محمد خزایی

The romantic gaze and perspective of lovers, especially in the tale of Layla and Majnun, is a recurring theme in Persian poetry. This article compares the poetic themes of Attar and Jami with the visual representation in Jami’s “Haft Orang” manuscript. It examines the similarities and differences in their narratives, focusing on the climax of the lovers’ meeting. Attar emphasizes the union and Majnun’s well-being, while Jami provides more details about Layla and Majnun’s eye contact and Majnun’s loss of consciousness. The visual representation captures Majnun’s arrival at Layla’s tent but not their meeting gaze. The research method is descriptive-analytical, using library sources and manuscripts. Findings indicate both poets use the tale according to their poetic styles, with notable differences in form and content. In Attar’s text, the climax is the union of the lovers, focusing on Majnun’s well-being and his loss of consciousness. In contrast, Jami’s narrative includes more details about Layla recognizing Majnun, their eye contact, and Majnun losing consciousness. Attar’s narrative concludes with a sarcastic conversation emphasizing Majnun’s self-sacrifice, while Jami’s narrative describes the lovers’ meeting until dawn and then returns to the metaphor of returning to one’s previous state. The visual representation depicts Layla’s tent in a tranquil space, surrounded by flowers and rocks, with Majnun hidden among the flowers. The painting captures the moment Majnun arrives at Layla’s tent dressed as a shepherd, gazing at Layla, who is caressing a lamb

The Mongol invasion of Iran [551-663 H] laid the foundation of an integrated empire from far east Asia to east Europe and led to the formation of the so-called Ilkhānid dynasty and the decline of Persian Empire. For a time, Ilkhānid dynasty removed former obstacles in east-west contacts. This resulted in the promotion of mutual Iran-China cultural relations and the formation of a new artistic outlook. Throughout the history of Persian Art, some foreign ideas and forms have been borrowed by Iranian artists. The occupation of Iran and China, along with the prosperity of trade relations, caused the reciprocal influence of arts and crafts of these countries. Loyalty to traditions made each one mingle imported cultural elements with their own culture. Consequently, the Chinese art, brought to Iran by Ilkhānid dynasty, caused Iranian artists, who were concurrently affected by Seljuk art, to present their works by reproducing the Chinese art. The Mongol rulers influenced by the Chinese rich culture and art, transmitted their artistic tendencies to their ally in Iran through political, commercial, and cultural connections and laid the foundations for the mutual impact of Iranian and Chinese art in various fields, namely, painting. In this regard, due to the influence of Chinese painters and the use of paper, pen & ink, techniques of coloring and drawing animals, a new style of painting was developed in Iran. The bookmaking in the Mongol period owed its boom to the powerful Ilkhānid central government, who put an end to the political and intellectual domination of the ruling caliphs and transferred the centrality of illustrated book publication from Baghdad to Tabriz; the capital of the Ilkhānate. A significant artistic development was noticeable in Iranian art of painting during the last decades of Ilkhānid period (653-754 H). Iranian paining was generally used in book design, drawing images of mythical figures, royal family, hunting scenes, battlefields, and different related ceremonies. During this time, book illustrations fall deeply under the influence of Song and Yuan periods. It is because, art-loving Ilkhānid rulers; namely, Ghāzān Khān (694-703 H) and Öljaitū (703-716 H), along with the courtiers, namely, Rashid al-Din Fazlullah Hamadāni promoted and encouraged Chinese’s art styles. In view of the evolution of Iranian art during the Mongol Ilkhānid period and the development of its painting under the impact of Chinese art in the last decades, the present research attempts to study the position of horse images in the paintings of these two periods. The goals of this research were to gain access to the evolution of horse images during Ilkhānid period in Iranian civilization and Song and Yuan periods in Chinese civilization and to distinguish the similarities, differences in horse images during these periods. The research questions are: 1.What transformations have horse images undergone in Iran (the Ilkhānid period) and China (Song and Yuan periods)? 2. What are the similarities, differences and representations of horse image in the abovementioned periods? Bearing in mind different artistic viewpoints, the present study was carried out based on the historical and descriptive-analytical methods of research, along with, the library and citations techniques. To examine horse images in the illustrations of the Ilkhānid period, the book "Manif’-al-Ĥaiwān" -available in the Morgan Library in New York- in addition to the collection of illustrations related to Sultan Abu Said's Shahnameh in the Metropolitan Museum of America were studied. Relating to different horse poses, three paintings were chosen from Iranian Ilkhānid and two from the Chinese paintings of Song and Yuan periods. Initially, the horse image and its characteristics were defined and then comparatively studied using a descriptive-analytic method. The results of the research indicated that, for a while, horse images -of interest to both Iranian and Chinese artists- were depicted in various forms of visual arts. Although, Chinese paintings enjoyed more variation in performance and expression than Iranian paintings, comparative analysis of the paintings indicated that Iranian works had adopted limited elements from the Chinese art. Iranian artists with their inherent genius absorbed parts of the Chinese art and combined them with their own style. In the former Iranian paintings, the limited poses of horses and riders and their faces were drawn in either profile or oblique profile. Nevertheless, from the time of the Mongol rule, due to the contact with Chinese art, Iranian artists paid more attention to the variety of poses from different viewpoints. Although, color variations were clearly noticeable in the design of the Ilkhānid horse, the Chinese artist, especially in the Song period, used the sole color of the paper with linear designs and tried to show the horse in a free and peaceful nature. The findings indicated that the principal of mutual impact of cultures held true between Iranian and Chinese civilizations. As a result, the idea of unilateral impact of Chinese art on Iranian art is no more acceptable.

