فهرست مطالب

مطالعات باستان شناسی دوران اسلامی - پیاپی 2 (پاییز و زمستان 1401)

نشریه مطالعات باستان شناسی دوران اسلامی
پیاپی 2 (پاییز و زمستان 1401)

  • تاریخ انتشار: 1400/02/27
  • تعداد عناوین: 12
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  • امین مرادی*، سپیده بختیاری، سحر بختیاری صفحات 1-14

    موضوع توسعه ی پایدار چند دهه ای است که در علوم و حرفه های مختلف از جمله معماری و شهرسازی مطرح شده و ریشه ی آن در بحران های زیست محیطی و نیز مصرف بی رویه ی انرژی های فسیلی در جهان می باشد. از طرفی توجه به طراحی بناها و کالبد شهر های اقلیم سرد و کوهستانی که از مصرف کنندگان عمده ی انرژی های فسیلی به شمار می روند، می تواند بخش عمده ای از مصرف و در نتیجه کاهش آلودگی های ناشی از مصرف آنها را تقلیل دهد. میدان در شمال غرب کشور، از جمله عناصر سنتی شهریست که به علت از هم گسیختگی ساختاری در کالبد فضایی و نیز هرج و مرج موجود در تجسم هویت آن تعریف مشخصی در تحلیل های شهرسازی نداشته است. از طرفی عدم انطباق مفهوم میدان در منطقه ی مزبور با نمونه های مشابه موجود در فلات مرکزی ایران با شاخصه ی محصور بودن، یکپارچگی معماری و وحدت منظره، نامنظمی در فرم میدان های شمال غرب ایران را دلیل بر رشد تدریجی، عدم مطلوبیت فضایی و اجرا بدون نقشه ی پیش طرح دانسته اند. این پژوهش با رویکردی تحلیلی- تفسیری، به بررسی تاثیر اقلیم در نحوه ی شکل دهی ساختار فضایی میدان صاحب آباد به عنوان نمونه ی موردی پرداخته است تا با شناخت ویژگی های فرمی و فضایی آن در جهت دست یابی به الگوی پایدار شهری در رابطه با فرم میدان در شهرسازی مدرن امروزی در منطقه ی مزبور رهنمون شود. پرواضح است تباین، تمایز و صفت مشخص یک منطقه می تواند با تجدید بنای چشم انداز اولیه به روشنی بررسی گردد.

    کلیدواژگان: میدان، توسعه ی پایدار، فضای شهری، اقلیم سرد
  • سحر عبدالهی، سید رسول موسوی حاجی، اسدالله جودکی عزیزی* صفحات 15-30

    کاشی یکی از عناصر تزیینی - کاربردی وابسته به معماری است که جز آن، گاه روایتی تصویری از جنبه های اعتقادی و جغرافیای پیرامون سازندگانش را نیز به دست می دهد. این نوع آثار در روندی تاریخی و چند هزارساله از شکل و طرحی بسیار ساده به اثری ارزشمند و فاخر تبدیل شدند. نمونه های زرین فام این صنعت هنری که در دوران اسلامی به ویژه در سده های میانه در آرایش نمای درونی و بیرونی آثار معماری موقعیت بسیار ممتازی یافتند، صورت اعتلای این ساخته ها به شمار می روند. در ارتباط با این آثار پژوهش های گوناگونی صورت گرفته است؛ اما در موزه ها و مجموعه های دولتی و غیر دولتی نمونه های ارزشمندی وجود دارد که تاکنون مطالعه و معرفی نشده اند. نمونه های موجود در مجموعه موزه ای موسسه ی فرهنگی موزه های بنیاد مستضعفان انقلاب اسلامی، از جمله این آثار ناشناخته یا کمتر شناخته شده اند. از این روی، پژوهش حاضر با انتخاب شش نمونه از کاشی های این مجموعه موزه ای، تلاش کرده، با بهره گیری از رهیافت تاریخی آنها را مطالعه و معرفی نماید. چهار نمونه از کاشی ها شکل اختری/ کوکبی/ ستاره ای دارند و دو مورد از آنها کاشی خشتی به شمار می رود. نمونه های اختری دارای نواری متضمن کتیبه ای به خط نسخ اند؛ این کتیبه ها درواقع اشعاری از شعرای سده های نخستین و میانه ی دوران اسلامی ایران است. درونمایه ی اشعار، حکمی، اخلاقی، پند و اندرز و گاه حماسی است. نگاره ها در کوکب میانی و در زمینه ای متراکم از آرایه های گیاهی به رنگ، قهوه ای، کرم و مسی اجرا شده اند. صحنه های عاشقانه، رفتارهای تغزلی یک جفت پرنده و چرنده نر و ماده، در چشم اندازی از گلستان/ بوستان/ باغ ایرانی با بازنمایی تحرک نقوش، درونمایه ی آرایه های این کاشی هاست. سبک و شیوه ی اجرای آرایه ها، وجود کتیبه متضمن سال ساخت و اشعار کتیبه ها، تعلق آنها را به سده های هفتم و هشتم هجری نشان می دهد. همچنین سبک و شیوه های پرداخت آرایه ها و صورت نگاره ها در بیشتر نمونه ها قابل مقایسه با نمونه هایی است که در شهرهای کاشان تولید شدند. برخی نیز با نمونه های سلطان آباد قابل مقایسه اند. نمونه کاشی های خشتی هردو به یک نوار کتیبه ای تعلق دارند که احتمالا محیط محراب یک بنای مذهبی را فرا گرفته بودند. کتیبه خط ثلث آنها متضمن کلماتی از آیات سوره مبارکه «شرح» است. شیوه ی پرداخت این نمونه ها نیز با تولیدات سبک کاشان قابل مقایسه است و احتمالا به اواخر سده ی هشتم هجری تا اوایل سده ی دهم هجری تعلق دارند.

    کلیدواژگان: کاشی ستاره ای هشت پر، زرین فام، ایلخانی، مجموعه موزه ای موسسه ی فرهنگی موزه های بنیاد
  • آرمان وفایی*، رضا نظری ارشد، ساره طهماسبی زاده صفحات 31-46

    شناخت و درک شرایط اجتماعی در دوره های مختلف به بسیاری از مطالعات تاریخی و باستان شناسی جهت می دهد. در میان ادوار تاریخی پیشین این سرزمین، دوره ی صفوی از اهمیت خاصی برخوردار است. در عهد صفویه ایران به واسطه ی تکوین و تحول ساختارهای متفاوت سیاسی اجتماعی دچار تغییرات و دگردیسی های فراوانی شد. منطقه ی اسدآباد در غرب استان همدان فعلی به عنوان جزیی از ایران صفوی نیز چنین تحولاتی را تجربه کرد. متون تاریخی درخصوص اوضاع و شرایط اجتماعی و اقتصادی اسدآباد در در دوره ی صفویان تا حد زیادی سکوت کرده اند. اما کتیبه هایی از دوره ی صفوی در این خطه وجود دارد که با استناد به آنها می توان اطلاعات ارزشمندی از شرایط اجتماعی و سیاسی این منطقه به دست آورد. در تحقیق پیش رو برآنیم با مطالعه و تحلیل کتیبه های بازمانده از دوره ی صفوی، اوضاع اجتماعی اسدآباد در روزگار صفویان را تبیین کنیم. به همین منظور، با تفسیر مدارک و منابع کتیبه ای، همچنین مطالعه و بررسی برخی دیگر از آثار فرهنگی به جای مانده از دوره ی صفوی در منطقه، سعی خواهد شد شرایط اجتماعی حاکم  بر اسدآباد دانسته و تحلیل شود. هدف این نوشتار مطالعه ی اوضاع اجتماعی این دوره به مدد کتیبه ها است. با مطالعه ی این اسناد می توان به درک بهتر و کامل تری از اوضاع آن زمان و مواردی همچون اهمیت مذهب تشیع در تحول بافت سیاسی و اجتماعی اسدآباد، درک جایگاه اسدآباد در دوره ی صفوی به عنوان یک مرکز اداری و خدماتی برای روستاهای اطراف و آگاهی از چگونگی شرایط و اوضاع کشاورزی و دامداری در دوره ی صفوی پی برد.

    کلیدواژگان: دوره ی صفوی، اسدآباد، شرایط اقتصادی، اوضاع اجتماعی، منابع کتیبه ای
  • مریم طاهرآبادی*، مهدی جاهد صفحات 47-58

    شهرستان کنگاور که در گستره ی تاریخی شهر کرمانشاه واقع شده و به موجب قرارگیری معبد آناهیتا در آن، همواره موردمطالعه و شناخت باستان شناسان ایرانی و خارجی بوده است. این در حالی است که بیشتر فعالیت های باستان شناختی صورت پذیرفته در این شهرستان با محوریت معبد آناهیتا و محوطه ی تاریخی گودین تپه بوده و دیگر آثار تاریخی و باستانی این شهرستان (به ویژه آثار دوران اسلامی)  به نسبت کمتری مورد بررسی و مطالعه قرار گرفته است. هدف از این پژوهش بررسی سنگ قبرهای دوران اسلامی قبرستان کوفی در دهستان فش، از روستاهای کنگاور است. در این راستا، سعی در  معرفی و شناخت نمادها و علایم روی سنگ قبرها و عقایدی است که مردم روستا به زندگی پس از مرگ دارند و همچنین، کوشش شده است با معرفی نمونه های پرتکرار، با ثبت وضبط این نگاره ها از فراموشی و تخریب آنها جلوگیری شود. براساس مطالعه ی انجام گرفته به نظر می رسد مردمان روستای فش عقاید و باورهای خود را روی سنگ قبرهای درگذشتگان خود نقش می کرده اند.

