نشریه بنیان هنر؛ جستارهای موزه داری، مرمت، باستان شناسی و تاریخ هنر
پیاپی 1 (بهار و تابستان 1402)

Recognizing the valuable entities of historical cities, both on the scale of urban communities that are still standing and on the scale of neighborhoods and valuable historical elements that provide the means of life for families, individuals, and local social groups, to properly evaluate what we are experiencing today and protect them  As a cultural asset, it is essential.  In the historical cities of Iran, there are many valuable historical houses that, despite the diversity and innovation used in the structure and building of each one, have a common and unbreakable identity in every climate.  These houses organically enriched the historical contexts and played the most important role in their integration.  One of the most important architectural centers of Iran in the hot and dry climate is the city of Isfahan, which has enriched its historical context with numerous valuable historical houses.  Despite the implementation of urban tourism projects near them, many of these houses have not been studied so far and have remained hidden from the local people and tourists of this city.  These works include many values ​​that encourage us to protect and guard them.  The most important values ​​considered in this research are, in short, the authenticity and heritage values, the cultural infrastructure of development, construction technology and aesthetic expression, the comprehensive knowledge of which will lead to a better understanding of the current and future generations of the ways of life and identity of past civilizations, and cultural connection and cohesion.  The society leads.  Therefore, the protection of historical buildings and monuments is basically for the identification, awareness of the present and future generations with the way of life of the past and a meaningful link with it, and in this way the connection with the background of civilization and culture of different generations and the cohesion and cultural identity of the generations remains stable and dynamic.  This work is possible only by recognizing, paying and representing the inner features of the works.  These features were divided and recognized in a historical building and in this research the historical house of Isfahan Episcopal Circle as an example based on climate patterns, culture, geometry and shape and architectural and structural elements.  Also, the inherent characteristics of spaces, which guide the explanation of the correct placement of uses, objects and furniture in a building, can be achieved based on the well-known theory of space syntax and UCLDEPTHMAP software.  In this research, this requirement was fulfilled by analyzing the characteristics of integrity, entropy, depth and connection.  Matching these features with the historical cultural and artistic usage aspects of the museum showed that, first of all, a building with such features has a high ability to change its use to a gallery or specifically a museum, and it is possible to determine how to arrange and display works in the spaces with their help.  Did  In addition to these, the movement and stopping and circulation path in the spaces, the use of light and ventilation and the maximum use of each space by taking advantage of the knowledge obtained from these characteristics provided the basis for a high efficiency plan.  The studies and investigations carried out in the historical house of Isfahan Episcopal Circle aim to identify the capacities and spatial analysis of this house on the one hand and its components and elements on the other hand, in the context of the proposed revitalization plan which is used as a museum or a gallery in general.  Provided  Also, explaining the theoretical foundations of the protection plan as a supporting thought for practical measures, by reviewing international and national charters and conventions and adapting their provisions to the prevailing values ​​in the building, specifies the general intervention strategies and policies and prevents unprincipled interventions.  The historic house of Isfahan episcopal circle is located in the center of Miansera in the form of a booth based on the model system of the late Qajar and first Pahlavi periods.  The southern courtyard forms the larger and main open space of the house, and the northern courtyard is a small-scale and private space.  A new space was built in the northern courtyard in recent years and its architectural system is modern.  The orientation of the house is consistent with the model system of historical houses in Isfahan and northwest to southeast.  Open, semi-open and closed spaces are observed in it and it has pillared porches on both the north and south sides, but the hierarchy of the previous periods has changed in this house and its main dividing space is in the center of the house and has a luxurious staircase to the upper floor.  The non-load bearing walls are boxed and the weight of the roofs is transferred to the load bearing walls with sharp eaves and a three-part chafed form.  The roofs are flat and covered with beams and no arches are used in this house.  The materials used in the walls are all clay, and in the place of the pakar, they have used larger wooden blocks to prevent drift, and they have made the pakars tight with wooden subs.  The main façade is made of brick and is decorated with porcelain tiles.  Two wells in the southern and northern courtyards supply water to the house, and next to the main well in the southern courtyard, there is a 12-meter L-shaped space similar to a cow well.  This house was owned by one of the political and social figures of that period, and it has a luxurious and wealthy building, and it is placed in the Darsht Peymon architectural system.  The use of cultural symbols of Christianity, such as the cross in various designs and the Pope’s crown in its decorations, and skylights similar to church solar lights, are among the effects of cultural factors in the building of this house.  The shape patterns and geometric divisions are consistent with the geometric system of the houses of the previous periods, and the three and five common divisions of the Safavid and Qajar periods have been beautifully observed.  In the plan, it is divided into two parts, east and west, and each part has a five-door in the center and three doors around.  This pattern, which is also known as Berwar and Mianvar, is a common shape pattern of large historical buildings in the hot and dry climate.  The materials used in the historical houses of Isfahan are generally compatible with the climate and include clay, brick and wood.  One of the most important structural features of these houses is the use of flat coverings along with arch coverings with decorative corners.