The motifs obtained from the early civilizations had a conceptual value and were not based on symbols, legends or religious rituals just to express beauty. These same values ​​and conceptual expression have turned the patterns into a kind of signs, and drawing them became a contract and symbol that the prehistoric tribes used to convey messages. From the very beginning of humanity's understanding of its surroundings, man has symbolically depicted the influential factors in his life in his handmade works. In most of the historical periods of ancient Iran, artists used the motif of the sun as a symbol and drew it on works of art, and this process can be seen in various works of art until modern times. The sun is the largest star in the solar system and is located in its center. The sun is a complete sphere made of hot plasma and is the main source of light, energy, heat and life on earth. This important fact has been revealed to man since the beginning of creation, that is why it has a significant presence in the mythology of all the nations of the world. Even in some ancient civilizations, the sun has been considered and worshiped as God and creator. When man turned to agricultural life and realised that the sun would make the earth fertile, grow plants, warm and give strength to man, they worshiped the sun. Also, in different eras, it has had different genders, so that sometimes the sun is known as the female sun and sometimes as the male sun, and it has been depicted and honored. The most popular prayer in the world is addressed to our Father who is in heaven. The sun star has always had its own special place in Iranian civilization and has had a significant and symbolic presence in culture and art in all historical periods before and after Islam. The sun is reflected in Iran's art as a symbol and symbol in different forms in the historical periods of Iran. This bold presence of the symbol of the sun in Iranian arts has always been beyond formal decoration with a belief support and the attitude of the living society. After the arrival of Islam in the land of Iran, the beliefs and teachings of the previous religions were removed or adapted to the Islamic religion with gradual changes and took place in the mysticism, thought and culture of the people of this land. The motif of the sun is considered one of the visual elements that still maintains its previous position in the art of Islamic Iran and has a special place in the art and culture of Islamic Iran, especially the Seljuk period. In ancient Turco–Mongol myths and legends, the sun is embodied as a man and a woman; That is, in one period based on ethnic beliefs, the sun was imagined as masculine and male, and in another period it was imagined as femal. Even the creation of mankind is attributed to the sun in this people. The researches conducted on the mythological texts of the Turk and Mongol people show that among these people, the sun is shown as the source of reproduction and creation. After expanding their rule from Central Asia to Egypt, the Seljuks created new conditions, a scientific-cultural renaissance in the Islamic world, especially in Iran. The cultural atmosphere of the society and the emergence of many scientists and artists made the sultans and the rich always patronise artists and craftsmen. These supports caused the emergence of a certain style and method in arts and industries. The period of Seljuk rule in Iran is another period of flourishing of Iranian-Islamic culture. During this period, Iranian art experienced a tremendous change and it led to the fact that the history of Iranian art recorded another of its most brilliant periods in this period. The art of this period has progressed in all fields and fields of art and continues and completes the art of the previous era. Art developed and expanded to its highest extent in Iran during the Seljuk period. Seljuk sultans always supported artists and scientists and tried to expand culture and art based on Iranian, Islamic and Turkish beliefs. The art of this period is influenced by the rich treasure of ancient Iranian art, Islamic art, and the art of immigrant Turks, which combined the special art of the Seljuk period. The Seljuk period is considered one of the most brilliant periods in the history of Islamic Iran in terms of the development of science and technology, art and literature. Persian language developed and spread more and more. The construction and establishment of military schools, caravanserais, monasteries, mosques, libraries and other scientific centers had a great impact on the development of culture and art of this period. In this period, great progress was made in most fields of arts and sciences. Seljuk sultans were great patrons of industry and art and gathered artists and professionals in their palaces and government headquarters in Merv, Nishapur, Herat, Ray and Isfahan. After accepting the religion of Islam according to Sharia, Iranians tended to live a simple life. Since the Islamic laws forbade the making of decorative works of gold and silver, the attention of Iranians was more focused on the making of clay works. Also, the progress of construction techniques, special elegance, skill and variety of pottery works caused the further development of Seljuk pottery art. With the development of Seljuk pottery, the golden age of Iranian pottery emerged. As a result, the potter was able to sign their name and the date of creation of his work on their pottery. The Seljuk period is one of the dynamic periods of the Islamic world in the field of culture and art. The Seljuks ruled in different regions (Iran, Central Asia, Türkiye). The support of the Seljuk rulers (presentations of Iranian scientific ministers) to artists and sages caused a remarkable expansion of culture and art in this period. Despite the extent of the political geography of the Seljuks and the occupied regions, art has made significant progress in all fields and has continued the path of ancient Iranian art. In fact, one of the prominent features of Iranian Islamic art is the continuity and evolution of different art schools influenced by the art of previous eras. In this way, the process of creating works of art in every school and period of history, in subsequent schools and periods, has continued and has taken an evolutionary approach. With this premise, examining and analysing works of art in the historical periods of Islamic Iranian art requires a theoretical approach to investigate and study the influence and relationships between works of art in different periods of this vast land. For this purpose, in this study, the intertextual approach was chosen to study and analyse the data. The primary purpose of man in making earthenware vessels was to store water and food, but over time, he gave importance to its beauty and the structure and surfaces of these vessels were a place to express aesthetics derived from their culture and worldview. Although the pottery of Iran has been studied and examined by Iranian and Western researchers in different historical periods, but the role of the sun on Iranian clay canteens has been independently studied for the first time in this research. In different historical periods of Iran, very beautiful and practical canteens were made, and in each period, the types of decorations and pictures drawn on them are different and sometimes repeated. This research seeks to understand the concepts of the motif of the sun drawn on Seljuk clay canteens. The main goal of this research is to know how the depiction of the motif of the sun in two Seljuk and Parthian terracotta flasks is related to Genette's hypertextual approach. In the intertextual relationship, it is not possible to create text (b) without the presence of text (a) or pretext. In this type of relationship, attention is paid not to the inspiration and partial influence, but to the overall impact of one text on another text. With this theoretical background, this research aims to investigate and analyse the role of the sun in two Seljuk and Parthian terracotta works. The main problem of this research is to understand the hidden meaning behind the motif of the sun on the Seljuk works, and the main goal is to understand the way and type of connection between this motif and the previous motifs from the perspective of intertextuality. This research is of a developmental type and a qualitative method. The method of data collection is using library sources and objective observation of the works, and the data analysis is descriptive and analytical with Gerard Genette's multitextual approach. This research seeks to answer two questions: Which type of hypertextuality tends more towards the influence of the drawing of the motif of Khurshid Khanum on the Seljuk terracotta canteen than the Parthian terracotta canteen? And in this process, what changes have been made in drawing this role?? In order to answer the research question, at first, two Seljuk and Parthian terracotta canteens inscribed with the motif of the sun were selected in a purposeful way and were studied and investigated in terms of thematic aspects of the period in question. Then, structurally based on Gerard Genette's dual indicators (function and relationship) it was examined and analysed and the research questions were answered. The results show that the effect of Khursheed Khanum drawing in Seljuk canteen from Parthian canteen based on Genette's typology of polytextuality in the category transposition and transposition have a serious function. The transpositions created in the bitext include changes (gender, shape, composition and color) and the Seljuk artist did not just look at imitation in creating a new and independent bitext and completed it very creatively.

"Karat Minaret (Mil-e Karat)", located in Karat village of Taybad City in Razavi Khorasan Province of Iran, is one of the old buildings which is in good condition. The studies that have dealt with the Karat minaret have not read the inscription of this minaret completely, and in some of them, the text of the inscription and the date of the building are different from each other. Iran's cultural heritage organization registered this work as number 123 and considers it to belong to the 6th century A.H. In order to resolve the differences and ambiguities in the text of the inscription and the dating of the building, the present research tries to answer the following question: "What is the text of the inscription of this minaret and the date of its construction?"

The current research was conducted using a qualitative method. In this research, the data about the Karat minaret was presented through field studies at the minaret site and comparative analyses with minarets built in the period of 4th to 6th century A.H. in the Khorasan geographical area and through referring to additional sources. Also, the review of the achievements of the researchers in this field has been collected in the form of library documents and presented descriptively and analytically.

By reading and reconstructing the remaining parts of the inscription of this building by digital method and matching its content with historical sources, this research found out that the Karat minaret is independent and belongs to the 4th century A.H., probably the period of Ghaznavid rule in Iran. The minaret was built by order of "Sheikh Abu Bakr" during the 4th century A.H., on the road from Khaf to Bakharz, on top of a hill in the vicinity of Karat village. Based on reading the inscription and discovering the construction date, the Karat minaret is the oldest historical minaret in Iran.

