مجله کاشان شناسی
سال شانزدهم شماره 2 (پیاپی 31، پاییز و زمستان 1402)

Oriental carpets, Persian ones in particular, were not thoroughly known until the early 20th century. These carpets were generally collected by collectors for their mere beauty or material value rather than for their historical or cultural aspects. At the end of the 19th century, some researchers tried to acquire more knowledge about Oriental carpets. Lessing, Bode, Riegel, Martin, and Sarre were among the leading characters. The scientific analysis of carpets in the Western academies began with the two schools of Berlin and Vienna. One of the concerns of these researchers in this period was the explanation of technical and aesthetic models of identification for categorizing and assigning Persian carpets to specific weaving geographies. Since the data in this period were generally obtained by relying on museum carpets and the library method--rather than by survey, there was no accurate knowledge about the variety of the designs, patterns, and methods of weaving and production of Persian carpets. Thus, the classification, dating, and assigning of carpets to a carpet-weaving area was done every now and then with incorrect criteria. Kashan was one of the areas of carpet weaving that were neglected in Western studies in the years between 1901 and 1926 due to the lack of information or incorrect assignments.

The goal of this research is to identify and analyze the method of categorizing and assigning carpets to the weaving geography of Kashan from 1901 to 1926 in Western studies. The authors have tried to answer this question: what methods have Western researchers used in this era to classify and assign carpets to Kashan? The research was carried out adopting a historical approach and a qualitative analysis, based on library data and first-hand documents, by the means of note-taking. Almost all available samples in the time span from 1901 to 1926 were referred to.

According to the findings of the research, from 1901 to 1910, the knowledge about the weaving geography of Kashan was very limited, and carpets weaved both in the Safavid and Qajar eras, including the Kashan silk group, Salting, or Polonaise, were all assigned to other regions. Even in the categories provided by early researchers of the Iranian carpet weaving geography, the name of Kashan, as a carpet weaving region was generally absent. For the first time, Ripley (1904) mentioned Kashan as one of the subsidiary carpet weaving areas in Iran. Also, in this decade, researchers never mentioned the geography of Kashan carpets in the assignment of the Safavid carpets in the European collections except for the Ardabil (Sheikh Safi) carpet, which was attributed to Kashan because of its inscription. Although Lewis (1911) has classified Kashan as one of the subcategories of Azerbaijan textile geography, but between 1910 and 1920 the knowledge and, consequently, the studies about Kashan carpet weaving expanded. Hawley (1913) described Kashan as an important area in the field of carpet weaving in Iran. He carefully investigated the technical and aesthetic characteristics of Kashan’s carpets in the Qajar era. Moreover, Pünter (1917) for the first time introduces the group of Kashan pictorial carpets to the western scientific community. The years between 1920 and 1926 can be considered an important period in the recognition of Kashan’s new woven (Qajar and Pahlavi) and antique (Safavi) carpets. The key figure of this period who played a prominent role in this identification was Pope. By holding the Chicago Exhibition in 1926, he established the name of Kashan as a prominent city in the geography of Iranian carpet weaving, where probably some of the most prominent Safavid carpets were woven. It should be mentioned that in the same period, Kendrick in 1922, for the first time, challenged the hypothesis that Ardabil carpet was woven in Kashan and argued against it. Later, Pope rejected the hypothesis in his "A Survey of Persian Art from Prehistoric Times to the Present," although, in the catalog of the 1926 Chicago exhibition, he clearly considered the carpet to be woven in Kashan.

The results showed that the lack of identifying models for the extensive geography of Persian carpets caused the carpet experts not to have a detailed knowledge about the weaving geography of Kashan in the initial studies and, thus, they assigned some new (Qajar and Pahlavi) and antique (Safavi) carpets, which today with no doubt are assigned to Kashan to other areas. Even in the categories presented by the first carpet researchers of the geography of Iranian carpet weaving, the name of Kashan, as a carpet weaving region, was absent; however, between 1910 and 1920, studies and consequently the knowledge about Kashan carpet expanded, and with the Chicago exhibition in 1926, the name of Kashan was established as a prominent city in the geography of Iranian carpets, where some of the most prominent Safavid carpets were woven. This path has gradually added up to the knowledge about the carpet weaving geography of Kashan, and it did not happen overnight.

Abu al-Hasan Khan Ghaffari Kashani, known as Sani’ al-Mulk, was an Iranian painter and historiographer in the Zand court. Ghaffari Kashani’s visual works hold significance in multiple spheres. First, they bridge the gap in visual sources on woven products of the Zand period. Second, some of his works link the visual history of the Zand era with the visual arts of Kashan in the second half of the 12th century AH (17th century AD). Third, the combination of the written and the visual, rooted in Ghaffari Kashani’s expertise in both historiography and painting and his reason for choosing historical themes, is one of the many characteristics that highlight the significance of studying his paintings. Given that Ghaffari Kashani’s paintings are marked with raqam (signatures), studying his works can reveal an array of information on the original woven products of the Zand period. As a number of his works showcase the designs of the woven products in the Zand era, this study aims to explore the designs and motifs of woven products in the Zand period in Kashani’s artworks. Accordingly, the designs and motifs of non-clothing textiles in Ghaffari Kashani’s works were categorized and analyzed. The main research questions are: What are the designs and motifs of woven products in Ghaffari Kashani’s miniatures? How can Ghaffari Kashani’s works contribute to identifying the designs and motifs of Persian rugs in the Zand period?

