نشریه مطالعات هنر اسلامی
پیاپی 40 (زمستان 1399)

In the present day, marketing is one of the most central principles for the triumph of various companies. Due to the increasing diversity of commercial companies and competition in the field of services, marketing concerns have become one of their most significant concerns. Given the growth of technology in the present age, smart marketing is a matter to be considered in this area. In such an environment, management must evaluate risk and act intelligently in all decisions. The present research is accomplished via a descriptive and analytical method with a quantitative and qualitative approach. Research findings indicate that accurate, up-to-date and transparent information reduces the risk of incorrect decision making; hence, this has become one of the significant reasons for the need for marketing research and smart marketing promotion in any organization. In this research, an attempt has been made to introduce a smart marketing model in the development of handicraft investment companies in the country (case study of the sustainable development of Sina Industry). The results of data analysis obtained with fuzzy Delphi technique shows that the important dimensions of the intelligent marketing model were identified in 3 phases (input, analysis and output) of 13 general components and 42 indicators. Finally, according to the analysis, the final model of intelligent marketing in the investment company is designed in three phases. In the meantime, investing in the field of handicrafts will be fruitful due to consuming its own issues and concerns and this is achieved if smart marketing is applied.

1. Recognizing the status of smart marketing in the field of competition in the handicraft industry.
2. Becoming acquainted with the opportunities and threats in the handicraft market.

Research questions:

1. What is the role of smart marketing model in handicraft investment companies?
2. What are their dimensions, components and associations?

The study of architectural principles in various regions indicates the close relationship between the common architecture in each region and its geographical environment. Scrutinizing the characteristics of architectural styles in different regions and their merits can be effective in providing optimal architectural patterns. Indigenous housing in the hot and dry climate of Iran has constantly provided thermal comfort for its residents; followed by the coordination of the principles of construction according to climatic conditions, environmental comfort and energy saving solutions. Hence, such features can be used in contemporary architecture as rich patterns of former architecture. The issue raised here is the capacity of indigenous architecture used in modern architecture. This research is completed by a descriptive and analytical method with an applied purpose and the use of qualitative and quantitative inference method along with field analysis of native houses of Yazd city; moreover, data collection is accomplished with the aid of library studies and field observation. Findings show that in many cases, indigenous housing patterns of hot and dry climates have a noteworthy outcome on cultivating the thermal comfort of building users.

1. Recognition of indigenous housing design strategies in hot and dry areas. 2. Investigation the influence of the form of the building in hot and dry areas on the issue of thermal comfort.

Research questions: 

1. What is the effect of indigenous architectural principles of hot and dry areas on the thermal comfort of the building? 2. Can the indigenous architecture of hot and dry areas be used as a suitable model in modern architecture?

The matter of art and beauty has been deliberated upon as one of the inherent aspects of human life in various religions, accordingly, a main part of art in diverse societies has advanced around religious art. An imperative share of the history of Shiism has been devoted to the confrontation of Akhabri and fundamentalist scholars. The effects of this confrontation are generally beyond the scope of view and have manifested themselves in various forms in historical periods. Each of these sects have at times attempted to isolate the other party in the field of thought and action, and at times due to the necessities have reached coexistence. With the rise of the Qajar dynasty, the fundamentalists and the followers of the Akhbari opinion returned to politics after a long period of segregation and renewed previous rivalries. However, the confrontation between the fundamentalists and the Akhbaris was their last serious opposition. Art and beauty are one of the vital features of society and as a central issue, study in this field is considered significant from the viewpoint of Akhbari and Ijtihad Islamic jurisprudence. This research is accomplished via a descriptive and analytical method by relying on library data. The findings of the study indicate that the fundamentalists and the Akhbaris both had a positive and supportive view of the issue of art, its dimensions and beauty, considering the basic principles of Islam and the Hadiths remained from the Imams.

1. Studying art from the perspective of the principles of Akhbari and Ijtihad Islamic jurisprudence
2. Studying beauty from the perspective of the principles of Akhbari and Ijtihad Islamic jurisprudence

Research questions:

1. How is art defined from the point of view of the principles of Akhbari and Ijtihad Islamic jurisprudence?
2. How is beauty defined from the point of view of the principles of Akhbari and Ijtihad Islamic jurisprudence?

