فهرست مطالب علی وندشعاری

In recent years, the concept of “mentality” has found its way into architectural research especially within the realm of  Persian historic architecture, often framed as a research approach known as history of public mentality. While this approach extends beyond architectural history studies and has been employed in various historical fields in the West for decades, there remains a gap in understanding the essence of mentality and its role in relation to architecture.. a nuanced comprehension of this concept, including its functions, or its determinants and components is crucial, especially in architectural studies, where it can serve as a valuable tool for sourcing reliable data and informing research processeThe main goal of this paper is to explain and consolidate the interdisciplinary notion of “architectural mentality” -as a complex interplay of thoughts, beliefs, attitudes, imaginations, and wishes of the people of a society in relation to architectural issues- and its various dimensions, relying on existing sociological explanations of the concept of mentality, and applying logical argumentation research method. Through a comprehensive literature review, the paper examines existing the definitions and explanations presented so far for the concept of mentality are studied and its features, functions, determinants and components are drawn out from existing sources. Then the concept of architectural mentality is consolidated through discussing various examples , using inductive reasoning. At the next step, relying on the explanations about the concept of mentality based on the theory of social construction of reality, and by applying deductive reasoning, the concept of architectural mentality is explained To facilitate a clearer discussion of the concept's dimensions, the word “Pir-Neshin” –which in Persian means a place where old people can sit and refers to the platforms in both sides of the entrance doors of Persian historic buildings- is selected as one example of architectural mentality in Iran. Through this lens the features, functions, determinants and components of architectural mentality are examined.The findings underscore, architectural mentalities are social constructions of architectural realities within specific temporal and spatial contexts.. They operate at unconscious and dispositional level, shaoing habits , andserving as tools for attaining knowledge about architectural realities. Architectural mentalities are determined by collective, cultural, temporal and spatial factors encompassing Architectural thinking (thinking about architectural realities), architectural imagining (imagining about various features of  an architectural reality), architectural feeling (feelings that individuals experience while confronting with architectural realities) and architectural acting (the action containing a specific meaning that individuals preform when confronting with architectural realities). Additionally, contemporary manifestations of architectural mentality such as Pir-neshin reflect ongoingsocial constructions in response t oarchitectural contexts.

Southern Khorasan Province is one of the most important regions in Iran for weaving carpets. Studies on the patterns used in this region suggest that the patterns are developed influenced by the geographical location were the carpets are woven and that they can be divided into three categories: urban, village and nomadic. The purpose of this paper is to study the design patterns, provide a formal analysis on the urban carpets, and present a classification of the contemporary patterns in this province in order to introduce collective information on the local and original design patterns having been used in carpets.This study is descriptive-analytical and the data are analyzed using detail-oriented (inductive) approach. The data a on literature and history were collected via library research and, for the main part of the study, the sample images of the carpets from several regions in Southern Khorasan Province were gathered using field research. The statistical population of the urban carpets in Southern Khorasan includes 208 carpets out of which 16 were studied. Besides presenting a classification of the carpets, the analysis of the data on the design patterns indicates the prevalence of carpet weaving in all the regions in the province except Sarayan.Studies show that hand-woven carpets of the individual regions display unique design patterns including medallion corner, multiple-panel, vagirei, straipped, kheshti and wall-to-wall. Moreover, some of the patterns used in different regions share the same style - khesti, although being attributed to a specific region, is seen to be the same as the one in the other regions in Southern Khorasan Province. One may refer to medallion corner as an another example which contains repetitions of twisted fish patterns and Sa'adi pattern.