This theoretical basic research sought to explore the overt and covert layers of non-clothing textiles in Ghaffari Kashani’s works in order to determine the characteristics of these woven products. In this descriptive-analytical study that a part of Zand art in its historical context was explored, the written and visual data were collected through library and documentary research. The observational field research was conducted online and at the Malek National Museum and Library in Tehran. A total of eight works by Ghaffari Kashani were selected through purposeful sampling, based on the criterion of non-clothing textiles. Accordingly, the miniatures selected for analysis were Karim Khan Zand with the Ottoman Ambassador Vehbi Effendi, Mirza Moez ad-Din, Abbas II of Persia and the Mughal Ambassador, Qazi Abd al-Mutallib, Karim Khan Zand with His Horse and Groom, Karim Khan Zand on Horseback, The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar, and Portrait de Qazi Ahmad Ghaffari.

Ghaffari Kashani’s works have a crucial role in identifying the traditional woven products of the Zand period. Designs, motifs, sizes, applications, and colors are among the characteristics that can be studied. Woven products in his works are depicted as cultural media similar to other visual elements in the paintings. The analysis revealed the following designs and motifs on woven products, excluding clothing, in the Zand period in Ghaffari Kashani’s works. There are two instances of lachak and toranj [medallion and corner] designs, befitting the theme of court. There are two instances of zarbaft jol [gold brocade cherry laurel] designs for the two high-level officials, namely Qazi Abd al-Mutallib and Karim Khan Zand. There is one instance of a ghayesheh with arabesque design, appropriate for the historical context of Naqsh-e Jahan Square and Rashti-style crochet, and Hamedan rug design in The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar. Finally, there is a mehrab design, fit for the mystical atmosphere, in Portrait de Qazi Ahmad Ghaffari.
Two instances of side carpets, a rug, two jols, a ghayesheh, and a prayer rug were half visible in the selected works. The woven works in miniatures of Mirza Moez al-Din and The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar may have been parts of the margins of rugs.
The color of the rug in Abbas II of Persia and the Mughal Ambassador is reminiscent of the colorful pattern of Polish rugs. The yellow color on the jols in the miniatures of Qazi Abd al-Mutallib and Karim Khan Zand represents gold brocades. Moreover, the color of the ghayesheh in Karim Khan Zand and his Groom typifies the color fit for the historical context of Naqsh-e Jahan. The margins of the rug in The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar indicate the colors of Hamedan’s rugs. The prayer rug in Portrait de Qazi Ahmad Ghaffari has its natural color--i.e., its fabric is not dyed.
The themes and woven products seem interrelated. The themes were linked with the figures or the historical events illustrated in the miniatures. They demonstrate Ghaffari Kashani’s both roles as a court secretary (mustawfi) and a painter. This also indicates a meaningful relationship between the designs of the rugs and the themes of the works.
The design styles of Kashan, Rasht (crochet), and Hamedan were observed in Abbas II of Persia and the Mughal Ambassador, Karim Khan Zand with His Horse and Groom, and The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar. Overall, four of the selected works depict designs and motifs found on loom-made woven products: Mirza Moez al-Din, Portrait de Qazi Ahmad Ghaffari, Abbas II of Persia and the Mughal Ambassador and The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar. From a historical viewpoint, the subject matter of these miniatures was selected from the Safavid, the Afsharid, and the Zand periods.

Like other visual elements in Ghaffari Kashani’s works, woven products function as media conveying historical concepts. In addition to the meaningful relationship of the woven products and the themes of the works, the relationship of the woven products with certain occupations in the Zand period was another finding in this study. This notion was evident in Karim Khan Zand with His Horse and Groom as the designed ghayeshe portrays the occupation of ghayeshehbari during Karim Khan Zand’s rule. The woven products depicted in the works of Ghaffari Kashani varied in designs and motifs, sizes, applications, and colors. The results showed that although Ghaffari Kashani was more reputed as the court secretary (mustawfi), he attempted to incorporate history in his paintings. The historical figures and events, as the subject matters of his works, along with addition of written descriptions on his paintings, indicated the link between his official profession (historiography) and his side job (painting). To sum up, the analysis of Ghaffari Kashani’s works revealed useful information about the designs, motifs, applications, sizes, and the colors of woven products and non-clothing textiles in the Zand period. Moreover, it shed light on the place of origin of the woven products during the Zand era: Kashan and Hamedan for loom-made products and Rasht for crochet. The Safavid, the Afsharid, and the Zand periods were the historical periods and Kashan, Isfahan, Shiraz, the environs of Kabul, and the route to the Mughan Plain were the geographical centers in the selected paintings.

