Beginning in 1948, archaeological surveys and excavations in northwest Iran brought to light evidence of cultural developments related to the movements of people who colonized vast parts of the Near East from northeast Anatolia to southern Levant in the late 4th and early 3rd millennium B. C., prompted by environmental changes, population boom or shortage of biological resources in their homeland. The period is best known in the archaeological literature as the Early Trans-Caucasian (ETC) or Kura-Araxes culture, and is distinguished, by a disparate black burnished pottery with incised decorations. Here is published for the time a sample of decorative patterns on the related pottery from Yanik Tepe. The main question of the study was: To what extent did the newcomer potters communicated on this pottery the artistic traditions they had brought with themselves from their homeland? Data gathered through museum and library enquiries were used to carry out a comparative study. Data analysis was of qualitative nature, and the study represented one of culture-historical.

تذهیب از هنرهای تزئینی ایرانی- اسلامی است که در نسخه های ادوار مختلف قابل مشاهده است و هنرمندان آثار نفیس قابل توجهی در این زمینه خلق کرده اند. دوره صفوی و قاجار هر کدام به فراخور شرایط زمانه و تاریخی خاص خود، بستری را برای پیشرفت هنرتذهیب فراهم نمودند و بدین ترتیب بررسی و ارزش گذاری ویژگی های سبکی آثار هر دوره و حجم تولید آنها قابل توجه می نماید. در این راستا، ابتدا تصاویری از کُتب خطی مذهب موجود در موزه ها(موزه ملی ملک، مجلس شورای اسلامی و موزه رضا عباسی و هنرهای تزیینی اصفهان)و نمونه های چاپیِ در دسترس انتخاب گردید و از نظر نقشمایه های تزئینی، ترکیب بندی و چگونگی کاربست آنها در تزیینات متن، سرلوح و حواشی مورد بررسی قرار گرفت. همچنین ویژگی های کلی سبک تذهیب کتب در دوره صفوی و قاجاریه مورد تحلیل و مقایسه قرار گرفتند. در دوره صفوی به دلیل حمایت مالی و نیز معنوی، شاه، بزرگان و اشراف، تولید آثار تذهیب در شمارگان بالا و در نهایت ظرافت و زیبایی انجام پذیرفته است. در اواخر دوره صفویه به دلیل کاهش حمایت دربار خلق آثار تک برگی رواج پیدا می کند. در اوایل دوره قاجار تذهیب نسخه ها از اصول تذهیب نظایرشان در دوره صفوی پیروی نمود و به مرور زمان با تأثیر از شرایط زمانه خود، ویژگی هایی بصری و فنی ویژه ای نظیر رواج روحیه اشرافی گری در جامعه، استفاده بسیار از رنگ طلا و تکنیک مُرصع را در تذهیب به دنبال داشت. شیوه پژوهش تحلیلی-توصیفی و روش گردآوری اطلاعات متنی و تصویری اسنادی است. برای هنینزد منسیتزمس مسم سیتب سنیت م سمیت میزت م یت س یت سییمسنز سکیکمت سمی سمنیرت سمنیتر مسنیتر سرت سمین تسمنیت رسمیار مسنیتر سناریس یرسیمتر سنت یرمست یرمنس یمست یتس نیتسیمستی منسیت منزسی نمزت سینرسیمر نسی رنمس یرنمستبدمیسنتزمسنزتمسنتیرمنستیر منستی زمنسیت زنتسیمنزتسمنیزتمسنیتزمنسیت زمنسیت زمنستیزمنت یسمنزت سینز سیتمنستز نمسیتزمسنیتز

Problem statement: Decoration is an inseparable element of Islamic architecture. The use of vegetal motifs in the form of simple geometric or realistic patterns on tiles has always been a focal point for architects. Tilework with vegetal motifs in mosques has played a significant role as a tool for conveying religious and spiritual concepts in the Islamic world, establishing a human connection with the divine, and creating a spiritual atmosphere.Research objective: This study aims to conduct a comparative examination of the common cultural elements in the decorative patterns of blue mosques in Iran, Armenia, Afghanistan, and Turkey. The present study seeks to answer the question of how the examination of common cultural elements in the decorative patterns of blue mosques in Iran, Armenia, Afghanistan, and Turkey can be articulated through a comparative method.Research method: This study is done using a comparative approach and relies on library and field sources, as well as a method of analysis based on a comparative study of decorative patterns.Conclusion: The results indicate that there are significant similarities in the vegetal motifs of tiled decorations in blue mosques, which serve as signs and symbols of the cultural heritage of the four regions. These vegetal motifs are inspired by nature and are simplified and stylized in a geometric-vegetal form of decoration. The decorative vegetal motifs in the mosques of Yerevan and Iran exhibit more similarities, while the Blue Mosque in Turkey shows the influence of Ottoman-Byzantine art and culture. The Blue Mosque of Mazari Sharif incorporates vegetal motifs ranging from simple to intricate, drawing inspiration from the Blue Mosques of Tabriz and Turkey. The surrounding nature serves as a source of symbols that evoke meanings in the human mind, such as the tulip flower symbolizing resurrection, the clove representing power, the multi-petal flowers signifying abundance, the thistle leaf symbolizing vitality, and the pomegranate flower which is the symbol of immortality and fertility. Considering that mosque decorations are influenced by governmental tastes, religious beliefs, personal experiences, and climatic conditions, as well as the beliefs and traditions of the local people, the Blue Mosque of Tabriz has played a significant role as the primary and influential model for the other three blue mosques over time.

Tomb sites, due to the prominent construction features, execution methods and decorative elements, account for an important part of the Iranian architectural patterns in the Islamic period in the group of burial buildings. Regarding to the fundamental importance of these sites, from a scientific point of view, research in various dimensions of their formation and emergence and comprehensive study is of great importance. One of the most important structural issues of tomb sites is determining the exact date of construction and developments that have affected their structures over time. The complex of Sheikh Ahmad-e Jam, in the city of Torbat-e Jam, which was founded by the will or to advance the governmental and political goals of one of the Khorasan mystics in the fifth and sixth centuries AH, is among the magnificent works of Iranian architecture and one of the most valuable historical sites in Iran. This complex have reflected a full image of Iranian-Islamic art and over time, has been one of the major centers of mysticism and Sufism in eastern Iran and the land of Khorasan. Despite this position and importance, many architectural features and decorative arts in this complex are still unknown and neglected. Among the buildings in the complex of Sheikh Ahmad Jam’ s tomb, the dome chamber or solitary room (a place for worship), besides having a mystical and spiritual virtue for his children and grandchildren, one of the most important features of this building is the existence of a unique credential-narrative inscription of Al-Kart kings of Herat and a figure named "Gheymus" in it, and on the other hand, the focus of decorative patterns in the form of murals, inscriptions and paintings in various designs, has doubled the importance of the dome chamber of Jam’ s tomb. Therefore, the purpose of this study was to investigate and explain the architectural components and elements of this building by examining the concept and semantics of their array patterns. This research was conducted with the ultimate goal of obtaining answers to following questions. (1) Is the building of the dome chamber the same plain monastery of Sheikh Ahmad Jam, which was renovated by Sultan Sanjar after his death? (2) What justifies the existence of inscriptions and decorative elements in the interior space and their special concept and meaning? (3) Were the inscriptions and images written and drawn at the same period of time? However, in order to scientifically answer these questions, the research method and data collection of this study are based on documents and records, field studies and of laboratory tests and its approach is descriptive, comparative and interpretive analysis.