characterization

A significant portion of an actor’s impact on the audience is conveyed through facial expressions. By observing the actor’s face, the audience perceives the emotions, desires, and intentions of the character. Makeup plays a crucial role in enhancing the quality of this emotional transmission and strengthens the non-verbal interactions between the audience and the performance. This study aims to describe, analyze, and interpret the metalinguistic elements involved in the art of makeup. It examines how makeup techniques and symbolic effects of colors work in face painting and character creation in theater. Additionally, it analyzes the characteristics of makeup and the psychology of colors in character development while interpreting the outcomes of these applications. The hypothesis of this applied-qualitative research is that makeup and the symbolic effects of colors, as one of the performance elements (alongside with lighting, staging, sound, and costumes), have a direct impact on the expression and transmission of theatrical concepts. Face painting has undergone significant changes with the emergence of various artistic schools in performing arts and today it focuses on creating and developing characters by utilizing color psychology.The findings reveal that makeup enhances the visual impact of theatrical performances on the audience while materializing the director’s creative vision in a tangible form. By utilizing the diverse possibilities that makeup offers; the transmission of emotions, desires, and moral or behavioral traits of the character will be facilitated. Moreover, makeup plays a pivotal role in increasing the believability of characters for the audience and maintaining their engagement with the performance. Over time, makeup has seen significant advancements and innovations. This achievement has made possible through the creativity of the makeup artist, who employs symbolic color schemes and facial modifications to amplify the actor’s impact on the audience.

The Seven deadly sins are considered part of the religious thoughts of the Catholic faith, usually used as a storytelling tool to manifest human vices and virtues in various literary forms. The presence of these thoughts is not primarily due to religious beliefs, but is admired for symbolization and a different perspective on the development of fictional characters in literature and story-focused media worldwide. The authors of this article analyze and compare the characterizations in two Iranian and American crime thriller films, exploring the concept of the seven deadly sins and how it is utilized in shaping the characters of these works. The plot of the film Seven (1995) is based on the concept of the seven deadly sins, with each of the story's victims representing a symbol of these sins. In the film The Sinners (2011), the use of this symbolism may not be overt, but the suspects in the story each possess tendencies and specific character traits in line with the concept of the seven deadly sins. This comparative study utilizes the ideas of Thomas Felty on the seven deadly sins. The research is conducted using a descriptive-analytical method within the framework of American comparative literature. The symbolism of the seven deadly sins in these films has directly and indirectly helped characters to move beyond one-dimensional portrayal and uncovering deep psychological and social layers.

Mud-brick, as one of the oldest man-made works, has been the main material of many historical buildings in Iran since the distant millennia until now. Studying the characteristics of historical mud-brick is considered important and necessary both for documenting and recording information, which is one of the first measures to protect cultural remains, and for creating a standard for comparing modern adobe. The need to protect and restore mud-brick structures doubles the need to investigate and recognize these historical materials and measure their behavioral characteristics. As any kind of intervention in historical buildings requires a relative knowledge of its constituent materials. This research aims to analyze the factors affecting the mechanical resistance of historical mud-bricks of Yazd region by examining the structure of the soil and tries to find an answer to this question in the form of inductive reasoning based on a combination of field, experimental, and laboratory methods, What is the relationship between the mechanical resistance and the characteristics of the soil forming the historical mud-brick of Yazd region? And the diversity of the soil of each region has created what features in the structure of historical mud-brick ? The results show that mud-brick with the predominance of fine-grained soil and the right amount of clay materials have better mechanical resistance than soil with the predominance of coarse-grained particles. Also, the size and shape of the particles, both on a microscopic and macroscopic scale, and the proportion between fine and coarse particles, are factors that affect the porosity and density of the mud-brick structure, which has a direct effect on the mechanical behavior and resistance to water absorption.

