فصلنامه اثر
پیاپی 100 (بهار 1402)

Northwest region of Iran due to climatic conditions and the location of two volcanic mountains Sablan and Sahand; It is one of the prone areas for this type of architecture. In this area, cutable rocks have provided a suitable bed for cutting rocky spaces. Based on the studies conducted in this area, various rocky spaces have been identified and introduced, and their typology and classification are very valuable. Based on this, this research while identifying, introducing and explaining the special features of the Dastkand spaces of this region seeks to answer the following questions: 1- What is the factor of the formation of rock architecture in the northwestern region of Iran? 2- In how many types can the rock architecture of northwestern Iran be classified? Therefore, along with the field method to record, record and explain the current state of the works, documentary studies and based on the descriptive-analytical method have been used to know the formation factor of the rock architecture of the northwest region. The results of the research show that the natural features of the earth, the phenomena related to it and taking into account the human needs and the political, cultural, religious and economic conditions of the northwestern region of Iran have caused the emergence of 4 types of rock architecture with different dimensions. Other results of the research show that this type of architecture is suitable for the cold climate of the northwestern region of Iran and is considered compatible with cold regions.

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.

At the end of the Early Bronze Age and the Beginning of the Middle Bronze Age, along with the disappearance of the Kura-Araxes culture and the living communities in the villages of that culture, we see the emergence of new ethnic elements whose livelihoods were based on livestock activities, and the nomadic lifestyle that had changed the settlement pattern of the inhabitants of this period. Kura-Araxes culture continued in the region, then quickly replaced with other cultures that had different aspects, including the tradition of painted and Buff ware that continued by the beginning of the Iron Age in the region. North West of Iran has a particular Archaeological importance since it accumulates different prehistoric periods. With regard to the history, the basin is among those that attracted the attention of domestic and foreign scholars at the dawn of professional Archaeology in Iran. The painted ware became widespread in the Middle Bronze Age areas of North Western Iran. Barde Zard Tepe is the one with similar phenomenon located in the Little Zab River basin. The excavation of this Archaeological site was aimed at elaborating the sequence of Barde Zard settlement as well as cultural interactions of its residents with neighboring areas and identifying the features of the Middle Bronze Age. Excavations of this tepe led to the identification of the Bronze Age settlement and a burial ground. Also, the exploration of the site made visible its cultural attachment with the Urmia Lake Basin and influences from the Khabur culture.

The Seljuk era is one of the creative eras of the Islamic world and Iran in the arts. Among the arts that were able to flourish in this era is metalwork, which is attributed to the Seljuk method and is associated with the name of the Khorasan School. The vast territory of the Seljuks and its political-cultural exchanges with other lands caused the metalworking tradition of this school to spread to other regions. One of them is the Mamluk era, which is one of the periods in which we can clearly see the influence of the metalworking school of Seljuk. The purpose of this research, is to identify the thematic and visual features of the metalwork of the Khorasan Seljuk with its counterpart in the Mamluk era. The question is: What are the thematic and visual features in the metal works of the Khorasan School of the Seljuk era with its counterpart in Cairo during the Mamluk era and what are their distinguishing features? The results of the research show that there are many similarities in the formal, thematic and visual characteristics of the works of the two schools, which indicate the intellectual commonalities of the two schools. The most important difference in Khorasan School is the use of prayer for the owner of the object and the use of human and animal motifs, and in the Cairo school the greater use of the names of kings and the use of geometric motivs and inscriptions.

As one of the most prominent symbols of evil, Żaḥḥāk has a significant presence in Iranian literature, culture and mythology, and Ferdowsi has written his story in detail. Due to this importance in most illustrated manuscripts of Šāhnāmah, one or more pictures are dedicated to his story. It is expected that the image which is represented the story is accorded with narrative text but it seems in some cases this doesn’t happen and painters are freer to create images. These differences could be influenced by the cultural, social and political situations and also personal beliefs and interpretations. This article compares Żaḥḥāk images in one Šāhnāmah manuscript which is produced in Pakistan in 1722 A.D. In total, in this manuscript, six images are related to Żaḥḥāk’s story. This study tries to conclude by comparing the figures and the story which is narrated by Ferdowsi to what extent painters have paid attention to the text for creating images, and if there are differences between the images and text what it is. It seems that in some cases painters have created images which are understandable for the reader of the manuscript.This study is done by using analytical-comparative approach and data collection is based on library sources and observation.

