جستجوی مقالات مرتبط با کلیدواژه "structure" در نشریات گروه "تاریخ"

Manichaean paintings were designed and illustrated to show Manichaean religion and religious teachings. Almost all the works of Manichaeism, including wall paintings, paper paintings, flag paintings, and scroll paintings, are the same in structure and theme, and they were created to depict the supreme goal of this religion, which is the reaching of the human soul to a bright heaven and ultimately salvation. To show this goal, the Manichaean artist resorted to human figures and executed them with drawing principles and special composition that he had in mind for almost all the paintings. In fact, human figures played an essential role in showing the theme and forming the structure of paintings to the extent that other elements are very faint in Manichaean paintings and sometimes they don't exist at all. The purpose of this research is to investigate the theme and to understand the Manichaean artist's arrangements in creating the structure of paintings.The main question of the research is, what are the themes of Manichaean paintings based on and what is the relationship between structure and theme? The approach of this research is descriptive and analytical and it has been done by using library sources and examining the existing samples. The method of analysis of the works is based on the examination of the visual principles and rules used in the external characteristics of the four Manichaean paintings. Based on the findings of the research, it can be said that the theme of most of Manichaean’s paintings is about light and the ways of liberating the soul from darkness and reaching heaven. The art of the Manichaean period has a coherent structural system, and the paintings have planning and division, and this page planning was done according to the theme, human roles, and the position of human roles in each picture.

The historical site of Rab-e Rashidi of Tabriz or Rashidieh of Tabriz, which was built in 700 AH and It was used until the tenth century AH. It has been exploited in various residential and military ways. One of the architectural structures of Rab-e Rashidi is its large tower, which is located on the southern front. According to preliminary studies of this structure it has built in the tenth century AH. The engineering structure of the Rab-e Rashidi has not yet been studied archaeologically from a technological point of view. In particular, this large tower, contrary to the common architecture of the eighth to tenth centuries AH in Iran, especially Tabriz, is made of stone materials. It is natural that the knowledge of construction technology and technology used in this tower, which is contrary to similar buildings of the seventh to tenth centuries AH, requires the adoption of archaeological studies of technology and structure. This study is to review those examples of studies whose process can be repeated experimentally. Therefore, the mortar technology used in this tower, which has fully survived it from the severe earthquakes of the Safavid and early Qajar periods in Tabriz, needs to be re-recognized by scientific methods including field and laboratory studies and analytical and experimental. In this study, five mortar samples were prepared from five different points of the tower and studies of XRD, XRF, SEM, FTIR, petrography and digital microscope were performed. As a result of the studies, it was found that lime mortar was used in all parts of the tower, from the foundation to the upper parts made of stone. Some sand is used in lime mortar and there is a small amount of soil. Contrary to popular belief, no gypsum was detected in the mortar composition.

Every research work is based previous researches and works and basically, the purpose of some research works is to supplement and fill the blind spots of previous works. Therefore, knowledge and awareness about the research works of the predecessors in relation to the subject and problem of research is one of the necessities of conducting researches and especially student researches. In this regard, in the general chapter of student research, there is a section titled literature review in which the researcher must review and analyze the literature or the background of her/his work. It is obvious that doing this part correctly and methodically can play an important role in providing the reader with a suitable mental background about the importance and position of the subject and question of research. However, in this article, the authors intend to first express this main question: What are the main exclusivity and principles of writing a scientific literature review? And then in response to it and by using the analytical method and case study, while enumerating the importance and main goals of the literature review, the appropriate structure and framework for it is introduced and based on this structure, finally, as the main results and findings of this article, pathologically examine the literature review of master's theses in the field of history in several prestigious universities of the country.

It has been a tradition that before the beginning of his original text, the author has brought a section which is considered as a threshold and gateway to the original text and has been read with names such as: introduction, beginning, etc. This tradition has existed since ancient times and the oldest works and More or less changes are seen than before the fourteenth century AH, although today, preface writing has become more common. A number of works were selected and analyzed completely randomly in topics such as: history, geography, astronomy, medicine, mysticism, jurisprudence and theology. Different authors, different writers, different cultures and sometimes contradictory, and in appearance may be very different, but there is a kind of unity in them, which leads to several similar structures. (Body) and 3- beds (later). Introduction is the beginning of the name of God and saying in the name of God, Most Gracious, Most Merciful, etc.