The Rab’-e Rashidi Complex in Tabriz, which was built in 1300 AD, it has been used in various military and residential forms until the 17th century AD. One of the architectural structures of Rab’-e Rashidi is a Hydraulic structure hypohesized as the Soqāya, which is located on the southeastern front. Archaeological excavation of Rab’-e Rashidi Soqāya site was began in 2007 by the cultural heritage deputy of Tabriz. But during this period, technical study on mortar (wall-mounted mortar and plastered mortar) in this part of Rab’-e Rashidi Complex has not been done. Technical studies on the materials of this Hydraulic structure (the present study is part of these studies), can lead to the recognition of the identity and use of the building in the future. Therefore, the mortar technology used in this Hydraulic structure requires recognition by scientific methods including field and laboratory studies and analytical and experimental. In this regard, samples were taken from three coated layers as well as brick mortar and XRD, XRF and SEM-EDS studies were performed. As a result of studies, it was found that the brick mortar and mortar of the coated layers are Lime Mortars. In the processing stage, some sand and soil are added to all mortars, with the difference that the amount of soil and sand in the brick mortar is much higher and therefore, its quality is lower than the coated mortar. Also, a small amount of charcoal powder was detected in the mortar of the coated layers.

Usually, in different parts of Iran, according to the climate and according to local materials, suitable mortar has been selected for the construction of buildings and for rendering and architectural decorations. Studying the mortar structure of five buildings located in four different climates of Iran and related to three historical periods can complement the previous few studies regarding the technical understanding of mortar in the Sassanid, Seljuk and Mongol Ilkhanate periods. This knowledge can be valuable in three ways: knowing the technical knowledge of making mortar in historical periods; Helping to preserve the remaining these works in the studied buildings; Assisting in reverse engineering and making suitable mortar for the restoration of these works. The current research has been carried out with the aim of obtaining the parameters that have the greatest effect on the strength and durability of gypsum mortar in historical periods. In this regard, sampling was done from the studied buildings, which was evaluated and compared between these mortars by using analyses (XRD, XRF, EDS) and studying with a digital microscope as well as SEM. The results of the research show that the climatic difference and the difference of historical periods do not have a great effect on the physical and chemical characteristics of gypsum mortar. Two influential parameters (the influence of the second parameter is more) which was proved in the result of the present research, is a: The amount and how to combine materials to make mortar b: how to process the mortar. The traditional craftsmen have tried their best to reach the required quality in the mortar application stage. One of the important points that is considered for how to process and even mix gypsum mortar is the functionality of the mortar. Usually, gypsum mortar is implemented with three functions (mortar between stone and brick materials, mortar for coating surfaces, mortar for Stucco decorations), each of which can be divided into subsections, and all of these have an effect on how the mortar setting.

Considering that children up to the age of twelve are cognitively anthropomorphic, therefore, children's literature without personification is unbelievable to them. Zoltan Kovecses, a cognitive linguist, considers personification to be one of the types of conceptual metaphors. In children's stories, Speaking animals or objects who talk, think, or behave like humans are all anthropomorphic. In the other word, personification is a type of figurative language in which nonhuman things are given human qualities. The intensity of the projection of these human traits (or so-called degree of anthropomorphism) is not necessarily the same for all characters in the story. In picture books, images can objectify the degree of anthropomorphism of characters. Different degrees of anthropomorphism of characters can create potentially different readings for the text. The purpose of this study is to investigate the cognitive function of this plotter array in the characterization of children's illustrated stories. In this regard, the present study, by descriptive analytical method, seeks to the procedure for representing the interaction of characters, according to their degree of anthropomorphism. Because in children's stories, a large part of the personification is objectified in the form of images; Therefore, it is necessary to consider the interactive role of the image along with the bold role of words. The novelty of the present paper is that, first, it examines the personification as a scaled continuum (from the upgrading of an object or animal to a human to the metamorphosis of a human into an object or animal); Second, it studies this non-figures plot creator in the context of visual cryptography. The research questions are: 1- personification is formed in the context of what sign systems? 2- It is graded on which scales and in what way? 3- What is the difference between homogeneous and heterogeneous personification? 4. How do images alienate and depersonalize the characters in the story? The research shows that personification is a graded array, and its intensity can estrange each character in the community in which they play a role. In addition, images play a direct role, in increasing the degree of anthropomorphism and indirectly in the foreignization and domestication of characters. The author has not yet seen a study that examines the interaction of varying degrees of subjectivity in children's stories. The method of data collection is library and purposeful. The research method is inductive. In inductive research strategy, theory includes generalizations that are obtained by induction from data. Therefore, research is concerned with constructing and addressing a theory that begins with data collection and ends with abstract descriptions of the patterns in the data. In this regard, first, the media that are the conduit for the realization of the personification array are categorized; The mentioned array is then examined as a graduated continuum, in terms of intertextuality and intra-textuality, and its subsets are morphologized in each of the two mentioned levels.

