It is nowadays less likely to findcomprehensive historical areas, which can represent all the typical features of a historical urban environment. Most historical urban spaces have undergone modernization and have inevitably ceased to function as they were originally devised to. However, successful experiences of urban space construction provethat modern urban areascan both meet the present day needs and maintain historic values ​​and reminiscences. To achieve such a role model requires a different perception of environment and a particular sense of position. Mashgh Square in Tehran is a unique urban space which represents a particularly comprehensive example of the aforementioned historical urban areas. It is located in the heart of thetwo-hundred year capital city of Iran and has witnessed many important political, social and cultural events, mediating both a historical and a contemporary visual experience to observant eyes. The area is a very important urban space in that it is connected from different sides to other important urban and historical spaces.Understanding these interconnections and their intelligent organization can result in creating a multi-purpose space with socialand historical capacities. This paper examines the evolution and development of Mashgh Square and the arms (joints) attached to the historical atmosphere of this square in detail.

The Mashgh Sq.in the early Qajar period, as a place to protect and defend the city and it was established as a military base. Despite its visual, aesthetic, architectural, historical and cultural values it does not have functions of a lively urban space. This research is based on approach of restoring the urban space in improving the quality of space through induction spirit of social functions and bring back people to urban space. We have tried to provide a conceptual model of main inter-impacts on urban space’s quality. Then, by examining the views of people and experts, it is explained components and effective factors on the revitalization of Mashgh Complex.This article focuses on the functional quality assessment method about Mashgh Square based on a combination of experts and people that make up the weaknesses of each other; it provides a closer analysis of place's quality and could be a basis for the decision making process.The research is practical with analytical-descriptive nature. Its theoretical foundations was set through documentary, library studies and information/data have provided through interviews and questionnaires collected from beneficiaries and experts. The results showed that base on the coefficients of 40 studied varieties, variables of arts and cultural activities, informal activities, nightlife, tourism and recreational activities functional scale, lighting, street furniture, closed space, the effect of the arrangement of space on communication and interaction between people, monitoring and security, the presence of people, landscape and scenery, memorability of space are influenced on the regeneration and functional restoration.

Qajar era is the period of fundamental changes and the introduction of new urban concepts. Squares, a type of urban space, were the subject of some of these changes. This article focuses on four main Qajar capital squares (Mashgh, Arg, Toupkhaneh, Sabzi-meidan) in their urban context around the royal citadel, aiming to answer these questions: 1-What changes in these squares over time have affected the citadel? 2-what is the role of the relationship between these squares and their spatial and functional features in other developments? Using the interpretive-historical method and primary and secondary sources as well as visual documents, the initial findings were collected, and logical reasoning of the findings, drawing diagrams, and reproduction of some maps showed that developments of Arg, Mashgh, and Sabzi-meidan squares in Naseri period (before the city expansion) and the improvement of their physical and functional condition led to the birth of squares with specific design and function in the north and south of the royal citadel; previously, these spaces were chaotic with multiple functions. Also, the changes in Arg Square and its transformation into Golshan Garden led to the birth of Toupkhaneh Square in the north of the citadel and the formation of the fourth square around this common urban context. Secondly, these four squares have been the precondition for the emergence of another: first Sabzi-meidan, then Arg, then Mashgh, and finally Toupkhaneh square were formed. On the other hand, the function and location of the squares have been in harmony with each other.

With the beginning of the contemporary reconstruction process¡ a great deal of structures and elements belonging to the Islamic-Iranian cities has altered. So¡ many identifying elements of those cities which encompassed their history¡ records and frameworks have vanished gradually and the most hustle transformation in that time¡ gave these cities a novel structure and form. In the process of this transformation¡ the old city lost its elements of social function and they have been replaced with more novel self-driven ones. The historical city of Kermanshah which was on the trading route of Iran-Mesopotamia¡ with its historical background¡ was once of great importance before and after Islam. According to the existing historical documents until the end of Qajar era¡ this city benefited from a prosperous and historical city center with diverse elements. Thereafter¡ through the process of reconstruction¡ like many other Iranian cities¡ this city has experienced fundamental evolutions and due to its functional alternation and also the arrival of automobiles and other reconstruction symbols¡ the city undergone fundamental alternations¡ in a way that its central essence and identity vanished and gradually was forgotten. The aim of this analytical-descriptive study is to recognize the elements of central core of Kermanshah City with the aid of sources¡ documents¡ travelogues and other related evidence. The findings of this research indicate that on the basis of the position of Kermanshah at the end of Qajar era¡ the city center has benefited from different elements with political¡ economical¡ social and cultural functions which were reformed in a well-ordered framework. On the basis of the time circumstances¡ these elements have reflected power¡ religious¡ cultural¡ economical and social relations that nowadays some of them have been forgotten completely. Some of these major elements included: the government palace¡ Mashgh Square¡ timpani house¡ Jame Mosque¡ bazaar¡ Topkhaneh Square and the forum.

