ilkhanid period

In the conservation of historical buildings, architectural decorations are often overlooked due to their minor role in structural stability. Their reconstruction, particularly in cases of damage or destruction, is complex due to their intricate designs and delicate nature. This study aims to preserve and digitally reconstruct the decorations of the Varamin Jameh Mosque, a significant monument from the Ilkhanid era. Some decorative elements of this building, such as the mihrab in the dome chamber, have deteriorated over time due to environmental factors and human interventions, leading to the loss of fine details. Consequently, this research focuses on the virtual recreation of these elements.The methodology consists of an interpretive-historical approach combined with archaeological evidence analysis to identify and examine various historical phases of the mosque's decorations. To achieve highly accurate three-dimensional models, the study employed short-range photogrammetry technology. The obtained images were digitally processed to reconstruct the details. In this phase, different reconstruction strategies, including similarity, analogy, and partial symmetry, were utilized to accurately restore the damaged motifs. The study specifically focuses on the virtual recreation of the mihrab at a 1:1 scale, ensuring precision and authenticity.The results indicate that digital reconstruction methods effectively enable the conservation and study of damaged architectural decorations without physical interventions. The study produces a two-dimensional map of the mihrab with the maximum readable motifs by integrating 3D models and orthographic images (Orthophoto). The comparative analysis with similar structures from the same era contributes to a better understanding of the original design.Furthermore, this research highlights the advantages of virtual reconstruction over physical restoration. Unlike conventional restoration methods, which may alter the original structure or introduce speculative elements, digital techniques offer a non-invasive approach to studying and preserving historical artifacts. By employing advanced photogrammetric techniques, the study overcomes challenges associated with reconstructing intricate details, ensuring both scientific accuracy and historical fidelity.The findings underscore the significance of utilizing photogrammetry and digital modeling for the documentation and analysis of historical cultural heritage. By applying these technologies, researchers can produce highly detailed models that serve as valuable references for conservation efforts. This approach not only aids in historical interpretation but also provides an accessible platform for educating scholars, historians, and the general public about cultural heritage.The study also emphasizes the importance of adhering to international documentation standards, such as the Seville and London Charters, which advocate for transparency, accuracy, and accessibility in digital heritage projects. These guidelines ensure that digital reconstructions maintain academic credibility and serve as reliable tools for future conservation initiatives.In conclusion, the digital reconstruction of the mihrab of the Varamin Jameh Mosque demonstrates the potential of virtual heritage technologies in preserving and understanding architectural history. The integration of photogrammetry and digital modeling enhances the accuracy of reconstructions and contributes to the broader discourse on heritage conservation. Future research could expand on these methods by incorporating augmented and virtual reality applications to further enrich the interpretative and educational aspects of historical preservation.

Problem statement:

 Archaeologically, a stepped structure is recorded from the E. hill of Rabʿ-e Rashidi. Firstly, such a structure is thought to be a remnant of an Ilkhanid mosque. Later it is hypothesized as the basement of a large complex, from the Rawza arena, Rabʿ-e Rashidi, 14th CE. Nevertheless, in accordance with the topographic features, plan, spatial design, and architectural materials of this stepped structure, it cannot be the remnant of a structure or the basement of the large building in the Rawza arena. So, two basic questions concerning this stepped structure are its function and relative dating.

The archeological and architectural recognition of the function and dating of the stepped structure at the Rabʿ-e Rashidi provides the required basis for its accurate and methodic restoration.

This research is based on the archeology of buildings, which uses archaeological findings, historical reports, and technical analysis of construction to understand the chronology, typology, stylistics, and function of ancient architectural remains.Firstly, the technical features and architectural materials of this stepped structure were well studied by the field archaeological methods, providing a plan and site surveying and aerial photography by a drone. Secondly, historical reports that provide information about the structures of Rabʿ-e Rashidi, from the 14th to the 17th CE (Al-Waqfiyya al-Rashidiyya & History of Öljeitu & ‘Ālam Ārā-yi ‘Abbāsi) were studied. This allows the authors to examine their hypotheses by matching the collected information from such sources with archeological materials and architectural remains.

Abductive reasoning, based on archaeology, history, and architecture, considers that the hypothesis of the large cistern of Rabʿ-e Rashidi is more likely to be justified. According to Al-Waqfiyya al-Rashidiyya, the relative dating of this staircase structure, as the cistern, goes back to the Ilkhanid period. This structure was repaired in the post-Ilkhanid period.

