علیرضا شیخی

Great Khorasan took many cities from Ghaznin to Bastam and from Amoy to Sistan. The two cities of Zaveh and Neishabour, in which the works studied in this essay are based, were also very prosperous during that time. Zaveh Mausoleum Monuments became famous in the 7th century of Hijri due to the position and residence of Sheikh Heidar. The Heidarieh Dervish sect is attributed to him. Sheikh Heider was alive when the Mongols came in 617 AH and later became known as Sheikh Qotbuddin. In Neishabour, the tomb of Imamzadeh Mohammad Mahrouq has been and still is the home of many pilgrims. The building of these ancestors has had additions, repairs and decorations in different periods. What are discussed in this article is the wooden wall of Sheikh Heider Zaveyi's tomb and the wooden box of Imamzadeh’s shrine. According to the investigations, the studied works do not have a construction date. The purpose of the article is to evaluate the history and technical and artistic features of the box of the Imamzadeh Mahrouq in Neishabour and the door of the tomb of Qotbuddin Heidar Zaveyi in Torbat Heidarieh. The motifs and inscriptions of the works were examined and to determine the historical period; they have been adapted to the architectural decorations of places and important works of the Ilkhanid period, such as the Soltanieh building, the Shahnameh of Abu Said, and the Qurans. Therefore, it is looking for an answer to the question that the tomb of Sheikh Qotbuddin Heider Zaveyi and the wooden chest of Imamzadeh Mahrouq belong to which historical period and what technical and artistic characteristics do they have? The method of research is fundamental in terms of its purpose, and it is descriptive, analytical and historical in terms of its nature and research method. In this regard, the features of Iran's woodcarving design and patterns have been briefly stated. Also, the technical and artistic characteristics of the mentioned works, as well as their content, have been analyzed and it has been completed by visually comparing them with the works of the Ilkhanid period and its historical assessment. The method of collecting information is in the form of field research and library studies. The images of the artworks are photographed by authors, and the motifs of the artworks are drawn, using CorelDRAW software.Results show the art of woodcarving was beautifully done during this period, and the artists of that period, with devotion to the religion and verses of the Quran, created beautiful and delicate inscriptions on wooden works of that period with Thuluth and Kufic scripts. The position of the geometric nodes is undeniable and beautifully adorned the woodworks. The Toranji frames and plant motives, which are considered as motifs that belong to this era, shine brightly. Three-leaf flowers, Arabesque patterns which end with a three-leaf flower, plant motifs and ornamental elements such as multi-leaf flowers, leaves, arabesque, twisted plants, designed the work beautifully and firmly. In this study, first, the general outlines, principles and theoretical definitions of the research, then the historical, social, cultural, religious and political situation of the Mongols in the Ilkhanate era and later exclusively the situation of the Great Khorasan and the two cities of Neishabour and Torbat Heidarieh are discussed. Consequently, the woodworks studied in this research (The wooden door of the Qotbuddin Heidar Zaveyi tomb and the wooden box of Imamzadeh Mahrouq) have been discussed in terms of their design and inscriptions, and after being compared to architectural motifs of historical sites such as Soltanieh mosque, the Shahnameh of Abu Said, and Ilkhanate Qurans, the historical period of two woodworks was identified as the Ilkhanate period.

Iranian architecture prominently incorporates doors and windows, where the number of panels-two, three, five, or seven-carries specific implications regarding the nature of the building. These architectural features are typically embellished with intricate decorations, with the frames being a significant aspect of their design. The purpose of this research is to explore the woodworking techniques and the proportional dimensions of doors and windows in the historical architecture of Eastern Iran. The study seeks to answer the question: What is the nature of woodworking and the proportions of doors and windows in these historical buildings? The research approach is fundamentally descriptive-analytical. Data gathering is accomplished through library research, field studies, and intentional (judgment-based) sampling of available examples. The findings can be structured into three primary sections: Forms and Designs Typology: This analysis organizes forms, panel quantities, and frame designs into six, five, and six categories, respectively. The prevalence of various frames is crucial, as the main framework influences the arrangement of doors and windows in relation to the building’s internal space, thereby controlling the influx of natural light and enhancing spatial value, which promotes order and alleviates visual monotony. Design and Proportions: This portion addresses the foundational aspects of constructing doors, windows, and openings, emphasizing the significance of airflow and the optimal use of natural light, which plays a crucial role in determining their dimensions and sizes. The construction practices for all doors and windows are aligned with the golden proportions, promoting uniformity across designs that adhere to a consistent pattern. Decorations: The decorative aspects are categorized into three types: wooden, metallic, and stained glass. These decorations are adapted to the specific location and function within the building, following patterns and aesthetic considerations that embody geometric and proportional principles in their design and execution, all of which resonate with the characteristics of Islamic art.

Cognitive linguistics is a relatively new approach in the field of linguistics, focusing not only on the theoretical aspects of language but also on its interaction with other phenomena such as the mind, rationality, environment, and social experiences. One of the central topics in cognitive semantics is the concept of "Conceptual metaphor." In this approach, metaphor is not merely a rhetorical device but rather a tool of thought—a phenomenon in which one conceptual domain is expressed through another. Religious and supplicatory texts are rich sources of cognitive metaphors, as they often deal with abstract and non-experiential concepts, which are structured using metaphorical systems. This study, using a descriptive-analytical method, seeks to explore the metaphor of the Arabic term "Raḥmat" in Ṣaḥīfah Sajjadiyyah and its Qur'anic origins, noting that many Qur'anic expressions are reflected throughout the supplications of this text. The research reveals that the abstract concept of the term "Raḥmat" in the epistemological system of Ṣaḥīfah Sajjadiyyah is shaped by experiential cognition and conceptual metaphors. This systematization and embodiment in Ṣaḥīfah Sajjadiyyah closely align with the Qur'anic verses. The most prominent method of concretizing the concept of "Raḥmat" in Ṣaḥīfah Sajjadiyyah, similar to the Qur'an, is through existential conceptual metaphors of "substance" and "container." In this collection, "Raḥmat" is conceptualized through domains such as shelter, destination, rain, treasure, taste, and others. It is also occasionally depicted through spatial orientation, where divine mercy is symbolized as being in an elevated position, while divine punishment and affliction are associated with lower positions—emphasizing the precedence of mercy [Raḥmat] over punishment.

Like other aspects of modernity, photography in Iran began during the Qajar era and flourished during the reign of Naser al-Din Shah. The images captured during this period, including historical sites, landscapes, professions, customs, and particularly authentic Iranian craft arts, hold significant value and importance. Throughout history, these images have preserved Iranian identity and enabled future generations to examine historical and social developments and to understand various aspects of Iranian culture. Therefore, one of the best contexts for studying the status and functions of craft arts during the Qajar period, creating an essential component of Iran’s cultural identity, is the photographs left from this era. Analyzing and examining the role of craft arts in these images offer a fresh perspective on their functions in the Qajar era and enhance the understanding of photography as a cultural and artistic element as photography in Iran has evolved primarily based on a unique visual culture, societal living styles, and an underlying culture.

This research aims to analyze the visual aspects of craft arts in photographs from the Qajar era and to investigate the cultural and social functions of these elements in the photography of the time. It seeks to answer the following questions: What are the impacts of incorporating Iranian craft arts on the visual aspects of Qajar photographs? What are the cultural and social functions of these craft arts in Qajar photography? This study is fundamental and qualitative. The research method is descriptive-analytical with data collection conducted through library and documentary methods. Images were selected from 115 Qajar photographs taken by Iranian and non-Iranian photographers from various accessible sources. The aim was to cover different social classes of the Qajar era and the diversity of craft arts. To achieve the research objectives, this study conducted a brief review of the inception of photography during the Qajar period along with an analysis of Iranian craft arts present in photographs, the composition, and the visual arrangement of elements.

The various forms of Iranian craft arts in the Qajar era, including carpets and kilims, different types of textiles, leather, felt-making, calico printing, pen box making, glass and pottery workshops, brasswork, jewelry making, and woodworking for furniture, are traceable in the surviving images from this period. To cover different social classes and various types of craft arts in the photographs, the images were studied in three groups: the nobility and courtiers, ordinary people and professionals, and women. The craft arts depicted in the images of the nobility and courtiers include luxury items such as textiles with bottejeqqe patterns, paisley, books and pen box, vases with specific Iranian motifs, carved tables and chairs, carpets, and rugs. The application of these elements in the images serves more than just the purpose of capturing the individual’s face and expressions; it is a means of recording and conveying the individual’s identity and social status. Factors such as the high cost of photography, technical limitations, poverty, illiteracy, and cultural resistance restricted photography within affluent classes. Most craft arts in the images of ordinary people were functional with many of these individuals depicted as the main creators of Iranian craft arts. In examining the images of women, the use of craft arts is reflected in valuable jewelry and textiles featuring elaborate embroidery such as zari and golabetoon embroidery as well as termeh. Additionally, in some images, women are shown engaged in handicraft professions, including needlework and carpet weaving. The analysis of the composition and of the visual arrangement of individuals and elements in these photographs reveals the use of vertical and horizontal axes, adherence to the principle of symmetry, and the application of indigenous visual traditions in Iranian pictorial arts. This allows Qajar photographers to convey specific meanings and concepts in their works. The application of Iranian craft arts in Qajar-era photographs, through the creation of an Iranian ambiance in these images, helped establish a distinct identity rooted in Iranian culture. This situation makes photography a culture-building medium. The cultural beliefs and values of the Iranian people have always manifested in craft arts, forming a unique visual taste that significantly influences the acceptance or the rejection of new artistic phenomena such as photography. Thus, undoubtedly, the display of craft arts in Qajar photographs reflects the nobility’s pride in the art of their ancestors and the ancient history of Iran and enhances public awareness of the value of handicraft works. Moreover, the craft arts depicted in these images have improved the global understanding of Iranian culture and art and influenced artistic movements worldwide.

