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

As one of the most important arts of history, glassmaking has continued almost unchanged until the early centuries of Islam. In the 3rd to the 5th centuries of Hejira, glassmakers used new methods in making and decorating glass, and in this way, precious and limited glass works, such as cameo glass, which are made by blowing glass and layers، have been made. Putting colored glass melts on colorless glass is left over from the Islamic civilizations of Iran and Egypt. This type of glass, which is very important in terms of construction and decoration, on one hand shows the ability and mastery of the glassmakers of the Islamic world, and on the other hand, it shows the new techniques of glass making. Considering the fact that no independent research has been done in relation to this issue, the present research aims to study and examine cameo glass works in order to advance the knowledge of glassmaking. The aim of this research is to study some of the most important glass works of the Islamic era in these lands, to achieve and to identify their similarities and differences by focusing on the technical and visual examination. Therefore, the current research seeks to answer these questions; 1- How can cameo glass works be executed and what are the technical and visual characteristics of the above-mentioned works belonging to Iran and Egypt in the 3rd-5th centuries AH, including form and pattern? 2- What are the differences and similarities of the cameo glass works of Iran and Egypt in the 3rd-5th centuries AH? The research method is descriptive-analytical with a comparative approach and the procedure of information collecting is library method. The results indicate that the cameo glass works were decorated with two methods of encased and marquetry. Encased method is used in the decoration of the cameo works of Iran and Egypt, with the advancement of the encasing technique, in order to remove more surface of the body of the vessel with an additional layer of colored glass to create an encased work with prominent linear patterns and effect. There are two colors and the placement method in which the body of the container is cut and taken out, and then the pattern is replaced in one piece with another color in the body that is exclusive to Iranian works. Also, the cameo works of Iran and Egypt are similar to each other in terms of form, pattern and color on one hand and they differ on the other hand. Each of the mentioned works has a unique form, which is decorated with animal, plant, inscription and geometrical motifs. Bird, lion, palmette and ivy motifs are common in the works of the two lands, and other animal and plant motifs as well as the legibility of Kufic writings in Egyptian works have distinguished the cameo glass of Iran and Egypt. The animal motifs in works from Iran include bird, lion and rabbit, while the animal motifs depicted on objects from Egypt represent bird, snake, lion, mountain goat and unidentifiable four-legged animal. Inscriptions on Iranian glassware are in Kufic script, yet illegible, while, as already mentioned, the inscriptions on objects from Egypt include words such as Allah, Barekat, and Daaem in a legible and comprehensible Kufic script. It is also noteworthy to mention that the geometric motifs, such as diamond and oval, are solely and individually represented on Egyptian glassware as ornamentation, while objects from Iran lack the above-mentioned shapes as primary motifs, which are observed as shapes merely drawn on as filling motifs on the body of the objects. The color similarity of the cameo works of Iran and Egypt is in having a colorless glass melt in the lower layer and green, blue and brown colors in the outer layer, and other colors that are more often observed in Egyptian works. It is one of the other differences of these works.

Iranian architecture has taken various forms throughout different historical periods, with an emphasis on national inclinations and the preservation of cultural heritage. During the Sassanian era, the promotion of Hakhamehshi culture and architecture served as a symbol of national identity preservation. In the Pahlavi period, an emphasis on nationalism and a retrospective view of past civilizations, combined with Western architectural influences, became evident. Architects of that time made efforts to shape a national style that blended historical elements, ancient architecture, and the cultural heritage of that era in Pahlavi architecture. The goal was to showcase Iran's grandeur and magnificence in contemporary architecture. The characteristics of nationalism during the First Pahlavi era are the subject of this article. Using a qualitative and descriptive-analytical approach, the research aims to evaluate the effects of nationalism during that period. By examining three case studies within this architectural style, the study seeks to better understand the components, dimensions, and reasons behind the emergence of nationalism. The research results demonstrate the resemblance between ancient and national styles during the First Pahlavi era, serving as a symbol of Iran's illustrious history.

