جستجوی مقالات مرتبط با کلیدواژه « architectural decorations » در نشریات گروه « هنر و معماری »

The subject of the present research is related to the art of brickwork in the architecture of the Middle Ages (specifically the 4th-8th century AH) in the Qoms region. Historically, the studied works have been made mainly during the reigns of Al-Buwayh, Seljuk and Ilkhanids. Geographically, the studied area mainly corresponds to the current province of Semnan and the distribution of selected works can be seen in Semnan, Damghan and Shahroud. The number of selected works is 9 historical works and the focus of studies is mainly on the design of brickwork designs and then brickworking techniques and combining brickwork with gemstone tiles and gypsum seals. In addition to the abstract and introduction, the report, list and sources of research include five main chapters as follows:The first chapter deals with the generalities of the research, which includes stating the problem, goals and questions, as well as the necessity and methodology of the research. The second chapter of the report deals with the history of bricklaying in Iran in the pre-Islamic period and especially the Islamic period with emphasis on the Middle Ages (4-8 AH). The third chapter of the report introduces the general examples of research in Qoms region, which includes documenting 9 main buildings, which are scattered from the easternmost point of Semnan province to the city of Semnan in the west. Chapter 4 is the statistical community analysis report of the documentation. The method of analysis includes recognizing the patterns and techniques of bricklaying and combining bricks with tiles and gypsum seals. Then, in a comparative way, the designs and techniques of the selected works are compared with each other and the relevant results are presented in the form of a table. Also, in order to develop comparative studies, a part of the report compares the execution of Qoms region with works from Iran and finally a geographical zoning map of the brick works of Qoms region is presented. The fifth chapter or conclusion of the research is dedicated to answering the research questions. The final product of research in this section shows that the evolution of brickwork in Qoms region from the pre-Seljuk period in the fourth century AH with a great variety of techniques and patterns of brickwork as well as the use of pottery inscriptions that most examples in the field Damghan. Brickwork then became simpler in the late Seljuk period and later in the patriarchal period in terms of a variety of techniques and designs, and gradually the use of tiles in the form of jewels (which had already begun) spread. The use of gypsum balls is an example that belongs to the patriarchal period in the Qoms region and has not been seen before. The subject of the present research is related to the art of brickwork in the architecture of the Middle Ages (specifically the 4th-8th century AH) in the Qoms region. Historically, the studied works have been made mainly during the reigns of Al-Buwayh, Seljuk and Ilkhanids. Geographically, the studied area mainly corresponds to the current province of Semnan and the distribution of selected works can be seen in Semnan, Damghan and Shahroud. The number of selected works is 9 historical works and the focus of studies is mainly on the design of brickwork designs and then brickworking techniques and combining brickwork with gemstone tiles and gypsum seals. In addition to the abstract and introduction, the report, list and sources of research include five main chapters as follows:The first chapter deals with the generalities of the research, which includes stating the problem, goals and questions, as well as the necessity and methodology of the research. The second chapter of the report deals with the history of bricklaying in Iran in the pre-Islamic period and especially the Islamic period with emphasis on the Middle Ages (4-8 AH). The third chapter of the report introduces the general examples of research in Qoms region, which includes documenting 9 main buildings, which are scattered from the easternmost point of Semnan province to the city of Semnan in the west. Chapter 4 is the statistical community analysis report of the documentation. The method of analysis includes recognizing the patterns and techniques of bricklaying and combining bricks with tiles and gypsum seals. Then, in a comparative way, the designs and techniques of the selected works are compared with each other and the relevant results are presented in the form of a table. Also, in order to develop comparative studies, a part of the report compares the execution of Qoms region with works from Iran and finally a geographical zoning map of the brick works of Qoms region is presented. The fifth chapter or conclusion of the research is dedicated to answering the research questions. The final product of research in this section shows that the evolution of brickwork in Qoms region from the pre-Seljuk period in the fourth century AH with a great variety of techniques and patterns of brickwork as well as the use of pottery inscriptions that most examples in the field Damghan. Brickwork then became simpler in the late Seljuk period and later in the patriarchal period in terms of a variety of techniques and designs, and gradually the use of tiles in the form of jewels (which had already begun) spread. The use of gypsum balls is an example that belongs to the patriarchal period in the Qoms region and has not been seen before.

