The subject of the current research is the reading of a new inscription in Mount Hossein, Fars province, Marvdasht Plain, near Naqsh-e Rostam. The discovery of this inscription took place in the last months of 1400 solar year; It has been widely reflected in the news agencies and it has been referred to as an inscription that contains the names of Zoroaster and Amherspandan and as a non-burial inscription. Names whose existence is not observed in this inscription. It will also be seen that the present inscription is among the burial inscriptions. According to the classification of private inscriptions in this region, the present inscription can be mentioned as Naqsh-e Rostam 4, which was written in Middle Persian tradition. Burial inscriptions include an important part of private writings with Zoroastrian tradition, which due to the ritual nature of the historical and cultural collection of Naqsh-e Rostam, most of the inscriptions found in this area also have the same feature. Among the burial inscriptions that have been seen in this before; We can refer to Shāh Ismāʾil rock inscriptions, Darreh Boreh inscriptions, and Gīrd- e lak inscriptions. The present inscription also belongs to the same group of inscriptions. This inscription, measuring 30 x 35 cm, is engraved on top of a coffin in six lines, and it is said to belong to a person named Wahrām ī  Mēhrag. According to the date mentioned in the inscription, it is likely to be related to the 6th of May in the year 40 of Yazdgerdi. This year is equal to 672 AD and 53 AH, which is the era of Muawiya's caliphate. Also, in this research, an attempt has been made to investigate the types of structures related to burial in Mount Hossein. The current research was conducted in the field and documents.

One of the significant elements of architectural decoration after Islam is the inscription. After the emergence of various types of scripts in Islamic calligraphy, many ways of writing and applying inscriptions emerged. There are numerous definitions for the term inscription. However, the most tangible definition is any written piece on any surface or object other than paper. The term specifically refers to written words on selected areas of a building. Therefore, it is better to distinguish between writings on pottery, metallic ornaments, carpets, etc., and architectural inscriptions. It is also important to note that if the former and more general definitions of inscriptions are used, the dating and history of inscriptions should be reconsidered. The focus of this article is inscriptions in architecture, specifically inscriptions written in Nastaliq, and the principal question of the article is how the inscriptions written in Nastaliq in Iranian architecture evolve in form, content, material, and its combinational structure, from the beginning of its emergence until the Qajar period. This investigation is limited to examples where the inscriptions were created purposefully and based on the principles of calligraphy and fused organically into the architecture of the building.Among the scripts that became widely used in inscriptions is the Nastaliq script. The oldest Nastaliq inscription was written in the 9th century AH (840 AH) on the Shah Nimatullah Wali Shrine. After that, at the end of the 9th century and especially in the first half of the 10th century, inscriptions in Nastaliq became popular in Qazvin and Isfahan. However, the Nastaliq inscription in this period was of secondary value and was mostly used for inscribing Persian poetry or foundation plaques. The most significant period in the history of Nastaliq inscriptions is the period of Fath-Ali Shah Qajar. The major developments in the inscriptions of this period can be analyzed in three categories: inscription composition, location, and material. In this period, the Nastaliq script was the most important script for inscriptions. Unlike the previous periods, the foremost inscriptions were written using the Nastaliq script in the Qajar period. In this period, the materials and methods of inscriptions have also transformed, and inscriptions using enameling on gold tiles, painting on the back of glass, and paper cutting indicate the use of new materials and methods in the inscriptions of the Qajar period. This research is a fundamental descriptive and analytical study of the evolution of Nastaliq inscriptions from the 9th century to the end of the Qajar period.

Kuh-e Rahmat is the name of a mountain located in the eastern part of Marvdasht city. Numerous ancient monuments can be seen in this mountain, the most important of which is undoubtedly Persepolis or the Achaemenid city of Pārsa. The mountain also includes extensive evidence of ancient burials. Furthermore, Sassanian epigraphical evidence, such as the inscriptions of Maqṣūd Ābād and Taxt-e Ṭawus, have been spotted in Kuh-e Rahmat. A newly found Middle Persian inscription that can be considered a burial inscription will be introduced and discussed in the present article. The most critical issue in this inscription is the attestation of the city Istakhr. Such an attestation in the context of burial inscriptions is unique.It is generally assumed that the inscription might belong to the late Sassanian era. Such burial inscriptions could belong to one of the significant social classes at that time, i.e., the scribes. The exact location of the newly inscribed inscription of Kuh-e-Mehr is the same valley in which Taxt-e Ṭawus inscriptions are located: on the right side of the road between Naqsh-e-Rajab and the city of Istakhr. Kuh-e Rahmat inscription is written in six lines vertically. Its dimensions is 50 cm in 60 cm. There are two square holes below the inscription in the mouth of a small cave. Some researchers consider these holes, which are very frequent in this region, as Astodān. Such square holes can be seen in large numbers on the mountain slopes near Naqsh-e Rajab and the newly discovered inscription. These holes could indicate that the Kuh-e Rahmet inscription is a burial inscription. The surrounding area could be a burial place as well.All the material presented in this speech indicates the great importance of this inscription, which necessitates further research on this inscription.The environment around this inscription should also be further studied by archaeologists.