Natural dyes are a group of dyes with high fastness with plant and animal sources which play effective roles in traditional dyeing. Eco-friendly nature, beautiful and attractive colors, and economic issues have resulted in the significance of using natural dyes, in spite of the production of various chemical dyes. One of the most important problems in using natural dyes instead of harmful chemical dyes is the huelimitation and sometimes the high cost of dyeing plants. Rosa damascene mill residue is a waste material that is produced and disposed of in a large volume during rose gleaning operations, which costs significantly for the rose gleaning industry of Kashan. Furthermore, the surface of textiles with natural fibers, including hand-woven carpets, in the presence of moisture and heat, is exposed to the growth and proliferation of bacteria, and this leads to problems in the durability, appearance and hygiene of the goods. In this research, in addition to evaluating the color characteristics and light fastness of wool dyed with aqueous and alcoholic extract of the rose water residue, the comparison of their antibacterial effects on two Gram-positive Staphylococcus aureus and Gram-negative Escherichia coli bacteria has also been investigated.

Rosa damascene mill residue, obtained from Kashan damask rose essential water extraction, was used as a dye. In addition, Iranian woolen yarn with a 4.5 metric number and 65 twists per meter were applied. Considering that the extraction of the effective substance in plants depends on the type of solvent used, three different solvents--water, ethanol, and methanol--were used to prepare rose petal extract; the aforementioned fibers were dyed with the extracted dyes using the simultaneous mordant method with the Aluminum and potassium double sulfate. Aqueous and alcoholic extracts were prepared by percolation and return methods in Soxhlet apparatus, respectively. For this purpose, dyeing bath with L: R=1:50 containing natural fibers, 3% oxalic acid, 5% dentate and 30% dye was used. The dyeing processes for both baths continued for 90 minutes in Bain Marie device. Color parameters (a*, b*, L*), color strength (K/S), the reflectance spectrum (R) were performed by spectro-photometric method, and the antibacterial property of each dyed fiber was evaluated with aqueous, ethanolic, and methanolic dye extracts. On the other hand, the lightingfastness of the dyed fibers was measured according to the 2010 ISO 105-B01 standard by the blue standard. To measure the antibacterial property, 0.03 grams of each of fibers dyed with the desired dyes were soaked in 1500 microliters of serum containing Staphylococcus aureus and Escherichia coli bacteria for 24 hours. Then, by dilution method in plates, Nutrient agar was cultured and colonies were counted. Quantification of the active substance of rosa damascene mill residue (cyaniding diglucoside) in the extracts was done using HPLC analysis.

The reflective spectro-photometric evaluations of the samples showed that the woolen yarn dyed with the aqueous and alcoholic extracts of the rose petals, obtained from rose extract, had positive a* and b* levels, which indicated the red and yellow undertones of the dyed samples. Among these, the reddest tone belonged to the sample dyed with the methanolic extract of the mentioned dye. The numerical results agree with the visual qualitative evaluations in the optical cabinet. The evaluation of the color strength of wool dyed with aqueous and alcoholic extracts of primary petals and the rose petals residue showed that the methanol extract of the dye could create the highest color strength on the wool fibers, which indicated the high percentage of the dye in this extract. In addition, the comparison of the color strength of the primary petal and the residue of the rose flower showed that the rose flower residue obtained from rose essential water extraction had the same color strength as the primary petal. Therefore, using it as a dye was more economical than the first flower petal. The evaluation of lighting fastness showed that the samples dyed with the ethanolic extract of the mentioned dyes had less paleness and more lighting fastness after light irradiation than the aqueous and methanolic extracts. However, in general, all four samples had acceptable lighting fastness. Antibacterial properties of aqueous, ethanolic and methanolic extracts of rose flower residue were measured by measuring the average diameter of the no-growth halo for two types of bacteria, Escherichia coli and Staphylococcus aureus. The results showed that the alcoholic extracts of rose petals, especially its ethanolic extract, showed more antibacterial power, which indicated the presence of higher amounts of effective phenolic and phenolic compounds in this extract. In addition, the calculation of the inhibition percentage of the growth of bacteria on the dyed fibers showed that although all the extracts used provided good antibacterial properties to the woolen yarn, the wool dyed with the ethanolic extract showed a significant inhibition percentage for both types of bacteria, because of the higher anthocyanin content of this extract. HPLC analysis showed a total number of four different anthocyanins: cyanidin 2-glucoside, anthocyanin delphinidin 3-glucoside, pelargoidin and malvinidin in rose petals, which were responsible for the red color and antibacterial properties of rose petals, which are in good agreement with scientific reports.

In this article, the comparison of the color characteristics and antibacterial properties of woolen yarn dyed with aqueous and alcoholic extracts of rosehip waste, obtained from rose water, was discussed. Spectro-photometric evaluations of the samples dyed with the waste extracts of the rose flower and the primary petal confirmed the red and yellow tones created. Also, the color strength of these two dyes did not show significant difference. Although anthocyanin dyes generally do not show high fastness, the light fastness of dyed samples with dye extracts was acceptable. The findings of this study suggest the use of the dye extracted from the waste of rose water as a suitable antibacterial dye on natural fibers, which can be effective in preventing and treating infectious diseases caused by Escherichia coli and Staphylococcus aureus bacteria. The reason for this is the presence of significant amounts of cyanidin diglucoside and phenolic compounds, flavonoids and tannins, which were proven by the phytochemical analyses carried out in this research.