Masouleh is one of the few historical and habitable spaces in Iran, where the continuity of Iranian Islamic arts has been common for many centuries. Masouleh is located in the mountainous part of Fuman city with a thousand year old history. This historical city was registered as a national monument in 1944 and is currently being registered in the UNESCO World Organization. Masouleh’s architecture has a stepped structure and the houses are extroverted. Masouleh has six neighborhoods, Reyhane-bar, Asad-mohalleh, Keshe-sar, Khanebar, Masjed-bar and Bazaar. Reyhane-bar neighborhood is the main entrance to Masouleh and is located in the southern part of the city. The formation of Reyhane-bar neighborhood and its buildings is deep-rooted in the Zandiyeh- Pahlavi period. Reyhane-bar neighborhood has 50 residential units, of which 26 buildings have a historical structure and were examined in the current research. The Reyhane-bar neighborhood has a variety of latticed openings made of enclosing decorative patterns. The aim of the research is to recognize the types of openings and ornamentations in the Reyhane-bar neighborhood. The research questions are as follows: 1- In how many levels are the openings of the historical building of Reyhane-bar neighborhood classified? 2- What decorative patterns are used in the openings and what is the frequency of new to old patterns in the ornamentation of the openings of Reyhane-bar neighborhood? The research method is descriptive-analytical and the information collection method is documentary and field study. The results of the research show that the ornamentations of the openings of Reyhane-bar neighborhood have been implemented using three methods Girih-tiling, Ghavarehbori and woodcarving. The openings of the Reyhane-bar neighborhood are classified in six levels: integrated openings, without Sarbarieh (opening above the window), inscribed openings without Sarbarieh, Sarbariehs without a border design (single), and inscribed Sarbariehs (single) and Orosi. This should also be noted that the Reyhane-bar neighborhood has the lowest number of Orosis in comparison with other neighborhoods and Orosis in the above-mentioned neighborhood are mainly observed in the economic constructions. A total of fifteen decorative patterns have been used in the openings of Reyhane-bar neighborhood, among which, 8-square Shamse girih patterns and Paisley Ghavarehbori are the most repeated patterns. Reyhane-bar neighborhood has 6 new patterns and 9 common (original) patterns in Masouleh. The results of the research show that 24% of the decorative arrays of the openings of the Reyhane-bar neighborhood was of new patterns and 76% of the original and common patterns in Masouleh neighborhoods. A noteworthy point in the construction of the ornamentation of the openings of the Reyhane-bar neighborhood is the common use of the Ghavarehbori method. Among the main reasons for the Ghavarehbori construction method in the decorations of the openings of the Reyhane-bar neighborhood, the following can be mentioned: Cost-effectiveness: The Ghavarehbori construction method is much more economical than the Girih-tiling method, but by implementing Ghavarehbori, more limited designs can be made in comparison with the Girih-tiling method. Ease of construction: Artists need to use soft wood to make Ghavarehbori ornamentations, and this causes less durability, more wear and tear, and a more unfavorable appearance in the building wall. For this reason, to solve the problems of corrosion and to prevent biological and environmental disintegration as well as turbidity of color, the residents are forced to use stabilizers and chemical colors that do not match the authentic and historical texture of Masouleh. The research results show that there are sixteen geometrical patterns in Reyhane-bar neighborhood. As already mentioned in the text, the ornamentations of Masouleh’s openings have been implemented in three forms: Girih-tiling, Ghavarehbori and woodcarving. Several researches have been recently conducted with regard to the subject of Masouleh, its neighborhoods, and the existing ornamentations of the openings of each of these neighborhoods due to the significance and importance of Masouleh, as one the few habitable historical places in Iran. This research and its results are only a small part of the wide and extensive topics that can be performed in the field of knowledge of traditional arts and how they work to meet the needs of users. In fact, it is possible to investigate the ornamentations of other places in Masouleh in future research, which would lead to the recognition and preservation of the architectural arrays of Masouleh.

Conformance with the principles of passive defense in architectural works and urban planning plays a decisive role in creating stability and protecting the life and financial interests of citizens. The research method is descriptive-analytical and field and library methods were implemented to investigate the statistical population. In this research, 564 buildings in the historical city of  Masouleh, being constructed based on passive defense concepts, have been investigated. The research question is as follows; How is passive defense observed in the architecture and urban planning of the historical city of Masouleh? And how can it be used for the architecture and urban planning of Iranian cities by rereading the concepts of passive defense in Masouleh? The research results indicate that the location of the city, dispersion of the buildings (vital to medium), city  camouflage, confusion in the eyes of the enemy, structural fortifications of the buildings, quick  repairability of the buildings, protection of urban facilities, design criteria of urban furniture,   materials used in the structure and facade, form of buildings, number of entrances and exits and the presence of multi-functional spaces on the floors, small and protected openings in the facade, safe space, shelter, protective walls, compliance with building height and scale based on the importance factor, privacy, access to vital and medical places, service centers, parking lots and infrastructure facilities of Masouleh have been in line with the concepts of passive defense.

Considering the rich history of Iran in the field of art and architecture, delightful doors with unique characteristics are found, each of which is derived from cultural, religious, and social interactions. Typology, recognition, and reproduction of antecedent motifs and designs in traditional doors could revive cultural identity in contemporary cities. Doors and windows are influential factors in shaping buildings in Iranian architecture. Having a thousand-year-old history with the presence of skilled blacksmiths and carpenters, Masouleh has treasured beautiful gates being formed in various buildings at different parts of the town. The purpose of the research is to determine the typology and knowledge of the types of traditional doors in the historical town of Masouleh. The research method is field and library studies. At first, 32 ancient doors in Masouleh were selected for field studies. In the next step, library and interview methods were used to identify the components and designs of the doors. The research results show that the doors in Masouleh are of three types: building, religious, residential and commercial. The doors of the religious buildings are classified into three levels: woodcarving, Girih, tiles, and geometric motifs. The most important factors shaping the decorations of religious doors is the praise of God, which is presented in the form of Islamic, animal, and calligraphy motifs. The doors of the residential buildings are classified into three levels: plain with no design, the ones with geometric design, and Girih tiles. Residential doors are formed based on a combination of the beautiful art of metalwork and woodwork, respect for the needs of the users, and the religious beliefs of the people of Masouleh. The doors of commercial buildings in Masouleh are in the form of collapsible and Girih tile designs. The flexible structure of the collapsible doors of commercial buildings allows for maximum coverage of the openings and visibility of handicrafts. The results indicate that the neighborhoods of Masjed-Bar, Khaneh-Bar, and Keshe-sar have the most classic traditional doors.