The relationship between Architecrure and previous context is one of the most important issues of architecture and city designing. This discussion from the thoughts of ancient ages about buildings’ placement rooted from placement of buildings related to the adjacent ones. In the valued issues, through the review of history, culture and society, a valuableand suitable architectural design of aimed area according to the cultural and historical backgrounds could be done. In this research, and at the first part, we aim to define the context and design approaches like contextualism, regionalism and typology that had the dirrect reaction with design bed. At the second part, via choosing of buildings from Mashgh Square of Tehran, which have the important governmental buildings from previous times of Tehran, especially First Pahlavi era, we try to recognize architects’ approach towards context and the extend of influences of past on these buliding at that time. The diffrences between first Pahlavi era and western contemporary architects (international style) about the context is the question of this research. In this research, the methodology is the combination of Analytical-Adaptive method and study on case studies. At the first part, basic and first class refrences, and historical and second-class documents are analyzed. At the second part, the research would be done on case precedents, through the field study, photography and collecting data. Results reveal that attitude of arcitects of first pahlavi era towards context, is different with contemporary western architects. Although reviewed buildings had new approaches, but still footprints from Iranian past architecture could be traced in decoration or even seen at some forms of these buildings.

The establishment of museum in the modern age as a multifunctional and multidimensional institution indicated a fundamental change in the epistemic system of mankind. This institution was built on special cultural, political, and social foundations. Designating a site for keeping antique objects or museum objects, which aimed at making Iranians familiar with European museums and discoveries of ancient artifacts, dates back to the age of Nasir al-Din Shah Qajar. Hoping to build a museum, Nasir al-Din Shah allocated a site for keeping and exhibiting valuable and historic artifacts, but the attempt failed to be kept on any longer. With Iranians’ acquaintance with new ideas and the importance of museum and ancients works, the idea of establishing a museum was pursued by the elites who gathered in the Society for National Monuments, which eventually led to the idea of the establishment of Museum of Ancient Persia on the western side of Mashgh Square, at the heart of the capital, when modern Pahlavi came to power. With a historical-analytical method, this paper aims to investigate the reasons why Museum of Ancient Persia was built and the most important functions of it in the context of the Pahlavi State. The achievements of the research indicate that the establishment of museum in Iran was deeply associated with the idea of nationalism. Although the establishment of this institution was a dream that Constitutionalist intellectuals cherished, it was materialized and fulfilled by Pahlavi. Despite such functions as collection, preservation, protection and exhibition, it was the most important goal and demand of the Pahlavi State to provide learnings and studies, create identity and legitimize this institution, so they decided to rebuild and reproduce some narrations of ancient history that espoused the ideology of the Pahlavi State.