A coin is one of the most important archeological artifacts scattered in distant lands due to its economic-financial function and importance in this regard. It can be said that coins, like the pottery, are distributed throughout the empire and sometimes beyond. The economic value and significance of these works and the raw production material ensured their preservation and stability for centuries. These characteristics led to the constant use of kings, caliphs, and rulers as a medium for expressing political and religious views and propagating the empire. For this very reason, the central governments used them as a sign of their guardianship over the territory; the emperors, princes, and local rulers also consistently declared their allegiance, coinage, and various forms of coinage. From an archaeological point of view, while receiving the exact date of construction, they facilitate the chronology of archaeological layers. Because the canvas coin is so important in capturing and preserving past governments' political and cultural views, it is also of great importance in archaeological interpretation and analysis. Coins were one of the most important landmarks for portraying the faces of kings and rulers before the spread of Islam, and the inhabitants of the farthest parts of the land could see their ruling face through them. However, in the Islamic era, despite the activities of some local and regional rulers, the depiction of the ruler's face and other human and animal arrays on coins disappeared in general, despite the prohibition of portraiture.Meanwhile, copper coins called follis appeared in a different form, especially in the later centuries of the Islamic period. The line of prohibition was not observed for them, and mainly by local multiplication, they became a significant canvas for depicting animal faces and celestial bodies. Research has been done on the function of these motifs; some have attributed them to the constellations of the zodiac, while others have described them as repetitions of ancient imagery that pre-Islamicized. Some noted the religious use of these arrays.In the Iran Money Museum exhibition section, there is a dirham of Kaykhosrow Kiqbad, the merry king of Roman Seljuks in the seventh century; AH, and several follises that carry remarkable astronomical motifs and constellations. They have not been considered in independent and unique research despite preparing an export file. In the present study, an attempt was made to study these samples, introduce them and obtain their characteristics. Attempts have also been made to bring the function of the motifs to the extent to which historical sources, historical geography, and archaeological documents contribute.From the time man needed to know the time and place in the regulation of daily affairs, he noticed the apparent and esoteric movements of the planets, including the sun. He also quickly directed the light and heat of the day and year and the adjustment of the seasons to the sun. Hence, he valued it and other planets more than ever; besides tying his destiny to their actions, he was also given a divine status. He attributed much of what was happening or happening around him, including the weekly colors, the days of the week he had set, the weekly minerals, the components of the human body, and so on, to the seven constellations he knew. These objects became more and more critical in his thoughts because he was able to accurately observe their movement in the houses of the celestial sphere to determine the exact time of day, week, month, and year. So he tried to reflect the image of them or the signs of the calendar he had set on them in works of art and architecture.Communities' need for declining mid-value money to meet daily needs led to the creation of copper coins. That is why the local governors used their multiplication with the permission of the central government. Specifically, in the text of the expressions of the Safavid period follises, its local content can be seen; Because there are no more poems such as "The servant of the king of the province ...", "The coin hit the gold ..." and "Behgiti, the coin of the Qur'an ..." which was exclusively in the hands of the kings of this period. On the other hand, the annual and, at various times, non-renewable validity of these coins and their limited regional value had detrimental economic effects on the general public. The yearly renewal, despite the available results, guaranteed meager incomes for the central government and local governors. Counterfeiting in the minting of these coins had also become commonplace. These few factors led to the coinage of what had initially been an efficient solution for tax affairs based on the economy itself and gradually the economic decline of governments.At times, the base metal of coin production, especially copper, fluctuated in frequency; In such cases, copper utensils were also used in commercial exchanges and used as a means of exchange. Sometimes the dishes were cut into pieces different from the usual shape of a coin tablet. Coins were stamped in the mint, and coins were found and offered to the market. The unusual form of some Money Museum coins goes back to such exceptional circumstances. These types of currencies were popular in financial relations with letters such as "scrap," "small money," and "broken money." Insufficient supervision by the central government and the need to mint coins in large quantities had minimized the accuracy of minting. For this reason, in many specimens in which the coins of the Money Museum are mainly classified, the position of the designs and expressions do not overlap with the circular surface of the coins and sometimes did not mint.In other words, part of the vinegar is pounded out of the metal tablet during production.The frequent presence of figures in the symbolism of the Iranian and Islamic calendars with the sign of the month of the year or in astronomical rulings as the time and hour of Saad and Mubarak, and at the same time with the same image on the coins of the Money Museum, induces a similar function. This is true when we recall that in the thirteenth year of his reign, Jahangir Gurkhani ordered that in a few years, his gold coins be stamped with the symbol of the Twelve Towers, which are the twelve houses of the Sun 365 days a year, in a vivid