Considering the dominance of this minaret on the surrounding environment, it seems that its use was strategic; in addition to the collection of Arslan Jazeb, there are two works related to the Ghaznavid period that are located in today's Iran.

In the course of history, the land of Iran has witnessed the coming to power of various governments. One of the most important Shia governments in the 4th century AH is the Deylamian dynasty. The most famous Deylamian dynasty was the Al-Buyeh or the Buyid dynasty, which ruled from 322 to 454 AH in various branches, and sometimes close to most parts of Iran and Iraq. One of the most important figures who came to the throne in the Buyid regime was Azd al-Dawla. Today, some wooden tablets belonging to the tomb of Imam Ali (A.S.) which was built by the order of Azd al-Dawla Deylami (363 AH) are kept in various museums in the world, including the Rabenou Collection and the Cairo Arab Museum. But, another wooden tablet from the same period, which is in the Persepolis Museum of Shiraz, has a common pattern in structure and inscriptions with the same theme as these works, and they contain Shia content along with its support. In addition to these works, there is a wooden tablet with the construction date of 520 AH in the National Museum of Iran, which has something in common with the works in question. The purpose of this research is to examine the principles of the structural pattern and inscriptions of these works and to compare them with each other. The questions are: 1. What structure do these wooden works have in terms of design and inscriptions? 2.To what extent are the structural design principles and inscriptions of these works similar? The descriptive-analytical research method is used with a comparative approach. The method of collecting library information is documentary and field research; using fiche and photography tools and qualitative data analysis method. According to the investigations, it was found that these works generally have the same design in terms of structure and composition and they all follow a common pattern. The composition of the mold in them is in the form of an altar. Decorative motifs are limited around the main frame. These plant motifs taken from Sassanid wings and leaves, which are the characteristics of the Buyid period, are designed in a similar way in all the studied works. In the last sample of the wooden tablet examined in this research, although there is a gap in time, the text of the inscription and the style of the lines used are the same with other works, and this can indicate the continuation and preservation of the tradition and style of engraving on wood by artists. Most of the wooden panels are dedicated to Kufic inscriptions, which is one of the distinctive features of Buyid wooden works. The inscriptions are written in simple Kufic script with the exact same word design as in the examined works. Baseline in the inscriptions of all examined samples has the same structure. The inscriptions have four lines of the background and the connections of the letters are designed on these four lines. The letter "h" has the highest seat height in the inscriptions, and by bifurcating the tip of this letter and turning it into a vegetable shape, more emphasis has been placed on this letter in the inscriptions, and its decorative value is more than other letters. Another thing in common is the content of the inscriptions, which can be seen in the last table of this topic in a comparative way. As it is clear from the table, the inscriptions of Surah Al-Ikhlas, the phrase "وحده لا شریک له" are present in all the examined works. The inscription of a part of Jafar Tayyar's prayer has been repeated in the examined works, except for the wooden tablet belonging to the year 520 AH in the National Museum of Iran. Another noteworthy point is the alignment of inscriptions with a common theme in the examined works. So that the beginning and end of each line is common in these works and it seems that the designers have used the same pattern to create these works. The most similarities can be seen in the wooden tablet in the Takht-Jamshid Museum of Shiraz and the wooden tablet in the Rabenou collection, and the only difference between them is the use of more inscriptions in the wooden tablet of the Rabenou collection. In this work, there is an inscription mentioning the Ahl al-Bayt and a prayer for morals, which is not seen in other examined wooden works. Considering the commonality of the text of the inscription on the wooden tablets belonging to the tomb of Imam Ali, including the order of Azd al-Dawla Deylami to build a noble tomb in 363 AH, with the wooden tablet in the Persepolis Museum of Shiraz, it can be concluded that the wooden tablet in Takht-Jamshid Museum is part of the same valuable collection.

A few volumes of the water that exist in the cement slurry may be absorbed by the formation due to enough pressure and temperature exerted on it. This phenomenon can lead to miss-hydration. Filtration control additives are used to bridge the porous media and prevent liquid migration across it. Insufficient filtration control may cause gas migration. In this area, there are many effective parameters but the free water and filtrate volume are essential. In this article, for controlling the filtrate volume, after studying different additives with different formulation, it was tried to couple a powder FLC with a liquid one. The results had a good effect on rheological properties and decreased the transition phase between liquid and solid behavior. The filtrate volume was controlled at 1000 psi between 150F and 180F. The rheological characteristics were controlled in the API range. The mixing time was decreased and the free water was omitted.

The Seljuk era, was a prosperous time in case of dealing with art; during this time art reached to higher level, as numerous and diverse artworks with cosmological concepts were created, which represents the significance of cosmology in this time. The artists in this era, by considering the position of astronomy and cosmological issues, frequently reflected the relevant concepts and contents as practical decorations and motifs in their works. This study aims to comprehend the concepts of cosmological motifs to target the mutual influence of Seljuk artists on each other while designing these patterns; Therefore, the manner these artists influence each other in designing the planet motifs and their meanings has been addressed in two artworks related to Seljuk era; in this regard, the following questions arises: Which kind of hypertextuality is more likely to be influenced by the design of the target motifs of the planets? And what changes have been made in these motifs while influencing each other? The research aims to understand the manner the design of planets' motifs influence each other and the alterations in the two target works by focusing on the hypertextuality theory of Gerard Genette.Research

A descriptive-analytical method has been adopted and the data was collected by using library sources; The results were analyzed relying on a qualitative method.

According to the research findings, the cosmological motifs that appeared in the Seljuk manuscripts are rather compatible with other built-in arts, in the case of decoration, besides considering the cosmological criteria; however, some changes have been made according to the artist's priorities. The artists in the Seljuk era were completely aware of the art developments of their own time and also the previous eras, as they tried their best to improve the art of their time by benefiting from the experiences of other artists.

the research finding showed that the planet motifs in «Ajaib al-Makhluqat» (hypertext) which is inspired by the planet motifs in the enamel bowl (pre-text or hypotext) have a transposition or transformation with serious function according to the hypertextuality of Genette. The created transformation in hypertext includes a variety of changes (gender, form, composition, and color). The miniature painter of «Ajaib-ul-Makhluqat» has not simply adopted an imitation attitude in creating a new and independent hypertext, as it has been designed differently.

The purpose of this study was to investigate the level of pollution and concentration of heavy metals in agricultural soil, wheat and flour and to evaluate the consequent health risks in the residents of Bijar city in 2021.

To determine the total content of heavy metals, after acid digestion, the dry soil samples were converted into powder and prepared according to the steps of acid digestion for reading by graphite furnace atomic absorption spectrometry (GFAAS). Extraction from the samples was also done by acid digestion method. In the flour sample, direct acid digestion was done. For non-carcinogenic risk assessment studies, two routes including direct consumption (ingestion) and dermal absorption of heavy metals were considered. To calculate carcinogenic and non-carcinogenic risks, we considered heavy metals including cadmium, lead, zinc and arsenic.