The incorporation of craft arts in images from this period was one of the key factors that enabled photography in the Qajar era to fulfill its mission as a novel and distinctive phenomenon in creating and recording images and transmitting them to future generations. The results of this study indicate that the craft arts in the composition of Qajar photography scenes, in addition to their visual functions based on the distinctive Iranian pictorial tradition and decorative aspects, also possess significant cultural and social functions: providing Iranian identity to the photographs, using photography as a culture-building medium, fostering alignment with public taste, and enhancing the public’s relationship with the emerging phenomenon of photography, improving global recognition of Iranian culture and art through the transfer of photographs to Europe, increasing the attention of rulers and ordinary people toward valuable craft arts, influencing global artistic movements, and ultimately playing a role in transmitting concepts and representing the identity and status of different social classes during the Qajar era.

Although stucco in Iran has a long history and traces of it have been left behind, it followed a different trend in design and technique during the Qajar and Pahlavi periods. At the same time, it experienced Western tendencies, such as stucco artworks attached to the designs and motifs of ancient Iran. The stucco design of Hossein Khodadad House (Time Museum) is in the same category; a house full of stucco decorations that represent various influences. This research aims to study the visual structure, typology of stucco motifs, and implemented techniques, as well as to investigate how the stucco motifs of Iranian architectural history persist in the stucco decorations of the mentioned building. Therefore, this study seeks to answer these questions: «How can the visual characteristics and typology of stucco motifs and techniques of Hossein Khodadad House be classified?» and «What are the influencing factors on the formation of the set of stucco motifs of the mentioned building in the Qajar and Pahlavi periods?».

The current study is descriptive-analytical. In terms of purpose, it is developmental research with a qualitative approach. Data collection is based on library studies and especially field research. To achieve the research goals, after examining and analyzing the stucco decorations of the mentioned house, the results were compared with the types of motifs and stucco techniques used in the periods of Iranian architectural history.

The research findings show that the motifs used on the stucco surfaces of Hossein Khodadad House can be classified into four categories: Plant, geometric, animal, and human motifs. The implementation of stucco patterns on the building has been carried out utilizing seven execution techniques such as high-relief, semi-relief, stucco on a flat mirror, combining stucco with glass, Koshte Bori, Tong Bori, and Kop Bori. The design structure and the overall composition of motifs have also been made by following the pattern of repetition and symmetry. The history of several motifs, including artichoke leaves, palmettes, lotus flowers, grapes, and geometric motifs such as square and rectangular frames, Meander, and string of pearls, goes back to the motifs of ancient Iran. Other parts, such as Arabesque and Khatai motifs, which are delicate and low-relief, all kinds of flowers and leaves interwoven on broad surfaces, as well as the stucco decorations of the Isfahani room, are derived from the motifs of Islamic periods, especially the Safavid period. Also, the use of European motifs, the naturalistic design of plant patterns, the execution of motifs in a relief and realistic manner, as well as the use of techniques such as stucco on flat mirrors, patina work, and stucco cornice in the building have been influenced by the trends of European design in the Qajar and Pahlavi periods.

In general, it can be said that the stucco decorations of Hossein Khodadad House were formed under the influence of three primary factors of preserving the Iranian national identity, Islamic Iranian identity, and the European trends of the Qajar and Pahlavi periods. In addition to its eye-catching architecture, this building has kept a rich and original collection of stucco decorations from different periods of the history of Iranian architecture alive before the eyes of today's viewers.

Among the historical cemeteries in the suburbs of Mashhad, we can mention the cemetery of Tabadakan village, whose tombstones tell the mystery of the region's history and their attitude to life. Therefore, the decorations carved on stones, from motifs to inscriptions, are very important and worthy of consideration. The goal is visual and content analysis of the inscription, form and motifs of tombstones. Therefore, what is the form and role of Tabadakan tombstones and what are their themes? The research method of the article is descriptive and analytical and the information is collected based on field studies and library documents. A total of 86 tombstones were photographed from this cemetery, of which 51 tombstones were studied due to their unique characteristics. The findings show that two types of tombstones, altar and box (five stones inside the shrine) made of granite and schist are the most numerous in the cemetery of this village. All the stones are neatly and beautifully framed, and according to the position of the tombstones, engravers and calligraphers carved the desired role on the stone according to their taste and knowledge. Most of the inscriptions contain poems about the peace of the rest of the world, Quranic verses and words of Ahl al-Bayt. Beautiful motifs, including motifs of everyday objects to war tools that are specific to this region, have all given a special effect to the tombstones. The motifs are designed according to the position, personality and special characteristics of the

Figural imagery has a long history in Iranian textiles and was an important part of the decorative motifs in Iranian ancient textiles. With the advent of Islam and the prohibition of the use of human imagery and figural motifs in artworks, Calligraphy was used as a substitute for human motifs and as the dominant decoration until the end of the ninth century AH. From the end of the ninth century AH, especially in the Safavid era, the tendency towards the visual traditions of ancient Iran has increased and figural imagery in textiles became popular in various ways. In the meantime, there is a group of fabrics with human motifs that their decorations include the subject of captivity which has never been seen in Iranian textile design. The purpose of this article is to study the Safavid textiles containing the motifs of soldiers and captives and to analyze and interpret them based on the socio-political conditions of the Safavid period. Therefore, answering these questions is intended: What factors led to the formation of this group of designs in the Safavid textiles? And what are the cultural and social characteristics of the fabrics containing the imagery of soldier and captive? The research method is descriptive-analytical and the information has been collected in the form of library studies. by examining the samples available in the museums inside and outside Iran, it was determined that The content of the designs of these textiles was directly related to the socio-political conditions of the Safavid period and the purpose of their production was probably to show the political power of the Safavid kings.Figural imagery has a long history in Iranian textiles and was an important part of the decorative motifs in Iranian ancient textiles. With the advent of Islam and the prohibition of the use of human imagery and figural motifs in artworks, Calligraphy was used as a substitute for human motifs and as the dominant decoration until the end of the ninth century AH. From the end of the ninth century AH, especially in the Safavid era, the tendency towards the visual traditions of ancient Iran has increased and figural imagery in textiles became popular in various ways. In the meantime, there is a group of fabrics with human motifs that their decorations include the subject of captivity which has never been seen in Iranian textile design. The purpose of this article is to study the Safavid textiles containing the motifs of soldiers and captives and to analyze and interpret them based on the socio-political conditions of the Safavid period. The research method is descriptive-analytical and the information has been collected in the form of library studies. by examining the samples available in the museums inside and outside Iran, it was determined that The content of the designs of these textiles was directly related to the socio-political conditions of the Safavid period and the purpose of their production was probably to show the political power of the Safavid kings.

The art of glass making was invented and started by the Romans and enhanced by the development of the use of Chinese knots and door and window making. This art has a long history in Iran. However, the use of flat colored glass in architecture in the Safavid and Qajar periods has been due to some reasons. Among these reasons, one can refer to the characteristics of glass, climatic conditions, the the Safavid kings’ interest in glass arts, and the creativity of architects to borrow the pattern of flat glass windows, in the form of the stained glass method, practiced in churches of the same period in the West. The use of colored flat glass to create decorative windows originated in the Romans and Constantinople. The art of glassmaking requires special and diverse raw materials. Generally, complex methods are used in its construction. Glass is made of compounds such as silica in the form of sand, alkali in the form of sodium and potassium as flux, lime for strengthening, lead oxide for transparency, and metal oxides for creating different colors. 

The manufacture of flat-colored glass in Iran has not been discussed yet in the available sources. In the present research, an attempt has been made to answer the question of how this type of glass was the produced in Iran, and how the commercial and cultural relations have affected this process. The nature of the research is descriptive-analytical, and its methos is qualitative. The collection of information and samples has been done in a library manner. After collecting data and analyzing and classifying the manufacturing methods of flat colored glass, the factors affecting their prodction have been examined.  

Stained glass windows were used in three ways in the Qajar period. The first way is a patterned glasswork made with colors such as red, blue, emerald green, and yellow. This glasswork was used in small semi-circular windows and sash windows in the strips. The second method was glass mosaic that was first used in the late Safavid era and, then, it was fully expanded in the Qajar period. In the third method, on the plastered surface, a border of repeated motifs of scrolls and vases was inlaid in pieces of red, green, and blue colored glass. To produce cup (bed) glass, it consisted of 97% silica powder, sodium carbonate, and lime, and the remaining 3% was coloring and pigment oxides. The production of this type of glass was done using different methods, including blowing, casting, rolling, stretching (horizontal and vertical), and floating or flute.
At first, the production of uniform glass was done by forming circular and cylindrical shapes and, then, the flattening of them. Before the invention of the float method in the 19th century, uniform glass was made in two basic ways: one of these methods was sheet or window glass, and the other was plate glass.  
The colored glass was first used by the Romans. The origin of the use of colored glass was traced back to Constantinople, where it was used in the church in the 6th century AD. There were two ways to paint flat glass: surface and brain. Making colored flat glass was usually done by adding a metal to the molten glass.
Due to the expansion of political relations with the West, Shah Abbas brought expensive Venetian glass to Iran to promote this industry; this industry continued until the Qajar period. During the Qajar era, due to the incapability of hand-made glass workshops to meet the consumption and decorative needs of the country, glass goods were imported from other industrial countries and replaced the hand-made glass. Also, this period coincided with the Industrial Revolution, and with the expansion of foreign relations with European countries, handicrafts faced the challenge of industrial goods. Among other social factors influencing this art from the Safavid to the Qajar eras, one can refer to the use of mirror work, especially cup mirrors in the harems which became popular due to the eye-catching brilliance as well as the halo of sacredness surrounding the kings of this era. Since mirror created a remarkable space, they were not reluctant to experience such space. This had an impact on the use of mirror work in religious buildings such as Imamzadehs, and they joined this movement from the Qajar era. A growing interest in the development of knotwork and door and window-making promoted the use of colored glass in the Qajar and Pahlavi periods.   