way. Although doctrinal and religious themes can be found in some of the other coins, they are also commonly found in coins of the Money Museum and many other Islamic-era coins recorded in different public and private collections; others, although they may not show a specific month or year, mark a duplicate aspect of celestial bodies or the constellations. In other words, although many of these motifs appear to have a particular purpose in depicting the constellations of the zodiac and the periodic animals of the Chinese-Tatar calendar, they may not represent a particular year; Because multiplying a large number of them in a certain year and with various animal motifs, makes their relation to a certain year seriously questionable. Therefore, this category should be considered purely imitative and not necessarily with a calendar function.The coins of the Money Museum of Iran belong to the seventh to the end of the thirteenth century AH; One dirham belongs to Ghiasuddin Kaykhosrow Kiqbad, king of Roman Seljuk. This coin plays the role of the lion and the sun, which was the fortune of the king. Although, according to historical reports, another meaning of this role has emerged in the opinion of Shah Seljukh, one can find the horoscope of Ghias-ud-Din Kaykhosrow, which is the same tower of Assad with the presence of the sun in it. In the science of the ancient delegation, among the zodiac constellations, the lion or Assad is known as the house of the sun; That is, the sun was in the Leo, which is equivalent to August in the solar calendar. Whenever this happened naturally, it was also considered Saad clock; because at this time, the power of the sun and its warmth in Mesopotamia and the vast geography that has long carried the Iranian culture, due to the natural distance between the two seasons before after, more than ever. This idea found another face in the later centuries of the Islamic era. The new aspect goes back to the Shiite culture of the Iranian governments; the sun or sun was depicted as a symbol of the Holy Prophet of Islam (PBUH) and the lion as a symbol of the first Imam of the Shiites, Hazrat Amir al-Mo'menin Ali (AS). To express this religious idea explicitly, the phrase Yam Mohammad in the form of the sun and Yaali in the form of a lion are multiplied. Other museum coins are, in fact coins from the later centuries of the Islamic period, one belonging to the late Timurid period and several others minted in the Safavid and Qajar periods. The role of two symmetrical fish on the coin of the Timurid period is a repetition of the same pattern that has been seen in many works of art of the Islamic period; This array is considered the symbol of Pisces, which is equal to March of the glorious calendar, and a similar interpretation can be given in the examples of the Money Museum. The role of the sun, identified with the human face, can be seen in two examples. This array of repetition is the same form that existed in pre-Islamic art without a human's face. The importance of this star in providing some of the vital needs that before Islam had given it a quadruple rank is effective in its entry into works of art. In the Islamic era, he appeared in the form of the sun in works of art and architecture, and in the late Middle Ages and later centuries, he continued his artistic life with a human face. Apart from the importance of the astronomical and calendar function of this star, which has been constantly considered by human beings in compiling the first calendars, it also found another aspect in the Islamic era, namely that the sun was considered a sign of the presence of the Holy Prophet of Islam (PBUH). And they used architecture.On some others, an example of which is given in this article and belongs to the middle of the Qajar period, changes were made to the lion and sun emblem, and Zan became the official emblem of Iran; The change, which had a religious color, was that the lion's array was identified and a sword was placed in one of his hands. This sword is a symbol of Zulfiqar Imam Ali (AS). In other words, the sign that was previously represented by the phrase Ya'ali in the early Qajar period was completed with the annexation of Zulfiqar. In this way, the ancient and national emblem was combined with the Shiite religious idea and found its final form and was preserved on or on the back of Iranian coins for a long time.

From the 1980s onwards, theoretical debates about time in archeology were formed, which finally led to discussions on"perspectivalism of time". In addition, the issues of epistemology and human perceptive abilities and social memory in the 1990s and 2000s caused the concept of time and how it was perceived by human groups in the past to be the focus of archaeologists, therefor various factors such as social memory and remembering the past and their role in strengthening the individual and collective identity of human groups were investigated. In the last three decades, various aspects of time, such as biography, memory and social memory, long-term history, narrative, non-linear systems, landscape, and archaeological records, have been studied, all of which express different perceptions and understandings of time.The main question of this research is how the people of the past understood, remembered, marked, and measured time. To answer this inquiry, the authors used archeological and anthropological data and investigated the "time-consciousness" of human groups in terms of marking time, learning, anticipation and foresightedness, remembering the past, and death awareness and time allocation in daily activities, which are discussed below.In the Paleolithic and Neolithic ages, we are more concerned with marking time than measuring it. From an anthropological perspective, a hunter/gatherer's life was initially prioritized according to opportunistic and appropriate needs, and these people marked the seasons and time by the growth of plants, rainfall, and other natural phenomena (Clark 1992: 39-59). In general, most archaeological sites have some evidence of time marking among the members of the society that inhabited that site. The life cycle (growth, birth, migration, etc.) of plant or animal species depends on certain seasons of the year, so plant and animal data provide us with information about the time dimension of activities. Among the archeological