In recent years, Afghan women, unlike in the past, have played a major role in the history of the country's art and have played an important role in determining the current and future direction of the country's art. How this large, emerging and influential population of women contemporary Afghan painters in the history of art in this country interacts with modern art introduced to Afghanistan since the 1300, and , on the other hand, having a history of visual tradition, both before and after Islam was the starting point of the present research. . The question is: What are the exclusive strategies of women contemporary Afghan painters, relying on miniature features, to recreate and revive miniatures in contemporary painting? This article draws conclusions using a descriptive-analytical method using library resources and archives of works by contemporary Afghan painters. It turned out that contemporary Afghan male and female painters, relying on the miniature structural aspect, have devised strategies for using miniature features, combining them with the basics of modern art. But some of these strategies for recreating and reviving miniatures can be seen in contemporary Afghan painting, only in the works of female painters, like the application of the visual tradition of breaking the frame in the miniature, along with the division of the work into smaller frames, in the works of "Nadima Yousefi", the use of contemporary objects such as flags or Internet Small Faces in miniatures in the works of painters such as "Saleha Vafa Javad" and "Soghra Hosseini"., and the change in the color of the halo around his head, in the works of "Homeira Mastoor" and also the use of painting basics, to present the genre painting in the works of painters such as "Zahra Bagheri" and "Hanifa Jafari". Keywords: Afghanistan Art History, Contemporary Afghanistan Painting, Miniature, Afghanistan Women Painter, Iranian Painting

Iran The examination of sustainability is a major part of architecturl research in recent years. The main stream of this kind of research is oriented to the traditional or historical architecture. Cultural-social factors, ecological and climate-oriented strategy and economical efficiency are the central core of sustainable architrcture. Thus, the concept of sustainability or any other concept contained in the literature should be interpreted in accordance with the customs of the country, so that it is possible for society and culture to understand it. This article seeks to understand the predominant principles of architecture in traditional-historical houses of Boshroyeh. These houses belong to three eras including Safavid, Gajarid and Pahlavid eras. The research method in this article is a combination of historical descriptive and the grounded theory methods. Data were collected by the individual observation and library method. The research was performed on six sustainability principles in the twelve case studies And the sustainable architecture elements in twelve houses were investigated. The authors tried to analyze the principles of architecture consistent with warm and dry climate in these case studies. The results showed that some issues such as context of the old part of city, the amount of vacant and occupied spaces, the shape of the porch, the enclousment, the presence of the shadow and green elements in yard and building façade, the method of natural ventilation, the method of vernacular materials, have been influential in sustainability of residential architecture of Boshroyeh. 

Climate, as an influential factor in human comfort, has always been a focus of attention, and urban buildings and textures have largely been aligned with it. Traditional architects have also sought to create a space that, given the conditions of its time, can bring about human physical comfort. Therefore, the role of climate in the formation of the body can be acknowledged. The Ghiasiye School is a reminder of the Timuri era, located in the village of Khargerd, a suburb of Khawaf. Khawaf city in Razavi Khorasan has a desert climate with hot summers and cold and relatively dry winters. Recognizing the harsh conditions of this climate, it seems that the only way to deal with it, for the sake of human thermal comfort, is to pay special attention to the climate characteristics of the region. Given that decoding the sustainability of indigenous architecture from past to present has always been a topic of interest to scholars, the main research question is to what extent climate has played a role in the physical formation and organization of Ghiasiye school spaces? This paper reviews and analyzes the architecture of the school based on climatic characteristics using a descriptiveanalytical method and a library data collection tool, and in particular a field survey. The results of this study showed that these characteristics are, in most cases, the only important factor in the formation of body and space and in some cases have had a significant impact. In fact, according to the climate characteristics of the area, the architect has provided smart architectural solutions to optimally provide the residents with thermal comfort. 

eriod with pottery to the contemporary period, pottery has been a common and significant art and industry. During the archeological studies carried out in this area, the technique of creating pottery was identified, which shows the continuation of cultural traditions in the mentioned millennia. This technique of making and shaping was done by fabric mold, which was replaced by plant baskets in the Neolithic period. Numerous examples of this technique have been reported from the sixth millennium to the first millennium BC in the plains of Mashhad and Central Asia, as well as during the Sassanid period in the plain of Neyshabour. One of the hidden aspects of this phenomenon is the relationship between the organization of production of this type of utensils and the texture of societies, which has been studied and described in the present study with archeological ethnography and symbolic and interpretive anthropological approach. If the contemporary model can beattributed to prehistory, it can be said that women played an essential role in this hand-made production activity. In the modern context, these containers have the function of storing food, and dairy and originate from the livelihood economy based on animal husbandry. These vessels are produced on a home scale and their production has no economic purposes. It seems that this indigenous technique has continued for millennia as a lasting heritage, and its raw materials have been different according to the canvas and also its consumption pattern according to the type of activities in different periods.

The mountainous region of northern Khorasan, north-eastern Iran, is rich in rock art complexes, including several petroglyphic and rock-painting sites. Rock paintings at Takke rock-shelter near Bojnord are one of the four recorded pictographs in the Atrak River Basin depicting a hunting scene. The panel shows a human with a spear accompanied by several hunting dogs pursuing various wild animals’ species in a hilly and wooded landscape. Most of the animals are depicted between the trees on steep footpaths. The Takke pictograms are the only identied rock paintings in Iran and the neighboring regions representing a dog-assisted hunting scene in a forest zone characterized by several plants and animals. The plant and animal diversity in the panel as, specific landmarks such as animal trails, could perhaps be interpreted as an attempt to illustrate features of the local natural landscape, which is a rare phenomenon in the corpus of Iranian rock art. Based on the analogies with other rock art complexes in Central and Southwestern Asia, the examination of specific elements in the panel, and the available archaeological data from the whole region, the author proposes a Chalcolithic to early Bronze Age dating for the pictograms at Takke rock-shelter. 

Hosseinieh Navab, as a religious-ritual monument, is one of the most important Hosseiniehs in Birjand's historical context in terms of architecture, age, and extent. Despite a general agreement, along with some doubts among researchers on the time of construction (the Safavid era) and the name of the founder (Bibi Navab, the wife of Amir Esmail Khan II), the authors of this paper reached different results. This research aimed to reveal the history of this building based on some studies with historical approaches and data collected from endowment documents, bibliography, and surveys . The results showed that contrary to popular belief, its construction time dates back to the Qajar era and it was founded by Bibi Navab, the mother of the Amir Alam Khan III, the wife of the Amir Asadullah Khan Hesam al-Dawlah, the daughter of Mirza Rafi' Khan. To the authors, the existing doubts regarding the name of the founder and construction time were due to the high popularity of the name Navab among the Khazimeh's family, and improper restoration and/or incorrect reading of the entrance inscription, which probably misled the historical studies.