The obtained results showed that the use of colored flat glass to make decorative windows was first used by the Romans and originated in Constantinople. The production method of flat glass in Iran was on the back of a shovel and of very poor quality. Thus, the method of making glass imported to Iran was manual, done by blowing method (including two types of crown, and cylindrical or cylinder), as well as casting or rolling ones. Also, the coloring of these glasses was done by adding colored oxides; it was done in two ways: surface and brain. In response to the second part of the research question, it should be said that the way and reasons for the arrival of stained glass in Iran included several factors: imitation of the flat glass windows of contemporary churches in the West with the stained glass method invented by the Romans; the attention of the Safavid kings, including Shah Abbas, to this art; making mosque lights and installing colored glass on doors and windows; the use of mirror work, especially uniform mirror in harems, followed by the use of mirror work in religious buildings such as imamzadehs in the Qajar period. The expansion of political relations with the West and the arrival of Venetian glassmakers in Iran also boosted this industry. The stagnation and incapability of manual glass workshops to meet the needs of the society in the Qajar period and its concurrency with the industrial revolution along with the increasing expansion of foreign relations with European countries, the importation of this product from other countries such as Russia, England, France, Germany, and India increased, as did the development of knotting and wooden doors and windows, which caused an increase in the flat colored glass in Iran.

Head covering is one of the components of Iran's clothing culture, which, while inducing special concepts, has considerable diversity and is representative of social classes. The aim of the article is to understand the role and form of men's head covering in the Timurid and Safavid periods. Therefore, the research seeks to find out what the role, form and variety of head covering was in these two periods according to the illustrations of two Shahnameh Baysonghori and Shah Tahmasp. And what are the similarities and differences between these courses? The research approach is qualitative, and the method is descriptive, historical and comparative. In this historical process, the shape and form of hats, war helmets, turbans and crowns in the two Shahnamehs have been analyzed. The research findings show; Men's head covering of the Safavid period was influenced by the head covering of the Timurid period, but it can be said that in the Safavid period, the diversity of the form and the role of the headgear changed a lot compared to the previous period. Also, according to the style, form, color and decoration of hats and headgear, one can understand the social position of people wearing Covering the headgear. As a result of the Safavids' change of religion from Sunni to Shia,  witnessed extensive changes in the area of men's head covering during this time. The Qazalbash crown or turban of 12 Turks with a red rod, which was the symbol of the Shiites of the Twelve Imams, is one of its prominent examples.

Zarih is a structure placed on the tombstone of prophets, imams, and imamzadehs to show respect for the buried holy figures and facilitate pilgrimage. From the time of the martyrdom of the imams until today, wooden and metal boxes have been placed on the graves of imams, but over time, these wooden structures became known as grave boxes, and metal and lattice structures were placed around these wooden boxes, which are now called zarih. These lattice structures were initially plain and devoid of inscriptions and decorations, but gradually evolved from simple metal lattices into enduring works of metalwork art. Imam Ali (Peace Be Upon Him) was martyred in the year 40 A.H. and was secretly buried according to his will. Some have stated that the current tomb of Imam Ali (PBUH) includes multiple arches and porticoes that belong to both ancient and modern structures, although they are similar in terms of period and style. Some believe that the older structure may be from the time of the first Safavid king (Shah Abbas the first), while the new structure may be attributed to Shah Safi, another Safavid king. The exact date of the first zarih placed on the blessed tomb of Imam Ali is unknown, but it is clear that it goes back to before the year (1073 A.H.). In the year (1211 A.H.), Sultan Mohammad Shah Qajar replaced the old zarih with a new one. After that, Abbas Qoli Khan donated a new zarih to the shrine of Imam Ali (PBUH) in 1262 A.H., on which verses of the Quran, the names of the imams, and Persian poetry were inscribed. The next zarih was made of silver, presented as a gift by Seyyed Mohammad Shirazi, and installed in 1361 A.H. The current zarih, one of the most magnificent Zarih structures, was gifted to the shrine by the leader of the Indian Bohra community, Seyyed Tahir Saifuddin. It took five years to construct this zarih. It is said that 100 kilograms of silver and 552 kilograms of gold were used in its construction.How is the structure and combination of decorations executed in this zarih? And what is the meaning and significance of the inscriptions from the perspective of Shia thought in the zarih?The research method used is descriptive-analytical, and the information is collected through literature review and field research. The history of zarih, the specifications of the current zarih of Imam Ali (PBUH), the decorations of the zarih of Imam Ali (PBUH), and the constituent elements of the zarih of Imam Ali (PBUH) are all examined.Finally, based on the studies and conducted investigations, it can be said that the zarih of Imam Ali (PBUH) structure has a general design that has evolved and become more intricate and aesthetically pleasing over the years. The zarih of Imam Ali (PBUH) is a rectangular cube. It is believed that until the Safavid period, zarih structures were without roofs and decorations, and a hanging cloth was placed on top of them. However, it is certain that since the Qajar era, zarih structures have been adorned with roofs and decorations such as metal pen carving, wood carving, and more. Therefore, the zarih of Imam Ali (PBUH) should be considered the focal point of the roof design from the perspective of height, which has been strengthened by adding upper vases in an Indian style. Among the religious themes used in the inscriptions of the zarih of Imam Ali (PBUH), the inclusion of his name alongside Allah and Prophet Muhammad (PBUH) as well as the names of the fourteen infallibles signifies not only the love and affection for this Imam but also directly reveals the inclination towards Shia ideology and devotion of some other certain beliefs. In fact, religious artists strive to reflect their thoughts and beliefs about Shia elements, their affinity for the Prophet's household (Peace Be Upon Them), and subjects such as Quranic verses, divine names, holy and prophetic traditions, Shia testimonies, and literary poems and verses describing and mourning the infallible Imams (PBUT) through their art on the zarih structures. The presence of these inscriptions on the zarih is not only for the sake of beauty but also allows the divine verses to manifest their meanings in the soul of the pilgrims, and the interpretations of the written chapters on the zarih convey their significance and the status of the Ahl al-Bayt (PBUT). In the zarih of Imam Ali (PBUH), complete chapters of Surahs such as Al-Insan, Ar-Rahman, Al-Ikhlas, Al-Fajr, Al-Hamd, Ad-Dhuha, Al-Ghashiyah, Al-Inshirah, and Al-Kawthar are inscribed, as well as a complete qasida by Ibn Abi al-Hadid and the names of the fourteen infallibles (PBUT) in two types of calligraphy, Thulth and Nastaliq, are written on the zarih. In the zarih of Imam Ali (PBUH), the three inscriptions of the second row (hadiths), third row (Quranic chapters), and fourth row (qasida and names of the fourteen infallibles) have the most prominent presence among the inscriptions, but the first row (Surah Ar-Rahman) has the least visibility due to its placement at the top of the zarih. In terms of colour harmony, calligraphy, and alloy, the first, second, and third rows of inscriptions are consistent with each other. Additionally, in the zarih of Imam Ali (PBUH), around the themes and inscriptions, the art of jewelry engraving in the heart of the metal has also been used.