The mosque, the most important building of religious architecture in the ancient Islamic civilization, which embodies the thought and spirit that governs the environment, has always occupied a place in the center of the city and has benefited from the best arrays. Although the architecture of this historical land is several thousand years old, the efforts made to identify and introduce its works do not have much history. In our culture, the mosque is not only a temple and a place of prayer to the Lord, but also a meeting place for people and an important point of the city. The Vakil Mosque of Shiraz and the Blue Mosque of Yerevan (Armenia) are two magnificent works of Iranian-Islamic architecture in the Zandiyeh period, which are manifestations of Iranian-Islamic art in two different geographical locations. The research method is a combination of library work and field work by examining historical and geographical sources, recording and recording information related to the building, which explains the architectural style, the study of architectural elements, the characteristics of the materials used, and the type of covering of the dome, porches. and the decorations used in the building. The current research seeks to find the answers to these two questions: What do the Vakil Mosque of Shiraz and the Blue Mosque of Yerevan (Armenia) have in common? 2- What are the differences between Vakil Mosque in Shiraz and Blue Mosque in Yerevan (Armenia)? and goals such as 1- analyzing the features of the Vakil Mosque in Shiraz and the Blue Mosque in Yerevan (Armenia) 2- explaining the similarities and differences between the Vakil Mosque in Shiraz and the Blue Mosque in Yerevan (Armenia), after studying and analyzing these two buildings, it was found that this The two works have commonalities and differences, and their common points are the period of construction, the presence of naves, architectural style, and the number of entrances to the building, and their differences are in the number of porches, height, domes, domes, and the number of altars.

Plastering art is one of the most important decorative arts in Iran, whose history goes back to the Elamite and Achaemenid eras. After Islamization, Iran has undergone changes. in the valuable historical remains of Iran, examples of plaster art can be seen, which unfortunately has received less attention today, so the present study investigates and recognizes Iran's plastering and the influence of Islam on it. The importance of this issue causes a detailed knowledge of the buildings and the influence that Islam has had on the arrangement of the buildings. The present developmental research has been carried out using a descriptive-analytical method. Based on this, based on library studies, the art of plastering in the periods before the arrival of Islam in Iran and after the establishment of Islamic governorates in Iran has been discussed in terms of patterns and styles of plastering patterns. the influence of religious beliefs in the Islamic era, especially the prohibition of the use of human and animal motifs in all artistic trends, especially the art of plastering, has been transformative. The decoration of buildings, especially religious buildings, with Sasanian plant motifs combined with the inscription of Quranic verses is a clear example of this. It is transformation.

The artistic developments of the early 20th century in art history are generally called "Expressionist", which is the beginning and decline of this movement between 1910 and 1925. Expressionism is a kind of exaggeration in colors and shapes, a way free from naturalism that wanted to express emotional states as clearly and explicitly as possible. The main goal of this school was to show human emotions, especially fear, hatred, love, and anxiety, in which the artist uses strong colors, crooked shapes, and rough lines to induce her intense emotions. Expressionism is not only one of the most important and influential currents in today's societies; Rather, it is a global movement that includes various fields such as literature, philosophy, social and political sciences, architecture, music, painting, and cinema. Since painting and architecture as two identical categories have been continuously present throughout history in sync with each other and influenced by each other, naturally, the influence of these two arts from the expressionism movement can be the goal of this research.
In this research, the method of collecting information from the library and field type and the interpretation-historical method will be used which, historical interpretation is a process during which past events are described, analyzed, evaluated, explained, and the researcher bases interpretation on primary [primary] and secondary [scientific] historical sources, and finally, evidence, contexts, perspectives, and reference frames are analyzed. the expressionism movement in the Pahlavi period is investigated, which also asks the question, what is the effect of the art movement of expressionism on the architecture and painting of the Pahlavi period. The answer is: which itself leads to the emergence of the common components of expressionist painting and architecture of that period, and from the commonality of the two, it explains the framework of intellectual developments in that period for the reader; This topic itself can be influential in connecting modernist paintings and contemporary architecture of the Pahlavi period. The theoretical and formal principles of this architectural style are based on the two foundations of the modern era and the place - the land of Iran - these two fundamental pillars are shown parallel to each other in the physical composition of the building. Although modern art is often referred to as works produced in a certain period in Europe and the United States, art historians have tried to find the concept of "new" and "contemporary" art in works from other parts of the world. And it should be noted that "modern art" and "contemporary art" are not synonymous. In the 20th century, Iranian society saw many changes from a political and social point of view, and these changes can be seen among Iranian artists in the form of works that were different from traditional Iranian paintings. Modernization in Iranian society in this period led artists to present results that, although they were linked to Iran's tradition and past, contained new forms and methods experienced by modernist European and American artists. The formation of the pioneers of modern art did not only mean the victory of the supporters of modernism against their opponents, but it was also able to provide positive aspects for Iranian art in the international arena. Although modernism is a fluid concept, the moment of its birth is somewhat clear, but the moment of its decline is unclear.
The results of the research show that what is known as expressionist painting in Iran does not seem to be a superficial understanding of the essence of expressionist painting; In Iranian examples, where architectural spaces were created to have social and cultural effects with the help of painting, Imitation can be seen in the first and second generation of modernist Iranian painters Also, architectural space creation in Iranian paintings that expressionist painters include two divisions in terms of architectural space creation, wanted or not. The first group includes painters who depend on form in all painting components, and the second group includes painters who imitated other painters.
However, more than half a century has passed since the official beginning of the modern art movement in Iran. A movement that tried to harmonize with world art and went through many hardships and has been continued by contemporary artists.