Decorations, as important components, have long been one of and the most stable characteristics of Islamic architecture and art. One type of these decorations is openings. In addition to practical aspects, openings have presented diversity and enclosing beauty in Iranian architecture. The surface of the openings has mostly been decorated with geometric and vegetal patterns. The city of Masouleh has various geometric openings that have been embedded in this city for many centuries. Masouleh is located near (55 km away from) Rasht in Gilan province and in the southwest of Foman in a mountainous area with a height of 1050 meters above the sea level. This city is registered in the list of national monuments under number 1090. In the present research, an attempt has been made to analyze the types of decorations in the openings, the abundance of decorations in each of the openings, the concepts of decorations, and the drawing of arrays in Masjedbar openings.

The current research aims to answer these questions: how many levels do the openings of Masjedbar neighborhood include? What concepts have been effective in the formation of arrays of openings in Masjedbar? In this research, an attempt has been made to analyze the decorations of the openings of 26 buildings in Masjedbar neighborhood, which are older than other residential buildings in this neighborhood. The method is descriptive-analytical and comparative. In the first step, the pictures of openings were prepared based on field surveys. In the next step, they were drawn by AutoCAD 2023 software. Also, to understand the proper amount of lighting, the dimensions of the openings, and the influence of the arrays on the lighting, optical simulation software "VELUX Daylight Visualizer 3" was used. In the last step, the results of the types of decorations in the openings, the abundance of decorations in each, the concepts of decorations, and the drawing method of the arrays in Masjedbar openings were presented.

The architecture of Masouleh has attracted the attention of many domestic and foreign tourists and researchers due to the use of authentic Iranian Islamic arts and its great compatibility with the nature and culture of society. The openings of the historical city of Masouleh, especially Masjedbar neighborhood, are one of the oldest and most beautiful arts where one can see the originality and artistic creativity of the artists of Masouleh and the province. Masjedbar neighborhood in Masouleh is considered one of the centers of the early formation of Masouleh; because of the presence of the mausoleum of Awn ibn Ali, it has earned special sanctity among the habitat of Masouleh. To meet the needs of its users, Masouleh’s buildings have various types of integrated openings, Sarbariahs with inscriptions (single), Sarbariahs without border design (single), openings without Sarbariah, and Orosies. The openings often consist of Girih-tiling and Ghavarebori decorations. Masouleh integrated openings have a two-part structure Sarbariah and bariah. These types of openings are the most common types of windows in Masjedbar neighborhood. The upper opening of the window, which is called Sarbariah, is fixed, and the bariah part consists of two parts that can be separated from each other. Sarbariahs are inscribed (single), have minimal decorations, and possess a minimum amount of space for light and ventilation. In the opening part of the bariah, a door without decorations is used, and the Sarbariah has two parts of girih-tiling decorations on the border and the middle inscription. Sarbariahs do not have a border design (single), have a similar structural and function similar to the windows of inscribed Sarbariahs (single) of Masjedbar neighborhood. Openings without Sarbariah in Masjedbar neighborhood have a surface with full light absorption capability in the bariah section and do not have Sarbariah or upper opening. The Orosies or rising windows of Masjedbar neighborhood have a structure with many Girih-tiling and Ghavarebori decorations. From the point of view of receiving light and natural ventilation of the interior, the Orosies are of a higher level than all other Masjedbar openings and have been used in the residential buildings and mosques of this neighborhood. The Orosies of residential houses have more decorations compared to the Orosies of mosques in Masjedbar neighborhood.

The research results show that Masjedbar openings are classified into five levels of integrated windows, openings without Sarbariah, Sarbariahs without inscriptions, Sarbariahs with inscriptions and Orosies. The present research results show that 19 geometric arrays of Girih-tiling and Ghavarebori were used in the structure of openings in Masjedbar. Ghavarebori arrays with checkered design, an eight-square shamseh knot, and a four-square knot are the most frequent patterns in the openings of Masjedbar neighborhood. The results of natural light reception analysis show that integrated openings, without Sarbariah and Orosies have a good performance in receiving light; Sarbariahs with inscriptions (single) and Sarbariahs without border design (single) have poor performance in absorbing natural light in Masjedbar neighborhood. The results of investigating the shapes of the geometric arrays of Masjedbar openings show that the plant shapes in the arrays of the openings are often taken from the designs and patterns of flowers and historical and mythological plants of Iran, which were very common in Iran's pre-Islamic buildings. Cypress tree, paisley, and lotus motifs are included in this category. Religious and cultural motifs and symbols are other effective factors in the formation of arrays of Masjedbar openings. Ghavarebori, chalipah, and chaharqol are more widely used in the openings of Masjedbar's religious buildings. The rhombus square knot is one of the few patterns native to Gilan in the arrays of Masjedbar openings. This pattern is often used in the openings of residential buildings and is a symbol of mat weaving in the plains of Gilan. The combination of numbers and basic geometric shapes is another effective concept on the formation of arrays of Masjedbar openings. These shapes, involving a combination of number eight, four and circular, rectangular and square motifs, are among the most used patterns in Masjedbar’s opening arrays.

