pattern

The term “Shirvani-poosh” refers to a type of covering specifically designed for the shrine enclosure, which exclusively covers the ceiling of the tomb chamber. This study aims to recover the design and patterns of a number of shirvani-poosh covers associated with the second shrine enclosure of Imam Reza, known as the Shrine of Shah Sultan Husayn Safavid. This article adopts a historical and descriptive-analytical approach, relying on documentary and field studies based on note-taking and visual analysis. Sampling was conducted purposefully, and the examination of seven shirvani-poosh covers from the Qajar era related to this shrine revealed the following: The design in two of the covers is based on reflective (mirror-like) symmetry, while in the other five, it relies on repetitive patterns across the surface, either through grid-like framing, linear repeats (moharramat), or simple repetition (vagireh-style). Except for one case, which is devoid of patterns (moharramat shirvani-poosh), plant motifs play a significant role in the decorative arrangements. Only one cover features an animal motif, specifically a peacock. Overall, the principle of repetition—ranging from axial symmetry to countless repetitions across the surface in the vagireh style—emerges as the fundamental decorative feature of the analyzed shirvani-poosh covers in the Holy Shrine of Imam Reza, with most examples relying heavily on repetitive plant motifs.

Over time, from the mid-Qajar period to the first decade of the Pahlavi era, public and private spaces, the spatial hierarchies between these two, and their forms underwent transformations, leading to the emergence of a hybrid style. One of the spaces that has experienced such transformations is the threshold space. As both a concept and a physical structure, the threshold space can encompass a wide range of meanings connected to customs and culture, imbuing the space with distinctive qualities. The significance of threshold spaces lies in their accessibility to public spaces, their integration with private spaces, and their role in shaping the quality of the urban environment. Christopher Alexander, in his Nature of Order series, refers to this concept and highlights the importance of thresholds as a sophisticated architectural element.

The purpose of this article is to analyze the ground and first floors of residential areas in terms of their relationship with public spaces on the scale of buildings, as well as the connections between neighborhoods and buildings on the scale of streets. The study aims to align these findings with Christopher Alexander’s theories on thresholds. Accordingly, this research primarily focuses on threshold spaces and investigates the patterns between these two components based on Alexander’s theoretical framework.

The methodology of this research is qualitative. Data was collected through desk research, interviews, analysis of historical documents (e.g., records, maps, and photographs), personal observation, photography, mapping, and analysis of the current state of threshold spaces. The historical core of Babol city, located in Mazandaran Province, was selected as the case study for this research.

The findings reveal that, during the Qajar era, the hierarchical access to private spaces from urban public spaces, as well as the connections between residential neighborhoods, aligned with Christopher Alexander’s theory. Spatial arrangements were appropriate to and consistent with the customs, culture, and needs of the inhabitants, despite the influences of modernity on the architecture of that period.

Handicrafts of every people and nation are the crystallization of religion, customs, mythological vision and religious beliefs of that people and nation. Art and crafts of villagers and nomads are very rich and suitable sources for studying the art history of our country from the past. Qashqai handwovens have bright and happy colors with simple and geometric patterns. These motifs have high technical and visual capabilities and are, which have preserved their spiritual value during different eras. One of the important manifestations of the importance of symbolism can be seen in art. In this article, an attempt has been made to answer the question of what is the view and theory of the traditionalists about the role of the sun in the Qashqai carpet? be answered In fact, the purpose of this research is to investigate the symbols of Qashqai carpet from a technical and visual point of view and to reach their meaning and concept by relying on the theory of traditionalism and also the origin of these motifs. Finally, we find out that most Qashqai motifs are taken from mythology, and the use of old and national motifs of Iran will keep the past motifs alive and the deep meanings of these symbols will remain intact, and the culture will be correctly transferred from one generation to another. The research method of this research is developmental in terms of its purpose and is descriptive-analytical in terms of nature, and the collection of research information is in library form.