Literature can be considered the most important source of inspiration for Iranian painters. The Shahnameh also has a high place among Iranians, and the countless painting works created with the theme of the Shahnameh stories are proof of this attention. And therefore, the influence of literature on art, especially painting, cannot be denied. On the other hand, Iranian rulers in different periods tended to prepare illustrated versions of the Shahnameh and supported artists in designing this work. Tahmasabi’s Shahnameh was created at the request and with the support of Shah Ismail, and due to a large number of paintings, it gained superiority over other versions. Heroic characters in the Shahnameh are known for their excellent nature and strength of arms. But these characters are only created in literature, and finally, they make their way to paintings, and knowledge about them is very superficial. Therefore, in this research, the main issue is the visual analysis of how the hero’s character is portrayed in the painting of Tahmasbi’s Shahnameh. Focusing on the works of Tahmasbi’s Shahnameh, this research will study the visual characteristics of the heroic characters to achieve a model for designing a character with Iranian features. The research subject is four images from Tahmasbi’s Shahnameh. The current research has analyzed the data with a realistic and qualitative approach, and the library method and the phishing tool have been used to collect the data. The study is also applied in nature. The results of this research show that in the works of Tahmasabi’s Shahnameh, the hero’s character is shown in the utmost simplicity and without any particular complexity. They are not different from others and are not even more significant or prominent than others. The calmness of the face, compliance with the fitness of the limbs, firmness, stability of the body, small eyes, and small face are some of their appearance characteristics. These external characteristics are the objective embodiment of the traits Ferdowsi gave to his characters in the original text, which shows the loyalty of the painters to the original text.

The use of tombstones to mark the burial place of the dead is an ancient tradition. Over time, its types, shapes, and sizes depending on the traditions, culture, and religion, as well as the impact that the deceased had on his family and society during his lifetime has been changed. Tombstones also play an important role in preserving history, as they often have inscriptions that provide insight into the people buried beneath them and the cultural practices of that historical period. The tombstones of the Islamic period play an important role in recognizing Islamic culture in the past ages. Ohadi Maragheh is a poet of the late 7th and early 8th century AH, and his tomb is in a cemetery in Maragheh and his tombstone is a sandstone box with decorations and inscriptions. In this article, using field, library, and laboratory studies, the typology, characterization and preservation-digital reconstruction of the tombstone of Ohadi Maraghei have been studied. Using this method before carrying out physical conservation and restoration activities can be helpful in showing what will happen. The restorer can give researchers a general picture of the restored work by performing digital reconstructions.