Historical sources or letters have been tools of administration of court affairs in the history of Iran. Recognizing the text of these works is a significant step in acknowledging the mysteries of the ancient administrative structure. One of the imperative pillars of the administrative structure in Iranian society in the Islamic period was the judiciary system. The establishment of justice is one of the most vital Islamic principles in the Muslim community and the kings, as the representatives of God's justice on earth, considered themselves responsible for the institution of justice; hence, this act became conceivable through religious positions, specifically through judging. This article examines the documents of appointment of judges in the Timurid period in Greater Khorasan via a descriptive and analytical method and relying on archival and library data. Findings show that according to the remaining documents and sources, the judges beheld a vast range of authorities in terms of Sharia and local customs in the society and according to the principals of judge selection, they were renowned for their direct relation with the people and courtiers in terms of a governmental and religious outlooks. A number of these judges, while supporting artists, were considered great poets, artists and writers of the Timurid period. Analysis of existing historical drawings emphasizes the importance of this position.

1. An analysis of the state of justice in the Timurid period. 2. A investigation on the role of origins in analyzing the position of judges and its reflection in painting.

Research questions:

 1. What was the situation of the Iranian judicial system in Timurid? 2. What is the role of sources in the powers of Timurid judges and the recognition of their duties?

Nomadic way of life based on housing migration is flexible in accordance with the living conditions and lifestyle arising from the standard of living that is the reason for the adaptation of nomads to the climatic conditions of the environment around them, housing that has survived from the past to the present and with sustainable environmental, physical, economic and social conditions that have successfully achieved the effects of maintainable housing. The aim of this study is to identify the components of the formation of sustainable nomadic housing. In fact, the black tent has all the definitions and meanings of a house, which is at a low cost and with a simple appearance but high in efficiency, which despite the flexibility in the dimensions of nomadic life and housing, can be found in justifiable housing factors, housing that meets the conditions of the natural environment and its inhabitants. The method of this research is data collection within a documentary framework based on local interviews with the tribes of the Qashqai community; moreover, the research method is classification and content analysis. This study introduces the spatial dimension of physical and functional elements of nomadic housing in various types of flexibility and the dimension of environmental sustainability introduces functional and structural elements and their adaptation to diversity and adaptability. In the field of social sustainability, it examines the concepts of nomadic life structure in each of the three types of flexibility. Findings indicate that the use and integration of these principles with modern technology and expertise can be a step towards the richness of the design and implementation of mobile and sustainable housing.

1. Achieving flexibility indicators in environmentally achievable lifestyle. 2. Recognition and re-reading of nomadic housing in order to design a suitable model for mobile housing.

Research questions:

 1. What are the dimensions of nomadic housing sustainability? 2. How does the flexibility feature in this housing model create stability in nomadic housing?

Colors have exceptional visual, semantic and mystical properties and are considered as the most significant tool for creating works of art. The concealed and inner meanings of colors in traditional coloring have remained unknown till today. In the art of creating traditional Iranian paint, functional elements have a distinct place and uniqueness. This research is pathway for the better understanding of traditional color-making and refers to the sciences in the Islamic tradition. Recognizing how color is used in art and its nature is a matter for reflection. Familiarity with the general principles of traditional Iranian painting is significant for the construction, promotion and revitalization of multifarious painting in Iranian traditional art. This research is completed via a descriptive and analytical method and relying on the data of library resources. The research findings indicate that the correct method of color-making in traditional Iranian art is based on previous instructions and its association with other sciences. Achieving how the methods of making the four elements, the four natures and the temperament qualities of each element in combination with the other component and how they are related, are the significant achievements of this research in the field of traditional coloring in Islamic Iran. The combination and generation of colors in the past was primary based on method of the four basics (thermal, wetting, compressible, pulverizable), the four elements of nature (fire, air, water, soil) and the temperament of the elements (warm, cold, wet, dry). The quality of the application of such colors and their nature are observable in the illustrated versions of the 4th to 6th centuries AH.