The concentrations of heavy metals studied in the soil, wheat and flour samples of four regions were similar to one another and no significant differences were observed. The results of the risk assessment showed that the soil samples of all four studied areas were in class III (moderate risk) in regard to the carcinogenic risk of arsenic. Also, the soil samples of all four regions showed a low cancer risk in relation to cadmium. All other samples showed a low risk less than 10-6. In all of the samples of flour, wheat and soil from the four regions, we found no risk higher than 10-4 and, thus they were considered safe.

The results of this study showed non-carcinogenic risk in relation to zinc, lead, arsenic, and cadmium based on the results of examined samples, but the concentration of some of these metals, such as arsenic, is close to the risk level for the vulnerable populations such as children, and appropriate measures should be taken to evaluate and reduce these heavy metals concentrations.

The motif of the double-headed eagle which is associated with the famous fabrics of Al-Buwayh is a rare, unique, and cryptic motif in the art of different historical periods of Iran that has many unexplored aspects. This motif can also be seen on a metal plate belonging to the Sassanid era, before appearing on the textiles of this period. This evidence has not been covered by any research before the present study. Considering the many influences of the Buwayhid dynasty from the Sassanid in various fields such as politics and culture, as well as the numerous derivations of this dynasty from Sassanid art, this study introduces the mentioned motif in the Sassanid era as a pretext for the Buwayhid era. The purpose of this study is to investigate the relationship between the two texts (the pretext in the Sassanid era and the Hypertext in the Buwayhid period) and to reveal the types of hypertext typology. The present article tries to give a clear answer to these questions: How can the connection between this motif in the period of Al-Buwayh and its predecessor be explained? What changes have taken place in the process of adaptation of this role from the Sassanid era by Al-Buwayh? This research has been done by descriptive-analytical and comparative methods and applies Gerard Genet's theory of Transtextuality. The findings of this study indicate that with the combination of written and visual signs, the relationship is transposition and by simultaneous thematic development and increase in stylistic issues, Development has taken place. The permutation by the artist of the Buwayhid period shows the effort to harmonize and reconcile Islamic beliefs and the cultural heritage of antiquity.

The purpose of this study was to investigate the role of self-confidence on the sports success of students participating in volleyball leisure activities. The present study was applied in terms of purpose and descriptive-correlational based on structural equation modeling in terms of type, the information of which was collected by questionnaires. The statistical population of the research included students participating in volleyball classes in the city of Mashhad. In this regard, 200 questionnaires were distributed and after collecting and removing the incomplete questionnaires, 160 of them were selected and entered the analysis stage. In order to collect data in this study, three standard questionnaires of sports success (Mousavi and Vaez Mousavi, 2015), sources of sport-confidence (Vealey et al., 1998) and various types of sport-confidence (Vealey and Knight, 2002) were used. The results showed that there is a significant relationship between sources of sport-confidence and its components and the various types of sport-confidence and its components with sports success and the components of these two variables predict changes in sports success. Finally, the structural equation model had a good fit between the resources and types of sports self-confidence and sports success. Therefore, it can be said that having an appropriate amount of sources and types of sport-confidence, can lead to sports success for students participating in leisure classes in volleyball and generally in sports.

Decorations are an integral part of Islamic art. Islamic art is formed based on decorations to accurately represent nature. Decorations in Islamic art have emerged as three main elements including: Islamic pattern, geometric pattern and calligraphy (inscription) and two secondary elements: animal motifs and human motifs. These motifs may be engraved separately or in combination with each other. Among these decorative elements, the role of Slimi has a special place. In fact, this role is considered one of the noblest and most original creative elements of Islamic art in Iran and the Islamic world. This role is used not only to decorate religious places and objects, but also to decorate everyday items. The role of Islimi as a fundamental role has a special place in the history of decorative arts of the world.Due to the fact that the Islamic pattern is the most important pattern used for decorations by artists, but compared to other decorative elements such as khatnagareh (inscription) and garh (geometric patterns), it has been less researched and analyzed. The oldest document that is currently available that uses the word 'Islimi' belongs to "Zaradeh" which was prepared by the librarian of Sultan Baysanghar Mirza (802-837 AH) during the Timurid period. This "offered" is actually a working report on the state of the royal library, it is currently kept in the library of Topkapi Museum in Istanbul (Khazaei, 1398, 125). Sadeghi Beyk Afshar, an artist and writer of the Safavid era, who was once the librarian of Shah Abbas, in his book "Qanun al-Sour" which he wrote around the end of the 10th century of Hijri, considers Islimi as one of the seven main painting. Qazi Mir Syed Ahmad Manshi Qomi in his book Golestan Art describes the decorative elements of painting and gilding as seven principles, the first of which is "Islamic" (Manshi Qomi, 132, 1366). In the preface of Dost Muhammad, Bahram Mirza considers Motif As-Islimi to be the invention of Imam Ali (A.S.) (Khazaei, 1398, 119).Although Europe's attention to Islamic art has its roots in the Renaissance and the Middle Ages, in the 19th and 20th centuries, this category received more attention and many articles were written about geometric decoration in Islamic architecture. In these studies, the term "Arabesque" is used to express Muslim decorations and they consider it the gem of the unity of Islamic visual culture (Necipoglu, 1995, 87). Several different definitions for arabesque have been expressed in such a way that most consider it equivalent to all decorative elements such as calligraphy, plant motifs, geometric motifs and even iconography. Some people have mentioned it only for plant motifs. In Islamic art, the Islamic motif is a single form of a plant ornament, in which the rhythmic leaves are attached to wavy or spiral stems and along each other, they induce repetition and the desire to move.It seems that the special place of Iranian art in the origin and evolution of motifs has not been evaluated in choosing the word Arabesque. This issue could be due to the fact that this term was chosen by orientalists, who focused more on the cultural elements of the western Islamic world, including Morocco, Egypt, North Africa, and Spain, than on Iran and the eastern lands.Although many studies have been conducted by orientalists in the field of Islamic decorative arts, the first person to seriously investigate the Islamic pattern under the title "Arabesque" was Alois Riegel (1858-1905), an Austrian art scholar in the book The quality of style was published in Berlin in 1893 (Riegl, 1992). The subject of arabesque was followed later by the articles of researcher Dimand (Dimand, 1937 & 1952). Studies about Islimi in the entries of the two editions of the Encyclopedia of Islam by Ernst Herzfeld (1938) and Ernst Kühnel (1960) and some recent publications such as Necipoglu (Necipoglu, 1995) and Khazaie (1999) continued. has been found.It should be noted that the role of Islam did not suddenly appear at the time of the emergence of Islam, but the origin of this role was rooted in pre-Islamic art. In the same way that the artists of the first centuries of Islam based their innovations on the foundation of pre-Islamic art. The origin and continuation of the artistic development of this role before Islam has been widely described and expressed by Orientalists, and most of them refer its origin to Greco-Roman (ancient classical) art. Alois Riegl refers the origin of the salami motif to a plant that has its roots in ancient (Greece) palm and ivy decorations (Riegl, 267, 1992). Ernst Herzfeld claims that its origin is certainly derived from classical foliage decorations (Herzfeld, 363, 1938). Ernst Kühnel traces the origins of the Islimi motif to the Late Classical period, noting that it acquired its typical form in the 3rd century AH under Abbasid rule (749-1258 AD) and was fully developed in the 5th century (Kühnel , 561, 1960). Arthur Pope suggests that the Iranian Slimi pattern does not represent any real object in nature at all, but is taken from the beautiful Greek architectural ornament, Anthemion (Palmetto) (Pope, 39, 1356).Islimi Motif was born from the idea of Bali-shaped motifs before Islam - Sassanid. In the Islamic era, the role of the wing is simplified to such an extent that it often lost its identity and became an abstract form that we know today as Islami. In the following, he describes and explains the different stages of the role of Balishaq until reaching the role of Slimi.It seems that the use of these Bali-shaped motifs was not only decorative, but had religious significance. It was said that this spiritual connection with the "divine wisdom of ancient Iran" is fully evident in Iranian art before Islam (Sehrvardi, 2018, 1377). This connection caused the Sasanian wing pattern to be present among the decorations of the Islamic forehead long after the fall of the empire. Patterns with two symmetrical wings or palm wings are one of the most original and honorable forms among pre-Islamic patterns. The most obvious one is the role of an angel, which is achieved by adding two wings to the body of an earthly human. This angel has holiness and is considered a symbol of the extraterrestrial world. The role of Fereshte is one of the services of Iranian artists in the history of ancient art, which was given to the world of art. The role of the angel without changing its form and even its meaning continues to make its way from ancient art to Islamic art.