The post-occupancy evaluation (POE) method has been considered worldwide for about 60 years. Despite its extensiveness, many benefits, and wide scope of its use, it is very new in Iran, and detailed and complete studies have not been done in architecture. Post-occupancy evaluation is a process that evaluates building performance after occupancy. It involves using technical, behavioral, and functional observations to monitor and measure the built environment. POEs provide scientific data on architectural design effectiveness. Despite being around for over 60 years, detailed and complete studies on POE in architecture have not been conducted in Iran. Although POE offers many advantages over the traditional evaluation process and has been widely used, many designers refuse to utilize this process. In Iran, POE is mainly used as a subject for academic research, and builders, designers, and users do not benefit from its results. In this systematic review, we conducted a literature search on POE methods to gain a better understanding of the existing POE practices of buildings in Iran. To carry out this review, we used seven databases and search engines, including Civilica, SID, Noormags, Elmnet, Magiran, Irandoc, Google Scholar, and typeset artificial intelligence. We used three Persian and two English keywords (POE, Post-occupancy Evaluation), and 1473 cases were discovered as primary results, which were evaluated during several stages. After eliminating duplicate cases, 52 cases were selected and categorized based on the subject of evaluation, city, year of implementation, research method for data collection, and type of research. The results of the review of the articles are described below.
Considering the geographical extent of Iran and the existing climate diversity, the largest number of evaluations have focused on existing buildings in hot and dry climates, and few examples are available in cold, moderate, and humid climates. No evaluated sample has yet been found in hot and humid climates. The number of articles and POEs for any climate cannot reach correct and decisive results based on the climatic conditions. The reviewed articles were either theoretical studies that deal with the methods and definitions of POE, or they were case studies. However, the number of case samples used in each research was limited to one building or a small number, which could make it challenging to generalize the results to other buildings.
Although questionnaire-based surveys and interviews with residents have been commonly used as subjective data collection techniques, there is a lack of information about the specific questions posed to participants, methods of questionnaire delivery, or details about response times and rates. The difficulty in fully understanding the research context in questionnaires and interviews has hindered the ability to replicate or enhance the planning and implementation of POE research in the future. A variety of methods have been used to collect data, but the literature review and the preparation and distribution of questionnaires have been used more than other examples. In the next stages, interviews, observations, and two examples of energy and simulation methods have been seen in articles. To obtain more practical results, it is essential to consider new methods or the combination of various methods in POEs used in other countries and take advantage of their experiences in carrying out POEs in Iran. Regarding POEs, residential and educational budlings have received the most attention, followed by the types of accommodation, including dormitories, hotels, and urban spaces, which have been of interest. Functions related to tourism, treatment, and official and historical monuments have been repeated minimally, and no research has investigated other building functions.
In recent years, several POE activities have been conducted in Iran. This article aims to provide a comprehensive overview of these activities. It categorizes the data collection tools, geography, and types of use, along with the items to be evaluated, evaluation elements, and types of evaluation levels used in previous studies. By analyzing the structure of the articles and their outcomes, the article helps researchers identify gaps in the field of POE in Iran. It provides a roadmap for future POE studies by highlighting areas needing re-evaluation, examples requiring further evaluation, and topics not yet evaluated. By following the guidelines and criteria provided in this study, researchers can ensure better architecture and brighter outcomes.