Sign Qurans of Sheikh Ahmad Jami Museum, 8th to 13th AHThe reciters used the science of safety in order to pause or finish the daily recitation and decorated the religious ones in order to beautify the Quranic verses. The purpose is to study the visual design of the design and decoration in showing their Quran. Sheikh Ahmad Jami Museum is available from the 8th to the 13th century AH. Using visual features decorated with Quranic markers in the Sheikh Ahmad Jami Museum, what is it from the eighteenth to the thirteenth century AH? The approach, quality and method of research have been descriptive and analytical and sixteen examples of the Qur'an that show are selected. The findings show that the manuscript of the Sheikh Ahmad Jami Museum The beauty and delicacy of gilding reached its peak in the tenth and eleventh centuries, and this excellence and evolution continued until the end of the thirteenth century.The writers of the Qur'ans of Sheikh Ahmad Jami's Mazar have decorated and beautified the manuscripts with eye-pleasing images and gilding to increase the impact of their writings and attract more readers. In addition to the mentioned reasons, the common goal of painting and religious masters is to achieve that sublime beauty that not only pleases the eyes but also illuminates the hearts, and the result of the sincere efforts of the artists is the presence of external and spiritual beauty in all the Qurans of this collection, especially the opening pages. and their ends. In this research, a study and examination of the evolution and development of the page layout of the opening and closing pages during different periods and the analysis of their visual aesthetics in order to familiarize with the masterpieces of Islamic art in Iran and find out its functions in today's art have been done. In this regard, the number of 16 examples of manuscript Qurans Available in Sheikh Ahmad Jami Museum, 3 pieces from the 8th century AH, 2 pieces from the 9th century AH, 2 pieces from the 9th and 10th century AH, 2 pieces from the 10th century AH, 5 pieces from the 12th century AH have been selected. and includes 2 numbers of the 13th century A.H. At the beginning of the information, data, plant elements, the role of Islamic and contemporary elements in the pages of the opening and completion of these 16 manuscript Qurans from the Seljuk era to the Qajar era using historical books, analysis and sources related to They have been compiled and analyzed. The reciters used the science of safety in order to pause or finish the daily recitation and decorated the religious ones in order to beautify the Quranic verses. The purpose is to study the visual design of the design and decoration in showing their Quran. Sheikh Ahmad Jami Museum is available from the 8th to the 13th century AH. Using visual features decorated with Quranic markers in the Sheikh Ahmad Jami Museum, what is it from the eighteenth to the thirteenth century AH? The approach, quality and method of research have been descriptive and analytical and sixteen examples of the Qur'an that show are selected. The findings show that the manuscript of the Sheikh Ahmad Jami Museum shows the Surah Surah, Jazu, Hezb, Sajdah, Khamseh, Ashra, the end of verses and a combination. Garlic design and coloring in different types of Quran Sheikh Museum lines have been integrated from a simple form without decoration. These arrays in Badi Amr are destroyed with limited colors, especially gold, and are painted from the sixth century AH onwards, and while preserving the gold background, rich and effective colors such as azure, sandstone, white water, arsenic (yellow light), Syringe, rusty green found in the arena. The beauty and delicacy of gilding reached its peak in the tenth and eleventh centuries, and this excellence and evolution continued until the end of the thirteenth century.Sheikh Ahmad Jami collection has exquisite calligraphic Qurans that have several symbols in their memory. In this regard, 16 samples of manuscript Qurans from the Seljuk era to the Qajar era in the Sheikh Jam Quran Museum have been selected, including 3 from the eighth century AH, 2 from the ninth century AH, 2 from the ninth century and The tenth century AH, 2 numbers from the tenth century AH, 5 numbers from the twelfth century AH and 2 numbers from the thirteenth century AH are included. There are many Qajars that have 8 types of signs: Sarsura, Jazoo, Hezb, Sajdah, Khamseh, Ashareh, the end of verses and a readable combination. So far, the mentioned Qurans have not been in the scope of research of scholars and the available resources in this field are very few and few. Therefore, the purpose of this study is to identify the decorative arrays used in the Qur'an and the symbols of the 8th to 13th centuries AH in the Sheikh Jam collection. So what are the arrays and structure of the decorative elements in the signs of the Qur'an of the Sheikh Jam Museum?Comprehensive introduction of various signs of manuscript Qurans from the 8th to the 13th century AH in the Seljuk, Ilkhanid, Timurid, Safavid and Qajar periods in the Sheikh Ahmad Jaji Quran Museum is one of the achievements of the present study. The statistical population, which is 16 manuscripts of the Quran, has been selected and examined based on priority and non-repetition of 16 samples of manuscripts of the Sheikh Ahmad Jami Museum in order to provide the maximum amount of information based on the research questions. The research method is descriptive and analytical and the data collection tool is documentary, library and especially field studies.The results of the findings of this research showed that the page layout in the manuscript Qurans of the Sheikh Ahmad Jami Museum from the Seljuq era to the Qajar era has evolved and the aspects of page layout, page divisions, tabulation and writing have evolved from a simple and unadorned form to coherence and decorations. In the Seljuq period, Simple geometric forms and limited colors are used in the layout and decoration of Qurans, but after this period until the Qajar era, the composition, layout and decoration become more coherent and regular, and a variety of colors such as gold, lapis lazuli, and saffron are seen in it.Comprehensive introduction of various signs of manuscript Qurans from the 8th to the 13th century AH in the Seljuk, Ilkhanid, Timurid, Safavid and Qajar periods in the Sheikh Ahmad Jaji Quran Museum is one of the achievements of the present study. The statistical population, which is 16 manuscripts of the Quran, has been selected and examined based on priority and non-repetition of 16 samples of manuscripts of the Sheikh Ahmad Jami Museum in order to provide the maximum amount of information based on the research questions. The research method is descriptive and analytical and the data collection tool is documentary, library and especially field studies.Sheikh Ahmad Jami collection has exquisite calligraphic Qurans that have several symbols in their memory. In this regard, 16 samples of manuscript Qurans from the Seljuk era to the Qajar era in the Sheikh Jam Quran Museum have been selected, including 3 from the eighth century AH, 2 from the ninth century AH, 2 from the ninth century and The tenth century AH, 2 numbers from the tenth century AH, 5 numbers from the twelfth century AH and 2 numbers from the thirteenth century AH are included. There are many Qajars that have 8 types of signs: Sarsura, Jazoo, Hezb, Sajdah, Khamseh, Ashareh, the end of verses and a readable combination. So far, the mentioned Qurans have not been in the scope of research of scholars and the available resources in this field are very few and few. Therefore, the purpose of this study is to identify the decorative arrays used in the Qur'an and the symbols of the 8th to 13th centuries AH in the Sheikh Jam collection. So what are the arrays and structure of the decorative elements in the signs of the Qur'an of the Sheikh Jam Museum?Comprehensive introduction of various signs of manuscript Qurans from the 8th to the 13th century AH in the Seljuk, Ilkhanid, Timurid, Safavid and Qajar periods in the Sheikh Ahmad Jaji Quran Museum is one of the achievements of the present study. The statistical population, which is 16 manuscripts of the Quran, has been selected and examined based on priority and non-repetition of 16 samples of manuscripts of the Sheikh Ahmad Jami Museum in order to provide the maximum amount of information based on the research questions. The research method is descriptive and analytical and the data collection tool is documentary, library and especially field studies.The research method is descriptive and analytical and the data collection tool is documentary, library and especially field studies.

Blacksmithing entails the transformation of metal to craft iron tools. Historically, the crafting of metal goods fell under the domain of Chelengar. This entity prepared the primary substrate of the metal for pattern acceptance and Zomudgari. Skilled craftsmen then etched patterns and inscriptions onto the metal. Literally, Zamud also conveys the addition of ornamental roles and components. Essentially, Chalangar and Zamudgar collaborated closely in construction endeavors. With the emergence of iron doors and windows, this practice has evolved to embellish windows and entrances of distinctive locales. Within the traditional framework of ancient trades and vocations, blacksmiths ranked among artisans who forged iron in furnaces, shaping metal components into diverse tools through a process of hammering. Chalengari, a branch of blacksmithing, also referred to as small blacksmithing, stands out. Nevertheless, due to industrialization affecting numerous metal structures, this artistic pursuit has faded from memory. In yesteryears, it showcased the aesthetic sensibilities of Iranian instrument makers in various forms, embodying cultural expressions and reflecting elements of Iranian identity. Notably, the initial aspect captivating artists within households was the entryway's view - encompassing doors and windows. During the second Pahlavi era in Tehran, structures boasted splendid window railings and doors adorned with assorted designs, highlighting the artistry of Tehrani blacksmiths. From the era of Qajar monarchs, statesmen, and intellectuals, fascination with major European metropolises grew. Western advancements in modernity captivated attention. This phase witnessed changes that retained national identity and upheld traditions. However, during the Pahlavi era, an ideology promoting the replacement of the old by the new gained ascendancy in Iran. Consequently, there exists a need to engage in research to revive the art of changari, shedding light on the motifs, techniques, and forms employed in these fences, windows, and doors. What constitutes the methodology underlying the design, construction, and technique of Chelengari (windows and doors) blacksmithing in Tehran, along with their motifs? The research approach is descriptive-analytical, employing information collection from libraries and the field. A total of 900 windows and doors were amassed, analyzed, and scrutinized. Findings reveal that design methods are characterized by simplicity and abstractness, involving semi-abstract renderings. Symmetry motifs are dispersed through single, analogous (one-second, one-fourth), and contiguous (4*1, 4*3, 2*3, 4*4, 2*6, 4*6, 3*1, 3*2) patterns. Construction techniques involve transcribing desired designs onto estimating pages. Subsequently, utilizing metal straps measuring 2 cm in width and 0.5 cm in diameter, or at times iron sheets, craftsmen prepare and affix motifs onto door and window frames. These motifs can be categorized as abstract, comprising human, animal, plant, geometric, and Chinese knot themes. The diversity of design, developmental processes, and motifs in Chelengari blacksmithing during this era draw inspiration from Iranian knot motifs found in brick, wood, and particularly tiling. Abstract paintings of 19th-century schools (Suprematism, revisionism, constructivism) further influence these motifs, intertwining with prevailing motifs of Iranian modernity. Throughout this span, Chelengaris exhibit a fusion of Iranian-European roots, with all patterns and forms harmonizing with door and window dimensions and shapes. Moreover, the inception of window railings, door guards, and balcony protections in Tehran dates back to the Qajar period. This trend persisted through subsequent architectural epochs, particularly the first and second Pahlavi periods, resulting in progress and evolution within railing-window and door-balcony protection construction. However, this trend witnessed a decline during the latter Pahlavi era, sparking significant alterations in design and pattern dissemination. Commencing in the Qajar period, Chelengris embodied elements of embellishment, privacy, and security. Over time, especially in the second Pahlavi era, their decorative aspect gained prominence. The infusion of Western architectural influences, coupled with heightened external engagement, showmanship, and an emphasis on facades and urban exteriors, became noticeable since the Qajar era. This era also marked increased interaction between Tehran's populace and other cities and nations, infusing urban environments with vibrancy and fostering outward-looking perspectives. The evolution of these metal barriers adorning windows underwent substantial change from the Qajar era to the second Pahlavi period. Essentially window guards, these installations served both protective and decorative roles after exterior windows were put in place, transforming cityscapes. These transformations were driven by factors such as Western advancements across various domains, expanded trade, the transformative effects of the constitutional movement on social structures, and the migration of craftsmen to neighboring countries like the Caucasus. Notably, interactions with foreign societies, the rise of unions and guilds, the movement of businesspeople and intellectuals abroad, and exposure to new cultural and social content further contributed to these shifts. This period also witnessed the arrival of modernization in Iran as the nation faced new neighbors in England and Tsarist Russia, prompting a confrontation with Western influences. The introduction of modern materials like rebar, beams, and cement for factory, bridge, and railway construction, alongside the dissemination of drawings, postcards, and photographs, further fueled these shifts. Modernization was fostered by factors such as the constitutional movement, sending students abroad for education, translations of foreign texts, and the influence of Western architects' works. These developments deeply impacted Iranian life across literature, poetry, and the arts, ultimately resulting in a departure from traditional forms, the adoption of Western architectural styles, and a fusion of global features with native Iranian architectural concepts. Conclusively, the architecture of the Pahlavi period drew from late Qajar architecture, modernism, and neoclassical archaism (nationalism). During the second Pahlavi era, architecture seamlessly aligned with modern architectural paradigms. This period saw an attempt to merge native Iranian architectural elements with global modern features to create structures universally resonant across diverse cultures and races.