Azerbaijan region is one of the important centers in terms of Islamic architecture, the process of architectural development there is very old and the construction of tombs, especially tower tombs, has been very prosperous in this region. From the Seljuk era, tower tombs have been built in this area, which can be considered as one of the masterpieces of brickwork of this period, which are remarkable in terms of technique and variety of execution designs, and they somehow show the evolution of this group of decorations in the 6th century. For the facade of these tower tombs, bricks in certain sizes and with various geometric shapes are used in geometric, checkered, zigzag, horizontal and broken, cruciform, star, and polygon designs. Later, these bricks were used as a general feature of architecture in minarets, doorways, domes, and other parts of the building, which indicates the creative power of the architects of this period. Of course, brickwork was sometimes accompanied by other decorations such as plastering and monochromatic tiles, which can be seen in the round tower of Maragheh (563 AH) and Se Gonbad Tower Tomb in Urmia (580 AH). These two towers are among the most beautiful and significant historical towers of the Seljuk era, which are decorated with detailed arrays of brickwork and are a good representation of the common way of decorating the buildings of the mentioned period with bricks. The current research seeks to answer this question: What are the characteristics of the brickwork and plastering decorations of the two towers of the Maragheh circular tomb and Se Gonbad of Urmia in terms of designs and motifs, and what are the differences and similarities? The purpose of this research is to introduce and document the characteristics of the decorations used in the two mentioned buildings, as well as to compare the brickwork and plastering decorations of the round towers of Maragheh and Se Gonbad in Urmia. The current research has studied the decorations of the round towers of Maragheh and Se Gonbad in Urmia with a descriptive-analytical method and qualitatively analyzed the library, documentary, and field information. After conducting investigations, we found that there are common features in terms of motifs and composition in the decorations of the two towers of the mausoleum, which emphasize the common style in the Seljuk period. The findings indicate that in these two buildings (circular plan), the main emphasis is on the front and the entrance facade, and in this section, various brickwork decorations and a combination of brick and plaster have been used. The use of inscriptions in Kufic script on the foreheads of the arches and the use of geometrical decorations (knots) on the main border around the frontispiece are other features and similarities of these two tower tombs. In general, it can be concluded that the way of dividing the heads to implement decorations, the placement of decorations and inscriptions, the wide use of geometric motifs (nodes), and the use of turned bricks to create nodes are significant common features in these two samples. However, there are differences in the type of knots, quantity and quality of these geometric motifs, and implementation techniques.

Historically and culturally, Bukan is one of the cities of Mukriyan Kurdistan, located in the southern area of Lake Urmia. During the Qajar era, this city became important due to the construction activities of the family of Sardar Aziz Khan, the Minister of War of Iran, during the era of Naser al-Din Shah. During this period, we see the rise of power of a number of tribes, such as the Gurkas, the Dehbokris, the Faizullah Beigis, and the Mukris in Bukan. Currently, most of the remaining historical monuments from the Qajar and Pahlavi periods of Bukan city are manorial mansions. which were built by Khanin and chiefs of Bukan region which at first glance is a sign of the serf lord system and the class gap in a society of that era Bukan. In many of these buildings, various decorations such as brickwork, plastering, carving, mirroring, and wood are used. Therefore, the purpose of this article is to deal with the characteristics and types of decorations used in the mansions of the mentioned periods in this city. In order to achieve this goal, it is necessary to answer questions about the artistic styles and patterns that influence the form of these decorations.Since so far no comprehensive and coherent research has been done in connection with the decorations and architectural style of Bukan lordly mansions. Therefore, the study of these buildings can give a wider understanding of the efforts of the artists of this region in creating comfortable settlements. As a result of the present research, it was found that with the implementation of the feudal lord system, we see the construction of lordly mansions in most of the villages of Bukan city. In addition, the decorations of the mentioned buildings are influenced by the mountainous climate of the region and the architectural patterns of other Kurdish regions of Iran.

Hozdar city is one of the historical areas of Sistan, which despite the destruction of most of its historical buildings, special decorations and brickwork can still be seen in the remains of its buildings and this shows the presence of impressive decorations in these buildingsThe decorative elements in these buildings have designs and patterns that were specific to the architecture of this region, which are now in danger of destruction. So, the purpose of this research is as follow: Recognizing and analyzing different types of decorations in the historical monuments of Hozdar city; In order to recognize and revive these foundations in today's architecture and try to preserve them, and also revival of valuable historical decorative patterns of Hozdar city of Sistan. Research question is: What types of decorations are there in the historical monuments of Hozdar city? To answer the research, question this research has been done using inductive research strategy and descriptive-analytical method. Data collection has been done by using authentic document sources in the theoretical foundations section and conducting field studies using observation and interview. Finally, the research results showed that in terms of design and pattern, certain types of geometric motifs have been used in the decoration of the historical monuments of Hozdar city and the dominant decorations used in these buildings are made using the pattern and pattern index, and most of the decorations used in these buildings are done by using design and pattern, and color has the least impact among the examined components.