Looking at traditional Iranian architecture, one can see the special place of ornamentations that have been a manifestation of the beliefs, customs and traditions of each society in the majority of residential buildings. Masouleh holds very rich ornamentations that have been formed over many centuries. This research seeks to investigate and analyze the ornamentations of residential buildings in Masouleh. The aim of the research is to identify and classify the motifs and main themes of the architectural ornamentations of Masouleh buildings and answer the following questions: Do the architectural decorations of the residential building of Masouleh include several types in terms of motifs and ornamentations? What factors have been effective in the formation of the architectural ornamentations of residential buildings in Masouleh? The current research is based on field surveys, library studies and also descriptive-analytical methods. The findings of the research show that the decorations of Masouleh residential buildings are classified at the level of doors, arches, windows, fences, doorbell and electric meter covers, Evil eye inscriptions, plant decorations and Āina-kāri. Also, the results show that the main effective factors in the formation of the decoration of Masouleh residential building are to create and increase security (door), reduce structural pressure against wind and earthquake (arch), meet the needs of spatial lighting (window), increase safety, create green and seasonal spaces (fence), meet the needs of users in order to facilitate and increase the well-being of users in the contemporary era and remove the undesirable appearance of electric equipment (doorbell and meter cover), derived from religious and cultural beliefs (inscriptions), derived from people's interest in flowers and plants being influenced by the geography of Guilan province (plant decorations) and taken from the religious and ritual beliefs of the people of Masouleh.

Iranian painting is one of the visual arts in which the language of writing and shapes are combined to introduce and convey the ideology and aspirations of the Safavid kings as a propaganda, symbolic and encrypted medium. The traditional practices of the Persian garden and the representation of Safavid ideology are purposefully represented in the paintings. This art deals with social and political contexts, the presence of human agents and the role of artists in the production of text in order to make it more impact and influential on the audience, on the other hand, it indirectly reflects social criticisms and discrimination. The aim of the present study is to identify the elements of power in the expression of ideology and media discourse in Safavid visual works using the approach of Fairclough critical discourse analysis. This research seeks to represent the main and marginal themes in garden drawings to answer the questions: What discourses do the social and cultural components of garden paintings address?  And how are ideological concepts represented in garden paintings as a powerful medium? This research has been done with the approach of Fairclough critical discourse analysis, in a descriptive-analytical manner and qualitative content.The results show: The ideology of the Safavid kings has dealt with symbols and signs of natural and ancient elements in three levels of description, interpretation and explanation. This has been done through the use of cultural hegemony, absolute imperial power, and finally, it has been made available to the audience through the language of shapes. In Fairclough 's critical discourse analysis approach, garden paintings have acted as a mass and effective medium. These visual works have critically addressed various discourses and religious, national, political, mythological and news concepts of the Safavid period. The discourses formed in the garden paintings have dealt with the Power discourse, the network discourse, the discourse of perfectionism, the discourse of traditionalism, the media discourse, the military-mythological discourse, the national-symbolic discourse. These discourses have led to the identification of the long-term goals of the Safavid rulers in social and political development and progress. The ruling system in this historical period has caused Safavid artists to use a variety of formed views and discourses to depict the Iranian garden in the field of power along with the separation of social spaces of the upper and lower classes of society. During this period, the art of gardening and landscaping of the Safavids has become a multifaceted and media visual network. This news media covers the attitude of the Safavid kings in order to legitimize their monarchy and express religious, cultural and political views in the heart of society. These visual media had become a powerful tool for expressing the Safavid ideology, art and industry. Safavid artists in garden paintings have dealt with traditional and ethnic arts, religious-identity and historical teachings to advance the main role of ideology and its function in the context of society. On the other hand, these artists have taken a realistic look at identifying the class divide and moving the lower classes of society away from the space of modernity, and have covertly and cryptically made it the target of their assessment of the class structure of power.

Considering the many problems and forgetting the original design and pattern of carpets in Kermanshah, it is necessary to pay attention to the background and local culture and recognize the originality of the design and pattern of carpets in this province. The aim of present study was to Study and analysis of the design and pattern of contemporary carpets in Kermanshah. In this research, 50 contemporary carpets were collected using field and library data, and the design and pattern of them were assessed. The results showed that the types of designs of contemporary carpets in Kermanshah are mainly of the broken type in terms of components and motifs execution way, and the one-fourth and global types in terms of design divisions (number of knots between 20-45). Designs commonly used in these carpets include ship anchor, pergola, Quranic frame of Paveh Mosque, Berchluark, Taranja curtain of Paveh Mosque, samovar, bergamot of Lanjab, fusion, two flowers of Akbar Abad, altar vase, hunting ground, Hossein Abad Keliai, Seyed Abdullahi, one-bergamot Kiveh Nani, one-flower, skewer, Dargol, armband, combination, and coffee tray. Also, the most commonly used colors in these carpets were crimson, cream, pink, lacquer, blue, green, and gray. The most common sub-patterns used in these carpets were also included turtle, mirror, lamp, small flower and sparrow (in the place of bergamot), bear, handkerchief and salt shaker (in the place of Lachak), and pond (in the place of texture). It seems that the contemporary carpets of Kermanshah, which are mainly found in the area of Songhar Keliai, have a high originality in terms of color; however, due to the proximity of other important cities in the field of carpet weaving (such as Bijar or Sanandaj), there exist some non-original designs and patterns in return. Knowledge of the results of this study can be useful for administrative and production organizations related to carpets to produce the best and original quality carpets in Kermanshah.