Grotesque, the artistic-literary discourse, makes technical arrangements for the creation of heterogeneous emotional mixtures and the creation of all-encompassing uncertainty, the decipherment of his long-awaited scenes, leading to the technical and content enrichment of the work. The Grotesque is at the forefront of the battle with the certainty and it’s the herald of an unfinished world. In the light of the philosophical content of its worldview, it reveals the blunt face of the unattainable world in the form of a simultaneous representation of the two-dimensional contrasts. Bakhtinian Grotesque approach focuses on the merry roots of popular literature, in the form of features: inconsistency of dual contrasts, exaggeration, corporeal centeredness, degrading, aggressive language, and absolute anomalies, It has undeniable benefits by enabling the recognition of the capabilities of the narrative text by objectifying their truth-seeking worldview and anti-dogma libertarianism.The novel “The Game of Forgetting”, by the Moroccan “Mohamed Barrada”, is a center of experimentalism on the arrangements of polyphonic literature, especially the Grotesque, and has created significant prototypes in this field. Literary representation of Grotesque characteristics the following Grotesque manifestations: disharmony, abnormal corporeal centeredness, Grotesque atmosphere, erotic abnormalities, profanity and billingsgate, and the theme of madness were examined and analyzed in response to the prevailing spirit of one-sidedness and illusion of omniscience.Mohamed Barrada, a pioneering author whose novels are indebted to Bakhtin's discourse theory, recognizes the carnival-Grotesque tradition in his laudatory critiques, He has adapted some of the preparations of Grotesque realism to his masterpiece of narrative, and has paved the way for the benefit of the rich but veiled Moroccan popular culture.he engaged in literary modeling under the sub-categories of dialogism, For example, he has attempted to create scences focusing on Grotesque wonders, as well as the philosophical and ideological dimensions considered by Bakhtin, And his creative scenes and images each somehow pursue the goals of Grotesque discourse. Barrada is also one of the Arab exprimentalist novelists, and Grotesque's discourse, intersects with the new exprimentalist novel, on the subject of border crossing and transgression, norm-breaking, non-dissemination of consideration, embracing with all possibilities and the rejection of pre-determined categories. The main question of this paper is how Grotesque elements and images have been effective in inducing the ideas of truth-seeking and exposing Grotesque discourse and adapting the concepts of pluralism and confronting the serious tone of the Domineering official culture. In pursuing the research question, we first identified the theoretical topics of Grotesque and then examined the Grotesque effects of “The Game of Forgetting” and analyzed the inductive concepts of its examples.

In analyzing Grotesque examples, we have followed a descriptive-analytical method based on library data processing, and our focus has been on Bakhtin's Grotesque approach, based on the merry roots of popular literature, and in the form of features: inconsistency of dual contrasts, exaggeration, corporeal centeredness, degrading, aggressive language, and absolute anomalies, and by applying the method of technical critique and carefully examining the necessary techniques of a particular literary genre, we have sought the literary representation of Grotesque features in the form of Grotesque manifestations, including: disharmony, abnormal corporeal centeredness, Grotesque atmosphere, erotic abnormalities, profanity and billingsgate, and the theme of madness.

Examining the examples of each of the Grotesque features of “The Game of Forgetting”, we find:1. Expressing contradictions in the behavior and movements of the characters or the state of phenomena and being in a situation inconsistent with their position, in Barrada’s work, is a solution to create a heterogeneous and challenging mixture of emotions to discuss the idea of a fluid and possible world by rejecting necessary principles It is undisputedness and completeness.2. In the abnormal corporeal centeredness and extreme attention to the lower parts of the limbs, as the ways of communication with the earth and the material world, the principle of degradation is considered by the author to question the pretense of excellence and sanctity and deliberately highlighted distinctions and replaces the idea of equality and universal anti-class freedom.3. In Barrada’s Grotesque atmospheres, the induction of negative, harassing, and anxious emotional states, In addition to creating a heterogeneous emotional duality and laying the groundwork for Grotesque indecisiveness and indecision, somehow aims to normalize our view of the second half of life, the death, which is followed by a new birth. Sometimes this is done in the realm of sacred matters, such as the example of the Mushatfah.4. Erotic abnormalities are the culmination of the construction of emotional dichotomies and are tied to killing in order to intensify them. Another purpose - according to the narrator's groundworks in order to to raise the examples - is to set aside considerations in this area and expose it as a real part of life that requires a logical design to find a solution like other phenomena and should be known. That secrecy, as claimed by chaste purposes, is not the solution.5. The vilifications in language of Grotesque, by connecting the object to the lower extremities, acquires a destructive-reconstructive nature and so-called carnivalous, and with the help of the capabilities of the inferior culture, unlike the official repressive culture, creates creativity and behind the profanity, the liberating truth of freedom, Has lies. The deliberate choice of blasphemous concepts indicates a deliberate massification of the mass of ideas and images distorts the whole truth considered to be complete.

Thus Barrada, of an exemplary spirit of intolerance and rejection, seeks to recall the excluded elements and to combine heterogeneous elements and that allows another view of a world with a more orderly structure under the concept of relativity. And by projecting any indisputable ideas and dogmatic actions, and believing in the boundaries crossing and coexistence of phenomena, heralds high decisive values such as freedom, happiness, justice, accepting others, rejection of dogmatism and reconcile all the parts of the world again.Keywords: Grotesque, The Game of Forgetting, Degradation, Corporeal Centeredness, Billingsgate.

Among researchers majored in luster works, many have focused on the methodology of making glaze, the origins of its production, the implications behind motifs, or its style and form; few paid attention to the production and the actual physical features of these tiles.The diversity of different styles, whether using the pottery wheel or the mold method, is evident in the varieties of different tiles having been remained. The discovery of several molds both for making dishes and for creating embossed tiles, especially the in above-mentioned styles observed in tiles with embossed inscriptions, has put forward the idea that they were done using molds.The purpose of this article is to re-examine the methods used for writing inscriptions; it also undertakes a technical review and analysis of the shortcomings of this method using molds for creating patterns for the decorations of lusterinscription tiles of the 7th and the 8th centuries Hijri.In this way, this research seeks to answer the following questions: a) how can the execution method of writing inscriptions in the golden altars of the 7th and the 8th centuries of Hijri in Arais al-Javahir be explained? b) how can it all be feasible using scientific steps and experiments according to the laboratory standards? According to the current theory, each of the tiles with inscriptions had a separate mold. Thus, if there were no mold, the method used for the repeated inscriptions would remain a mystery.

Small dishes, tiles, and seals made of stone paste can be found in large and small civilizations. The quality of the pigmentation that the glaze gets in this mixture, in terms of the brightness, transparency, as well as the strength of the glaze-coating both on the surface and on the body has a noticeable superiority compared with the red clay constructions. With the advancement of civilization in Iran, one can witness the decreased use of earthenware dishes (including glazed tiles, stone paste crockery, and clay pottery dishes) and their replacement with metal and terracotta, plaster, and stoneitems.In the palace Darius the Great, the walls were decorated with glazed tiles. The archeological findings of Bukan and Ghalichi, asKambakhshFardnotes, also show the extensive use of glazed clay in the Mana and Median civilizations. Throughout the time, however, these stone-relief decorations of the Achaemenid era and the plaster version common in the Sassanid era all changed.With the arrival of Muslim Arabs in the lands under the Sassanid rule and with the import of pottery from the eastern neighbors with perfect glass-like glazing, instilling elegance like precious metals, and including delicate motifs, a movement in these lands was developed, which embodied in the early luster works and the molded pottery of the central Iran. Then, it eventually became a worthy substitute for various artefacts leading to the creation of the refined and luxurious enamelware in KambakhshFard’s view. The pottery artefacts that were produced and offered in Nishapur, Shush, and Samarra in the first centuries had prominent high relief works. They were designed with colorful paintings on them and were delicately elegant.These qualities were due to the combination of a thin white film that was like glazing in terms of composition; in terms of hardness, they could be placed somewhere in between the toughness of glass and its body’s malleability. In the following centuries, this method with updated techniques provided the ability to produce the surface with the ability that offered the possibility to be worked on and to be shaped in large size molds.At that time, in pottery industry, it was possible for artists to create large pieces of pottery with resistance like a stone, flexibility like a plaster, transparency like a mirror/glass, and metallic polish like gold. It was time to build many altars, tombstones, and inscriptions with these material, which was confirmed by the remaining works. The research method in the theoretical part is descriptive/analytical, and in the laboratory and workshop part, it is experimental; data collection undertook using library study and available historical documents.

The use of stone paste brought about a great transformation in the pottery of Islamic civilization. This method, based on archeological findings, was used in Iran in the 5th century and provided plenty of opportunities to the artisans to the extent that they were able to make large and thick pieces from great alters to fine dishes.In this article, an attempt was made to test an alternative hypothesis by combining both the accepted mold method while creating patterns on the tiles in the free hand. To achieve this, the tile pieces were made in the workshop in practice and step by step.In the first step,the types of earthenware mixtures in Iran and different types of patterns shaping and creating with these mixtures werescrutinized. In the second step, by examining the written documents of the 8th century (Arais al-Jawahar), the findings in those documents wereanalyzed and compared; an attempt was made to understand and compare those writings with the evidential works of that era. In the third step, the remaining works from that era wereanalyzed to clarify the findings put forth by previous researchers. For this purpose, the procedure was subjected to a detailed, technical investigation and was applied methodically.For the accuracy of this experiment and to test the findings, following the mentioned methods, tiles with prominent inscriptions were reproduced with the proposed method, and was decorated as they would have been historically.Finally, the research method shared in this article embodied practical connotations in its nature, using laboratory process and scientific steps. Also, it is historical in terms of the use of broad and analytical approach, to set it within its period.The term ‘historical’ is emphasized since it is a topic that is subject to various historical biases that need clarification. According to the findings of the researcher, accurate historical facts have notbeen raised until now, and in this way new findings will be introduced.

This research can be concluded as follows: tiles with raised inscriptions are organically made and, in many cases, improvised using the skill set of the artist and a special type of stone paste. This was used on the tiles already made using a special mold with the repeating parts already baked on them.An old premise classified ceramic works with embossed inscriptions as molded tiles. Researchers have also expressed that every piece of tile with an inscription must have a separate mold. In this article, by focusing on archaeological and written evidences, an attempt has been made to find the real production method of this type of tiles.To test this new hypothesis in a practical and scientific way, using the available historical and theoretical documents, the tiles were reproduced using the new proposed methods; the results can confirm that the findings can replace the old theories to a large extent.

