فصلنامه اثر
پیاپی 91 (زمستان 1399)

Due to the geometric and structural capabilities that are evident in karbandi, this structure has been developed in different periods of Iran's history and many species have been isolated from it. The lack of common literature among the few existing resources in the field of drawing karbandies and the specific terms each impedes the understanding of these methods. In this research, first the theoretical (plan and 3D design) geometric data was collected, then, based on the teachings of the traditional master builders and using the previously scattered material a logical order and specific category was created. To do so, various samples were classified and then compared in terms of geometric shape and space usage based on the teachings of traditional master builders and researchers in this field. Therefore, the present research is causal-comparative. Data gathering was done by direct observation, taking pictures of the samples and analysis of library resources and related documents. According to research findings, each of the masters provided their own methodology for the typology of karbandies. In the traditional drawing method of karbandi, the basic step of determining the field of karbandi is based on the shape and proportions of the base. Studying covers that have karbandi shows that formal structure plan is effective on the form of karbandi. This means that on a specific base with a length to width ratio profile special karbandies can be assigned which are affected by various factors. These factors can affect the architect’s style and decision making. Studying karbandi requires a comprehensive look. An attitude that takes into account both structural and form considerations. Karbandies are named and categorized based on the polygonal proportions of the base, the location of the shamseh relative to the sides of the base, the number, the pair or the individual of the sides, the way of placement and interference of the quadrangles of the base, the way of connecting the dividing points on the peripheral circle of the polygon, the base, and etc.

The Orsis, these memorable openings from the Safavid to the Qajar Period, are a collection of various traditional arts, each of which has a very long history in the history of Iranian architecture. Orsis, Iranian handmade art, can be seen everywhere in Iran and have their own unique characteristics in each region. Orsi has been used in various places, including houses, palaces, husseiniyahs, mosques and bazaars. Tabriz Bazaar, as one of the oldest and most important bazaars in Iran, has many Orsis, which are different from other examined Orsis in terms of function, appearance and size. This study has tried to answer the following questions: What are the position and location of Orsis, their structural features and characteristics in the Timchehs of Tabriz Bazaar? What is the common factor of the Orsis in terms of structure in the Timchehs of Tabriz Bazaar? The present study aims to investigate Orsis, in terms of morphology, age, position and importance, function, general shape, design and role, as well as materials, size and measurement system in the timches of Tabriz Bazaar using descriptive-analytical method and library resources and field surveys and interviews with the old traders of the Bazaar. Due to the nature of the issue, the research is of a fundamental type and has been carried out by descriptive-analytical method based on library information and observation and review of the sources available in the bazaar Timchehs. According to the research in the field of morphology of bazar Orsis, it is estimated that the Orsis in the studied Timchehs were made in the Qajar period as less complication was observed in terms of color and pattern in the Orsis; this was one of the charateristics of the Qajar period. The Orsis are located on the first floor and can be accessed from inside the ground floor room, which is now closed, making it easy to access and handle. In some cases, we see the replacement of Orsis by modern openings. In these architectural elements, glass and metal wood have been used, and the Orsis that we have seen so far have been made in different sizes, and the design and module used in them have been simple and geometric.
Bazaar Orsis are different from Orsis in other locations in terms of use, design, color and dimensions, and they differ in terms of body size, inscription shape, surface design geometry and number of lintels at the level of bazaar timches.

Since Yazd, Iran, which was a significant part of the country, was protected from the deliberate destruction of the Mongols during Muzaffarids era, it can be expected that there have been continuous construction activities in this area since the Seljuq era. Especially considering the specific political field, a special local style called Muzaffarid or according to Donald Wilber "Yazd school" under the influence of Muzaffarid rulers can be identified and introduced in this field. The purpose of this article is determining the spatial quality of Sarabostan in the architecture of Muzaffarid-Timurid houses in Yazd region. In this study, the oldest houses that have been registered and identified so far have been cited along with historical texts. Considering the insufficient Ilkhanate houses in other parts of Iran and the number of historical references to the house in the historical text of Yazd and also lack of enough research in this field, this article discusses the importance and position of Sarabostan in the residential architecture of Muzaffarid era. The present study tries to recognize the residential architecture in the Muzaffarid era by combining interpretive-historical methods and study of examples and relying on library-documentary studies, as well as examining and analyzing the house-garden architecture of this period. The results of library research show that Sarabostan is seen frequently and in different forms in the historical texts of the Ilkhanate-Timurid era of Yazd. Researches show that in accordance with the existing house-gardens and historical texts of Yazd, three types of Sarabostan have been identified. The first category includes houses with a pit- wooded land garden that is combined with the porch. The second category includes houses that have a small garden called "Behind the garden" (Khalfe Bagh). This category has two subspecies, the first one is included four- Iwan (porch chamber) houses with Khalfe Bagh and the second one includes Ilkhanate houses with a back garden.