One of the most important factors that develop Shiite themes in writing among the people was the lithography of manuscripts. The lithographic illustrated books, which included a large part, were religious books depicting the event of Ashura. Their content, often combined with poetry and imagery, was Maqtal, elegy, mourning, or supplication texts. One of these books is Majalis al-Muttaqin, the illustrated type of which is kept in the Iranian libraries, including the National Library, the Islamic Consultative Assembly, Ayatollah Boroujerdi Library, and so forth as well as in foreign libraries such as Prussian Cultural Heritage in Berlin. Majalis al-Muttaqin was one of the common books in the Qajar era. Compared to other popular books, it is now available in large numbers in Iran. It contains 50 Majlis about divine knowledge, moral and doctrinal principles, jurisprudence, and history of the prophets and Infallible Imams (AS), which were prepared by erudite Mujtahid for sermons and guidance in the holy month of Ramadan. Today, Majalis al-Muttaqin is available as manuscript, movable type or lithography. It has not been edited or reprinted in a new way, and researchers only refer to these resources. The other two copies are illustrated by Aligholi Khoei and Mohammad Ismail Tabrizi. Nevertheless, another manuscript, introducing outstanding design features, is the work of Abdul Jalil. This research aimed to introduce the illustrated lithographic copies of Majalis al-Muttaqin in the National Library and to make a comparative study of the version designed by Abdul Jalil. Therefore, the research aimed to recognize the illustrated lithographic manuscripts of Majalis al-Muttaqin and their artists, to study the design features and Ashura characterizations, and to determine differences and similarities between the designs of the manuscripts’ artists. This is a qualitative descriptive-analytical study that used a library method. The research question is: 1.What are the characteristics of Majalis al-Muttaqin illustrated lithographs and who are their artists? 2. What are the design features and characterizations done by Abdul Jalil in the mentioned manuscript? 3. What are the differences and similarities in the performance of the designers of the Majalis al-Muttaqin? The study of the design and Ashura characters of this manuscript makes us examine the relevant factors. Personality reflects a person's appearance, behavior, moods, beliefs, and even culture; and when reflected in an image, it incorporates the visual culture. Visual characterization shows internal and external attributes in the form of color and shape. Moreover, the artist expresses the character's spiritual qualities using the language of drawings. Visual characterization includes not only the creation of images regarding the character, but also in line with the symbols and visual signs, reflection of environmental elements and also the relationship with other figures. The spiritual characteristics, doctrinal concepts as well as the characteristics of creating a story are transmitted to the viewer. Identifying different elements, including clothing and decorations, facial expressions, body movement, the relationship of scenes with characters, relationship of characters to each other, the position of the character in the scene, the color of clothing and the environment, and even the actions of other elements in the scene towards the desired character can indicate personality traits in illustration. The artist is able to show such features more or less with different techniques in illustration. The results showed that several copies of the Majalis al-Muttaqin are still unknown and have not been yet analyzed. Accordingly, it seems that the 1274 AH manuscript in the National Library and the undated version are the works of Mohammad Ismail Tabrizi and Khoei, respectively. One of the manuscripts from 1284 AH by Abdul Jalil (an unknown artist) has scattered, irregular and dense cross hatching, and characters with short limbs, round and large faces. In addition, in the infidel army, faces are depicted with irregular and thick beards, and facial expressions are exaggerated. Irregular compression is seen in the infidel army. Lack of observance of proportions and the position of perspective along with lack of attention to the figures’ size at different distances and the image background are significant issues to be considered. In this version, expression and dynamism and avoidance of decorations can be seen, especially in the infidel army. The general structure has a diffuse and dense composition, while in other versions, especially the work of Mohammad Ismail Tabrizi, light and shades are seen less or even as dots, and the limbs’ proportions and elongation of the figures are more realistic. In addition, Khoei has used clothes and tools, more background work, latticework, and hatches. All designs have a regular and symmetrical shape. The square framing in most of the images, the Imams outfits, the ideal beauty and lack of emotional reaction in the faces of positive characters, the design of the covering of the face of Imam Hussein (AS), and the diagonal composition are common points.

Gypsum and gypsum mortar are among the most sophisticated and unique traditional building materials of Iran that over the past two thousand years, by varying the strength properties as well as the gypsum mortar retention time,  gypsum plaster artists have created diverse works with different techniques as architectural arrays, sometimes by decreasing or increasing the ratio  of the water to gypsum in the mortar and sometimes by kneading the mortar to a more or less extent and sometimes by adding mineral and organic material to the gypsum mortar as a supplement. The peak of the art of stucco decoration during the Islamic period in Iran is the 14th century AD. One of the Monuments from this period in Yazd, Seyyed Shams-din, has outstanding stucco decoration and unique molded plaster. The inscription on the porch of this monument is one of these gypsum arrays that extends along three sides and unfortunately, some parts of it have been lost over time. In order to conserve this precious gypsum inscription, structural and technological studies need to be carried out on it, so that in the next stage, structural damage and its erosion process can be accurately and scientifically investigated and identified. The purpose of this research is to provide technical knowledge from the gypsum plaster of the porch inscription of this monument. In this regard, the depth and surface of the gypsum inscription, molded gypsum arrays and furthermore, the fine coat under this array were sampled and with the adoption of XRD, XRF, SEM-EDS analysis, contrastive analysis between these mortars were conducted. The results of this study indicate that the depth and surface of the gypsum inscription are structurally different from each other in which some parts of these differences are related to the timing of the inscription’s execution and the other part of these differences are related to the process of mortar change and erosion. The erosion and changes in the deep sections of the inscription were greater than the changes in the surface which caused a decrease in its strength due to the penetration of moisture and soluble salts from the supporting wall to the depth of the inscription.