Kashan is one of the oldest cities in Iran in the history of Shiism, and the history of the presence of Shiites in this city dates back to the first centuries A.H. After the overthrow of the Al-Buyeh dynasty, the Sunni Seljuqs came to power. With Seljuqs’s coming to power, it was natural that the Shiite cities were not given much attention by the rulers of this dynasty, and, thus, the events related to these cities, which were generally written by historians close to the court, were not to be reflected in the historical texts of this era. Although Abu al-Reza Rawandi was considered a praise poet, he was one of the great scholars of the 6th H.A. The historical importance of this work became more evident when it was understood that in his work, Ravandi paid much attention to various aspects of the political, social, cultural history, and even the civil status of the city of Kashan in the 6th H.A. In some cases he expressed these events in detail. These descriptions of the political, cultural, and social activities of Kashan added up to the historical value of this Divan of poetry.
The historical data of Abu al-Reza Ravandi's poetry are the most important materials used in this research. Ravandi expressed historical reports in many of his verses. In this research, the historical data of Abu al-Reza’s work regarding Kashan in the 6th H.A. has been extracted and analyzed in a descriptive- analytic way using a library study.
Abu al-Reza Ravandi's poetry in relation to the social history of Kashan was classified into three main cultural and religious, social, and political categories. According to the history of Shiism in Kashan as well as Abu al-Reza’s references to Imamzadeh Ali Ibin al-Baqir and his position in the sixth A.H., Shiism was established in the Kashan region during that period, and the people of Kashan were generally Shiites. In relation to cultural issues, it was also concluded from Abu al-Reza Ravandi's verse, his odes about various scientific and political figures of , as well as his referring to the Magdiya School of Kashan, and his own teaching there that Kashani people paid much attention to the issue of education. In this period, despite the fact that the practicing religion of Kashani people was not aligned with the religion endorsed by the government, the issue of education, especially in the religious field, was of great interest in Kashan. Reading his Divan, on can observe that the attention that paid to public affairs and to the support of the weak sections of the society, in the form of the Islamic tradition of endowment, was very widespread and important in this period in Kashan. Political history was not of Abu al-Reza’s real concern, but his references to the role of Majd al-Din in Kashan in this period and the impact of this character on the most important events of the city, showed that this character is the most effective or at least one of the most important men of the city. It was during this era that he played a very significant role in the political, cultural, and social administration of the city.

In recent years, an increase in the growth of tourism and its performance as a major economic activity in the world has led to the emergence of competition among major tourism destinations. In the same way, it is necessary to develop a coherent framework for using the theory of tourism destination branding. Kashan, one of Iran's tourism hubs, is located between two other prestigious destinations, Tehran and Isfahan. This city has many tourist attractions such as the Damask rose essential oil extraction industry, historical tourist attractions such as historical houses, Fin Garden, the old market, natural tourist attractions such as Niasar Waterfall and Maranjab. Among the important and influential issues on the development of tourism in Kashan is its evaluation and explanation based on the special value of the brand. In this article, an attempt was made to examine the status of the factors affecting the special value of the brand in Kashan and, then, to rank it. Finally, the model used for the tourism destination of Kashan was evaluated.

The current research is an applied research which is descriptive and analytical in terms of its purpose and quantitative in terms of its approach. The method of collecting information is a combination of survey and library methods. The statistical population of the research is the domestic tourists visiting Kashan, of which 173 people have been estimated and questioned as a sample size using the Sample Power software and with the test power of 0.8. The research tool is a researcher-made questionnaire with 8 general questions and 39 specialized questions, which was extracted through using theoretical studies, surveys of professors and experts, and a review of the research background. In order to measure content validity, face validity was used. Cronbach's alpha coefficient was used to check the reliability of the questionnaire; a value greater than 0.7 for all indicators and the entire research questionnaire indicates the acceptability of the questionnaire and its appropriate reliability. In line with research objectives and testing research hypotheses, the data obtained from questioning were analyzed by structural equation modeling (SEM) and using SPSS and AMOS Softwares. The basis for examining the fit in the research was referring to the fit indices. It is worth mentioning that in addition to quantitative research such as the present research, conducting qualitative research and systematic review can be useful in achieving the research objectives.

