تزئینات

Industrial architecture, as a significant and intriguing field, focuses on the use of sturdy and aesthetically pleasing materials, emphasizing simplicity and functionality, while paying close attention to details and proportions. In the façades of industrial buildings in Tabriz, architectural proportions are achieved through repetitive fixed modules of brick formwork, considering details such as windows and openings. This approach, coupled with the blending of European industrial architectural elements and local features, exhibits an innovation in the realm of industrial architecture in Tabriz. This study investigates the proportions used in the façades of industrial factories in Tabriz, with a case study on the Khosravi Tannery. The research analyzes architectural elements and design principles utilized in industrial buildings in Tabriz, focusing on architectural proportions in openings and entrances, including patterns employed in these areas, particularly examining the aesthetic and functional aspects of building façades. Through the analysis of the Khosravi Tannery, the research aims to present insights into the relationship between geometry, ornamentation, and industrial architecture during the Pahlavi era in Tabriz. The results indicate that, in the façades of industrial buildings, as with other historical structures, the golden ratio and geometric proportions have been employed. By analyzing all patterns derived from openings and entrances, a fundamental pattern in façades was identified, which can be applied in designing openings and entrances of other buildings, enhancing the diversity and aesthetic appeal of façades.

Mihrab inscriptions are one of the main elements of Islamic religious sites, including places of worship and pilgrimage. In addition to hundreds of these inscriptions from various Islamic centuries still existing in different parts of Iran, decorations combined with calligraphy, patterns, and other embellishments have been displayed based on these works, depending on the conditions of the building or the inscription itself. One of these newly discovered mihrab inscriptions that has not been studied so far is the mihrab-shaped inscription of "Askar Mukram" in Khuzestan. This city, which still has remnants along the road between Ahvaz and Shushtar, is one of the historical areas of the Khuzestan plain and part of the Miyan Ab region of Shushtar, where the Islamic army was stationed from the third century (AH). Recently, a mihrab-shaped inscription decorated with Kufic calligraphy and ornamental patterns has been found in this city, with some broken and incomplete parts. The mentioned inscription is another golden leaf of Iran's visual heritage from the post-Islamic period, probably from the third to sixth centuries (AH). The difference between this inscription and other mihrab inscriptions in Iran is that it was not attached to an architectural structure at the time of its discovery. The discovery of such artifacts in the Khuzestan region, both from the Islamic period and before Islam, has a long history. Pre-Islamic examples include the Elamite artifacts of "Arjan" and "Joubaji" in Ramhormoz. Although the mihrab shape of this inscription initially suggests its use in a mosque, shrine, or similar structure, the possibility of using this inscription for other purposes, such as tomb entrances, cannot be ruled out. Considering the above, the main issue of this research is the nature of the calligraphic structure, decorations, and semiotic elements governing this newly discovered inscription, as well as searching for evidence of its approximate construction period based on other mihrab inscriptions in Iran.There are a few studies on Askar Mukram, some of which are briefly discussed below. In the study conducted by "Ataei, Mousavi Kohpar, and Mousavi Haji” (2014) entitled "Identification of the Historical City of Askar Mukram Based on Historical and Geographical Texts", the authors discussed the identification of this city and also described some of the coins which were minted in this city and its economic and commercial importance. Further, in an article titled "Resolving the Ambiguity Surrounding the Location of the Historical City of Askar Mukram," "Morteza Ataei and Raheleh Koulabaavi" (2019) also questioned the present location of the city of Askar Mukram. Other studies conducted on Askar Mukram have been centered on the philosophical and literary trends of this city when it was at its prime, which does not relate to the subject matter of this research. Many papers have been published on the inscriptions in mosques and pilgrimage places in Iran. These inscriptions, which are carved into the architectural structures, have been done in Kufic, Thuluth, Naskh, and sometimes Nastaliq scripts. Some of these studies are discussed here. In the study by Hatami, Khazaei, and Mohammadzadeh (2023), entitled "Investigating the Calligraphic Style and Visual Arrangements of the Griouar Inscription at the Shrine of the Twelve Imams in Yazd", the authors noted that the design criteria for this inscription included avoiding word legibility, and the overemphasis on letter forms and initial dimensions. "Khazaei-Musk, Kazempour, and Sahragard" (2022) in an article titled "Letter Forms in the Stone Inscriptions of Bani Hasanwiya (330-405 AH)" stated that the script used in the studied inscriptions is decorative Kufic (muragga'), and the two-petal and three-petal patterns are the most important decorative elements combined with letter forms in these inscriptions. The last relevant works are two books by "Amir Farid" named "The Coexistence of Image and Script in Iranian Art", published in 2021, and "The Position of Inscriptions in the First Mihrabs of Iran", published in 2022. In these books, Farid has provided a detailed analysis of Iranian calligraphy, decorations, and