1. Understanding the general principles of traditional Iranian painting 2. Recognizing the main colors in the coloring cycle of traditional Iranian art.

Research questions: 

1. What are the general principles of traditional coloring in Iranian art? 2. What are the main colors in the Iranian painting cycle and what is the basis of the combination of these colors?

Most museums worldwide behold valuable artifacts that despite their magnificence, do not have a specific identity, in this regard, The National Museum of Iran is no exception. Many of the works preserved at the museum have little or no recorded information. One of the exquisite and artistic works of the Islamic section of the National Museum of Iran is a wooden door numbered as 3292; this magnificent door is ornamented with a variety of inscriptions and plant adornments. According to the Museum's information, the door is attributed to the city of Behbahan and dates from the fifth century AH. By first studying the inscriptions and door decorations and comparing them with the specimens of the wooden doors with the initial dating information and the text of the inscriptions beholding Shi’ah concepts, it appears that the above door is related to the late fourth or early fifth century AH and is related to the Buyid period. In regard to Islamic ornamentations, wooden door inscriptions partake a vast array of decorations; hence, many decorations have religious contents. The names of the five figures of Al-e Aba, the Divine names of Allah neatly settled in frames of circle and rhombus shapes, sections of “Tobeh” prayer of Sahifah of Sajadiyyah, verse 1 to 52 of Surah Yasin, the prayer of Imam Zaman (pbuh) and inscriptions relating to the ruler of the time are the inscriptions engraved on the mentioned door appearing in four rectangular frames. The present article follows a descriptive and analytical approach and the goals of the research include classifying, identifying and completing the door's historical identity. After interpreting and reading all the inscriptions of the door including all four historical inscriptions by the authors of the article, it can be concluded that the ancient door was built between 440 and 448 AH at the Fars province of Iran by the order of the last Buyid ruler. Regarding the original location of the mentioned door, by studying the documents regarding the missing door of Imamzadeh Hamza of Dehdasht in the 1920s by the trustee of the Imamzadeh to the Minister of Culture and Art of the time, provided an effective factor in specifying the identity of the main door location. Examination of the letters and documents found that the stated door belongs to Imamzadeh Hamzah of Dehdasht locating 60 kilometers from Behbahan. The present study, by clarifying the historical and spatial status of the ancient door, presents this unique wooden artwork as a valuable artifact of Buyid Shi’ah art of the fifth century AH.

1- A study on the historical background and identity of the wooden door in the National Museum of Iran. 2. An analysis of the features of visual decorations in the wooden shrine of Imamzadeh Dehdasht.

Questions: 

1. What are the temporal and spatial identity of the wooden door preserved at the National Museum of Iran? 2- What are the features of the wooden door preserved at the National Museum of Iran in regard to visual decorations?

The city is the last phase in the development of the primitive human environment. Cities are the crystallization of the cultural, economic, social and physical systems of their time. The existing cities in Iran undergone various stages in terms of formation. The study of the history of urban planning in Iran dates back to ancient times. Today, traces of a number of such cities remain. The city of Gur, which dates back to the Sassanid period, is one of the cities mentioned above. The city of Gur is a symbol of the manifestation and exhibition of the consequences of the human soul and the performance of gathering of the Iranian community in the formation and organization of one of the significant urban spaces in Iran in the early Sassanid era. The city of Gur is the first city founded by the Sassanids. The issue raised here is the possibility of recognizing the art and civilization of the Sassanid era by examining this historic city. The research method is descriptive-analytical and the method of data collection is library and documentary analysis. Findings of the research indicate that the city of Gur expresses the personality, destiny and the passage of historical developments of the people of this land; furthermore, its knowledge in the form of culture and civilization of Sassanid Iran can be deliberated. Acknowledging the city of Gur is not only significant in terms of geographic features rather it is the recognition of political, cultural, social, artistic and architectural values; in other words, the city is a piece of history that has been materialized from the mind and embodied in the form of public habitats, networks, streets, public places, fire temples and observatories.

1. Recognition of the city of Gur as an ancient city. 2. Investigation of the elements of art and civilization of the Sassanid era in the city of Gur.