Problem Definition: 

The Davazdah Imam Mausoleum of Yazd is one of the oldest buildings with inscriptions in Iran. The Grivar inscription of this building is Ornamental Kufic, which, unlike the simple Kufic, does not follow specific rules, and many innovations and modifications are made in it. Despite the high visual richness, the mentioned inscription has been deprived of formal analysis, while any but structured changes of the letters, the acceptance of complex forms, and additional elements make it worthy of further analysis. The current research seeks to find the answer to the following question: "what are the structural, visual, and formal characteristics of the Davazdah Imam Mausoleum of Yazd, and what rules did the designer establish in its design?"

This research aimed at identifying the structural and visual features of the Grivar inscription, such as writing style, proportions, and principles used in its composition.

The present research was carried out using a descriptive-analytical method, and the data was collected through library studies and field surveys.

The results showed that distancing from the legibility of words, exaggerating the shape of letters and basic proportions, is a method to achieve beauty and induce concepts beyond the literal meaning. However, the application of formal changes does not only mean losing the order and rules of script, but the designer has established certain principles and policies under the changes, to where maintaining the independent identity of the letters has been one of the primary design criteria.

The hunting motifs of Bahram Gur's painting are considered as the themes with "religious" and "mythical" essence in "Iranian painting". Despite numerous researches on paintings related to Bahram Gur's hunting, these works have so far been less studied in terms of the possibility of representing religious concepts and mythical beliefs. These works are mainly based on literary texts related to the Islamic period, especially "Ferdowsi's two narrations" in "Shahnameh" and Nezami in "Haft Peykar" and some lesser-known sources. These sources have narrated events related to "Bahram Gur" in the context of history, but not exactly in accordance with historical facts. The reason for this is the influence of the literary texts of the Islamic period on the literary features and Sassanid historiography, that is, "mixing with Iranian myths and legends and magnifying the heroism". This means that the efforts made in the historical and literary texts of this period can also include an indispensable part of life and events related to Bahram Gur. Therefore, it is expected that in illustrating the works of the "painting in question", in addition to historical narratives in related events, the manifestation of his religious aspects and myths in the structure (form and content) can be observed and followed in a more specific way. Therefore, the research has been done with the purpose of filling the gap of existing studies and giving insight into the relationship between the religion and myth with the selected paintings. The research questions are: 1.what is the relationship between "religious concepts and mythical beliefs" as a pretext, with "hunting motifs of Bahram Gur" in "Iranian painting" as the "final texts". 2. Which of the possible pretexts, religious or mythical, had a more important influence and place in the formation and richness of the theme of Bahram Gur's paintings? In this research, relying on the descriptive method using the "hypertextual" approach, the position of "religion and myth" in the content of selected works has been analyzed. Data collection was also done using library studies, documents and visual study of selected paintings. The combination of seven selected works in the present study includes: two works taken from Shahnameh by Ferdowsi, two works taken from "seven figures" by Nezami, one work from the history of Balami, one work from the collections of Amir Alishir Navai and one work from an unknown source. Results of the studies have shown that: Religion and myth have effective relationships in the formation of hunting motifs of Bahram Gur during the Sassanid period and then in the reproduction, and the continued presence of these motifs in Iranian painting. In the context of hypertextual and intertextual relations, the existing conditions have moved towards the transformation in religious pretexts and in mythical ones. Religion in concepts and generalities and myths in the form and descriptions of paintings, and in some cases with overlap, have provided the means to improve the quality of the works. According to the hypertext theory, the relationships towards transformation or homogeneity can never be considered as "absolute". For this reason, based on the studies conducted during this research, the general and "relative"  type of hypertextual relationships in the selected paintings  was determined, which were studied and summarized in the form of "tables and analyses". The divisions made in this table show that although religion and myth have each had approximately the same requirements for the effect (presence) on the examined final texts, in this case the transformations and effects of the presence of religion tend to decrease or even eliminate. This is the case, if the elements, concepts and beliefs related to myth, while expanding and increasing in the final texts, have shown a more noticeable and effective presence in the paintings. In addition, the study of visual elements and qualities in the selected works shows the attractiveness of the topic and the existence of repetitive elements and motifs related to this character. Repeatable patterns have formed a kind of uniform visual pattern by which the form and appearance of these works became closer to each other.  These features can provide the grounds for considering them in the form of generalities of thematic art in the forthcoming studies; that the religious and mythological foundation and essence should be sought in its components and elements.