The need for gardening in different periods in different areas and for different people has led to the creation of different types of Iranian gardens. In the physical space of some Iranian gardens, in addition to the main and inner mansion space, there are also service and side spaces. One of the most important service spaces is the hot tub, and this research deals with this independent use as an element dependent on the garden, and by studying nine examples of hot tubs in the garden, it has investigated the physical and functional patterns of hot tubs in Iranian gardens. The question is, what are the physical and functional patterns of hot springs in Iranian gardens? This research is of a qualitative type and the research method is in the descriptive-analytical theoretical part. Library information collection tools. Based on the obtained information, the physical and functional patterns of hot springs located in the garden were analyzed using comparative analysis. The results of the research show that the hot springs built in the gardens were mostly private or private-public. In some gardens, there is a formal connection between the geometry of the vestibule or the partition space of the pavilion, with the geometry of the Garmaba garden space.By analyzing the positioning of garmabeh in relation to the main axis, sub-axis, koshk and sardar, it can be seen that in all gardens, garmabeh is located in the sub-axis of the garden and in connection with the koshk or the sardar building.

The formation of tomb buildings reflects the culture and beliefs of a society by considering environmental and geographical reasons. In this regard, the eastern regions of Iran have a significant role to the development and evolution of architectural tombs of during the Islamic era. Dastgardan County is located in the city of Tabas, south Khorasan province and east of Iran. During the archaeological survey of this area in 2015, a tomb building was identified, which has not been studied in terms of its architectural function and construction history, so it is necessary to conduct the present research. The research method is a descriptive-analytical. In the process of this study, it has been attempted to introduce and analyze the architecture of Dastgardan tomb building based on library resources, field study and preparation of plans. Since no historical inscriptions were found in this building, It is not possible to correctly determine the historical background and identity of the building, but according to the plan, the physical and texture elements in which the tomb has been formed. The result was that the original design of this building was derived from the tomb monuments in Khorasan with a square form in the early to middle centuries of the Islamic era. Also, by comparing the cultural data and the structural elements of the building, its construction date can be attributed to the late Seljuq to Ilkhanid period, it can be attributed to the late Seljuk-early Ilkhanid period.

During the Safavid period, along with other artistic developments such as metalwork, the production of various types of pottery also flourished. In this era, a variety of pottery was produced, which not only provided an important part of domestic needs, but sometimes was also exported to other countries. In the meantime, the so-called Gambron pottery was considered one of the examples of late pottery of this period. Today, many examples of this type of pottery adorn various museums inside and outside the country, which have been briefly mentioned in some books and articles. But practically, this type of pottery can be considered one of the lesser-known types of pottery of the Islamic era; Because so far, not only the evidence of its production has not been obtained in archaeological excavations, but also less ancient sites in Iran have been identified in which samples of these pottery vessels have been found. According to these cases, it was necessary to deal with this type of pottery in another independent research and provide more documentation about it. The results of this research showed that Gambron pottery has been known in Iran since the end of the 11th century of Hijri, and despite its export importance, it has been used to some extent among the people of Iran. Probably, this pottery was produced in centers such as Qom, Nain, Isfahan and Kerman, and its shape and decorations were similar to Safavid examples and some Chinese pottery.

The city of Divandarreh is one of the most important geographical and climatic regions of Iran and Kurdistan and belongs to the geomorphological units of East of Kurdistan and Sanandaj-Sirjan. In terms of natural landscape, it has high plains surrounded by a mountain dam. Based on the archaeological investigations of the city of Divandarreh and its proximity to the historical sites of Ziviyeh and Takht Suleiman, as well as the existence of explored sites in the aforementioned region, it is undoubtedly a historical region that have not yet been fully Study. The present study deals with the investigation of 56 Iron Age settlements in the Divandarreh region identified during the archaeological field surveys of 2018. The main questions are how settlements and environmental variables affect the formation of Iron Age settlements. This methodically and appropriately interpret the distribution of Iron Age sites in the district using field and library studies and the application of the geographic analysis model. The research has shown that the site location pattern is evident in relation to environmental factors such as elevation and water resources in the formation and cultural interaction of Iron Age habitats. The research area has a suitable climate, low horizontal hills in the plain, direction of agriculture, dependence of settlements on water resources in a linear way shows permanent and seasonal settlements. To give Also, the study of influential environmental factors in the kernel density model determined the highest density of sites in the central and western parts of the region.

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.