The art of gilding is one of the oldest common arts in Islamic countries. This art is considered one of the most influential arts in Iran and Afghanistan. Two works are adapted and studied in this research. The first work belongs to the period of Tabriz's painting style and the Turkoman school, and the second work belongs to the contemporary period of Afghanistan. The reason for choosing the topic is the existence of the “Dahan Azhdari” pattern in the two discussed periods with different structures and capabilities, which shows the influence of the Turkmen school on the contemporary art of Afghan gilding. The main problem of this research is to study the role of “Dahan Azhdari” as a main and influential role in gilding having a long history, and the gilding of Afghanistan in the contemporary period.  Tabriz school and the Turkmen style are considered independent styles from other periods of gilding art in Iran; according to the works of this period, the general features of the Ilkhanid period are as follows: the space between the lines in the gilding is filled with gold color; the variety of colors has increased and the rich colors of this school are influenced by Iranian art and green and blue colors are dominant; much precision is used in the designs, which is the result of the influence of Chinese painting.Through the Turkoman school’s gilding method, the gilding in the contemporary period of Afghanistan has become wider in terms of decoration, and there are open and closed texts different from the composition of the works of previous periods, and it is no longer limited by the analogy of the previous periods. Variation in decorations and types of overall form of gilding components is one of the other characteristics of contemporary Afghan gilding works. So in some works of gilding, even two similar components cannot be found in decorations and petals. The studied work of the Turkmen school gilding method in the present study is the gilded Badragh page from the book of Islamic arts. This work was in 1478. It was dedicated to Sultan Khalil, the eldest son of Uzvan Hassan, the ruler of Agh Quyunlu - who ruled for six months in Tabriz. The dimensions of this work are 120.3 x 13.5 cm, with ink, gold, and matte watercolor on paper. The main form of this work is bergamot in the center of the work. Around the bergamot, there is a closed text in the form of an analogy. After the closed text, two borders are engraved around it, and in the last part of the border, the porch is located on three sides of the border. There is a text in the center of Toranj, “Wa Al-Dhain Abul-Fath Sultan Khalil Bahadur Khaldullah Malika wa Sultana wa Afaz Ali Al-Alamin Yare wa Ehsana” in Nastaliq script, which indicates that this work was commissioned for Sultan Khalil. The most used colors in the work are azure, gold, black, and brown. The second studied work from the contemporary period of Afghanistan is Badragh page by Mohammad Yunus Jami. Mohammad Yunus Jami, calligrapher and gilder of contemporary Afghanistan in 1990 AD. He was born in the city of Herat. His father, who was a scholar and art lover, seeing his son's talent, sent him to the art workshop of master Abdul Jalil Tawana to benefit from the master's knowledge in 2003. This period can be considered as the sound that not only awakened Jami's artistic taste but also excited his soul. By entering the Faculty of Fine Arts of Herat University in 2009 he reached a new approach to art and was particularly influenced by the teachings of master Abdul Naser Swabi. At the end of this course, he made an effort to study and examine the tombstones of the Timurid period. It was as a result of these studies that he got special artistic inspiration. He took the works of the Timurid period as a model for his artistic works. Even though Jami has a taste for deconstruction, he is a follower of the Herat school. As can be seen in the works of the Tabriz style of the Turkmen school, some of the characteristics of the Herat school with a different language have been inherited. At the same time, the artist has created a special style in this area, which has increased its functionality and efficiency with the use of new designs, considering the originality of the traditional foundations. The work of the Badragh page of the contemporary period of Afghanistan, 27 x 42 cm, is made with gold color and handmade Ahar Mahreh Indian paper by Jalil Jokar. In the center of the lower side of the tangerine work in a rectangular frame, it has the overall shape of an altar and there is an inscription in the upper part of it. A border has been worked around these two central roles, and there is a border on the last three sides. The work mostly uses azure, gold, brown, and black colors, and red and turquoise colors are also used in some of its partial decorations. Below is the examination and application of the “Dahan Azhdari” pattern in a step-by-step manner, firstly, the spiral stem, then the general form of the pattern, and finally, its decorations.Research question The main question here is: what are the characteristics of the motif of “Dahan Azhdari” gilding in the Tabriz school and the Turkoman style, and the contemporary period of Afghanistan? What are the similarities and differences between the characteristics of the “Dahan Azhdari” motif in the gilding of both periods?Research MethodologyThe method of this research is of a qualitative type and it was carried out by a comparative method, and collecting information through a documentary (library) method. The sampling of the statistical population of the current research is a case study of two works: one from Tabriz school and the Turkmen style, and the second from the contemporary period of Afghanistan, where the application of the “Dahan Azhdari” motif in the gilding of the two works is discussed. The selection of both samples has been done according to their general similarities with other works of the same period.FindingsIn the results of this research, the estimation of the similar features of “Dahan Azhdari” motifs in the gilding of the Tabriz school and the Turkoman style and the contemporary period of Afghanistan is discussed, which shows the importance of these features due to its continuation in the contemporary period. Distinctive features of Afghanistan's contemporary style, which is considered a kind of innovation, are expressed. In response to the question of the similarities between the motif of the “Dahan Azhdari” in the Tabriz school of the Turkmen style and Afghanistan, it can be acknowledged that: the type of spiral on which the “Dahan Azhdari” is formed in both works is of the Archimedean type. The position of the “Dahan Azhdari” on the Archimedes spiral in both works is placed at the beginning, middle, and end of the spirals in the last three semicircles. In both works, there are three types of motifs: semi-symmetrical, asymmetric, and half motifs. In all three types, the arrangement and location of the repetition and rhythm in the decorations are the same due to the Turkmen style of Tabriz school, and Afghan schools. In the decorations of both works, there are three decorations similar to the curved tooth and band. There is no distinction in the general form of the tooth and curved in both works and it is completely similar to each other. In the section of the stanza, the placement of the stanza at the end of the motif in both works can be mentioned as a commonality. In response to the differences between the motifs of the mouthpiece in the two works, it can be stated that in the contemporary work of Afghanistan, the stem of the Archimedean spiral is wider than in the work of the Turkoman style, and due to the proximity of the five and a half circles, which have less space, the distance between the spirals is also less. The maximum number of semicircles in the contemporary work of Afghanistan is six and in the work of Iran, it is four. The internal sub-spiral in the Afghan work is finer and smaller than the main spiral, but in the Iranian work, the width of both stems is the same. In all three types of semi-symmetric, asymmetric, and semi-" “Dahan Azhdari”, the width of the beginning of the motif in the contemporary work of Afghanistan is more than that of the Turkoman style, and with a rhythm that has a greater acceleration from the narrow to narrow in width, its length is more than the work of the Turkoman style. In the part of tooth decorations in the contemporary Afghan work compared to the the Turkoman work, the overall shape of the “Dahan Azhdari” is smaller and it resembles a part of the curve; Because it is placed at the beginning of the decoration of the curve. The maximum number of curves in the contemporary Afghan work reaches nine; But in Iran, there are five, and the decorative form of the band is relatively independent and separate from the form of the motif in the Iranian work. In the Afghan work, the end of the spiral in the form of a band is placed at the beginning of the motif as a decoration.