    کلیدواژگان: کنگاور، دهستان فش، سنگ قبر، معبد آناهیتا، قبرستان کوفی
  • مجید ساریخانی* صفحات 59-72

    حکمت و هنر اسلامی دارای پیوند تنگاتنگی با قرآن و آموزه های قرآنی و از ریشه و سرمنشا واحدی هستند. برای اینکه تحلیل مناسبی از هنر اسلامی ارایه شود، آگاهی از حکمت اسلامی برای محقق ضروری است. هدف این پژوهش بررسی حکمت اسلامی در نقشمایه های فرش محرابی با استناد به آثار هنری موزه ملی ایران است. روش تحقیق توصیفی و تحلیلی و بازدید میدانی از گنجینه ی اسلامی موزه ملی است. سوال پژوهش این است که حکمت اسلامی چگونه در فرش محرابی قابل تبیین است؟ نتیجه ی تحقیق نشان می دهد که نقش محراب به منزله ی ورودی بهشت است و نگاره های داخل محراب مانند درخت سدره المنتهی، درخت طوبی، نقش پرنده طاووس، باغ و چشمه و... نشانه هایی از تجلی بهشت در فرش هستند و حاشیه های اطراف فرش مانند حصاری مانع از ورود شیطان به فضای روحانی و ربانی عالمی است که نمازگزار قصد ورود به آن را دارد.

    کلیدواژگان: حکمت اسلامی، هنر، قالیچه جانمازی، قرآن، بهشت
  • محسن سعادتی*، حمید کریمی، آرمین شیخی صفحات 73-92

    در زمستان 1397، هنگام گودبرداری در بافت تاریخی ری در خیابان بابک (نبش کوچه ی زحمتکش) داده ها و شواهد فرهنگی یافت شد. این نوشتار به منظور بررسی و مطالعه یافته های محوطه ی ملک خیابان بابک (نبش کوچه ی زحمتکش) شهرری و مطالعات تطبیقی آن با دیگر محوطه های همزمان، و روشن ساختن برخی ابهامات در این منطقه می پردازد. براساس موقعیت جغرافیایی، این محوطه در منطقه ی ربض شهرری قرار داشته و از لحاظ معماری دارای پیشرفت هایی بوده است. یافته های معماری این منطقه نشان دهنده ی ویژگی های مهم شهرسازی و معماری مسکونی ازقبیل استفاده از آجر به عنوان مصالح اصلی بنا، استفاده از طاق های تزیینی، سیستم ها و مکانیزم های پیشرفته ی آبرسانی مرتبط با معماری (راه آب و آبراهه ها، حوضچه های ذخیره ی آب، حمام ها و محل شستشو، سرویس های بهداشتی و...)، فضاهای صنعتی و کارگاهی و وجود یکی معماری دستکند سطحی است. آثار سفالگری نیز از لحاظ نقش و تکنیک از تنوع بسیاری برخوردارند که از لحاظ گونه شناسی، دارای انواع سفال های بدون لعاب، لعاب تک رنگ، لعاب پاشیده، اسگرافیاتو، زرین فام و... است. نتایج کاوش های باستان شناسی نشان از دو دوره ی فرهنگی در این منطقه دارد. دوره ی اول، استقرار دوره ی سلجوقی واقع در ربض شهر، معماری پیشرفته و داده های سفالی شاخصی را نشان می دهد. در دوره ی دوم مربوط به ایلخانی، معماری مربوط به یک زیست و زندگی موقت بوده و شواهد برجا و ثابتی به دست نیامده است.

    کلیدواژگان: شهر ری، کاوش باستان شناسی، خیابان بابک (نبش کوچه زحمتکش)، معماری، سفال، سلجوقی، ایلخانی
  • سعید ستارنژاد*، علی اکبر راه چمنی، صمد پروین صفحات 93-110

    مساله ی مرگ و جهان پس ازآن یکی از تفکرات اساسی آدمی از آغاز خلقت تا به امروز بوده است. این بینش در تمامی جوامع، دارای مجموعه ای از نمودها و جلوه های گوناگون است. یکی از اجزای جدایی ناپذیر این تفکر در بین تمامی جوامع از روزگاران کهن تا به امروز که همچون ابزاری اساسی برای نمودهای عینی و معنوی آن به کاررفته، مزار و سنگ مزارهاست. در زمینه ی ساخت مزار و نشانه های مرتبط با آن در جوامع گوناگون دیدگاه های متفاوتی وجود دارد. این پدیده در جهان بینی ایرانی - اسلامی جایگاه ویژه ای داشته و در فرم های مختلف و نقش مایه های تزیینی متنوعی ایجاد شده اند. این پژوهش ضمن مطالعه ی آرایه های به کاررفته در سنگ مزارهای 23 گورستان در مناطق مختلف کشور، به طبقه بندی سنگ مزارها از نظر شکل ظاهری، نحوه ی قرارگیری و تحلیل مفاهیم به کاررفته در نقش مایه های سنگ مزارها پرداخته و به دنبال پاسخ به پرسش های زیر است: 1. سنگ مزارهای دوران ایلخانی تا قاجاریه از نظر شکل ظاهری و نحوه ی ایستایی در چند دسته قابل طبقه بندی هستند؟ 2. مفاهیم به کاررفته در نقش مایه ها نشانگر چیست؟ این پژوهش، به روش توصیفی - تحلیلی به همراه مطالعات اسنادی و میدانی است. نتایج پژوهش نشان می دهد که سنگ مزارها از منظر شکل و نحوه ی قرارگیری در سه نوع عمودی، افقی و ترکیبی با گونه های مختلف قابل دسته بندی هستند؛ همچنین از لحاظ آرایه های تزیینی دارای انواع مختلفی با مفاهیم متنوعی است ازجمله: الف) انسانی، ب) گیاهی، ج) حیوانی، د) انتزاعی - هندسی، ه) اشیاء و ابزارآلات. به باور نگارندگان گستردگی حوزه ی پراکنش و وجود وحدت در نقش مایه ها، خطوط و مضامین کتیبه های سنگ مزارهای موردمطالعه بیانگر آن است که این سنگ مزارها صرفا به مذهب، دوره و جغرافیایی خاص محدود نبوده اند، بلکه ماهیت ایرانی - اسلامی آنها را نشان می دهند.

    کلیدواژگان: فرهنگ ایرانی - اسلامی، سنگ مزار، گونه شناسی، نقش مایه
  • علی اصغر محمودی نسب* صفحات 111-124

    بناهای آرامگاهی، از شاخص ترین آثار معماری کشورهای اسلامی و بالاخص ایران به شمار می روند و بعد از مساجد، به عنوان متنوع ترین و پرتعدادترین فضاهای معماری دوران اسلامی شناخته می شوند. دلیل این امر به نقش آرامگاه ها و آمیختگی آن با آداب و رسوم و مذهب ایرانیان بازمی گردد و همین امر توجیه گر تداوم اقبال عامه ی مردم به آرامگاه های مذهبی ایران است.در این مقاله، معماری و تزیینات آرامگاه پیرحاجات معرفی می شود. این آرامگاه در روستای پیرحاجات، از روستاهای بخش مرکزی شهرستان طبس و در دهستانی به همین نام واقع است. آرامگاه پیرحاجات مربوط به دوره ی سلجوقی و جزء آرامگاه های مذهبی است. در این مقاله، ضمن معرفی معماری و تزیینات آرامگاه به شخصیت مدفون در بنا نیز پرداخته شده است. پژوهش حاضر از نوع تحقیقات توصیفی و تحلیلی با رویکرد تاریخی و فرهنگی بوده و جمع آوری یافته های آن نیز ازطریق مطالعات کتابخانه ای و میدانی انجام شده است. سوال اصلی تحقیق این است که معماری آرامگاه پیرحاجات تا چه اندازه از معماری دوره ی سلجوقی تاثیر گرفته و چه تزییناتی در آن به کار رفته است؟ این آرامگاه به سبک معماری دوره ی سلجوقی با پلان مستطیل شکل و با گنبدی رفیع ساخته شده و در عین سادگی، عظمت معماری دوره ی سلجوقی را در آن می توان دید. تزیینات به کاررفته در بنا محدود و شامل کاشی کاری و گچ کاری است.

    کلیدواژگان: طبس، آرامگاه پیرحاجات، سلجوقی، گنبدخانه، تزیینات
  • فرشته آذرخرداد* صفحات 125-142

    خراسان از دیرباز محل عبور شاهراه های تجاری و اقتصادی ازجمله جاده ی ابریشم بود و در دوران اسلامی، به دلیل قرابت با آستان مطهر حضرت رضا(ع) به اهمیت مذهبی آن هم افزوده شد. این امر موجب شد تا بسیاری از مجموعه های خدماتی و عام المنفعه ازجمله کاروان سراها، در این شبکه های مواصلاتی ایجاد گردند. برخی از کاروان سراهای موجود در خراسان، بسته به نوع فرهنگ و نیاز مذهبی مسافران، دارای فضاهای مذهبی چون نمازخانه و مسجد بودند که در نوع خود حایزاهمیت است. شوربختانه، مطالعات فضاهای مذهبی در کاروان سراها یا به دلیل قلت آنها یا تخریب اکثر کاروان سراهای موجود در محورهای مواصلاتی جاده ی ابریشم همواره دور از نظر پژوهشگران بوده است. لذا این مقاله سعی دارد با درنظرگرفتن منابع اسنادی، مطالعات و مشاهدات میدانی، به تحلیل درستی من باب فضاهای مذهبی کاروان سراهای جاده ی ابریشم خراسان بپردازد و ارتباط کاروان سراهای موجود، با اهمیت مذهبی و اقتصادی، را روشن سازد. نتایج حاصله از بررسی اسنادی و میدانی، با بهره مندی از رویکرد تحلیلی و همچنین تفسیر داده های مطالعاتی، نشان دهنده ی آن است که از شصت وهشت کاروان سراهای موجود در محورهای اصلی و فرعی جاده ی ابریشم در خراسان، تنها هفت کاروان سرا دارای فضاهای مذهبی، ازجمله محراب، و یک نمونه دارای مسجد است که درخور توجه است.