embellishments with special reference to mihrabs, the type of scripts used, the materials used in constructing the mihrabs, and the content of the verses inscribed in forty early Islamic mihrabs. In the book titled "The Position of Inscriptions in the First Mihrabs of Iran," he categorizes the early Islamic mihrabs into five types based on the integration of calligraphy and ornaments and says that the golden age of Islamic culture and art has a sense of integration. It is also noteworthy that Farid does not include the mihrab inscription of Askar Mukram in his book.In conclusion, the purpose of this study is to investigate the visual characteristics of the Kufic script and the ornaments of the newly identified mihrab-shaped inscription from Askar Mukram, Shushtar, and to look for clues regarding the approximate construction period of the mihrab by comparing it with other mihrab inscriptions in Iran.Research MethodologyThe present research adopts a qualitative approach. In this process, the formal structure, calligraphy, and decorations of the Kufic inscription of Askar Mukram, Khuzestan, are redesigned based on the available images of the inscription using open-source graphic software, and its elements are visually analyzed. The sources for this research are library-based and field-based. In the field method, images of the inscription were taken, and discussions were held with relevant experts. Additionally, library resources were utilized to investigate the background and similar examples.ResultsThe mihrab-shaped inscription of Askar Mukram, in its current condition, is limited to three parts: the frame, the spandrel, and the arched top, unlike other mihrab inscriptions in Iran that are attached to architectural structures. The calligraphy and patterns of this inscription are written in the frame and spandrel sections, and the arched top of this inscription has a pointed curve.Considering the multiple classifications of Kufic scripts, based on the binary division of legible and illegible inscriptions, the Askar Mukram inscription belongs to the decorative Kufic script with ornamental extensions of patterns, sometimes within letters and the background of the work. The alphabet of this work is dependent little on the surrounding decorative patterns. In different parts of this inscription, patterns are drawn in available and possible spaces in visual connection with the calligraphy. Regarding the classifications of inscription types based on the coexistence of patterns and calligraphy, this inscription falls into the category of patterns and calligraphy side by side (adjacent). Considering the fine line between some Kufic scripts and their coexistence with decorations, according to Grohmann's classification, the script of this inscription can be considered a combination of foliated (muragga') and floral (muzahhar) Kufic. In this inscription, the letters of the Divine Names are accompanied by more decorations compared to other letters, and the verses used in this inscription, as far as the author has studied, have not been seen in other mihrab-shaped Iranian inscriptions, except for the mihrab-shaped inscription of the Mawid bin al-Musafir shrine in the Imamzadeh Abdullah of Shushtar, which is in Naskh script. A notable aspect of the calligraphy in this inscription is the inverted writing on its top, which has rarely been seen in such inscriptions.Considering the uncertain exact date of this inscription, the evidence for its formation period is as follows. Since the peak usage of illegible (decorative) inscriptions was in the 3rd and 4th centuries (AH), it seems that the date of this inscription is after those centuries. Furthermore, considering that the verses inscribed on inscriptions sometimes indicate their period or purpose, based on the analysis of the verses on this inscription, which call for monotheism, resurrection, the impermanence of humans, and the reminder of death, one can assume that the construction time of this inscription falls between the early and middle centuries of the Islamic era. The reminder of death in the calligraphy of this inscription further strengthens the possibility that this work was associated with a tomb. The two-petal ornamental extensions and relatively simple decorations also weigh in favor of the proposed date for this inscription. Although the decorations of this inscription bring it closer to the early Islamic inscriptions, which had less ornamentation, since this is a stone inscription and the simplification of letters and calligraphy was more common in stone inscriptions due to the hardness of the material, this assumption seems questionable.Considering that the peak usage of illegible inscriptions spanned from the third and fourth centuries until the middle of the seventh century (AH), this inscription can be attributed to that period. Additionally, since the Mihrab inscriptions of Iran were all in Kufic script until the sixth century, the proposed date (third to seventh centuries) for the creation of this inscription becomes more plausible.In this inscription, the visual symbol of a chelipa (a decorative motif resembling a scorpion) is seen amidst the famous "bāzūband" (armband) pattern, of which numerous examples exist in Islamic architecture. The same pattern has been noted in the ornaments of the Ghiasiyeh Madrasah in Khargerd, which dates back to the seventh century, and in the inscriptions of the ruins of Ray. In Islamic calligraphy, this element is used for the emergence of the blessed names, remembrances, and hadiths of the divine saints, and it is understood as a sign of unity. As in other Iranian inscriptions, the principles of the calligraphy are followed to the extent of following the principles within the same inscription. That is, the calligraphy and decorations of this inscription have an internal and external visual image.