Safavid in Iran coincides with Ming and Qing (16, 17 and 18 ad centuries) in China. In this period hand woven carpets have a special place in the history of these two countries in terms of design and production. silk road that contact Iran to China, caused the transfer of carpet culture and trade along this road. Considering that antique Chinese carpets have been less studied by researchers, reciprocal influences in hand woven carpets design between Iran and China have been not considered. This research is an attempt to study the reciprocal influences of hand woven carpets in Iran and China with a comparative - historical method. Therefore, by collecting data as a document and whit using an analysis-description approach, comparing Iranian and Chinese hand woven carpets to determine their commonalities. in this research without considering the appear progress and evolution of motifs in history, this question arises as to what effects did historical relations between Iran and China have on the design of hand woven carpets? What are the common and influential motifs in Iranian and Chinese carpets? By studies on the samples it has been determined that historical relations on Iranian samples lead to the production of carpets with gold and silver string. Design with Iranian garden and balance were also used on the Chinese carpets. The influences that arrived in Iran from China were also woven with the taste of Iranians and traveled to China again. such as peony and woven with gold and silver string. Also, different motifs arising from historical relations were identified, which are divided into three main categories: 1. Common motifs of Iran and China. 2. Chinese influential motifs on Iranian. 3. Iranian influential motifs on China.