The Qajar Dynasty is very important in the architectural art history, because in this period, western architectural techniques entered the architectural styles and decorations with their numerous features for the first time. The obvious manifestations of this, are the changes in Tehran's garden houses styles, which have different architectural styles and spaces, despite belonging to the same historical period. Masoudieh Garden House is a historical mansion which is in a better condition than other garden houses, and contains more comprehensive historical documents. Masoudieh garden was built in Baharestan Square (Tehran), by Mass'oud Mirza Zell-e Soltan’s order, and is decorated with brickwork, plasterwork, tiling, mirror work, sculpture, decorations. The research’s aim is to answer the question: What is the form and pattern used in the historical architectural decorates of Masoudieh Mansion in Tehran and what are the influential factors in its formation? The general approach in this research is qualitative, is applied in terms of purpose, and descriptive-analytical and historical based on nature, which used the iconology approach in the analysis, and the documentary collecting method was library and field information. In the analysis of the architectural decorations in MasoudiehMasoudieh Mansion, three important principles have been examined: the influence of Farang on Qajar art, nationalism, and Iranian-Islamic national arts. The indicators’ influential level on formation and performance of each decoration is expressed. The architectural decorations used in the old buildings are often combined with western designs and motifs that are inspired by nature and combined with Iranian-Islamic techniques. In the tiling decorations of the mentioned group, traditional motifs (Slimi motifs and Khatai flowers and leaves) can be seen, which are often combined with western motifs used in form of decorative unit frames or above the windows in the building’s basements. Another type of motifs used in the tiling, are the human figure designs such as princes, slaves and servants ready to serve, which are taken from western postcard motifs, in the single vertical frames. Wall decorations and plaster decorative frames, small and large vases decorated with different plants motifs can be seen, in addition to bands, buds, flowers, small and large leaves of Khatai and Farangi. These are imported from western motifs, which have been used and considered. plaster columns have been performed in the main front porches of Moshirolmolk The dining room and the eastern porch of the mansion, as well as the second floor balcony. Another type of plaster is the naked winged angels in human figures, which were generally seen in a similar and completely prominent form, at a very high height of some of the buildings. Regarding nationalism, it is worth mentioning that the first court architecture of Qajar era is a manifestation of the ancient history heritage. In Qajar era, a kind of reconstruction of the royal majesty and the power appeared in ancient Iran imitation. For this purpose, inspiration from ancient Iran during the Achaemenid and Sasanian Empires was taken into consideration. Ancient Iranian motifs have been used in most of the architectural decorations used in Masoudieh garden house to a significant extent, and they are often performed with Iranian-Islamic methods and techniques. The tiling decorations have been used with ancient Iranian forms and motifs. The double and triple stone columns in Divan-khane mansion’s main entrance, are a symbol of the stone columns in Persepolis’s central palace. What can be seen as Iranian-Islamic national art in Masoudieh garden house decorations, is in the form of brickwork, tilework, plastering, woodwork, sculpting and metalwork, which are often performed with traditional motifs (Khatai and Slimi), geometric motifs, human motifs, Nastaliq calligraphy and ancient Iranian motifs in the mansion’s old buildings.The mentioned decorations are generally different in type and usage in various parts of the old buildings, and each has been made with a special technique and method in Qajar Dynasty. All the forms and motifs are in different and regular frames except the inscriptions. They have balance and has been performed with 1/2 relation. The main colours, yellow, red, blue and complementary colours (yellow and purple), (red and green) and (blue and orange) as well as black, white and grey are used in various decorations of mansion. The social, cultural, and political conditions in Qajar era, relationship with Europe and western countries, and the remarkable interest of Qajar kings in European culture and art caused a very significant influence in national art and culture. In addition to the European neoclassical patterns, Islamic patterns and also some ancient Iranian motifs have been used in Masoudieh historical buildings’ decoration.

The art of mirror work is one of the arts specific to Iran, examples of which can be seen in religious venues and royal palaces and sometimes in noble homes. The traditional arts of Iran have used this art as one of their most important decorations, and it has been used effectively from palaces to sacred places. The shimmering curtains created by the successive reflection of light in the shiny pieces of the mirror are the outcome of this art. An important and specialized part of architectural decorations in mirror work is the Hall of Mirrors, which is one of the main characteristics of palaces and some noble houses (especially in Shiraz), which contains various types of mirror work decorations. The art of mirroring is performed on the wall and ceiling, on the wall it is usually presented with a low relief and with square and rectangular frames together with different designs, including flowers and vases, and mirroring on the ceiling is more than the wall in combination with paintings and wooden decorations. It has been a regular occurrence. The work of the mirror has been well placed in the decoration of Iranian architecture for centuries, but unfortunately the greatness of the art of mirror work has been progressively forgotten. The need to protect and extend this beautiful art as well as other craft and decorative arts is evident. In this research, in the first place, it examines the process of how this beautiful art was created in Iran, and also by introducing some examples of the remaining works of this art in some regions, they examine and compare them with a more comprehensive view, so that finally, with more familiarity With this decorative art, a small step can be taken in preserving the works and introducing it.