Place attachment is an effective bond that people establish with their spatial environment, where they desire to stay and feel a sense of calm and security. Today, humans live in houses where the disregard for human needs in their design and construction has led to issues such as reduced sense of attachment and tranquility. This research aims to revive decorations and the sense of attachment in contemporary buildings while respecting indigenous culture. It is divided into two parts: data collection and documentation using library resources and references, as well as field studies analyzing the patterns of brickwork decorations in terms of qualitative form using AutoCAD software. The research was completed by the authors through descriptive and analytical methods. Subsequently, in the research process, a comparative method was used to examine the mentioned wall decorations from the perspective of the impact of the sense of place attachment component in Khoun-Chini decorations in Ahvaz. Khoun-Chini decorations, which constitute the most common form of decoration in the studied houses, include four types: Rasteh, Chelipa, Four Diagonal, and Bazouband, in order. In terms of color, earthen tones, and materials, brickwork and Khoun-Chini decorations account for the highest percentage. Additionally, the analysis of Khoun-Chini decorations based on the components of sense of place attachment is presented in comparative tables.Research Objectives: Investigating the role of Khoun-Chini decorations on walls in traditional houses of Ahvaz city.Analyzing Khoun-Chini decorations based on the components of sense of place attachment through comparative tables.Research Questions:What is the role of Khoun-Chini decorations on walls in traditional houses of Ahvaz city?How are Khoun-Chini decorations in terms of the components of sense of place attachment?

In any era or place, humans cannot ignore beauty and art. The explanation of art has always been intertwined with humanity, evident from the earliest days of history through artistic works in cave decorations, buildings, and interior design. Hekmat-e Honar, or the wisdom of art, signifies a deep connection that art shares with philosophical, human, and life concepts. Art can convey values, ideas, and human experiences in diverse forms, deepening human emotions, thoughts, and understanding. The importance of art is selfevident across societies, resonating with the varied perspectives of individuals. Art's impact on social thoughts and life has attracted various sectors, including architecture, environmental design, interior architecture, and even philosophy. The role of art in shaping different aspects of human life is fundamental and unparalleled in human history. These dimensions are thoroughly examined and critically evaluated in this research, addressing questions about art and its purpose. The descriptive-analytical method is employed for the research, effectively gathering information and analyzing data from library sources and written documents. Therefore, this research aims to provide a broader perspective on the extensive issue of art's role in interior architecture and its relationship with related arts. Art serves as a unique tool for understanding other creations and maintains an inseparable connection with human thoughts across historical periods.

Geometry and ornaments are one of the most important elements of mosque architecture. Mosque is also the most prominent portion in Muslim construction. Considering the physical and semantic dimensions of mosques, geometry and ornaments, in addition to the function of geometrical structuring and adorning the space, it cause the appearance of divine names and attributes in the mosque. The necessity and importance of this research originates from the fact that importance of meaning and virtue is not less than its construction and we should not be limited only to the external aspects of the mosque. Taking advantage of appropriate geometry and ornaments, the most important purpose of research is to improve the architectural design of the mosque naves.