The history of wood use in Iran has a long history. Indigenous people of Iran have used wood a lot, such as for the construction of doors, windows, wooden columns, etc. This proves this. According to the surviving works, one of the areas where wood has been widely used in architecture is the historical village of Abyaneh near the city of Natanz. In fact, the use of wood and arts related to it, along with other factors, has made this village known and introduced as one of the important villages in the country's tourism discussion. In this regard, the main issue of the article is the existence of the only historical wooden altar in Iran inside the mosque of this village. The use of wood in the architecture of this village can be seen in the form of doors, wooden railings, lattice windows, ceilings, and columns as well as wooden porches. In general, the infrastructure of the mosque is about 1000 square meters. This mosque is rectangular and has two floors _ the basement and the ground floor. The columns inside the nave are made of wood; the walls are made of stone, mortar, and raw clay. Its roof is also supported by wooden pillars and surrounding walls. Inside the mosque, there are various historical wooden monuments; one of the most valuable of which is the wooden altar of the mosque in the basement. The mentioned altar has numerous decorations and inscriptions that have remained until today due to the structural and natural limitations of the wood material. The altar has decorations and carvings, as well as numerous inscriptions that have survived to this day. In fact, the purpose of this research is to introduce, to qualitatively examine (including a study of proportions and composition of motifs and methods of construction and decoration) and to conduct a content analysis of the altar inscriptions of Abyaneh Jame Mosque. For this purpose, all the designs and techniques used on the altar and its inscriptions have been read and studied. In this regard, 1- the techniques which have been used to construct and to decorate the wooden altar of this mosque 2- as well as the visual and thematic components of the proportions and inscriptions used in the said altar, are the questions that this research seeks to answer. The present research is written in an analytical-descriptive method and is considered a kind of developmental research. On this basis, after field surveys and imaging of the altar, library, and documentary studies were conducted. Then, according to this issue, a qualitative analysis and study of the designs, composition, construction techniques, and content of the existing inscriptions on the desired altar have been done and an attempt has been made to explain the data in the form of tables. Studying the various designs, techniques of decoration, composition, and inscriptions of the altar in question can be of great help in identifying historical wooden artifacts, especially rare artifacts such as the wooden altar. Actually, due to the lack of proper and adequate care and maintenance by the relevant authorities, the study of this wooden monument seems necessary.Findings showed that the altar specifically belongs to the Seljuk period, Although in terms of variety, plant motifs are more numerous than other motifs, it seems that the maker has used geometric motifs to symbolically refer to God and the signs of creation. In other words, although in terms of diversity, plant motifs have more quantity compared to other motifs, it seems that the artist has symbolically referred to the Great God by using geometric motifs. The use of themes such as Ayat al-Kursi, as well as the Oneness of the One and Only, the titles of God, and the infallible Imams is a double emphasis on the otherworldly themes in these inscriptions. From the general form to most of the motifs used in the altar, they are designed and executed based on golden ratios and have geometric structures and relations. In the overall composition of the altar, motifs are in the form of independent factors that have created a coherent system through repetition. Meanwhile, the issue of symmetry, especially mirror symmetry, is very significant in the details of the motifs. These motifs are decorated with prominent embossing techniques and a slanted cutting style. Other construction techniques have been used in the altar, the connection of the crotch and the tongue and the frame and the plate, which are both among the oldest and the most reliable wooden connections. Also, considering the passage of 9 centuries from the date of construction of the altar, the hypothesis of having a continuous skeleton inside the wall can be proposed. Finally, the comparison of other wooden works of Abyaneh Mosque with its altar, in terms of motif, technique, and content can be a suitable field of study for future research.

The Iranian carpet industry has a history as long as Iranian civilization and has been one of the selected Iranian arts during the historical and Islamic era. Although the only reputation of its importance and value goes back to the pre-Islamic era, the remaining examples of the Islamic era show the authenticity and importance of this art among Iranians. During the Islamic period, the art of carpet weaving was of interest and importance, and the glory and quality of Safavid carpets and their valuable position in the Qajar period were more prominent than in other periods. Plant motifs have been of particular importance in the Iranian Islamic civilization. They are manifested in different ways and can be traced in different arts. One of these manifestations is in the carpet design. The vase motif and its attachments, which are part of these motifs, are also represented in various arts, including architectural decoration, tile work, bookmaking, decorating and carpeting. But its prevalence in carpet design has been widespread, given its nature and importance. The main objectives of this study are to examine the characteristics of the vase motif, especially during the Safavid and Qajar periods. Based on this, the following questions comes up: - What are the form characteristics of the vase design and the pattern of this carpet design of the Safavid and Qajar periods? -What are the common and different criteria in terms of design and pattern for Safavid and Qajar vase carpets? This study analyzed and compared the structure of the form and the design of the vase in the vase carpets of the Safavid and Qajar periods and recognized the common and differential funds of this plan in the two mentioned periods and examined the changes. This research is descriptive, comparative, and analytical, and used a library-based data collection. Based on the results of the study, it was found that in general, the characteristics of the Safavid period vase carpets are influenced by the art of carpeting of this period, and the general framework of the Safavid period carpeting art has been preserved. During the Qajar period, the vase design continued with a variety of structures, forms and applications of various motifs. The adaptation and comparison of the vase designs of the Safavid and Qajar periods shows a greater variety in the design, form and complementary motifs of the middle of the Qajar vase carpets.