Oedipus Rex's drama is one of the most famous plays in the history of dramatic literature in the world. This tragedy originated in the fifth century BC in ancient Greece by Sophocles. Oedipus the Prince is considered a perfect example of Aristotelian theater or tragedy. This work has been analyzed from several angles, including psychology, sociology, and literary criticism. Structuralism as a method of critique and analysis of literary texts has profoundly impacted the history of literature. Focusing on folklore and folklore, Vladimir Propp proposed a new way to interpret and analyze storytelling and narrative structure in a fairy tale morphology study. Propp's approach is based on the performance of the characters and their selfishness. In his theory, he introduces seven recurring characters based on their actions. Oedipus commits a great sin because of his deeds, falls from his lofty position, and is ruined. It seems Oedipus the Prince can be analyzed based on the prop model of repetitive characters. The present study is based on descriptive-analytical methods based on library sources and study of texts. It tries to show that each of the characters that Propp is looking for in his structuralism analysis is Oedipus himself, or in other words, Oedipus is such that all It has Propp characters. In this research, relying on the Prop method in the structural analysis of the narrative and the character of Oedipus as a constructive element in the drama, the research questions have been answered, and the results have been presented

Over a hundred pieces of luster tiles were excavated in Qal’eh Dokhtar, Kerman. This article discusses the characteristic features of the luster tiles of Qal’eh Dokhtar, and the origins and sources of raw materials of these tiles. The tiles were classified in four groups: “octagonal star tiles”, “crucifix tiles”, “square tiles” and “rectangle tiles”. Then, the relative dating was done based on an inscription on a tile that reads: in 661 AH/1263 CE. The inscriptions of the luster tiles of Qal’eh Dokhtar also showed that they include poems. Eleven tiles have been chosen for chemical and microscopic analysis by Micro-PIXE, and SEM-EDX. The results indicated that there are different elements in the luster and paste of the samples of Qal’eh Dokhtar and other regions of Iran. Magnesium is the element of which was detected only in the samples of Qal’eh Dokhtar at high weight percentages and likely its mines exist in Ashin Valley around Jiroft.

Attar is one of the utmost theological poets of the sixth and early seventh century AH, who took use of stories and anecdotes to express his deep spiritual meanings since mankind was his distinctive addressee. “Elahi Nameh” is one of Attar's outstanding works in which the poet has succeeded in creating amiable and profound anecdotes. Given the key role that characterization plays in the creation of stories and anecdotes, the issue of characterization is raised in theological concepts and its adaptation to illustrated stories. This research has been done based on descriptive and analytical methods and relying on library data. Findings of the research indicate that the character, the element of the incident and the speed of its occurrence are central elements in the realm of story and storytelling in Attar's anecdotes. Even though the mentioned work has the aspect of asceticism and moralism, the sequence and speed of the events of the story is the motivating and is considered as the driving factor of each tale. At the end, it can be generally stated that in the anecdotes, tales and novels; one cannot move with a single outlook or it can be concluded that the elements of the story shape the main feature of the stories or anecdotes or that they add meaning and value to the features of the story. Attar's ability to accurately describe anecdotes has led to a tangible depiction of such narrations.

1. An analysis of the elements of anecdotes in Attar's theology. 2. A study of characterization in Attar's theological anecdotes.

Research questions: 

 1. What are the characteristics of anecdotes in Attar's theology? 2- What is the role of characterization in the stories of “Elahi Nameh” by Attar?

