نشریه بنیان هنر؛ جستارهای موزه داری، مرمت، باستان شناسی و تاریخ هنر
پیاپی 2 (پاییز و زمستان 1402)

The neighborhood holds a significant role in urban settings as it serves as a crucial connection between the city and its inhabitants. It is considered one of the smallest units within the traditional structure of Iranian cities, encompassing physical, social, and even ethnic aspects. Through offering essential daily services and establishing distinct symbols and characteristics, each neighborhood fosters a sense of belonging among its residents. This bond is so strong that individuals are often recognized by the name of their neighborhood. The concept of the local community can be explored and evaluated from three different perspectives: the social concept, the legal-economic concept, and the geographic-regional concept (Abdullahi et al., 1385: 11).        Sustainable development is one of the theories and perspectives that aim to promote the concept of the local community. Over the past two decades, it has emerged as a new model, challenging the prevailing scientific views and practical policies worldwide. This approach is a response to the unsustainable nature of development, which fails to cater to the needs of all residents, both in the present and for future generations (Sarafi, 2010: 3).       The development of sustainable neighborhoods ensures that small urban communities can effectively utilize natural, human, and ecological resources. This guarantees that both current and future members of the community can enjoy optimal levels of health and well-being, a desirable quality of life, security, and a harmonious integration between the environment and the dynamic human and economic activities within the neighborhood (Cline, 1995:4). Historical Gardens and garden-districts of Iran         The current research focuses on distinguishing between the historical neighborhoods of a city and introduces the concept of garden-districts. These garden-districts are defined as neighborhoods whose formation, development, and continuity are directly influenced by the presence of gardens. Within these neighborhoods, the gardens have a profound impact on various aspects such as spatial understanding, work patterns, social division of labor, and knowledge transfer across generations, and the residents' overall perspective on mental and physical well-being. This influence is particularly evident in the residents' clothing, language, beliefs, and legends. The garden-districts have the potential to play a crucial role in environmental, sociocultural, economic, technological, policy, and legislative development. They are integral to achieving sustainable development and can be revitalized through comprehensive and inclusive management. By doing so, they can once again contribute to strengthening the identity and sense of belonging among neighbors and their connection to the living environment. The proposed plan for revitalizing the garden-district of Kodivar in Semnan, based on the patterns explained in the basics of sustainable development To begin the revitalization process, it is crucial to acknowledge the internal and dependent capabilities of the designated area. This can be achieved through research, observation, inquiry, monitoring, analysis, and categorization of the gathered data. The next step involves determining the appropriate approach and evaluating it against established theories, guidelines, and criteria. This comparison should also include similar plans to select the most effective proposals, which will then be put to a vote. Finally, a comprehensive management plan must be developed, which includes ongoing monitoring and maintenance. Further details on this step will be discussed below.    In this section, an analysis of the gardens in the Kodivar neighborhood in Semnan was conducted, taking into account observations and relevant studies. The primary internal capacities of these gardens were identified, and a comprehensive approach was adopted to recognize their urban significance. Consequently, a proposed plan for the rejuvenation of these gardens was put forth, considering their crucial role in promoting environmental, economic, and social aspects. These gardens serve as a pivotal factor in advancing the objectives of urban sustainable development. The first step: Observation of the neighborhood community, urban structure, historical buildings, and gardens of Kodivar neighborhood in SemnanKodivar is among the eight historical neighborhoods that comprise the present-day city of Semnan. Its functional structure is composed of various architectural components, with residential areas and houses, a mosque, Tekiya, Hosseiniyeh, Fatemiyeh and Imamzadeh being the primary elements. Additionally, the neighborhood features bazaars, a Therm, reservoir, khut, pool, and water distribution runnels, as well as a tower and rampart, passages, and alleys.       The historical gardens in the Kodivar neighborhood of Semnan were established due to the flat topography and their suitability for hot and arid climates. Surrounding the shade garden are two rows of trees, with a blue stream flowing through them. Moving further inwards, the plots are separated by soil piles, each designated for cultivating a specific crop. Each garden receives its own allocation of water and is irrigated at specific times during the day. The most significant trees and plants in these gardens include mulberry trees, figs, pomegranates, grapes, eggplants, tomatoes, and beans. Additionally, every garden features an adobe room or a terrace where the gardener can rest, known as "kieka" or a small house in the Semnani dialect.        The social capital of Semnan's Kodivar neighborhood has experienced a decline over the past two decades due to the emergence of new neighborhoods in Semnan. The changing mindset of the farmer and worker population in Semnan has resulted in a shift towards consumerism and a preference for new jobs. Consequently, the personal and social well-being in Kodivar neighborhood has suffered, leading to the migration of original residents to other neighborhoods. Additionally, the influx of residents from other cities, particularly those with agricultural and labor professions from northern Iran, has contributed to a relative cultural disharmony in this neighborhood. The lack of communal spaces and gathering spots further exacerbates the situation, forcing residents to seek such spaces in other neighborhoods. This combination of cultural heterogeneity, population instability, and a lack of community spaces has perpetuated the population heterogeneity in Kodivar neighborhood.       Family and ethnic roots shape values, traditions, customs, social norms, food, drink, clothing, and handicrafts. However, these aspects are not integrated into the concept of neighborhood community. National institutions, encompassing social, economic, political, and religious domains, lack a local council structure. Consequently, the social distance between individuals and these institutions in the neighborhood is widening with each passing day. Based on conducted interviews, people of various age groups express low levels of satisfaction and comfort. Different traditional classes harbor distrust towards government institutions and exhibit pessimism and suffering regarding their policy and decision-making processes.In terms of economy and production, traditional resources such as handicrafts and agriculture, along with the associated knowledge and techniques, are on the decline and gradually fading into oblivion. The second step: identifying the treatment method and measuring itThe aim of this study is to enhance the consciousness of the inhabitants of Kodivar's historic district by rejuvenating the environment and restructuring the social fabric. This will be achieved by recognizing the hidden values of the area and encouraging active participation in the revitalization process, leading to the permanent preservation of the neighborhood. Furthermore, this initiative seeks to address social issues such as alienation, abnormality, and anomy by promoting logical and reasonable social actions against such phenomena. Additionally, the project aims to improve the conceptual quality of the space by revitalizing its identity based on architectural monuments and urban historical signs. This will help combat structural disintegration and educational damage to the environment, particularly for children, and improve the use of space for educational and social purposes.       Based on the specific criteria determined in the sustainable development section, which includes environmental, social, economic, and educational aspects, with a focus on the social aspect and comprehensiveness in the concept and body, it is recommended to study similar plans for the following uses and changes:Transforming historical gardens into gardens, which can serve as the main pillar for creating environmental infrastructure.Converting historical gardens into green spaces for recreation.Repurposing historical gardens as the center of the neighborhood.Transforming historical gardens into training centers and workshops for traditional and home jobs.Converting historical gardens into local bazaars for trading products.Repurposing historical gardens as a playground for Childern.Transforming historical gardens into agricultural tourism centers.Converting historical gardens into museums and research institutes for historical gardens. The third step: Design a comprehensive management plan:The comprehensive management plan for the revitalization of the gardens of Kodivar Semnan determines the following points:       Goals and values include vision and strategy, methods, resources and supply, protection and maintenance, target community, tourism plan, and process evaluation and control.