 Contemporary landmark mosques, considered as immanent legacies, were selected as the case study and correlation, Delphi and case research methods and questionnaires, interviews, surveys, and statistical analysis software were used. Initially, through interviews and questionnaires from elites, then through questionnaires from experts and in three valuable contemporary mosques, the users of the mosque were surveyed and the data were analyzed through statistical software.

the appropriate utilization of geometry and ornaments, in addition to improving the architectural design, manifests the spiritual meaning and virtu in the mosque naves..

The purposeful use of geometry and ornamental decorations in mosques, with proper expression and the use of advanced materials and technologies, lead to the way to the improvement of the spirituality of mosques;

The evolutions of the art of Qajar architectural decorations in Iran took place under the influence ofmodernism and the approach of architectural development, with the prosperity of the connections of the kings of this period with the western world.Thus, these changes in the architectural decorations of the Qajar houses of Kermanshah were reflected in a wide part of the historical context.In this research, how to use the architectural decorations of Qajar housesThis research with a historical method, an interpretation during the stages of investigating the patterns of decorations and influencing components of traditional and modern architecture; Analysis of the architectural decorations of the Qajar houses based on theoretical foundations and the extent of the influence of modern architecture on the architecture of Qajar period and How to model the architectural decorations influenced by traditional and modern architecture in the houses of Kermanshah was carried out. The findings of the research show that the evolution of the architectural decorations of the Qajar houses has been manifested during three periods of architecture with traditional, western and combined styles. As a result, according to the comparative analysis and according to the main characteristics influenced by traditional and western architecture in the evaluation process, theeffectiveness and modeling of the architectural decorations of houses in the form of practical developments in the first period inspired by the past and preserving identity in The second period coincided with the beginning of the influence of western architecture in Iran, under the influence of the components of western architectural decorations, and in the third period, inspired by the past and modeled after western architecture, it appeared in the form of combined decorations.

During the Safavid period, along with other artistic developments such as metalwork, the production of various types of pottery also flourished. In this era, a variety of pottery was produced, which not only provided an important part of domestic needs, but sometimes was also exported to other countries. In the meantime, the so-called Gambron pottery was considered one of the examples of late pottery of this period. Today, many examples of this type of pottery adorn various museums inside and outside the country, which have been briefly mentioned in some books and articles. But practically, this type of pottery can be considered one of the lesser-known types of pottery of the Islamic era; Because so far, not only the evidence of its production has not been obtained in archaeological excavations, but also less ancient sites in Iran have been identified in which samples of these pottery vessels have been found. According to these cases, it was necessary to deal with this type of pottery in another independent research and provide more documentation about it. The results of this research showed that Gambron pottery has been known in Iran since the end of the 11th century of Hijri, and despite its export importance, it has been used to some extent among the people of Iran. Probably, this pottery was produced in centers such as Qom, Nain, Isfahan and Kerman, and its shape and decorations were similar to Safavid examples and some Chinese pottery.

Statement of the problem: 

The Timurid period is one of the brilliant periods of Islamic art and architecture. In this period, significant progress is made in various fields of architectural decoration. The way of decorating with mosaic tiles in the Timurid period shows that the artists of this period had achieved the highest level of skill in decorations. Decorations in this period have undergone a fundamental change under several factors. Timurid architecture achieved a solid and complete structure and principles by using Ilkhanate and Seljuk architecture and using Iranian architects and artists, and the buildings left from this period have these characteristics, including: greatness, progress In all kinds of decorations, they show growth and excellence in arching techniques and cross arches. If we list Timurid buildings in terms of their artistic importance, strength and fame, the first place is occupied by mosques, followed by schools, monasteries, shrines, etc. The mosque is one of the buildings that has always been of interest and importance throughout the history of Iranian architecture and was welcomed by many architects and artists during the Timurid period. The art, culture, and literature of the Timurid period have registered two magnificent mosques in their record. Two mosques with the same name, which were built by the order of one person (Goharshad Khatun) and with the architecture of a master craftsman. One of these two complexes is located in Mashhad and the other is in Herat, and both mosques are very magnificent and magnificent, and each of them has differences in motifs.