    کلیدواژگان: خراسان، کاروان سرا، جاده ی ابریشم، فضاهای مذهبی
  • سولماز منصوری*، میترا شاطری صفحات 143-158

    در سده های ششم و هفتم ه.ق، سفالینه های مینایی به پیشرفت چشمگیری رسید. سفالگران ایرانی برای زنده نگه داشتن فرهنگ گذشته ی خود از برخی نقش مایه های پیش از اسلام استفاده می کردند. کاشان و ری از مهم ترین مراکز ساخت سفالینه های مینایی با  نقش و سبکی منحصربه فرد است. علیرغم وجوه اشتراک و افتراق میان نقوش و میزان استفاده از مضامین مشابه سفال های مینایی با مرکز تولیدی آنها و تاکید پژوهشگران بر این مورد، تاکنون پژوهش مستقلی صورت نگرفته است. برهمین اساس، با بررسی نقوش، ترکیب بندی و یافتن ارتباط نقوش سفالینه های مینایی کاشان و ری با مراکز تولید آنها، این سوالات قابل طرح است: چه ارتباطی میان نقوش سفالینه های مینایی کاشان و ری وجود دارد؟ نقوش سفالینه های مینایی کاشان و ری چه ارتباطی با مرکز تولیدی خود دارند؟ در همین راستا، پژوهش حاضر به دلیل محدودیت های موجود ازطرف موزه های داخلی درخصوص دراختیارگذاشتن یا تصویربرداری از ظروف مینایی، پانزده نمونه از موزه ی متروپولیتن به دلیل تنوع و وضوح تصاویر انتخاب شدند. روش یافته اندوزی از منابع کتابخانه ای و موزه ای به صورت تاریخی، تحلیلی و تطبیقی است. مطالعات انجام گرفته حاکی از  شباهت نقوش سفالینه های کاشان و ری از لحاظ نقوش و ارتباط مراکز تولیدی آنها با یکدیگر است.

    کلیدواژگان: نقوش، سفال مینایی، مراکز تولیدی، کاشان، ری
  • عباسعلی احمدی، امینه خواجه، مهرداد پارسایی برازجانی* صفحات 159-172

    تداوم رونق تجاری و اجتماعی به وجودآمده از اواسط دوره ی ساسانی در بندر باستانی سیراف و توسعه ی هرچه بیشتر آن در سده های نخست دوران اسلامی، این شهر را به پایگاهی مناسب برای انتقال مفاهیم و الگوهای هنری رایج در ایران پیش از اسلام به فضای هنری ایران اسلامی تبدیل کرد. چهارچوب های فکری و اجتماعی برخاسته از آموزه های اسلامی در کنار رونق اقتصادی و ثروت تجار سیرافی، معماران و هنرمندان این شهر را بر آن داشت تا با بهره گیری و پالایش الگوهای هنری پیشین، دست به احداث بنا هایی نظیر مسجدجامع قدیم سیراف بزنند. این بنا، اگرچه به عنوان یکی از قدیمی ترین مساجد ایران و در ردیف مساجدی نظیر مسجد شوش، دامغان، جامع نایین و جامع اصفهان قرار می گیرد، اما به علت پراکندگی و محدودیت مطالعات صورت گرفته در ساختار معماری و هنرهای وابسته به آن مانند گچ بری، به شایستگی معرفی نشده و مهجور مانده است. در این پژوهش سعی بر آن است تا با بررسی مضامین بصری گچ بری های به دست آمده از کاوش های این مسجد و مقایسه ی تطبیقی با گچ بری های پیش و پس از آن، از اواخر دوره ی ساسانی تا سده ی پنجم هجری، ضمن گونه شناسی نقوش و مضامین به کاررفته در این گچ بری ها، به تبیین نقش و جایگاه این بنا در فرآیند گذار ساختار های هنر ایران پیش اسلام به دوران اسلامی پرداخته شود. برآیند مطالعات حاضر موید آن است که در مجموعه گچ بری های به دست آمده از بنای مسجدجامع سیراف، هنرمند گچ کار با بهره گیری از الگوها و ترکیبات هندسی و گیاهی معمول در گچ بری های دوره ی ساسانی، دست به خلق ترکیباتی نو زده که ضمن هماهنگی با چهارچوب های فکری و آموزه های اسلامی، رنگ و بوی گچ بری ساسانی را بیش از سایر بناهای هم دوره ی خود منعکس می کند.

    کلیدواژگان: بندر سیراف، مسجد جامع قدیم، تزیینات گچ بری
  • حسین کوهستانی، سیده مهدیه شواکندی* صفحات 173-186

    یکی از ویژگی های مهم هنر گچ بری طرح و نقش آنها است. بی تردید، سطوح دیوارها را می توان در دسترس ترین بستر انعکاس تفکرات مردمان گذشته به شمار آورد. عینا بدین سبب است که گچ بری ها و سایر تزیینات مورداستفاده در بناها را شاهد بی بدیل ادوار فرهنگی گذشته به شمار آورده اند. در دوره ی قاجار امور تشریفاتی و تجمل گرایی رواج بیشتری یافت، تاآنجاکه حاکمان محلی نیز مانند حکومت مرکزی برای خود عمارت هایی مجلل و باشکوه احداث می کردند که ازجمله می توان به باغ و عمارت اکبریه و رحیم آباد بیرجند اشاره کرد. باغ و عمارت اکبریه به عنوان سکونتگاه طبقه ی حاکم، ویژگی های معماری و هنری متعددی دارد که یکی از مهم ترین آنها انبوهی از تزیینات گچ بری است. بخش های مسکونی، پذیرایی و حوضخانه، با توجه به نوع کارکردشان از جالب توجه ترین بخش های تزیینی به شمار می روند. عمارت مرکزی تزیینات گچ بری خاص و منحصربه فردی دارد که از لحاظ نقش مایه هندسی، گیاهی و حیوانی قابل توجه است. باغ و عمارت رحیم آباد یکی از بناهای قاجاریه ی بیرجند است. نکته ی حایزاهمیت در این بنا غنای نقوش گچ بری آن است. این پژوهش قصد دارد به روش تطبیقی به مطالعه ی نقوش گچ بری این دو عمارت بپردازد. گردآوری اطلاعات به شیوه ی کتابخانه ای و میدانی بوده و نقوش این عمارت ها موردمطالعه قرار گرفته است. یافته های پژوهش نشان داد نقوش این عمارت ها با مضامین و تکنیک های گچ بری یکسانی کار شده اند اما غنای تزیینات و گچ بری های باغ رحیم آباد نسبت به نقوش و تزیینات باغ اکبریه بیشتر است و نوع نقوش آن ازنظر تکنیک اجرا و مضامین، روند پیشرفته تری را طی کرده به طوری که در عمارت رحیم آباد بیشتر نقوش تاثیر غرب را منعکس می کنند و نقوش گیاهی فراوان تر شده اند. همچنین استفاده از سردیس های حیوانی در این عمارت دیده می شود.

    کلیدواژگان: هنر گچ بری، باغ اکبریه، بیرجند، قاجاریه
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  • Amin Moradi *, Sepideh Bakhtiari, Sahar Bakhtiari Pages 1-14
    Introduction

    The appearance of Square (Meydan) in Northwest Iran as a traditional element of the city, did not have a certain definition in the urban planning due to its structural disruption in the spatial fabric. On the other hand, since the concept of the square in this area does not match to the similar models existing in the central plateau of Iran, most researchers have assumed that the irregularity of the form in the squares of Northwest Iran is because of gradual growth, lack of spatial desirability and performance without a predesigned plan. Since the sensitivities around the issue of using energy in urban engineering necessitate a return to urban planning based on climatic factors in the modern life, the relationship between urban space and natural environment has to be analyzed before any urban design. In this regard, the design and construction of the "SahebAbad" Square in Tabriz has been studied as one of the first challenges regarding urban design during Aq-Qoyunlu dynasty, which aimed at joining urban environment with climate.

    Materials and Methods

    This paper rests on architectural materials to justify the SahebAbad square's layout and its unique architectural features as the center of this research. In this way, the limited amount of archaeological resource, literary pieces of evidence and epigraphic records at the disposal of the architectural historians appears as the main ticket. Filling up this lacuna based on these scantily documented and apparent inconspicuous resources is the main problem of this research. Here, the research method is structured to cater to two levels. At the first level, it started from much broader aspects of urban details and architectural arrangement by emphasizing on the architectural approach to study the minute characteristics of this square in detail. The second level of the study is that of typological comparison, which is basically focused on the taxonomic classification of physical characteristics commonly found in contemporary squares. In conclusion, we combined these two at the end to make a proposition regarding the formal attitude towards the SahebAbad square.

    Results

    Urban areas that have been designed according to the regional climate, lead to a decrease in the mechanical cooling and heating equipment, as they are affected by the natural energy of the environment. On the other hand, like a dam, Azerbaijan's lofty mountains range do not let the wet Mediterranean weather to penetrate Iran's plateau, keeping the humidity in its feet. Similarly, the cold, humidity and freezing caused by that phenomenon have led urban neighborhoods to be placed side by side in a way that they limit the penetration of undesirable cold air while confining urban spaces and as a result, the cold air is adjusted as the heat is cast from the exterior surfaces of warm building walls to small open spaces. Therefore, in order to remove the problem of humidity caused by precipitation, the issue of finding a solution for the air circulation led to the disruption of urban elements in the local architecture of the Northwest Iran.