Bastam great mosque, a short distance from the Bayazid Bastami complex, is one of the oldest mosques in Iran. The history of the mosque goes back to the beginning of Islam. There are many inscriptions and various motifs and decorations around the Mihrab and the wall of Qible in the mosque, which are essential artistically, historically, politically, culturally, ritually, and socially. most of the current decorations and inscriptions belong to the Ilkhanid period. The purpose of this research is to determine the age of the inscriptions of this building and also to clarify the type of lines used as well as the themes in them and also to determine the artists, patrons, and those who were involved in the construction of this building. The results of this research, which is descriptive and analytical, and its data were collected in the form of library studies and field surveys, indicate that most of these inscriptions belong to the Ilkhanid era. Also, the substantial role of different cultural, religious, and mystical people, as well as political and artistic people in the construction of the artworks in this mosque, as well as the variety of decorations and lines, are other results of this research.field surveys, indicate that most of these inscriptions belong to the Ilkhanid era. Also, the substantial role of different cultural, religious, and mystical people, as well as political and artistic people in the construction of the artworks in this mosque, as well as the variety of decorations and lines, are other results of this research.field surveys, indicate that most of these inscriptions belong to the Ilkhanid era. Also, the substantial role of different cultural, religious, and mystical people, as well as political and artistic people in the construction of the artworks in this mosque, as well as the variety of decorations and lines, are other results of this research.

The magnificent Arts related to Islamic architecture, especially religious places and mosques, have their own conceptual and aesthetic depth. After the construction of mosques, gradually and throughout history, the decorations related to architecture were upgraded and became more diverse. Looking at the history of religious architecture in Iran from the period of the Khwarazm shahs period until today, countless and valuable examples of mosques can be listed, of which the Mir Emad Mosque in Kashan has a historical position and prestige due to the variety of inscriptions belonging to different periods. Inscriptions with different characteristics such as subject diversity, decorative motifs, performance techniques, and materials, each represent a part of the culture and identity of their era. It seems that this mosque with 32 inscriptions is a suitable case for researching the historical dimensions and explaining the cultural-political themes of the religious monuments of Iran during different periods as a statistical sample (using a targeted census method). For this purpose, the goals of this research were studied in two dimensions: adaptation and rereading of historical dimensions, as well as reading and content analysis of the inscriptions of Mir Emad Kashan Mosque. The method of collecting information in this fundamental research was based on a combination of documentary methods, objective observations, interviews with experts, and field documentation, and the nature of the analysis of the findings was descriptive-historical. Finally, the most critical result deduced from this research showed that out of the four types of inscriptions classified in this mosque, two themes in two sections could be conceived: Religious topics and Quranic verses promoting and explaining the Shia religion in the sections inside the mosque, and the decrees of kings and the rulers of the era with cultural, economic themes and social and moral issues (mostly related to the Safavid era) in the outdoor spaces. These themes are implied through the art of sculpture, plastering and painting on plaster, and the use of Kufi, Sols and Nastaliq calligraphy, each expressing part of the traditions, beliefs, and orders of the rulers of their time on the walls of this significant cultural social building in the Mir Emad complex of Kashan.

The shrine of Sahl Ibn Ali is one of the religious buildings in Iran that is located in Astaneh city in the southwest of Markazi province. It was founded for a man who was one of the descendants of Zein al Abedin. Although many historical documents give us little information about this building, there isn’t any evidence about the exact time of construction. However, according to historical studies  there was a tombstone and a wooden case above it with the date of seventh century AH and they had inscriptions that description this grave belongs to the Sahl Ibn Ali. Unfortunately, the wooden case has been missing and the tombstone inscription is illegible. Consequently, according to the oldest historical document we can deduce that it was built before the Safavid dynasty. Nevertheless, similar to other religious buildings, it has many historical decorations that occupy a significant part of it, which consists of inscription, mural, mirror work, tile, and woodwork that belong to Qajar and Safavid era. Although a few contemporary studies on the religious characteristics of Sahl Ibn Ali have only indicated the art decorations, there is no any specific research on the artistic characteristics. These sources prove that there were many decorations especially calligraphic that are missing and for this reason it is important to study the architecture and its decorations. Besides mural, mirrors and other decorations, inscriptions are remarkable for vary executive technique, location and information. For this reason, this research focuses on inscriptions and calligraphies to find their functions among other decorations. One of the remarkable characteristics of these inscriptions is their complexion. Three of them have dark-blue background colors with white or yellow inscriptions on them that made them for viewers legible in the distance. Two of these three inscriptions is including a Sura of Qoran located under the dome that it had written with Tholth. unfortunately, the one situated in the highest part under the dome  has been damaged since of the water that leak from the dome. One of these dark-blue inscriptions is located in the loggia which is a poem that described the restoration that had been done by Hesam Alsaltanah, who was one of the Princes of the Qajar dynasty. This inscription has written in Nastaligh and has a kind of plasterwork technique that is painted with blue and yellow. Unfortunately, by the destructed of the loggia, the first and last part of this inscription has been removed. Another group of inscriptions is those engraved and located above the main door that belongs to the Qajar era and the other one is located above the loggia door from Safavid era. This inscription inclouds hadith of Mohammad, the prophet of Islam who authentic Ali as his successor. And this inscription with its date and names of artists could be important evidence of the importance of this building because this hadith usually used as a political-religious motto by Safavid kings in their religious buildings to develop Shiites. It includes the name of Ali Akbar Isfahani that who may be the person who was a great architect in the Safavid era and Mohammad Reza as it’s calligrapher. If the architect of this building(Ali Akbar) is the same as the architect of Imam Mosque of Isfahan it could be remarkable as an unknown work of Ali Akbar Isfahani. The other group of inscriptions is several small pieces of paper that maintain under the glass in the loggia. These papers with their information about artists, supporters, and the date of repair could be a historical document about this building. They are written with black, green, and red ink and have only just a simple pattern of birds with several thin lines around words as a border. In summarize , one of results in this research is finding the lost scripts belonging to the Qajar dynasty. The inscriptions in this tomb have been written with two kinds of calligraphies, Nastaliq and Tholth and based on their content we can divide them into two groups, historical and religious. The religious inscriptions have been written with Tholth, do not have any information such as date and artist’s name, they are with fresco and they are located under the dome and the roof of the porch. The historical inscriptions have been written with Nastaliq with various techniques such as petroglyph, calligraphy on paper and are located on the west porch. Also they give us much information about artist’s and sponsor’s name and the date when the building was repaired. After considering all inscriptions in this tomb we can say that main cause of used historical inscriptions is their information, and their aesthetic functions is of second importance. These inscriptions form an important evidence that proves that this building was remarkable for the government and that the officials ordered to repair and decorate it.