pieces of evidence which have been referred to in the discussion of human "time-awareness" in the Paleolithic and Neolithic eras are bone objects and stone plaques with a series of consecutive signs carved in the Neo-Paleolithic Era of Europe (Marshack 1972; d'Errico 1998) and stone monuments of the Neolithic age of Europe such as Stonehenge (Ruggles 1988).The concept of learning is one of the topics that show the understanding of time by prehistoric human groups. Hand tools such as old Paleolithic hand axes and hand tools made with Luluwa technology by Neanderthals show that learning to make them required considerable energy and time. Anthropological studies among contemporary sculptors indicate that this skill can only be learned with deliberate and purposeful practice, and it requires years of training to acquire the skill.In general, things like evidence of food sharing from the earliest times, the reliance of human groups on bilateral exchange with delayed returns, and rational planning for the organization of livelihood to facilitate the optimal use of food resources with the irregular seasonal distribution and the sequence of complex reduction in the production of stone artifacts such as Luvala technology in the Paleolithic era; And behaviors such as food storage, timing and time planning based on agriculture and animal husbandry and adjusting time to increase the efficiency of production activities in the Neolithic era are all signs of awareness of the future and foresight in the subject of "time". Consciousness is the human family.One of the most critical topics in "time awareness" is how prehistoric people remember the past. Remembering or forgetting past events in the present has been directly related to the social memory of human societies (Zerubavel 2003). Based on ritual activities, ritual buildings, structures, cultural materials with specific coded meanings, or even physical actions, societies communicate with the past and remember it. Anthropological studies show that the myths and traditions that today's food-gathering people present and implement play a vital role in validating their social structure (Clark 1992: 45). Remembering the past in the archaeological record can be well examined through the tradition of burial.The first evidence of official burial dates back to about 100 thousand years ago, which was reported from the caves of Tabun, Eskhol, Qafe, and Shanidar and related to Neanderthal and modern humans. Neanderthal burial evidences have been reported from sites such as Shanidar, Tishik-tash, Laquiena, Farasi, Amoud, and Dederiye, along with burial gifts such as hand stone tools, bone retouching, carved bones, and stone tablets with cups. (Pettitte 2011). All these evidences show that the Neanderthal man was well aware of death and had thought of measures to face it. However, the first burials of modern humans in Africa were simple and with the most minor complications, like the burials of Neanderthals (D'Errico and Vanhaeren 2016: 46), the burial traditions around 20,000-30,000 years ago. The highest level of complexity is reached in the Paleolithic age. Burial customs, in addition to the basic rules such as the use of ocher flowers, body decorations, and funeral gifts, include complex actions such as the secondary placement of the corpse, moving and removing the skull and some long bones, scattering the body parts on the cave floor, signs The cut is made on the skull, chest, and hand, which was done on the corpse after death.At the end of the Paleolithic period and the beginning of the Neolithic period, various and complex burial traditions such as primary and secondary burials, skull coverings, stone masks, and human statues with relatively natural size, deformation of the skull, separation of the skull after death, continuity between animal and human burials, ritual rooms in areas such as Chai Ono, Jericho, and Bostan-sur, home shrines in regions such as Malaha and Nawali Chori, ritual and burial areas such as Gobgli Tepe and Kafir Hahoresh all indicate the high status of the deceased and the role of death in people's daily lives.From an archaeological point of view, it is impossible to estimate the amount of time spent in production and subsistence activities, but based on anthropological studies, it has been determined that food-gathering groups can obtain subsistence necessities by spending a little time. Provide yourself several days. The change of life from foraging to settlement and the formation of the food production economy in the Neolithic period caused that, in addition to the fact that humans had to spend more time in the agricultural fields, to obtain a sufficient crop, domestic work Such as house repair and restoration, product storage, plant feed processing, herd treatment and care, etc. should also be added to the list of his numerous daily activities.The present research showed that prehistoric human groups and societies understood time in a circular way and based on their daily activities and seasonal rituals, and based on seasonal changes and natural phenomena, efforts were made to mark They have it. The temporal structure of the activities of prehistoric human groups highlights the crucial role of social memory and provides a critical path toward a social understanding of time in the form of continuity and change. Anthropological and archaeological studies show that in addition to the timeliness of social activities, remembering the past plays a vital role in the social status and identity of individuals and families within the community and property rights over resources (land, water, etc.) and serves the continuity and unity of the society. From an anthropological point of view, since the time of upright man, we have witnessed the complexity of the process of "time-consciousness" in the human species. Although the first signs of "time-awareness" in the upright man are limited to spending considerable time in learning to make stone tools or far-sighted livelihood, with the emergence of modern man, he witnessed fundamental changes in human cognitive processes, which shows the emergence of a new understanding and relationship of the concept of time, past, and future. The monogamous life and domestication of animals and plants caused fundamental changes in man's definition of himself, the world, and understanding of time.