The famous Kitâb al-Diryâq of the National Library of France, which was written and illustrated by Muhammad ibn Abi al-Fath ‘Abd al-Wahhab ibn Abi al-Hassan ibn Abi al-Abbas Ahmad in Rabi‘ al-Awwal 595 A. H. in Iranian Kufic script(cursive), is famous for its beautiful writing and page images. The page layout of this manuscript, which is centered on the arrangement of text and its creative combination with images, can be considered as an excellent example of typography in the history of Iranian calligraphy. The purpose of studying this manuscript is to analyze its script and typography elements to introduce it as a source of inspiration for contemporary typography. Typography, as a branch of Graphic Design, has specific principles and rules, that applying them in a work of art would turn it into an outstanding one. The al-Diryâq book available in the National Library of France has a high level of such characteristics. The principled and well-considered layout of the text, the variety of font sizes in the lines, the variety of colors and the original composition have made this manuscript very rich in terms of graphics. In the arrangement of letters, words and lines, the positive and negative spaces are carefully adjusted. The form proportion in the calligraphy of this manuscript is well considered and the elements of the composition are well adjacent. This manuscript has many and valuable graphical aspects, and the scribe's artistic taste has had a significant effect on the beauty and uniqueness of it and its script. Among the distinguishing items of this manuscript, is the common way of writing during the production of it. The book size, the colours , the pagination, the style of illustrations, the type of paper and many other things that were common during the Seljuk era had an effect on the distinctiveness of the manuscript.Typography means the arrangement of letters and words based on aesthetic principles, in order to convey the written message as best as possible. The type of arrangement of letters and words and changes in the form and size of letters can be effective in connecting the typography text with the subject and conveying the message as much as possible. But typography, in the sense of arranging letters and words in order to convey the written message as much as possible, has a much longer history and it can even be claimed that it goes back to the history of the alphabet and writing. Along with many examples obtained from great and ancient civilizations, we also come across examples of typography in Iranian historical works. In Iran, the title of typography can be referred to more diverse and abundant examples, including calligraphy, which includes calligraphy and other types of it, letter design and the simultaneous use of script and image, which is contrary to the meaning and definition of western typography, which emphasizes the use of typefaces. With these definitions, typography in Iran is older than typography in its western and contemporary sense, and as a result, we can get an approximate meaning of "Iranian typography". As a branch of contemporary Graphic Design, typography in Iran is widely used in the design of posters, book cover titles, magazine layouts, etc. Considering the need of contemporary Graphic Design to the support of Iranian visual tradition, the examination of the typography of the Kufic script of the Paris al-Diryâq as a script with Iranian origin and visual richness in the field of typography can be a source of rich inspiration in this field, which has been less studied. Typography analysis of this manuscript can be used in the contemporary typography. The Kufic script of the Kitâb al-Diryâq is arranged and composed throughout the pages of the book in such a way that by further examination of it, the very precise and well-considered principles intended for typography can be obtained. All the pages of this book are arranged according to the rules of typography with the arrangement of words and letters. Also, each of these pages has a unique composition and arrangement, follows the principles, and has a special visual appeal. While the page grid is fixed, it has a high capability for creating various writing and page layout, and varies based on the text and the importance of the letters, words and sentences. The words in the page layout of this manuscript are sometimes normal, exaggerated and unusual. Despite having novel features and rich compositions as well as unique typography, this manuscript has been less investigated in terms of typography and graphical aspects. The present study tries to investigate the typography of the Kufic script of Paris Kitâb al-Diryâq by recognising the graphical aspects of its calligraphy and analyzing the its typography, so that its capabilities would be known and used in contemporary graphic design. This paper studies this manuscript from the perspective of graphical and typographical features, in addition to examining the Kufic script of it. Based on this, this article seeks to investigate what kind of Kufic script is written in the al-Diryâq manuscript of the National Library of France? How much legibility and Visual space does this manuscript have? What is the baseline, line spacing, kerning, tracking, leading, and text structure? The research method of this research is descriptive-analytical and its data collected through library information. The analysis method of this paper is based on qualitative studies, and in terms of purpose, it is fundamental. The result of this research shows that the al-Diryâq manuscript of the National Library of France, with the help of the Iranian Kufic script (cursive) and the personal style of the artist, the regular and beautiful rhythm in the letters and lines, the high readability of the writing and the unique compositions, has the characteristics of a proportional typography. All typography characteristics are applied in it, which is rare in its time and shines in the history of Iranian typography. The letters have a certain and regular spacing that creates a kind of rhythm. There is a calculated distance between the letters, which leads the eye from one word to the next word and leads to a more fluent reading of the text. Each part of these texts is separated from other lines by a certain size, which has a great effect on the order and beauty of the book's typography. The common diameter has created a lot of harmony in the letters.Circular compositions create symmetry and divide pages into two parts. The arrangement of words on both sides of the circle has created a different, symmetrical and beautiful composition. The similar structure of the letters makes the script strong and stable. As a result of grading pages, each page is divided into several parts, each of which has its own different texture. Fluent visual reading and understanding of the written message is easily possible. At the same time, the compositions are very innovative and unconventional, which is rare in its time. Dynamic, visual appeal, formal harmony and flexible grading have made this manuscript distinctive in terms of graphics and typography. Therefore, the al-Diryâq of the National Library of France is considered as an excellent example of typography in the history of Iranian calligraphy among Its contemporary and later manuscripts. Also, this manuscript, while respecting the principles of typography, has creative deconstructions in the composition, which distinguishes it in the history of Iranian manuscripts and shows that it has the ability to influence contemporary graphic design and can be a source of inspiration for many graphic works, especially typography.Table No. 1 deals with the study and analysis of the graphical aspects of the Kufic script of the al-Diryâq manuscript of the National Library of France, as an excellent example of typography in the history of Iranian calligraphy. Table 1: The study of the Kufic script of the al-Diryâq in the National Library of France, as an excellent example of typography in the history of Iranian calligraphy

In the late Wittgenstein's view, language is a social and non-private matter, and in this case, the meaning of words will be based on compliance with the rules approved by a linguistic community. But due to the multiplicity of people's ways of life, the rules governing these societies are diverse and these rules show the meaning of words, as a result, a word will have the same meaning as the number of ways of life in which it is used. It is obvious that the most basic urban component that can describe this variety of language communities is the urban graphics of that place and at first glance the element of color. The element of color not only affects the understanding of smaller situations such as the design of a store, but also has a wider effect in giving identity to large urban environments. Therefore, the purpose of this research is to analyze the understanding of the spatial identity of the citizen society in the dynamic process of place-making through color, emphasizing the privacy of language in the aforementioned theory. The present research is theoretical in terms of its fundamental purpose, and the necessary information has been obtained through descriptive-analytical and library studies from reliable sources. The obtained results show that in order to negate the private language, the understanding of the environment through the sense of belonging of the people to the environmental graphic content has become general, and in this way, a color reference point that can be read by the general citizens can be reached. Relying on this point of view, the conclusion was reached that the public image has replaced the self-image by preserving individual memory, and in addition to preserving individual color tastes, by participating in people's lives, it will be possible to present an acceptable collective color pattern for urban graphics.

Problem Definition: 

"Sultan Mahmud Shah of Bondarabad" complex in Yazd is a historical building founded in the 7th century A.H. by a religious mystic, Sheikh Taqi al-Din Dada Muhammad, in the village of Bondarabad. This complex includes a mosque, monastery, mausoleum, reservoir, protective towers, and other side buildings that have been formed over several years, different parts of which have various decorations. For example, the pulpit of the Grand (Jame) Mosque of this building has many decorative motifs. Therefore, the historical importance of this building, as well as the decorative motifs used in the pulpit of its Grand Mosque, necessitated the present research, and during it, the following questions are answered: What kind of decorative motifs does the pulpit of the Grand Mosque of Sultan Mahmud Shah Bondarabad have? What meanings and concepts do these motifs have?