Seljuk schools are milestones in the architecture of Iran’s schools. These schools provided some features that the next schools followed their principles. However, the question is what kind of buildings influenced the structural pattern of schools constructed during the Seljuk period and afterward, and what is the architectural background of the main special elements and effective patterns in the formation and spatial evolution of these schools? This study aims to find the structural history of formal schools constructed in Iran after the Seljuk Era. Some researchers have presented theories about the root of schools that are attributed to specific building types. Regarding the lack of unity in these theories the reformist view of the authors to the historical-evolutionary approach, and the multifunctionality of schools’ bodies, the authors of this study believe that certain patterns have influenced the formation of Seljuk schools and their evolution. Therefore, this study examined the patterns of buildings affecting structural elements of Seljuk schools (primitive type) and post-Seljuk schools (evolved type) through structural analysis, by using historical research, case studies, and descriptive-analytical methods. Findings indicate that core elements of Seljuk and post-Seljuk schools, regarding their specific functions- have inherited features of various buildings and have been influenced by the patterns of these buildings. Moreover, Seljuk schools (primitive type) are rooted in a nine-part introverted Achaemenid pattern while post-Seljuk schools (evolved type) are rooted in the combination of a nine-part introverted and extroverted Achaemenid pattern. In general, the nine-part Achaemenid pattern is the initial cell of the formation of Seljuk and post-Seljuk schools. Regarding its meaning richness and structural flexibility, this ancient pattern can be still considered a golden model in designing educational spaces.

Learning from the values of traditional Iranian architecture and architectural ornamentation is a way to improve the quality of our today's architecture. The first step of this way is to understand the appropriate method of reading architecture and architectural ornamentation. In recent decades there are various studies on Iranian architectural decorations with different methodologies and approaches. This study aims to seek a way of reading ornamentation in Iranian architecture through content analysis of existing studies. So, the main question is: How can we achieve a model for reading, learning, and creating ornamentation in Iranian architecture? In this qualitative research, we have followed an interpretive approach and used a content analysis method to analyze data obtained from a literature review. The results indicate that there are three sources for reading ornamentation: 1. through the examination of the works themselves, 2. the personality of the traditional craftsmen, and 3. reading non-architectural documents such as cultural sources or literature. There are also eight perspectives to consider ornamentation: 1. historical evolution, 2. ornamentation in a particular type of architecture (mosque, house, bazaar), 3. technical and restoration, 4. semantic-philosophical, 5. materials, 6. colors, 7. patterns, and 8. inscriptions. So, the model of reading and creating Iranian architectural ornamentation includes four layers; 1. material, 2. color, 3. pattern, and 4. inscription. All the layers together as a system create quality, beauty, and meaning for a place. Literature review shows that few studies have addressed all four of these components in an integrated manner. However, the spatial quality of Iranian architecture is the result of the synergy of all four components. This research suggests a comprehensive method of recognizing and using the four ornamentations by addressing both formal and semantic aspects.

The structure of historical contexts comprises spatial organization and pedestrian context, movement paths with patterns, spaces with various functions, and historical buildings. These elements define the physical-spatial pattern. The current research focuses on the physical-spatial patterns of historical mosques in Hormozgan, considering aspects such as type of plan, entrance, and Qibla direction. The primary question this research seeks to answer is: How and by what criteria can the physical and spatial patterns of the plans of historical mosques in Hormozgan province be explained?
This qualitative research employs an analytical descriptive method. Through typology (in terms of formal and spatial patterns and physical elements), the mosques of Hormozgan have been examined. Data collection involved document studies, on-site reviews of Hormozgan mosques, and utilization of cultural heritage organizational data. The sample size, determined by valuable and registered cases in the Cultural Heritage Department of Bandar Abbas, consisted of 13 mosques.
To verify the typology of the target model, expert opinions were gathered in two stages. In the first stage, codes were categorized through content analysis and interviews. In the second stage, the Delphi technique was used to obtain experts' scores for each code. The research concluded that the physical and spatial plans of the historical mosques of Hormozgan province can be explained using the following criteria: 1) physical features, 2) decorations, 3)plan form, 4) courtyard form, 5) Qibla and altar orientation, 6) entrance form, and 7) thedirection of the mosque entrance relative to the Mihrab and Qibla. The results of thisexamination were presented for the studied samples.