    Conclusion

    According to the results, the city and landscape are two manmade and natural systems which have a close effect on one another. It seems that the construction of the Saheb Abad Square in Turkman period, which is due to a change from the medieval times to the Renaissance, the results of mutual interaction between the Northwest country as the closest urban center of Iran and Europe has terminated the absence of open space in Iran's urban system, introducing a square space with a new form and shape into Iranian urbanism. There is a significant relationship between form and sustainability in a way that recognizing the form and explaining its growth pattern is considered an important step in achieving urban sustainability. Accordingly, the implementation of policies and strategies of urban planning and designing must achieve an optimal form. The spatial arrangement of the square in SahebAbad in Tabriz is exactly in line with the environmental and climatic conditions, having a unique identity for its region.

  • Sahar Abdollahi, Seyyed Rasool Mosavi Haji, Asad Allah Joodaki Azizi * Pages 15-30
    Introduction

    Like many artifacts and fine art, not only tiles reflect the practical needs of the artist, but also they represent lifestyle, landscape, beliefs and worldview of a society. Regardless of its insulating effectiveness, tiles have turned into a good visual source to record human history. Following a time-consuming process, tiles evolved from the most primary forms, which were the glazed tiles, into a unique aspect of the early and middle Islamic art. The most developed form of this art-industry are luster tiles. Due to mass production of metal dishes and artifacts in the historic era, the artists of the pottery industry were forced into poverty. With the rise of pottery dishes, artifacts and luster tiles in the Islamic era, the missing elements returned into attention; in such a way that the crafting techniques of lusterware and its production was a nationwide privilege and rarely been exclusive. In most of the museums in the world, sections are dedicated to these types of artworks which indicates its importance, and also became the source of motivation for architectural historians, art historians and archaeologists in order to specifically study these artworks and achieve valuable results in stylistics and interpretation of miniature paintings and inscriptions.

    Methods and materials 

     In a section in Ramsar’s Shohada cultural complex which is affiliated with the Mostazafan Foundation, there are many tiles from the Islamic era which many of them are lusterwares and have never been studied and also their stylistics and structural features are unidentified. The purpose of this article is to study, interpret and introduce five samples of lusterwares by using historical evidence, field and documentary studies. The following article studies these five samples based on two fundamental questions; one argues the decorations and the other argues the time and place of production. Four of the tiles are classified in star shaped pattern category while two of them are classified in clayey; all of them are made out of stone paste. Due to multiple sides, especially in curved shapes mixed with other tiles decorated with cross patterns, the stellar pattern consists more joints. 

    Results

     This particular feature reduced the weight effectivity which was a challenging point; As a result, it created more surface for the paste and helped stabilizing the vertical frames which were even more challenging. The main combination of colors of samples are brown, copper, copper-red and cream. The length and width of the samples which are decorated with star shaped pattern is 21 cm and they are 2 cm thick. Most of the edges are covered with an azure tape while the tape in some other samples is colored in cream. All the star shaped patterned tiles are decorated with either brown or copper inscriptions written in Naskh; the inscriptions are written on a white tape on the outer part of the edge. Two of the inscriptions are either covered with an azure tape or sprayed paint which makes it difficult to translate. Inscriptions contain orders, exhortation, moral advice and mythical themes. Only one sample is labeled with month and the year of production. In atar shaped patterns, the decorations are centered in the inner star. All of the samples are themed in flowers, plants and petal motifs. Only one sample contains a human motif; the motif is illustrated in Islamic medieval style also known as the Mongole style which is identified with a round face, stretched eyes and curved eyebrows with long eye lines. The outfits are decorated with stamped and paisley motifs. The head of the individuals are highlighted in an azure circle. In this sample, four of the human motifs are portrayed from the front and one is portrayed from the side. The outfit, hairstyle and the facial features of the one portrayed from the side is different from the others and also the motif pictures a man. The hand expression of this individual is indicating that he is having a conversation with the woman in front of him. This series of pictures are portraying a romantic scene. 

    Conclusion

    In most of the samples, a romantic scene of either a male and a female bird or a couple of gazelles are portrayed. This is the same style as the luster tiles from the middle Islamic era and the later in blue and white tiles. The artist portrayed his intention by coloring the motifs and main decorations in azure. In some of the samples the eternal love of flowers, lovebirds, warblers and nightingales which are the main themes of the Iranian poetry and miniature paintings is noticeable. The theme of the portrayed landscapes are Golestan/Boustan/Persian gardens which contains elements such as flowers, water or fishes and songbirds in one frame. Other landscapes portray a scene of an Iranian Paradis (graden) with animals such as deer and giant birds like cranes. Although there are limitations in terms of portraying motifs, the artist has successfully portrayed the dynamism of the scene by illustrating the surface of the water waves, dancing cranes with twisted necks and the wandering gazelles. The most important issue about these samples is the lack of harmony between the inscriptions and the motifs; one exhorts and the other sings a saga while the motifs are mainly portraying romantic scenes in Golestan/Persian gardens. According to the craftsmanship, school of motifs and the poems they carry, all samples date back to 7th and 8th centuries A.H. Due to the compressed motifs and the coloring style, most of the tiles might have manufactured in Kashan and some of them might have manufactured in Sultaniyeh. The clay samples which are part of an architectural element (possibly an altar), are constructed in a very high level of quality. An inscription written in Thuluth contains texts from Surah al-Sharh in Quran which indicates that two samples belong to the same building, same location and the same inscription. Their craftsmanship style is comparable to the manufactured samples in Kashan and they date back to late 8th to early 10th centuries A.H.

  • Arman Vafai *, Reza Nazari Arshad, Sareh Tahmasbi Zadeh Pages 31-46
    Introduction

    Theatrical advances in historical sciences such as archaeology and history have caused the motivation for understanding the social status of historical periods. Therefore, understanding the social status not only in the national scale, but also in regional or local scale is very important. It means historians and archaeologists have to analyze and interpret some materials, evidence and documents about social status of the defined geographical region for study purposes. Very significant information about economic and social status can be resulted from these kinds of studies. It must be emphasized that these types of studies are very essential for some historical periods which are significant for their social transformations. The Safavid period is one of the most important and effective periods in Iranian history. Rising of the Safavid state in Iran was not only a political change. Iranian society have experienced deep and multifaceted transformations during the Safavid period. Rising of the Safavid role with its special characteristics such as declaring Shiite as official religion, the establishment of a powerful and central government and a precise economic and financial system, had social consequences in different parts of Iran. These consequences made Safavid’s society very different from the past. During the Safavid period, there were considerable happenings that entailed fundamental changes in the cultural and social situation within the country. Shiite became the official religion, there were established safety everywhere and measures taken like that caused evolutionary changes in the social structure making it like a pyramid at the top, which was the Safavid Shah and at the base were the ordinary people including shopkeepers, workers, peasants, and farmers. The religious army and civil authorities were in the middle of this pyramid. We have to keep in mind that understanding the social status, which is a consequence of political power, is very important for historians and archaeologists. Social transformations of the Safavid period in different parts of Iran have been manifested in different ways and these transformations have been documented in some historical sources. These sources are very important in the study of local history. Asadabad at the west of Iran has some geographical privileges that has provided a good opportunity for interaction with other regions; also, from the landscape point of view, Asadabad has been a suitable area for agriculture and livestock during the history. Asadabad as a part of the Safavid society has experienced social transformations during the Safavid period. Historical texts and some other historical-geographical sources have not presented enough information about the social conditions of the Asadabad during the Safavid period. Although there are some historical sources that have mentioned Asadabad, but the information that they present is very general and the social status is not understood by those sources. Although historical sources are almost silent about the social condition of Asadabad during the Safavid period, there are some inscriptions that are very significant in this sense; so the main question of this paper is: How can social condition of Asadabad during the Safavid period be understood by studying the Safavid inscriptions?

    Materials and Methods

    This main question gives a purpose to this paper and defines the paper's main goal. The main goal of this paper is to understand the social status of Asadabad during the Safavid period. Inscriptions mentioned above are some governmental orders that have issued in accordance with the social status of Asadabad. On one side, these inscriptions are first-hand historical sources. Inscriptions must be reviewed to achieve this goal. These texts must be interpreted in their historical context which is the methodological approach of this study. The content of the Safavid inscriptions in Asadabad in chronological order are: Shah Tahmasp I’s order about tax forgiveness of Asadabad, Shah Tahmasp I’s order about livestock tax rebate of Asadabad, Abbas the Great’s order about tax rebate of Asadabad in Ramadan of 1026 A.H, Shah Safi’s order about tax forgiveness of Asadabad, Shah Suleiman Safavi's order about repairing Jameh Mosque of Asadabad and other inscriptions about building a dam around Asadabad. These inscriptions have been interpreted in their historical context and as a result, some issues about Asadabad’s social status during the Safavid period are understood.

    Results

    Based on our studies, we know that Asadabad has experienced a deep transformation in terms of its people’s religion. Based on Safavid inscriptions, we know that the people of Asadabad have been practicing Shia and it seems this profound transformation was in the line with Safavid’s religious policies, because being Shia was supported and encouraged by the Safavid Shahs by forgiving the taxes. Abbas the Great’s order about tax forgiveness was only dedicated to Shi'ite Muslims and Shah Tahmasp I’s reason for tax forgiveness of Asadabad was the fact that the people of Asadabad were Shi'ites. Moreover, with the interpretation of inscriptions, we know that in the Safavid period, Asadabad was part of a province named Sonqor and Dinevar and also it was a center of federal services for the surrounding villages; This means the economic status of Asadabad in the Safavid period was dependent on the rural economy, especially agriculture and livestock productions.