The city of Istakhr, located in a distinct natural bed between Rehmat Mountain and Polvar River, is considered the mother city of the Sassanids and the seat of their ancestors. But little information about the architecture and design of this important city is available. The research problem is the ambiguity in the structure of the city of Istakhar due to the lack of remains on the ground, limited and scattered excavations and individual researches. In the framework of pre-Islamic architectural studies in Fars, this research has chosen a mixed method with a qualitative approach. First, the historical sources have been analyzed with the interpretive-historical method, and the excavation reports and new researches based on today’s technologies have been reread in order to extract the hypothetical map of the city. This map shows that the structure of Sassanid city with northwest-southeast direction is in the form of checkered grid in the western part, which follows the natural form of the defensive wall and becomes radial in the corners. The gates are located along the main streets. The Polvar river is a natural barrier in the north, with bridges along the gates. The early Islamic city destroyed the central core of the Sassanid city and was located on top of it. The irregular and compact network is oriented in the north-south direction and is limited by a square surrounding wall. The city center was around the mosque and the bazar was located next to it. A case-by-case comparison of some important elements or features of the city of Istakhr with similar works such as Bishapur has helped to complete the findings. It seems that the seat of Sasanian government or ritual zone is located in the center of the city. The western part contains large-scale Sasanian ritual remains. Outside the city wall, the outskirts of the city are located, and parallel to the corridor of the Polvar River and the slopes of Takht-e-Rostam, gardens and fields have been expanded in combination with architectural works. Therefore, it seems that the city of Istakhar in the Sassanid period displayed the characteristic of a ritual-governmental city and in the early Islamic period, the characteristic of a spontaneous city.

Khānqah-E Gilvan cemetery is located on the western skirt of the MT. Talesh approximately 60 km southeast Khalkhal. The cemetery lies between the villages of Gilvan and Khānqah, and is part of the administrative district of Khalkhal in Ardabil province.The cemetery was discovered in 2006 during the road construction project in village of Khānqah. It has been in use from Middle Bronze Age to Iron Age I, II and Parthian Period after a centuries of gap; it is not still clear whether the cemetery was used during the Late Bronze Age or not, but the funerary practices in the Iron Age I, II were continued. Pottery similarities with ceramics from the Middle Bronze Age allows us to suggest that the initial using phase of the cemetery can be attributed back to the last quarter of the 3rd millennium BC(Zabanband et al., 2021: forthcoming) In this research, our focus is mainly on the graves related to initial phase of cemetery. During the Middle Bronze Age of Khānqah-e Gilvan, a variety of funerary practices along with types of tombs such as kurgan, pit grave, etc. unknown in other Iranian northwestern sites such as Geoy Tepe, Dinkhah Tepe, can be seen. The funerary practices of the tombs discovered in the cemetery are more or less homogeneous. It is probable to reconstruct funerary behavior of these populations.The diameter of the 7 kurgans excavated at the Gilavan burial site varies roughly 2 to 5 m. circle stone alignment is a common feature these burials, that is carefully laid out, heaps of stone (pebble/slab…)covered the pit burials. In addition to a detailed description of the graves, we will also try to point out some of the hierarchical features of the cemetery according to structure and grave association of the tombs,

Paintings of the iconography of Imam Ali and Hossein AS is an image version of a type of Darwish curtain painting, used in large and royal dimensions and is one of the religious paintings of the royal court. This type of dervish curtains was very large in size and was made for the king. Many scholars have drawn attention to the study of these paintings, but the two paintings have never been separated. One of the best visual examples of this painting is the Astan Quds Razavi Museum, which has not been studied at all. According to the author, this painting is probably "painted for the Shah and used by court painters. The findings of this study indicate that this painting is based on the criteria of Qajar court painting, the subject of Shi'a province, angle of view, religious elements in three sections. This study assumes that the structural elements and visual features of the painting are in order to reach an effective meaning .This study seeks to answer these two fundamental questions about what visual features are used in this painting? The content of the present study is qualitative and is based on descriptive methodology Lily and the library have collected the results and the results show that this painting is commissioned by a court-appointed painting by a courtesan and deals with the subject of Shi'ite province. Keywords: Qajar, Religious Painting, Iconography, Visual Property, Structure.

The structure and form of any paintings, in addition to reflecting the inner spirit of the artist, can be influenced by environmental factors, which are sometimes associated with social factors or swayed by political events of the time. In light of the changes in the structure of modern Iranian painting in 1968-2011 period, the question that arises is “What environmental factors have affected the structure and diverse trends of modern Iranian painters?” It appears that variables such as social, political and cultural events as well as the pace of communication developments have a huge bearing on structural changes in modern Iranian paintings in each decade. Therefore, this study aims to explore environmental-cultural variables along with the structure of works in each decade. The results of this descriptive-analytical research suggest that environmental factors could be spilt into two general categories of internal and external factors. The internal factors encompass social and cultural changes in each period such as the Islamic Revolution and the Cultural Revolution movement, art festivals and journals, IT expansion, the opening and development of art galleries, the increasing passion of young people for art and the proliferation of schools and external factors. It also embraces the relatively strong presence of Iranian artists in international festivals, the sale of Iranian works of art in global markets, the invitation of foreign artists, and trips of Iranian artists abroad. Overall, it seems that the transformation of the Iranian painting structure in this period has already been influenced by new approaches to art in the West.