One of the main purposes of this research is to compare the decorations of the Timurid period, including the decorative lines, motifs and colors used in the tiling of case examples (Goharshad mosques in Mashhad and Herat).

Research question:

 What are the similarities and differences between Goharshad and Herat mosques, which were built by the same person during the period?

This descriptive-analytical study was conducted and the required data and data were collected through library-documentary studies.

The results of this study show that the powerful juxtaposition of plant motifs and geometric motifs is one of the characteristics that started in this period. Also, the architecture of the Timurid period can be considered the peak of the use of color in architecture, which can be seen in the Kufic and Thulet manuscripts in golden inscriptions on blue tiles. It seems that the motifs worked in Herat's Goharshad Mosque are more developed than Mashhad's Goharshad. Perhaps the reason for this is the construction of the Herat Mosque after Mashhad and Herat being the capital during the Timurid period. Also, in the Goharshad Mosque of Mashhad, color has the greatest impact on the viewer and everyone who enters the mosque admires its wonder. The contrast of complementary colors can be seen in the tiles, in the inscriptions and in the motifs. Regarding the used script, which is considered a kind of pattern, the lines of Tholt, Nastaliq and Kufi are common in both mosques, but the beauty of the Nastaliq script in the Goharshad Mosque of Mashhad can be clearly shown. It seems that due to the wide spread of architecture in the Timurid period and the distance between Goharshad Mosque in Mashhad and Goharshad in Herat, the difference in climate and to some extent cultural issues and ethnic characteristics, we should witness more differences than what we see in these two. Mosques with the studies and investigations done, due to the religious participation in this region which can be a determining factor, not only there is no significant difference, but there is a kind of unity and coherence in the plans and roles. What is interesting among the inscriptions is the existence of an inscription in Persian language in Herat's Goharshad Mosque, which cannot be seen in Mashhad. Perhaps the reason for this can be considered the greater literacy of the people of Herat than the people of Khorasan at that time and the presence of literate and well-known people like Jami. What is important in these two mosques is the independence of the decorations in them, which do not follow the main lines because of the past, and the decorations have made both buildings unified as a complete unit.

One of the important factors in the beauty of Iranian architecture works in many historical periods is their decorations and designs. Meanwhile, Afifabad mansion in Shiraz is one of the valuable works of Iranian Islamic architecture in the Qajar period, in terms of decorations and especially paintings. For this reason, studying the designs of this building can lead to the recognition of cultural identity and the effective contexts in their formation. The purpose of this research is to know how the art and architecture of different periods of history affect the designs of this building. In this research, descriptive-analytical method has been used and data collection has been done in the form of libraries and documents and also the field method. The results indicate that the designs mansion, which are mostly ceiling paintings and in some parts of the building are plaster and tile reliefs, taken from ancient Iranian designs Achaemenid-Sassanid reliefs and post-period designs is from Islam and most The motifs of Western and European designs are taken from postcard architecture. because Iranian art during the Qajar period, due to the connection of this period with the West, the arrival of European countries goods and products to Iran and the presence of many artists in this period to Europe caused the spread of Western art and culture in Qajar architecture.

The purpose of this study is to determine the status of economic indicators of the Qajar period in order to assess the roots of changes in Iranian architectural decorations based on it. The present study tries to extract open codes, axial and finally selective codes (indicators) with an analytical-historical approach and through the method of contextual theory in accordance with Corbin's problem-oriented theory, through which the relationship between the influence of Iranian architectural decorations from the West Express in the field of economic developments. The results of this study showed that the unfavorable situation of the four indicators of trade relations, moderation and moderation, consumption of goods and services, and knowledge of earning and earning money has led to the empowerment of the properties class against the further weakness of the common class. On the one hand, this situation has led to the direct transfer of Western decorations by properties to aristocratic buildings, and on the other hand, due to the economic weakness of the common people, the people have not been able to absorb and coordinate with Western developments.aims of research:1- Determining the status of economic indicators of the Qajar period2- Explaining the effect of Qajar economic indicators on the impact of facade decorations from the westresearch questions:1- What is the status of economic indicators of the Qajar period?2- What effect did the economic indicators of the Qajar period have on the influence of the facade decorations from the west?