Research questions: 

1. What are the characteristics of the city of Gur as an ancient city? 2. What is the reflection of Sassanid art and civilization in the city of Gur?

Currently, technology influences cultural and artistic values ​​in societies more than ever. Its development also depends on its adaptation to cultural and social circumstances. The possibility of publishing cultural and artistic works on electronic networks for an indefinite period, while creating a special attitude, has altered the social identity of human beings and has formed a new cultural atmosphere; to the extent that in all societies, both Islamic and non-Islamic, the linking between modern culture, art and technology with the help of new media has created new meanings for concepts such as freedom, verity and reality. The topic here is to explain the social impact of technology on Islamic art and its nature in the modern era. This article applies a descriptive-analytical method to examine the social effects of technology on culture particularly Islamic art in the present era from the perspective of the Frankfurt School. The findings of the research indicate that although it continuously appears that Islamic culture and art should be considered from the perspective of the spiritual world of Islam; nonetheless in the global village of the contemporary era, where technology has shifted to social change in all societies, it has become a stimulus for cultural innovation; hence, a new approach is desirable in the field of Islamic art. Conversely, basically in Islamic culture, the mystical and intuitive view of the artist on the phenomena of the world has led to the formation of art, which narrates the beauty of the exhibition of the manifestation of the divine essence in the terrestrial world with a dissimilar nature from the definition of art in the modern world. Thus, technology as the main force for creating social organization in all societies and the transformation of social and cultural relations is one of the main concerns of the followers of critical theory.

1. An analysis of the Frankfurt School's critical thinking approach to the interaction of modern technology with culture and art in the present age. 2. The study of the impact of technology as a social phenomenon and philosophical subject on Islamic art in the modern world from the perspective of the critical theory of the Frankfurt School.

Research questions: 

1. According to the Frankfurt School approach, how can a connection be made between Islamic art and technology? 2. What effect has technology had on Islamic art in the modern era?

Among the traditional arts, Islamic architecture and its associated decorations has always been the perfect setting for the presence of various visual elements, particularly decorative ornaments. A number of remaining monuments from the Ilkhanid era such as the tombs of Qom's Green Dome (the tomb of Khajeh Ali Safi which is the main focus of this research) provide a clear example of this artistic richness that due to its potential visual abilities can be found in today’s art and in branches of contemporary art including graphic arts. This research is based on a "historical-comparative" method and a collection of findings based on library and documentary sources and field surveys. Firstly, a brief study of the historical background of the monument and the identification of the types of ornamentation used in the tomb, including herbal, geometric and inscriptional decorations among which the plant motifs occupy most of the ornamentation will be studied. In the following, the factors and elements of this role are discussed and their visual characteristics (rhythm, balance, symmetry, composition, unity, harmony of positive and negative space, etc.) are identified in order to understand the graphical dimensions of these motifs. Given that visual qualities and literacy are well-respected in these motifs, the above decorations can become a rich visual source for today's graphic designers.

1. Identifying the variety and characteristics of the motifs of Khajeh Ali Safi's tomb. 2. Extraction of motifs and studying its graphical features which can lead to revival and reuse of motifs in today's graphic arts.

Research questions: 

1. What are the features and visual literacy of the tombstone designs of Khajeh Ali Safi? 2. What is the diversity of the decorative elements of the tomb?

Every religion has its own system of meaning, according to which the system makes moral judgments and strengthens individual and social do's and don'ts. The tradition of the divine test is one of the definite and certain traditions of God, which strives for the essence of human beings and raises them from the depths of the earth to the heights of the heavens. It actualizes the inner strength and talent of man; Hence, it paves the way for the emergence of the inner actions and intentions of the servants; This general tradition is not specific to a particular class, but is present in all human beings, nevertheless, its form and tools are unalike since the tradition of examination is not reserved for the followers of a particular religion. The issue raised here is how the tradition of affliction in the Qur'an and the covenants of the people of Israelites tribe. This research with the means of a descriptive and analytical method and based on library data. Instances such as the banning of fishing on the Sabbath, killing boys and capturing women with property and children and other occurrences are studied with reasoning and thought. The findings of the study indicate that the tradition of assessment exists in the Qur'an as the holy book of Islam and the testaments of the Israelites.