During different historical eras, political, social and religious developments have appeared in the best way in art and architecture in such a way that the architectural works of each era show the dominant beliefs and thoughts of that society; Ilkhani society has also been dominated by mystical and Sufism ideas. In this period, mystical teachings were spread in all parts of society, especially architecture and architectural decorations; So that these influences are evident in most of the buildings of this period. The subject of this article is to investigate the influence of mystical ideas on the architectural decorations of the Ilkhanid period and the decorations of Varamin Jame Mosque, as one of the important buildings of this period. In other words, this research examines the manifestation of mysticism in the architectural works and decorations of the Ilkhanid period. The research method of the article is the review and interpretive-historical analyzes of texts and architectural works of the Ilkhanid period. From the findings of the research, this hypothesis is proposed that Sufism and mystical thoughts have influenced the government and patriarchal architects and these influences are visible in the architectural decorations of the buildings of this period, especially in the decorations of mosques. All three types of decorations (geometric, plant and inscription) have been used in Varamin Grand Mosque, and these designs are mainly geometric or inscription. However, there are plant motifs in the building, although few. These inscriptions have religious or historical themes that historical inscriptions are used for how and when they started. Also, the symbolic concepts of numbers and shapes are abundantly used in the geometric designs, which have the largest amount of decorations and are used in a very effective style, which refer to mystical themes.

Vakil Mosque of Shiraz is known as the most significant religious building of Zandieh period in the history of Islamic art and architecture of Iran and is one of the most beautiful and strongest mosque built in Iran after the Safavid period. This mosque, which has been renovated many times during its life history, can be considered as an example of the architectural history of this period in terms of architectural and decorative features. According to the history of construction of Vakil Mosque, it can be seen that the architectural components of this mosque have differences and similarities due to the construction and payment in different periods in the style of decoration, especially in tiling. Therefore, the existence of different styles in the geometric decorations of the mosque is not far from the mind. This is the question; What is the variety of geometric motifs in the architectural decorations of Vakil Mosque in Shiraz? The method of analysis of the results of the data of this research is qualitative (descriptive-analytical). The purpose of this research is to identify and analyze geometric patterns in the architectural decorations of Vakil Mosque in Shiraz. The results of this study show that geometric patterns in mosque spaces, despite the apparent diversity and frequency, have common features and follow coherent and similar patterns in design. Geometric patterns are often cohesive, most geometric patterns are slow knots. On the other hand, the colors used in the geometric designs of the mosque also have a single and common color style and pattern. Light colors can be seen on almost all levels of the mosque, and bright colors such as white, yellow, blue and pink are predominant. It seems that this harmony and coherence in the decorative designs of the mosque has been considered as a model of the decorative design unit and the repairs and repairs of the post-Zandieh period in this mosque have been followed according to the observance of these main decorative patterns. In other words, despite the noticeable variety and differences, the similarity in the type and techniques of execution of motifs is evident and indicates the following and modeling of older mosque motifs and renewal of these motifs in order to maintain the relative cohesion and integrity of the building decorations