One of the features of contemporary fiction is the issue of characterization and the use of symbols to convey concepts and themes. One of the outstanding works of contemporary fiction is the book Jai Khali Soluch by Mahmoud Dolatabadi. The issue that can be raised here is the reflection of the political, economic and social developments of this period and the use of characterization and symbols by the author. This research is accomplished by descriptive and analytical method and library data. The findings of the study indicate that the feudalism system governing Iranian agriculture was a method of exploitation and this phenomenon is reflected in the works of this period. One of the developments that took place in the field of agriculture during the second Pahlavi period was the issue of the White Revolution (1341 AD) and the land reforms along it, which were carried out by Mohammad Reza Pahlavi. After these changes, a number of writers started creating works known as rural literature, in which they studied these changes and their reflection in the life of the villagers. One of the most famous of these books is “Missing Soluch", in which the symbolic aspects of the mentioned book is investigated in this study.

1. To describe the conditions of Iran's rural society after land reform in the book "Missing Soluch". 2. To study the characterization and symbolic descriptions in contemporary fiction with a case study of the "Missing Soluch" book.

Research questions: 

1. How is the situation of the rural community of Iran after the land reform described in the book “Missing Soluch”? 2. What is the role of personality, characterization and symbolic description in conveying concepts in the book?

Character is the most central foundation of any story that plays an imperative role in conveying the plot and theme of the story; hence a story revolves around character and no story is formed without it. Bijan Najdi is one of the great novelists of the contemporary period that the novel "Cheetahs who ran with me" is one of his most famous and enduring novels in Persian literature, which has a lot of eloquence and rhetoric. In the art of painting, one of the subjects is considered by the characters and related issues, and Mohammad Baqer Aghamiri, one of the contemporary painters, beholds works in this field. In this research, based on descriptive-analytical method, personality types in terms of structure, characterization methods, perspective, time and manifestations used externally and internally of the characters have been analyzed. The findings of the research indicate that Bijan Najdi's novel is character-oriented and its greatest emphasis is on the main characters of the stories. In terms of characterization methods, the author has benefited more from the indirect method. The majority of the main characters in this novel are static characters. The adaptation of this type of characterization to the works of Mohammad Baqer Aghamiri shows the similarities in terms of attention to personality and its dimensions.

1. A study of the diverse aspects of characterization in Bijan Najdi's novel. 2. Adaptation of characterization in Bijan Najdi's novel and traditional contemporary painting with emphasis on the works of Mohammad Baqer Aghamiri.

Research questions: 

1. What is the role and place of characterization in Bijan Najdi's novels? 2. What are the features of characterization in traditional Iranian contemporary novels and paintings?