On August 27, 1978, Mohammad Reza Shah appointed Jafar Sharif-Emami to establish the cabinet to resolve the turbulent state of the country. To appease the public and gain their support, Sharif-Emami implemented a range of reformative actions to address the opposition's demands and manipulate the public. These actions were also highlighted in the widely circulated Ettlaat newspaper, a significant publication during that era.During Sharif-Emami's brief tenure as the head of the government, he made numerous promises and concessions in an attempt to prevent the collapse of the system and control the revolution. Meanwhile, the new government recognized the crucial role of the press in society and viewed it as one of the most influential tools for disseminating information. With this in mind, the government saw Ettelaat newspaper as a key player in promoting their reform programs aimed at improving the conditions of society. Considering the significance of how the media reflects the performance of the government, the current study will examine the coverage of Sharif-Emami's reformative actions in Ettelaat newspaper as the primary focus of this research.        The media utilizes the technique of agenda setting to mold public perception. This technique involves focusing more on a specific subject or matter in the media, which consequently gains more attention from the public. The process of agenda setting in the media is influenced by three crucial elements: the people, the mass media, and the government.       An examination of Ettelaat's involvement in the rise of the Iranian Revolution in 1979 uncovers that this newspaper, similar to other publications under government influence, adopted a unique approach to highlight specific elements to manipulate the existing conditions and capitalize on the crisis for their benefit. This tactic was particularly evident during Prime Minister Sharif-Emami's brief term, showing the newspaper's significant inclination towards shaping public sentiment.       Jafar Sharif-Emami, a well-known figure in the Pahlavi era, occupied several important positions before being appointed as prime minister in August 1978. After Jamshid Amouzegar stepped down as prime minister in early August 1978, the Shah chose Sharif-Emami to take on this vital role during a turbulent period. Upon assuming his responsibilities, Sharif-Emami issued a statement highlighting his efforts to bring calm to the political atmosphere within the country. The issue becomes evident in his selection of the title "The Government of National Reconciliation." Through this declaration, he aimed to captivate the public's opinion by appealing to their desire for justice, religious harmony, political stability, and economic prosperity. Nevertheless, the unfolding of events like September 4 and 8, 1978, exposed the emptiness of his promises and claims.       The media possesses the capacity to emphasize significant aspects and qualities by utilizing bolding, which is a distinctive attribute. This characteristic enables the press to shape the public's perception of an individual's importance or significance. For example, following the establishment of Sharif-Emami's cabinet, the newspaper employed bolding to highlight his positive attributes and virtues in its initial editorial. Through this approach, he was portrayed as the sole individual capable of implementing innovative political initiatives and appealing formats. The newspaper focused on the government’s three primary aims, namely religious, political, and economic-welfare reformative measures. These priorities were given utmost importance in the news coverage, as they were consistently emphasized in both the headlines and the content of the newspaper. The subsequent analysis will delve into these priorities in detail.The Sharif-Imami government implemented significant changes in its religious policies, particularly in its approach towards the clergy. He aimed to establish a connection with the clergy and presented himself as part of a cleric family. Thus, the government's religious programs were designed to satisfy and gain support from the clergy. Ettelaat, in line with this approach, attempted to influence public opinion by highlighting certain religious issues in the media. These issues included the connection with the clergy, changing the imperial calendar (Taghvim-e-ShahanShahi), attracting the opinion of authorities and clerics, closing gambling houses and casinos, releasing imprisoned and exiled clerics, and promoting the pilgrimage of Hajj and Iraq.       Sharif-Emami's administration executed political reform initiatives to reach a consensus with all adversaries of the government. To strengthen the government's political commitments, the newspaper highlighted and magnified the political endeavors promised by the administration. This newspaper aimed to capture the public's attention and shape their perspectives by selecting specific topics that were within the realm of press functions during that time. Journalists prioritized news stories to convey their desired viewpoints and influence society. The key issues addressed included: 1- Exposing government officials 2- Combating corruption 3- Ensuring political parties' freedom of activity 4- Advocating for press freedom legislation 5- Securing the release of political prisoners 6- Dissolving the Rastakhiz party 7- Rectifying the financial and administrative records of the shah's court 8- Enacting an act for the independence of universities 9- Transforming the operations of SAVAK (Former Secret Police of Iran).        The Sharif-Imami government had additional objectives and strategies in place to ensure the continuity of their regime. One of these goals involved implementing economic reforms aimed at enhancing the living standards and overall well-being of ordinary people. By doing so, the government aimed to divert the attention of the masses from the primary objectives and aspirations of the revolutionaries, effectively obstructing their demands.                Consequently, the government introduced new economic policies as part of this strategy. These policies included economic packages, support measures, and other concessions, which were essentially responses to public protests. While these measures yielded some limited short-term results, their long-term impact was relatively insignificant. The government's focus primarily revolved around addressing the needs of average wage earners, as well as paying attention to the working class and other social classes.Sharif-Emami, who assumed office intending to establish “the National Reconciliation Government”, devised strategies to exert control over the country's critical situation. These strategies involved the announcement of reform programs accompanied by promises and concessions. Taking into account the prevailing societal conditions and public sentiment, the Sharif-Imami government strategically determined the media's agenda and its socio-political stance to achieve the regime's objectives through implementation. Ettelaat newspaper, owing to its reliance on those in power, played a significant role in this endeavor. Right from the start of Sharif-Emami's tenure as prime minister, this newspaper employed various news techniques to portray him and other cabinet members in positive figures. Simultaneously, news about the government's reformative actions, encompassing religious, political, and economic reforms, was disseminated to the public through diverse news formats, thereby emphasizing and guiding public opinion. In other words, Ettelaat focused on the government's efforts to address issues in a specific order of importance. This strategy aimed to involve and satisfy the public's feelings and thoughts, considering the Pahlavi regime's crucial state during that period. Despite the government's commitments to resolve the challenging circumstances, their attempts to reconcile with the citizens did not succeed. Consequently, the Sharif-Imami administration fell apart on November 5, 1978

The art of a country serves as a reflection of its culture and civilization throughout different political, social, and artistic periods. Japan's hand-painted handscrolls, known as "Emakimono," are a prime example of this. These scrolls date back to the Nara period (710-794 AD) and are a testament to Japan's rich artistic history. The oldest known masterpiece of this art form dates back to the 12th and 13th centuries AD, during Japan's "Golden Age." Today, many of these scrolls can be found in museums and depict various aspects of Japanese daily life and landscapes. Emakimonos are made up of several interconnected scrolls that tell a story or narrative through a combination of images and text. One such scroll, "Famous Places of Edo Twelve Months/Heaven," is housed in the World Art Museum affiliated with the Mostazafan Foundation's Cultural Institute of Museums. This particular handscroll is a picture scroll without text and depicts famous buildings of the Edo period. Through research, it was discovered that this scroll belongs to the early Edo period and depicts a combination of five months of the year. However, it is part of a two-volume set that depicts the rest of the months of the year with images of famous temples and shrines of the Edo period. These buildings include Kameido Tenjin Shrine in the first month, Ōji Inari Shrine in the second month, Toizen Kan'ei-ji Temple in the third month, Zōjō-ji Temple in the fourth month, and Ryūsen-ji Temple in the fifth month. The study of this scroll provides insight into the age, subject matter, and techniques used in this type of artwork.
 

Emakimono, also referred to as pictorial handscrolls are a type of scroll that originated in Japan and were created in the Yamato-e style of Japanese art. This style of horizontal narrative was specifically developed for Japanese courtiers and emerged in the 10th century AD, showcasing the distinct taste of Japanese art. Emakimono is made up of multiple interconnected scrolls and depicts a wide range of subjects, including Japanese daily life, the construction of temples and shrines, historical and political events, battles, and love stories.
       Emakimono presents a comprehensive art-historical account of the traditions of all social classes in Japan. These handscrolls were occasionally accompanied by text and images, while others only featured images. One such handscroll, titled "Famous Places of Edo Twelve Months/Heaven," is housed in The World Art Museum, a part of the Sardar Asemani Cultural Museum Complex, and has yet to be extensively studied. The nature of its cosmetic themes is not entirely clear, prompting an investigation into the approximate date and content.
       Previous studies on Emakimonos have primarily focused on introducing various types of handscrolls, such as the "Emaki Tsukumogami" handscroll. These studies have aimed to explore the cultural evolution of Japan by examining the progression of images depicted in handscrolls like "Shigisan Engi," "Chōjū-jinbutsu-giga," "Ban Dainagon," and "The Story of Heiji." Additionally, scholars have conducted comparative analyses and investigations on different types of handscrolls, including religious and narrative ones like "Ishiyama Dera Engi" and "Kasuga Gongen Genki."
 
Problem Statement
The primary concern of this study revolves around determining the age of this handscroll by analyzing its content and examining the changes in the architectural landscape of temples and buildings.
 
Need for Research 
Until now, there has been a lack of extensive research carried out on this specific piece, which holds great significance in the chronicles of Japanese history. Hence, given the thorough examination of previous research, it is indisputable that a careful investigation and thoughtful assessment of an artifact highlighting the opulent culture and art of a country were essential for the execution of this study.
 
Theoretical Basis
The Handscroll (Emakimono): Was a prominent feature of Yamato-e painting during the Heian period and the Kamakura period (1185-1333 AD). This artistic format was skillfully employed by courtiers to create impressive works. Emakimono authors hailed from various social classes, including monks, writers, and storytellers, and their stories not only revolved around the lives of nobles but also depicted the mundane lives of ordinary people.
       The Edo period: Spanned from 1615, following the downfall of the Toyotomi dynasty, until 1868, when power was restored to the emperor. During this time, the Tokugawa dynasty assumed control and relocated the capital to Edo, which is now known as Tokyo. Edo served as the hub for political and religious institutions affiliated with the Tokugawa dynasty. This era is widely regarded as the pinnacle of Japanese art and culture, giving rise to renowned artistic styles such as the depiction of famous locations (Mishoe). These artworks took the form of single-plane paintings, or Emakimonos, varying in scale and sometimes presented in a single scroll or multiple scrolls.
       Buddhist Temples: In the middle of the 6th century AD, the basic principles of Buddhism were introduced to Japan from the Baekje Kingdom, which led to the introduction of the architecture of Buddhist temples. The construction of temples in Nara began in 710 AD, and the complex of temple buildings, along with the pagoda tower, became a tangible representation of religious thought. The Pagoda was initially used to consecrate the symbolic remains of the Buddha, while the Golden Hall served as the seat of the Buddha statue. However, over time, the Golden Hall building became central, as it was where most of the Buddhist festivals and religious ceremonies were held, and the pagoda lost its main position as a Buddha statue.
The Shinto Shrine: the Shinto is deeply rooted in animistic and shamanic practices, sharing many similarities with them. Its rituals revolve around the veneration of kami, the deities of nature. When Buddhism intersected with Shinto, the term "Shinto" came to represent "the way of the kami," distinguishing it from "the way of the Buddha" known as "Bodhsudo". These sacred shrines are constructed as spaces dedicated to the worship of kami, adhering to the principles of Shinto.
 
Research

The qualitative method was employed in this study, wherein data was gathered, examined, and analyzed through library research and archived-based research. The collection and analysis of data about the theoretical underpinnings and examined elements in the handscroll were conducted.
 