The current research aims to identify the decorative motifs of the pulpit of the Grand Mosque of Sultan Mahmud Shah in Bondarabad, Yazd, as well as to know their hidden meanings and concepts.

The current research has studied the pulpit of Sultan Mahmud Shah Grand Mosque in Bondarabad, Yazd, using a descriptive-analytical method and qualitatively analyzed library, documentary, and field information.

The findings of the present research show that the pulpit of the Grand Mosque of this historical building has been decorated with floral, geometric, inscriptions, and calligraphy motifs. Its plant motifs include Khataei and Arabesque, and its calligraphy motifs include Thulth and Kufic Banaei scripts, and the texts of the inscriptions also express the principle of monotheism and prophethood, the flow of the word of God from the position of the Prophet of Islam (PBUH), and the belief of the Shiites of the Twelve Imams. Also, its geometric motifs include five-pointed stars and a ten-pointed sun, which form the eight-twelve Pili knot.

Using by-product materials in making concrete is the recent development in the advanced concrete technology. The products obtained from experimental crushed concrete can be used in constructing the new concrete. Recent research revealed that using crushed concrete as partial replacement of sand and coarse aggregate, using traditional mixing procedure, reduced the compressive strength. In the present research, the special procedure of mixing concrete in three steps and its effect on concrete strength parameters have been evaluated.  The aim of this study is to use crushed tested concrete as partial replacement 25% (mix A) and 50% (mix B) of conventional sand and aggregate. Also for experimental comparison the control mixes were casted with traditional sand and aggregate.  Superplasticizer based on carboxylate was used in the mixes.  This procedure causes proper efficiency, proper coating on the aggregate and protection of the alkaline reaction of the aggregate. The method of mixing was carried out in three steps 1: Coarse aggregate + 50% water + 50% cement: mixing time 30 seconds to 1 minute, step 2: Adding 50% cement + 25% water + superplasticizer + sand: mixing time 2 minutes, step 3: Adding 25% water: mixing time 3 minutes. All the mixing time is about 6 minutes. Six specimens of 15 cm concrete cubes for each designed mixes were casted. Densities, water absorption, electric resistance (an indication of permeability and durability of concrete) and compressive strength tests were carried out. Tests were performed at 7 and 28 days. As a result, the designed mix (A) presented the higher electric resistance and compressive strength at 28 days. According to the obtained appropriate resistance, it can be deduced that with a special mixing method, crushed concrete can be used in the composition of concrete that is cost-effective in terms of environmental and resistance.

The Buyid period is culturally and artistically a turning point in the history of Iranian art. During this period, a variety of arts, including wood art, flourished considerably. Among the valuable wooden artifacts of this period, there are the wooden tablets of Imam Ali (AS) in the Cairo Arabic Museum and the Rabino Collection as well as the wooden door preserved in the National Museum of Iran No. 3292. According to the inscription in it, Abu Mansour Foulad Sotoun in Fars region was built between the years 440 and 448 AH by order of the last ruler of the Buyid. The various Kufic inscriptions in these works are comparable in terms of design and structure. The purpose of this study is to identify the features and decorative structure of the inscriptions of these works and compare them with each other. The present study aimed at discovering the characteristics of the decorative structure of Kufic inscriptions as well as the characteristics of the contents of the Kufic inscriptions of these works. The research also deals with the commonalities and differences among Kufic inscriptions of these works. The research method is descriptive-analytical and data collection included documentary and field libraries using comparative study. The results show that the general structure of the design of the inscriptions follows the same pattern. One of the common features of these works is the use of Shia themes, which is one of the characteristics of the art of the Buyid period. Also, the equal embossed pattern of the plant motifs with the inscriptions can be observed, so that the inscriptions look like flowery Kufic type at the first sight while the letters are not connected with the surrounding plant motifs. Another commonalities of these works is the simple Kufic script of the inscriptions which are remarkably similar in structure. By extracting the contents of the inscriptions, it seems that most of the letters are designed in a similar way. Except for some letters such as "ح", "ک", "ط", "ع" and "ی" which are designed differently but have the same basic structure. Another difference among these works is the greater variety in the design of the letters on the wooden door preserved in the National Museum of Iran than the tablets of Imam Ali (AS). In the inscriptions of this wooden door, two types of simple and flowery kufi have been used leading to wider variety in the design of the letters.

The path to divine wisdom and mystical closeness requires enjoying heartfelt reasoning-based light arising from the light of the lights. Seyed Heydar Amoli believed that mystical closeness was dependent on the spiritual travel of the soul. Creatures of the universe take benefit of the divine grace who is the light of the heavens and the earth, surrounded by His grandeur. This light glow when the servant becomes a mystic and says Labbeik (Here I am) to take a mystical path towards the divine light. Describing the divine path, MirHeidar discusses the Prophet Mohammad’s ascension who saw Allah through the heart as he ascended to the sublime positions. Spiritual observations of the ascension night have been illustrated by the painters, and the MirHeidari’s illustrated Me’raj Nameh, also called Shahrokhi, is one of them. An important point to attend to in Me’raj Nameh paintings is the selection and quality of the visual elements including golden clouds, which also poses the following questions: What are the illustrated and spiritual position of golden clouds as regards the prophet’s mystical closeness in ascension? And which embodiment qualities do they involve?This research was descriptive-analytical which maintains that golden clouds are a blend of embodiment of divine path for the prophet. In this connection, the painter has created golden clouds as airing from the holy glowing of the prophet as he believes that these golden clouds are the brightening embodiment of the prophet’s soul.

Carpets in Iran have always had a function beyond a mere hand-woven carpet. Examining the designs and motifs of this valuable Iranian handicraft, we can say that the designs and structures have some kind of roots in the culture of this land. The carpet can also be called the cultural identity of Iran. Qajar carpets are one of the richest artistic treasures of Iran. One of the most interesting functions of Iranian carpets in the Qajar period is to use it as a medium to express the image of people and princes. During this period, kings in various arts have taken great political advantage to show their authority and domination to the Iranian people. In this research, we seek to examine the symbols and signs that directly or indirectly show the concept of power in the carpet. In line with this, in this study, four pictorial carpets from the Qajar era were investigated using a descriptive-analytical method. This investigation was conducted using a descriptive-analytical method, and the data were collected through library research and close observation. The results indicate that the carpet was considered and used by the Qajar kings as a new medium to convey the concept of power. It can be said that pictorial carpets have been one of the preferred visual methods to convey the political goals of the Qajar kings. Since there is a close relationship between art and politics in this period, kings wanted to maintain power and gain legitimacy in society, using images of kings in the carpets or in other pictorial symbols such as a bird in the hands of the king, or a crown and an umbrella and feathers or the motif of Bothe as visual symbols to convey the concepts of power.