With the advent of the Islamic religion, the Qur'an penetrated among Muslims, and following the popularity of calligraphy and writing the Qur'an, illumination was placed next to calligraphy. After the spread of Islam from the Arabian Peninsula to other places, including Iran, some ornament and emblems were added to the Qur'an for the correct reading and recitation of the Qur'an by non-Arabic speakers. These ornaments have roots in Sassanid art and only its practical aspect was considered by the illumination artists. In the first centuries of the Islamic period in Iran, book layouts, especially holy books, such as the Holy Qur'an, had very simple illumination and ornament. The first decorations were used to separate the Surahs from each other and emblems for the Verse separator, and then ornament was used to separate other parts of the Qur'an, such as emblems of five verses (Khums), ten verses (Ushr), Hizb emblems and prostrate verses. Ibn-Bawab and Yaqut-Mustasami are two great and influential scribes in the art of calligraphy in the Islamic world and Iran, and even Yaqut's style of calligraphy continued for many years after her death. Abul Hasan Aladdin Ali bin Hilal was born in the fourth century AH. His father was the porter and curtain keeper of Al Boyeh. And on this occasion, he was called Ibn al-Satari and Ibn Bawab. In the year 413 AH during the dominion of Al-Qadir Bellah, he died at an old age. Ibn Bawab was one of the students of Ibn Muqalla who, by following the rules of his master, was able to add beauty and elegance to the balance and geometric harmony of Ibn Muqalla's letters. Another calligrapher is Yaqut Mustasimi, who was in the service of Mustasim Abbasi, who was the last of the Abbasid dominions and was probably born in Abyssinia. He followed Ibn Bawab's calligraphy and style of writing and became like him in writing. But in shaving pen, he changed the method of masters and invented a new method of shaving pen. Yaqut first trained with Abdul Momen and then with Sheikh Habib. Yakut had a long life and according to some sources, his life had exceeded one hundred years. Due to her poor eyesight, she used to write with glasses. He died at the beginning of Sultan Ghazan Khan's reign in 698 A.H. in the city of Baghdad and her grave is located next to the grave of Ahmad Hanbal. Muslim artists created emblems inside the text and on the margins of the pages for the correct recitation of the Qur'an, which made the Qur'an easier and better to recite and understand. Among the illumination emblems of the Verse separator and verses, emblems of Khums, Ushr, and Jouze (Part of the Qur'an) can be mentioned. The opening pages are the gateway to the Qur'an, which artists tried to implement in the best way throughout the ages. There was illumination in the preopening pages, opening pages, emblems, the head of the surah, and closing pages in most of the Qurans, which were also functional in addition to beauty. The color, pattern, and form of the Qur'anic illumination changed over time. These form and appearance changes were caused by the culture and art of the society of the era in which the artist lived. By surveying the illuminations of Ibn Bawab's Qur'an, the features and characteristics of the Seljuk school's Qur'an ornaments can be obtained, and also by studying the Yaqut’s Qur'an and the Yaqut’s style, one can get the stylistic features of calligraphy the Qur'an in the Ilkhanid and Timurid periods. It seems that Qur'anic illuminations have changed in appearance and form in different periods. This research aims to explain the characteristics of form, pattern, and color in the illumination and emblems at the end of the verses in three samples of Ibn Bawab's Qur'an from the Seljuq period, the Yaqut Mustasimi from the Ilkhani period and the Yaqut’s style from the Timurid period. It answers these questions, what ornaments are used for the opening pages, surahs, and emblems of the inner and marginal pages of the Qur'an of Ibn Bawab of the Seljuq period and Yaqut Mustasimi of the Ilkhani period and the Yaqut’s style of the Timurid period? What is the color in the illuminations of the three Qur'ans of Ibn Bawab and Yaqut Mustasimi's and the Yaqut’s style? What are the differences between the charts and motifs used in these three versions? The general aim of the research is to find out the practical and ornament characteristics of the illuminations and emblems in the three versions of the Qur'an of Ibn Bawab and Yaqut and the Yaqut’s style In this research, the necessary information has been collected by descriptive and comparative method and by studying library sources, scientific articles, as well as referring to the website of various museums and obtaining information from them and internet sources. A volume of the Qur'an belonging to the Seljuq period with complete illumination of the opening pages, chapters (head of Sureh), emblems of the end of the verses, etc., and a complete version of the Qur'an with the ornaments of the Ilkhanid period and a Version of the Qur'an from the Timurid period with the same characteristics and the characteristics have been selected and studied. The results show that the Qur'anic illuminating has always been changing and evolving in the preopening pages, opening pages, and emblems in the Seljuk, Ilkhani, and Timurid Qur'ans. In Ibn Bawab's Qur'an in the Seljuq period, there are ornaments and illuminations on the preopening pages and the opening page of the Qur'an, and Surah Al-Fatihah-ul-Kitab and Surah Al-Baqarah are performed on the same page. Tabulation in this version is only on the first page and in the emblems of Khums (five verses) and Ushr (ten verses) on the side margins, the beginnings of these two surahs, and the Other of the head of Sureh in the inner pages of the Qur'an do not have tabulations. The head of the Sourah emblem is present in all heads of Sourahs and it is executed in various forms inspired by the lotus flower. Gilded Khums and Ushr emblems can be seen between the verses. The important point in the emblems of the Verse separator is that three small azure circles are used. Geometric motifs and knotting in the inner margins and the Table lines of geometric motifs are also seen in this version. Golden, brown, and ochre colors are seen more than azure blue. In general, in Ibn Bawab's Qur'an, the opening pages are shown inside the table, all the heads of Surahs have the emblem of surahs with great variety. The form of these emblems is mostly scroll-arabesque motifs and the inner pages do not have tabulation. While in the ornaments of the Qur'an of the Yaqut Mustasimi of the Ilkhanid period, the diversity of the form of the side emblems of the Qur'an has been reduced. The preopening pages are ornamented with two similar pages with the outline of the geometry of motifs, which are decorated with motifs of flowers and leaves inside each of the knots. Gold and black colors are used more than blue-azure in the coloring of the illuminations of the preopening pages, opening pages, and emblems. The pages and the head of the surah on the inside pages do not have illuminations, Sharafeh (Medallion Radiuses), or tabulation. Khums and Usher emblems can be seen on all internal pages. In the Qur'an, the Yaqut’s style of the Timurid period, two conjugate geometric illuminations have been worked on the preopening pages. The central citron and medallion, as a symbol of the sun and the presence of light and sun, is performed before the beginning of the Qur'anic verses. The bright yellow color of the sun is reminiscent of verse 35 of Noor’s Surah "God is the light of ..." in the preopening pages. Sharafeh (Medallion Radiuses) was present in the preopening pages and it was placed in an orderly and simple manner as rays of light in the outer margin of the illuminations. In the head of the surahs of the Qur'an, the Yaqut’s style emblem of the head of the surahs is not seen.The headers of the surahs on the opening pages are fully colored and richly detailed within the tabulations. However, for the headers of the surahs in the remainder of the manuscript, while they are placed within tabulations, they do not feature any background color. Overall, the ornaments and illuminations in the Yaqut style version exhibit cooler tones compared to the Qur'an versions of Ibn Buwab and those from the Ilkhanid era. Although the transformation in the style of illuminations and Qur'anic ornaments can be observed from the Seljuq to the Ilkhanid and Timurid periods and into later eras, the fundamental concept and function of these ornaments have remained consistent.