From the Qajar period of Tabriz, extremely valuable houses have been left. One of them is Behnam and the other is Qadaki who have a common entrance and porch and it seems that there are hidden concepts behind their architectural plan. Addressing the issue of meaning and finding deep layers in the field of architecture is inevitable. Therefore, in order to find these concepts and the relationship between these two buildings in terms of using archetypal concepts, a comparative comparison has been made. One of Jung's most important archetypes is the self (mandala). And it is necessary to investigate more precisely, the main questions of the research are raised as follows: 1. How has the mandala archetype appeared in the architecture of the houses of Qadki and Behnam in Tabriz? 2. What is the manifestation of meaning based on the archetypal concepts of mandala in Behnam and Qadki houses? The aim of this research is to find the basic patterns as a common language for the continuity of the architecture of these houses. In this research, the ancient pattern of mandala can be recovered by semiotic reading through its basic forms, images and representation of its concepts. Considering the historical-analytic nature of the research and the comparative comparison of the studied houses, it has been summarized qualitatively and descriptively. At the same time, according to its theoretical approach, the semiotic approach has been used to extract symbols and meaning. Referring to the method of layered semiotics, it has been used to convert the data into paradigm patterns that indicate the presence of the mandala in the formation of the structure of the studied houses. In the following, the semantic analysis of each of the mandala images in the studied samples has been done. The result of the research shows the traces of mandal images such as numbers and specific geometric patterns. The first architectural foundations of Behnam and Qadaki houses are in the form of simple, regular geometrical shapes, which include circles, regular polygons, and squares, which are developed in a mandal combination and have an archaic nature.

Considering the many problems and forgetting the original design and pattern of carpets in Kermanshah, it is necessary to pay attention to the background and local culture and recognize the originality of the design and pattern of carpets in this province. The aim of present study was to Study and analysis of the design and pattern of contemporary carpets in Kermanshah. In this research, 50 contemporary carpets were collected using field and library data, and the design and pattern of them were assessed. The results showed that the types of designs of contemporary carpets in Kermanshah are mainly of the broken type in terms of components and motifs execution way, and the one-fourth and global types in terms of design divisions (number of knots between 20-45). Designs commonly used in these carpets include ship anchor, pergola, Quranic frame of Paveh Mosque, Berchluark, Taranja curtain of Paveh Mosque, samovar, bergamot of Lanjab, fusion, two flowers of Akbar Abad, altar vase, hunting ground, Hossein Abad Keliai, Seyed Abdullahi, one-bergamot Kiveh Nani, one-flower, skewer, Dargol, armband, combination, and coffee tray. Also, the most commonly used colors in these carpets were crimson, cream, pink, lacquer, blue, green, and gray. The most common sub-patterns used in these carpets were also included turtle, mirror, lamp, small flower and sparrow (in the place of bergamot), bear, handkerchief and salt shaker (in the place of Lachak), and pond (in the place of texture). It seems that the contemporary carpets of Kermanshah, which are mainly found in the area of Songhar Keliai, have a high originality in terms of color; however, due to the proximity of other important cities in the field of carpet weaving (such as Bijar or Sanandaj), there exist some non-original designs and patterns in return. Knowledge of the results of this study can be useful for administrative and production organizations related to carpets to produce the best and original quality carpets in Kermanshah.

This research has been done with the aim of explaining an effective model in the field of operationalization of technology transfer in South Pars oil and gas industry with the approach of learning advanced technologies and emphasizing the continuity of the basic functions of South Pars oil and gas industries. The study of the experiences of the 24 phases of South Pars is divided into two parts, in the first part, some of the phases were operated by contractors with foreign technology before the sanctions, and the rest of the phases were carried out by internal project-oriented organizations, which in this the study of executive and native model based on technological learning has been extracted. The statistical population of this research includes selected university professors, experts and technology specialists, assistants, consultants, managers, heads of departments in oil companies and non-operational defense fields with a statistical population of 380 people. The study is one of the applied researches and mixed exploratory researches, which is done in two stages, quantitative and qualitative. First, based on the qualitative data methods of the foundation (grounded theory), the researcher identifies the indicators in the field of technology transfer of the oil industry, after counting the indicators, using the quantitative methods of structural equations, he prioritizes and selects the effective criteria on the designed model. The result of this research is the introduction of an effective model of technology transfer in the direction of localization, transfer and learning of technology, taking into account the experiences of implementing the phases of South Pars in the fields of design, supply of goods, construction and operation of energy supply infrastructures for the continuation of the operation of the infrastructure service chain. The oil and gas industry is presented as one of the basic concepts of non-agent defense as a research output.

