چهارمحال و بختیاری

Tombstones in areas where people are famous for their industrialism and artistic taste, as well as ancient civilization and culture, are worthwhile to be examined from several aspects. The designs and motifs on the tombstones, with a theme related to the category of life and death, are a treasure house of codes and symbols. In this regard, " Bozelar Hefshjan" and "Aramene Sirak" cemeteries are such exemplary.The carved motifs on the graves of " Bozelar " cemetery in Hefshjan and the Armenian village of "Sirak" located 4 km away in Chaharmahal and Bakhtiari province, are important in terms of artistic values, influencing each other.Analytical and comparative study of these two sites is done concerning both contemporary Islamic and Christian attitudes towards the category of art on graves, and the influence of native visual art and culture. Not many researchers claim that cemeteries and the shapes and patterns of their tombstones are affected by dominant idealogy.This research with a descriptive-analytical approach, focuses on the nature of the artistic values contained in the tombstones of above-mentioned areas, especially botanical and animal motifs (which have a wide symbolic connection to the category of life and death) and their interaction. Despite their two different religions, these cemetries are valuable examples for sociological studies in the cultural exchanges between Iranians and visiting immigrants. The method of data collecting is mainly based on fieldstudy.This research shows that despite the very basic differences in looking at the category of life and death (as the most important categories of religion) contained in different religions; where art and beauty come together, barriers and color distinctions disappear and beyond religious identity distinctions, the language of art and beauty as the common language of humans prevails over other language and identity distinctions. It also shows that Iranian culture has no resistance of its own in dealing with the cultural values of others, where beauty and art are involved.A kind of inherent artistic feature in the gravestones and the historical sequence of these changes that have lost their linguistic meanings with the passage of time and left behind an ethereal form of technique and industry combined with art and beauty, has caused the cemeteries to tempt tourists to visit them. Not so long ago, the idea of spending free time and exploring the cemetery was impossible or considered as a sick hobby. But now that artistic sparkles and symbolic forms, from the shape of the tombstone to the variety of designs on the stones, have become the face of the image and landscape of the cemetery; A special visual-tourist function has been given to these collections.

The province of Chaharmahal-Va-Bakhtiari bears a special position by virtue of its cultural and ancient background. The existence of some attitudes and beliefs among the people of this area has links with ancient rites and religions like Mehr ritual. The locations which are referred to the lords with religion themes in Chaharmahal-Va-Bakhtiari Province are a lot to find. These locations in local phrase with suffix and prefix are called “Pir” like Pir Baloot, Pir Mohammad, Pir Shah, Phir Chenar, Sar Pir, Pir-E-Ghar, etc. Some are called as “Baba” like Baba Gerdaloo, Baba Pirahmad, etc. Also they use the term “Mir” like Mir Heidar Shah, Mirmelas, etc. “Shah” is used in some words like Shah Mansoory and Shah Zadeabdolah. We have tried to find out the pronunciation roots started about these titles’ roots like “Baba” and “Pir” in religions before Islam. There was a kind of mysticism in the pre-Islamic era of Mehr worship, the last of which was aging. In Sufi mysticism, this rank, the rank and position of the elder, has maintained its last place, albeit the highest, in the place of poems and poems from the early Islamic ages referring to the old and the old way. Among many of his sonnets, Hafez Shirazi is reminiscent of the old position in Sufism. In the culture of the people of Chaharmahal-Va-Bakhtiari, one of the good endings that the elders and elders wish for the younger is getting older. This is an indication of the value it gives to that person. As mentioned, these values are deeply rooted in the culture of the people in ancient rituals, and the purpose of this study is to identify the religious roots of the two "Pirghar" and "Aghaseyed Issa" caves and ideological aspects of their region. 
Mehr ceremonies usually had to take place in caves. These caves represented the arch of heaven. There must have been some blue water near or within these natural temples. But in cities or plains they built these temples in the basement, similar to caves. The temple reached the ground with the help of a long staircase. These temples did not use outside light and had no windows. Sometimes the stairs would lead to a room-where their followers would prepare for worship-and then from there into the main courtyard. The temple arch was decorated like the night sky. Inside the temple were two rows of platforms in Dosu, and between the two rows of platforms, there was the courtyard of the temple where the ceremony was taking place, and the onlookers were seated on benches beside the platforms. Also, according to local elders, the area was lit by fire or candlestick.
Although Islamic in nature, their ideological aspects go back to pre-Islamic times and ancient religions such as Mehr worship. Because of the Arab invasion, many sacred sites, such as fireplaces and temples have been demolished or converted into mosques. The two mentioned caves have also taken on a new form of preservation in the Islamic era to continue their sacred life. The purpose of this case study is to identify the belief-related roots of these two historical locations which are considered holy by the local people. To this end, this case study is based on a descriptive-analytic method with the data being collected through library and field studies such as observations, interview and documentations. The results indicate that there are deep roots of the Mehr ritual and its sanctity in the culture of Chaharmahal-Va-Bakhtiari’s people and that these beliefs continue to live in a modern shape matched with Islam and are stilled deemed holy. Also, the existence of elements like caves and the old wise man named “Seyed” are common fieds with Mehr and Mitra in fables about these two caves.

Castles of Chahar Mahal 0and Bakhtiari province are among the most valuable memorials (monuments) of Qajardynasty and their archeological_ related ornament always have special manifestation. One of these ornaments istrelliswork of wood that has been used in different parts of these castles. Trelliswork is the art that has been usedin archeological_ related ornaments such as tiling, brick working, molding, mirror working and especially woodendecoration of doors, windows, roofs, shrines and similar cases. Considering this unknown art and the extensiveusage of wooden trelliswork ornaments in castles of Chahar Mahal and bakhtiari in roofs (ceils), doors, windows,valves and skirtings, in this research, the trelliswork of castles roof is merely considered for recognizing differentsorts of nodes, using places and adaptive comparison; so this study has been done by analytic_ comparative methodwith field observation and data collection. According to the findings among the castles of province, woodentrelliswork ornaments were only used in the ceil of Chaleshtor, Dezak, Joneghan, Shalamzar, Surk and Bardehcastles. Among 13 different kinds of nodes used in ceils’ ornaments Lozenge_ square node had the most functionand geometrical composition of these nodes and complexity and intricacy in internal spaces than external ones.