This article was aimed at investigating a newly found inscription of the Hajmad farm in the Morad Beyk valley of Hamadan which was written in Pahlavi script. The script of this inscription like the other Pahlavi Inscriptions of the kind (grave stones) belonged to the late Sassanian period and early Islamic period in Iran. The point that made this inscription distinguished from the other new Pahlavi inscriptions was the effect of the official Persian dialect (Farsi Dari) on the Pahlavi language and script used in this inscription. This fact gave this Pahlavi inscription a special significance from the linguistic evolution point of view.

The Iranian geographer Abū ʻAbd-Allāh Ahmad b. Moḥammad b. Esḥāq b. Ebrāhīm Hamadānī, Ebn al-Faqīh Hamadānī, (ca 250-330 Hegira) described two inscriptions in Alvand Mount in Hamadān in his precious book “Aḵbār al-boldān”, probably written about 290 Hegira. He presented the translation of this inscriptions in his book, but his translation has no resemblance with the texts of the inscriptions of Darius the Great and Xerxes in Alvand Mount and obviously it is a reflection of the contents of the inscriptions of Darius the Great in Bīsotūn Mount and of the Tomb-Inscription of Darius in Naghsh-i Rustam. This study aims at answering these questions: why did the Hamadānīan people, still in third century of Hegira, among all the Achaemenid inscriptions just remember the reflection of the inscriptions of Bīsotūn and the Tomb-Inscription of Darius in Naghsh-i Rustam? And therefore why did Ebn al-Faqīh who talked to the native people, present a reflection of Darius the Great’s inscriptions of Bīsotūn and Naghsh-i Rustam as the translation of the inscriptions of Alvand Mount?

Private inscriptions are an important part of corpus of Sassanid inscriptions that lasted until the first centuries AH. An important part of these inscriptions are the funerary inscriptions that contain important information about the burial ceremony in the late Sassanid and early Islamic era in Iran. The majority of these inscriptions have been found in Fars, then in Yasuj, Xian China (China) and Istanbul. Some of these inscriptions are dated and have a definite temporal assignment. One of these important inscriptions is the Eqlid inscriptions, dating to the late Sassanid period, and contains important information about two important titles and burial diversity in the late Sassanian era. This inscription is the last dated inscription before the fall of the Sasanian dynasty: the day Xwar (11th) and Māh (12th) of the month Ābān of the year 6 of Yazdgerd III (February 638 AD).

Existing approaches to inscriptions tend often to regard various literary aspects, some considerations on the text content, historical importance, and tendency to the past events illustrated in the inscriptions, and this has led to the typology and classification of inscriptions in terms of endowment, decree, memorial, and construction themes, and in another way, the recognition of stuffs and materials.
In the meantime, it has been underestimated the artistic aspects of the inscriptions in terms of high-value calligraphy. An important part of this failing goes back to the lack of fundamentals and methods for the critique of inscriptions based on calligraphic considerations and its principles and rules. Although such principles and rules are regarded as an important source and criterion for understanding beauty, recognizing and analyzing calligraphy works, however this measure has been applied in non-engraving forms, piecewriting ,chalipa, scribing manuscripts, book binding, but neglected in the practice of inscription.
The purpose of this study is to provide theoretical and analytical bases and fundamentals on how to benefit from the principles and rules of calligraphy in inscription from the perspective of calligraphic art. The study is conducted in an analytical and descriptive method based on library studies and field data on inscriptions. Answering to the main question and issue of the research, i.e. how to analyze the inscriptions in terms of the principles and rules of calligraphy, an referring to the treatises and related researches on calligraphy, the findings of the study indicate that It is possible to use the principles and rules contained in the calligraphy treatises, with special considerations on inscription and architectural requirements with some necessary modifications and bearing in mind the degree of adaptation of some of them in the inscription.
The principles of proportion (alignment), composition (coordination), and seat are of more value. And the principles of Safa (succulence) and Shaan (pleasant) and the rule of the theoretical and practical writing are at the next importance. The way of recognition of the style and method as an essential component in the analysis of inscription, given the quality and quantity of inscriptions, is also important. It is obvious that the proposed principles, along with other methods and typologies of inscription studies, can lead to a more systematic understanding of the values of inscriptions, and provide a more fresh perspective for assessment and analysis of  aesthetic aspects of the inscriptions.