Video games are among the widely demanded cultural and artistic products in various human communities. Hence, the development, transfer, and representation of cultural values have directed attention to this industry (Khaniki and Barekat, 2016, 99). Video games encompass traces of a nation’s culture and arts as well, since game developers design games relying on the culture and thoughts of the community they come from, and develop their products accordingly. One could point out several contemporary video games that contain elements and hints of Iranian art as well as traces of Islamic thought. After Islam was introduced to Iran, Islamic culture and thought integrated with the Iranian civilization and culture, bringing about a new era of culture and arts in the country also known as the Iranian-Islamic art. Islamic art is defined as an absolute and abstract form of art whose characterizing features include abstract designs, rich decorations, and the prohibition of illustrating animal and human forms (Enayat, 2008, 33). The Islamic artist seeks to bridge the natural world and existential world, illustrating the invisible universe by transforming the material logic of nature (ibid). This purpose is practiced through symbols and signs in the works of Iranian-Islamic artists that contain symbolic and mystical concepts. Iranian-Islamic art brims with abstract and mystical symbols, the awareness of whose intellectual and spiritual foundations informs the audience of ancient arts (Nazarizadeh and Mashhadi Haji Ali, 2015, 1). This practice is reflected contemporarily in various works of art, especially in restoration practices. For instance, game developers are inspired by Iranian-Islamic works of art, based on which they design the game space and offer valuable works. The reconstruction of the space in contemporary Iranian movies equals relying on the significance and presence of a human as the player in the position of value patterns that appear alongside each other through various characters depending on the game. In the case of the game “The Cat and the Coup,” the two characters of “Cat” and “Dr. Mosaddegh” have been developed in this regard. The significant point regarding the game “The Cat and the Coup” is that the game designer has been inspired by Iranian painting art. Moreover, the game encompasses special symbols and signs that encourage the audience to contemplate. This game starts in the final days of Dr. Mosaddegh’s life in Ahmad Abad, and rewinds to various times in the past, up until the Iranian coup on August 19th, 1953. The games start with the death of Dr. Mosaddegh and delve into his past as his spirit goes through the pages of history. Each segment of the game includes the historical events of its time, and new characters are beautifully introduced into the gameplay. The strength of the fame would be the use of metaphorical images demonstrating the emergence and fall of Mosaddeq in 1953. The main character in this game is Dr. Mosaddegh’s cat, which heavily affects his decisions while going through the stages of the game (URL1). The present article is concerned with an analysis of the various geometrical, composite, and natural symbolic elements used in “The Cat and the Coup” gameplay that facilitate the understanding of the symbols used in the game.

The present work seeks to explore the Iranian-Islamic symbols in the design of “The Cat and the Coup” video game as a means of visual expression in Iranian game development and analyze the concepts incorporated in each of the symbols.Research questions: The present works seek to respond to the questions of what are the symbols used in “The Cat and the Coup” video game. And what concepts does each of the symbols carry?

Given the imagery and contents of “The Cat and the Coup” video game, various symbolic elements such as geometrical, composite, and natural elements go through an evolutionary process while pointing to realities beyond the apparent scope of the game. In this regard, the reflection of emotional expressions in the behavior of the main characters in the game, the induction of the power of animals and humans, the destruction of evil forces, the war between good and evil, and the struggle between darkness and light are among the results unveiled in the present work. Islamic symbols have been incorporated into the geometrical symbols used in the game. These symbols used to be incorporated due to the prohibition of demonstrating animal and human figures, some of which can be found in a segment of “The Cat and the Coup” video game on the oil barrels to decorate them and demonstrate their significance for Dr. Mosaddegh and the Iranian nation. The square is another one of the geometrical symbols used in the game, exuding a sense of death and an opposing circle, which is a symbol of immortality and life. This symbol has been used at the beginning of the game in a square-shaped frame, symbolizing the death of Dr. Mosaddegh. The second set of composite symbols includes the dragon symbol. This element harbors a notion of evil and darkness, destroying things in its path and counting as a threat against the victory of good and the emergence of favorable events, and has been used beside the oil barrels and inside the frame within the space where Dr. Mosaddegh resides. The angel symbol demonstrates the invisible forces sent down from God to protect Dr. Mosaddegh in the court. The symbol of a human with a pig head appears to be inspired by the Animal Farm novel whose main character was a pig bringing misery to other animals. This symbol is depicted on the king’s body and emphasizes the aforementioned notion. The natural symbols include animal and human symbols, the former comprising the cat character that causes several events throughout the game that could the enemy countries complicating Dr. Mosadegh’s works or the country of Iran since Iran’s map resembles a cat. The dark silhouettes of humans in the background also symbolize evil people who put pressure on Dr. Mosaddegh throughout his decision-making, contrasting Mosaddeq himself, who has been illustrated in a white robe signifying his honesty and purity.