Acquiring identity and getting rid of its crisis has always been an important issue for human societies. Man is human because he is an identity-making being, therefore, social identity is one of the main modern concerns of urban man. Since “identity” is a set of attributes that distinguish an individual or a community from other individuals and societies; Urban graphics, according to these criteria, become personalized and independent. In the meantime, the similarity of individuals to each other for the acquisition of collective identity and the difference between the individual and others for their distinction for personal identity is a contradiction that always challenges urban graphic designers. Therefore, the purpose of this study is to investigate the two components of similarity and difference and their function in urban graphic design and find new ways to identify urban places. The results of the above research show that the components of similarity and difference in urban graphics are able to extend the dialectical model of identity to something beyond mere sociability. In this regard, identification in urban graphics lies in the difference that individuals have in individual lives, and to some extent they are made of similarities in their collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences. The present research has been done with a qualitative method and library studies, and after obtaining the initial data, the data have been analyzed using the content analysis method. The city is a dynamic and extensive social complex in which three levels of movement, mechanical, biological and social are intertwined and associated with various types of sub-complexes and sub-complexes. Obviously, urban identity is a collective identity that becomes meaningful by objectively crystallizing in the physics and content of the city and leads citizens to become citizens by creating an association of public memories in citizens and belonging to them. Therefore, although the identity of the city is itself a consequence of the culture of its citizens, but it affects the process of citizenship and can lead to the development of criteria related to participation and judgment of observers and residents. In the field of urban identity studies, urban graphics is a complex and multidimensional concept that is currently used by experts and practitioners to express the desired desires and aspirations for a good and ideal city. In this study, researchers intend to examine identity in urban graphics in both individual and social contexts, and among these, the main focus is on addressing the two components of similarity and difference in identity. Therefore, the present study was conducted to investigate the significance of similarities and differences in identity expression and its effectiveness in urban graphics. The results of the present study allow us to examine individual and collective dialectics among the citizens of an urban society and emphasize the critical role of urban graphics in determining the identity of citizens. These results are:-Urban graphics are a great way to think about how the city can help people identify and turn an external definition into an internal definition of similarities and differences, and can transform the dialectical model of identity. Expand to something beyond mere sociability. In this regard, the determination of urban identity lies in the difference that individuals have in individual lives and to some extent are made of collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences.  -Ethnicity, gender, history and lineage, religion, occupation and class, place of residence, etc. are all characteristics that are intertwined in a contemporary city, and this pluralism is an increasing need for a common denominator. It reflects a group and a group by observing the similarities and differences of individuals, and therefore this interaction must be created in the right way. These conversations between citizens and urban graphic elements transcend the boundaries between the individual, the group, and the city, creating an umbrella of solidarity and cohesion under which all individuals can take refuge. - The importance of urban graphics and human identity on the one hand and the importance of discussing identity crisis in the present age due to globalization and unwarranted dominance of technology and especially the virtual world in the age of communication on the other hand, is one of the most important reasons This is the problem. - Since the impact of the environment on humans and vice versa has been fully proven, and even in a dimension beyond the impact of the environment, we can refer to the direct relationship between environmental identity on humans and vice versa, as well as environmental identity crisis on humans and vice versa. Identity in urban graphics and its management is mandatory. - In addition to the effects mentioned above, the presence of human beings in the environment and urban spaces is an undeniable and even mandatory presence, and therefore these effects are completely involuntary and it seems that by controlling and managing the conditions of the spaces, the type of effect and The relationship between man and space must be controlled.

Razavi holy shrine, due to the blessing of the shrine of Ali ibn Musa al-Reza (PBUH), has always been under the care and attention of rulers, artists, etc. Today, it houses all the Islamic arts like a museum. The inscriptions that have been available in the buildings of the shrine for a long time prove this claim. Inscriptions that have been restored many times, by preserving history and their themes, show the fate of the building in different historical periods. The oldest courtyard of the Razavi shrine, which is called Atiq (Revolution) due to its closeness to the Golden Dome and its importance, contains inscriptions from the Timurid period until now; most of which have religious themes. These inscriptions, which originate from the spiritual essence of the Holy Quran and the words of the Imams, express information which is taken from the social and religious conditions of each historical period, especially the Safavid era. According to this important point, the research questions are: - What historical period do the most religious inscriptions on the porches of the old courtyard belong to? -What are the themes and contents of each of the religious inscriptions? -What was the reason for the use and connection between the contents of the inscriptions and their place in the ancient courtyard?The research method is descriptive-analytical and its contents have been collected using written sources and field research. The analysis is also based on the method of qualitative content analysis; finally classified and reviewed in the form of four tables. The findings show that most of the inscriptions in the courtyard belong to the Safavid era and are dedicated to verses of the Qur’an and hadiths and their themes are based on monotheism, the mission of the prophets and the invitation of human beings to religious duties, friendship of the family of Muhammad and visiting the holy tomb of Imam Reza (PBUH). The choice of themes was also completely related to their place in the building. For example, in the south porch (Golden Porch), which is the entrance to the golden dome, the verses of Surah Maryam are inscribed, which refers to the safe atmosphere into which pilgrims enter, and also Surah Yasin, which is known as the heart of the Qur'an, is used to indicate the heart of this holy place (shrine). In the north porch (Abbasi porch), there is an inscription of Surah Jumu'ah which is completely suitable for the function of the minaret and shows the invitation to prayer. In the east porch (Naqareh porch) Surah Al-Muzzammil the theme of which is the invitation to perform religious duties and the verses of Surah Noor are inscribed which is very appropriate regarding the function of this porch and its location which is east; as if the sound of the Naqareh reminds us of God's ownership of the world and performing religious duties at the same time as the sun rises. The western porch (porch of the clock) is also inscribed with Surah Al-Insan, which is also conceptually associated with the function of the porch. The clock represents time and is the reminder of the time of human creation, and the creation of the world is best expressed by quoting this Surah. In addition, the inscriptions of the Throne verse in two places of the porch have been an emphasis on the creation and ownership of the Lord and the principle of monotheism.However, the subject of coordinating the content of verse inscriptions with the use of the building has been common in the past, as in the book of the first inscriptions in the architecture of the Islamic period of Iran, examples of this have been given. What is considered about religious inscriptions in this place and from the Safavid period onwards, which is repeated by heresy in other periods, is bringing hadiths about the honor of the Shiites and the intercession to the Prophet (PBUH) and Imam Reza (AS) for the pilgrims as the reward of their pilgrimage. Such inscriptions are quoted from the Prophet (PBUH) and Imams (AS) along with the verse of purification or the hadith of al-Kisa which is about the infallibility and purity of the family of the Prophet (PBUH). It has been aimed at emphasizing the Shiite religion. The fact that Shia has been the official religion of Shiite Iran for centuries seems normal today, but in Safavid times, this issue was effective in historical, social, cultural and religious conditions. Only by reflecting on the inscriptions of the Abbasid porch, the reason for selecting and bringing the sovereignty verse along with Surah Kawthar together with Nadali and Durood and a part of Tawassul prayer, a message based on the divine will and providence regarding the establishment of Safavid government and Shiite dignity is specified.