فصلنامه اثر
پیاپی 98 (پاییز 1401)

The tomb of Sheikh Ali-Naqi Estahbanati is one of the national heritage and identity of the country, which has been subjected to many deliberate encroachments and destructions. After ten years of destroying its enclosure walls, not only has no action been taken to conserve and restore it, rather, some have claimed that this building is a Qajar mosque, and also the Sheikh's tomb is in Esfahan. Hence, the question arises as to how extremism has threatened the survival of the Sheikh's tomb? It seems that ideological differences and religious extremism perceptions have become a motive for the destruction of this tomb and the historical distortion of the sheikh's background and burial. The aim of this research is to get acquainted with “Extremist vandalism”, and its role in the destruction of this tomb, and to raise awareness about this issue. To further this issue, theories of vandalism, descriptive-analytical method, and library-documentary sources have been used. The findings show that the extremism has become a threat to the survival of Sheikh Ali-Naqi Estabanati's complex by using the functions of distortion, destruction and obstruction of restoration, and historical distortion is a supplement to the projects of destruction and obstruction of restoration, in order to reduce the sensitivity and social pressure and the indifference of the responsible agencies. Therefore, it needs documentation and consciousness-raising through the production of scientific and media content and the follow-up of social groups and activists.

The study of the gates of the Achaemenid citadels with the new mythological approach and historical analysis method led to the discovery of concepts behind this body which refer to the cultural themes in this period which had been formed based on belief and mental patterns of the people of this period, that is, the myths. The result is that these palace-gates had a different structure from the gates of cities in other cultures and gradually underwent changes from Pasargadae to Susa and Parseh. A comparison of these gates and their developments shows that as the Achaemenid kingdom gained more power, the architecture of these buildings were formed more based on Iranian cultural themes; As in Pasargadae Gate-Palace, the influence of Egyptian and Mesopotamian culture is more evident than other gate-palaces, and in contrast the gate-palace of Parseh Citadel, which was built at the height of Achaemenid domination, without the need to refer to other cultures relies on Iranian themes; In this Gate-Palace, on one hand with its three doorways and ornaments which are a reference to Dumezil's tripartite ideology of Indo-European societies, and on the other hand with its special naming, the gate of all nations, its function is emphasized, a function that in a double-sided way refers to a gate that is open to all nations under the rule of the Achaemenid dynasty, and also It contains a symbolic connotation of the all-encompassing power of the Achaemenid rule, which encompasses all nations of all races under its governance.

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

Manuscripts are among the most valuable works which being studied can help discover the hidden figures of culture and art. Meanwhile, as one of the most important places, the museum plays an essential role in preserving exquisite works such as manuscripts and other historical works through time. Works such as manuscripts and illustrations have a special place in the field of Iranian painting in terms of studying Iranian-Islamic identity and art. In this article, the main part of which is based on library and documentary research, the visual structure of some illustrations of Ferdowsi's two Shahnamehs, which are valuable literary and artistic manuscripts preserved in Saadabad Palace-Museum, is examined. The purpose of examining the illustrations of these two illustrated Shahnamehs is actually to examine and introduce these two rare and unknown versions and, on the other hand, to introduce treasures of the noble art of Iran. The two versions of Shahnameh in question were illustrated in two different periods, but they clearly have features that are completely worth studying in terms of special visual effects. Examining the structure and unique features of these two artistic masterpieces results in more familiarity with the elements that make up the paintings, the type of color and coloring, composition, etc., used in both works, which are important for more studies in the future. In each of the studied Shahnamehs, despite the similar themes, unique characteristics were observed that show the independent identity of each.

Northwest of Iran, due to its geographical location and political-religious and social situation throughout history, has been a suitable platform for the formation of handicrafts. In this area, various handicraft spaces with different uses have been discovered and identified so far. Among them, the handicraft spaces of the shrine are one of the healthiest and at the same time the most characteristic handicraft spaces. So far, research has been done in relation to these spaces and their use and chronology have been considered with more emphasis on the Mehri temples belonging to the Parthian period. However, the hypotheses put forward without scientific support are appropriate and there are not enough reasons to attribute them to the seal of worship. Accordingly, there is a need to study and review previous theories; Therefore, in the present study, three handicrafts of Imamzadeh Masoom, Abazar and Ghadmagah have been studied and re-evaluated on a case-by-case basis by the method of comparative studies and historical-interpretive analysis. This research seeks to answer the following basic questions; 1. What period do the mentioned handicraft spaces belong to in terms of chronology? 2. Which religious groups belonged to the studied Troglodytic Architecture shrines in terms of nature of use? In response to the above questions, the authors, based on archaeological research, stylistics of architectural elements, especially the coverage of spaces, landscape, historical studies, while rejecting the hypothesis of the altitude of these spaces, their chronology belongs to the Islamic era using Buddhist temples and monasterie.

The present study aimed to provide a conceptual framework of adaptability to the landscape approach in reusing the heritage of Abadan oil industry. This research is based on a mixed method in two phases, qualitative and quantitative. Qualitative data were collected through qualitative content analysis of written sources, case study and semi-structured interviews with 21 experts in the field of industrial heritage and landscape. Then, the data were analyzed by the grounded theory method during three stages of open, axial and selective coding and 347 open codes, 28 concepts and 9 categories were extracted. Finally, according to the codes obtained from the written sources, case study and interviews, the theory of industrial heritage adaptability to the landscape approach was presented. To validate the model resulting from this theory, the structural equation modeling approach was used using the partial least squares method in the confirmatory factor analysis phase. Quantitative findings showed that economic, cultural, social, historical, environmental, physical, technological, infrastructure, laws and policy categories have a positive and significant relationship with the adaptability to the landscape approach in reusing the heritage of Abadan oil industry. This study considers the use of landscape approach in the adaptive reuse of industrial heritage as a way to improve the quality of the eco-revelatory that by balancing the man-made environment with nature and ecological functions, it leads to stimulating a sense of appreciation for the natural environment and revealing the natural infrastructure of the city and exposing natural systems to human perception and experience.