Findings 
Upon careful examination of the buildings depicted in each plan and the changes in the landscape of temples and castles, as well as the addition of buildings during various battles, it has been determined that this scroll belongs to the Edo period. The timeframe of the images portrayed in the Handscroll falls between the years 1698 and 1868 AD. The title of the scroll, "Famous places of Edo 12 months, heaven" (江都名所十二月画天), along with the presence of the character 天 meaning "heaven," suggests that this scroll is likely related to a two-volume collection that encompasses both heaven and earth. In ancient Japan, manuscripts or handscrolls were often categorized using different words such as "heaven, earth" or "top, middle, and bottom." Through this research, the temples and shrines depicted in each plan were identified individually by deciphering the golden strips that indicated the month and the abbreviated title of these locations. The order of the plans, according to the months, is as follows: Kameido Shrine in the first month, Oji Inari Shrine in the second month, Toizen Kaneiji Temple (located in Ueno) in the third month, Zojoji Temple (Midoriyama) in the fourth month, and Ryusenji Temple (Meguro) in the fifth month. This handscroll, measuring 26.5 cm in dimensions and painted on silk with a watercolor technique (similar to gouache), portrays temples and shrines that are meticulously depicted by the weather conditions corresponding to each month of the year.
 
Conclusion 
Handscrolls were a popular way of presenting historical narratives and the construction of temples and other places during the Edo period. The object under investigation depicts five months, three Buddhist temples, and two Shinto shrines. This handscroll appears to combine seasonal and calendar themes with the early modern flourishing Mishoe. Likely that later handscrolls in the series from the sixth to the twelfth month show the changing of the seasons. The architectural works depicted, along with other cosmetic elements, have been identified to some extent. These include the Uji shrine, the Ueno, Zojoji Temple, and Ryusenji Temple. All of these temples held a privileged religious position during the Tokugawa era. For example, the Oji shrine was a place of worship for the Tokugawa family, and the Zojoji temple was their family temple. Kaneiji Temple, with the strong and favorable support of the Tokugawa family, had become the general headquarters of Tendai. The popularity and respect for these places during the Edo period is further demonstrated by the destruction of Ryusenji Temple in 1615 AD and its reconstruction, supported by Shogun Tokugawa Imitsu in 1630 AD.

The art of Gandhara is renowned for its dominance of Buddha statues during the early centuries AD. These artworks showcase a novel trend within the community of Buddha's followers, as they depict sacred figures in human forms. Hence, it is unsurprising that these statues are widely popular and abundant in museums and collections around the world such as the Metropolitan Museum of Art, British Museum or the Victoria and Albert Museum; some show Buddha in both seated and standing positions, adorned with a humble robe, others portray Bodhisattvas wearing elaborate jewelry and luxurious garments. Amongst these various artifacts, there exist specimens that depict Buddha and Bodhisattva in back-to-back statues and their scarcity has left scholars bewildered. Only six of these artifacts are dispersed across various museums worldwide, including the Russek Collection, Zurich, and Christie's Auction House in London. A solitary example is currently on display at The World Art Museum of Tehran which is one of the museums in the Sardar Asemani Cultural Museum Complex. According to the Museum's information, this piece measures 72 cm in height, weighs 58 kg, and dates back to the 2nd to 4th century AD. Unfortunately, there is a lack of additional details regarding the archaeological context where this piece was found, its artistic style, and its chronology in relation to similar examples. Thus, the primary objective of this study is to document and introduce this statue and answer questions related to its authenticity, chronology, and its place in Buddhism.
       In Gandaharan art, the depiction of Buddha typically includes him wearing a monk's robe, as well as the distinctive Urna dot on his forehead and Ushnisha bump on the top of his head, which are the most recognizable features of a Buddha. The large and unadorned halo behind his head also signifies the future enlightenment of Sakyamuni. His position can be either standing, with his hand in the abhaya-mudra, or seated in padmasana, maintaining the same hand gesture. The Buddha’s side on the World Art Museum’s statue retains many of its distinctive features. The Buddha assumes the lotus position, also known as Padmasana, while sitting. In this posture, the legs are crossed with each foot resting on the opposite thigh. Additionally, the Buddha's hands are joined together in the Dhyana Mudra position.
       Bodhisattva statues depict him as a prince adorned with jewelry and radiating splendor before departing the mortal realm. Adornments such as earrings, a stunning necklace, bejeweled chains, and two jeweled armlets are visible. The headdress he dons is typically embellished with precious stones. Furthermore, he wears a garment that solely drapes over his shoulders and arms. In contrast to the Buddha, who typically conceals his entire body, the Bodhisattva's portrayal in the Gandhara statues exudes an air of simplicity while showcasing his exposed form. This allows not only for the appreciation of his finely proportioned physique but also for the visibility of his exquisite jewelry and adornments. Whether standing or sitting, the same hand and seating posture as Buddha is usually maintained. Bodhisattva statues are recognized by various names and attributes. Maitreya, one of the most well-known Bodhisattvas, has been the subject of numerous statues discovered thus far. 
       Back to Back Buddha and Bodhisattva image in Tehran's museum is similar to the typical statues in terms of their sitting posture, clothes, and jewelry. However, it is the halo and the throne that distinguish this particular piece from the others. The Gandhara School of Art shows halos of light that are unadorned and lack intricate elements. However, the crafted in this particular double-sided statue features triangular patterns on its outer part and wavy zigzag patterns on its inner semi-circle. Additionally, the Buddha is depicted seated on a throne adorned with columns featuring Corinthian-style capitals. Below these columns, there is a relief that shows a typical Gandharan scene. The scene portrays a group of individuals gathered around a bowl, engaging in a solemn act of reverence toward this sacred artifact. It is highly likely that this bowl holds the same significance as the Buddha’s Alms Bowl. The artists from Gandhara exhibit a distinct fascination with capturing the essence of the Buddha’s Alms Bowl, making it a defining feature of Gandhara art. 
     On the opposite side of the statue, there is a depiction of a Bodhisattva. Each Bodhisattva is identified by a distinct symbol. Bodhisattva Maitreya is depicted holding a small flask, Bodhisattva Manjushri is shown riding a lion, and Bodhisattva Avalokiteśvara is recognized by the unique headdress that he wears. Based on this, it can be inferred that the Bodhisattva depicted on the side is Avalokiteśvara. The name Avalokiteśvara means "the lord who looks down with compassion." While Buddha is typically depicted on Avalokiteśvara's headdress, this Bodhisattva's headdress is actually jewel-adorned with a semi-crown. Additionally, Avalokiteśvara is often depicted holding a lotus flower, which is another significant symbol. In fact, this Bodhisattva is also known as "Padmapani," or "lotus carrier," as it is believed that he was born from a lotus flower. However, the World Art Museum's statue does not feature any depiction of a lotus flower in the hand of the Bodhisattva. Thus, the only element that links him to Avalokiteśvara is his headdress. Furthermore, the Bodhisattva necklaces bear great importance. Among these necklaces, there is a specific type known as the amulet case. It consists of two main parts: the hole through which the thread or chain of the necklace goes, and the barrel section that has a slight bend in the middle. Evidence of this particular jewelry has been found in areas rich in Gandharan artifacts, like Palai–Malakand in the Khyber Pakhtunkhwa province of Pakistan and Taxila. 
       The Bodhisattva is seated upon a majestic throne, flanked by two mighty lions. In the realm of Gandhara art, lion thrones have been a prevalent motif, symbolizing the safeguarding and watchful presence of the Buddha. These revered creatures are intricately carved at the entrances of temples and monasteries, often found in close proximity to the sacred throne of the Buddha.
       The Bodhisattva is seated upon a majestic throne, flanked by two mighty lions. In the realm of Gandhara art, lion thrones have been a prevalent motif, symbolizing the safeguarding and watchful presence of the Buddha. These revered creatures are intricately carved at the entrances of temples and monasteries, often found in close proximity to the sacred throne of the Buddha. Interestingly, the lion symbol can also be seen in some motifs at the foot of the throne of another Bodhisattva, Manjushri. However, unlike Maitreya or Avalokiteśvara, there is no depiction of Manjushri in Gandhara art. Therefore, it is unlikely that this Bodhisattva is Manjushri, but rather Avalokiteśvara, as indicated by his crown and jewels, sitting on a throne protected by lions. 
       The analysis of the aforementioned artwork, considering its decorative elements and Buddhist concepts, indicates that back to back Buddha-Bodhisattva statue belongs to the Gandhara School of Art and likely dates back to the 2nd-3rd centuries AD. At first glance, it may not appear challenging to examine each side of this artwork separately, given the abundance of research on Gandhara art. However, the scarcity of resources on bilateral statues has made it difficult to interpret these works and address related inquiries. The artwork housed in the World Art Museum can be regarded as the seventh known example of double-sided seated sculptures found in museums and collections worldwide. In all these instances, one side depicts Buddha while the other side portrays Bodhisattva Maitreya or Avalokiteśvara. The seated position, hand gestures, attire, jewelry, and throne are nearly identical in all these works. The only existing example that presents these two significant Buddhist figures in different positions and with similar hand gestures is the artwork in the World Art Museum. In this particular artwork, the Buddha is not depicted seated on a lotus flower, which is a prominent characteristic of Buddhist art. Instead, the Buddha is placed within a scene depicting the veneration of a Buddhist begging bowl, setting it apart from other examples. Additionally, Bodhisattva Avalokiteśvara, seated on the opposite side, does not have a throne adorned with lotus flowers, nor does he hold a lotus flower in his hands. As mentioned earlier, only his head and the lion decorating his throne maintain his connection to Avalokiteśvara. However, these differences between this statue and other examples conclude here. The reasons behind the creation of such statues have not been definitively determined thus far. This can be attributed to the scarcity of these works, the limited research conducted on them, and the absence of back to back images in ancient contexts. Thus, this lack of understanding is cognitively justified.