The brand image of Kashan tourist destination in the second-order factor model used in the research was evaluated with two other hidden factors. According to it, the brand climate image with a factor load of 0.99 and the brand environmental image with a factor load of 0.96 explained the tourists' mental image of the tourist destination in Kashan. Among the investigated variables, the commercial position of Kashan, local foods, the hospitality of Kashan’s people, and the desirability of Kashan's climate were average compared to the reality and the mental image of tourists. Of course, the attractiveness of cultural attractions, the beauty of nature and the landscape, the uniqueness of handicrafts and the beauty of historical attractions were above average. The perceived quality of the destination brand with a regression weight of 0.86 had a significant correlation with its higher level variable. According to the tourists in Kashan, there was no proper information about the entertainment and tourism places. Therefore, improving the introduction of tourist attractions and the formation of travel packages with emphasis on lesser-known cases can improve the perceived quality of Kashan's tourism space. Improving the quality of service in Kashan and the ease of access to resources and facilities can also help in this direction and raise it from an average evaluation status to above average. According to the findings, tourists received a positive feeling from their trip to Kashan. Therefore, according to the significance level obtained in the T-test and the factor loading of the brand's special value with a factor load of 0.82, it can be said that Kashan has been able to have its own position and brand value as a tourist destination. Brand loyalty is one of the powerful indicators in explaining Kashan's tourism brand. The regression weight of 0.81 indicated that loyalty to the tourism brand could play a high role in its creation; however, the status of this index was not favorable. It is worth mentioning that the location of Kashan between the cities of Tehran and Isfahan and also in the vicinity of the city of Qom, as the tourist, industrial and religious poles of the country has been a factor to attract tourists. In this way, it can be expected that a cluster activity will be formed in the path of tourism development. In fact, Kashan can be a part of the network and cluster of shared efforts and cooperation of tourism destinations of Isfahan, Kashan, Qom, and Tehran in line with the development of regional tourism.

Branding of tourist destinations is a new phenomenon that has recently received attention in marketing literature. This concept is of particular importance in understanding travel behavior and developing effective marketing strategies in the field of tourism. The current research model showed that the variables of brand image, perceived quality, special brand value, brand loyalty and brand awareness have the greatest effect in promoting Kashan tourism brand. In this regard, due to the existence of old houses in Kashan, efforts have been made to brand this destination as a city of historical houses. Gulabgiri, as a cultural event of a long history, can create a successful performance in the direction of deepening and creating the Kashan tourism brand at the national and international level. Of course, the design of the brand symbol is also one of the requirements that cannot be overlooked to achieve this goal, and it must be carefully considered and diligently pursued in the future.

The idea that the family is the main focus of the society and the main core of the formation of the society, providing a suitable model, makes the recognition of the customs of marriage very important. It should be noted that people's views on marriage depend on the culture they belong to. Therefore, it is necessary to know subcultures, which are the unifying factors of the value system a society. According to the growing trend of modernity in Iran, if Iranian traditions and customs are not preserved and revived in various forms, in a short time a fundamental part of Iranian’s cultural identity will be forgotten. Therefore, this research study the stages and components of marriage in the history of the city of Qamsar with regard to the social and cultural situation of this city.

This research was conduct using a library method, investigating the notions of marriage, customs, traditions and modernity as well as reviewing and the theoretical background of the research. Besides, with the conventional method of field interview, the questions designed by the selected statistical population of the residents of this city were answered directly; In the stage of converting data into findings, the method of description and content analysis was used, and the information extracted from the questionnaires was presented in an orderly and practical manner by arranging the stages and components of marriage in Qamsar city. In that way, all the required were collected to cover all the components of marriage in Qamsar.

Since folklore research has grown less than other literary and interdisciplinary research, a step was taken to enrich the resources related to Iranian public culture with a case study on marriage customs in Qamsar. Due to the fact that one of the main goals of this research was to prevent the effacement of marriage traditions in the city of Qamsar, these customs and traditions are no longer forgotten. In fact, by compiling the components of marriage customs in Qamsar’a subculture as well as by the description and analysis of its different parts, these traditions can be preserved as part of Iranian subculture. A look at cultures exposed to modernity depicts tremendous changes in the beliefs, opinions, and cultural and social values. Iran is no exception.
These changes have turned the phenomenon of marriage into a critical problem. In this article by presenting a detailed model of the customs experienced in marriage customs tries to take a small step towards changing the inappropriate attitude of young people towards marriage. It is obvious that such change will eventually lead to a change in the normative system of the society and change in the marriage patterns.

The results of this research demonstrate that by recognizing all aspects of marriage customs in the social history of Qamsar and avoiding the structure of modern society's attitude to the phenomenon of marriage and family formation, this research can serve as a basis and a bank of sociological information for researchers, planners, and cultural managers. It may also change the strict and luxurious thinking of many young people and families towards the notion of marriage.