Arches are one of the most efficient innovations that architects have used to cover ceilings, wide openings, or as decorative elements in various structures. The purpose of the research includes the typology and the functioning of arches in the historical city of Masouleh during an earthquake. The research questions are as follows: Are several types of arches used in the architecture of the historical city of Masouleh? Which of the Masouleh arches shows a better structural performance during an earthquake? The research method is in the form of field studies, and Abaqus 2022 finite element software was used to analyze the earthquake resistance of Masouleh arches, which occurred in cities such as Bam (2003), Rudbar Manjil (1991) and Tabas (1978). The research results indicate that the historical city of Masouleh has 19 arches, and high-rise and low-rise Panjohaft arches are the most common types. The Roman arch construction method is the most common method used in Masouleh arches. The results show that 78% of Masouleh arches have adequate structural capacity against earthquakes, and Keshesar neighborhoods with 37% and Khanebar neighborhood with 21% have the most arches and Reyhanebar neighborhood with 10% have the lowest amount of arches in Masouleh. Also, the results of the seismic analysis of the 19 arches of Masouleh show that the low-rise Haftopanj arch, which is made using the Roman brick masonry method located in the Asad neighborhood, had the weakest structural performance against earthquakes, and the forty-five-degree arch with the Roman construction method, located in Masjedbar neighborhood, had the most appropriate structural performance in seismic simulation.

Concepts related to the category of awaiting, the savior and Mahdaviat have represented the Islamic-Shia art f this land. This research aimed to explain the architectural patterns and arrays of the historical city of Masouleh using concepts of awaiting, savior and Mahdaviat. The research uses descriptive-analytical as well as library methods in the theoretical section, while using field methods and objective presence to set an artistic stage through a survey method. The objective study was based on architectural patterns of the historical city of Masouleh. The research, as stated, seeks to reread the symbolic concepts related with the category of awaiting, savior and Mahdaviat within patterns, numbers, geometric shapes, plant shapes, lines, plasterwork, carving patterns, tiling patterns and architectural arrays of the said city. The research also seeks to read the Islamic architectural arrays and Shia art styles using interdisciplinary bodies of knowledge to better understand the category of awaiting, savior and Mahdaviat.

Considering the increase in the elderly population and the phenomenon of aging in the world population, understanding the quality solutions to improve the elderly lives seems to be essential. The proper design of architectural and urban spaces are among the most important components that can play an important role in improving the quality and quantity of comfort for the elderly in the society. For this reason, architects and urban designers need a fundamental revision of their principles of architecture and urban planning. With an age of more than 1000 years, the historical city of Masouleh is one of the limited living spaces in Iran, which has been able to provide a suitable platform for its elderly people, who constitute more than half of the population of this city. This research aims to review the components of the city that is desirable for the elderly with a case study of the historical city of Masouleh was conducted.

The present study implemented a qualitative approach to study the samples. The historical city of Masouleh has 564 buildings, out of which the statistical population of 151 buildings was investigated in the research by dividing to five neighborhoods of Khanebar, Masjedbar, Keshesar, Asadmahleh, Reihanehbar and Bazar. In order to analyze the spatial elements of Masouleh architecture, based on field studies, 151 building maps were taken and drawn by AutoCAD 2023 software. Sound Meter Pro 2.6.7 software was used to analyze the amount of noise pollution in Masouleh neighborhoods at different hours of the day and night. Also, in order to analyze the amount of light received in the interior spaces of the Masouleh buildings, 3D models of the Masouleh residential buildings were first drawn by 3D Max 2023 software. Afterwards, based on the 30–year climate data of the historical city of Masouleh, which was obtained from the Meteorological Organization of Guilan Province, the amount of light received was simulated by Vilox Dilat Visualizer 3 software. In the last step, the components of the desirable city for the elderly were introduced in the historical city of Masouleh.

Findings showed that the effective factors in creating a desirable city for the elderly from the perspective of the historical city of Masouleh were identified in the form of the following: creating a city with an urban garden model, eliminating noise pollution, increasing social interactions and vitality, increasing economic participation and welfare stability, urban image stability; peace stability, proper access to the buildings and flexible spatial layout, creation of interactive spaces, light passages and increased protection.

Based on the findings of this research, the effective components in creating a desirable city for the elderly from the perspective of the historical city of Masuleh are explained in increasing green environments per capita, the increase of social and economic interactions, flexible architecture, protection of the urban image, and historical and identity dimensions.