The mosque, as a religious building and place of worship, is one of the most important architectural works in Islam and has always been one of the highest examples of decoration in the history of Islamic art and architecture. In addition to beautifying the space, decorations have an effective role in improving the quality of the spiritual space of worship. In the Qajar period, due to the influence and prevalence of Western culture and thought, the nature of decorative forms has changed, separated from transcendent concepts and has found more tangible and objective meanings. Tiling and inscriptions have an effective role in the decoration of mosques of the Qajar period and the decorations of many mosques have been dedicated to this period, while in previous periods they have received less attention. The research method of the present article is descriptive-analytical. In the first step, through library studies and using written sources, theoretical foundations related to the decorations of mosques of the Qajar period have been collected, and in the next step, tile decorations and inscriptions in the mosques of Moshir-Ol Molk and Nasir-Ol Molk have been compared comparatively. The findings show that tiling and inscriptions play an essential role in Qajar period decorations. Among them, in the tiling of Moshir-Ol Molk Mosque, geometric patterns and in the tiling of Nasir-Ol Molk Mosque, architectural motifs of landscapes prevail over other motifs, but in terms of inscriptions, in both mosques, similar Qur'anic inscriptions with The third line is used.

Teleworking in Iran is one of the most important manifestations of spiritual and mystic concepts in art, which plays the main pillar in the decoration of mosques and religious places. The technical and artistic principles in the decorations, particularly the tiles, were of great interest. The purpose of this research is to compare Imamzadeh Mahrouq and Goharshad Mosque in terms of the type and decoration of tiles in order to determine the prominent effect in these two buildings considering that they were done in a historical period and a geographical area. In this research, with the documentary studies, we have seen that the type of tiling in the Goharshad Mosque and Imamzadeh Mahrouq building is the same, and the tiles are different depending on the space used and their role. In addition, the colours used differ. Maaqli tiles and seven-colour tiles are more common than other types of tiles in both locations because they save time for building renovations and restoration. The mosque of Goharshad is very important and prominent with respect to the extent and age of the tiles and its proximity to the courtyard of the 8th Imam.