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.

Hozdar city is one of the historical areas of Sistan, which despite the destruction of most of its historical buildings, special decorations and brickwork can still be seen in the remains of its buildings and this shows the presence of impressive decorations in these buildingsThe decorative elements in these buildings have designs and patterns that were specific to the architecture of this region, which are now in danger of destruction. So, the purpose of this research is as follow: Recognizing and analyzing different types of decorations in the historical monuments of Hozdar city; In order to recognize and revive these foundations in today's architecture and try to preserve them, and also revival of valuable historical decorative patterns of Hozdar city of Sistan. Research question is: What types of decorations are there in the historical monuments of Hozdar city? To answer the research, question this research has been done using inductive research strategy and descriptive-analytical method. Data collection has been done by using authentic document sources in the theoretical foundations section and conducting field studies using observation and interview. Finally, the research results showed that in terms of design and pattern, certain types of geometric motifs have been used in the decoration of the historical monuments of Hozdar city and the dominant decorations used in these buildings are made using the pattern and pattern index, and most of the decorations used in these buildings are done by using design and pattern, and color has the least impact among the examined components.

The loss of identity in modern constructions and the speed of changes in the old fabric of cities as a historical-cultural treasure confirms the need to recognize local patterns. Patternology is an approach that tries to know the practical methods to reach the elements of native identity. In the meantime, residential structures as the primary core of traditional cities, a valuable heritage for recognizing and analyzing native patterns in the direction of improvement and modernization along with the continuity of identity in worn-out historical structures and preventing the emergence of heterogeneous buildings in the modern structures of Iranian cities is. The current research aims to identify the physical patterns of identity while documenting the Qajar houses of Lahijan city. Therefore, in the first step, using descriptive-analytical method based on reviewing the basic topics related to the basics of pattern analysis, the physical indicators effective in pattern finding are explained. In order to identify the physical patterns, the surviving Qajar houses in the historical context of Lahijan as a sample community are studied and while identifying the most effective factors, sustainable guidelines for the design of contemporary structures are introduced with the aim of improving quality dimensions. The results of the study showed that based on the body patterns known in the studied samples, which include four categories of spatial organs (in three scales, macro, medium, and micro), structural, facade, and array, there are identity building approaches and sustainable in the design of today's structures can be pursued in the region under investigation.