The model of construction and development of urban areas as a platform for strengthening solidarity and social bonds and consequently social sustainability should be formed in accordance with the biological needs of its residents. These biological needs that shape the quality of life of citizens are defined in different parts such as residence, work and activity, recreation, social interactions and etc. From another angle, urban development and urban planning based on this school is an evolved set of various components and mixed uses that can be well exploited in the development of traditional neighborhoods (TND) as a local model. The main goal of the research is to recognize the pattern of traditional neighborhood development (TND) based on the local schools of urban planning in Iran and specifically the principles of Tabriz school in urban planning. According to the objectives and components of the study, this research aims to expand Tabriz school of urbanism in the traditional neighborhood development and to present and apply a local model in the construction and development of urban neighborhood too. For this reason, this research uses the developmental-applicative combined method based on the type of goal. The research method based on the type of analysis is considered in the category of quantitative research. The results based on the TOPSIS method show that the infrastructure and facilities of the neighborhoods, the physical structure and the economic structure respectively have the first to third priorities in the of traditional neighborhood development according Tabriz school and based on the regression results, the multiple correlation coefficient is 0.815 and the corrected coefficient of determination is equal to 0.815 and this value shows that 81.4 percent of the changes in the traditional neighborhood development can be predicted through the principles taken from the Tabriz school of urban planning.