Problem statement: 

Education and educational spaces have been one of the basic pillars of the formation, development, and transfer of cultural components in every period. The school as a space has undergone fundamental changes during different periods and under the influence of various factors. However, with this progress and technology, cultural values and concepts rooted in architecture are faint in contemporaneous Iranian architecture.

This research examines the modernity in the architecture of Iranian and Japanese schools; it examines the architectural developments and related cultural content in Iran and Japan during different periods. The reason for choosing these two countries was their rich background in traditional architecture.

the research is qualitative and comparative (a lens comparative study). It used the library research method to collect data by referring to previous books and studies in different periods. Finally, it described and analyzed the concepts and principles of space created in the architecture of these schools.

The reviews show discontinuity in the cultural sequence at the beginning of modernity in the countries, which has caused the deprivation of native culture among newly arrived cultures. Japan, after a period, has re-examined various factors and tried to use the native culture in the new era proportionately to the culture of the society; this path has led to the formation of its living culture. However, this process in Iran has not taken the right path and has caused a failure to transfer the rich culture to the new era. Finally, it is necessary to examine the chief characteristics of each period and transfer cultural characteristics in a new form to maintain the cultural sequence.

Written inscriptions are considered as an important part of the cultural heritage of the world. The importance of paying attention to the issue in this research, among other valuable historical and cultural works, is highlighted by the fact that by looking at the theoretical foundations of restoration, no attention is paid to the criteria for restoration of inscriptions considering the prominence of the category of handwriting and calligraphy with the inscriptions and it has caused various approaches to be seen in the restoration of this category of monuments. Given the impressive volume of restoration operations in the country, considering the criteria for restoration of defective inscriptions can help prevent incorrect and arbitrary restorations of these monuments. For this purpose, in order to achieve criteria in the restoration of building written inscriptions of the Islamic period, an effort was made to conduct field studies in addition to library studies, and identify the most important factors involved in the incorrect and arbitrary restoration of written inscriptions. Also, the principles that are implemented during the restoration operation were extracted and categorized so that from this point of view, the restoration approaches can be improved in order to restore the inscriptions as best as possible, while recognition of the variables and factors affecting the written inscriptions. Also, with regard to the theoretical foundations of restoration, paying attention to the visual arts foundations and the rules governing the art of epigraphy were studied and investigated, and after evaluating the data, 12 criteria were extracted and considered for the restoration of inscriptions in the studied cases. The research method of this article is qualitative; the methods of finding in this research include field studies, reference to various sources and library studies and are applied in terms of purpose.

The altar is a symbol of a holy place. The tradition of decorating altars, which is repeated as a stylistic form in the Islamic period, is related to the religious philosophical concept that emphasizes the concept of this holy place. Based on symbolism, the center is the supreme example of holiness and pure reality  as all other symbols of pure reality (such as the tree of life, the fountain of youth, and so on.) are also located in the center. In this research, the concept of the decorative motifs of trees and vases in the altar is analyzed considering the sacredness of this place. The present analysis seeks to answer this question: what is the relationship between the symbols of water and plants represented in the altars of the Islamic period and their earlier visual patterns in the pre-Islamic art in Iran.

This study is descriptive-analytical in terms of methodology. The data collection method is based on library review, and data analysis was done qualitatively. The principle of evolutionism is based on the fact that every cultural phenomenon should be considered the result of a long chain of changes along a time-space line.