1. Examining the assessment events among the Israelites in the Qur'an and the Testaments.
2. Inspecting the tradition in the documents related to the philosophy of assessment.

Research questions:

1. How are the events of the divine tests considered in the Qur'an and the Testaments?
2. What is the reflection of the events of the divine tests in the Qur'an and the Testaments in the illustration of religious texts?

Unique character dissimilarities are the invisible curtains behind the creation of works of art, which, of course, trace the origin of the creation of each work of art in this hidden dimension of the process of artistic emergence. Therefore, the inner self of each person, both positively and negatively, influences the creation of artists' works. The question that can be raised here is how the psychological components are reflected in the works of painters. In the meantime, an investigation on the art of artists such as Nikzad Nojoomi and Ali Akbar Sadeghi, who in the current period of popular artistic currents, try to express their psychological inner selves through visual language is necessary. In this research, accomplished descriptively and analytically using the library method, five samples of the paintings of each artist have been explored by selective sampling method and qualitatively analyzed information. The findings of the research indicate that the works of Nikzad Nojomi and Ali Akbar Sadeghi, which in a way strengthen the audience's mental abilities to understand the concepts and inner beliefs of the artist, are an interpretation of the psychological components in the works of these two artists. The results explain the importance of discussing the psychological components of artists and their artistic concepts, especially the works of visual artists, which is a tangible reflection of the hidden layers of their personality.

1. A study of the psychological components of the audience's mental ability in interpreting the paintings of Ali Akbar Sadeghi and Nikzad Nojomi. 2. An analysis on the paintings of Ali Akbar Sadeghi and Nikzad Nojomi according to a psychological point of view. 

Research questions:

 1. Considering the application of psychological components in art, how can the paintings of Ali Akbar Sadeghi and Nikzad Nojomi be interpreted and analyzed? 2. Which of the psychological components has more colorful effects in the paintings of Ali Akbar Sadeghi and Nikzad Nojomi?

Ancient written material consists of symbols and signs that have evolved from pictorial cyphers to alphabetic letters. Calligraphy in Iran is an imperative symbol of civilization since ancient times and a number of these written signs have continued in the Islamic period. The main issue of the research is how ancient Iranian textual signs survive on the hexes of the Islamic period as part of traditional Iranian graphics. The research method is descriptive and analytical and data is collected via library contents through identification and image reading. The research findings indicate that a number of the “good” symbols that appear in Iranian hexes are formally rooted in the oldest meaningful texts including Poroto Elamite and Linear Elamite. The visual structure of a number of ancient Elamite linear signs (Poroto Elamite and Linear Elamite) can be identified on the incantations of the Islamic period. In some cases, the new enchantment signs, in combination with other motifs and geometric signs, have a distinct appearance and behold a detailed affiliation with the old textual signs. These symbols are the shapes of uneven forms, squares, circles, triangles, crosses and zigzag lines and the plant symbol that are associated with the influential elements of life. The combination of image and text in the incantations are based on a meaningful aesthetic system. Geometric symbols derived from ancient written texts are shaped structures that have formed the basis of the writing of some spells. This feature can be considered as one of the principles of the overall page layout of the enchantments of the Islamic period.

1. Identifying the similarities and differences in the structure of ancient Elamite linear signs with the symbols of Islamic incantations. 2. Interpreting the symbolic meaning of common signs of pre-Islamic texts and spell patterns of the Islamic period.

Research questions:

 1. What are the similarities and differences between the visual structure of the ancient Iranian textual symbols and the symbolic motifs of the enchantments of the Islamic period? 2. What are the symbolic meanings of similar signs in the ancient texts and incantations of the Islamic period?