The Bayazid Bastami Tomb Complex in Bastam houses various artifacts from various historical periods. Previous research on this complex has focused on describing the mihrab, inscriptions, decorative motifs, and geometric relationships. This study examines the imagery and epigraphy of the mihrab in the men's mosque of Bayazid. The research questions addressed include: "What forms do the motifs in this mihrab take?" and "What types of scripts and texts are present in the epigraphs?" The research method is descriptive-analytical with a qualitative approach. Data collection methods include library research, field observations, interviews, and photography. The findings imply that the motifs and epigraphy of the mihrab were made of stucco used with the protruding stucco (barhashte) technique. The inscriptions are in Kufic, Suls, and Naskh scripts, set against backgrounds of vegetal and geometric patterns, and contain texts from the Holy Surahs of Tauba, Baqarah, Jinn, various sayings, and the phrases Allah Rabbi and Muhammad is my prophet. The mihrab motifs can be categorized into three types: Vegetal motifs such as dragon-mouth designs, Khataei stems, flowers, and leaves; geometric motifs including interlacing patterns, polygons, and simple geometric shapes; and a combination of intertwined geometric-vegetal designs or relief work on vegetal patterns. Symmetrical balance in the mihrab and harmony between imagery and epigraphy can be seen in the inscriptions. The mihrab and its geometric and vegetal motifs display a structured and regular geometric relationship based on golden ratios.

The Qajar Dynasty is very important in the architectural art history, because in this period, western architectural techniques entered the architectural styles and decorations with their numerous features for the first time. The obvious manifestations of this, are the changes in Tehran's garden houses styles, which have different architectural styles and spaces, despite belonging to the same historical period. Masoudieh Garden House is a historical mansion which is in a better condition than other garden houses, and contains more comprehensive historical documents. Masoudieh garden was built in Baharestan Square (Tehran), by Mass'oud Mirza Zell-e Soltan’s order, and is decorated with brickwork, plasterwork, tiling, mirror work, sculpture, decorations. The research’s aim is to answer the question: What is the form and pattern used in the historical architectural decorates of Masoudieh Mansion in Tehran and what are the influential factors in its formation? The general approach in this research is qualitative, is applied in terms of purpose, and descriptive-analytical and historical based on nature, which used the iconology approach in the analysis, and the documentary collecting method was library and field information. In the analysis of the architectural decorations in MasoudiehMasoudieh Mansion, three important principles have been examined: the influence of Farang on Qajar art, nationalism, and Iranian-Islamic national arts. The indicators’ influential level on formation and performance of each decoration is expressed. The architectural decorations used in the old buildings are often combined with western designs and motifs that are inspired by nature and combined with Iranian-Islamic techniques. In the tiling decorations of the mentioned group, traditional motifs (Slimi motifs and Khatai flowers and leaves) can be seen, which are often combined with western motifs used in form of decorative unit frames or above the windows in the building’s basements. Another type of motifs used in the tiling, are the human figure designs such as princes, slaves and servants ready to serve, which are taken from western postcard motifs, in the single vertical frames. Wall decorations and plaster decorative frames, small and large vases decorated with different plants motifs can be seen, in addition to bands, buds, flowers, small and large leaves of Khatai and Farangi. These are imported from western motifs, which have been used and considered. plaster columns have been performed in the main front porches of Moshirolmolk The dining room and the eastern porch of the mansion, as well as the second floor balcony. Another type of plaster is the naked winged angels in human figures, which were generally seen in a similar and completely prominent form, at a very high height of some of the buildings. Regarding nationalism, it is worth mentioning that the first court architecture of Qajar era is a manifestation of the ancient history heritage. In Qajar era, a kind of reconstruction of the royal majesty and the power appeared in ancient Iran imitation. For this purpose, inspiration from ancient Iran during the Achaemenid and Sasanian Empires was taken into consideration. Ancient Iranian motifs have been used in most of the architectural decorations used in Masoudieh garden house to a significant extent, and they are often performed with Iranian-Islamic methods and techniques. The tiling decorations have been used with ancient Iranian forms and motifs. The double and triple stone columns in Divan-khane mansion’s main entrance, are a symbol of the stone columns in Persepolis’s central palace. What can be seen as Iranian-Islamic national art in Masoudieh garden house decorations, is in the form of brickwork, tilework, plastering, woodwork, sculpting and metalwork, which are often performed with traditional motifs (Khatai and Slimi), geometric motifs, human motifs, Nastaliq calligraphy and ancient Iranian motifs in the mansion’s old buildings.The mentioned decorations are generally different in type and usage in various parts of the old buildings, and each has been made with a special technique and method in Qajar Dynasty. All the forms and motifs are in different and regular frames except the inscriptions. They have balance and has been performed with 1/2 relation. The main colours, yellow, red, blue and complementary colours (yellow and purple), (red and green) and (blue and orange) as well as black, white and grey are used in various decorations of mansion. The social, cultural, and political conditions in Qajar era, relationship with Europe and western countries, and the remarkable interest of Qajar kings in European culture and art caused a very significant influence in national art and culture. In addition to the European neoclassical patterns, Islamic patterns and also some ancient Iranian motifs have been used in Masoudieh historical buildings’ decoration.

Since its discovery, iron has been considered one of the most valuable and chief factors in changing life and starting the industrial revolution. Since the Median period, covering large wooden doors with tinsmith was common. In the Islamic period, metal connections were only used to increase the strength of the wooden parts of doors and windows; however, nowadays these pieces, with the use of iron doors and windows, are used to decorate the entrance of certain places. lacksmithing(chelengari), as one of the branches of metalworking art that is called KhordeAhangari, was of great importance in the past. Today, this art has been  forgotten due to industrialization of a large part of metal constructions.. Blacksmiths were a group of artisans who turned iron and metal parts in the roasting furnace into various tools by the hammering process.

The method of using iron in buildings is a cultural manifestation and represents a part of Iranian identity. The Qajar era can be seen as the beginning of the substitution of wood with metal in the construction of fences and windows, known as "Gol Nardeh". The purpose of the article is to review the design, the construction, and the techniques used in Tehran's blacksmithing(chelengari)-(fences-windows, doors, and balconies). The questions of this research are as follows: a) what were the methods of designing, constructing and blacksmithing(chelengari) (fences - windows, doors and balconies) in Tehran? b) What types of motifs were used in Tehran's blacksmithing(chelengari) (fences, windows, doors and balconies)? The research method is descriptive and analytical; the purposeful sampling was of the convenient type and obvious cases. Data were collected through field and library studies. For this purpose, one hundred fences-windows, doors, and balconies in houses of Tehran built in the Qajar and Pahlavi periods in the 11th and the 12th districts were identified, photographed, and analyzed.

In the Qajar period, with the influence of western architectural culture and the beginning of extroversion in Iranian architecture, guards with different designs were built on the windows of the exterior of buildings in Tehran. On the other hand, the influence of the Qajar period and European culture on architecture drew attention to urban facades. This caused the simple wooden windows of the houses of the Qajar period to be made with new types of metal fences on the exteriors. Metal fences with a new design were revealed, while  preserving sanctity and creating a veil, which was also common to Iranian architecture -. In the buildings made in Qajar and Pahlavi periods in Tehran, there are various window fences, which show the taste of Tehran fence-making artists. The mentioned cases were influenced by factors known as the new developments in the West in various fields such as: the expansion of trade; the migration of craftsmen and workers to neighboring countries, especially the Caucasus, after the constitutional movement and the change of existing social structure; the familiarity with social classes and privileges; the formation of unions and guilds, the movement of businessmen and intellectuals to Farang (overseas), the dispatch of students to European countries to study, the translation of books and magazines, and new social and cultural contents conveyed through foreign newspapers and pamphlets . Mohammad Shah sent a group of five people to Paris to learn weapon making and sent another group of artisans and apprentices in 1268 AH to learn new industries such as carpentry, blacksmithing, and foundry. In terms of iron-making and blacksmithing (chelengari), Amirkabir dispatched a group to Moscow under the supervision of Haj Mirza Mohammad Tajer of Tabrizi. He also sent Mohammad Ali, the flint-maker, under the supervision of Major Darcy to England to learn lock and key-making techniques. Amirkabir plannedfor Iran's industries by establishing iron-casting, metalwork, cloth weaving factories while hiring technical masters from England and sending Iranian artisans to Russia. With the investigation done on Tehran's railings (fence-window, door, and balcony guard), it was observed that they had an identity root. in terms of usage, they were considered an element of traditional Iranian architecture.

As a result, The findings showed that the design method with the basic form of S with a ratio of 2 units for width and 6 units for length is formed under a pattern with 12 equal squares and spirals with 4 squares divided into 2 units and 6 parts. The applied techniques were divided into four categories of rectangular forms, rectangle with crescent, rectangle with crescent inscription, and rectangle-square. Also, the motifs used in Tehran's chalangri during the Qajar and Pahlavi periods were traditional motifs divided into two categories: one motif and two or more motifs achieved various beautiful shapes with different dimensions by analogy, combination, and multiplication. And each was examined in three types. The common motifs between these two groups were the creations of masters, six long, six Devati, lozenge, sharp drum, five open and eight. The single motif group included motifs such as Sormeh-dan bag and Seli motifs, Giveh and two or more motifs included Sormeh-dan bag motifs, Seli, Torang Kond, Panj Kond, Hexagonal, Torang Tond, Pabarik, Sormh-dan, Tabal, Shesh bandi and Pa bozi motifs. Also, the variety of designs and patterns used in Tehran's changaris in Tasi gave it an identity taken from the motifs of Iranian knots on bricks and wood, especially tile works. According to the experiences gained by master craftsmen, blacksmithing(chelengari) had an evolutionary process and the designs, roles, and forms followed the dimensions and shapes of the windows, doors, and balconies.

Statement of the Problem: 

Mirrorwork is one of the delicate and productive arts related to architecture, which is created by putting together small and large mirror pieces. The mentioned array is usually used in the interior parts of various buildings, including sacred places, palaces, and residential houses, which besides the decorative dimension, also has important practical aspects. Traces of this art were observed in various buildings of the Safavid period, and its development and peak can be seen in the buildings of the Qajar period. In the current research, technical studies and content analysis of motifs and symbols of mirrorwork in fifteen buildings of Isfahan City have been carried out, according to the time frame. Therefore, the present research seeks to answer these questions: 1. What are the characteristics of the mirror work decorations in Isfahan from the Safavid period to the present? 2. What are the techniques used in the historical building of Isfahan?