Muslim scientists have studied and investigated the series of topics that are referred to as physical science in two topics: “natural science” and “educational sciences”.  In the meantime, sciences such as the science of landscapes (optics), the science of statics (statics) and the science of tricks (mechanics) were under educational sciences and other parts of physical science such as the science of movement (dynamics) were under natural science or physics.  In the meantime, the science of landscapes (lighting) was one of the first sciences to be mathematical.  In its ancient and classical era, this science expanded and evolved and changed its form in the Mediterranean area and entered the Islamic civilization through the translation of the works of Greek and Alexandrian scientists.   From the point of view of Islamic scholars such as Farabi (259-339 AH) and Ibn Khaldun (723-808 AH), landscape science is a branch of mathematical sciences and an integral part of geometry, which causes errors and mistakes in visual perception.  It is revealed by knowing how it occurs through geometric proofs (Farabi, 84:1949-74; Ibn Khaldun, 2:1353/1019).  Many Muslim scholars such as Yaqub Ibn Ishaq Kundi (185-256 AH), Zakaria Razi (251-313 AH), Avicenna (370-428 AH), Abu Rihan Biruni (440-362 AH)  And others have studied the science of landscapes, but the one who was able to bring about a huge change in this science was Abu Ali Hasan Ibn Hasan Ibn Haytham (430-354 AH).  Although he used the works of Greek scholars such as Ptolemy in his light science, but by writing his great work, the Book of Comparisons, he built the science of landscapes on new foundations and made it scientifically coherent and organized it in a new way.  This book was translated into Latin and was one of the main scientific sources of this debate in Europe until the 17th century.  After Ibn-Haytham, the science of light knowledge was forgotten in the Islamic civilization to the extent that in some famous scientific centers of the Islamic world, such as Baghdad, with the change of the intellectual tradition ruling the Islamic society, Ibn Haytham’s scientific writings were considered one of the main causes of the society’s calamity, which should  be destroyed, but in Iran during the Ilkhanate era (736-654 A.H.), the institution of education, which was at the disposal of Iranian and Muslim scholar-loving statesmen and benefited from financial resources independent of the court, i.e. endowment income, by adopting different scientific policies,  Educational and cultural such as curbing the brutality of the Mongolian element, introducing the patriarchal sultans to the concept of justice and familiarizing them with science and knowledge, supporting various branches of intellectual sciences and training young scientists in this field, bringing back fugitive scientists and attracting active scientists in various fields.  Sciences from different Islamic lands and other than that and spiritual and material support for them, building scientific and educational collections active in the field of intellectual sciences such as the Maragheh Observatory, Rubab Rashidi, Shanb Ghazan, Abuab Albar Soltanieh and countless schools and other such policies could create a suitable environment and  Close to the scientific atmosphere of the Sama era  Nei and Al Boyeh provided for the resumption of scientific activities in Iran.  The result of applying the mentioned policies by the mentioned institution is the revival of rational and exact sciences in Iran, preserving and simplifying the achievements of the predecessors in this field and developing scientific innovations in various branches of these sciences such as astronomy, mathematics, physics and its components.  In such a situation, the science of landscapes was once again taken into consideration, and following the researches of active scientists in the scientific and educational centers of the Ilkhanate territory, a renewed interest in this science was achieved and led to new discoveries.  Khwaja Nasir al-Din Tusi (672-597 A.H.) was one of the first scholars of the Ilkhani era who, years after Ibn Haitham’s death, once again paid attention to the science of landscapes and vision and studied the activities and works of Ibn Haitham and wrote notes on them.  Khwaja Nasir Barkatab al-Manazir Euclid wrote an essay that seems to have an educational aspect like his other essays and provided knowledge for the use of the Taliban.  He also tried to explain the origin of the light of the zodiacal region, which is called “false morning” in the texts of the Islamic era, by means of a geometrical proof in a short treatise in Persian language and titled Treatise on False Morning.  Among other works of Khwaja Nasir in the field of landscape science, we can mention the treatises on ray reflection and flexures and the treatise on rainbow research.  Although these works of Khwaja Nasir did not lead to the discovery of new hypotheses and findings in landscape science, but he was able to become the source of renewed interest and interest in this scientific field and to motivate his contemporary scientists to research in landscape science.  A science that was neglected after Ibn Haitham.  Qutb al-Din Shirazi (710-633 AH) is another scientist of the Ilkhanid era who, following his teacher, Khwaja Nasir, studied natural phenomena and light science.  However, due to his many scientific activities, especially dealing with the general explanation of Avicenna’s law, he did not find the opportunity to do sufficient research in landscape science and create specific works in this field, despite his inner desire.  Therefore, the most important ideas of Shirazi in the field of optics and related sciences can be found in his works on astronomy.  He talks about the geometrical light and the nature of vision in the book Nahayeh al-Adrak fi Darayeh al-Aflaq, and at the end of the third chapter of the first article, he discusses the quality of vision.  Shirazi also mentions the property of reflection in the description of the phenomenon of vision.  In the twelfth chapter of the second article, the moonlight and eclipse phenomena are discussed.  Another important action of Qutbuddin Shirazi in the field of light science was guiding and guiding his student Kamaluddin Farsi in various light science topics and introducing Ibn Haitham’s Al-Manazir to him, encouraging and persuading him to study and research the topics of this book, which resulted in the survival of the theories.  And Ibn Haitham’s works in the science of light science and new findings in this science have been after centuries.  