After the inscription of the historical city of Yazd on the world heritage list in 2017, more emphasis was put on the preservation of historical monuments within its urban structure. Simultaneously, more effort was made to carry out different types of monitoring to protect the authenticity of historical monuments. This study, using a qualitative and interpretative approach, researches the role of historical monitoring as a method to assess the authenticity of the architectural revetments of Seyyed Rokn ad-Din Madrasa (or Rukniyya), which is one of the most important monuments of this city. The history of interventions based on the principles of world heritage preservation as well as the history of deteriorating factors that altered the building is documented in this research. For this, after defining the concept of historical monitoring, this paper documents the damages, repairs, and interventions that occurred in the Rukniyya. Content analysis of these documents was carried out to identify the risk critical points and finally to draw the timeline of the restorations of the architectural revetments to assess their authenticity. According to these documents, significant damages in the Rukniyya include cracks, structural damages caused by the digging of wells in the periphery of the building and the subsequent moisture, and termite activity inside the building. Outside, the destruction of the main arch of the iwan, structural interventions, and the falling of dome tiles due to natural conditions specifically on its western side are among the major damages. The damaging factors should be considered in terms of activity levels in future conservation plans. For the purpose of authenticity assessment, the findings of the investigation differentiate authentic parts from later alterations in this building. The inner shell of the dome, the end wall of the iwan, and the tile inscription on the dome stem are materially authentic and date from the Muzaffarid period. The motifs and material components of the iwan and its facade as well as the tiles on the outer shell of the dome are interventions of the past fifty years. These parts were reconstructed based on the architectural style of the fourteenth century, imitating the tilework patterns in the Shahab ad-Din Qassem Madrasa, Shamsiyyeh Madrasa, and the Jame‘ Mosque of Yazd. The purpose of such interventions was to preserve the physical and functional features of the building and improve its legibility. Although the reconstructed and renovated parts are interesting in terms of restoration works, they do not have historical or archeological value and cannot be referenced as Muzaffarid-style artwork. The findings of the study show that two separate conservation plans are required for each of these two parts of the building providing clear and transparent decisions.

Vakil Mosque of Shiraz is known as the most significant religious building of the Zandieh period in Iran's history of Islamic art and architecture. It is one of the most beautiful and fortified mosques built in Iran after the Safavid period. This mosque, which has been renovated many times during its history, can be considered an example of this period's architectural history in terms of architectural and decorative features. According to the history of the construction of the Vakil Mosque, it can be seen that the architectural components of this mosque have differences and similarities due to the construction and payment in different periods in the style of decoration, especially in tiling. Therefore, the existence of different styles in the plant decorations of the mosque is not far from the mind. Based on this premise, this study examines and recognizes the types of plant motifs, classifies decorative designs, and expresses the similarities and differences of these motifs in the architectural decorations of Vakil Mosque in Shiraz. The method of analysis of the results of the data of this research is qualitative (descriptive-analytical). This study shows that plant motifs in mosque spaces, despite the apparent diversity and abundance, have common features and follow coherent and similar patterns in design.

In Islamic civilization, cultural unity leads to a broad connection in the fields of culture, art, and science. The cultural strategy of the decorations used in the two blue mosques of Yerevan and Tabriz in this research is a new thing and the importance of the research is known. In terms of content, this research has been done in a descriptive and analytical way, and the collection of information is in the form of a library. Finally, the results of the present study can be stated as follows: The artistic style and type of decorations used in the two mosques studied are almost similar, which is due to the impact of Iran's rich culture on the Armenian people. With the difference that in Kaboud Mosque of Tabriz, simpler decorations have been performed and also the two mentioned buildings are based on the style and context of Iranian engineering (Teymourian).Research objectives1. The comparative comparison of the architectural decorations of the Blue Mosque of Yerevan with that of the Blue Mosque of Tabriz has been.Research questions (b nazanin 13 bold):1. What is the connection between the artistic style in the architectural decorations used in these two mosques?2. In the final development of the Blue Mosque of Yerevan and Tabriz, how and to what extent has Iran's cultural atmosphere been influential?Keywords: Architectural Decorations, Islamic Architecture, Yerevan Blue Mosque, Tabriz Blue Mosque, Cultural Strategy.