This study aims to investigate the techniques and decorative motifs of Isfahan mirrorwork.

In the current study, the research method is qualitative and analytical. The data was collected using library sources and field observations.

According to the research conducted the most common mirrorwork from the Safavid period to the present is the embossed and semi-embossed mirroring technique, as mirrorwork on plaster. Also, concerning the motifs, the motifs of "Shamsa" and "mirror-frame" among the geometric and decorative medallions and "pot" among the plant category were found to be the most widely used. Among the motifs, "yellow lily flower" and "Motacilla" are among the local motifs related to the region of Isfahan, which were observed in Safavid and Qajar houses.

The story of Gol and Bulbul is a romantic story that was noticed by mystics and writers in the Middle Ages of Iran. For the first time, Attar has given an independent story about the love of a nightingale to a flower in Manteqh-o-alteir, and in the continuation of this story, its Sufi aspects are discussed in Bulbul Nameh and Nozhat al-Ahbab. In the analysis of the stories that are written in the language of al-Riyahin and Murghan, the Arabic version of Kashf al-Asrar fi Hokm al-Tayyur va al-Asrar and Ramz al-Riyahin have described the development of beauty in a similar format, but in Bulbulnamehs and especially Gol and Bulbul's Masnavi of Sheikh Abu Ali Qalandar mentioned its Sufi aspect. The stories of the flower and the nightingale were romantic narratives that became the basis of Sufi views, and it was not without reason that the basis of all these mystical texts originated from the Manteqh-o-alteir.The nightingale was a searching bird that was considered to be the home of the soul of a lover, who in an attempt to reach a worldly lover has exposed himself to thorns and fire, and is condemned by other pilgrims of truth in order to go to true love. This research, by examining the sentences of poems that deal with the flower and the nightingale, seeks to answer the question, what is the place of the flower and the nightingale in the mystical literature of Iran in the Islamic period, and how can the characteristic of the searcher be explained? This research, by referring to first-hand literary sources, recognizes the place of nightingale and explores the reason for its widespread use. The research method is descriptive-analytical and the library method was used in collecting sources. The findings show that the Meraj journey of the Prophet became the subject of mystical stories, a spiritual journey that was interpreted by the mystics as a journey through the mortal world and a step in the valley of love and its stages. The sages wrote treatises on this subject to be the basis of Manteqh-o-alteir, the best of which, according to Attar's narration, was written down. Although Ibn Sina's and Ghazali's Risalah al-Tayir and Sana'i and Khaqani's Risaleh al-Tayir were written before Attar, his work was a common chapter of all four works. The only commonality of all the schools was the belief in unity, which is the basis of Tariqat and Sufism, and the schools that were derived from them, and it is well evident in the words of Attar. In Manteqh-o-alteir Sanai and Khaghan regions, the number of Murghan does not reach thousands and there are only a few. And not all types, but those whose place is in the garden, rag and grass, and who love and admire the beauty of greenery, grass, and rhizomes. Their problem is not related to themselves. Rather, they want to choose the most beautiful among all those flowers, each of which shows off and emits fragrance in a way. This feature is also understood and deduced in Rams al-Rayahin and Kashf al-Asrar fi Hokm al-Tayyur and Al-Azhar Ibn Ghanem. In Manteqh-o-alteir of Attar, Marghan like a seeker, a soul in love walks in a difficult valley. The story of the nightingale and her love for the red flower, which is a symbol of worldly love, is the beginning of a love story in Manteqh-o-alteir, which she expands and expands on in the Bulbul Name and Nezhat al-Ahbab, and becomes the foundation of several centuries of Sufi love stories among mystics after her. A flower in Attar's eyes is pink, mortal, and has attributes such as beautiful, short-lived, falling under the feet, sitting with thorns, and in the fire of rose-water, which were mentioned before by poets; But atar's nightingale is sometimes the language and mood of atar himself. But the most obvious feature is the seeking Murqh and the spirit of love. Among other mystics, this attribute is imagined, the nightingale is sometimes a thousand-story teller who speaks the truth, al-Hamdukhan, Abjadkhan and Zandavaf. The nightingale, which is a symbol of attachment to earthly love, according to mystics, must be the soul of a lover who breaks the cage of his life and frees himself from these attachments in order to reach true love. This mystical aspect of his representation in the painting of Gol-o- Murqh is a sleeping Murqh that is observing.

Single Iris bushes can be seen in many flower and bird miniature of Shiraz painters. This flower grows in the region of Susa. The region of Susa or Suzian has been so named because of the growth of Iris - in the west and southwest of present in the Elamite period, and has a religious connection with the Elamite goddess and has a symbolic aspect in the culture and art of ancient Iran.  Also emphasizes the belief of the people of this region in the mother-gods and Iris can be known in the Ural language “As the land of the Aryans”.  In the islamic period, due to the prohibition of portraiture, the use of the role of Iris (Islamic) in the decoration of places such as mosques and elements that add to their architectural nature such as water(pool) and light(skylight) is a continuation of the traditions of temples and crypts of worship of the goddess Anahita. The aim is the genealogy of the Iris flower and its connection with the gods in the art of ancient Iran and its transformation in the Islamic period.  So what is relationship between he celestial Iris and the goddess Anahita?  And how did its transformation into Islam manifest itself in the Islamic period? And what is its place in Safavid to Qajar flowers and birid miniature? The research method is descriptive and analytical and data collection is library and electronic. The findings show that the Iris is known in pre-islamic texts as the guardian of the plant and water on earth, Along with the goddess Anahita, with two amshaspands of “Hwrtat” and “Ameretat”. In the art of ancient Iran, the role of the Iris along with the Lotus and Ahuramazda, formed the holy trinity of the Iranians and confirmed their religious aspect by appearing in the murals of the stairs of apadana palace. In the Islamic period, artists established the abstract role of Iris in Islamic, Islimi or Arabesque Form in religious places. From the Safavid period onwards, when Iranian painting tended towards naturalism, artists used western painting methods and applied it realistically, not only in murals and marquises, but also in the texture of fabrics. Examining the composition of Irises in lacquer works, it can be understood that the artists of the fitrat period had some knowledge of the characteristics of two flowers of the Iris and the lily. as well as the poems that we see in the margins of these roles that contain words such as "mirror", idol (goddess of Pinikir), ornament (Anahita's feature in Aban yasht), seal, light, wheel (sky), moon (goddess of sin), sitting on the mirror (emphasis on the moon), divine kight (Mitra), the shadow of god the connection between Mehr and Anahita, which is between water and light, can be understood. Light emerges from three sources (sun, moon and stars). It can be understood that these lacquered mirror cases & book coovers in the Zand and Qajar periods (the school of flowers) were an emphasis on Anahita's identity.

To Iranians, the house is a place of safety and comfort, invocation and birth, and according to this, cultural, social, ethical, economic, biological, and aesthetic aspects are considered in its construction. In the surviving buildings from the past, we can also see the traces of the desire of humans to decorate and beautify their living environment. After Islam entered Iran, Islamic culture, art and thought gave a new look to Iranian art without changing its identity. After Islam, the architecture in Iran was blessed with rich colors, design, elegance and unique precision. The motifs used by Iranian artists were not only used to decorate the building and were always formed based on special concepts. By choosing natural forms to be used in the building, the Iranian artist has created a connection between the material and spiritual world. In decorative motifs and components of Iranian art and architecture, the unity of the whole and the plurality of components prevail, and in a certain stage of its evolution, there are countless types of decorations and it can be seen from the internal and external walls of the building that they have priority over other architectural elements. In addition to the value and formal beauty, these arrays express the cultural and religious secrets hidden in them and shape the ideas and ideals that govern the intellectual atmosphere of society. In Iranian architectural decorations, the art of painting is inspired by nature and its surroundings. Kashan city is one of the ancient and historical cities of Iran, which dates back to prehistoric times. In the ups and downs of history, the city faces stagnation and the development of industry and commerce by being destroyed and rebuilt. At the beginning of the Islamic period, the Mongol invasion and the Afghan sedition caused the city to stagnate, and on another occasion, it was credited during the Saljuqi and Safavid periods. The decorations used in the Qajar buildings of Kashan show the traditional effects or a combination of native values and western beliefs prevailing at the time and the impact and manifestation of economic, religious and cultural conditions. The historical buildings of Kashan are mostly related to the Qajar period and the ownership of these houses is mostly owned by the merchants and scholars. Often, the owners of the house were the founders of the house who lived there with their family and servants for generations. These houses have unique architectural decorations, most of which are inscriptions, plant, geometric and animal motifs. Considering the richness of decorations in these houses and also considering the disappearance of these valuable treasures that have identity, beauty, and originality, and the disproportionate copying of motifs, It is necessary to revive these original forms and motifs with research on this topic. The old houses of Kashan have a special architecture and many features that are formed based on certain criteria. These criteria are introversion, observance of the principle of hijab, preservation of privacy and neighborhood rights, observance of the principle of symmetry, observance of the principle of proportion, philanthropy and purity, principles of spatial hierarchy, organism, centralism, and functional classification. The purpose of this research is to analyze and classify the plant motifs of historical houses in Kashan. The questions are, what types of decorative roles are included in the historical houses of Kashan and in what categories do they fit? The research approach is qualitative and the method is descriptive and analytical, and the data collection is based on written sources, experts' assistance and field observation. The statistical population is the historical houses of Kashan, among which the houses with more prominent decorations (the Abbasid house, the Borujerdi house, the Tabatabai house, and the Ameri house) have been examined. Sampling is purposeful and of the type of obvious cases. Many articles have been published about Kashan and in most of these cases, they have relied on the history, culture and architecture of Kashan. Most of the research and data collection methods in these researches were qualitative, library and field. In the meantime, the research on the decorations and motifs of the shell of the building, especially the plant motifs, which has not been addressed with a qualitative approach and descriptive-analytical method and targeted sampling method. The most recent articles include: Milad Bagh Sheikhi (2021), in the article “Study of Exterior Facade Decorations Qajar Buildings of Kashan City”, analyzed and classified the motifs of the exterior of Qajar buildings in Kashan. Zahra Mohammadi Moin (2013), in the master's thesis “Review and study of wall paintings of religious places in Kashan (late Safavid and early Qajar)”, has introduced religious places and investigated the aesthetics and stylistics of the murals of these places. Also, among the old books, we can mention the book Merat al-Qasan, which was written independently about Kashan, which was ordered by the ruler of Kashan, Jalaluddin Mirza Ehtesham al-Mulk, by Abdul Rahim Kalantar Zarrabi. Other examples are Kashan encyclopedia, which is about the Aryans and the Kashi people. Or the collection of the ups and downs of Kashan, which is narrated by others, as well as a collection of writings of travelers who traveled to Iran and described their memories. The findings showed that the plant motifs used in Kashan architecture can be classified into five categories: based on the way they are expanded(including Complete Motifs, Half Motifs, Quarter Motifs, and Repeated Motifs), style(Iranian-Islamic]abstract[,Western Naturalistic Motifs), expression of form (Life Tree, Cypress, Flowers and Pot, Medallion desing - Corner, Micro Motif as a monograph), combined motifs(The combination of plant motifs with animals, The combination of plant motifs with inanimate motifs) and performance technique (Painting, Stucco, Sarooj] water-resistant [mortar, mirror work.( These motifs include cypress trees, life tree, flowers and vase, micro motifs as a monograph, vine leaves, fruit, grape, wide leaves, flower and bush, rosette, artichoke leaf, small and big leaves, flowers and buds, palmetto leaves, ivy leaf. They are used in two realistic and non-realistic styles. Repeating patterns in the form of arabesque, khitan, medallion desing-corner, bouquet, fit the architectural space including the circular space under the dome, columns, the main bases, arch and half arch, and cornice. After Islam, Kashan progressed during the Seljuk, Safavid and Qajar eras due to the presence of Kashi ministers; its art and culture flourished due to the residence of artists and scientists, and among other things, the efforts of Amir Kabir during his chancellorship. Also, during the Qajar period, the traditional architecture of this city had a significant growth and development. The decorations used in Kashan buildings are influenced by ancient Iranian art, Sassanid art, the influence of Safavid period paintings such as realism and the influence of Qajar nobility due to its connection with the West. due to hot and dry weather of Kashan and lack of water and vegetation, the artists of this region tried to solve it by using plant motifs and introducing living nature around their living environment.