Architecture is a tool for encountering human needs, and in this regard, mosques, as one of the manifestations of Islamic architecture, have a distinct role in meeting human spiritual needs. Mosques over time have unified principles for creating hierarchies. This research seeks to recognize the hierarchy of the mosques of Shiraz in which the obtained information can be applied in contemporary mosques. Accordingly, first, by referring to architectural texts and experts' views, the principle of spatial hierarchy is recognized and then the scientific definition of the word and its foundations are found. For this purpose, a descriptive-analytical method is applied to obtain theoretical foundations; furthermore, the method of space method with the help of Depthmap software was also used to analyze four mosques. The research findings express the view that the mosques of shiraz behold public spaces such as the courtyards in first degree and other areas that were more cloistered and are classified as second spaces of accessibility in which ordinary people may have been unaware of. Correspondingly, if it was possible to create two entrances, they were made from two completely diverse places to the point that the mosques connected neighborhoods.

1. Recognizing the principles of spatial hierarchy in traditional Iranian mosques. 2. Analyzing the spatial hierarchy of Shiraz mosques with the method of space syntax.

Research questions: 

1. What factors have influenced the shaping of the spatial structure of traditional Iranian mosques? 2. What is the spatial hierarchy of Shiraz mosques based on?

Carpets have undergone one of the stages of prosperity and richness during the Safavid period. In this historic period, the establishment of large royal workshops under the support of the Safavid government paved the way for the creation of beautiful designs with ancient patterns of the carpets of this era. By studying the carpet designs of the Safavid period, the existence of religious and non-religious notions is exposed. The issue under study is the influence of ancient religious beliefs of Iran on the carpet designs of this period. Mithraism is considered as a belief in which the emergence and continuity of its symbols are observed in many of the arts of the Islamic period. The research in hand is conducted via a descriptive and analytical method while relying on library data. Findings indicate that the appearance of tangled fish motifs in Safavid carpets is influenced by the beliefs of Mithraism. The appearance of the tangled fish subsequent to flower motifs has also been one of the artistic features of antiquity abundantly perceived in Safavid carpet designs. The motif of the tangled fish or "Herati" design is the appearance of two fish amidst the face of the “Mehr”.

1. An analysis of the effect of the Mehr religious symbol on the carpet designs of the Safavid period. 2. An investigation on the presence of the tangled-fish pattern in Safavid carpets.

Research questions: 

1. Under what religious impact was the tangled-fish design generated in the carpets of the Safavid period? 2. What were the characteristics of the tangled-fish design in Safavid carpets?

Design in architecture has evolved under the influence of various factors. Each design has its own unique features. However, the component of time and cultural and social developments has become an imperative factor in the process of architectural design. The subject examined in this research is understanding the evolution of the architectural design process. The method of this research is carried out via documentary studies and is based on a descriptive-analytical method considering models and theories of the architectural design process based on their historical course. Findings show that one of the most chief weaknesses of common models of architectural design process is the linearity of the path from problem to solution and this leads to lack of analysis of aspects of the problem and mismatch of solutions with the issue under study. Moreover, this has encouraged the designer to prioritize selective patterns to guide the decision-making process. In some models, the linear path of the problem to the solution in the extreme case leads to the deconstruction of the main problem into micro-problems and the production of non-practical solutions that in practice do not answer the design problems. The results of the research lead to the explanation and classification of parameters and problem-oriented indicators in the process of architectural design.

1. To identify the parameters and indicators of the problem-solving issues in the architectural design process.
2. To investigate the possibility of achieving comprehensive architectural design models.

Research questions:

1. What are the parameters of the design process in architecture?
2. How can comprehensive architectural design models be achieved by studying the architectural design process?

In Iranian paintings, the element of nature, particularly trees are reflected abundantly and was considered as the pillar and foundation of existence, the connection between earth and sky the basis of the universe. Moreover, the mentioned symbol was a sign of birth, growth, development, death, resurrection, stable existence and immortality. The role of the tree has been used in the historical monuments of the Islamic period. One of the beautiful structures of the Safavid period is the Chehelsoton Palace. The issue under study is the presence of the tree motif in the mentioned structure and its role and purpose. The research approach is qualitative and data analysis is accomplished via a descriptive-analytical manner. Data and information is collected from library sources, online sources, as well as field observations. The findings of the research indicate that in the paintings of the Chehelsoton Palace of Isfahan, about 110 wall paintings decorated with the tree motif are identified. Further understanding of the occurrence of the tree designs, necessitated this research. The role of the tree is mostly inspired by the tangible nature and the actual trees located in the garden of this mansion that are drawn and painted in various manners (elm, sycamore, cypress, blossom and fruit trees). Likewise, the motifs do not only bestow a purely decorative aspect due to their proximity and relationship between human beings and other elements, but also behold a thematic and conceptual aspect.