Kamal al-Din Farsi (718-665 A.H.) relying on experiments and experimental methods, unlike Khwaja Nasir and Qutb al-Din Shirazi, distanced himself from explanation and interpretation, and while reviewing and revising the opinions of the past, in the form of two books titled “Tanqih Al-Muhamad”  Lazvi al-Absaar wa al-Basaer” and “Al-Basaer in the Science of Views” to present their views on various topics of optics such as light reflection, light refraction, light movement, the structure of the sense of sight, how the sense of sight is, the relationship between the sense of sight and light, errors of vision, the emergence of color  Arc, halo of light, emergence of colors and other aspects.  In this way, while using scientific and accurate methods, he was able to add valuable points to the science of optics and revive, expand and advance it.  The study and analysis of Persian has been carried out with a scientific and completely serious method, and it is not surprising that it has led to the discovery and correction of some topics.  He conducts additional experiments and presents new ideas in various topics of landscape science that did not exist before him.  Also, Farsi is the first person who added another error to the vision errors mentioned by Ibn Haitham and called it “spreading the effect” and proposed simple experiments to check it.  He used the same procedure about the rainbow phenomenon, the most important optical topic in which he reached a conclusion.  In this matter, Farsi made a major change not only in the concept of the Aristotelian tradition (thinking of the function of clouds as a concave mirror) but also in the adoption of an experimental method (embedding a glass sphere containing water as an example of a raindrop in the sky).  In addition to the importance of Kamaluddin Farsi’s scientific findings in the field of light perception, what has doubled the importance of his works and activities in this field, the facilitation of scientific materials related to this science in the form of textbooks for a better understanding of science students in educational centers, which has attracted the attention of scientists  The Islamic realm has been effective in the science of light science and preserving the scientific achievements of previous scientists such as Ibn Haitham

The great importance and ever-increasing expansion of the field of preservation and restoration of historical-cultural monuments and its daily connection with other scientific fields and branches, and its becoming more complex, always face this specialized knowledge with new challenges.  In the meantime, there is a need for this field to maintain and update its connection with all sciences in the current era.  Today, we are witnessing the forward expansion of conservation topics and the study, testing and discovery of new methods and materials used in restoration processes.  Meanwhile, advanced modern tools and methods can help preserve cultural property.  It may not be possible to take samples during the examination of some historical and artistic works as well as archaeological objects for the purpose of scientific study;  Especially, in modern conservation and restoration studies, there is an increasing need for non-destructive research to prevent object sampling.  Collecting study samples from historical and cultural works has always been one of the challenges in this field, which currently, due to the advances in scientific and laboratory methods, destructive methods are somewhat outdated and should be replaced by new methods.  Give non-destructive or semi-destructive tests.  Since the duty of the science of protecting a historical work and consequently the studies and activities of the restorer/conservator must lead to the preservation and maintenance of the work, the issue of allowing destructive sampling, in what case it will be possible, should be very  Justifiable and in line with its goals.  Otherwise, removing the sample will damage and remove part of the work, which will not be able to return to its previous state.  Therefore, it is very important that the laboratories of archeology and restoration of historical monuments, as well as the researchers of different institutions, pay sufficient attention to this issue.  In line with the topics discussed in the above lines, the authors have tried to point out concrete examples and the results by introducing different methods of machine analysis of a work, and finally, minimalistic methods, consisting of non-destructive studies in  To introduce and examine the field of cultural heritage that has been used on the works of the foundation’s cultural institutions and museums.  Authenticity assessment and expertise of the works in the treasures of the Cultural Institute of Foundation Museums has been one of the most important projects implemented in recent years.  For this purpose, in this article, an attempt has been made to provide a report on the performance and processes of doing work with a non-destructive approach.  In this article, after introducing and reviewing the methods of non-destructive analysis on historical and artistic works, the type and method of analyzes carried out in order to examine the works in the restoration department of the institute will be discussed.  The implemented methods are divided into two ways.  First, portable analysis methods such as Raman spectroscopy and X-ray fluorescence spectroscopy, then optical imaging methods, and finally, the results of the aforementioned analyzes are mentioned on some of the works.  The most important use of these methods for the researchers of these lines is that they are non-destructive and do not require sampling of the works under study, because the samples under study and available in the treasury of the institute are very important and sensitive works that cannot be  He took a study sample from them and transferred it to the laboratory, so this feature of the mentioned methods is one of the most important abilities and benefits of its use.  In the surveys conducted using this method (in the Cultural Institute of Foundation Museums), works such as painting on canvas, painting, calligraphy, parchments, glass and pottery have been analyzed.  In total, the number of works analyzed using this method reaches 50 works.  After setting up and operating the Raman equipment in the restoration workshop, the selected works were subjected to initial checks for analysis.  In the process of authenticating the works in the Cultural Institute of Foundation Museums, a number of works that required laboratory tests and checking the authenticity of the works were divided into two categories of works of mineral materials and organic materials, and then they were subjected to mechanical analysis.  .  The main purpose of using this method and analyzing the works was to check the structure and composition of the materials as well as the authenticity of the works.  In the meantime, an attempt has been made to provide a report on the experiences of using the device analysis methods that have been used in the restoration department.  Using portable Raman spectrometry, a leaf of Timurid Zafarnameh was analyzed and its colors were analyzed.  The results show the use of indigo blue, lead white, shangraf red, malachite green, carbon black, shangraf red and syringe red.  The use of portable X-ray fluorescence spectrometry method on the used gold and white colors of a Pahlavi period painting shows the use of gold and white lead rods.  Finally, a report on the use of scientific imaging methods is given.  These results have shown well the discolorations and fractures and intrusions in the existing samples.  The results obtained from the data obtained from the application of the mentioned methods have been very significant and useful, so that the authors emphasize the use of non-destructive and portable methods in the study of museum and artistic works.  Our goal in using these methods was to identify the structure and materials used in line with the goals of authenticating those works.  Because the technical and structural studies of the work, along with other fields used in the institute, such as the opinions of expert experts on historical works and historical and comparative studies that are carried out by experts and researchers both inside and outside the institute  It is possible to make correct and comprehensive decisions about the authenticity and value of the works at the disposal of the collection.  It has also been tried to use a methodological chart to achieve the executive processes of this field in a scientific and systematic way

The method of making and the concepts of motifs of four examples of primary mold models in the Foundation Museums Cultural Institute with similar motifs of baked clay are the basis of this research.  The molds that were made in the cultural area of ​​Neyshabur in the 5th and 6th centuries of Hijri are thicker and heavier than the bowl, and the inner body is not polished. Under the shadow of political unity, the wisdom of the kings and the general welfare, the Seljuqs boosted and developed all kinds of arts and industries, including pottery, and achieved a unique diversity in technology and decoration, and in addition to reviving the ancient ways of painting, they created innovations and inventions.  They brought it, which was unprecedented.  To convey the desired ideas, thoughts, and concepts, they used all kinds of human, animal, geometric, plant, and inscriptions to bring their thinking and intentions to the fore.  Painting and writing inscriptions required skill, and because of this, early mold models were formed so that the few masters could create and transcribe complex patterns of human figures, animals and birds, mixed animals, and beautiful and meaningful inscriptions by designing positive molds.  Provide them to the potters so that it is possible to create more containers with complex patterns and inscriptions.  Patterns and inscriptions that used to be possible to design on metal containers and plasters.  The models are often made of baked clay, and many second-hand models have been obtained from ancient sites, which were formed by pressing the negative mold from the original mold.  Although the second-hand mold does not have the accuracy and quality of the original model, it is a suitable tool for producing pottery with complex patterns and inscriptions.  Secondary models are smaller and less sharp than the main models, and compared to consumer containers, they are thicker and do not have attachments such as bases, handles, and pipes.  The multiplicity of molds in the ancient site of Neyshabur with the same shape and design is due to the slow rate of moisture absorption, and the potter had to use several negative molds at the same time to maintain the speed of production. The most prominent role of the samples studied is the inscription in Mozhar Kufi script with the themes of survival, government, victory and prosperity for the owner of the work, which surrounds the mold and creates unlimited shapes in combination with flowers and bushes and Islamic designs.  A script that has grown since the fifth century of Hijri and has provided frames for separating motifs with drawn letters such as A, Lam and Vav.  It should be noted that the potters paid more attention to the decorative aspect and aesthetic considerations than the content of the inscription, and added to its beauty with delicate plant and geometric shapes and the use of thin and thick pens and varied seating according to the twist of the container.  Three systems of writing, geometric and plant are often observed in inscriptions in the lower, middle and upper parts, and thanks to the mentioned inscription, the writing and plant systems are evident in the lower and upper parts, and the geometric system is not drawn in the middle. Among the inscriptions and frames, animal motifs including rabbits, all kinds of birds and mixed and mythological animals are drawn.  Two rabbits with a real body and composition are playing among flowers and bushes while showing the coexistence and familiarity of artists with this animal. It is a sketch of common ideas in the place, including the rabbit constellation, which is a small constellation in the southern hemisphere of the sky and in the east of Kalb (Sek).  Asghar is located.  Eagles, ducks (goose and ducks) and hummingbirds are birds that the potter artist is familiar with and they are depicted because of overcoming fear and importance in providing food, and in the culture of symbols, like the media, they convey the thoughts of artists.  To give  The motif of the eagle is the manifestation of the Yazidi goddess, the authority of the kingdom and the auspicious chicken, and it is also depicted in the Mithraic petroglyphs.  A native bird that has appeared on cultural works more than other birds and Muslim artists have adapted this motif based on previous traditions.  According to a story from the Shahnameh, the eagle was tamed by Tammorth Ram and used for hunting, which shows that the Muslim people of Iran knew national legends and myths and consciously took advantage of them.  Two ducks with the body of a goose and a duck are an image of the world around the artist, and ducks were one of the primary sources of food.  