Although the influence of western culture in the architecture of the Qajar period of Iran cannot be denied, the features of Iranian architecture can still be traced in the buildings of this period; among them we can mention the orsi windows. Today, these functional-decorative elements are considered as one of the most important cultural symbols of Iranian architecture, which entered Iranian buildings during the Safavid period.  And until the end of the Qajar period - before the widespread use of metal in buildings - they existed in various forms. Their significance in the architecture of the Qajar Era can be deduced from the fact that they were mostly built into Drawing Rooms, where guests were entertained. But because of their high cost and the time consuming production, they were mostly commissioned by wealthy families or for religious buildings. Despite the single functionality, the diversity in the components of orsi including general dimensions and shape, pattern, color, and decoration techniques in different parts of  Iran, has inspired the authors of the present research to address this issue. An orsi is made up of various parts such as: "frame", "wadar", "katibeh", "lengeh", "pashneh" and "rokoob". The framework and wadar are the main and connecting components of all the other elements. The artisans first assembled the frame of the orsi and the windowpanes were decorated separately and then added to the frames. As mentioned before, Orsi windows were among the most popular and repeated practical decorative elements in Qajar architecture. And despite certain similarities in appearance, they enjoy a wide variety of specific distinctions inspired by the native taste in different parts of Iran.  Today, rightly or wrongly, the number of “lengeh"orsi is the main criterion for naming orsi, and naturally, the more they are, the more beautiful the orsi becomes. These rare works of art were decorated with various plant and geometric motifs. To further decorate and control the amount of light entering the room, colored glass was used among these designs. In other words, colored glass has always been in the empty (negative) space of the motifs. It has been an almost inseparable part of sashes, controlling the amount and manner of light entering the interior.Of course, many cities in Iran during the Qajar period can be mentioned, which have used orsi in historical houses. The cities of Tabriz and Amol enjoyed political privileges and a special geographical position during the Qajar period. For example, the city of Amol was the gateway to Mazandaran, which was the resting place and summer hunting ground of the Qajar princes. Also, the presence of a large market for trade and proximity to the capital helped this city achieve a relatively high economic and political position among the cities in the western regions of Mazandaran. At the same time, Tabriz - after choosing Tehran as the capital - as the second largest and most populous city in Iran, was always the host and residence of the Qajar crown princes. Of course, natural disasters have also caused widespread damage in both cities, which can be considered a turning point in the architectural history of both cities due to the need and demand for the construction of new buildings.The urban structure of the two cities is different from each other. The main structure of the city of Amol has been expanded around the bazaar, that is, the bazaar shapes the core of the city and the residential neighborhoods are located around it. The remaining Qajar historical houses are situated in the older parts of the city near the center or the bazaar. These buildings are often built with a rectangular plan and with two floors, they generally stretch from east to west and for optimal use of sunlight and preventing unfavorable wind, they were situated in a north and south courtyard. The buildings of Qajar era in City of Tabriz are different in the sense that they have an introverted texture and often the light, ventilation, and view of the rooms are provided from the yard. Still, to achieve a more favorable result, only the characteristics that strengthen the hypothesis of the present research, such as geographical region, climate, etc., have been considered.The questions of the present research are as follows: what are the differences and similarities of the Qajar orsi in historical houses of the cities of Amol and Tabriz in terms, of pattern, color, and technique? How is the variety of patterns and colors in the orsi of the investigated buildings? For this purpose, an attempt has been made to examine and match the pattern and color (as the main components under investigation) along with the technique and decorations (in the form of secondary variety) used in these two cities. Based on this, the purpose of this research is to identify common and different window orsi patterns of Qajar buildings in Tabriz and Amol cities.In addition to gaining more knowledge about the orsi of the Qajar period in different climatic zones; A typical pattern of form, design, color, and construction techniques can be achieved. On the other hand, it is necessary to deal with this issue to use new orsi in contemporary architecture. Based on the results of primary and field research, specific samples have been identified and selected for the  present study. Also, another basis for sample selection was taking the components that can be used to achieve the defined objectives of the study, into consideration. Therefore, the following features have been taken into consideration: 1-Variety and breadth of motifs (concentration of pattern and abundance in colored glass) 2- Authenticity of orsi in the building 3- Being mostly unharmed and without serious restoration and changes on them. Accordingly, six orsi windows from each city have been selected and compared with.It should also be noted that the exact date of the construction of orsi windows is not known in most of the buildings, and in the absence of reliable sources, researchers speculate on the age of the orsi based on the architectural style and construction date of the building. For this reason, it has been deduced that the selected examples based on the mentioned criteria - including the "Salmasi" house in Tabriz and the Amol "Shafahi" house - belong to the middle period of the Qajar rule (1227-1275 AH).The current research is of a development type that has a combined approach of qualitative and quantitative analysis methods, in such a way that to obtain information (numbers and figures), and then to describe and nalyze. The sample selection method was non-random and targeted. Therefore, after library studies, field surveys, and sample selection, the samples were photographed and compared, and matched with each other in terms of the desired factors. What the present comparative study yielded is as follows: The general shape of the crown part in the orsi of Amol and Tabriz was flat and semi-circular, respectively, which was determined by further investigation. To use sunlight during the day, the side of the window orsi in Tabriz's house is towards the south, but in the guest room of Amol's house, the east side of the house is given priority. The larger space in the houses of Tabriz has made the number and size of orsi windows in the space of the "tanabi" (Drawing Room) more impressive compared to Amol. In confirmation of this issue, it can be said that the maximum number of orsi in the ropes of Amol houses is two-three waistbands, but in Tabriz, there are between 4 and 6 waistbands in each string. Red, yellow, and blue colors among Amol orsi and, on the opposite point, white, red, and, green colors, respectively, are the most repeated in Tabriz orsi. In the end, it can be concluded that native architecture is a review of cultural, social, climatic, and collective identity of each region, which have had a direct effect on all the factors examined in this research.