In the archaeological test soundings of 2007, spaces have been discovered in the southeast of Rab’-e Rashidi, which, although they have been described and introduced as the remnants of an Ilkhanid bath, but the use of that has not been confirmed yet. Therefore, these questions and hypotheses are raised about the structure discovered in the southeast corner of the Rab’-e Rashidi, what was the function of this structure? And its relative chronology goes back to which century? In the analysis and interpretation of the present research, two hypotheses of Gazargah (laundry) and Soqaya, confrontation, and then based on the hypothesis of Soqaye, the date of the 14th century is proposed for this structure. The methodological foundation of this research is based on history, i.e. the study of the al-Waqfiyya al-Rashidiyya and other early sources of the Ilkhanid period, as well as the comparative study of the common structure of bathes in the Islamic centuries, Soqaya and Gazargah; Therefore, after analyzing the technical, physical and architectural characteristics and space-making of the subject of the study, in the second step, while extracting information related to Rab’-e Rashidi buildings and especially the buildings related to the two hypotheses of Gazargah and Soqaya from the historical sources of Ilkhanids and especially the al-Waqfiyya al-Rashidiyya. This information is matched with the information obtained from the architectural stage. In the third step, the information extracted from the previous two stages, history and architecture, is matched with archaeological information to obtain the final result. The historical and architectural evidence based on the logic of abduction, considers the hypothesis of Soqaya of Rashidiyya more close to the realty; Then, according to the al-Waqfiyya al-Rashidiyya, the relative chronology of this structure reaches the Ilkhanid period and the first half of the 14th century AH.

Knotting is one of the most regular geometric decorations that spread with the spread of Islam. Among the different Islamic governments, the Ilkhani era is one of the most brilliant periods of prosperity and flourishing of art and architecture with the use of knot-making in Iran. Among the magnificent buildings of this period are Kabud Dome and Ghaffarieh Dome, located in Maragheh city, the external surfaces of these buildings have knots with different characteristics and many knot tools that are creatively used in each one. The purpose of this research is to know the types of knots, and analyze their characteristics and characteristics; It is the use of knot tools in these buildings and the comparison and matching between them that reveals their differences and commonalities. The current research aims to answer these questions: "What are the types of knots and the position of the knots on the external surfaces of the Kabud Dome and the Ghaffarieh Dome? And what are their commonalities and differences from each other?" The upcoming article is done in a descriptive-comparative way and the information is a combination of library sources and field observations. The results show: even though both buildings belong to the same period; two types of knotting with two different implementations have been used in both buildings. In this way, Ghaffarieh Dome's tilework is made with a combination of brick and mosaic tiles in a semi-relief form, and the nodes are used separately with mosaic tiles in the moqrans, But the knots of the Kabud dome are all made with cut bricks of almost the same size in a mosaic style and all raised; Also, most of the node tools do not have separate uses.

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

Since the arrival of Islam in Iran, we have witnessed a great change in the form, content and place of performance of these arts in architecture, which is due to the social and religious context of societies. Since the advent of Islam in Iran, we have witnessed extensive physical and non-physical changes in the architecture of mosques. The Ilkhani period started with severe destruction, but with the arrival of worthy Iranian ministers and the conversion of the Ilkhani kings to Islam, there was an advance in the architecture of mosques. In the present research, with the descriptive and analytical method that has been carried out through the library study, an attempt has been made to first mention a brief history of the historical developments of the Ilkhanid period. Then, the mosques of this period have been examined, then the physical content of the buildings, including the arrays and decorations of the porches, domes, etc., which has a symbolic aspect, has been analyzed. The analysis of the elements of the mosques shows the special attention of the patriarchal kings to Islamic teachings. Along with these patriarchs, they tried to build mosques in accordance with the existing conditions at that time, taking into account the climatic and social conditions of the city of Tabriz.

From the Caucasus to the Indian Ocean and the lands of Jihun to the Mediterranean, all were under the rule of the Mongols during the Ilkhanid period. The Islamization of the descendants of Genghis Khan and the change of their religion from shamanism to Islam caused them to establish governmental and religious unity in the banks under their control. Art was considered as an effective factor in the manifestation of Islamic thought and a cultural element in this period. War, immigration, and religion are important factors in the acculturation process, and we are faced with all three cases during the Ilkhanate period. The invasion of the Mongols to Iran, the religion of Islam, and also the migration of artists to the court of Ilkhans caused Iranian cultural themes to be combined with Islamic elements and Chinese artistic thought and to appear as an element of acculturation. which is the problem of the present research. Because the results of adapting the nature, structure and visual cognitive characteristics of the patterns in the textiles cause cultural interaction and visual reflection of the word of God and its connection as a living and dynamic element, brings commonalities that are visible as a result of acculturation. Examining all the above-mentioned factors is an answer to the question of how art fabric in the Ilkhanid period as a phenomenon in the metaverse world can be considered an element of acculturation? The current research is based on the method of data collection based on (documentary-library) studies and is used with a descriptive-analytical approach.