Book decoration, from Persian miniature and gilding to bookbinding, has been one of the arts considered by artists during the Islamic period. Many authors and scholars are not interested to study the art of the Qajar period, especially gilding, and the context of its expansion and publication, stating that gilding in this period does not have special and significant features.  In the Qajar period, the importance and role of science and knowledge in the development of the country, the development of literacy and learning among different classes of society led to produce the books and newspapers with new techniques due to the development of Iran's relations with foreign countries, and people could achieve the number of books through lithography; however, the calligraphers and religious people of this period increased their efforts to design the patterns for lithographic prints in spite of having the gilding. Some of these works are in private collections, libraries and museums inside and outside the country; for example in Malek museum. Religious books, especially the glorious Qur'an, have always maintained their status and importance in all periods due to their sanctity, as well as recommended number of literary books, such as Saadi's generalities, Hafez's Divan, Shahnsmeh, 1001 Shab, etc. by their advocators and customers of manuscripts in the Qajar period. From the court to the rich men, scholars, and even tourists have sought to acquire or order old and new copies according to their literacy and financial ability. The prevalence of aristocracy, science education, collection management and cross-border communication are some of the reasons for requesting these books and manuscripts. The purpose of this research is investigating the areas of social development and diversity of gilding in the Qajar period. In this respect, this research is investigating the religious works of the Qajar period through studying the historical books, especially travelogues, guilds and historiographies. This research seeks to answer the following questions: 1- What are the impact and effects of the social context on the art of gilding of the Qajar period? 2-what are the backgrounds and prevalence of gilding? The research method of this study is descriptive and analytic from a social perspective and data collection of this research is type of library research and documents. In introducing the visual and structural features of this art of gilding in most of the researches, the related social factors were not considered in the prosperity and stagnation of this art in the Qajar period and it is necessary to pay attention to the social status of gilding and its impact on its spread. The research method is descriptive-analytical. First, the works were classified into several groups separately in terms of the available environment and context to develop the investigation of political, social, and cultural currents and events after examining the characteristics of gilding. There are more studies in the form of libraries, objective observation, examination of CDs and microfilms of manuscripts (image document) for considering the history and manuscripts. There are a number of manuscripts in domestic and foreign museums and private collections due to the large volume of Qajar books, to the extent that it is not possible to access them all. For this reason, the Malek National Library and Museum, Golestan Palace, the Library of the Islamic Consultative Assembly and the number of 100 manuscripts are the statistical population of this research which is selected as an unlikely sampling. The present research seeks to introduce the general characteristics of the art of gilding and its diversity, which have appeared in numerous and diverse works such as various books, lacquer and oil works and contracts, Haliyeh, ornaments, etc. in Qajar society. There are not any comprehensive articles or dissertations in this field. Most of the researches and studies in the field of art in the Qajar period have been done in the field of painting and architecture with brief references to gilding and their artists. Findings of this research show that the art of gilding did not stagnate during the Qajar period, and the king, elders, nobles and ordinary people were interested in having exquisite manuscripts. There is high production of manuscripts in three groups of religious, literary, scientific and cultural books, due to prevalence of literacy and increasing spirit of aristocracy, which often had significant artistic value and was also considered by many tourists, ambassadors and brokers. Gilders also had class, status and social value, and gilding in this period, in addition to decorating manuscripts and designing new works which can be seen in the lacquer and oil works, especially pen cases, indicate many examples due to the growth of literacy and learning, and the prevalence of luxury in Qajar society, and most of the literate people of society were interested to have such exquisite pen cases with them.

Tile is one of the most important decorative materials related to architecture that since ancient times has always been used. During the Qajar dynasty, many variations in the technique of making and designing tiles can be traced. Panel tiles are a type of large and prominent tiles that became common in this period. The unique patterns and pictures of these tiles reflect the social developments of that time. In this regard, the tiles of houses (aristocratic mansions) in Tehran were selected as a sample due to their uniqueness. The aim of this research is to study on visual and technical aspects of tiles of dadoes in cellars of Qajar houses in Tehran (houses of Ghavam O-Dowleh, Alam O-Saltaneh, Mushir O-Dowleh, Fazel Iraqi, Ghavam O-Saltaneh and Teymurtash). Hence the identification of tiles’ techniques; motifs and, themes are considered. This article seeks to answer the question: What are the features of creation techniques and pictorial themes in tiles of dado in cellars of Qajar houses in Tehran?This article seeks to answer the question: What are the features of creation techniques and pictorial themes in tiles of dado in cellars of Qajar houses in Tehran? The research method is descriptive-analytical and data collection is based on library studies, especially field studies (viewing samples and photographing them). Findings show the most important factors affecting the main patterns and themes of tiles are: Creative influence and integration of European culture, art and technological innovations (painting different landscapes as a photograph and using symbolic European scenes); ancient nationalism (the effect of Name-ye Khosrowan book; reliefs of ancient Iran); And rarely Islamic arts (Eslimi and Gol-o-morgh); those have been sometimes associated with the ability of painters in symbolism, innovation and composition (creating symbolic expressions with animals and the image of Qajar kings and politicians). All of the pictures are created in underglaze painting with black hatch and limited colors on molded tiles covered with white slip.

Familiarity of Iranians with copper metal and its smelting industry dates back to at least the fifth millennium BC. Metal that has been used in various historical periods from ancient times to the present to make various tools. The formability of this metal has revolutionized the history of human civilization and has multiplied its use. In addition to the manufacture of war tools and industrial tools, a large number of metal artifacts have survived throughout Iran's history. Some are related to copper metal or its alloy. In addition to copper, access to other metals such as silver and gold also led to the presentation of handicrafts of these metals for Iranian art. Many researchers have tried to introduce historical works in which scientists such as Arthur Pope, Robert Dyson, R.W Frey and Mohammad Taghi Ehsani are seen. What is quite clear is the admirable skill of the Iranians from these metals and the making of precious cultural relics that have been left for us. However, the direct and systematic introduction and study of the technical and artistic features of these works have not received much attention, and on the other hand, they end the history of metalworking in the Qajar period. But the continuity of this art has not stopped moving in the contemporary period, but has given it a special dynamism and meaning. What distinguishes this article in the first stage is the typology of techniques and methods of metallurgy in the historical period of Iran, which after many studies and studies have been classified into six groups. Half reliefs, reliefs, sculpture, meatballs, lattice and sculpture have been the result of this collection. The second issue is the position of Iranian metalworking art in the contemporary period. The cities of Isfahan, Borjard, Tehran, Shiraz, Tabas, Kerman, Kermanshah, Mashhad and Yazd were studied through surveys and field interviews. In these cities, the history of metalworking, design and role, productions, creativity and innovation, and the method of performing the art of metalworking have been researched and researched by the required artists. Certainly what adds to the scientific value of the work is the comparison of these elements in different cities. The research is basic in terms of purpose and descriptive-analytical in terms of method and nature. The method of collecting library information is specifically based on field data. The most important and characteristic features in each city are; Use a variety of steel rods hachure and Without hachure and metal on metal movement in Isfahan, The use of Warsaw metal in Boroujerd, motifs or traditional Iranian motifs in a new format in Tehran, the use of indigenous and symbolic motifs in Tabas engraving, Stamping in Kerman, designs of historical monuments in Kermanshah, gilding on other metals and gilding on stone, using three metals gold, silver and copper with different applications and competition of these three metals and gold products with native designs of Yazd, all of the features of engraving is in every city.