? 2. How can the difference between the face of the Demons in Ilkhani and Timurid periods be explained? The results of the study showed that in the painting of this era, Demons are depicted with the animal nature in the shape of human body. On the other hand, the difference in the shapes of Demons in these schools is first drawn from the metaphorical aspect of Shahnameh, and then the personal perception of the painter and his interpretation of the text, the artistic style of his era, the cultural conditions and the school in which he grew. This research has been accomplished by a descriptive-analytical and comparative method, based on library studies.

The art of Sassanid period is considered as the last stage of ancient Persian art. Animal motifs in Sassanid art have been identified as an important characteristic of Persian art because of their beauty and symbolic meanings. In the survey of Transoxiana’s art, the special influence of Sassanid art is quite remarkable. Imitation of various Sassanid designs, especially animal motifs, was common in the textiles of this area. Therefore, the main questions of this research are about the exchange of animal motifs and the reasons behind such common artistic themes between the artists of this region. The works of Persian art brought to the Transoxiana through different ways such as political, religious, cultural and commercial, created a number of common designs and motifs. In order to demonstrate the effects of animal motifs of Sassanid art on Transoxiana textiles, after reviewing special physical features and symbolic meanings of animal motifs used in Sassanid art, the reasons for the transfer and effectiveness of such motifs are investigated analytically. Moreover, comparing the obtained samples and explaining their similarities and differences, it is concluded that these motifs were transferred to this area through the Silk trade Road and were welcomed due to religious communalities existed between the residents of this region and Persian people. Finally, it can be said that the designs used in Transoxiana’s textiles have been under the direct influence of Sassanid art with a few differences.

Bahram is one of the most important Zoroastrian deities, which is remembered as the angel of triumph and victoryin mythology. His name in Avesta is verethraghen that is changed form of vritrahan. Vritrahan means dragon killer.He was also named as one of the reputed and justice Wide Sassanid kings. This king is called as Bahram-e Gur. Beautiful and wonderful stories of Bahram-e Gur in Shahnameh and Haft- peykar are favored by artists, So that in many of Iran,s artistic works we can see their designs and pictures. In every period illustrating Of Bahram-e Gur,s stories has been changed according to the features of that period. This can be understood by studying his clothing, crown and figure. In these works, we can see Iranian art evolution and change in artist,s tastes and moods. This paper tries to search image works related to Bahram-e Gur, and compare Structural changes and aesthetic aspects and also the issues and characteristics of these worksworks to be. Research method of this paper is analytic & descriptive and Content is gathered by way of the library method.

Zinc sulfide concentrate which is produced from Irankoh mine ore, contains indium. In this study, recovery conditions of indium from leaching residue of roasted zinc sulfide concentrate were investigated. Indium concentration in leaching residue of zinc sulfide concentrate was 145ppm. Optimum values of effective parameters were as follows: initial concentration of sulfuric acid solution of 100 g/L, temperature of 90°C, leaching time of 3 hours and the amount of required sodium sulfide for iron reduction 1.5 iron stoichiometric ratios. Then, indium was selectively precipitated from the leach solution. For selective indium precipitation, the pH of leaching solution was adjusted to six using ammonia in 90°C, and indium precipitation time was considered to be 10 minutes. Concentration of indium in resulting precipitation was 2650ppm. Finally, the resulting precipitation was dissolved using hot sulfuric acid solution, and the solution was subject to solvent extraction and cementation using zinc powder to recover indium. Total recovery of indium from zinc leaching residue was obtained more than 92% and product purity was more than 94.5%.

In this study, the solvent extraction and cementation processes for the recovery of indium from sulfate solution have been studied. In the extracting step from sulfate solution, optimum values of effective parameters including, pH of aqueous solution, time of contact between phases, D2EHPA concentration in organic phase and volume ratio of aqueous phase to organic phase were obtained 0.8, 5 min, 30%W D2EHPA in organic phase and 3, respectively. In stripping stage, Sulfuric acid was used as the striping agent and optimum values of effective parameters were obtained 5 M sulfuric acid, time of 5 min and O/A=4. Cementation of indium from stripping solution was performed using zinc powder. Optimum values of effective parameters including powder quantity 2 times to stoichiometric quantity of indium, temperature of 25 °C, pH of solution 3 and time of reaction 6h were obtained. Under optimum conditions, indium recovery of at least 90% was achieved.