This is a general opinion that art can be a universal communication medium. But what should not be ignored are the diversity of visual experiences around the world and the different artistic practices of artists of dissimilar cultures. The analysis of the processes of viewing and perception and the emphasis laid upon on the unconscious functions, as matters of importance in psychological and psychoanalytic approaches, are among the most substantial factors which attracted the attention of scholars of the fields to understand such complicated visual experiences. According to these intricate interactions, both the artist and the artwork, as well as the spectator of that artwork and above all the process of its creativity are key subjects for analysis. It was based on such elements that Rosalind Krauss, as an art critic and theorist, used the term ‘optical unconsciousness’ as an incisive objection against the history of modern art and also against the critical tradition that attempted to define modern art according to certain broadly recognized dictum and self-fulfilling truth. Krauss arguments that the artist is not a professional in control of the process of creating and viewing, but is rather a force who releases unconscious drives and desires in the process of creating a piece of art. Moreover, through formal qualities such as rhythm, harmony, transformation and repetition, the artwork prompts unconscious visualizations in viewers.Based on this assumption, this paper aims to examine whether this concept of ‘optical unconscious’ could be attributed to Siyah-mashgh form of script written by Mirza Gholamreza Esfahani who was one of the most famous and outstanding Persian Nastaliq and Shekaste-Nastaliq script calligraphers living during the reign of Qajar dynasty.The general objective of the study is to determine the relationship between unconscious and the creativity as well as the diachronic process of calligraphy. Thus, it is important to understand how much the creation of calligraphic forms, separately and in compositions, is influenced by the unconscious. In the process of conducting this research, a number of published researches and books related to the subject were studied which indicated that in the majority of cases, only the biography of Persian calligraphers as well as the chronological trends of calligraphy styles were taken into consideration. Moreover, most of the researches were carried out regardless of a defined historiography of Siyah-mashgh, its innovator or any reference to the oldest sample of this art style available. In general, it was observed that the researchers have not paid adequate attention to different forms of calligraphy including Siyah-mashgh, which was artistically practiced by Mirza Gholamreza and some of the other calligraphers. Meanwhile, the lack of focus on critical approaches towards modern art history which are rooted in critical theories has turned such researches into redundant studies. To avoid such redundancy, this paper has used a descriptive-analytic approach and employed psychological and psychoanalytic approaches to recognize the role of unconscious factors in the creativity and perception of Siyah-mashgh script. Data have been collected through desk studies of library resources and processed by qualitative method. The main questions to be answered are: Did Mirza Gholamreza’s Siyah-mashgh popped up from his unconscious impulses? What materials the artist has used in this unconscious process?The research mainly comes to this understanding that Mirza Gholamreza created his Siyah-mashgh form of scripture not only by adding elements to them, but also by removing undesirable ones from his unique form of script. We might say that he devised a subtractive concurrently with an additive process, and the main materials and elements forming such course were evidently words and letters.In order to better explain this process through the use of Nastaliq calligraphy, we can say that the additive process includes the repetition of Keshideh or longed words and the arrangement of other identical and analogical words and letters. On the other hand, the marginalizing process of the artist,s unconscious is realized through forgetting the disciplined manner of linear calligraphy and omission of less desirable or less artistic words and letters. Certainly such a process takes place diachronically and not synchronically. For example in the course of time, the calligrapher comes to know that he cannot use three or four Keshideh or longed words on one line; so he performs it in Siyah-mashgh. Or he finds out that some words shall look more pleasant if attached, and so he attaches them together but not in a disciplined linear script because it is only Siyah-mashgh that allows him to do so.Such analytic approaches could pave the way towards the development of theoretical frameworks for studies on the art of calligraphy and help to fill the analytic-based studies’ gap in the field. Although this paper exclusively elucidates on the process involved in creating Siyah-mashgh form of Nastaliq calligraphy; however, the feasibility of this approach can be generalized to other forms of Persian calligraphy, particularly Shekaste Nastaliq and Naqqashi Khat.

Referring to the act of discovering the concealed potentials of the blessings, “Behyaft” as a verb, primarily differs from similar cases such as recycling and upcycling; due to the “monotheistic intellectual system” in which it is defined. Behyaft can be considered as synonymous to authentic terms such as “Amal Avordan” (produce), “Kimia” (alchemy), and the act of altering restriction into opportunity, which are the most widely applied terms in civilizations located at environmentally deprived climates such as the cities established at the edge of the deserts of Iran. Through the “Mashgh” (practice) of Behyaft, by employing obsolete materials, higher-value products are created. In this sense, any action that leads to the elevation of the value of things could be considered as a type of Behyaft; and can be a basis for redefining the concept of architecture with its original definition as “Abadani”. At the second step, Behyaft as a school of thought is one of the leading concepts in the Iranian architecture civilization, and it can be recognized as the invisible root for the emergence of many visible epitomes of this civilization. This article believes that the Behyaft as a school of thought can evolve any thought or action by acting as a supporting philosophy. This article is considered as a descriptive-analytical research that relies on the logical reasoning method, based on the initial definitions of the concept of Behyaft, and referring to library resources and field studies, leads to presenting an operational model. This article introduces the Mashgh-e-Behyaft as a way to revitalize the Behyaft school of thought, which is defined as the implementation of the practice of Behyaft in a disciplined method, consisting of its three stages: Bonyaft, Behyaft, and Daryaft. There is a reciprocal interaction between the Mashgh and the school of thought, which leads to the progression of the theoretical fields of Behyaft as a school of thought due to the “sprouting potential” of the Mashgh. Finally, this article proposes a system, designed for Mashgh-e-Behyaft workshops.