Nature compels the nomadic people to abandon their settled dwellings, Yaylak in the summer and Kishlak in the winter, and pass treacherous mountains and rivers to establish new settlements twice a year. These nomads must safeguard their modest and concise way of life and transport it to the new location using their livestock, which serves as their primary capital. The women of the nomadic community skillfully craft ropes known as Veris from the wool produced by their cattle. Veris is a hand-woven fabric that exhibits exceptional practicality, beauty, and intricate patterns. The Bakhtiari people utilize Veris to fulfill various needs in their nomadic lifestyle, such as securing loads, transporting firewood and water containers, relocating the baby's crib, and more. These hand-woven ropes play a vital role in the Bakhtiaris’ mobile way of life, distinguished by the remarkable beauty of the Veris motifs, their durability, and their multi use. These ropes often hold significant cultural and spiritual value, as their women adorn them with a wide array of motifs, each with its unique reason and background. These motifs sometimes depict objects found in the nomadic surroundings, flowers and plants in the Bakhtiari people's natural environment, the nomads' work and daily life, as well as animals. Additionally, geometric and innovative patterns can also be observed among these motifs, and as they evolve, they acquire symbolic and enigmatic qualities. The Bakhtiari people employ a multitude of diverse designs and functions in their weaving production, all of which draw inspiration from their customs, traditions, habits, impressions, and insights, ultimately reflecting their rich and bountiful culture.       This descriptive-analytical paper aims to explore and evaluate the quality of visual elements in Bakhtiari Veris, with a focus on the art's aesthetic aspect. The paper seeks to answer the fundamental question of what factors influence the visual elements, such as patterns and colors, in Bakhtiari Veris. The motifs used in the hand-woven of the Bakhtiari people, including Veris, are inspired by nature, their lifestyle, and the surrounding environment. These motifs consist of plant, animal, and geometric patterns etc. Although these motifs have evolved over time, they still reflect the authenticity and culture of the Bakhtiari people. The themes depicted in Bakhtiari Veris motifs are based on the daily life and customs of the Bakhtiari people. The visual elements used in Veris are influenced by the weaver's taste and environment. Today, the motifs, techniques, and colors used in this art have changed due to lifestyle changes, material availability, and other factors. However, the practicality and aesthetics of the art can still be examined. Although the motifs designed in this hand-woven fabric do not affect the product's efficiency, the visual elements with their color and shapes add a special beauty and appeal to the work. It appears that all the components necessary for a piece to be considered an outstanding work of art are present in this practical and artistic fabric. The design principles are based on the style of visual arts, and all the necessary rules to achieve a visual structure have been implemented.       To gain a deeper understanding of each work or image, it is necessary to analyze it from two perspectives: form and content. The content encompasses the artist's intention, the outcome, and the hidden meanings within the work. On the other hand, the form consists of the visual elements and qualities that shape the external structure of the artwork. Visual elements include points, lines, surfaces, and volumes, while visual qualities encompass texture, color, contrast, balance, and proportion, among others. Visual messages can be conveyed and interpreted in three different ways: representational, abstract, and symbolic.       Veris, like other forms of art, reflects the artist's perception and depiction of nature and the surrounding environment. It combines various elements to create an elongated and narrow frame, resembling a rope. The principles of design, in general, are the artist's visual impressions, which are developed based on common patterns and cultural norms within a specific society. They aim to convey and understand the visual experiences and shared culture of human beings. The visual characteristics of Veris art include dominance, coherence, balance, symmetry, proportion, rhythm, and unity. These aspects are thoroughly examined in the article.       Furthermore, Bakhtiari Veris can also be analyzed in terms of color. The natural and climatic environment of the Bakhtiari people, situated within the Yaylak and Kishlak of the Zagros mountain range, significantly influences their color choices and usage in daily life. Due to the diverse natural surroundings of the tribe, a wide range of colors can be observed in their living spaces, clothing, tents, and hand-woven works. The colors employed in Bakhtiari Veris reflect their aesthetic and artistic preferences, as well as their cultural style. These colors, prepared by the nomads themselves, exhibit a certain variety. However, in the past, there were limitations in the availability of colors, resulting in only a few specific colors being commonly used.

Long before humans began using clay to produce tablets, they utilized this natural substance as a fundamental building material. The presence of clay throughout history has undeniably played a significant role in the advancement and evolution of architecture, serving as a tangible representation of human civilization and urbanization. As we delve further into the past, the significance and utilization of clay as a building material become increasingly apparent. Numerous civilizations have thrived by employing clay in the construction of their settlements, liberating themselves from a mobile lifestyle. It is undeniable that this transformation began when humans comprehended the nature of the soil, combining it with water and harnessing the malleability of clay to provide shelter and fulfill various life necessities. While discussing the historical context of this research, it is not incorrect but rather inevitable to mention the use of clay materials. The intellectual foundation of inventing clay tablets for writing and chronicles stems from the deep-rooted familiarity and mental background of humans with such materials. This natural element possesses superior construction features and other remarkable capabilities, which mankind has benefited from. Clay's easy accessibility, simplicity in preparation, economic efficiency, suitable plasticity, favorable flexibility, and balanced mechanical behavior have all contributed to its valuable position. Consequently, humans began to doubtlessly utilize clay as a tool for recording and transmitting words, leaving no room for ambiguity. It was the experience gained from creating clay shelters that laid the groundwork for human knowledge in creating tablets.
       Nevertheless, despite their status as ancient and trustworthy historical records, clay tablets are known for their vulnerability. These artifacts have distinct and unparalleled characteristics that set them apart from other documents. Unlike many other historical records, these tablets remain unaltered, rich in content, and cover a wide range of contents. No other works can provide as accurate a glimpse into the past as these tablets do. Despite their simplicity and unassuming nature, clay tablets are prone to rapid and irreversible damage. The very simplicity that makes the preparation method advantageous for tablets and other clay artifacts also serves as their weakness. Restorers often feel anxious and uncertain when dealing with clay tablets due to their delicate nature. Rather than being excited by the prospect of restoring these artifacts, the sensitivity and uncertainties of protection make it a cause for concern. It is important to note that the level of protection required for an object depends on the object itself. Even simple objects require careful and smooth protection methods. However, experience has shown that clay artifacts, particularly tablets, often require more treatment than extreme interventions, unless necessary. The primary aim of this study is to explore alternative protection techniques that can be used to reinforce clay tablets, in addition to the traditional methods. The focus is on developing simpler, more adaptable, and reversible methods that can effectively address the two most common types of damage that occur in clay materials. The repair of cracks and prevention of splattering are the anticipated outcomes that are expected to be achieved through this protective approach, enabling the treatment of damaged clay tablets. When presenting the proposed methods for rehabilitating and strengthening these damaged tablets, it is believed that the focus of protection planning should be on “clay”, which serves as the primary component of the tablets. There is an opportunity to employ methods that can offer different forms of protection without significant interference while preserving the authenticity of the object. To accomplish the objectives of enhancing protective interventions, it is crucial to have a thorough understanding of the construction characteristics of the tablets and identify suitable materials for consolidation. However, it should be noted that improving the protective conditions of the tablets does not solely rely on the use of consolidating materials; it may also be required to implement further   measures and adjustments in the storage procedures of the tablets.
       A considerable amount of the tablets acquired thus far exhibit various degrees of damage and require consolidation. The prevalent vulnerabilities that afflict tablets are fractures, cracks, and ruptures. The extent of these weaknesses is contingent upon both structural factors, such as the nature and quality of production, as well as non-structural factors, including conditions before and following excavations. The neglect of necessary conservation can lead to astonishing levels of damage and deterioration in tablets. Tablets inherently have a rudimentary and fragile composition. In addition to their raw nature, they often lack proper processing and preparation, further complicating the task of consolidation. Moreover, the place where these tablets are positioned can potentially heighten their demise.
       These conservation challenges present significant obstacles. To leave these tablets vulnerable to known defects would be to willingly accept the risk and allow destructive factors to further exacerbate the damage. The conventional methods of consolidating clay tablets, such as firing or polymer stabilization, each have their advantages and disadvantages. Considering the tablets' immense importance and reliability, as well as their delicate protection requirements, it is necessary to explore alternative approaches that can effectively preserve and reinforce these primitive artifacts. These methods should align better with the tablets, incorporate protective measures, and offer simplicity, cost-effectiveness, and reduced risk. Conventional methods for consolidating tablets can be damaged due to their irreversible nature or intricate reversibility. In terms of maintenance conditions and consolidation quality, an objective approach is required to establish improved conditions for tablets. This approach should incorporate reforms and innovations that draw upon the conservation experiences of clay materials.
       Indeed, this study adopts a pragmatic approach to address a specific issue and provide a solution. It aims to answer the central question through inductive reasoning, which involves examining individual components and extrapolating to the entire system. The research methodology relies on the experimental method and employs a combined approach that includes bibliographic sources, laboratory experiments, and surveys. The primary focus is to investigate the role and impact of protective experiences involving clay materials in optimizing the process of consolidating tablets. The hypothesis is that by introducing innovative techniques and interventions in the conservation process, it is feasible to enhance the preservation of these clay artifacts, making them easier and safer. The enhancement of clay Tablets (as sensitive factors) has been taken into account through the implementation of reinforcing materials, along with the alteration of the upkeep technique (as influential factors) for consolidation purposes.
       The utilization of reinforced clay mortar, comprising of primary clay (as the main component for the tablets), stirred clay (naturally stabilized soil associated with the nest of a swallow species), boiled palm trunk chaff, leaf, and ash, represents an endeavor to establish optimal protective conditions through the implementation of two techniques: seaming and framing. The hypothesis that clay materials can be protected and optimized through the use of additives and natural and artificial reinforcement is based on a century's worth of knowledge and experience, spanning from ancient times to the present day. The research conducted on this hypothesis has yielded credible results.