Mashhad city carpet as one of the significant urban styles of Iranian carpet from the Timurid period (in the 9th AH/ 14th A.D) until now has been changed alot. The golden age of Mashhad carpets ended in the Safavid period and after two hundred years, Mashhad carpets in the late Qajar and early Pahlavi period, which coincided with the revival of carpet weaving throughout Iran, regained some of its glorious era. During this period, with the initiative of Azerbaijani and Kermani immigrant merchants and producers, large and exquisite carpets were produced while preserving the identity and historical features of the original Mashhad carpet. However, in recent years, due to a purely commercial approach, the contemporary urban carpet of Mashhad has lost its former glory. As a cultural product, Mashhad carpet reflects the traditions and beliefs of producing communities and plays an effective role in giving identity to the geography of its production. Therefore, the main problem of this research is to study the main factors that create this phenomenon through summarizing the opinions of experts in this field. The main question of this research is to know the damages of contemporary carpets of Mashhad and to know the economic and cultural contexts of these damages from the perspective of experts. The research is qualitative in a descriptive and analytical manner and using the categories obtained from the content analysis of interviews with 10 active experts in the Mashhad carpet market. he results show that economic fluctuations, changes in consumers' lifestyles, numerous export barriers, lack of understanding of market tastes, and copying of popular designs have been among the most important damages of contemporary carpets in Mashhad.

The role of cultural interactions in the formation of the architectural identity of each society is one of the topics that is of particular importance in scientific and artistic societies. Therefore, in order to recognize the architectural and artistic identity of any society, it is necessary to examine the social, religious, cultural, etc. concepts that were formed in the context of historical periods. The present article seeks to understand the cultural components affecting the identity formation of the ornamentations of the historical city of Masouleh using descriptive-analytical methods and field studies. The findings indicate that the Masouleh ornamentations are influenced by the cultural concepts of two historical periods before and after Islam. The pre-Islamic ornamentations in Masouleh are the result of the religious rituals of ancient Iran and in the Islamic era, they are the result of thoughts of the Ilkhanate, Safavid, Zandiyeh, Qajar, Pahlavi and Islamic Revolution governments. The most effective concepts in the formation of ornamentations are derived from religious beliefs, naturalism, and respect for nature, geometric and mathematical forms, and cultural and social interactions of non-native immigrants. The results show that Masouleh architecture had the least identity and cultural changes before the Qajar period. However, by entering the Qajar period and the increase of international interactions with European and Western countries, the architecture and artistic ornamentations of Masouleh have changed from the state of introverted architecture, which is one of the components of Iranian Islamic architecture, to extroverted architecture.

Carpet weaving is one of the significant arts in the history of the Iranian plateau. The Qajar period was one of the most eventful periods in terms of political and trading relations. During this period, Iran witnessed not only the travel of courtiers to abroad but also the arrival of visiting tourists from various countries to gather information about Iranian culture, customs, arts, and so on. The outcome of their journeys was those travelogues having been used as references to identify not only the social and political situation of Iran at that time but also to obtain information about more detailed issues such as Iranian’s carpet weaving. This study attempts to discuss how the topic of carpets has been reflected in the travelogues of western travelers. Furthermore, it aims to employ these western travelogues to realize the issues related to Iranian carpets, to identify the types of hand-woven carpets, to determine the status of carpet weaving, and to reflect the events related to carpet weaving in the Qajar era. In this research, the information related to carpet weaving was examined for the first time based on the opinions of those western travelers in the Qajar era. This research tried to answer these questions: a) in which areas was carpet weaving practiced in this period? b) What was the function and status of carpet weaving in this period? c) Which were the features of carpet weaving in this period? The current research deployed a historical-descriptive method. The collected information is based on library study. During the reign of Naser al-Din Shah and Muzaffar al-Din Shah, due to the favorable conditions of the country, many tourists came to Iran. Tourists wrote everything they had observed in their notebooks.  Among them were a number of tourists who had enough information about carpet weaving and the related issues that they wrote about features such as the design, the role of coloring, and dyeing along others.

Japan and Guilan being located in similar climates have experienced same architectural and artistic characteristics such as Kumiko art and Gereh-Chini. Due to the fact that so far no research has been conducted on the similarities and differences between Kumiko and Gereh-Chini, the present study will try to investigate the components forming the two arts. With the aid of comparative studies, the authors aim to answer the following questions: What factors have been effective in the formation of Japanese Kumiko art and Masouleh's Gereh-Chini? Are the geometric motifs of the two arts categorized in several levels? What are the similarities and differences between the two arts? This investigation is based on descriptive-analytical and comparative studies, and library and field methods have been used in the recognition of Gereh-Chinis. The results of the research show that the most effective factors in the formation of Kumiko art are the existence of concepts such as plant forms, animals and cultural interactions with China and India, traditional clothes of China and Japan, elements of traditional architecture and the living environment of Japan. Concepts of Gereh-Chini include celestial objects, religious symbols, holy names and numbers, simple and complex geometric shapes, non-native patterns, animal motifs and native plants of Masouleh. Among the main differences and similarities between the two arts, we can point out the presence of complex geometric structures, simple materials and the more delicate framework of Kumiko compared to Gereh-Chini. Komikos are used in dividing spaces and Gereh-Chinis are used in openings. Kumiko joints are in the form of mortise and tenon and Gereh-Chinis are in the form of mortise and tenon and ghavarehbori. The results of the research show the existence of formal similarities, the influence of religious and historical concepts and the use of same plant forms and animal motifs in the two arts.