Ajaib al-makhluqat wa-gharaib al-mawjudat (The Wonders of Creation, or literally “the Marvels of Created Things and the Miraculous Aspects of Existing Things”) by Zakariya ibn Muhammad al-Qazwini (circa 1203−83) is among the best known texts of the Islamic world. It is often referred to as “The Cosmography”. The work begins with an introduction, and is followed by two sections; the first on supra-terrestrial, and the second on terrestrial creatures. Al-Qazwini concludes his work with a section on monsters and angels. The genre of Ajaib al-makhluqat (The Wonders of Creation), of which al-Qazwini’s work is the most famous example, includes texts in Arabic and Persian that describe the marvels of the heavens and the earth. Knowing the styles of character design in the art of miniature, and study of its conception and evolution can be an inspiration for contemporary artists and open up new perspectives for them. In this way, the images of the amazing version of the Wonders of Creation by Zakariya al-Qazwini are a suitable case to study the character design in the central Asian imagery tradition. The selection of two distinctive versions from two different eras of the Ilkhanid miniature in Iran (Ilkhanid version from Munich Library-No.464) and the Mughal School in India (Mughal version from the library of Astan Quds Razavi-Mashhad-No.47893), from the beginning of authorship and painting of this version to the end of the dynamic miniature schools of the central Asia, can demonstrate the evolution of this style of portraiture. The purpose of this research is to know the fixed and variable factors in designing the fantasy-fictional characters from the 13th to the 17th century AD, with a focus on two indexes and with a form-based attitude. This research is looking for answers to the following questions: What are the representational characterizations of imaginary-synthetic beings in the early version of The Wonders of Creation of Qazwini in the Ilkhanid School, and the version in the Mughal School? What are their communalities and differences? The method of the study is analytic-comparative and the method of collecting information is library research. Statistical population of this study, in the first step and for analysis of general characteristics, is all of the pictures of imaginary-synthetic beings in the two versions, and in the last step and for the sake of analysis of professional characteristics, consists of five miniatures which are shared and equal in both versions. The general results of the study show that the percentage of realistic images is higher in comparison with the fantastic ones in both versions. Among the images of the fantastic creatures in both versions, the special creatures of the sea possess a higher percentage, while the lowest percentage of the fantastic images in the Ilkhanid version is dedicated to constellations, and the lowest percentage of the fantastic images in the Mughal version to the special creatures of the land, angels and stars. Also, the commonality of characterization of imaginary-synthetic beings in the early version of The Wonders of Creation of Qazwini in Ilkhanid School, and in its counterpart in Mughal School, is derived from the style of Persian miniature and its explicit way in application of colors. The Mughal version of the above-mentioned manuscript is painted with more saturated colors in comparison with the Ilkhanid version, which bestows more energy and dynamism to its characters. The texture in the miniatures of the Mughal version is much more obvious and apparent as well, which lead to richness and high pictorial value in the miniatures of this version. The images in both versions have been well imbued with a type of extra-terrestrial and inorganic exaggeration and hybridization and manifest a mixture of heterogeneous elements. It is also noteworthy to add that the lines, compositions as well as low saturated colors are taken from the Chinese art, while the omission of the characteristic empty background in the Chinese painting has added an idealistic effect to the miniatures. In the Mughal-era version of The Wonders of Creation, the imaginary-synthetic figures suggest the inclination of artists to depiction of unrealistic themes and imagination. In the majority of the Mughal images, the tendency to use intense colors, attention to chiaroscuro and perspective are apparent, thus the colors are mature and dark, and the figures seem more corporeal. Finally, qualities such as the application of color and line, use of surrounding frame, realism or foreshortening are the obvious differences of these versions, which also emphasize the quality of portraiture in the Ilkhanid version in comparison with the Mughal one.

Earthquake in 26th of December 2003 devastated the city of Bam and its magnificent Arg [citadel] and turned it to ruins. The Arg was surviving for centuries in this location. Some time it was more inhabited and once abandoned. During the past decades the Arg gradually becomes well known and it finds a general popularity over the past decade since the Iranian society recognizes it thanks to the efforts of the erudite scholars. This comprehensive recognition especially in the field of the materials is more important for the interventions since it supports any correct and successful conservation measure. Eventually, the structure of the Arg has been composed of several architectural layers constructed over each other. A considerable share of these structures includes repairs and infill constructions created upon the base of archaeological layers over the centuries. However, the recent researches discovered several structural weaknesses in most of the adobes used in Arg-e Bam. Nevertheless, the huge adobes which have been used in the surrounding wall, some parts of the governors sector, and a few significant buildings in the public sector, have a considerable quality and more attention has been paid in their production. Occasionally, weak architectural composition has intensified the structural weakness of the adobes. Accordingly, usage of the same adobe composition with the similar technique in restoration will follow an understandable concern and it sounds a critical measure. Neglecting this important element will direct the Arg in to the similar harsh experience of the past. According to the experiences concerning the structural behavior of the materials used in the Bam citadel, it is certain that any restoration and conservation measure by the same material would not result in any success. If no improvement is conducted on the weaknesses of such a fragile material, then the restoration exercises will encounter major challenges. Having referred to the results of the researches performed of the historical adobes of the Bam citadel, the importance and necessity of such improvement will become more apparent. Arg-e Bam has been frequently invaded the armies and tribes during its long life and the inhabitants had a very limited time for fixing the damaged parts. Consequently, adequate attention has not been paid on the quality of some of the adobes. This research with a functional approach is looking for recognition of the structural properties of the adobes used in the site as well as their strengths and weaknesses. In the frame of inductive reasoning (looking from detail to the whole), based on the experimental system with a compound method (library, laboratory, site investigations), this research tries to respond to the main question that is quiddity of the factors affecting the structure and the material behavior under the tensions as well as improvement and resolving the known weaknesses. Thus, the results of the researches concerning the structural characters of the adobes of the Bam citadel will help us in achieving the materials without or at least with minimum weaknesses comparing to the prior adobes in order to be used for the more reliable restorations. One may even think about production of the new adobes with boosted mechanical behavior. According to our knowledge about the condition of the earthen materials of the Bam citadel, it is possible to improve the characteristics of the new adobes and earthen mortars for the restoration measures by innovations in the production process. This is actually the hypothesis of the research.