Glory of interior architecture and variety of decorations is one of the architectural features of Qajar era to the extent that architecture of this era can be considered as the best sample of the connection between architecture and decoration. This feature is further manifested by the formation of a merchant class distinct from the market, at the top of its pyramid of power, prestige and wealth that were considered among the nobles of a city as a privileged class alongside clergy scientists and administrative agents. Presence of various decorations of mirror work, painting, tiling and plaster molding can be seen in the aristocratic buildings of this era such as the buildings of Yazd city. Yazd is a desert city where has a hot, dry and desert climate, due to its location on the edge of the desert. The special geographical location and the distance from the important administrative centers and consequently distance from the great crises and conflicts has led to some of the ancient monuments of past religions such as Mehr worship and Anahita worship that the people of the region adhered to it and continue it centuries before the Sassanid Zoroastrian religion . Today, Zoroastrians still perform their religious rites in the Zoroastrian districts and villages around Yazd, which are closely linked to elements from nature, such as soil, wind, fire and water. Cedar has a strong base than other species of this tree in Iranian literary and visual culture. The motif is especially in the method of common plastering in the Qajar era of this city, called Shir-o-Shekar, which has a thin plaster surface and creates tangible light shade.This motif can be seen in the architectural decorations of Yazd, with the least changes due to the time changes, in the form of brickwork, tiling, plaster molding, etc. Therefore, in this article, purpose was to enumerate the ritual and literary features of cypress in Iranian culture, to answer questions about how the revolution procedure of motif, the origin of concepts, variety and method of performing patterns, as well as how to form a role-centered set of roles same as Sarve Azad (free cypress), by a descriptive-analytical method and relying on available field and library resources. The result of this article revealed that the free cypress appears in three forms of cypress and mountain image, cypress grown in a vase and cypress with cow horn base in the plaster molding of Qajar buildings in Yazd, which one can see their connection with seals and pottery from the millennia BC to handicrafts and architectural decorations from recent eras. In these samples, decorative patterns, while adapting to carpet and tile patterns, are divided into two parts of calligraphy and Islamic. The foundation of Arabesque motifs in these specimens is plant motifs which have been combined with animal motifs in some samples. This study also showed that set of symbols that appear in a set of roles with a symbolic axis such as free cypress, are semantically related to each other

Traditional motifs as an integral element of traditional Iranian-Islamic architecture are spiritual, symbols benefiting from the principles of geometry and mathematics. with the Seljuk’s reign over Iran and resulted from their increasing attention to science, philosophy, and art. Undoubtedly, the scientific and philosophical discourse prevalent in each historical period affects other aspects of society, including culture and art such as the Islamic rationalist philosophy that culminated in Avicenna’s thought of the subject. He believes that “invention” has come up with “internal senses” or “faculties of the soul”, especially the faculty of reason. Therefore, the hidden aspect of rationalism can be deliberated in the process of creating traditional motifs.

The current article aims at analyzing and explaining the hidden aspects of rationalism in the process of creating geometric motifs in Seljuk architectural decorations; which will eventually lead to the explanation of a theory on the rational invention of geometric motifs based on Avicenna’s theories. Therefore, the current paper starts with posing the question of how the components of Avicenna’s rationalism can be explained in the process of creating geometric motifs in Seljuk tomb architecture.

This is basic research. Data were collected from library sources and observational documents. This is a descriptive-analytical essay. Thus, geometric motifs and knots have been deliberately selected in the decorations of the five Seljuk tombs.

The design and application of motifs in the architectural decorations of the Seljuk period, based on Avicenna’s theories, are an “innovation” type and “rationalistic” process. In other words, the interaction of the faculties of the soul is the guide for designing and creating geometric motifs from the stage of observing objects in nature, analyzing and combining them in the faculty of imagination, and organizing and creating designs and motifs in the faculties of reason. The rational feature of the images contributes to human knowledge and mutual understanding by the audience. Also, the unity and coherence of the components of the building have been maintained through motifs and designs, and the necessary rational planning, coordination, and organization have been done to achieve the desired perfection.

Khaf Kaboudani historical complex is one of the most important monuments of the Timurid era. This complex was built during the heyday of this region, around the tomb of the famous mystic of this period, Sultan Mahmoud Kaboudani. This historical complex, of which only a ruin remains today, was once a complete complex, including a shrine, mosque and water reservoir. The interior of the buildings of this complex, as is the tradition of Timurid architecture, is decorated with various types of architectural decorations, such as wall painting, Tokhmeh daravari, Stucco decoration, Rasmibandi and Mogharnaskari. Among these architectural decorations, the one that attracts the most attention is wall painting and Tokhmeh daravari decoration that the interior of Kaboudani mosque is where the interior surfaces of the mosque are decorated with beautiful decoration with geometric motifs in orange, red, purple, blue, ocher and white. Due to the importance of this historical complex left over from the Timurid era and the lack of study on the one hand and the deteriorating condition of its decorations, on the other hand, in this research, an attempt was made to study and identify the decoration of this historic mosque and the colors used in it experimentally and with the help of laboratory methods. Laboratory study of colored Stucco of this building, with various methods of instrumental analysis, such as X-ray diffraction (XRD), X-ray fluorescence (XRF), Scanning electron microscope in combination with energy dispersive X-ray microanalysis ((SEM-EDS), showed that "Gach-e-Zendeh" has been used in the plaster decorations and a thin layer of "Gach-e-koshte" has been used under substrate wall painting. Analysis of the pigments used in the decoration of this building by instrumental methods, indicated that all the colors used were inorganic mainly and in the range of red colors from ocher, from chalk as white and in blue from natural Lapis Lazuli Used.