Recently, due to an increase in national, regional, and global changes as well as a reduction in job dependence, organizational commitment, and job satisfaction, a complex, unstable, and uncertain environment has been created. In such conditions, organizations and senior managers should undertake some actions such as the identification of talents, the creation of a talent repertoire in their organizations to identify key positions and to prepare a succession plan for all key positions both horizontally and vertically (Kim et al, 2019). Succession planning, as a subsystem of human resource management, has an impact on organizational learning, stability, and development while promoting financial performance of the organization, turnover rate, and employees’ job satisfaction (Ojeyemi, 2021; Ugoani, 2020). According to Barton (2019), succession is a process during which the talented forces of an organization are prepared in line with the organization’s strategies and plans to take on sensitive jobs and key positions. Succession is a process by which organizations develop and promote capable and talented forces through proper planning (Raby & Valeau, 2021). Despite the importance of competencies and succession, few studies in the field of human resource management, especially in the water and sewage industry, have examined human resource management measures comprehensively with an emphasis on succession. All companies deal with the issue of succession. Kashan’s Water and Sewerage Company, as a service company, is not an exception. Succession management and planning are highly important for this company since about 25% of its managers will be about to retire by the end of 2023, which justifies the need to carry out a succession plan. The present study aims to develop a model of succession management system for the water and sewage company in Kashan.

This study was a qualitative-quantitative one in terms of methodology. It was conducted in several phases, the first and two of which were qualitative while others were quantitative. In the first phase, the researchers identified 80 competences based on academic sources as well as the information provided by the Kashan’s Water and Sewage Company. In the second phase, the identified indicators were evaluated by the managers and elites of the company; the results of Delphi research method yielded 33 competency indicators grouped in individual, managerial, and job categories. In the third phase, the identified competences were surveyed for prioritization with respect to managerial positions by using the TOPSIS multi-criteria technique.

The results showed that the least weight was on emotional intelligence (as an individual competence), customer orientation, and project management (as managerial competences). The highest weight was on time management, thinking skills, communication skills, and responsibility taking manner (as individual competences) along with planning skill, organizational belonging, work commitment, problem-solving skill, and team work (as managerial competences). Also, the general status of Kashan’s Water and Sewerage Company in terms of individual and managerial competencies showed that this company had the highest scores in the competencies of belonging and organizational loyalty, moral intelligence, and work commitment, and it had the lowest scores in the competency of succession and people management, performance management, and project management.

In terms of company’s obtain results (such as lowest scores in succession and people management, performance management, and project management), it has suggested the promotion of these competencies as priorities of individual and organizational management skills development programs. Therefore, several practical suggestions have been offered for developing and a providing a deeper analysis of the current status of the company. First, different methods for training and the development of the candidates can be implemented: using training outside the organization as well as internal development programs (i.e., training and internal development in ways such as practical learning with a manager, coaching, job rotation, and assigning challenging roles to people). Additionally, the company managers can hold educational, training, and in-service workshops in order to make employees aware of their career paths, the possibility of promotion, and the job responsibilities of the current and possible future. Therefore, it is necessary to pay attention to the succession program as a tool to identify employees’ justifiable educational and training needs. Given that one of the competencies that can be improved is the competency of performance management, it is essential to identify the performance indicators and measure the productivity of human resources for developing and improving the human resources of the organization based on succession plans.

Humans employ symbols to communicate and express their thoughts. Symbols permeate every aspect of human existence to the extent that no facet of human life has been devoid of symbolism since symbols play an essential role in communication. To decipher symbols and emblems an understanding of the linguistic framework and cultural context of each society is crucial. Khan’s Hammam (bathhouse) in Kashan is a building that is of general benefit to the public. Studying the tilework designs in Khan’s Hammam can not only reveal its artistic merits but also shed light on the symbolism employed and on the attention paid to it by both the patrons and the ordinary people along socio-linguistic frames, religion also plays a pivotal role in reinforcing symbolism during the Islamic era in Iran. Due to the constraints it faced, Shi'ism sought to express its beliefs in a symbolic and enigmatic manner. The range of symbolism in Iran's Islamic period held profound and intricate meanings for Shi'ites.

Khan’s Hammam, located on the way to Kashan’s Bazaar, is a building that is of general benefit to the public. An examination of the patterns and symbols employed in the bathhouse can not only reveal the symbols present in the patterns but also shed light on the reasons for their use in the bathhouse's tiles. The research methodology involves both field study and library research. The research approach is descriptive-analytical. The goal of this study is to examine and classify the patterns on Khan’s Hammam's tiles based on their themes and to identify the symbols used in them. The research questions are: which symbols have been used in the patterns on the tiles in Khan’s Hammam? What are the characteristics of the patterns on the tiles in Khan’s Hammam? Which themes do they convey? The findings of this study will highlight the unique position of each decorative element, including colors, patterns, forms in the creation of symbols and the generation of meaning in a building of general benefits to the public.

The findings of this research has shown that in the tiling of the entrance hall and vestibule (originally having eight sides, called Hashti) and the changing room of the bathroom (called Sarbineh), motifs and shapes have been used that are symbolically significant. Reliance of man on symbols caused symbolism to become intertwined with mysticism during the Islamic era and to be widely employed in religious structures, public places with general benefits, as well as other places.  Such symbolism reflect the cultural context of the time. This study began by introducing the decorative tile works in Khan’s Hammam. Subsequently, it delved into an analysis of the patterns on each tile, elucidating the rationale behind their selection and the symbolism they embodied. According to the findings of this research, the tiling motifs of Khan's Hammam  included geometric shapes, plants, animals, and human motifs such as circle, Venus (called “Nahid” in Persian), the sun, hexagons, Arabesque (called slimi)motifs, flowers and bushes (called Gol-O-Boteh), bird-and-flower symbols, and depictions of men and women. In other words, the tile work artists drew upon a diverse array of patterns. The overall symbolism employed reflected the unity of existence, the reverence for the Heaven and the divine throne as well as an interest in stars and astronomy.