    Conclusion

    Based on our results, we know that the society of Asadabad in the Safavid period has experienced great transformations. One of the most important factors in these transformations is religion. Practicing Shia Islam by the people of Asadabad was encouraged by Safavid Shahs in different ways such as tax forgiveness and rebating tax which is worth noting that in one case, Shah’s favor only included Shi'ites.The location Asadabad in political geography of the Safavid period is another issue which is understood in the Safavid inscriptions. Asadabad was in Sonqor and Dinevar province and it was considered as a federal center for surrounding villages.

  • Maryam Taher Abadi *, Mehdi Jahed Pages 47-58
    Introduction

    Kangavar city, which is located in the historical context of Kermanshah and due to the existence of Anahita Temple within its territory, has always been studied and recognized by Iranian and foreign archaeologists. While most of the archeological activities carried out in this city have been and currently are centered on Anahita Temple and Godin Tape, the other historical and archeological monuments of this city (especially the Islamic cultural material) are less considered. The purpose of this study is to investigate the tombstones of the Islamic period which are located in Kufi cemetery in Fash village of Kangavar City. In this regard, this article is an attempt to introduce and identify the symbols on the tombstones and the indigenous beliefs about the afterlife. Also, in this article by introducing the repetitious examples, we attempted to prevent them from being forgotten by documenting these motifs.

    Materials and Methods

     The cemetery of Fash is located at the Southeastern of Fash village in a mountainous area. This cemetery has a range of tombstones that are dated between the 3th to 6th centuries A.H in general and some of them belong to after this date. These tombstones are classified into two groups of men and women. Tombstones are different in both categories in terms of carvings and decorations. Some tombstones in this cemetery are broken and many of them are buried under a layer of soil. Some scattered tombstones can be seen on the surface of this cemetery that have been removed from their original place. Perhaps the importance of these tombstones can be attributed to the signs and symbols that have been engraved on them.

     Results

    Most of the engraved signs on tombstones of the Fash cemetery have special meanings. Undoubtedly, the signs were created under the influence of religious and narrative beliefs. Among the various motifs on tombstones, some of them are related to the vocation and somehow represent the occupation of the deceased. Sometimes the use of special concepts of these signs is for the purpose of the convenience of the illiterate members of the society in order to at least recognize the gender of the deceased. In combination, there are 117 tombstones with different motifs in the cemetery which 50 of them have one-sided comb motifs (mark of the deceased male), 34 of them have double-sided combs (mark of the deceased female), 10 altars, 8 Turbans and praying rugs in addition to some motifs such as flowers and etc. can also be seen on tombstones. The motif of čəraq–lalə is engraved in order to illuminate the dark world after the death. The altar’s motif is a religious symbol. The motifs of flowers are meant to fill the empty spaces of the frame at first, but then it turned into a religious feature. The motif of vases on tombstones can represent the job of the deceased which was sewing and also it is considered as symbol of death. The role of the comb is a symbol of the beauty of the deceased; One-sided comb is sign of a male and two-sided comb is sign of a female. The motif of Turban and praying rug is the symbol of asceticism and piety. The motif of a knife and a sword, in addition to the daily use for livelihood, also implies death. The motif of killing a lion with a dagger indicates that the deceased had heroic manners; these motifs are entirely masculine. The motif of the bird is a symbol of freedom and liberation of the soul.

    Conclusion

    Protecting old cemeteries as cultural and artistic heritage is important. Semilogically, on these tombstones we can witness motifs which represent the popular culture of the people from different eras. The importance of studying tombstones, in addition to the artistic aspects, is in the fact that many of them are being destroyed and eroded. In the Islamic period, the tradition of funerals was held by burying the body in the ground. This method has gradually disappeared and tombstones were decorated with Arabic or Persian script ever since. The master sculptor based on gender (male or female), occupation and lineage (warrior, etc.) has left a good memory for us by engraving on the tombstone and through this phenomenon, we can understand the life and social occasions of this area. By examining the tombstones in the cemetery of Fash village, we can conclude that the culture of the people of this region of Iran has directly influenced the motifs. For example, we can mention motifs such as sword, gun, dagger, etc., which have a special relationship with the moral spirits of these brave people.

  • Majid Sarikhani * Pages 59-72
    Introduction

    Islamic Philosophy and whatever is associated with Islam; benefited from the drop - Quran and Islam and Islam does not mean no funds biblical miracle of Quran. The effects of divine revelations have emerged everywhere and the Islamic Philosophy is one of them.What is the current research the role of Islamic Philosophy in Islamic Art. Motifs in Islamic art has a lot to realize that the two sides of attendance is debatable; One of is the descriptive and other analytical that it is necessary to know both the researcher because both are interdependent. Descriptive way, it is clear; But what will work closely with the research, Analytical aspects are artwork that A profound relationship with the Islamic philosophy (wisdom). Islamic philosophy and linked Islamic Art with Quran and the teachings of the Quran and benefit from the same root and origin. For a good analysis and analytical of Islamic art in all branches provided, It is essential to understand Islamic Philosophy to be able to access the graphic motifs.

    Method and Materials

    The research method is analytical and descriptive. Therefore the treasures of the National Museum of the field visit was undertaken and between the museum and the number 7 or the altar was identified rug prayer( Ja-namazi ) rug that data from this study are. The research question is how Islamic philosophy can be explained on the altar carpet? The hypothesis is based on that altar carpet motifs representing symbols and allegories of paradise.

    Result

    The purpose of this review, analysis and acquisition of Islamic Philosophy (wisdom ) is the altar ( Mihrabi ) carpet motifs and data from the research of the treasures of National Museum of Iran are the altar ( Mihrabi ) carpet. Carpet or rug prayer altar ( Mihrabi ) and a prayer rug, also known by the name of why are Muslims who are accustomed to using carpet prays according to the principles that have been raised in this regard, Another group has made the creation of carpets in Iran that prayer or prayer rugs ( Ja - namazi Ghalicheh ) or carpets are famous altar( Mihrabi ). These rugs are woven in small sizes were. Shah Abbas I alter rug weaving was very common. Weaving industry, although to some extent the decline led to the extinction of the Safavid dynasty, but disappeared. Artists of our time, given the current situation to continue. Zand and Qajar era, as well as examples of beauty in the hand, Some of which are excellent in terms of texture and pattern among carpets.

    Conclusion

    The research result shows the altar of Iran's Islamic architectural elements and the appearance and beauty that is consistent with the teachings of the Quran, reminded worshipers is in paradise; The plan specifies the direction of prayer to Mecca and to holiness, which is on the carpet and mat has reminded worshipers and the rugs or mats, carpets altar ( Ja-namazi Rug ), prayer, or prayer that is and the altar as an input paradise and the altar ( Mihrabi ) paintings like Sdrat -Al- Montaha tree, tree of Tuba, the peacock bird garden and fountain, pond Kosar and signs in paradise carpet and if the act of prostration prayer ( which takes its embryonic state ) Intention to pass the entrance to paradise ( which is the same sanctuary ) into the garden, summer, garden, morphic, Khld Brin's morphic Almavy and ... . Around the edges of the carpet like a fence to prevent the entry into the spiritual and the divine realm is evil that worshipers entering its.

  • Mohsen Saadati *, Hamid Karimi, Armin Sheykhi Pages 73-92
    Introduction

    A site located on Babak Street (at the corner of Zahmatkesh alley) of Shahr-e Rey was reveled in January 2018 due to constructional excavation in Rabaz section of city of Rey. The present paper investigates and studies the findings of Malek site on Babak Street (at the corner of Zahmatkesh alley) in Shahr-e Rey and compares this site with other contemporary sites and finally clarifies some ambiguities in this area. According to its geographical location, this site is situated in Rabaz area of Shahr-e Rey and has architecturally been developed. The architectural findings of this area indicate the important features of urban planning and residential architecture such as the use of bricks as the main element of building materials, the use of decorative arches, advanced systems and water supply mechanisms related to architecture (water passages and waterways, water storage ponds, bathes and toilets, sanitary facilities and etc.), industrial and workshop spaces and the existence of a surface rock-cut architecture. In pottery art, this site is also highly diverse in terms of motifs and techniques. The pottery findings include non-glazed, mono-color glazed, splash-glazed, Sgraffito, golden ceramics, etc. The results of the archeological excavations in this area showed that two cultural periods have been settled in this region; in the first period of settlement during the Seljuq era, as a result of being located in Rabaz area of the city, it contains advanced architectural evidence and significant pottery data. In the second period, which is related to the Ilkhanid era, the architecture is related to a temporary settlement and there is no stable and in architectural evidence.

    Materials and Methods

    Ray has always been considered as one of the most important cities of the Islamic era and also the archeological excavations and surveys indicate the existence of ancient and historical layers in the heart of this ancient city. In general, during the recent years and due to numerous constructional excavations and diggings conducted in the ancient urban area of Rey, abundant evidence which indicates the existence of ancient and historical layers has been obtained. Numerous factors such as geographical location, cultural, economic status, religion and social conditions could have caused the gathering of human groups in a space with defined boundaries. Meanwhile, due to the importance of its political, economic, cultural and social status, Ray has always been considered in different eras. This matter has affected the urbanism and especially the residential architecture of this city. The site of Babak Street (on the corner of Zahmatkesh Alley), as a perfect example of residential architecture of Ray in the Seljuq and Ilkhanid periods, represents a number of special architectural features and elements. The greatest and most important collection of findings from Malek site located at Babak Street in Rey consists the ceramics which are regarded as the first-hand documents for dating and chronology of the site and are also very important data for analyzing the urban status and social structure of Rey in this geographical location. During an emergency excavation season in the intended site, more than 2000 potsherds were obtained. About 1800 pieces of the pottery discovered belong to the Islamic era. In terms of technical and decorative features, this pottery is divided into two separate categories of non-glazed and glazed pottery.