Among the government's policies related to the country's tourism boom, was the approval of 2257 tourism sample areas that the share of Chaharmahal and Bakhtiari province is 24 tourism destinations In this applied research, through using descriptive-analytical method and using the hierarchical analysis model (AHP), it has been tried to identify the most important priority areas of the province for implementation. Among the most important indicators for prioritizing sample areas: Distance to water source, Distance to electricity network, Distance to gas network, Distance to landline, Distance to hospital, Distance to asphalt road, Tourist resources around, Distance to tourist centers Ferest, The history of the tourist's presence and reputation, The location of the tourist routes of the province and The pristine nature of the area under study. The results show that the priority tourism area is Syasard Boroujen with a score of 2.236 and the weakest region of the tourism sample, Armand with a score of 2.211. Also, the areas of tourism in Siasard Boroujen, Peargar and Samang are high-level, Samba tourism destinations: Sarab Baba Haidar, Cheshmeh Dimeh, Choghakhor, Emamzadeh Hamzeh Ali, Gandoman Lagoon, Basat and Rida in the middle level and Sample tourism destinations in Shalil, Beheshtakad, Baraz, Shahriari and Armand are at a low level.

Khan’s house is a kind of architecture built in the Qajar period at most villages of Chaharmahal and Bakhtiari Province. Chaleshtar castle is one of these monuments which is located in west of Shahrekord City. One of the hallmarks of Khan’s house is the widespread use of Quranic verses in outer and inner views. The construction of Khan’s house (Lord’s house) is always based on religious beliefs of its owner and inhabitants, and the artist is also trying to do as much as possible to make the rules and principles of Quranic verses in the best possible way. A part of these motifs with religious themes is important because of the prominent attributes such as the inscription of the Qur’anic verses, the names of the imams in the carved form on stone, wood and plaster. Quranic verses besides decorating the exterior walls on the ceilings, the body of the Five Door Room in the indoor courtyard are decorated with a group of various designs with religious themes and Qur’anic stories. Artists in this collection have tried to visualize the space of the collection according to verses of the Qur’an. The reason for presence of the Qur’anic verses, the choice of verses, and even the location and visual quality (including the type of prescription, the quality of the decorations and the accuracy used) was examined to study the status of the verses, ultimately, with respect to the ruling atmosphere (Khan and the peasant) on how to create verses, intentions and dedication to the use of these verses. The creation of these verses could be explored in three respects: 1. A common pattern of architecture in the contemporary time and is not correlated with constructive thought. 2. Is it correlated with the belief and bias of the builders and their faith and ideology? 3. A kind of political tool for advancing the goals of the creators. The results of this research show that the goal of the owner of this building while respecting the beliefs of the people, and preserving human values and describing the spiritual concepts with a simple and expressive statement is considered together with a combination of aspects of objectivity. Therefore, the created building is based on the religious spirit that always flows in it. The research method is historical, descriptive-analytic and data collection method is library type with study documents and field studies.

Bird motif has always had an important place in Iranian artworks. Various patterns of birds have been presented in all types of Persian art like carpets. Bird motifs، both in abstract and naturalistic forms، can be found in Iranian carpet design. This paper، after studying the role of bird motif in Iran''s art and literature، introduced the formal and conceptual aspects of the motif in «Kheshti» design pattern. For this purpose، some images of Kheshti carpets of Chaharmahal and Bakhtiari have been illustrated. This is a descriptive research and data collection has been accomplished using library-based studies، written literature and images.

The area of Chahar-mahal and Bakhtiari is highly distinguishable in regard to traditional arts and handicrafts particularly hand-woven rugs. The rugs of this region are globally recognizable for their design, pattern and unique color. In many areas of this region including Saman and Chaleshtar, despite their close adjacency in terms of geographical and socio-cultural closeness predominantly in the art of weaving; many similarities and dissimilarities are present and each area bestows its own visual foundations. One of the most famous and well-known designs of Chahar-mahal and Bakhtiari especially in the mentioned areas is the Kheshti design. The design displays unique patterns and motifs that are highly diverse and the main purpose of this paper is centered on introducing the Kheshti design and its characteristics.
In this paper, examples of the most renowned Kheshti rugs of the two areas are chosen and their antiquity and visual eminence is explored. Furthermore, their context and background are concentrated upon to both identify their connections and divergences and also a structure is presented with the intention of reviving the patterns for contemporary production in order to boost their place in national and global economy. Additionally, the distinctive motifs of the rugs that include principal, subsidiary and miniature motifs are introduced and analyzed.

The motif of tree is one of the most important and original motifs of decoration and mysticism in human’s art. Different kinds of plants and trees that may be considered as the symbol of “the prayer human” can be found in many historical works in Iran and other parts of the world; each expressing a special meaning and sometimes multiple meanings. “Weeping willow” is one of these motifs that can be found in art works and miniatures of our country, especially in hand-knitted carpets of some areas. Accordingly, the Chaharmahal & Bakhtiaris’ carpets which are classified among tribal and rural categories present such motif especially in carpets with “Kheshti Design”. In this paper the different kinds of such motif have been introduced and their formal and semantic aspects have been studied in Kheshti carpets of different areas of Caharmahal & Bakhtiaris Province.