In the Safavid period, along the growth of other arts, carpet was manufactured as a valuable product, by support of the patrons, while the period was known as the golden age of design, pattern, color and carpet production. Above all, the Persian painting, applying the illustration of dominant literary subjects, is constantly known as one of the fields, suitable for an artistic challenge. Shah Tahmasb’s Shahnameh is a highly influential issue in the realm of painting of Iranian historical periods which has been performed by the most professional artists. The present illustrated versions of Persian painting embody different concepts that have been elaborated by taking advantage of prevalent elements of the daily life. Shah Tahmasb’s Shahnameh which is known as one of the jewels of Persian painting of the mentioned period, having an expanded variety of unique features, is a proper domain to represent the artistic issues in a gorgeous way, and besides, the carpets play an important role in the composition and decoration. As a conclusion, the Persian carpets in the different versions of shahnameh, are considered as part of subjects, applied by artists in order to make relevant illustrations and are alike the elements of their own periods. However, it seems that illustrations of some existent illustrated carpets in the Shah Tahmasb’s Shahameh have their own principles in Iranian paintings.Shah Tahmasb’s Shahnameh is considered as a magnificent art work of early Safavid Miniature School (Tabriz II).  Interwoven by the two main miniature schools of Herat and Turkmens, this masterpiece includes 258 illustrations. The main design elements of each illustration in Shah Tahmasb’s Shahnameh include natural scenery, battle and festivity scenes, mythical tales, Iranian architectural buildings and carpets.Abundance of the carpets that are figured and illustrated in the mentioned version of Shahnameh, and also the historical period of it, which are supreme factors in the production of handmade carpets, demonstrate the importance of them. Therefore, the main issue in the present research is to conduct a study on the total pattern of illustrated carpets in Shah Tahmasb’s Shahnameh and to scrutinize on the figures and elements used in it which have been performed in order to reach a collection of categorized data about the carpets in terms of the structural aspects of design and illustration in Iranian carpets. At last, it will present a possibility to have a comparison on the outcomes of this research, on the carpets of the Safavid period. Thus, these are the main questions of the research:What are the features of illustrations and elements in the represented carpets of Shah Tahmasb’s Shahnameh?How are the diversities and categorizations of designs in the represented carpets of Shah Tahmasb’s Shahnameh?The research method is descriptive-analytical with the pattern and design morphology approach and the data are analyzed qualitatively. The information about the identification and historical background of the illustrations of Shahnameh is gathered through library research. The study cases totally include 80 samples, out of which 14 samples in five categories (3 samples in the category of Overall Flower carpets, 2 samples in the category of Lachak Medallion, 3 samples in the category of Medallion, 3 samples in the category of Panel patterns and 3 samples in the category of patternless field designs) have been purposively selected for the analysis.   According to the general categorization and features of each rank, the details and compounds have been considered and analyzed in the whole studies, and analyses are based upon the rules and principles of Iranian carpet which is adherent to the traditional designing principles of Iranian art. To have more understanding and observation about the mentioned carpets, the linear patterns of all the samples have been prepared and all the analyses are based upon them. The results demonstrate that the carpets available in the Shah Tahmasb’s Shahnameh are under the effect of a desire to fantasy and enthusiasm of the Turkmens school (which appears in Overall Flower carpets) and the original and meticulous style of Herat (demonstrated itself in framed carpets and Kufic margins). Generally, the carpets illustrated in the Shah Tahmasb’s Shahnameh are the fruits of imagination of the artists who their main concern was to represent the chief concept that they were focusing on, which is to illustrate different topics of Shahnameh beside the reflection of magnificence of the art protectors. Above all, the general construction of carpets conforms to those that remained from that period. The value of the carpets is so predominant, beside the other arts like music, architecture, handicrafts and etc. The illustrations are committed to the carpet weaving traditions of Iran and they construct significant parts of the illustrations, related to the dexterity of the artist, as if they have a decorative function and they cannot be assumed as remained carpets from the Safavid era.

The art of Girih tiling is a collection of geometric shapes that are placed next to each other in a harmonious order. The city of Masouleh is one of the historical structures in Guilan province, which includes many decorative arrays used in the construction of openings. The purpose of this research is to recognize the decorative types used in the openings of Asad-Mahaleh of Masouleh. The research method is descriptive-analytical and the library method was used to identify the decorative types used in the openings. The research questions are as follows: In how many levels are the openings of Asad-Mahaleh building classified? What Girih tiling and Ghavarebari patterns have been used in the openings of Asad-Mahaleh Buildings? The results of the research show that the decorative arrays of the openings of Asad-Mahaleh buildings are classified in three levels: integrated windows, Sarbariah openings with inscriptions and Sarbariah openings without a border (single). The decorative arrays of the openings of Asad-Mahaleh consist of fifteen patterns of Girih tiling and Ghavarebari. Eight-square Shamseh Girih patterns and Ghavarebari with Paisley design are the most repeated patterns in the arrays of Asad-Mahaleh openings. Also, the results show that Sarbariah with inscriptions and integrated windows have the highest pattern of Girih tiling and Ghavarebari, and Sarbariah without a border design (single) have the least pattern of Girih tiling and Ghavarebari in the openings of residential buildings in Asad-Mahaleh of Masouleh.