The study of religious iconography is a significant and intricate form of artistic expression across various cultures. Notably, the iconographic art of the Qajar period possesses distinct attributes and qualities that distinguish it as a crucial subject of study within the area of religious iconography. Meanwhile, Erwin Panofsky's ideas have given rise to the study of iconology and iconography, which can aid scholars in uncovering both apparent and concealed layers within the realm of art history and help them comprehend the significance of icons. In light of this information and within the context of the forthcoming study, the artwork titled "Hazrat Ali va Hassanein’s" (Imam Ali and his sons) by Ali bin Mohammad Ebrahim Naqashbashi, housed in Iranian Art Museum will be examined utilizing Erwin Panofsky's iconography approach. This study aims to comprehensively examine the aforementioned icons through a qualitative and analytical lens, utilizing historical evidence from bibliographic sources and image analysis based on image organization principles. The ultimate goal is to gain a thorough understanding and investigate this Qajar iconography example. The research's main question is rooted in Panofsky's iconological approach, seeking to uncover specific descriptions, analyses, and evaluations of Imam Ali and Hassanein’s icons.
       The research conducted focused on three main areas: pre-iconographical description, iconographical analysis, and iconological analysis. The initial step involved describing and examining the specific characteristics of the work, which were derived from a combination of general knowledge and everyday observation of this work of art. Then, the traditional significances have been examined and an analysis of the conventional meanings has been conducted, considering the varied information of the artwork which is being consolidated and interpreted. In other words, during this phase, the perspective and underlying depths of the work's creation period have been taken into account.
       The painting portrays the figure of Imam Ali, flanked by his sons Imam Hassan and Imam Hussein. Imam Ali is depicted at the center of the artwork, exuding a strong presence as he sits on both knees. His face radiates serenity and brightness, while he holds a green sword in both hands, clad in a brown robe. Adorning his head is a white dastar or turban, complemented by a brown agal.  
       To the right side (and to the left side of the observer), there is a young man seated on both knees. He is wearing a green robe and a turban, along with a red robe and a white shirt (known in Arabic as dashdasha). This young man is pointing in a specific direction with his right hand. On the opposite side of the image, sits another young man. He is dressed in a red abaya, a green robe, and a white shirt. His hands are placed on top of each other and resting on his legs. Both Imams have a golden halo surrounding their heads. In the background, the image has a blue sky decorated in a circular pattern with various shades of blue, light blue, and cream colors.
       Above the painting and in the sky background there is an Arabic inscription with the title “La Fatah Illa Ali La Saif Illa Zulfiqar “(There is no hero like Ali, there is no sword like Zulfiqar). The image shows two ornamental brown lachaki arches with golden patterns in the top corners. The individuals are seated on green fur, while the material beneath them appears to be a brown mat or buria. At the feet of Imam Hussein, there is a brown-colored inscription displaying the title "Ali bin Mohammad Ebrahim Naqshbashi Esfahani". 
       The dimensions of the artwork, including its frame, are 104 x 139 cm, while the exact dimensions without the decorative frame are 94 x 128 cm. The artist has skillfully created the effect of oil and paint on canvas. The creator of this masterpiece is Ali bin Mohammad Ebrahim Naqshbashi, who is not known in Persian sources. However, based on the style, time period, and historical evidence available, it is likely that he is one of the children of Muhammad Ibrahim Nematullahi, a prominent painter during the Qajar Dynasty and the reign of Mohammad Shah (1834 to 1848 A.D.).
       In the second area, the analysis of the artwork focuses on key principles of image organization such as "harmony," "variety," "balance," "proportion," "mastery," "movement," and "brevity." The characteristics of the work have been thoroughly examined in this context. The painting showcases harmony in various ways, with the design displaying a coordinated arrangement. This coordination is achieved through the use of central symmetry, which is a classic method of composition and image organization. The central image of Imam Ali plays a pivotal role, with the forms of Imam Hasan and Imam Hussein, repeated on either side. This creates a cohesive and well-structured visual experience for the audience.  
       The artist's skill in employing a meticulous format and contrasting colors is evident in their adeptness at utilizing the principle of diversity. This significance is particularly apparent in the juxtaposition of two complementary colors, namely green and red, within Imam Hassan and Imam Hussein’s attire. Additionally, the type of symmetry employed in the depiction of Imam Ali's icon can be classified as pseudo-symmetry. Within this artwork, the primary elements maintain a consistent and equal equilibrium, yet subtle variations in details enhance its attraction. The phenomenon can be further explored and analyzed through the intricate hand and facial gestures displayed by Imam Hassan and Imam Hussein.
       The painting does not adhere to the golden ratio favored by classical artists. However, what makes it remarkable is the division of the panel into three parts, with lengths of two, three, and six. These measures can also be observed in the background lines of the artwork, highlighting the artist's emphasis on the principle of proportion. Conversely, it is possible to track and verify the ratios of the central and crucial elements of the panel. These components are distinctly visible in three configurations: "circle," "triangle," and "point of emphasis."
       The mastery is clearly demonstrated in the portrayal of the characters and the depiction of the Shia imams. The central and most prominent aspect of the artwork is the depiction of Imam Ali, which has been carefully selected in terms of composition and size to serve as the primary visual element of the painting. The painting's focal point, Imam Ali, directs the viewer's gaze toward it, thanks to the use of movement and visual triangulation. This effect is also seen in the two icons of Imam Hassan and Imam Hussein. The painting's simplicity is achieved through the use of primary colors, minimal details in clothing and background, and a simplified space that demonstrates the principle of brevity.
       The third area can be examined through various distinct indicators. Initially, the focus is on the utilization of colors, followed by the incorporation of significant elements such as Zulfiqar, Agal, and Turban. Lastly, the inclusion of the hadith " La Fatah Illa Ali … " concludes this area of discussion. The selection of white as the primary color, symbolizing utmost perfection, simplicity, sunlight, air, illumination, and purity, as the predominant attire for all three imams, demonstrates the profound significance of their innocence. Moreover, the presence of red and green tones in the depictions of the Imams reveals the artist's profound knowledge as an interpreter of the religious beliefs within Shia Islam. The green shade employed in the icons of Imam Hassan and Imam Hussein represents their sovereignty and pacifist approach, while the red color serves as a symbol of their commitment to jihad, warfare, and martyrdom.
       The color brown is often associated with qualities such as honesty, reliability, and trustworthiness. In Arab culture and literature, it is also seen as a symbol of greatness and glory, particularly when worn by a Sheikh or Sayyid. In this artwork, the artist has chosen to depict Imam Ali as a prominent Arab figure, dressed in a brown robe. The use of a blue sky with circular bands leading to Imam Ali's head signifies his heavenly nature and innocence, complementing the overall theme of the painting. Additionally, the golden color represents the sun, intellect, intuition, faith, and goodness. Both Christian and Islamic art have long emphasized the significance of the golden color as a representation of divinity. Also, the luminous halos surrounding the heads of saints, prophets, and imams further highlight their immense importance in religious concepts.
       The painting uses a halo of light to convey two distinct emphases. Firstly, it serves to sanctify the subject, highlighting their divine nature. Secondly, it conceals the faces of the saints, as religious beliefs forbid their depiction. In popular culture, the green sword known as Zulfiqar symbolizes the power and bravery of Imam Ali. In this particular artwork, Zulfiqar is depicted with a downward-facing green sword held in both hands of the Imam. The positioning of the sword signifies Imam Ali's defensive stance, indicating that he did not wield it for aggression or conquest, but solely to protect Shia Islam. The portrayal of Imam Ali's dignity through the agal and turban should be acknowledged as a representation of reason and rationalism. The image depicts a white turban adorned with a three-ring agal. This particular shape of three rings is exclusively reserved for imams of the congregational prayer and holds great religious significance among the elders of the Arab community. The artist, with their profound understanding of religious principles and familiarity with historical clothing and its symbolic elements, aimed to envision Imam Ali as the guardian and supreme leader of Shia Islam. The hadith "La Fatah..." serves as a clear testament to Imam Ali's chivalry, metaphorically expressing his courage. Drawing from the popular culture and beliefs of the Shias, the artist chose to begin the phrase with "La Fatah…" as a contrast to the traditional form of "La Saifa illa Zulfiqar, Va La Fatah illa Ali." 
       In conclusion, it can be stated that there are numerous examples of existing icons from the Qajar period, resulting in a remarkable variety due to the expansion of iconographic concepts. However, what sets this particular work apart is its significant importance from two perspectives. Firstly, the application of principles based on the proper organization of the image has resulted in a distinct visual impact with accurate and proportional projection. This significance in terms of form, color, and composition reaches the highest level of aesthetic and formalistic values, as indicated by the presented analyses, and has been duly acknowledged in this research. Secondly, in the realm of Qajar period iconography, we encounter an artist who possesses a strong understanding of the principles and foundations of the social, cultural, and religious infrastructure of his time and has effectively utilized them. Considering Ali bin Mohammad Ebrahim’s upbringing in a renowned artistic family and under the guidance of a figure like Muhammad Ibrahim Nematuallahi, who was divinely blessed and had a profound comprehension of the religious and Shia principles of his family, these elements have been incorporated into the work. The artist's use of hidden and symbolic layers has resulted in a magnificent painting that not only possesses aesthetic appeal but also carries deep religious and social significance.