Notwithstanding the existence of such famous sites as Shar-i Sokhta from the Bronze Age, southeastern Iran represents a lacuna in Iranian archaeology. Chance discovery of the prehistoric, third millennium BC, site of Keshik in Nikshahr, Sistan and Baluchistan Province provides an opportunity to study new archaeological finds from this quarter of Iran. The main part of Keshik was a Bronze Age cemetery, which yielded important metal and ceramic objects, not to mention burial remains. The excavated assemblages included a distinct ceramic jar which warranted more detailed systematic observations by virtue of the symbolic motifs ornamenting its exterior surface. The jar has received the designation the Life Cycle because of these figurative designs arranged in six alternative panels which depict round the upper body of the vessel in a symbolic form the life cycle of a goat. The related panels show: 1) the figure of a goat native to Sistan, 2) the mating of goats, 3‒5) the mother goat feeding her baby goat, which gradually grows up from the 3rd to 5th panel, and 6) the baby goat together with its mother. The major archaeological question with regard to this idiosyncratic vessel was its chemical-mineralogical characterization. Hence, a chip specimen was sampled to address such issues as its geological source, manufacturing techniques, firing and kiln conditions, local or foreign provenience, and the nature of pigments involved in the paint. To determine the crystalline constituents, different mineralo-chemical investigations were undertaken. The major phase compositions of the vessel’s body as well as the pigments were determined using quantitative X-ray diffraction (QXRD), and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM/EDX). Also, the the thin-section of the pottery was analyzed by optical microscopy techniques so as to petrographic identification of the minerals. The result of phase identification showed that the sample generally contains quartz, plagioclase, diopside, berlinite calcite, hematite, and enstatite as main crystalline phase constituents. Moreover, mineralo-chemical investigations demonstrated a regional alluvial soil origin related with the Keshik River, suggesting an indigenous provenience for the vessel. Further, the paste lacked any mineral variety. Firing in an oxidizing and reducing atmosphere was also evident given the carbon peaks and the poorly fired gray core of the thin-section. Analyses of the paint used in the decorative designs revealed the presence in the pigment of iron and manganese. The two elements were typically used because of their long-term sustainability and mineral base, and in combination with each other, they created a brown to black tone. In short, the study suggested that the so-called Life Circle jar was locally produced using the local clay on the potter’s wheel, was fired at a temperature of 900-1000 oC in a closed oven under oxidizing and reducing conditions, and was decorated with a paint containing iron and manganese pigments.

This article is an analytic look on monologue category and its role in introducing the characterization of the protagonist and creating dramatic situations in drama that will be discussed through structuralist approach in the three tragedies of neo-classical age. The purpose of this article is: 1) the role of monologue in drama, 2) The operational effect of monologue in creating dramatic opportunities as well as characterization, 3) the communication of monologue with the audience besides the contact of audience with the process of drama events, 4) the role of monologue in the emergence of other dramatic techniques. On the other hand, monologue in drama has more capabilities in storytelling such as diverse discourses about individuality and the way it reveals psychological and inner qualities of the characters and reflects the language and culture of a society. Furthermore its diverse functions made performance arts a great touch ahead. Although monologue refer to the words a person says to him/herself or the audience, but this term and its functions and employing methods is partly different from each other in different periods of dramatic literature in the world; somehow the methods, approaches and views of employing monologue in classic age is different from modern age and even post-modern, considering this method in classic period was used as a requirement versus in modern period as a technique or artifice.