1. A study and analysis of tree designs in the paintings of Chehelsoton Palace in Isfahan in terms of form and content.
2. A reflection on the effective sources in designing the tree motifs of the Chehelsoton Palace.

 Research questions:

1. What is the role and position of the tree motif in the paintings of the Chehelsoton Palace from a structural and thematic point of view?
2. What was the basis and approach of the artist in designing the various tree motifs?

An overall study on the extended periods of Iranian history indicates that the subject of ancestry is one of the significant political and social concerns which was closely related to legitimacy. For more than four centuries, the Sassanids ruled over a large territory of Iran and established an empire that was concerned with matters of purity of blood and originality of lineage. This matter was imperative both regarding paternal and maternal lineages. In order to maintain the purity of blood and ancestry, they recommended incestuous marriages. It seems that in the Sassanid dynasty, kings adopted Iranian and Aneran wives, who are mentioned both in written sources and historical monuments related to the Sassanid era, such as the inscription of the Kaaba of Zoroaster. The dispute in this study is how this approach affects the status of women and their lineage in the Sassanid period. Hence, the goal of this research is to investigate the racial origin and lineage of Iranian women based on written and illustrated historical sources. The method of this research is analytical-descriptive and based on library data. The findings of this study show that during this period, the wives of Sassanid kings were selected more compared to the noble Parthian families, and it can be stated that in the Sassanid dynasty, at least at its commencement, the family title of these women, truly or as propaganda was used to legitimize the kingdom. In addition to these cases, examples of incestuous marriages are mentioned.

1. Examining the lineage of women in the Sassanid court based on written and illustrated historical sources. 2. Investigating the role of marriage in authority relations in the Sassanid period.

Research questions: 

1. What effect did the issue of women's lineage have on political relations in the Sassanid period? 2. Can evidence of intermarriage be found in written and illustrated historical sources?

Urban regeneration in order to revive historical structures and monuments by emphasizing the preservation of cultural values ​​and protection of indigenous wealth can, in addition to preserving and strengthening the main ossification of the city, lead to economic growth and urban development and appropriate economic groups to promote and generate municipal revenues. On the other hand, the Iranian-Islamic city is a reality that exists and it is necessary to formulate and specify its rules and regulations according to its attributes, values ​​and language of design. In this research, which is an applied research based on documentary studies following a survey-descriptive method, while explaining the criteria and indicators of the Iranian-Islamic city, an attempt has been made to study the current situation in Hosseinieh and Nayeb-Agha neighborhoods in Zanjan. Factors involved in urban regeneration that are in accordance with the characteristics of the Iranian-Islamic city have been identified, followed by criteria for the regeneration of historical sites, which will be more compatible with the principles of Iranian-Islamic city. Findings indicate that in the study area, preservation of the historic tower and fortifications of the city and reliance on Tekyeh Hosseinieh as the main principles representing the Iranian-Islamic city should be a priority. Therefore, accurate knowledge of the characteristics of the Islamic Iranian city is a vital step in recreating the city model.

1. Familiarity with the principles of architecture of Iranian and Islamic cities.
2. Finding desirable criteria for recreating historical sites based on the principles of Iranian-Islamic cities.

Research questions:

1. What are the criteria and characteristics of an Iranian-Islamic city?
2. In urban regenerations, can the pattern of Iranian-Islamic cities be chosen as the design pattern?

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

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

Research questions: 

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

According to many scholars, the Raji Kermani's attack is the finest religious epic that has replaced the Ferdowsi epic or other national epics in the position of imitation and narration. The story of Qasim (PBUH) in the text of this epic is one of the best and most sorrowful stories in which Raji mixes the two elements of epic and narration masterfully and although it is imitative in the style of national epics, the story of Hazrat Qasim (PBUH) does not appear in any other religious epics other than Raji's epic, and this is one of Raji's unique features. Likewise, this story shines beautifully in the context of Raji's attack in terms with the stylistic features of each epic work. The findings of the study indicate an exaggeration in the poems of Heydari's attack, especially in the epic story of Hazrat Qasim (PBUH). This exaggeration is also reflected in the images related to this event. This exaggeration has varied in the form of the appearance or creation of untrue stories to the narration of extraordinary events to Hazrat Qasim (PBUH) .