Today, the use of new technologies and methods of preservation of ivory objects has led to a better understanding and safe protection of objects. The purpose of this article is to evaluate the feasibility of using new methods of rapid prototyping technology, including dimensional modeling and FDM 3D printer, to achieve a suitable method for reconstructing missing parts and making a Moulage of ivory objects using the existing equipment to apply it in Restoration and restoration of ivory objects. In line with the investigation of the introduced method, an example of a chess piece made of ivory, with a statue of a man riding a camel carved with great detail, was selected, and a similar piece was missing. Documentation was done from the same bead and according to the available images, 3D modeling was done with Zbrush software, which is a special software for sculpting and sculpting. The existing 3D model was first adjusted manually in Simplify 3D printer management software, and then it was converted to G-Code and printed with a 0.3 nozzle. The result was the high quality of the sample print and the supports were easily separated from the piece without damage. The results of this research showed that the use of 3D modeling with Zbrush 3D software and printing with a 3D FDM printer as a suitable method for making a moulage of ivory objects can be useful and can also be used to reconstruct missing parts. Historical-cultural objects should also be used. Introduction & MethodThere are different types of ivory, and the identification and separation of each type of ivory leads to the understanding of trade and exchanges in historical and prehistoric periods. The high demand for ivory objects and their subsequent popularity have led to the endangerment and extinction of several animal species, particularly elephants. As a result of the declining elephant population, the Convention on International Trade in Endangered Species (CITES) banned ivory trade in 1989 (Stiles, 2004). Given the limited availability of ivory and its illegal status, its use is not only against the law but also morally unjustifiable (Ratha et al., 2021). In order to preserve and revive absent sections of historical-cultural objects made of ivory, various alternative materials are employed. These include tagua palm tree or jarina seed as plant substitutes (Chu, et al. 2015), as well as natural materials like bone, polymer composite materials with mineral particles, casein, and ivory sawdust (Baker, et al. 2020: 56-62). Additionally, appropriate putties can be utilized to fill certain cracks.The damaged surface is covered with a putty that has been infused with a color that matches the desired effect. This technique was employed in the restoration of the ivory statue of Christ, where missing parts were repaired using Milliput Superfine White epoxy putty and polyurethane resin (Alconada, 2017). In addition to these materials, other options like plaster, wax, synthetic materials, micro balloons, and a specialized substance called Digory can be utilized for the restoration of ivory objects. However, it should be noted that using alternative materials and engraving on them can be a time-consuming process and may lead to restoration errors.     Therefore, using a method that requires the least intervention of the restorer with high accuracy in the shortest time and can be processed with 3D technologies can be a suitable alternative. By using these technologies, it is possible to restore the original artist's style and preserve the appearance of an artwork exactly as intended. 3D technologies are a suitable tool for virtual 3D representation of objects, reconstruction of missing parts, and making montages of cultural and historical artifacts for conservation purposes in cultural and archaeological heritage sciences (Fantini, et al. 2008). In this article, ZBrush software was used for 3D modeling, and the FDM 3D printer, which is the most common type of 3D printer in Iran and the world, was used for prototyping. The working method of this printer is based on the fusion layer, which can perform 3D printing with a minimum layer thickness of 100 microns.     Considering the remarkable progress made in the field of rapid modeling in the industry and the availability of new technologies today is a good platform for the introduction of such technologies in the field of archaeological studies as well as the conservation and restoration of cultural heritage. Such technologies, and indeed the most important ones, are scanners and three-dimensional printers. These technologies can be used to build a copy of objects and sculptures, relief and rock arts, valuable works and decorations in real dimensions (and/or with changing dimensions), as well as to reconstruct missing parts of destroyed works. The main advantages of using these methods are: Reducing contact with sensitive objects and avoiding conventional and time-consuming commonly used contact and to some extent destructive, such as molding, casting, and filtration processes in the rebuilding of archaeological worksMore precision in the implementation of outstanding and complex designs than the traditional method,Achieving similar levels of quality to historical cultural effects using a combination of modeling techniques.Construction of parts in different dimensions with asymmetric geometric models, so that there is little constraint on the form and geometric shape for construction.Ability to evaluate and modify the 3D layout and repeat it in case of dissatisfaction with each section in the shortest possible timeThe risk of connection to the reconstructed piece is due to the neutral propertiesReducing the time in making missing parts ConclusionThe reconstruction process can be achieved in a very short time and with higher accuracy. The printed piece can be an exact match of the masterwork. Several pieces of the missing part or the whole subject can be printed. A soft copy of the subject would be available for future works and can be used in other research centers. The subject can be reprinted with any desired changes in the Ivory work's original design. Temporary attachment of the printed piece to the masterpiece while preserving the potential of reversibility in the conservation of the object is achieved. The study was subject to the following limitations though: mono color printing of the missing piece, using a polymer as printing material, limited transparency in printing filaments, and minor errors in the performance of the 3D scanner itself. As the content of the research goes, with the superiority of the advantages of these methods, we are faced with their disadvantages. In general, it can be said that the process undertaken is acceptable and can be used in the reconstruction of the cultural heritage and in particular the archeological object. Whereas the above methods, with the least effective interference, harmless interference, maximum compatibility with the host’s effect on the neutrality of matter, and the preservation of the aesthetic aspects of the effect, can lead to a greater understanding of the work for the audience and researchers.

During the first half of the 5th century A.H. (10th century A.D), the Seljuk rose to power and conquered vast Islamic territories from the Jeyhoon River to the Mediterranean Sea, which led to the downfall of feudalism and the revival of the Sassanid kingdom. With political stability and economic prosperity, the pottery industry flourished and advanced in terms of production and decoration. The creation of a multitude of potteries with diverse colors and intricate decorations was facilitated by the endorsement of courtiers and the upper classes, along with the acquisition of artistic products and the establishment of trade and cultural connections with China. This flourishing artistic movement was further amplified by a meticulous comprehension of color, exceptional decorative skills, and an ardent commitment to achieving equilibrium and harmony. Consequently, these captivating potteries not only contributed to the advancement of other artificial arts like metalwork, painting, and book design but also played a pivotal role in their growth.
       During the 6th century A.H., porcelain was manufactured using a combination of materials such as quartz powder, soft soil, and potash. This mixture resulted in a white base that served as a canvas for a wide range of decorative motifs. The primary hub for porcelain production was Kashan, while Neyshabur, Samarkand, and Bamyan also played significant roles in its manufacturing. In this era, an alkaline glaze was preferred over lead glaze due to its compatibility with the porcelain body. This glaze imparted a beautiful turquoise-blue color to the earthenware surfaces, and its smooth, glass-like texture allowed for intricately engraved designs to be created.
Among the types of engraved decorations in the 6th century, Silhouettes stand out due to their shadowy appearance. These designs were crafted in black color beneath either ivory or turquoise blue glaze, making them truly unique. This pottery represents a shift from traditional to contemporary styles and draws inspiration from slip-painted pottery. It shows an array of geometric, botanical, zoological, and anthropomorphic patterns, layered in a captivating manner. The Seljuk to Ilkhani period is renowned for its exceptional pottery, and this particular technique is considered a prime example of its excellence. Interestingly, it also displays some similarities with Toreutics art. Engraving ceramic underglaze to create figural motifs and calligraphy is a complex and challenging process that involves removing parts of the glaze under the turquoise and ivory glaze to achieve the desired black color effect. In addition to engraving, underglaze painting is also utilized for the silhouette pattern, which is less common than the carved pattern. The underglaze is adorned with turquoise, blue, azure, and transparent cream inscriptions, as well as simple plant or geometric motifs in small sizes.
       Based on research and the evidence in museums of Iran and other parts of the world, silhouette pottery can be categorized into nine distinct groups. These groups include bowls, pitchers, vases, Albarello (medicine containers), money pots, plates, mugs, and jars, listed in order of their abundance. Each group has its own unique dimensions and details, making them different from one another. Furthermore, these groups can be further divided into subgroups based on their specific uses.
       Kashan, Ray, Gorgan, Neyshabur, and Sirjan are widely recognized as the primary centers for the production and discovery of this particular style of pottery. Furthermore, recent archaeological excavations and surveys conducted in various sites, including Zolf-Abad in Farahan, Tahayq in Khomein, Moshkin-Tepe in Zarandieh, Aweh in Saveh, Anda-jin and Zino-Abad in Hamedan, and Qal´ eh Sang in Sirjan, have yielded remarkable examples of silhouette pottery.
       Different types of decorative elements are incorporated into the artwork, encompassing, anthropomorphic, zoological, mythological, botanical, geometric, and calligraphic patterns. Additionally, a wide range of decorative designs like banquet scenes, romance scenes, hunting scenes, flowers, plants, and Persian poems are utilized. The majority of human figures are depicted on the ivory glaze, engaging in activities such as dancing, sitting, riding horses, and playing music. These figures are often portrayed without intricate facial details. Animal figures, on the other hand, consist of horses, deer, rabbits, ducks, fish, hounds, wild animals, and birds in mid-air.
Mythical creatures such as the sphinx, griffin, and harpy are formed by combining the unique characteristics of various animals to create a symbolic concept. Abstract botanical designs, inspired by nature, are seen in works by Khata'i, Eslimi, Toomari, and Tak. The motifs on containers can be either raised or drawn inside or outside. Geometric patterns, such as stripes, are often used as space dividers and add to the beauty of a vase. Kufic calligraphy, Naskh-e-Shekasteh, and Thulth are commonly engraved on the inner body, bottom, and outer edge of containers, often with themes of good prayer and hadiths for the holder.
       At the Cultural Institution of Museums of the Mostazafan Foundation, a total of twelve potteries have been analyzed. These containers come in various shapes such as bowl (3), bottle (2), pitcher (2), money pot (1), mug (1), vase (1), jar (1), and plate (1). The pottery designs feature a range of patterns including plant, animal, and bird, human, mythological, calligraphic, and geometric figures. Among the eleven decorated dishes, there are Eslimi designs such as Dahan-Azhdari, floral (goldar), ivy (pichak-dar), leafy (barg-dar), and palmette (Nakhl). There are six samples adorned with depictions of a horse galloping and racing, a rabbit leaping, birds in a face-to-face stance, and a horse with a rider in motion. The shattered container shows a composite figure, featuring a lion's body, an eagle's wings, and a human head (known as a Sphinx). This amalgamation of distinct characteristics from various creatures gives rise to a remarkable phenomenon, embodying the strength and finesse of these creatures. There are two instances where inscriptions in Knotted Kufic Script (Kufi-e-Gereh-Dar) and simple thulth (Thulth-e-Saddeh), can be found. These inscriptions contain the phrases Al-Dawlah, Al-Ezza, and Al-Karamah Lasahiba. Additionally, all the vessels are adorned with narrow or thick horizontal and vertical bands, small asymmetrical rhombuses, vertical wavy lines, thick grooves, and fragmented lines.
       This research aims to identify the stylistic and structural features of Silhouette pottery in the 6th and 7th centuries AH (10th and 11th centuries A.D) and analyze the concepts of its motifs. The study was conducted using a descriptive and data analysis method, examining the physical and tangible aspects of the pottery as well as conducting comparative library and documentary studies. The main question of the research is how this type of pottery is made and decorated, and what are the concepts behind its motifs? Twelve samples of Silhouette pottery from the Cultural Institution of Museums of the Mostazafan Foundation were used as the basis for the research. The results show that in terms of typology, the pottery includes bowls, vases, pots, albarellos, jars, plates, money pots, and pitchers. The main centers of production and discovery were the cities of Kashan, Rey, Jorjan, Neyshabur, and Sirjan. The decorative elements include geometric patterns (12 cases), botanical motifs (11 cases), animal motifs (6 cases), calligraphies (2 cases), anthropomorphic motifs (1 case), and mythological motifs (1 case).