Problem statement: 

“Four Seasons” is one of the design structures of Iranian carpets, dating back to the first half of the twentieth century amid the cultural and social evolutions of Tabriz in the Qajar and the first Pahlavi eras. The combination of rural life scenes and historical buildings along with the structure and patterns of traditional designs in the Four Seasons pattern has made these carpets similar to visual texts illustrating the cultural and social situations of their production time. This study attempts to answer how the social and cultural conditions of a society are depicted in the Four Seasons Carpets and which visual symbols represent them. Hence, the main question of this study revolves around the identification of dominant subjects and effective social backgrounds in shaping the pattern of the Four Seasons in the geography of the Persian carpet.

This study aims to identify dominant subjects in depicting landscapes, the geographical area of products, and effective social backgrounds in shaping the Four Seasons pattern.

The research method is qualitative and employs content analysis of patterns. First, 26 carpets containing the Four Seasons pattern were selected as case studies. Next, a qualitative analysis was conducted on the contents of each case based on the outlined questions and objectives in the study.

The results of the research indicate that all the identified samples were designed and hand-woven in Tabriz. The patterns of these carpets show nationalism, archaic concepts, and cultural-social customs of Iranian society in the form of visual and written signs.

Yakub Polak served in Iran from 1851 to 1860 as a private doctor of Naser al-Din Shah. Polak's extensive services in the field of medicine have made him a pioneer of modern Iranian medicine. But, in addition to medicine, he contributed a great deal to developing Iranian art and culture.  The main topic of the current research is Polak's services in Iranian culture and art. After the end of his mission and return to Austria, an extensive cultural and economic development was made in this country. According to Polak's great knowledge of Iranian culture and society and his scientific and political position in the Austrian imperial court, he was not merely an external observer of the cultural and economic developments of Austria, but he had a great role in strengthening the capabilities of Iranian art and culture.  In this study, a range of historical documents and analytical sources are reviewed. The findings show that Polak played an important role in sharing cultural and economic developments of Austria with the Iranian art and culture during the years of cultural and economic developments in Europe, including the preparations for Iran's participation in the international exhibition in 1873 AD,  inviting Naser al-Din Shah to Europe, writing Iran's catalog in the Vienna World Exhibition, facilitating Iran's participation in the World Exhibition of Oriental Carpets in 1891 AD, and writing an article in the catalog. This exhibition is considered one of the main activities of Polak's work for Iran.

Safavid era is considered as one of the most influential periods of history in Iran. There exists plenty of written works about understanding the social, cultural and artistic changes. The theoretical knowledge of Iran carpet in historical periods needs to consider the historical documents. In this regard, travelogues written in Safavid period can shed further light on the information available about Iran carpet. The present study attempted to focus mainly on above-mentioned information about Iran carpet in the travelogues. The main purpose of the research is to identify the attitude of the western tourists as well as subjects of hand woven carpet reflected in travelogues in Safavid period. Specifically, this study examined why the information about Iran carpets in Safavid period should exist in travelogues and how the other related subjects were presented in that period. Indeed, the aim of study focuses on the variety and the geographical position of weaving, the applications, materials and dimensions of the carpets. The research method is historical-descriptive and the data analysis method is qualitative. The data were gathered through library studies and the statistical sample consisting 24 travelogues. It is noteworthy that the present study focused on 21 travelogues texts in which carpet subjects were scrutinized. The results indicated that carpet had various applications in this period and plenty of information can be attained by the text of these travelogues. However, the results revealed that despite the fact that the technical information such as the raw materials, weaving style, applications and geographical position of carpet weaving have been reflected in the travelogues and the western authors have frequently mentioned Iran carpet in their notes, no instance of the artistic aspects such as design, pattern, color and even the aesthetic properties can be tracked.

During the Seljuk Period, Iran witnessed a socio-political stability which resulted in the expansion of various art forms including metal and glassware. The production of utility metal dishes with a good quality received high importance. The geographical, chronological and practical overlap of these utensils led to various similarities in form and motif of metal and glassware in the Seljuk period. The main purpose of this research is to study the application of artistic-visual patterns like form and motif in two applied works with different materials of this period. The main research question seeks to find the similarities and differences in the “form” and “motifs” of Seljuk metal and glassware. Thus, the purpose of this study is to, first of all, identify the general features of forms and motifs in Seljuk metal and glassware, then, to compare the structure of the forms and motifs of these works in order to identify the similarities and differences, and, finally, to expand the theoretical knowledge about art in the Seljuk period. This research takes a qualitative approach to analytically describe the data which included 30 samples (15 metal and 15 glassware) in a purposive sampling technique adopting library research and document analysis. The results indicated the form of metal and glassware followed a totally similar pattern and share similar details. The existence of motifs such as geometric chains, Arabesque, Palmette, Hexagonal flower, peacock and rabbit in both metal and glass works reveals their mutual influence from similar patterns. The most obvious similarity is the existence of benediction phrases for the object holder in Kufic script. The differences in the variety of motifs and forms such as color and transparency may be due the natural and mechanical characteristics of the materials used.