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

While doing research in Islamic art, especially decorative art, we face alphabetic samples that despite the similarity to the overall structure of alphabetic text cannot be read. Although these shapes have been drawn in the frame of alphabet of the text, they do not convey a meaning to be read. These figures, which are similar to the inscriptions, have been represented in the present study as quasi -writing. Faced with these examples, what has convinced the audience to accept – or doubt – them as writing, is déjà vu and similarity between the examples and the structure of letters in the Islamic alphabet. This research has been conducted with the aim of introducing this category of quasi-literature in the Islamic Arts. As a result, quasi-documents are divided into two groups, and each group includes two smaller divisions. The first group includes the inscriptions which are fully covered with Kufic-like quasi-texts. The second group includes inscriptions that resemble handwritings. Of these two groups, the second one is more likely to accompany other decorative designs. In many decorative inscriptions; the formal and structural elements are entangled together to the extent that their distinction and reading is simply not possible. In the third group, it is possible to identify letters of the Islamic alphabet, though they are not legible. In the fourth group, the inscription is partly readable, inscribed along with the quasi-writings that cannot be read. The purpose of this paper is to introduce and classify this type of quasi-writings in the Islamic art. In this regard, the main two questions are as follows: 1- What are the reasons for depicting quasi-writings among the inscriptions? 2- How and within which structure have the quasi-writings been inscribed? To achieve this purpose, methods of visual analysis have been used in terms of the inscription samples of the Islamic period. The statistical population and samples have been chosen from the wide array of inscriptions of Islamic art.The use of writing in the Islamic arts, except to save and record the entries and text-based documents, which are associated to knowledge and information, could have been developed due to a different reason that has been more associated with decorative aspects (that could also be called the motif-centered texts). This type of texts that may fall in the framework of inscriptions is seen in much of the Islamic crafts and was mostly provided as ornamentation. This extensive field may include tombstones to clothing and carpets. Numerous examples of these products in the early Islamic periods testify to the application of texts as ornamentations. Messages on inscriptions should be considered as having an important function, but decorative function of inscriptions should be regarded as a more important one. It is not in vain to say that inscription or writing may well be expected as another category of decorations along with geometric and arabesque decorations in Islamic art.As well as the decorative inscriptions, there are writings – or in a sense quasi-writings – that are not legible. This ineligibility is not because of scrambled handwriting, overflow and compactness of writing elements, etc, in fact these quasi-writing signs have not been drawn to be read, since they have not been formed based on rules of Islamic scripts, but due to their general resemblance to the form of the Islamic alphabet, or a style of writing, they look like writing. This similarity is underlined by compliance with the structure of Islamic alphabet, vicinity to other decorative systems, compliance with a specific base line and of course the topic of déjà vu.Fantasy or orientation on familiar topics like literature, perhaps physical structure and visual perception error may be considered among the main reasons for it. In fact, ambiguity with textual similarities leads to an illusion in the eye.  This ambiguity has been a means that for certain purposes – which will be referred to – has helped the artists. Because ambiguity is a tool and phenomenon of comprehension institutionally and essentially, and scientists fight error, while artists welcome ambiguity ... in this perception, a type of unrealistic comprehension replaces the real comprehension. The succeeding view of comprehension is perception of objects which occur to our minds through inference which signs have been entrusted to our memories. Comprehension is something that is focused on due to deviation and digression from the truth.It is necessary to systematically deviate from the norm. In fact, similarity of decorative writings with what which is not in fact writing (and only deemed as writing because of its similarity to Islamic alphabet) has lead to creation of types of decoration, especially in Islamic handicrafts.

Some of the most impressive displays of delicate plaster work can be found when we look up in a space in Islamic Iranian architecture. Plaster is an ideal medium for decorative work, because it can take fine detail. It is also versatile: plaster can be formed into ornate, multi-layered ceiling medallions, intricate friezes replete with scrolls and swags, or long runs of coved cornice work. Plaster can be cast, shaped, carved, sculpted, sanded, or cut. When Islam opened a new view to art philosophy, it affected the ornament style in Iranian architecture. If one had to choose the defining material of Muslim culture, it would, without a doubt, be stucco. In contemporary history, plaster has been considered a relatively poor material, probably due to its lack of application in heavy duty building work, its easy handling and the simple process it takes to transform it from rock mineral. But, human dexterity, particularly that of Muslim artisans, helped to produce designs in stucco, and numerous buildings decorated with that technique have survived for us to admire. Architectural decoration has been one of the most resilient of the Islamic arts. The partial and more often overall decoration of buildings has been a characteristic feature of Islamic architecture from the eighth century onwards. Religious monuments as well as secular complexes have been decorated with an array of styles and techniques that reflected the multiplicity of Muslim societies and their cultural expressions. The importance given to decorating one's built environment has also been applied to temporary settlements such as tented encampments. Islamic plasterwork covers almost every single surface of walls, arches, vaults and ceilings, gaining an almost textile-like quality through their intricate ornament and vibrant palette of colours. Its almost overwhelming appearance is the result of the interconnection and superimposition of different ornamental elements: calligraphic inscriptions, geometric lazo. The interior decorations are centered on the mihrab. In fact, one can find almost all elements and methods of decoration on and around this symbolic place. There is a harmonious and creative co-existence between plaster, marble and brass. In addition, the mihrab typifies the beautiful marriage of all methods of decoration, especially geometry, floriation, calligraphy. The main roll of mihrab and its decoration became a mainstream in aesthetic orientation in Iranian art and architecture that spread to numerous architectural types such as schools to houses. One of the types of secular architecture is the house. Therefore, in order to evaluate this hypothesis and find the answer to the question: In what period are Chohar-soffeh decorations of Dosiran village rooted? the authors attempted to gather the information about Dosiran’s Chohar-soffeh houses and their decorations, and then examined the characteristics of these decorations and index samples similar to them in the history of the country and finally made a comparative comparison of the physical content of these samples. The research method includes survey, analytical-descriptive and interpretive-historical methods. Research data were obtained through field surveys, personal observations, and library documents. The research tool is logical inference and comparative comparison based on Carry-Walk-Method. Finally, it was concluded that two types of these inscriptions have a body similar to the plaster altars of the Ilkhanid period and in terms of content have the salient features of the plasterwork of this period; nevertheless, works of art combining the late Sassanid and early Islamic periods can also be seen in the drawings of all these inscriptions. The ornaments of Dosiran’s Chohar-soffehs, due to their appearance, organization and special content, as well as the way they are placed on the walls of the plates and the level of rib vaults, have given double value to the mansions of Gholam Hossein Naderi and Koohyar Dashti. These inscriptions include five different shapes and three general patterns. From the studies and comparisons, it was concluded that the Dosiran’s Chohar-soffehs strongly show the artistic course of the country from the late Sassanid period to the Ilkhanid period due to having well-known and important designs in the art history of Iran such as arabesques and Khataee motifs, flowers, knots (Gereh) and significant objects, which are mainly rooted in the Islamic period, as well as representing distinctive features such as great similarity to the valuable and sacred pattern of the altar in Islamic art and architecture, indicative features of Ilkhanid altars, using similar motifs to widely used motifs of the Sassanid era, the application of the natural form of plants and important techniques such as Muqarnas and honeysuckle (Laneh Zanbouri) ornament. The appearance and origins of the drawings of these inscriptions and the adapted examples are evidence of this claim; because despite the existence of continuity and artistic connection in the history of the country, some artistic features are specific to a particular period of history and are less considered in later periods. However, in Dosiran’s Chohar-soffehs, the characteristics of the bedrock of several periods are shown together.