The motif of ducks has become more decorative and distanced from the previous meanings, and sometimes it has been considered as a symbol of water and prosperity.  The image of a bird with a body similar to a vulture with two horns (ears) on top of its head and sharp claws and ready-to-fly wings is a representation of a Homai chicken.  A role that shows a return to national stories and legends and is the basis for the depiction of legendary chickens.  A magnificent and luxurious bird that is formed in Iranian mythology with characteristics similar to simorgh and phoenix based on symbolic concepts and is a symbol of good fortune, government and kingship in legends.  Homai is the same as Fer, and in pre-Islamic culture, it was auspicious and taken as a good omen, and in the Islamic era, it found a special place due to the belief in happiness, good fortune, and prosperity for the one whose shadow falls on him, and in epic and mystical literature.  And lyricism has been addressed to it. The combined role of man and animal is due to the lack of familiarity with the scientific reason of the phenomena, and it has given them supernatural power and asked them for help with metaphysical images.  Creatures that were symbols of gods or good and evil and the continuation of these symbols in the Islamic period shows their importance.  Images that are the result of human imagination in contact with animals and thinking about those creatures.  Monsters that were created by changing and combining the parts of several animals with humans, and in fact, it is nature's mat’h.  The changes that, from the human point of view, were to eliminate the defects of creation and sought perfection by combining the organs.  Zoology of imaginary creatures was liked by Seljuk artists and by combining the head and torso of a human and the body with the legs of an animal such as a sphinx and combining the body parts of several animals such as a griffin, perhaps he was looking for the religious themes of shamanism, which had a form of magic and its followers.  They believed that they can bring nature under their power and control and control the world with natural powers and ward off diseases and harmful spirits.  Sphinx with human head, lion’s body and eagle’s wings was created by human imagination and the wing is a sign of ferocity and supernatural power, it promises abundance.  The legendary griffin or Shirdal Mojoi with the body of a lion, the head and wings of an eagle, the ears of a horse and a floating crown like a fish, is a wonderful creature created from two powerful animals, an eagle and a lion, the king of heaven and earth, and is a symbol of security, power, originality and nobility.  In the Islamic period, it has the dual concept of good and evil. In summary, it can be said that the inscription and the inscription complement each other, and the blessing of the inscription for the owner of the work has been completed with symbols of good fortune in the form of real and imaginary images of animals, birds and humans.  Rabbits are the symbol of the rabbit constellation, the eagle is the symbol of the heavenly gods, the ducks are the symbol of water and prosperity, the hen is the symbol of good luck and the government and the kingdom, the sphinx is the symbol of Farah and supernatural power and the promise of abundance, and the griffin is the symbol of security, power and ability with the message of the inscription.  It has alignment and convergence.

Across the world, several museums are committed to accessibility and accommodations for the general public, such as closed captions for the D/HH (deaf and hard-of-hearing) visitors and ramps for wheelchair users. However, not all disabilities and disorders are visible, it is critical that museum professionals be aware of what should be done to ensure that visitors with disabilities or disorders have a pleasant experience in the museum.
Numerous museums have already created programs for people with specific disabilities or disorders. Autism spectrum disorder is one of the most challenging disorders in statistical guidelines and diagnosis of mental disorders.
How can individuals with Autism benefit from museums? What additional features can museums provide as services to the Autism community?
The importance of museums' attention to all people in the society, including people with autism, is necessary to pay attention to their programs and to change society's attitude toward this spectrum of individuals, as well as to reduce social deprivation of these people.
These people with disabilities have ideals in their individual and social lives, such as "interpretation of landscapes, entertainment, self-examination, escapism, the ability to forget everyday problems without the help of others, feelings of relief, etc., which today is possible through cultural activities.
But the question is, what is the duty of the museum as a cultural and social institution to these people and how can it be effective in increasing the presence of these people in society? For this reason, it is essential to examine a number of issues related to each other, namely, access, participation and interaction of the museum with these people. One of the needs of these people is access.
Access to museums is not only physical access and entrance to the building, but also conceptual, intellectual and intuitive access in real and virtual online, as well as the ability to read text, listen to audio and video media, etc.
In this regard, on World Museum Day (May 18th), The Art  Museum of Iran held a workshop in two days. On the first day that presented by professionals and guest speakers to spread awareness to train personnel in how to deal with ASD children and to identify this disorder and how museums can be made more accessible to them.
On the second day, a group of autistic children with families visited the Museum, the group also consisted of young individuals with low, middle, and high-functioning abilities (low being low verbal skills and high being Asperger syndrome), and after visit the museum held an art-making activity with the theme of museum experience. Finally, questionnaires were given to autism children and their families, to examine behaviors of children with ASD while in the museum, and to see if an art-making activity after the museum visit is directly tied to the museum experience.
Results indicated that museums continue to be stressful for families, and parents would like materials to help reduce anxiety in their children before and during the visit. Art-making after the museum visit allowed children to reflect back on what they saw and did during their experience.