Greater Khorasan and the city of Herat are part of the crucial cultural bases of Iran, especially during the Islamic era and the Middle Ages, which has always been the cradle and platform for the cultivation of all kinds of Iranian and Islamic arts. In the meantime, metalworking and the production of all kinds of functional metalworks with high levels for the nobility and aristocracy was one of the prominent arts of Herat, which, in terms of technical and artistic dimensions, could surpass other schools of metalworking in the Islamic world like the centers of western Iran (Jaziratol-Arab-Mosul). Despite this, Herat was neglected as an effective pole of Khorasan in metalworking. Hence, introducing the Herat metalworking school and technical and aesthetic analysis of four significant works attributed to it is the aim of the article; the leading question of the research is: what are the dimensions and technical and artistic components of the studied works of Herat? The findings suggest that the metalworking center in Herat, in addition to influencing other schools in western Iran (such as Aljazeera-Mosul), introduced new technical and artistic dimensions that were original and distinctive for its time. Production methods include casting, molding, and inlaying (finishing metalwork - placing silver or copper metal on the work’s background), which are some of the innovative methods used in that era’s production of works. In the decoration section, various classes of motifs, narratives, and pictorial themes are utilized, including astronomical concepts, twelve forms, symbols, hunting, music, and wine drinking. This research is of qualitative type and descriptive-analytical research method, and the data gathering is through library studying method.

The Safavid Era is one of the most significant periods in the promotion of Iranian art, especially in the design and production of carpets. During this Era, carpet weaving flourished and attention to the structure, size and composition of carpet designs caused a unique diversity in the design and motif of Iranian carpets, the effects of which continue to this day. One of the common types of carpets in the Safavid period is Medallion carpet, which is a function of the 1/4 method in terms of map structure. The structure of carpet maps and their design methods form the main shape of the carpet and other stages of carpet production are based on the map. The carpet map specifies where to place what pattern and what color this pattern should have and in what order its knots should be tied. However, the structural part of carpet maps has not been paid enough attention in recent years and more attention has been paid to the symbolic features of patterns in carpet maps, which is of course a proper and appropriate thing to do, but it should not lead to neglecting the principles governing the design of the map. Because this will cause irreparable damage to the structure of carpet designs over time. One of the important periods in the elevation of carpet maps in Iran is the Safavid period. In this period, the government's attention to carpet weaving led to the prosperity and expansion of this art in such a way that the carpets produced in the mentioned period are now the adornment of most museums in Iran and the world, and by referring to them, the map principles and the designs and motifs of Iran's carpets during the Safavid era can be understood and extracted, so they can be employed in the design of new maps. Medallion maps are one of the types of carpet maps in the Safavid period, which created a wide range of different compositions based on the decorations made in their context. In terms of the structure of the design and composition, these maps have five main parts of medallion, inscription, cartouche, field and border, which are divided into different types according to the characteristics of medallion and decorations used in the carpet field. In the initial survey and cursory look, the maps of Safavid era, in terms of the structure of the map and the design method, appear to be ¼, but with a closer look, it is clear that it is contrary to what is currently common, these maps have subtleties in design and composition that make their design method out of the ¼ structure. A medallion carpet known as Anhalt, which was produced in the early Safavid period, has a medallion design and the general structure of the map is 1/4. Considering that, this carpet has remained intact so far, it can convey useful information about the design method of Safavid carpets. This research has been done with the aim of explaining the structure and design method of Anhalt Medallion Carpet and seeks to reveal the hidden layers in the composition of the design of this carpet. The  research questions are: 1. What is the structure of Anhalt medallion carpet map? 2. How is the map of this carpet designed? The current research is a type of developmental research that was carried out using a descriptive-analytical method. The method of collecting information is literature review . The statistical population is the medallion carpets of the Safavid period in Iran, among which three items that are more similar in terms of external structure have been selected in a purposeful way, and after a brief review, a medallion carpet known as Anhalt is used as an example, has been further analyzed. The analysis of the research data was done qualitatively using the carpet map structure analysis method. In this method, first, the structure and various components of the carpet map are specified and each of these components is described. Then, the design method of each of these parts has been analyzed separately and the different layers of the design have been revealed.The concept of structure in Medallion carpetsThe term structure in the current research refers to the arrangement and arrangement of the elements in the carpet. Structure analysis in this research is examined from two perspectives. The first concept refers to the external structure of the work and means the format and the general body of the design. From this point of view, the studied carpets are placed in the group of medallion carpets of the Safavid period. In the second concept, the internal structure is intended and it examines and analyzes the placement and arrangement of elements and micro-motifs. In the definition of structure, Jean Piaget said: "Structure is the expression of a whole, that is, its parts have internal coordination and correlation". The structure of medallion carpets is also like a text, which its motifs and visual elements have a coherent system and internal correlation. The samples studied in this research are three of the medallion carpets woven during the Safavid period in Iran, which are currently kept in the Metropolitan Museum in New York. The external structure of these carpets is similar to each other and consists of border, field, medallion, inscription, and, cartouche, so all these carpets can be included in the group of medallion rugs. But they are different in terms of internal structure and other motives. Anhalt Medallion Carpet was woven in the early Safavid period (the first half of the 16th century) and measures 419.1 x 792.5 cm. Its warp and weft are made of cotton and silk, and its pile is made of wool. This carpet is currently kept in the Metropolitan Museum of New York. Before its sale by Joseph Duveen to Samuel Kress, the carpet is reputed to have belonged to the Anhalt princess of Dessau, whose ancestors may have acquired it through military campaigns against the Ottoman Turks in the late seventeenth century. The structure of Safavid period medallion rugs can be examined from two point of view. A: The external structure of the carpet, which includes the overall composition of the design, and based on this, the external structure of these carpets consists of parts such as the border, the field, the border, the inscription, and the cartouche. B: The internal structure of the carpets, which includes other motives that are used to design and decorate the interior of the aforementioned sections, and are made of elements such as flowers, leaves, buds, arabesque, and pictures of birds and animals. The external structure of medallion rugs has a multi-layered composition. In the first layer, the general composition of the map is defined as ¼, and the location of borders, field, inscriptions, and cartouches is determined by using peripheral lines and color separators. In the second layer, the inner space of each component of the map of these carpets is decorated separately. The results of the research showed that the design and production of carpets in the Safavid period received the attention of the government and many carpets in different sizes and designs were produced in this period. One of the factors of diversity in the design and size of carpet maps in the Safavid period, in addition to the patronage of the court, is the collaboration of painters from royal workshops in preparing maps. Currently, most of the carpets related to this period are adorning the great museums of the world, and medallion carpets are one of the prominent examples that are decorated using curved maps and simple motifs. The map structure of medallion carpet, known as Anhalt, like the other two carpets, has a two-layer design. In the first layer, the overall composition of the map is done by ¼ method, and then in the second layer, each component of the carpet map is designed separately with a specific layer structure and is placed in the form of the overall composition of the map. Although the map of this rug looks like ¼ in general, but by analyzing the details of the design, including the medallion, inscriptions, cartouches, the field and the corners of the rug's edge, it was found that the details of each of the elements in the longitudinal direction of the carpet map, there are few differences and this has caused the map to go out of ¼ state and become ½. Therefore, it can be concluded that the weaving of this carpet, like other medallion carpets of the Safavid period, was done by the ½ method.