The railways, as a gateway to urban life and an achievement of technology, reflect the characteristics of the culture and identity of each community, which are also presented in the architectural styles of its stations. Railway stations have been of great historical importance by changing the intellectual horizon of the people. Today, railway stations do not only serve as a mean for people to travel and transport, but also, they are being constructed for their aesthetic and symbolic values. In this regard, old railway stations are the most significant ones as they increase the value of their surroundings and are capable to help practice sustainable architecture. The initial stations were mainly derived from endemic architecture styles and materials, resulting in enduring buildings. However, the typology of the architecture of the old railway stations in Iran has not been studied adequately especially in different periods of time and consequently, the need for a comprehensive study in this matter is striking. Therefore, by using the qualitative-analytical method and collecting data from various documents, old books, and field observations, this research aims to study and analyze the physical characteristics of 116 Iran’s northwestern railway stations (Tehran - Tabriz) in four periods of Qajar, first and second Pahlavi and The Islamic Republic to identify the physical patterns of the railway stations of each period. The main question that this paper tries to answer is: “what are the differences between railway stations’ architectural body during various periods of time in the northwestern line of Tehran-Tabriz?” First of all, railway stations of each period in the research area were identified one by one, and afterward, by a detailed analysis, the typology of the identified stations’ architectural body was classified for each period. The identified factors for evaluation were the plan’s type, number of floors, type of roof, the used materials in the station’s facade, and the number of ornaments. These factors were considered separately in the railway stations of each of the four periods. The results of the research indicate a significant reduction in the variety of patterns used over time, except for the number of floors in the period of the Islamic Republic with two and three-floors stations with more variety of uses, the type of materials used, roof type, type and proportions of the plan and the number of decoration patterns studied in this period, have lost their variety during the time. To construct railway stations in the period of the Islamic Republic, there has been a tendency towards flat roofs and a plan type that has a relatively monotone structure without decorations. The current research identifies the architectural body of historical railway stations, in order to plan for future development and reuse them while preserving their originality and historical identity, as part of the cultural heritage of Iranian society. Additionally, future studies can focus on a more detailed analysis such as determining differences between the various materials in each part of the building like façade, floor, walls, and ornaments during time periods.