The village of Quhrud in the mountainous area of Kashan has two historical mosques, ‘Ali and Kallah, both from the Ilkhanid period. Among these, Masjid-i ‘Ali is of considerable significance due to the presence of hundreds of lustre star tiles and an exquisite wooden door dated 700AH. The unique Ilkhanid door of the mosque has thirteen inscriptions in Persian and Arabic languages, and the background of the writings and the leaves of the door are decorated with vegetal and geometric motifs. This paper tries to answer the questions of what is the content of the inscriptions on the door and what image does it give of the religious, cultural and historical situation of Kashan region at that time? Thus, while analyzing the content of all the inscriptions of the door, the patron of the mosque, ‘Abd al-Wahid, and the artist, Muhammad Naqqar Isfahani and some of his other works have been introduced. In one of the inscriptions, the patron talks about a dream in which Imam ‘Ali ordered the construction of the mosque. This Shiite theme has a remarkable resemblance with the inscription of the Ilkhanid lustre tile of Qadamgah-i ‘Ali in Kashan. Unlike the latter inscription, which tends towards the religious Shiism, the text of the Quhrud door shows devotion to Imam ‘Ali and the Prophet’s family. However, these tendencies have finally led to a belief in later periods. Finally, this door can be interprated as an important document of the founder’s feelings, motivations and religious and moral tendencies.

In an article entitled "Un diptique de foundation en ceramique lustrée, Kašan 711/1312", Chahriyar Adle studied two pieces of luster circular tiles preserved in the Sèvres Ceramics Museum in Paris. According to the tiles inscriptions, they were made in connection with a Shiite monument in Kashan. One of the tiles with a prominent horseshoe-like edge is the narrator of a dream from 711 AH/1312 AD. According to the description of the mentioned dream, Imam Ali and Imam Mahdi came to Kashan on the way to India, where Imam Ali issued an order to build a turbatkhāneh, so those who cannot visit them visit that place. Despite the studies carried out, including reference to the turbatkhānehchr('39')s general location, the building itself and its exact location have not been identified yet. Therefore, these questions can be asked whether the mentioned pair of luster tiles refer to a specific building? And more importantly, if the building is identifiable, where is it located, and what are its characteristics? This article seeks to find the mentioned turbatkhāneh and clarify its main features. This study is based on a historical interpretive method in which the inscriptionschr('39') text is studied and interpreted. Related historical texts are reviewed, and a large area in the north of the citychr('39')s historical barrier is examined to provide answers to questions. Also, an abandoned religious placechr('39')s exact location is studied, and the remains of the mentioned place are compared with some examples to clarify the more accurate characteristics and the historical period of its construction. This studychr('39')s findings show that a dome chamber in the north of Salehābād Cemetery, located outside Kashanchr('39')s barrier, is the same building whose construction history is written on the desired luster tiles. The studies show the relationship between these two unique tiles and a small domed building in the north of Kashanchr('39')s barrier in the Salehābād area; Where there was another building until 2018 called Ghadmagāh-i Ali. These two tiles have survived to tell a part of Kashanchr('39')s cultural and artistic history and, of course, to clarify the role and position of a forgotten religious place in Kashanchr('39')s Shiite culture.

The events of the Prophet Muhammad’s life are one of the most important issues considered by painters in different eras, which many examples are in the manuscripts of Mongolian Ilkhans. This study includes the investigation of Ilkhani images related to prophet’s life based on Iconography method. Therefore, three questions formed the purpose of the study (1. Which characteristics have been basically utilized to describe the prophet pictures in Ilkhani period? 2. How is the evolutionary religious icons’ trend during the Ilkhani period? 3. What are the factors affecting on religious icons during the mentioned period?) Four images in Ilkhans’ manuscripts were assigned using the iconography method in order to answer these questions. The findings revealed that the painters typically illustrated the prophet’s events life relying on existing descriptions in the Qur’an, hadith and Islamic narratives as well as the interests of art patrons. The results indicate intellectual, religious, political and artistic background of the study period, which looks at the differentiation and the similarity of the images of the Prophet in this period.