Old Courtyard is one of the oldest parts of the holy shrine of Imam Reza (AS) in which various methods of decorations are used. An important group of these decorations are inscriptions which are installed on the porticos and their pillars. Thuluth scroll inscriptions have the most functions in this collection. Some of these scrolls are written by artists such as Mohammad Reza Emami Isfahani of Safavid era and M.H. Shahid Mashhadi of Qajar era. The special visual effects are used in inscriptions of these artists for inscriptions composition sustainability. In this article, it is tried to study composition of two inscriptions of these artists and effective factors in these compositions, such as letters feature, some visual qualities and determined seats and composition difference of two inscriptions. The questions in this research are: What are the visual aspects and factors affecting the composition of two Sols Volute Inscriptions of Mohammad Reza Emami Esfahani and Mohammad Hossein Shahidi Mashhadi? Which features of the letters of Sols writing pen are used in combination of these two inscriptions? What are the visual similarities and differences in these two inscriptions? This research was performed as case-descriptive study; data and images were collected via library and interview and also using image filing department of the Art Works Gallery of Astan Ghods Razavi. What visual similarities and differences in these two inscriptions there? This descriptive study - case and collect information and images based on a literature review, interviews and archive images artistic creations based Astan Quds. The results show that in both inscriptions, main features of the thuluth line, such as masts, drawn letters and circle letters are used in creating important visual forms such as visual song, balance, contrast and proportion to create compound. Using recurrent yā, seats packing, horizontal, vertical and diagonal moves are also existed in both inscriptions. In all these cases, some differences can be seen in the use of these qualities that eventually led to the creation of a peaceful atmosphere in the inscription of M.R. Emami Isfahanie and a vibrant atmosphere in the inscription of Muhammad Hussain Shahid Mashhadi.

The purpose of this research is to identify the original calligrapher and date the Nastaliq inscriptions on the portal of the Masjed-e Jame-e ʿAbbāsi (Imam or Royal Mosque) of Isfahan. The portal walls of this building contain four Nastaliq inscriptions. The text of these inscriptions has been read in previous studies, but their historical authenticity has not been investigated. In this research, by examining and comparing these inscriptions with each other and also by exploring historical photographs, the historical authenticity of the mentioned inscriptions has been investigated. Then the original calligrapher and their exact date have been discussed. The method of this research is archaeological document research, and it proceeds with library study and field investigation, and analysis of historical photos. This research reveals that the two frames of the Nastaliq inscription on the eastern wall of the portal are not historically authentic, and Adib Majlisi, the calligrapher whose name is on these inscriptions today, is not a calligrapher from the Safavid period, but a contemporary one. Also, relying on historical evidence, this research proposes two hypotheses about the original calligrapher of these inscriptions. The first hypothesis, relying on the construction technique of the inscriptions and also components of the calligrapher's signature, introduces Alireza Abbasi as the calligrapher of the inscriptions. The second hypothesis, relying on the similarity of the Nastaliq inscriptions of the northern porch of the Atiq courtyard of Imam Reza's (AS) shrine with the inscriptions under discussion, introduces Mohammad Reza Emami as the calligrapher of the mentioned inscriptions. Based on these two hypotheses as well as other historical evidence, this research dates these inscriptions around 1616 or to one of two periods, from 1629 to 1631 or 1666 to 1667.

Gonabad mosque is one of the three remaining mosques of Khorasan's two monasteries, the Razi style and the memorials of the Kharazmshahi era. Two other buildings are Foroumad and Sangan mosques. The decorations of this mosque include bricks, a little brickwork and stucco, most of which were related to the Qajar era, works that fit in the altar and the head of the mosque. The present article aims to clarify the decorations of brick and gypsum and study arrays and visual analysis of the inscriptions of the southern porch of the mosque. The letters and inscriptions of the mosque are based on the structure, military structure and basis. The research methodology is descriptive and analytical and in this regard it has been used for field and library resources in designing these inscriptions, the uniformity of the letters and arrays at the inscription level has created unity in the inscription in relation to the lateral factors. In this course, the simplicity of writing elements in the form of letters, the presence of finite elements in the upper part of the inscription for better balance at all levels of inscription, the uniform thickness of letters, the proportion of letters to the inscription, the appropriate intervals of the letters on each inscription, to this unity and harmony. On the other hand, by examining the inscriptions, a collection of Kofi alphabet of the Gonabad Mosque has been obtained that contemporary Iranian art can use this valuable artistic and spiritual heritage in traditional and national works. The text of the arrays of writing from the Qur'an and religious texts has been selected and has spiritual significance. The mosque's Kofi's line is very simple and is therefore close to the "Kofi simple" line. One of the special features of this line is the lack of use of inspirational designs around the inscription, and the designer did not use decorative arrays and put simplicity in the first place. The accompaniment of three geometric, slalomic and written arrays is seen in many of the scrolls of this era, and it has a graphic tradition in the inscriptions. This tradition is also observed in the inscriptions of this mosque, and the inscription for the harmonization of these arrays has made innovations in the structure of all three categories of arrays, in particular written arrays. Preserving the beat at the specified intervals of the inscription, the inscription allows the inscription to be appropriate to the shape of each letter, the ability to use the versatility of the letters. The accompaniment of three geometric, slalomic and written arrays is seen in many of the scrolls of this era, and it has a graphic tradition in the inscriptions. At the end of the decoration, the mosque's architecture, along with the presentation of physical beauty, was a manifestation of religious and ritual attitudes and the physical and physical facial beauty has led to the sanctity of the architectural location of the Muslim people of the region in the historical period to the present.