Tall-e-Eblis, situated in southeastern Iran, is renowned as a significant prehistoric site. Joseph Caldwell initially conducted excavations at the site, and in 1964, further excavations revealed a remarkable amount of pottery related to the Aliabad culture. Surprisingly, this evidence remained untouched for years, stored in the National Museum of Iran’s archives. Consequently, we aim to rectify this by employing archaeometric methods to investigate these items. To accomplish this, a total of 10 Aliabad pottery from the Chalcolithic period were carefully selected and subjected to analysis using petrography, XRPD, and XRF techniques. The laboratory analyses have revealed diverse production techniques despite having a common origin. The soil utilized aligns with the geological outcrop of the area, indicating the extraction and utilization of soil mines and deposits surrounding Tall-e-Eblis. Furthermore, the examined potteries are categorized within the CaO+MgO-SiO2-Al2O3 system, ranging from high silica to high calcareous pottery. Samples and Methods Samples:Our samples consist of 10 pieces that were originally discovered by Caldwell in 1964 and belong to Tall-e-Eblis and the 4th millennium BCE. Specifically, the pottery being examined comes from level C of the stratigraphic layers, which contain cultural materials from the 4th millennium BC. The examined potteries show a variety of colors, ranging from buff ware to light pink, and are characterized by a thick layer of slip on its surface. It is important to note that the buff wares have higher porosity, while the pink-colored wares have lower porosity and greater strength compared to their buff-colored counterparts. 

 To conduct a mineralogical study and microscopic examination of the samples, as well as determine the technical characteristics of the pottery, thin sections (µ30) were created for each sample. This allowed for the use of an optical polarizing microscope, specifically the Camera Dp71, Olympusbx60, manufactured in Japan, to address this matter. XRPD analysis was utilized to identify and differentiate the crystalline phases present in the samples, and to ascertain the presence or absence of phases that may not be visible in thin sections. Consequently, a 0.5-gram sample was extracted from the desired pottery for analysis.The PHILIPS PW1730 diffractometer, manufactured in the Netherlands, was utilized to conduct the testing on the samples. The XRPD examination was carried out within the range of 10 to 60 degrees (2θ = 10-60). Additionally, the data was interpreted using the X'PertHighScore Plus software version 2008 (2.2.c). To determine the chemical composition of the samples, the XRF technique was employed with the PHILIPS PW1410 instrument, also manufactured in the Netherlands. Discussion Petrography:The pottery that was examined can be categorized into two primary groups based on their texture or fabric. Some samples possess a granule or silty texture, and some samples have a coarse or porphyry texture. The matrix of all the pieces is consistent and displays green or red colors, indicating the high temperatures that the pottery was subjected to during its production. A subset of the pottery exhibits an immature silty texture, with pieces of varying sizes placed next to each other, resulting in a somewhat disordered appearance. Despite their differences in size and quantity, all the pottery shares the same composition.       Quartz mineral is the most abundant component found in pottery, present in every sample. This mineral can be found in two forms: single crystal and polycrystalline. Among these forms, the single-crystal type is more prevalent. The angular to semi-rounded border of this mineral suggests that the quartz pieces were added to the primary source secondarily. The presence of polycrystalline quartz pieces in the texture indicates their origin from granitic and metamorphic sources, implying the use of soils from the studied area. Some of the studied samples exhibit a coarse texture, in which various fillers or tempers such as igneous rock, quartz mineral, plagioclase, sanidine, muscovite, biotite, amphibole, pyroxene, and pieces of chert and igneous rock have been incorporated.       Colloidal iron accumulation is evident in the samples, and in certain cases, high oxidation conditions have occurred, indicating the iron concentration on the surface of certain pebbles. The samples exhibit empty spaces and perfectly circular holes, suggesting the release of air bubbles from the pottery texture. These spaces do not show any signs of secondary calcite, indicating the presence of a minimal amount of moisture or carbon dioxide in the underground environment.        The pottery production shows the presence of Gerag and some samples exhibit visible sanidine grains, which align precisely with the mineralogical and characteristic traits of the Kerman region. In some samples, plagioclases undergo degradation and clay formation due to the Silicification process. Additionally, alkali-feldspars are discernible in two samples. Although apatite grains are present, they are found in minimal quantities. The majority of these samples lack calcite minerals, except for one sample where a small residue of calcite remains. Calcite mineral acts as a thermometer in the firing process. This mineral decomposes at a temperature of about 800 degrees Celsius and above, so it can be concluded that the firing temperature of pottery with calcite is lower than 850 degrees Celsius. Lime is one of the cases where the texture of pottery exists and shows itself as a secondary compound, and none of them have a crystalline state, which indicates a temperature higher than 850 degrees Celsius. Minerals of the mica group (muscovite and biotite) present in the texture of pottery have lost their optical properties in some cases. This property in these minerals can be considered as a thermal indicator because, at a temperature between 950-1000 °C, it loses its mineralogical optical property and turns from orange to yellow. XPRDAll Tall-e-Eblis potsherds exhibit a prominent and significant quartz phase in their spectra, which serves as a dominant indicator. The ratio of crystalline quartz phase to carbonate phases is evident in all samples, pointing towards their texture being rich in silica. In addition to quartz, feldspars are also commonly identified in the pottery's texture, with minerals such as orthoclase, microcline, albite, anorthite, plagioclase, sanidine, anorthoclase, and labradorite being present.       Hematite can be observed in two different forms within the texture of pottery. This particular mineral is formed either as a secondary mineral during the oxidation process at high temperatures in the furnace, resulting from the release of iron in muscovite at temperatures exceeding 950 degrees Celsius. Alternatively, it can also be formed as an oxide phase at lower temperatures, primarily as a product of the oxidation process in an underground condition (Maggetti & Schwab 1982). Pyroxene, on the other hand, is a secondary mineral that forms at high temperatures. Considering that this phase typically occurs at temperatures of 900 degrees Celsius and above, it can be inferred that the pottery has been subjected to significant heat. However, during the fourth millennium BC, pottery production had not yet reached a level of advancement where they could effectively control the firing temperature of pottery kilns to achieve proper firing. Therefore, it can be considered that their pottery production was more unconscious and based on their limited progress. Glenite, another high-temperature phase, has been identified in several ceramics. The comparative analysis of XRPD data from Tall-e-Eblis reveals that the phases of these potsherds fall within a similar range and exhibit structural similarities among them. XRFBased on the findings, there is a strong correlation among the potteries, indicating that the dispersion of silica oxide, calcium oxide, aluminum oxide, and trace amounts of rubidium, strontium, etc. fall within a specific and equal range. This data suggests that the potteries share the same correlation and can be categorized together. Specifically, these potteries are classified within the CaO+MgOSiO2-Al2O3 system, ranging from high silica to high calcareous clay. The silica to alumina ratio ranges from 3.9-4.4% by weight (w%), indicating a common source of clay. The MgO values, as a real value, range from 3.9-4.5% by weight, which suggests the presence of dolomite carbonate or calcite associated with high magnesium content in calcareous rocks. The loss on ignition (LOI) measurement, which indicates the lime content in the pottery, is not significantly high, implying that the lime content in these potteries’ matrices is relatively low. (Emami et al., 2016). In terms of the main chemical composition, the pottery from Tall-e-Eblis exhibits remarkable similarities. These similarities are particularly evident in the raw materials used, matrix processing, production processes, and baking temperature. Conclusion The petrographic analysis reveals that the observed quartz fragments exhibit angular and sharp edges, providing evidence of the use of mining and grinding additives in the dough. Most of the quartz has either a metamorphic or granitic origin. Additionally, other minerals such as plagioclase, feldspar, muscovite, biotite, and pebbles have been observed. These minerals can be related to the region's geological outcrops and share a similar origin and locality to some extent.        Based on the study of the Petro-fabric of the pottery with a red and green background, it can be inferred that the pottery has been subjected to high temperatures. This suggests that the potters during the Fourth millennium BCE were able to achieve relatively high temperatures in their kilns. However, it is important to note that the artisans of that period had not yet reached a level of development where they could precisely control the temperature and conditions of the kiln.        The pottery exhibits a relatively high porosity, which can be attributed to the high firing temperature and the decomposition of organic materials or polymorphic changes. Examination of the grain size and fillers in the pottery's texture reveals variations in the kneading process. Some pottery shows well-kneaded dough, while others lack proper kneading. High-temperature phases and grains are observed in certain potteries, allowing for an estimation of the approximate temperature at which the piece was fired. The suggested average temperature range is between 850-1000 degrees Celsius. Potteries with high-temperature phases in the range of 900-1000 degrees Celsius, without exceeding 1000 degrees, and potteries with low-temperature initial phases such as calcite in the range of 850 degrees Celsius are considered.        In conclusion, it can be stated that the soil used in the pottery dough was sourced from the same location. The difference in samples is only in their manufacturing technique, which the similarity of dendrograms and PCA also proves.