    Results

    Cities, both in terms of history and antiquity, and in terms of modern and contemporary dimensions, serve as a suitable research field for archaeological and historiographical studies. According to the geographical location of the intended excavation, this site is located in the historical context of the current city of Rey and given the architectural evidence and pottery findings, it shows the progress and development of this part of the city in its time period. The results of this excavation reveal two periods of settlement in this site; In the first period, the people of the Seljuq era settled in this area and in terms of residential architecture, notable progress and urban expansion was achieved. This section, representing the residential architecture and urban planning of Rabaz section of Rey in the Seljuq period, suggests the importance of this site. In terms of architecture, we see that the previous features is developed and expected, and new formation features are observed in the architecture of this area. Architectural findings of this site exhibit the important features of urban planning and residential architecture such as the use of bricks as the main element of building materials, the use of decorative arches, advanced architecture-related water supply systems and mechanisms (waterways and water passages, water storage ponds, baths and washing areas, toilets and etc.), industrial and workshop spaces and the existence of a hand-carved architecture. According to the writings of historians and geographers, the first period of settlement in this region was destroyed and abandoned as a result of an earthquake in 571 A.H and ended afterwards. In the second period of settlement, the people of the Ilkhanid era used the architectural remains of the previous period (Seljuq), which was destroyed by an earthquake, in such a way that the flooring in this period has been formed with broken brick pieces of the previous period. In general, most of the buildings of this period were temporarily built with broken materials of the previous period. During this period, no surviving and stable architectural evidence was obtained and it mostly indicates a nomadic settlement. The Ilkhanid lifestyle is classified according to two governmental and temporary approaches, and this reveals the settlement practice and the use of the second architectural period of this region to refer to the Ilkhanid period to some extent. One of the most important findings of this research is the pottery. These materials indicate a great variety of the motifs and techniques. In terms of typology, the pottery data exhibit the different types of non-glazed pottery with engraved, added and stamped decorations, and the various types of glazed pottery, including monochromatic glazed pottery, splash glazed pottery, Sgraffito and Luster wares. According to the comparison and analysis of the pottery, a timeframe extending from the fifth to eighth centuries A.H can be dated for the pottery finds.

  • Saeid Sattarnezhad *, Ali Akbar Rahchamani, Samad Parvin Pages 93-110
    Introduction

    The issue of death and the world after it has been one of the basic thoughts of humankind from the beginning of the creation until today. This view has a set of various aspects and manifestations in all societies. One of the inseparable components of this thought in all societies from ancient times until today are tombs and tombstones which have been used as basic tools for its objective and spiritual manifestations. Although there are various views on the construction of tombs and signs related to them in different societies, this phenomenon has a special position in the Iranian-Islamic worldview and has been created in different forms and various decorative motifs. This research, besides studying the arrays used on the tombstones of 23 cemeteries in different regions of the country, classifies the tombstones in terms of appearance and placement and analyzes the concepts used in the motifs of tombstones and seeks to answer the following questions: 1. How many categories can tombstones from the Ilkhanate to Qajar era be classified in terms of appearance and position? 2. What do the concepts used in the motifs indicate? This research uses a descriptive-analytical method with documentary and field studies. The results show that tombstones can be classified into three types in terms of shape and placement: vertical, horizontal and a combination of both. They also have different types in terms of decorative arrays with various concepts including: human, plant, animal, abstract-geometric, objects and tools. According to the authors, the extent of the distribution and the existence of unity in the motifs, lines and themes of the inscriptions of the studied tombstones, indicate that these tombstones were not limited to a particular religion, period, or geography and indicate their Iranian-Islamic nature.

    Materials and Methods

    This research was conducted by descriptive-analytical method and the information was gathered by library and field studies. In this research, at first the essential sources for the research were collected. Then based on the obtained information, the classification, typology and analysis of the arrays used on the tombstones from the Islamic period was conducted.

    Results

    Our results suggest that the tombstones were divided into three separate categories with different sub-branches in terms of location and statics. The intended types are :1) Horizontal tombstones that can be classified in the forms of a) box b) stepped–flat c) cradle d) statue. 2) Vertical tombstones in the form of raised stones in the form of a) uncut b) prismatic c) cylindrical. 3) Combined tombstones. It is important to mention that some of the identified fossils were not in a pathological condition and were mostly destroyed. Apart from their appearance and location, tombstones can be classified into the following types from the perspective of drawings and arrays used on the graves such as a) human b) animal c) plant d) abstract-geometric e) objects and tools. Each of the arrays which are used in different regions is different in terms of the way the motifs were created and their appearance and also there are noticeable differences in their details which seems to be more inspired by the worldview of the artists who designed the tombstone arrays. The formation of images on tombstones with inscriptions, ornaments, art, language and literature and aesthetic concerns is cognitive. According to the authors, the extent of the distribution and the existence of unity in the motifs, lines and themes of the inscriptions of the tombstones indicate that these tombstones were not limited to a particular religion, period, or geography, but rather it indicates their Iranian-Islamic nature.

    Conclusion

    The results obtained in this study showed that the process of tombstone formation in the Iranian plateau has generally begun in the middle of the Islamic centuries. After the patriarchal period, we see tombstones in various shapes and in various cemeteries in Iran, especially in the Northwest. These tombs have various motifs such as plant, human, geometric, inscription and etc. According to the etymology of some of these species, they date back to pre-Islamic Iranian cultures and some are related to Central Asia. In general, the tombstones studied in this study are influenced by the three cultures of Iran, Islam and Central Asia. The contribution of Northwestern Iran in the study of tombstones is more significant than other regions.

  • Ali Asghar Mahmoodi Nasab * Pages 111-124
    Introduction

    Based on the published architectural and archaeological evidence, it can be said that tomb buildings in Iran are built more than other Islamic countries; because the Iranians highly respected their saints and noblemen and sanctified them, and tombs were built in order to immortalize the names of these noblemen and virtuous people. At the beginning of Islam, although it was not permissible to build a tomb from the Islamic point of view, many non-religious tomb buildings were built, including the tomb of Harun Rashid in Sanabad, which was built by Ma'mun and only after the construction of the martyrdom of Imam Reza. By the order of Ma'mun, they buried that Imam in the same four domed walls as Haron Rashid in the area above his head. other non-religious tombs of the early Islamic centuries include the tomb of Amir Esmail Samani in Bukhara around 300 A.H, the tomb of Arab Ata in the team of 336 and the tomb of Gonbad-e Qabus tower which points to the year 397 A.H. During the rule of the Alavids and Dylamids (4th century) who were Shi`ite rulers, many religious and non-religious tombs of saints, noblemen and political figures from these periods have been left in the northern and central regions of Iran. During the Seljuq period, the construction of tombs and mausoleums entered a new phase, while the Seljuq were Sunni and showed a strong prejudice against their religion. Nevertheless, the construction of tombs during this period has seen unprecedented growth for Sunni sheikhs, noblemen and rulers. During the reign of the ilkhanid, who initially converted to the Sunni religion, the number of tombs and mausoleums increased. During the later periods i.e. during the time of the Sunni Timurids and the Shiite Safavids, and then Afsharid, Zand and Qajar dynasties, and even to this day, we see the construction of domes and courts related to religious leaders, saints, Ahl al-Bayt (the descendants of Shia Imams) and private tombs. The special devotion and recourse of the people of this region, especially the Shi`ites, to the Ahl al-Bayt has been the most important reason for the construction and preservation of religious tombs during the Islamic period; In a way that few areas can be found without these buildings. The location of religious tombs has made these buildings very special and important in the social and religious life of the Iranians, especially in the traditional context of cities and villages. Numerous factors have played a role in the formation and development of these tombs, for instance the significant role of religion. Introducing the tomb buildings shows the architectural and decorative features of each period and it is a step towards recognizing these buildings in different regions of Iran. In this research, the architecture and the identity of individual buried in the tomb of Pir-e-Hajat located in the Pir-E-Hajat village in Tabas city of South Khorasan province will be introduced, also along with the introduction of the architecture style of the tomb, the designs, decorations and inscriptions of the building will be studied.

    Materials and Methods

    In this study, the research method is descriptive-analytical and the findings are collected by field research and documentary studies.