Pottery and textile weaving were two art media during the Seljuk and Ilkhanid periods, which one or sometimes both were considered important according to circumstances. Numerous studies have been carried out on pottery and weaving in the Seljuk period, and in some cases the evidence left over from that time has been reviewed in a comparative method to determine to some extent how these works were influenced by other fields. In some cases, evidence suggests that artists modeled on designs used in other industries, and they embellished their work on this basis. The present study has been done by using a comparative-historical methodology and the information gathered from library sources and by referring to related data, as well as a visual study of the Seljuk pottery and a sample of brocade textile from the Ilkhanid period preserved in the David Collection, Denmark. This textile is similar in terms of form, pattern, color and geometric divisions to the mina’i ware and luster-glazed bowls produced in Kashan. This study examines such interactions by thoroughly examining the patterns and similarities of the mentioned textile sample and pottery of the Seljuk period. It is to answer the following question: Which of the arts of pottery and weaving has had more influence on the other?
There are some examples regarding the effect of textile patterns on pottery, especially in the early Islamic period, but in later centuries, pottery reached such a great place and independence that affected textiles; and its patterns and structure inspired the art of weaving. The results of this study show that with regard to the color of the Ilkhanid textile, the weaver had used gold and silver threads, i.e. brocade, to perform and manifest the beauty of luster-glazed pottery on the fabric. In observing the geometric divisions and in the general composition of the designs, the work has also been executed like pottery. It seems that the form and structure of this textile, which is circular, is taken from that of pottery medium. Using circular composition and concentric circles, as well as emphasizing on the middle section, which according to the type of the characterization and other elements of the work represents the narrative state of a particular subject, this work sounds fairly similar to the mina’i and luster-glazed ceramic plates once created by the Seljuk artisans.   
Inscriptions of invocation and those of good wishes were used in that time on ceramic ware, and in this piece of textile such inscriptions are used on the last outward section of the work. Furthermore, the presence of mythical animals such as sphinxes among other creatures and the lush nature with fish ponds are elements often depicted in the Seljuk pottery. The assertion of such influence from pottery ware is not accidental and it seems that Seljuk pottery had been a good source of inspiration for this textile.
On the whole, the general composition and use of usual patterns in luster-glazed and mina’i pottery has caused a successful adaptation in the design of the mentioned textile. Other examples of this field are less considered by researchers and should be further studied.

Beauty is a divine blessing which is reflected in all aspects of the Iranian life and has affected all parts of their lives. Every applied object is also beautiful and has ever held such charm. This aesthetic aspect of the Iranian art is expressed in the form of decorations and elements of the Iranian art. No boundary can be defined in the application of the decorations and their artistic aspects. This mutual interaction can be seen in architectural decorations and illustrations of certain books, such as Shahnameh of Ferdowsi, so that in each period, the Iranian miniatures have been used to depict decorations used in other arts and the magnificence of the buildings has been reflected in the paintings and the miniatures. Built between 1304 to 1312 AD by the decree of Oljaitu, the Soltanieh Dome is one of the architectural masterpieces of the Ilkhanid period and it has various decorations. Demotte Shahnameh is one of the oldest pictorial versions of Ferdowsi’s Shahnameh, which is believed, by most researchers of the Iranian art, to date back to the years between 1331 to 1337 AD. Therefore, given that the magnificent monument of Soltanieh Dome and the pictorial version of Demotte Shahnameh were created in a close time span during the Ilkhanid period, the purpose of this study is to investigate the impacts of the architectural motifs of Soltanieh Dome on architectural decorations depicted in the illustrations and motifs of Demotte Shahnameh and thus to provide a comparative study of the two. The key question is: How has Soltanieh's dome architectural decoration influenced the architectural motifs of the Shahnameh paintings and miniatures? In order to answer this question, the architectural decorations of Soltanieh dome and the miniatures and paintings of the Demotte Shahnameh have been analyzed in terms of decoration style, motifs and the applied location. In order to conduct a comparative case study of the two artworks, written sources, library documents and a valid virtual database have been used to gather the required data for the theoretical section of the study while data for the field study section have been acquired through observation. Decided by the nature of the data gathered, they will be first analyzed qualitatively to be followed by comparison. The results of the comparison of the samples demonstrate that the architectural decorations used in Soltanieh dome of Zanjan are very diverse and extensive. In terms of the method of application, it includes different types of brickwork, tiling, and plaster while in terms of motifs, it contains a variety of geometric motifs, circles (Khatai and Arabesque) and inscriptions. In the selected paintings of Demotte Shahnameh, architectural decorations are strongly depicted in the composition of the paintings. On the other hand, the exterior and interior views of the buildings have various decorations comprising of various styles of brickwork, tile and plaster as well as plaster painting along with geometric, Khatai, arabesque and inscription motifs. Therefore, the research findings reveals that the architectural decorations depicted in the Demotte Shahnameh are comparable to the architectural motifs of Soltanieh dome in terms of decoration technique, motifs and application whereabouts and different types of brickwork, plaster and tiles containing geometrical, circular and inscription motif used in different parts of Soltanieh Dome have also been illustrated in Demotte Shahnameh. This illustrates the close relationship between the art of architecture and Persian miniature. Based on the outcomes of this and other research studies conducted in this respect, the surviving paintings of each period can be considered as a realistic reflection of the architecture of that period, which can be referred to in the study of architecture and decorative practices of that period on one hand. On the other hand, it shows a cultural continuity in different aspects of Iranian art during the past centuries and some sort of harmony in the application of ancient patterns in different fields of art; Something that has been ignored in the contemporary Iranian art. Returning to this cultural policy can solve the problem of cultural rift in the contemporary Iranian society.