Garshasp-nama is a poetic and agonistic story about the adventures of Garshasp ancestor of Rostam, which was written by Asadi Tusi, a poet of the 5th century. There are 39 complete and incomplete copies of Garshasp-nama, few of which are illustrated. The purpose of this essay is to introduce the British Museum version with the number or.12985 and the date of writing 981 AH/1573 AD and explore the visual structure and formal characteristics of its paintings to gain more knowledge of historical and abandoned Iranian documents and knowledge of the visual culture of the past. This illustrated sample has 8 illustrations that have the pictorial and stylistic characteristics of the Qazvin school. The present article tries to answer the question, what are the formal features of the index and the common aspects of the paintings? The descriptive-analytical and historical research method was conducted in a qualitative and inductive way. The results of the study showed; the illustrations of the edition are depicted in two themes of war and banquet, which are more prominent in the development of the theme and artistic expression due to the epic theme of the work. Although in contrast to the characteristic feature of Asadi's poems in describing the scenes of marvel, we are faced with the cautious and naturalistic approach of its writers. The centrality of the hero's character in the image and his facelessness, attention to the richness and color effects as well as the proportional composition are the most important common visual features of Garshasp-nama's paintings.

The Tomb of SheikhKhalifeh Khafr has a very important Status due to the existence of archirecture and various decoration such as carving, Wall paintings, stucco Decoration, Tile Decoration especially its tiled mihrab.Therefore, the leading research introduces Architectural ornaments of the tomb with emphasis on its unique tile mihrab,preserved in the Pars Museum in Shiraz. Therefore,one of the purposes of this article is to identify the types of decorations in The Tomb of SheikhKhalifeh Khafr. This study sought to answer the following questions; What are the decorative characteristics of The Tomb of SheikhKhalifeh Khafr and its tiled mihrab? What are the commonalities in factors of structure (general shape), Motifs and inscriptions,on the Tile mihrab of the Tomb of SheikhKhalifeh whit the tiling decoration of Timurid buildings? The collected data were then analyzed through the historical interpretive method.The results of this research indicate that the structure and appearance of the building,the use of Truncated Stone, the use of "regular hexagonal" knots in the dado, common Khataei elements in tiles and Wall paintings,are comparable in the architecture and decorations of this tomb with many buildings of Timurid period. The structure of an arch without a Stylar,the presence of a form/decoration by Scalloped or crenelation in the upper part of the mihrab,the Thuluth inscription with long and elongated vertical elongations,the composition and form of the arabesque vault and the arabesque ones forming a flexible one, etc. are among the features.The tile mihrab of the tomb is similar to many other mihrabs and tile decorations of this period.

Achaemenid rhytons as one of the most important archaeological data adorn many museums around the world. However, many of these rhytons have not been obtained from scientific archaeological excavations, so their study is of particular importance in terms of originality. In this regard, laboratory studies to determine the certainty are still in their infancy, and on the other hand, forgery methods have become more advanced with the development of technology; Therefore, technology and comparative studies are still one of the most important and appropriate ways to identify the authenticity of historical monuments, including Achaemenid rhytons. In this regard, the present article tries to focus on the confiscated rhyton of Silver, which leads to the head of a female milk belonging to the Achaemenid period in the Hegmataneh Museum, while analyzing the commonalities and differences between the rhyton discussed and other similar examples in this period. Historical (originality) test of this sample with a descriptive-analytical approach (typology, construction techniques and decorative arrays). The results of the selection and representation of decorative arrays indicate that the role of rhyton motifs in question lacks proportions and style of Achaemenid art. On the other hand, the location of the details of the single motifs also showed the incompatibility with the Achaemenid style. The findings can confirm the non-authenticity or non-belonging of the rhyton leading to the female lion of the Hegmataneh Museum to the Achaemenid period.

Increasing environmental problems in modern cities need to find solutions to achieve the desirable living space and reduce pollutions to reach sustainable development goals. Consideration to indigenous design principles in architecture and urban spaces is one of these solutions. Among the design patterns of traditional cities, we can name the historical garden cities of Iran, many of which in the past designed according to the natural environments and ecological contexts. Garden cities as the pre-designed cities have been in accordance with the Persian garden architecture and its design repetition on the large scale. Despite the studies on the garden city garden, this issue has never been investigated with a sustainable view. Thus, the main aim of present study is to recognize the design principles and criteria of landscape sustainability in the garden city of Isfahan in the Safavid period as a valuable and well-known example of the historical garden cities of Iran to be able to use these criteria in sustainable landscape design in today's cities. The research method is qualitative with a descriptive-analytical approach based on library documents and resources that formulates the principles and strategies of landscape sustainability and derives these principles and criteria from the garden city of Isfahan with the comparative and analytical methods. The system of irrigation and planting methods, and the result of the study on the models of landscape sustainability and recognizing the city garden of Isfahan safavid shows the compliance of this garden city's elements with the principles of landscape sustainability.