In the classical society of the Sassanid era, the clerical class was one of the most important pillars of the community. It had influence, credibility and popularity, and represented an important and influential institution from the lowest to the highest levels of society. This important institution is however not well-known and many uncertainties remain about it. One of these ambiguities is the inner structure of this class, which is still almost unknown. Due to the vagueness of the information coming from various sources other than a few titles, there is almost no precise data about its hierachy. Due to the great importance of this class, a proper understanding of the Sassanid era would not be possible without a proper understanding of the clergy class. This is the topic of the present paper, mainly based on literary material. It could notably be proven that the Zoroastrian clergy of the Sassanid period can be divided into two general groups in terms of the presence or absence of governmental professions and official titles. It is not possible to determine the upper ranks of this class, such as Rad, Dastour or Mowbed, while the head of the clergy class (as the Mowbedān-Mowbed) was a member of the class known as the Sassanid privileged ones (Vozorgan).

Prisons are institutions that have existed in different forms from the past. In the pre-modern era, it was possible that any place of use would be a prison, and that is why wells, caves, houses, gardens and so on were used as prisons. But in the new era of Iranian history, with the removal of different uses, only certain buildings with a certain structure were used as a prison. The purpose of the forthcoming study is to examine the structure of pre-modern and modern prisons, relying on Tehran’s Anbar and Qasr prisons. What was the structure of Tehran's Anbar as a pre-modern prison and Qasr prison as a modern one? What are the similarities and differences between them? And on this basis, the main question of the current study is whether a prison like Qasr could be regarded as the continuation of Anbar. The results of this study indicate that the physical space in these two types of prisons proves a clear gap between Anbar’s Qajar-like structure and Qasr’s Pahlavi-like structure, in which, we get from the lack of rights to prisoner's rights, from simplicity to complexity, and from darkness to light.

The Palestinian issue is the oldest and the most complex crisis in the world and can be considered one of the most important Middle East conflicts in the twentieth century, especially after World War II. Many years have passed since the crisis started, and many plans have been put forward to deal with it, none of which have had any positive effect and the consequences of the crisis have affected the inhabitants of this land. Not paying attention to the realities on the Palestinian side has caused a lack of success of the plans. In order to provide a proper solution, recognizing the complexities of the crisis is necessary. So the main question is why, despite more than half a decade of the Israeli-Palestinian conflict, this issue has remained unresolved, and none of the proposals have been able to end this issue? Our answer to this question is multidimensional and includes several agents and structural factors that are discussed here using Anthony Giddens's structuration theory. According to this theory, both agents and structures together form phenomena and no one can be given priority over the other. Accordingly, the findings of this study indicate that the structure of the region and the world should be prepared for resolving this problem. Without the agreement and the partnership of the world powers and regional countries no solution will be effective. Furthermore, the agents on both sides of the crisis should reach an internal consensus. That they only be representatives of a part of the ruling body and authority in their own land will not be enough.

Documentology (forensic document examination) is analyzing historical recording of documents thought time as well as their different structures. Experts of documentology believe that historical documents must be explained and organized by means of the knowledge and the methods of documentology. Then analyzing structures of documents and application of all the historical documents are certainly regarded as true examples of documentology. A large number of documents and writings related to religious rules (Shari’a) from Qajar era are remained, including Istishhadnameh (religious affidavit) which are the result of the works of jurisprudential (fiqh related) and judiciary system of the time. Istishhadnameh, just like other documents related to religious rules, have special structures which can be figured out through a concise documentology. These documents have often a simpler structure, comparing to documents of religious rules; they also have a shorter text. Although they have a different documentation structure, comparing to other documents, an especial and fixed method and structure cannot be found in writing of these documents. The writers and scribers of these documents were not obligated to follow a certain method in writing and they wrote the documents just for the purpose of writing them. The present paper has applied a descriptive methodology and it collected the required data by means of analyzing sources, documents and evidences. Therefore, at first the criterions of identifying Istishhadnameh are explained and then they are followed by hypothetical examples in battles and collections of letters in order to bring more light on the subject. As a result literature of documentation and principles of writing Istishhadnameh are explained.