There are many tombs in Lorestan province that are part of the treasure trove of Islamic architecture in Iran due to their national and regional characteristics. Shine Shah Mausoleum is one of these tombs.
The general view shows a typical, unassuming building, however, this building is a normal and integrated building, but at the same time, the analysis of the building and its structure indicates structural changes and developments and includes multiple periods of construction, which has not been explored so far and this raises the need to study it. In this regard, the present article has tried to answer these questions: To what period did the original building belong and at what times was it restored or rebuilt?
The purpose of this research is to study the periods of construction and the architectural modifications made to it. This was done based on architectural elements and structure on the tomb’s architecture.
The purpose of this article is to study and recognize the periods of construction, architectural changes and identification of the owner of the tomb.
The writing of this article is based on practical research. In addition, its comparison to other similar examples has been attempted through descriptive-analytical method.
 The results of this study indicate that the tomb building was constructed during the Ilkhanid period and in the Safavid period, its dome was rebuilt and the entrance porch was added to it, and is probably the Tome of Shujauddin Khorshid, the leader At Abakan Lur Kochak (1184).

The Dome of Sultaniyya is one of the most important monuments of the Ilkhanid era in Iran, which has an octagonal plan, eight minarets, and three sections including the dome chamber, turbat-khana, and the cellar. It is abundantly decorated with tilework, stucco, brickwork, etc. One of the key architectural ornaments in this building is geometric decorations that are applied either singularly or in combination with other designs or inscriptions. The purpose of this study is to introduce and derive the typology of geometric decorations used in the architectural ornaments of the Dome of Sultaniyya. Therefore, the main question here is to introduce geometric decorations in the architectural ornaments of the Dome of Sultaniyya and the introduction of their significant types. Data was collected through both field and library research following a descriptive-analytical method. The results of the study show that the use of geometric decorations is among the key types of decorations in this monument, seen in almost all parts of the building such as arches, wall surfaces, etc. These decorations consist mainly of intricate gerehs [lit., knots] and their integration with plant motifs and inscriptions. Different technical applications increase the complexity, variety, and beauty of these decorations. Most gerehs are based on six-, eight-, ten-, and twelve-pointed polygons, which make them exquisite and extensive. Also, the tradition of “transforming knotwork” is considered as one of the important types of decoration in this building.

Monasteries or “Khaneghah”, as the center of Iranian- Islamic mysticism and Sufism and a sacred building, with various social, cultural, artistic, economic and political functions, is a representation of Iranian culture and civilization. The Ilkhanid era is known as the period of the expansion of Sufism and the construction of monasteries. At this time, monasteries were considered a social, cultural, and sacred sanctuary that replaced schools, and in addition to asceticism and worship; other activities took place. In this article, it is attempted to study the various influential factors in the emergence and growth of Sufism and monasteries during the Ilkhanid period. Indeed, the study examines the impact of key factors in the process of expansion and growth of Sufis in the Ilkhanid period. Since the role of Sufism and its influence on the buildings of the monasteries of this period cannot be ignored; the study of the architecture of the monasteries is significant in order to study the factors that led to the spread of Sufism during this stage in history. The research method of this article is descriptive-analytical and the method of collecting information is accomplished by studying library resources and also by observing and analyzing the role of monastic buildings in the spread of Sufism in the Ilkhanid period; furthermore, the cultural and artistic factors of monastic buildings have been studied. The results show that the architecture of monasteries and their artistic structure are closely related to mystical and Sufi ideas and the study of the artistic structure and symbolic elements of the monastery shows its direct relationship with the spread of mysticism and Sufism in the Ilkhanid period. In the art of Islamic architecture, many symbolisms have been the source of mysticism and Sufism. The cultural and artistic events of the monasteries were influential in the growth of Sufi followers during the Ilkhanid period, and the spread of Sufism in this period established a link between mysticism and Sufism and the art of the Ilkhanid period.

