فصلنامه اثر
پیاپی 102 (پاییز 1402)

The remains of water transmission management systems for urbanization and on a wider scale for agriculture show the importance of water for the governments and residents of the Iranian plateau. In this arid and semi-arid land, there is little permanent water that can solve the problem of water for urban and agricultural use over a long period of time. It seems that the technology of using Qanat in dry and watery areas was the best solution to avoid water shortage and to cross the lowlands and heights of neighboring lands. The typology of this technology in the Sassanid and Islamic periods in the Fars region is one of the goals of this research. What were the measures of the Sasanians regarding the water supply and management system through digging well and Qanat? With the change in the political and religious systems, after the arrival of Islam in Iran, which changes occurred in the management of the water transmission systems through well and Qanat? These are the issues that the current research seeks to answer. The upcoming research deals with the methodology of digging well and Qanat in the Sassanid and Islamic periods with a historical-comparative-analytical approach and using library-field studies. The Sasanians valued water and its management through Qanat and used their own special method in its construction and with the arrival of Islam in Iran, this technology continued to exist in a different way.

Historical relics have different owners and beneficiaries and as a result, numerous challenges arise in the process of their protection and restoration. A scientific and ethical approach based on a kind of consultative approach is needed to face these challenges. The present research examines the issue by investigating the attitudes of conservators of historical relics. Therefore, the purpose of this research is to investigate the dominant approaches to conservation from the viewpoint of consultative and collaborative approach, which is carried out based on the criteria and assumptions of such approaches.
The present study is an attitudinal descriptive-analytical research with a statistical population comprising three groups of conservators in Iran, who are working at universities, Department of Cultural Heritage, empirical veterans and educated professionals working in the private sector. The sample includes 30 conservators selected through simple random sampling. Open interview was used to collect data and data foundation method was employed for data analysis within the framework of the theoretical foundations of the research. Based on the investigations made, predominant approaches to conservation in Iran include historical/fact-seeking, scientific/object-oriented, artistic/taste-oriented, selective value-oriented and somewhat rule-oriented/authoritarian approaches. These approaches are founded on a theoretical framework of conservation profession, hard science, and individualism, and in part, on micro and macro policies and organizational hierarchy. The findings of this research indicate that the demands and consultative and collaborative role of public beneficiaries in conservation approaches, it is not much considered and as a main component in making decisions and carrying out actions, there is no belief and acceptance towards it.

The interaction between form and content, or in other words, form and meaning in the Islamic art, especially in the Persian miniature, has always been the question of researchers. Are these two categories basically separable like the Western art? How is the paradox between the place of similitude and Transcendence solved by the painter? This research has been carried out by posing the mentioned questions and mentioning such hypotheses that the existence of micro forms in miniature is based on macro forms and derived from the knowledge and philosophy of Islamic art. The meaning of macro forms is general forms or in other words the spirit of the time which refers to more detailed forms such as structure, color, design and basic geometry, and these micro forms are also based on the meta forms, which is derived from the Islamic worldview, in Iranian-Islamic context.

The miniaturist reaches a reasonable and significant form that reveals the external and internal aspects of a phenomenon by creating a balance between simile and Transcendence place. Innovation: dealing with the challenge of form and content in the position of simile and Transcendence in miniature. Research

descriptive-analytical and qualitative type, and the data collection tool is a library.

The present study deals with the analysis of motifs and relative comparison of the exposed gold cup from Ahmad-Bigelo village, Meshginshahr city with samples obtained inside and outside of Iran. This object was discovered and recorded through unauthorized excavations in 2013. Due to the fact that no research work has been done on this object, therefore, conducting such a research in this field in order to determine the function, construction technique, comparison, relative dating, analysis of the symbolic motifs used on this work of art. It seems necessary. The methodology of this article is in the form of a comparative and analytical-descriptive study, and the method of gathering information is also in two library and field methods. The analysis of the dating of the Meshkinshahr gold cup with domestic and foreign examples has been done in two cases: 1- the form and material of the container, 2- the decorations used on the cup. The results of the research indicate that the way of thinking and beliefs of the artists had a significant impact on the use of motifs on the cup. In fact, these motifs are ritualistic and express concepts It has been like fertility. Comparable samples of Meshkinshahr golden cup; There are Marlik Winged Cow Gold Cups, Hassanlou Cups. According to the analysis of motifs and its comparison with the samples found, the results obtained from the research show that the relative chronology of the Mushkoofeh cup belongs to the end of the 3rd millennium to the beginning of the 2nd millennium BC. And the illustrations and symbols engraved on the Meshkinshahr cup are a representation of the customs of welcoming spring in Azerbaijan with the presence of the Mehri ritual.

Zoroastrian religious architecture from the Sassanid period to the late period had distinctive style references and was influenced by internal and external factors, including political, social and economic. Researchers have studied the religious architecture of the Sasanian period, but the periods after that have received less attention. Pre-Islamic Zoroastrian architecture had a distinct style that was based on a quadrilateral plan and a domed roof and was executed with stone materials. Zoroastrians had problems in building religious places and did not want to see these places in the context of cities, despite the restrictions that the Ahl Dhimma law created in Islamic cities. The religious buildings of this period are influenced by the architecture and residential context of cities like Yazd. The constitutional revolution and the social and political conditions after that, together with the material and spiritual support of the Persians of India in the constitutional period and in the period of Reza Shah, encouraged the Zoroastrians to build magnificent and visible religious buildings in the cities of Tehran and Yazd. The social and political conditions of this period had a direct impact on the construction of fire temples and created a new type of these places with a special effect of the conditions of the time and the existence of signs of archaism. The current research, which is collected by field and library methods and by descriptive-analytical method, seeks to know the characteristics of Zoroastrian religious architecture after the Sassanid period and the factors affecting it.

The Seljuk period shines as one of the most brilliant periods for pottery in the Islamic world, largely due to the remarkable synergy between image and literature evident on the potteries of this time. Inscriptions and motifs served as windows into the minds and hearts of the people, transforming these vessels into captivating narratives of romance. Immortal legends of Iran, enduring love stories of men and women, powerful kings, and diverse social classes all found expression on these artistic canvases. This research delves into the romantic themes intricately engraved on the Seljuk pottery, dissecting their content by theme type. It poses the key question: how do text and image intertwine in the romantic narratives portrayed on these artistic artifacts? By meticulously comparing the romantic themes with their corresponding motifs, the study aims to understand which themes held the most resonance for the Seljuk pottery decoration and uncover the inspirations behind these captivating visuals. Our examination of research samples reveals a prevalent correlation between the romantic text and its visual representation. Interestingly, pre-Islamic narratives, such as the captivating love story of Bahram and Azadeh, found the most adaptation in the depiction of Seljuk pottery motifs.