The Seljuk era is one of the creative eras of the Islamic world and the peak of Iranian arts. Among the arts which flourished in this era, metalworking is a Seljuk method attributed to the Seljuks. During this period, a speacial and independent style and method was created in the shadow of encouragement and support of Seljuk rulers and sultans. Artists and craftsmen, especially in the northeastern regions of Iran, namely Khorasan and Transoxiana, created new methods, techniques and styles to experience. The most prominent decorative feature of these works is the inscriptions that were beautifully located all around or part of the metal body. The variety of beautiful paintings and Islamic calligraphy which were inserted on these inscriptions, not only provide contextual information about the culture and beliefs of that time, but also provide a rich visual and written source that indicates the quality of the decoration of Herat school of metal utensil. The purpose of this study is recognition of aesthetic characteristic of the inscriptions of these works in both area of painting and Islamic Calligraphy. The overall results of the research reflect the cultural and religious views of the makers and the state of the visual and written arts of the society at that time. The cultural and artistic features of this period include the use of geometric patterns, plant, animal, and humanistic ornamentation and the use of Arabic scribes and inscriptions, and the Kufic script like Naskh, with the same themes as prayer, praise, along with information indicating the power of the owner and names of artists, craftsmen and customers in Herat School.

Troglodytic architecture includes a type of architecture in which spatial units are created by removing existing components from an existing whole rather than forming based on the accumulation of materials. This architecture has been natively formed over the centuries. In different parts of the country, a large number of Troglodytic villages have been identified and introduced so far.

Meshkinshahr, located on the southern slopes of Sabalan Mountains, Iran, is one of the areas prone to this type of architecture; so far, no studies have been conducted to record and introduce many of these places. Based on the field survey, it was determined that there are various hande-made dwellings left in Meshkinshar, which are worth reviewing and documenting. In addition, the results of this study can be a model for further studies of Troglodytic architectural works in other villages in the foothills of Sabalan Mountains. This research seeks to answer the following fundamental questions: 1. What has been the most important factor in the formation of hand-made spaces in the village of Binehler? 2. What are the components of these hand-made spaces? Therefore, in the present study, an attempt was made to record, and explain the current state of handmade spaces by field method. Also, documentary studies based on descriptive-analytical method have been used to identify the formation factor of Troglodytic architecture in Binheler village. The results showed that the village of Binehler is formed based on climatic conditions in the context of political, social and economic conditions in the region. This village can be considered as one of the rocky villages of Iran in which a combination of residential body and human behavior has been made and in fact they have influenced each other. The village of BinehLer is also morphologically one of the hand-made spaces built on a surface of a limestone wall. Most of these hand-made spaces are now abandoned and only a few of them are used by local ranchers during summers.

Hunting has been one of the ways of human beings livelihood since ancient times. Therefore, it has been a very respectful job and one of the first subjects of human arts. Moreover, Iran is rich in natural resources and various animals. Accordingly, primitive humans had been drawing these pictures with the thought that they could overcome their prey and by performing magical actions and shooting animal images, they could achieve a symbolic victory over them. Later, with the development of cultures and the changes in living patterns, beliefs also underwent changes. Gradually, a number of animals were respected and turned into totems. But still, hunting remained a means of displaying power and religious beliefs over time and in different eras, especially for kings. In Iran, we might mention Sassanid period as the best example of such displays. So the question is, whether the artists of that period wanted to show the same importance of prehistoric hunting using the subject of hunting and showing it with different tools and materials. Also, the present study aims to investigate what the purpose of the Sassanid kings in choosing the subject of hunting to display in different places during their reign was. This article, deals with the subject of hunting in these periods with a historical- analytical approach utilizing library studies. This article’s main objective is to gain a close and suitable understanding of the attitude of the people of this era’s approach to the concept of hunting.