Fotovat-namehs are slangy inscriptions that chivalrous people from different classes of Bazaar wrote to use in favor of their professions. These writings value a certain occupation, showing the holy side of it, praising the good deeds and focusing on teaching the traditional culture, and spreading the acknowledgment. In the case of Fotovat-nameh and Adab-ol-mashgh, masters tried to be trustworthy to the profession so they interviewed the pupils before teaching them. They teach the basics and the relation between master and the pupil to the beginners. It is a source for aesthetics, foundation, and details of calligraphy. Writing these inscriptions started at Timurids and ended in Safavid historical era, have had a huge impact on calligraphers' knowledge about their profession. The most important part of it is Baba-shah-e-isfahani's adab-ol-mashgh that has all the components that "literature" should have had. Chivalry can be researched by exploring through the Fotovat-nameh and knowing the generosity and culture. These kinds of scripts are called “literature”. Adab-ol-mashgh is just like Fotovat-nameh, it sets the connection between the guild on the inside and the costumers on the outside and surely the right manners and behaviors between them.  In this article, we consider Adab-ol-mashgh, as the Fotovat-nameh of the calligraphy, since it contains the condition of the guild, the relation between master and the pupil, the master’s position, the guild’s dignity, principles, and the span of the profession, the same thing that Fotovat-namehs did with chivalrous cultures. This article will show the complete accordance between Adab-ol-mashgh and Fotovat-nameh and shows the innocent side of calligraphy while being in the business world and the bazaar as a tool. The explanation of chivalrous people from Ghaboos-ebn-voshmgir shows the common culture back in the days; when chivalry was based on their behavior in every class of the community and they followed an instance to always be pure. Ayaran were the people who spent their whole lives developing and promoting Fotovat-nameh, even if they had jobs it would’ve been chivalry related. From what’s recalled about the Ayari culture in fairytales and legends about their bravery (like Ya’qub-layth) it’s like they fought just to spread the word and chivalry was the main goal of their lives. Here we’re going to look at Henry Corbin’s writings (1984) that shows the godly side of chivalry. He did an analytical introduction about chivalry, he explained the “chivalry movements” to be “mystical conducts” and named “chivalry” the “mystical knights” that do major movements and they have a strong relation with Islam’s Shi’a religion, he found it similar to Europe's renaissance courses. This article is an effort in the cognition of chivalry taking chivalrous actions and deeds into consideration by researching and analyzing the history of chivalry licenses and adapting it to the Adab-ol-mashgh educational context.Fotovat-nameh and its contents are authentic Adab-ol-mashghs with calligraphy studies so it is calligraphers Fotovat-nameh and it has the same impact on calligraphy that Fotovat-nameh had on the traditional cultures. The behavioral and cultural context has had the same impact on eastern Asia as well.Guiding students how to learn from the master, guidelines, and contexts covering different grounds of learning to use different materials and getting more experienced along the way, these contexts are called “literature” or “etiquettes” you can find lectures about using certain kinds of tools and the way that papers are supposed to be and other elements that would help a student to start their journey, etc. This research has been done by a qualitative method and by the method of library study and reviewing historical texts. Its purpose is to clarify the hidden angles of this class of market professions in order to clarify their social status as a class of gentlemen who are culturally considered intellectuals of the market professions. Gentlemen who adhered to all the norms and customs of the ritual of Fotovat, in addition, had the benefit of aesthetics and traditional art, the study of which is very important for the people of art.

In this article, we investigate the place of mystical words and empression of mystical and ethnical concepts in ebtehaj’s poetry.In the view of ebtehaj the perfect human is a lover who has a khalil faith. He doesn’t fear death and he is stead fast and patient in disaster of love and that contract which has been done in the day of the worlds creation, the earliest day (Alast).God’s manifestation in all phenomenons and finding the greatest name in every creature are found in ebtehaj words. This statement indicates that universe is the epitome of gods name in the view of sages and philosophers.The considerable point that ebtehaj has concentrated on it is consider to the heart and refine it frome iniquities, leave the worldly and carnal desires and attachment, being separated from people and secluded to receive god on high in his heart. He introduces the heart as the best disciple and guide for way farer in deportment way. He expresses that we can make heart pleasant and visit beloved by communing and weeping.This study has been done to the end of “siyah mashgh 4” as regarded to the collection of ebtehaj works.