    Results

    There is no mutual theory on the identity of the character buried in the tomb of Pir-E-Hajat, but what is certain is that he was a high-ranking Muslim and a sincere follower of the Imams who had the power to build a great court by the support of his friends and followers. Medieval Islamic sources mention a person named Sheikh Abu Nasr Iraweh and mention the date of death of this person, around the 6th century A.H. while the character of Ahmad Ibn Eshaq died in the third century A.H (between 260 to 263). A noteworthy point in medieval sources is that in the village of Pir-E-Hajat, in addition to the tomb, they refer to a monastery, and probably a person buried in the tomb of the leader of a religious sect in this area who build a tomb after his burial. Today, there is no evidence of a monastery in the village, and it has probably been destroyed over time. The tomb of Pir-E-Hajat is built in the northeast-southwest direction with dimensions of 17 × 17 meters (area 289 square meters) with a square plan (internal plan in the shape of a cross). The entrance of the building is in the form of a high porch with a height of 12 meters with a truncated arch which is located on the eastern side of the building. Prior to the restoration, this porch was lower than the level of the courtyard. Inside the porch, there is an L-shaped staircase that leads to the roof. After the entrance porch, we enter the main building, which is located in the center of the metal tomb. The main building of the shrine consists a quadrangular space on each side which is ten meters and in the form of a cross. In each side, there is a large porch with a truncated arch. They form the intersection of an octagon. In the four main directions of the dome, four windows with truncated arches have been installed for light and illumination, and the weight of the dome has been skillfully transferred to the rafters and walls through the truncated arches. The dome is stepped because of the height of 17 meters from the outside, which means that the thickness of the dome cover has been gradually reduced as the work progresses. The exterior of the dome has been plastered and painted blue during the contemporary period. The time of construction of the tomb, based on the pieces of turquoise tiles that are installed above the altar, shows the date of 601 A.H. which is the time of completion of the tomb. Another tile with larger dimensions is located inside the altar. This tile has a monochromatic technique and dimensions of 38 × 68 cm and decorated with linear and floral motifs. Monochrome tile, as the name implies, only one color sits on the surface of the tile, such as turquoise or azure. In the tomb of Pir-E-Hajat, renovations have been done for many years and outbuildings have been added to it, in a way that today we witness many buildings built around this tomb during the contemporary period, to meet the needs of pilgrims. This tomb was originally built individually and facing the Qiblah, and had four entrances in the four main directions of the building, which were blocked due to outbuildings made around it during this period after the construction of the building. In terms of dome construction, this building is comparable to the domes of Seljuk period buildings, including the dome of Nezam-ol-Molk in Isfahan Grand Mosque, Ardestan Grand Mosque, Jabaliyeh Dome, Tomb of the Twelve Imams of Yazd and in terms of plan is comparable to the tomb of Imamzadeh Aqil Yasukand , the dome of the Alawites of Hamedan, the tomb of Aznav Hamedan . Among the local buildings comparable to the tomb of Pir-e-hajat, Mazar Jokhah near the city of Tabas and the tomb of Khosrowabad (this tomb was destroyed in the earthquake of 1978). The materials used in the tomb were mainly brick, stone and plaster. In Pir-E- Hajat tomb, bricks were used to build the walls and cover the dome, and stone was used to build the walls of the tomb. Gypsum, which has been used to cover the interior and in the case of arches and domes.

    Conclusion 

    Although the tomb of Pir-E-Hajat, according to its inscription, belongs to the Khwarezmshahid period, nevertheless, the buildings built in this period are a continuation of the architectural style of the Seljuq period, and in the architecture of the Islamic period, this period is known as the same style of the Seljuq period. The mausoleum built in the Seljuq period is in the form of a tomb tower, and a limited tomb with a square plan has been built, which is in this tomb with a square plan with a dome. The architecture of tomb, while simple, has the grandeur of the Seljuq period and is comparable to the buildings of this period. The decorations used in the building are small. However, these small decorations have a unique feature that can be seen less in the tomb buildings of the Seljuq period in this region, although before the 1978 Tabas earthquake, many buildings related to the Seljuq period There was a special mosque in the city of Tabas, including the Grand Mosque and the school, which were completely destroyed in this year's earthquake. The location of this tomb in a communication route has caused attention to this building over time, and especially in the Safavid period, with the officialization of the Shiite religion, this tomb has vows and endowments. The road that leads from Isfahan and Yazd to Tabas, is connected in a place called Robat Gour, from which a sub-branch leads to the village of Halwan and Pirhajat, which continues to the cities. Other Khorasan, including Bardaskan, Kashmar and Neyshabour. Evidence of this route, which is known among the locals as the Silk Road near Halwan and an area called Segaro near the province and Pirhajat, as well as the old village of Kheirabad and Halwan, which is mentioned in historical sources along this route. It is known that today it is almost buried due to sand winds. Regarding the character buried in the building As mentioned above, the locals believe that the character buried in the building Sheikh Ahmad Ibn Eshaq is one of the successors of Imam Hassan Askari who also lived in the time of Imam Hadi and Imam Javad Lived that by the order of Imam Hassan Askari to collect religious funds to the people of Khorasan and also the pilgrimage of Imam Reza from Samarra to Mashhad And he is buried in the middle of the road and in this place. By examining the historical texts, it was determined that the person buried in the building was not Ahmad Ibn Eshaq, but the similarity of names has caused them to mistakenly consider the person buried in the building as Ahmad Ibn Eshaq. There is no doubt that the character buried in the building was a dignified person; Because historical texts also refer to it and the same texts consider the construction of the building in the late fifth and early sixth century, which is a big difference with the life of Ahmad Ibn Eshaq, the lawyer of Imam Hassan Askari.

  • Fereshteh Azarkhordad * Pages 125-142
    Introduction

    Khorasan has long been a crossing point for commercial and economic routes, including the Silk Road in the Islamic era. Due to its proximity to the holy shrine of Hazrat Reza, its religious importance was raised; This led to the construction of many service and public utility complexes, including caravanserais along these transportation networks. In the Islamic era, local governments of Iran tried to control parts of the main Silk Road that was in their territory; Including Taherids dynasty in 207 A.H on Rey and Neyshabour roads, Saffarids in 260 A.H on Neyshabour and Rey roads, Samanids in about 290 A.H on the roads of Rey and Zanjan, Buyids (Dylamids) in 357 A.H on Rey, Ghaznavids in the second half of the third century on Kabul and then in 440 A.H on Ray, Seljuq in 429 A.H on Neyshabour and then on Rey and Hamedan, and finally the Ghozes in 584 A.H as they conquered Azerbaijan and its roads. Today in Iran, along the main roads of the Silk Road, at a distance of one Manzel which is equivalent to six Farsakhs or 24 kilometers, there are traces of caravanserais which are either old or reconstructed on the remains of previous caravanserais. These caravanserais are scattered in axes such as Neyshabour-Khaf-Herat, Neyshabour-Toos-Merv and Gorgan-Neyshabour axis, all of which were along the Silk Road and Khorasan commercial routes. Neyshabour-Khaf and Herat axis is the longest route of the Silk Road in Khorasan that led to Herat and connected many famous cities of Khorasan and consisted about 14 caravanserais. The other one is the axis of Neyshabour, Toos and Merv; the road from Neyshabour to Merv was considered one of the highways of the middle periods of Islam because this road connected the most popular places and cities which were politically important. The third axis, which is in the category of sub-axes, is the Gorgan-Neyshabour axis; this route connected Gorgan to the axes of Khorasan, and the caravanserais along this route have been mentioned numerous times in historical texts and sources. Some caravanserais in Khorasan, depending on culture and ritual demands of the travelers, also had religious spaces such as prayer halls and mosques, which is important in its kind. These religious spaces often have a simple rectangular space in the direction of Qibla, which is different from other spaces despite the element of religious architecture (altar). Some of them have a separate mosque in the form of a nave next to the caravanserai. Citing most of the caravanserais on the Silk Road, a small number of them have religious spaces such as altars and mosques.

    Material and Methods

    Unfortunately, the study of religious spaces in caravanserais, either because of their scarcity or the destruction of the majority of them in the Silk Road transportation axes, has always been far from the view of the researchers; Therefore in this article, considering the documents, researches and field observations, we try to make a correct analysis of the religious spaces in caravanserais of the Silk Road of Khorasan and clarify the relationship between the existing caravanserais and their religious and economic importance.

    Results

    The results of document and field study, using the analytical approach and interpretation of the data, suggest that out of 68 caravanserais in the main and secondary axes of the Silk Road in Khorasan, only 7 caravanserais with religious spaces have altars, and only one of them has a mosque within which is outstanding.

    Conclusion

    To some extent, this indicates the greater economic importance of the region than its religious significance. Meanwhile, the caravanserais located in the center of the Iranian plateau have relatively more religious spaces, especially mosques. The religious elements studied in this research are mostly in the form of simple altars and the shape of arches which are located in the corners of the wall of the Qibla and none have decorations; Only in one case in Robat Gholi, such as Robat Sharaf, we can mention stucco decorations. Also, due to the proximity of the shrine of Hazrat Reza with the mentioned caravanserais, the first notable feature is the religious importance of these caravanserais. But despite the conducted research on religious spaces of caravanserais along the Silk Road in Khorasan, the religious spaces of Khorasan section of the Silk Road are less than the ones in caravanserais of central Iran; This is probably a sign of the economic importance of these transportation hubs in relation with their religious significance.

  • Solmaz Mansori *, Mitra Shatori Pages 143-158
    Introduction

    Mina'i wares have experienced a noticeable development within sixth and seventh centuries AH. Iranian potters have been using some of pre-Islamic motifs in order to revive their past culture and traditions. Among the most important centers involved in the creation of Mina'i wares are Kashan and Rey, each with their own particular style and pattern. Despite the existence of similarities and differences between the investigated motifs and the degree of using similar themes on Mina'i wares with their production centers and the emphasis made by researchers on this point, kind of scarcity can be seen in this regard. Accordingly, by investigating the motifs, their texture and coloring as well as finding the relationship between Kashan and Rey’s Mina'i wares and their production centers, the researchers attempt to find out the relationship between the motifs on both centers’ Minai wares as well as the relationship between motifs and their own production centers. Similarly, in other words, it was easier to investigate the foreign samples. All the pictures taken from the Metropolitan Museum have acceptable quality and resolution, making it easier for the researcher to compare them. This study used desk study as well as museum study as a research method, and also we made comparisons and analysis for testing our research’s question.

    Materials and Methods

    In this study, due to the uniqueness and ease of access to enamelware information which is kept in the Metropolitan Museum, we selected fifteen samples.