Research objectives:

1. To investigate of the influence of the most important factors in the emergence and growth of Sufism and monasteries in the Ilkhanid period. 2. To analyze the architecture of monasteries and examining its impact on the spread of Sufism during the Ilkhanid period.

Research questions:

1. How is the architecture of the monasteries and their artistic structure related to mystical and Sufi ideas? 2. What effect did monastic buildings have on the spread of Sufism during the Ilkhanid period?

Ilkhanid period is particularly important in the history of Muqarnas decoration, because of its unique features and the formal arrival of plenty of Far East art components that were not previously experienced in the Iranian Islamic art,. Muqarnas decoration drastically developed during this period as innovative technical and decorative methods appeared. This paper studies some innovations of Ilkhanid Muqarnas decoration in four typical Ilkhanid buildings including Jami Mosque of Oshtorjan Jami Mosque of varamin، Sheikh Abdossamad complex in Natanz and Bayazid complex in Bastam. Towards this end, the study has attempted to examine the traits and inspirational resources of Muqarnas designs during this special period. The findings of the study show that Ilkhanid Muqarnas designs have been made under the influence of china’s art specially in cases of naturalism (butterfly and Spider web designs) and application components of china’s designs (as dragon). Amongst the most prominent decorative motifs that were common with the impact of Chinese art in the Ilkhanid era is dragon that is often displayed on pieces of colored tiles in non-religious buildings. As a rule, the use of animal motifs in religious buildings such as mosques and tombs regarding to the prohibition of the use of these designs was impossible, thus Iranian artists used those types of designs that matches with the spirit of Islamic Art. Plant motifs influenced by the movements of the dragon can be considered as the pioneers of new Islamic arabesques in the field. In other words, Iranian Muslim artists of Ilkhanid period have been able to bridge between the designs of Islamic architectural decorations and decorative motifs of Chinese arts. Research objectives: 1. Understanding the innovations of Ilkhanid Muqarnas decoratiions In the field of form and especially design of motifs 2. Identifying the potential sources of innovations of Ilkhanid Muqarnas decorations.  Research Questions: 1. What are the most important innovations of the of Ilkhanid Muqarnas decorations in terms of form and in particular the design of motifs? 2. What are the most important sources or potential sources of inspiration for the Ilkhanid Muqarnas decorations?

In the mid-Islamic centuries that culminated in the advancement of arts, pottery also moved into other artistic arenas, as a basis for artistic revitalization, to compete with the industry of making vessels of gold and silver, and the potters of this period from clay, designs and glaze were produced Luxurious containers. Since the product and any work of art originates from a community that requires that work, two types of metal containers, as well as the replacement of luster pottery, are a significant challenge in the middle ages of Islam. The purpose of this research, while investigating the characteristics and social conditions of the Seljuk and Ilkhanid, traces the influence of these social factors on the representation of designs and the form of luster ceramics and metal containers. In the present research, the authors tried to explain the process of succession of luster ceramics and competition with metal containers of the Middle Islamic Ages. Therefore, the present article seeks to answer the following questions: What are the characteristics and social conditions of the peoples of the Seljuk and Ilkhanid era? And which of the luster ceramic designs and metal containers of this era have been affected by social constraints? The comparative-analytical method used in this paper is based on library studies. In addition, the analysis of these works and the reflection of their productive society have been based on sociological theories and their case has been discussed in the course of time by presenting pictures and material from the historical sources of this period. The luster ceramics studied, both in terms of beauty and shine, and in terms of decorating, color and form, were so close to metal containers that they played almost completely the role of metal containers, except in terms of mater, so that both They conformed to Islamic law and were offered at reasonable prices in comparison with metal containers. As a result, it became clear that these works are a reflection of a transition society that has witnessed developments such as industrial growth, specialization, division of labor, the emergence of new classes, luxury, the creation of innovative methods of metalworking and luster ceramics.