Humanity's fascination with predicting events and understanding the causes of phenomena that directly impact their lives led to the development of techniques that were occasionally referred to as occult practices. Due to limited knowledge, humans sometimes went to extremes and ventured into a realm of mere illusions and imagination. Protection against danger, warding off the evil eye, astrology, prophecy, improving one's livelihood, divination, and attracting lovers, which in extreme cases involved the use of magic, spells, and sorcery, were among these practices. By becoming entangled in these illusions, individuals further perpetuated the success of these endeavors and continuously sought to overcome their weaknesses through such means. The widespread adoption of these beliefs by a significant number of ordinary people ensured its survival throughout various historical periods. Different tools were created to address these issues, like the forty-keyed (Jam-e-Chehel Kelid) and countercharm bowls (Tas-e-Batil-Al-Sehr) being particularly significant in various historical periods. Although their historical use may seem futile at times, these objects possess notable artistic qualities in their design and craftsmanship, particularly during the Islamic period. Scholars have conducted extensive research on the language, script, content of the writings, the images, and the usage of these bowls. The archive section of The Mostazafan Foundation's Cultural Institution of Museums contains numerous bowls, including one that is particularly noteworthy for its artistic merits. Despite the presence of a file on this piece, it has yet to be thoroughly researched and its exact date remains unknown. As such, this study will utilize a case study approach, incorporating photographs and bibliographic materials gathered during the research process, to examine and analyze the object. The results will be interpreted and analyzed using a historical approach and rationalist perspective.        The results of the study indicate that the origins of these objects can be traced back to the Pishdadi and Keyani periods, with notable kings such as Jamshid and Keyxosrow. During the historical era, rudimentary terracotta examples emerged towards the end of the Sasanian period. The inscriptions on these objects revolved around seeking sustenance, protecting against evil forces through good forces, and seeking love from others. During the early Islamic period, the use of illusory texts on terracotta bowls became obsolete due to the prevalence of ideas that condemned such practices. Prayers, wisdom, ethical sentences, and sometimes hadiths of religious elders replaced these texts. However, during the reign of the Zangid Dynasty in the middle Islamic centuries, metal vases with similar inscriptions were discovered. As the Safavid dynasty rose to power, the production and spread of these vases increased significantly, with many being produced and their production continuing to flourish until the contemporary period. Reliable sources indicate that during the Safavid period and beyond, these vases were known as the forty-keyed, Counter Charm bowls and Jam-e-Sehri (sorcery bowl).       The majority of these containers are of medium and small sizes. The production of this type of bowl typically involves the use of brass alloy. The rationale behind this choice, in addition to the alloy's resistance against corrosion caused by moisture and turbidity resulting from frequent usage, can be attributed to a psychological aspect rather than a specific function. It appears that the advertised ability of this alloy to detect and counteract poisonings had a significant influence on the customers of these cups. They were convinced that if a liquid poisoned with arsenic was poured into these containers, it would react with the material of the bowl, thereby alerting the user to any potential conspiracy.Typically, the engravings on these vases commence with Surah Al-Fath positioned at the upper part of the rim, while some verses or all of the Ayatul Kursi are either placed below or on top. Generally, there are no inscriptions that include the name of the manufacturer, customer, or the year of production. The inscriptions are skillfully written in Thuluth, Naskh, and Nastaliq scripts. Toreutics is the prevailing technique employed for decorating this particular class of vases. Alternatively, the black pen technique is also prevalent. In this method, the inscriptions are delicately written with a fine pen using a dark substance, typically black ink. Arrays, large pictures, and Nastaliq inscriptions, which require a broader pen, are executed using the background color and the metal body as the ink color.       Toranj (medallion), Nim-e-Toranj (half medallion), Akhtars (stars), and sometimes Nim-e- Chelipa (half cross) serve as dividers between inscriptions and pictures. The inscription text is often divided into multiple boxes. The presence of mintakulburuj (zodiac constellations) and the ancient seven planets, both on the outer and inner surfaces, is of particular importance. The tradition of including these motifs during the Safavid period remains almost identical. In numerous instances, the elements within the Arabesque designs are not only intricately represented but also closely positioned to one another. The primary textual content featured in these inscriptions consists of Quran verses from Baqarah, Ma'idah, Qalam, Nasr, Tawheed, Taha, Yusuf, and Ṣād. Additionally, renowned prayers that emphasize the attraction of love are consistently incorporated. The middle body of the outer face of the container features the Asma' Al-Husna (The holy names of Allah) along with blessings on the Prophet of Islam and Imams, all guaranteed by their titles. Additionally, the first ring of inscriptions on the inner base of a bowl contains the well-known prayer of Nad-e-Ali.       Eliminating evil eye, nullifying enchantment, sorcery and incantations, astrology, divination, recuperation, safeguarding against malevolent entities and spirits during childbirth, commonly known as preventing miscarriages, averting miscarriages in infants, addressing infertility and aiding in childbirth for barren women, Predicting fortunes for young girls, pursuing happiness for women, and overall, seeking any form of opportunity and reliance on sustenance and fortune are common in these objects. The prayer inscribed on the paper was dissolved in the water contained within and served to the customer, or the water from these containers was poured forty times over the heads of individuals such as parturient women, babies, girls, and barren women during their baths.        The museum's bowl is a small sample. It has a flat edge that slightly turns outward, while its body is convex and has a concave bottom. The entire surface of both the inner and outer body, including the edge and floor ridge, is adorned with inscriptions that contain the holy names of Allah and verses from various Surah such as Al-Imran, Baqarah, As-Saaffat, Ṣād, Taha, Yusuf, Qalam, Ma'idah, Nasr, Tawheed, and Al-Ahzab. The writing on this piece begins with Surah Al-Fatihah on the edge, and unlike most examples that continue with Ayatul-Kursi, this one ends with passages from the famous sermon of Adam.Salutations to the Prophet of Islam and Imams, along with their titles, are elegantly inscribed in Nastaliq script and with a large pen at the center of the outer body. The famous prayer of Nad-e-Ali is beautifully written in Nastaliq script and bold pen in the first ring of inscriptions on the inner base of the bowl. The exterior of the bowl shows the twelve constellations of the zodiac, each represented by a picture. All inscriptions and designs are meticulously placed within medallions and half-medallions. The decorative elements are skillfully engraved, and the use of the black pen technique enhances the clarity and intricacy of the words and pictures.        The presence of an inscription displaying the construction year, specifically the numeral 1080 AH. (1669 AD), on the exterior surface of the bowl, indicates that this object was crafted during the second year of King Suleiman's reign, who was one of the final rulers of the Safavid dynasty. By examining the structural characteristics of the container and the depiction of the zodiac signs, it has been verified that this artwork indeed belongs to the Safavid period and dates back to the 11th century AH (17th century AD).