In addition to structural and aesthetic indicators, we would like to categorize the arts in terms of cultural-social components, production fields, and proportions with the environment and geography. In that case, clothing has been the most important practical tool of mankind from the past until now, which can be the narrator of culture due to its conceptual and content characteristics. The social culture’s artistic and economic tastes and behaviors. The cultural-economic infrastructure of society’s management-government space has been influenced by all kinds of clothes throughout history, for this credit. The economic-industrial dimension has gradually overtaken the artistic-cultural extent as new methods and tools for fabric and clothing production and distribution have emerged. On the one hand, the artistic aspects of clothing, as a cultural heritage, are the narrator of traditional culture and art, and in this project, in particular, I have addressed the artistic features of Kurdish ethnic clothing. The characteristics of ethnic clothing and the main identity of clothing are essential for those who want to identify a part of their culture and identity in the future; Because the identity of each dress can be found in the expression of its characteristics. Such as fabric texture based on clothing design, fabric cutting, and clothing decorations (embroidery, needlework), all of which are important in terms of technique, role, and design, in the philosophy of motifs. Investigating the changes and evolutions of the clothing of the Kurdish tribes of Northeast Khorasan (Klat, laying, Zavin), the main goal of the research is that motifs have been examined from the point of view of style and pattern in the classification of tribal clothing. The method of library collection, field observation, and qualitative analysis have been employed in this research. According to the results of the research, the patterns of Kurdish clothing do not have a predetermined plan and are usually produced improvised, only the artist knows the name of the patterns used and most of these patterns have their name and were taken from nature and created by artists. These motifs are based on the culture of these people and are rooted in common beliefs.