The intellectual principles of evolutionary theory are based on a belief in an evolutionary line, a beginning, an end, and milestones that can be called moments of leap or fundamental change. In this approach, the shapes and their changes in the works were taken into consideration; it depicted how an art form spread on a territory or a historical aspect. This principle is noteworthy that some components of a certain culture and practices or customs may remain in the same culture for a long time after the transformation of other components. According to Taylor, two important laws about religion and culture exist. The first principle is the unity or the psychological sameness among human beings. The second principle is the pattern of human evolution or intellectual progress over time. The cultural and intellectual evolution of human and the basic homomorphism of the human mind are related to each other. The principles of evolutionism can be analyzed for the symbols of water and trees in Islamic altars. Persian myths have described the two symbolic elements of water and trees in the holy places and considered them to represent the center of the universe and the origin of life, respectively. In the verses of the Holy Quran, these symbolic trees are mentioned and described. The descriptions of the Tubi Tree, the Sidra al-Muntahi Tree, the olive tree along with the description of the paradises with flowing rivers show the place of these symbols in the holy book of the Quran. In these verses, the connection of faith, piety, and goodness with the symbols of water and the eternal tree is evident. In fact, these descriptions of the heavenly book in the form of an allegory, derived from the archetypes, are about the sacred tree and correspond to the evolutionary process of this symbol. The evolution of elements from the ancient texts (the pre-Islamic religious texts), i.e., the symbols of the tree and the water of life, can be seen in the text of the Qur'an, as the most recent religious text. They  have found an evolutionary and allegorical form and are continuous with the element of goodness and salvation. In this evolutionary process, a change in the meaning of symbols of the tree of life and the water of life can be seen: that is, a change from eternal life and immortality in the material world to immortality in connection with faith in the metaphysical world. In fact, the symbols have become sublime.

On the basis of intertextuality, there is no text without a pre-text, and on the basis of the theory of evolution, it can be emphasized that in the field of sacred water and plants, the oldest art forms have been established and continued from the past. These components of Iranian culture have been continued in their original form or along with evolutionary changes in the arts of the Islamic period, especially in altars. The tree of life appears with a tree and plant motif, and the water of life is represented by the symbol of a jar or cup. Based on these documents and the first principle of evolutionism, a mental and religious pattern related to the sanctity of natural elements can be identified in the minds of Iranian people. With the religious transition that happened in Iran after Islam and the domination of monotheism and monotheism, the idea of praising one God and the mystical view of the world, as the signs of the Lord, created the ground for the use of natural symbols of water and trees in altars. This common feature of respect for nature in pre-Islamic Iran, which bore many similarities with ancient civilizations, is a form of human psychological unity in accordance with the first principle of evolutionism. In Iranian altars, the sacred tree is located in the center of the altar, and sometimes it is wrapped in the form of an abstract plant motif on the pillars of the altar. The pot or jar is also at the bottom of the tree or column or on top of it. While the divine verses, which are the sources of blessing and life-giving, are revealed on it. In fact, the jar is the medium of receiving grace from heaven. The evolved forms of plant elements have evolved. Arabesques and khatais replaced the leafy trees of the Sassanid period with systematic rotations, and the jars, at the top and bottom of the columns were sometimes decorated with plant motifs. And this course of semantic and formal evolution in the design of water and tree symbols in the altar is in accordance with the second principle of evolutionism, which means progress and evolution over time. Continuity of prayer at the altar and communication with the Almighty God, accompanied by the symbols of the tree and the jar, is reminiscent of heavenly descriptions of believers’ connection with the heavenly trees, flowing streams, and the cups filled with pure wine from the heavenly streams.

The formal advisory bodies of the World Heritage Committee (ICOMOS and IUCN) evaluate all the nominations of properties for inscription on the World Heritage List. These evaluations help the World Heritage Committee to decide which properties to inscribe on the world heritage list. However, it is the World Heritage Committee that makes the final decision, which can be contrary to the recommendations of the advisory bodies. Therefore, there may be many properties on the list that have not necessarily been approved by the advisory bodies. The review and technical evaluations carried out by the advisory bodies can reveal deficiencies in the nomination dossiers, which may be overshadowed by the committee’s decisions. Nevertheless, understanding the approach of these bodies and their evaluation methods can be taken into consideration in the preparation of nomination files and avoid heavy costs in the process. The following research offers a review of the Iranian cultural and natural property nominations for inscription on the World Heritage List and analyzes the issues and deficiencies of these nomination files through the lens of the advisory bodies. To carry out this research, all the evaluation reports of the advisory bodies regarding Iran’s World Heritage nomination dossiers have been analyzed using qualitative content analysis. This study found that the main focus ofICOMOS lies on the “justification” section, while IUCN mostly concentrates on “justification” and “management” sections. The review also shows that the main challenges in the evaluation stage are due to a lack of mutual understanding between the nominating State Party and the advisory bodies. In general, the advisory bodies consider the most important issues in Iran’s WH nomination dossiers to be the information provided in the sections of justification (Outstanding Universal Values), conservation, and comparative analysis.