    Results

    Enamel is a complete event and masterful development that was produced in different forms through the sixth and seventh centuries A.H until the early Mongol period. One of the special features of enamel pottery is its beautiful decorations and various motifs that create meaningful images by deriving the previous artistic heritage from the past, such as the Sassanids. These motifs express the beliefs and social life in the Seljuq and Khwarazmshahian periods that tried to keep their original culture alive, which made this type of pottery superior. Enamel pottery was often produced on a large scale in famous pottery workshops, including Kashan and Rey. What is undeniable is the existence of merchants and craftsmen of the cities, who should be considered the main reason for the spread of these vessels. The images on the enamel pottery with its unique characteristics can show the production center of Kashan and Rey. It seems that due to the proximity of Kashan and Rey centers, there is not much difference in the designs of the potteries. One of the characteristics of enamelware in this period is the preservation of patterns in the use of special patterns; the emphasis in the decoration of these works shows that the artist has observed the proportions and compositions between the arrays and the visual elements as well with full knowledge. In the enamel paintings on these centers, the artists have been more successful than any other period in combining plant, animal and human motifs and creating composition as well as balanced structure; each has its own unique features and characteristics. For example, the enamelware of Rey city has been superior to Kashan in terms of using enamel material in different types of products. These very delicate and luxurious subjects are decorated with the story of war and feast, which includes images of princes, men and women, hunting grounds with polytheists, war, feasts, scenes of bravery and heroism. Also, Islamic decorations with beautiful and prolific terracotta, plants, dalber or dotted motifs with colorful dots and stripes in a row of imaginary animals have covered the surface on the pottery. Kashan enamel pottery also has narrative themes and special attention has been paid to Islamic motifs; also, love stories and lyrical themes are noticeable for the first time. The cypress tree, which is a symbol of youth and freedom is sometimes depicted in the role of a tree of life and sometimes it shows rituals with Islamic decorations inside. Foliage hair, lotus and the fish floating in the water are the main elements of Kashan painting style and sometimes like Rey they have motifs of hunting ground, horse, Majlis Tarb and love stories. Faces are depicted in Kashan enamelware like the faces in Persian poems, round with almond eyes, bud lips, long hair around or braided and headband ornaments in great detail, precise and delicate. Faces are simple, careless or faded, and often with short, unadorned hair. It seems that the designs used on enamel pottery can be classified according to the manufacturing centers. One of the suggestions of the authors in the continuation of research is to compare the centers of Kashan and Rey with other major centers of enamel pottery such as Jurjan and Sultanabad.

  • Abbas Ali Ahmadi, Amineh Khajeh, Mehrdad Parsaie Borazjani * Pages 159-172
    Introduction

     The remains of the ancient port of Siraf are located in a narrow plain approximately 4.5 km long on the northern shores of the Persian Gulf, about 250 km southeast of Bushehr port. Most geographers and travelers in their mentions the commercial and economic prosperity of this port and indicate it with titles such as the capital of the Sassanid province "Ardeshir Khoreh", the gateway to China and the warehouses of Pars and Khorasan. The first archaeological excavations of Siraf began in 1345 by a joint delegation of English and Iranian archaeologists, led by David Whitehouse and continued until 1352 in seven separate seasons. In 1974, the Archaeological Center of Iran undertook the process of excavation in this area by an archeological team headed by Hossein Bakhtiari. In this series of excavations, the remains of the building of the Masjed-e Jame, which due to the general structure and the period of its construction and development, was among the most significant mosques of the first centuries of the Islamic era of Iran, it was completely excavated. The present study intends to investigate and study the samples obtained from the structure of this mosque and its comparative studies with the plaster-moldings of Masjed-e Jame of Naien, while explaining and separating the themes used in this complex in order to study the effect of this building on the process of transition from the cultural atmosphere of the Sassanid period to the Early Islamic centuries and the formation of Islamic artistic components.  

    Materials and Methods

     In order to provide the objectives of the present study, after a brief introduction of the Masjed-e Jame Ghadim of Siraf and a general overview of the various architectural dimensions of the building, the motifs used in the discovered structures are described separately and its commonalities and differences with the collection of motifs and the themes used in the plaster-moldings of the Masjed-e Jame of Naein will be considered as the basis of typology and classification. Generally, four plaster-moldings are obtained from the excavations of the Masjed-e Jameh in Trench B, which had physical details to study. The first two examples are plaster-molding blocks which were decorated with plant motifs by molding technique and probably mounted on the exterior of the building, above the porch or walls. The third piece, is a part of the plaster-molding that was probably used to decorate the wall of the mosque by constantly creating the shape of circles that include plant designs such as Lotus. The fourth and last piece mentioned in this research is an inscription written in Kufic inscription which was engraved in three horizontal rows with the technique of deep and embossed bedding. Although, there is a fourth row which is unfortunately not legible due to physical damage and its content is not clear.

    Results

    Generally, in terms of the type of decorations, the motifs used in the plaster-molding decorations can be divided into three types such as plant motifs, geometric motifs and Kufic inscriptions, which were created using two techniques of mold motifs and deep plastering.The most common geometric pattern in this collection is the circular pattern, which is repeated separately or in combination and includes plant motifs. The comparative analogy of this form shows the continuation of the use of the simple type of this motif, which has its roots in the Sassanid period and has not yet been involved in the structure of the geometric patterns of the Middle and Late Islamic periods. Although, the combined examples of this motif are comparable to the early Islamic examples, but the simplicity lies in it and shows that they are raw and primitive. The plant motifs used in these structures include abstract flowers and leaves mixed with branches. The simplicity and abstraction which is evident in the flowers are comparable with Sassanid examples in Ctesiphon; but this is not the case with the leaves. The inscription in Masjed-e Jame Ghadim of Siraf was written in Iranian Kufic with deep plastering technique.

    Conclusion

    In general, the geometric patterns used in the plaster-moldings in Siraf are more similar to the Sassanid examples in terms of structure and execution technique, but their slight arrangement can be considered as a manifestation of Islamic teachings. Although, by following the Sassanid pattern, the plant motifs have created a symmetrical composition, but they have become very simple and similar to examples in Islamic collections such as Masjed-e Jame of Naein. The structural composition and decorative details of the single inscription which was discovered from Masjed-e Jame of Siraf are all features that make the inscription comparable to similar examples from the fifth and sixth centuries A.H; however, the non-religious content of the inscription is the reason for its difference from other examples. Although the result of the present study does not determine a specific pattern for the designs and artistic compositions of the studied plaster-moldings, but it creates a general perspective of the origin of the trusted themes and reveals their stylistic tendency. Establishing a connection between the studied motifs and similar Sassanid examples is not an easy task; However, these concepts can be considered influenced by the plaster-moldings of the Sassanid period more than the other examples, and they can be considered as an intermediate link between the plaster-moldings of the Sassanid and the plaster-moldings of mosques of the early Islamic centuries in Iran.

  • Hossein Kohestani, Seyedeh Mahdiyeh Shavakandi * Pages 173-186
    Introduction

    During the Qajar period, ceremonial affairs and luxuries became more popular, so much so that local rulers, like the central government, built luxurious buildings for themselves, including the Akbariyeh Garden and buildings and Rahimabad Birjand. Akbariyeh Garden and buildings as a residential area dedicated to the ruling class has many architectural and artistic features. One of the most important features and characteristics of this building is the existence of a large number of plaster molding decorations. In the central building, it has special and unique plaster molding decorations that are significant in terms of motifs, including geometric, plant and animal motifs. Rahimabad garden and mansion is one of the buildings of the Qajar period in Birjand. Therefore, it is important that the plaster designs of this mansion are rich In these mansions, designs with the same themes, but the richness of the decorations and plaster molding of Rahimabad Garden is much better than the designs and decorations of Akbariyeh Garden, and the type of designs has gone through a more advanced process in terms of execution techniques and themes. As in Rahimabad structure, most of the motifs reflect the influence of the Western architectural elements and plant motifs have become more abundant, we also have the use of animal heads in this mansion.

    Materials and Methods

    This research has been done by comparative method, its compilation and information have been prepared from field studies (collecting documents by photographing and visiting the Akbarieh and Rahimabad gardens and designing patterns by software Corel).

    Results

    From the obtained results, we can mention the variety of decorations, simplicity and use of the naturalistic aspect of some decorative designs, the use of the symbolic role of animals, the emphasis on symmetry and statics. And the execution of the plastering technique (compared to Akbariyeh mansion) can be seen. In this mansion, the plastering forms are completely three-dimensional and we try our best to execute the details of the designs and we have plastering pearls in the execution of the mirror frame in this mansion. The example of the mirror frame in Rahimabad mansion was colored and around the mirror frame is a crescent arch with a combination of plastering and mirror work.    

    Conclusion

    According to the studies carried out in the garden of birjand garden, different designs: animal, plant and geometric have been used. What is received with an overview of the collection of decorations in the central house of birjand garden is benefiting from visual quality in order to achieve excellence and finally beauty. Symmetric configuration in some designs of central edifice is a sign of the artist's goal to achieve balance and harmony. In general, the features of decorative motifs of the central edifice of birjand garden are: use of prolific and mirror decorations in the ceiling, composition of mirror decorations, using animal, plant and geometric motifs and decorative columns. In some of the patterns, there is a combination of geometric motifs and birds. Diversity of plant and geometric motifs beside motifs with abstract motifs is another characteristic of this building. the motifs of this edifice are not merely decorative aspects but also their symbolic aspects are also considered .also the motifs of birds used in the hall of this edifice are indicative of their sanctity. Motifs of birds that have been considered in the hall of this building show that most of the motifs have been performed by casting method and shaving. Geometric shapes to adorn and frame the motifs in the mirror decorations of this house sometimes appear to have a harmonious rhythm and sometimes with a single repetition in length or width of a geometric pattern. Rhythm and movement are the most obvious characteristics of the motifs in this edifice, which are not static and dry and yet dynamic and dynamic. In the decorative motifs of rahimabad mansion, to the culmination of the diversity and skill of design and implementation of the avant-garde technique in this edifice the frames are quite three - dimensional and the attempt is made to carry out the details of the designs and we have the pearls in the frame of the mirrors .also, a mirror frame model is colored in rahimabad mansion, and around the mirror frame a crescent - shaped mirror is seen by combination of mirrors and mirrors.