The findings of this study demonstrate that Islamic-era artists sought to showcase their artistic prowess while simultaneously fulfilling their mission to convey meaning, foster creativity, and employ symbolism. In other words, the purpose of ornamentation during the Islamic era extended beyond mere visual appeal to encompass the expression of profound concepts such as order, the unity of existence, and divinity, all of which are embodied in the patterns adorning structures of the period. Despite the numerous alterations it has undergone, Khan’s Hammam in Kashan continues to exemplify the astute utilization of symbols and emblems, as a cultural medium for transmitting messages across generations. Upon careful reflection, it becomes evident that the tile-work patterns in Khan’s Hammam are not merely decorative but possess deep-seated meanings and significance.

Abyaneh village is located in Isfahan province, near the city of Kashan. Its background goes back to the pre-Islamic period. The people of Abyaneh are farmers, gardeners, and cattle ranchers. They are Muslims, and as such, they have constructed a mosque in every neighborhood alongside the Herpak Fire Temple. Parzaleh mosque is located in the Pal local and on the edge of the historic passage of Rashta. The central structure originates from the Ilkhanid era, featuring enhancements from the Safavid and Qajar periods. It is a two-story building. A man named Arshad constructed the Parzaleh Mosque with the assistance of locals and donated a house and several farmlands to it. They repaired and developed the mosque during the Safavid and Qajar periods by planting and selling crops such as wheat and barley. This plan has been able to protect this mosque economically for centuries. As the population grew over time, the people of the neighborhood paid attention to the physical development of the mosque. The Parzaleh mosque has been used by the people of the village and the Pal neighborhood for several centuries. However, due to the migration of the local people to the surrounding cities, the mosque is now closed and only is opened on special national and religious days such as Muharram. The locals of Pal visit Abyaneh and its mosque in the month of Muharram to perform the Nakhlgardani ritual.

The moot point of the research is the lack of sufficient information about indigenous knowledge related to the construction and conservation of Parzaleh mosque. There is no suitable architectural plan for this mosque, and the process of its construction and architectural details have not been studied. The leading goal of this study is to identify and introduce the construction and maintenance traditions of the Parzaleh Mosque. Two critical inquiries have been raised concerning historical periods, mosque construction, and conservation methods. To this end, the interpretive paradigm and interpretive-historical strategy have been used, along with field surveys, document research, and interviews to gather information. These studies were conducted during the restoration of the Parzaleh mosque by residents. They removed the ceilings and floors, providing an excellent opportunity for mapping, photography, and field surveys. Additionally, the locals renovating the mosque offered valuable information. It took three months to restore the Parzaleh mosque by the natives of the Pal neighborhood, and by this time, field surveys by the author revealed some of the hidden information in the mosque. The data were matched with similar samples and structures in terms of structures, materials, and components and were analyzed using the mentioned tools with an interpretive paradigm and a interpretive-historical strategy.

The research results indicate that local architects built the Parzaleh mosque with three naves and a porch during the 6th century A.H. The mosque's main structure dates back to the Ilkhanid period, with additions from the Safavid, the Qajar, and the Pahlavi periods. The primary materials, used in the mosque construction, are stone, wood, and soil along with secondary materials such as subclans, clay, plaster, and brick. The mosque has a traditional structure with native architects using stone walls and wood. It is built on a rocky bed called Zayeh. In the structural system of Perzleh Mosque, compressive stresses are transmitted by load-bearing walls and wooden columns. The thickness of load-bearing walls in the lower and upper floors varies according to the construction period. The thickness of the walls could withstand compressive stress and provide thermal capacity. In addition, the local architects needed to control the tensile and lateral forces and stresses and air exchange and heat supply. Therefore, they used materials with proper tensile strength and thermal capacity. They also considered adequate access to materials. They have grown aspen and plane tree over the centuries and used them to seek this purpose. They have used local knowledge of architecture to build and develop the mosque. Masters were provided from Kashan, near Abyaneh, to train local masters with active community participation. In selecting the mosque location, the people of Abyaneh made the agricultural economy their top priority. They used a rocky bed instead of fertile land to save agricultural resources. This traditional construction method has been utilized in most Abyaneh buildings, becoming indigenous knowledge over centuries and passed down through generations

Mullah Habibullah Sharif Kashani, a prominent scholar and jurist, was born in Kashan in 1261 AH. He attained the rank of mujtahid at the age of 16 and dedicated his life to teaching, writing, and guiding people. He trained numerous students and produced valuable works in various fields of knowledge. His notable works included Montaqed al-Manafe about jurisprudence, Lubab al-Alqab on biographies of scholars, Tashil al-Masaalikila al-Madarik fi Ru'us al-Qawa’id al-Fiqhiyyah, and Qawamis al-Durar. In addition to his numerous works, Mullah Habibullah Sharif Kashani also authored a collection of Persian quatrains and an Arabic qasida in praise of the Imam Mahdi, the twelfth Imam of Shiite. This work demonstrated his deep devotion and love towards Imam Mahdi. Mullah Habibullah’ quatrains, in line with the requirements of the time, belonged to the category of protest and social quatrains. These quatrains provide valuable information about the society, the conditions, the people, and their circumstances at that time.