Gerehchini (latticework) is one of the most prominent patterns used in Iranian handicrafts and buildings. It should not be considered as a mere visual pattern, but in principle as a solution to solve executive challenges. Carpentry latticework is a type of geometrical pattern used in making fences, doors and most of all latticed windows. Due to the vulnerability of wood material, especially owing to its proximity to the open air, as serious study of such structures have to be carried out. An analysis of latticework and the tradition of making such works can now be done by present masters and the few images and examples remained from the traditional Iranian architecture. In this article, an attempt is made to explain the strategic reasons for using this type of pattern by examining the various aspects of the factors affecting the formation of this type of lattice.The purpose of this study is to identify the factors affecting the carpentry latticework used in latticed windows and to explain the reasons for the difference between such a lattice and other related types. Defining the nature of carpentry latticework depends upon understanding the way it is made. The function of windows, features of wooden constructions and construction methods, basic knowledge of flat geometry, visual aesthetic development of artists and architects are among the factors influencing the formation of carpentry knots. Reviewing these cases by field and library studies with a descriptive-analytical and modeling approach, this article is done with the purpose of having an accurate representation of the carpentry latticework and making an analysis of the feature of this type of lattice. One of the results of this research explains three factors, i.e. function, appearance and technology in the formation of the mentioned lattice. Incidentally, the role of different factors in the formation of this type of lattice is examined by looking through a detailed study of its construction.

From the past, interior decorations in Iran have been part of the visual and artistic culture of the collection of visual works in interacting with architecture, which has been implemented with a variety of materials and techniques. The decoration of palaces, public and private buildings during the Safavid period were abundant, as the various arrays used, indicates a variety of design, motifs, and performance that, despite many studies, there is no complete information on how all these types of decorations are, especially, research in this area is generally around a variety of colorful and with many motifs, and recognizing simpler decorations is somehow in the shade and margin. Among all of the types of decorations used during the Safavid era, some surfaces are decorated simply on a white background with an oyster-like and brilliant effect that the purpose of this research is to identify the type of material used to create such an effect on the white surfaces of the Hasht-Behesht palace and one of the historical houses of Isfahan. The Historic monument of Hasht-Behesht was built during the reign of Shah-Soleiman and is of its kind in the unique palaces of the Safavid era. Among the various decorations of this building, some simple white decorative surfaces are surrounded in color lines, or with decorative elements such as Rosace and Pendentif elements on a white background have been implemented. The white color of the background in this type of decorative surfaces has an oyster-like and brilliant effect. Identifying this decorative style was based on field observations, historical sources, and the use of laboratory techniques, since it was not possible to complete recognition of the methods used in the past by merely confining the experimental methods and studying ancient resources. The compound found in the analysis shows a typical potassium-aluminum hydrate silicate from the muscovite mica group. The identified composition is a kind of Muscovite mica. To find out more about this kind of decorative art, we have tried to look at a sample of similar decorations from the Safavid period in one of the historic houses of Isfahan. The use of the fine flakes of mica to create brilliance on white surfaces has in the past been a comprehensive way to decorate the architectural surfaces of the buildings, as we see it in both the Hasht-Behesht Palace and the Iranian houses. During the recent centuries, the materials and techniques used in the Iranian architectural decorations and their application, have been forgotten, but by reference to the old written texts, can be found the signs of their use and methods of preparation. Understanding one of the many types of Iranian architecture decorations with such methods can be a step to resolve the ambiguity of the art of wall paintings in Iran. Gaining a better recognition of the techniques of Iranian interior decoration will be very effective in protecting them. In the forthcoming research also, with the historical texts reading, other artistic applications in manuscript and book design and book crafting will be examined.

The architecture and historical context of Gaz and Borkhar counties, despite their hidden values, remain unknown; one of the historical houses of this region is the house belonging to the "Ghadimi" family. Due to insufficient attention of Cultural Heritage and Tourism Organization of Iran, the inability of the owners to repair and maintain it, as well as the fact that the house is located on the street in the city hall’s developping plan, like many historical houses in Gaz and Borkhar, it will be destroyed in the near future. Therefore, it seems necessary to introduce the building and study its decorations the purpose of this article is to document the Ghadimi house and compare the decorations of this rural house with similar urban examples - Homayi house and Shakeri house - in order to identify its historical period. In this research, descriptive-historical method and a comparative approach were used. In this regard, library and field studies have been done about the building as well as relying on oral history - memories of heirs. In the following, with a closer look, the two main spaces of this building, that due to the richness of their architectural decorations represent as the main characteristic of this building, are described in detail and their decorations are introduced. The most important decorations of this building include plastering with plant motifs, mirror work, application of stained glass in plaster and painting. Comparing similar images of the decorations and plans of these houses, it seems that part of the Ghadimi house, which has rich architectural decorations and is the oldest part of the house, was built in the same period as Homayi and Shakeri houses in the Qajar period, and other parts of the housewere added in subsequent periods.