1. Examining the reflection of exaggeration in the poems of Heydari attack with emphasis on the story of Hazrat Qasim. 2. Scrutinizing the exaggerations in the poems of Heydari's attack on Hazrat Qasim in the images of epic stories.

Research questions: 

1. What information do the poems of Heidari attack provide about the story of Hazrat Qasim? 2. What is the reflection of the story of Hazrat Qasim in the images of epic stories?

Social capital has been proposed as one of the indicators of growth and development of societies. The development of society is achieved by establishing sincere relations, expanding social cohesion and participation, multilateral trust, and increasing the volume of social capital. These moral values ​​affect social activities and lead to the stability of social relations eliciting peace and ultimately the creation of a healthy society. Literary works are an effective factor in identifying the social environment and no speech-creation can be considered separate from the social affairs of its time. The history of Iranian literature indicates the existence of several works in the field of ethics; one of these works is Qaboos Nameh. The issue that can be raised here is the nature of the moral advice of the supreme element in this book. This research has been done by descriptive and analytical method and relying on library resource data. The findings of the research indicate that the supreme element in Qaboos Nameh has dealt with all aspects of individual and social life. The book considers honesty, commitment to the covenant, professionalism and trustworthiness as the factors that create trust in social relations, and in contrast to hypocrisy, lies, betrayal, oppression, ignorance and disclosure of secrets; moreover, it introduces the factors of destroying trust. It also considers the observance of moral principles such as knowledge of God and parents, kindness, tolerance, good character, justice and generosity necessary for all members of society. These meanings and concepts are repeated and visible in the illustrated version of Qaboos Nameh.

1. Recongnizing the moral and social concepts in Qaboos Nameh. 2. Examining the reflection of the moral concepts of Qaboos letter in the illustrated versions of Qaboos Nameh.

Research questions: 

1. What moral and social advice did Ansar al-Ma'ali refer to in Qaboos Nameh? 2. What are the moral and social implications in the illustrated versions of the Qaboos Nameh?

Mankind desires to connect with the natural world is an innate need. Nature and the transfer of its concepts in the design of living environments will increase the quality of life and improve the livability of the place. Traditional architecture of Iranian cities has long been significant and climate factor has been considered as a superior parameter in design. Given that most modern architectural ideas are Western, the issue here is how to adapt the principles of biophilia to the principles of architecture in hot and dry climates. The present research has been accomplished in terms of applied purpose and descriptive-analytical method with a qualitative and quantitative approach. Documentary methods (to explain the indicators) and survey (observation and questionnaire) were used to collect data. Since the present study is a quantitative research, a questionnaire was used to collect data and SPSS statistical software was applied to analyze data. Correlation tests were applied to examine the relationships between variables. A one-sample t-test was used to compare the statistical population with theoretical median and multivariate regression to investigate the effect of biophilic design components on bioavailability; moreover, the new city of Hashtgerd was selected as the study area. Findings indicate that there is a direct and significant correlation between biophilic design variables and computable bioavailability. On the other hand, based on a single-sample t-test, it was found that the viability status is lower than normal (average 3), consequently, the community is not in the desired condition. Based on the multivariate regression test, the equations of how the relationships between the variables were presented and based on the beta coefficient of prioritization of biophilic design variables on the viability of the site, it was announced that the "biomorphic" component has the greatest impact on location viability. There are also a number of components of Islamic architecture such as the use of light and space, spatial relationships and the shape and nature of natural space in biophilic design.

1. Investigating the viability of biophilic architecture with location. 2. Examining the degree of compatibility of biophilic architecture with Islamic architecture.

Research questions: 

1. To what extent is biophilic architecture viable and adaptable to place? 2. What are the similarities between biophilic architecture and Islamic architecture?