The ruba’i, an ancient Persian poetic form of a-four-line structure and an “aaba” rhyme scheme, has a high capacity for expressing profound and effective notions due to its simplicity and conciseness. This form has had diverse applications throughout the history of Persian literature, encompassing themes ranging from love and mysticism to wisdom, praise, and satire. Nevertheless, the ruba’i, owing to its structural characteristics, is also considered a suitable medium for expressing social and political themes. Mulla Habibullah’s ruba’is serve as a comprehensive mirror of the social, economic, and political conditions of the Qajar era, particularly the epoch of the First World War and the famine of 1296 AH in Kashan. In addition to their literary values, these ruba’is are a valuable resource for understanding the living conditions of the people, their thoughts and critiques of a religious scholar in the face of social problems. Besides, they reveal a better comprehension of the political situation of that period. The content of Mulla Habibullah's ruba’is encompasses a wide range of themes. They  include the description of God, the praise of the Prophet Muhammad, Imam Ali, and Imam Mahdi, the promotion of moral virtues, the lamentation of the time, the reflection of the poet's poverty, the famine of the era, a criticism of the city of Kashan, its people, women, various professions, and different social classes. Within his poems, he also criticizes the Sufis and their beliefs in the unity of existence. Considering jurisprudence, Quranic exegesis, and Hadith the best sciences, he himself seems to believe in the unity of vision. A notable aspect of Mulla Habibullah's ruba’is is his political inclination, which opposed the Russian and English governments. He also has a sidelong glance at the constitutional situation. One of the main reasons for Mulla Habibullah's opposition to the colonial governments of Russia and England was his concern about the weakening and elimination of the Islamic religion. He refers to the severe social conditions prevailing in the society and speaks of the widespread evil and corruption, poisoned family relationships, the oppression of the rulers, and the closure of scientific and religious schools. He then alludes to his own unfavorable financial situation in the later years of his life and expresses his expectation for assistance and attention from Kashan’s people. However, he faces indifference and, thus, resorts to sarcasm and disparagement of the city of Kashan, considering it a city full of sedition. The author, then, proceeds to criticize various professions and social classes. He expresses his disapproval of the religious class in a serious tone and advises people to distance themselves from them. He also makes remarks about the judges and directs the most extensive criticism towards the apparent scholars and clerics. According to the evidences found in his other poems, Mulla Habibullah refers to these people with titles such as "ignorant negligent ones" and "followers of falsehood," accusing them of plundering people's wealth and corrupting their beliefs.
In short, the poems by Mulla Habibullah present a bitter and stinging portrayal of the social and cultural crises resulting from the famine in Kashan. He expresses his candid and unvarnished criticisms towards all segments of society, from the rulers and religious scholars to common people, through a direct and uncompromising language. His poems serve as a valuable document for understanding the social and cultural conditions of Kashan during the famine period. They also helped recognize Mulla Habibulla's critical and reformist perspectives. Another theme in his ruba’is is his belief in Islam practiced by the Shia. He considers Imam Ali as the rightful successor of the Prophet and refers to this issue in numerous verses. In addition to the aforementioned themes, Mulla Habibullah's ruba’is also address topics such as women, the sanctity of not shaving one's beard, and moral advice. The poet's ethical recommendations are tailored to the requirements of the time and include calls for moderation, patience, and abstinence from seeking help from inferior and mean people.

Mulla Habibullah’s ruba’iyats (quatrains) are valuable resources for understanding the social, economic, and political conditions of Kashan during the First World War and the great famine of 1296 AH. These ruba’iyats, beyond their literary aspects, present a bitter and stinging portrayal of the social and cultural crises of the era as well. In his poems, Mulla Habibullah expresses his direct criticisms of the colonial governments of Russia and England, Sufis and dervishes, the superficial scholars, and the people of Kashan. With a harsh and uncompromising language, he criticizes the prevailing corruption, injustice, poverty, and secularism in the society and calls for social reforms and the revival of religious values.
Mulla Habibullah's ruba’iyats also reflect the devastating impacts of the famine on the lives of the people. He speaks of hunger, death, the collapse of families, and the spread of corruption. His poems show that the famine had severely shaken the moral and social foundations of the society. Thus, Mulla Habibullah’s ruba’iyat serve as a historical document for understanding the critical conditions of Kashan during the great famine as well as for recognizing the critical and reformist perspectives of a religious scholar in the face of social problems. His poems present a bitter and stinging portrayal of the social and cultural crises of that era and call for social reforms and the revival of religious values.