The history of the shrine of Imam Reza (AS), the most important attraction of religious tourism in Iran, dates back to more than ten centuries ago, which was decorated with various decorations during the Islamic states; and each section represents the art of architecture of the special era of Islamic art history. Characters and elders have been renovating and developing this scared place in every age. Allahverdi Khan, a brave warrior and military commander of Safavid era, paid special attention to the architecture of this era, and he has done a great deal to raise the culture and civilization of Iran; this can be emphasized by the culture and civilization of Iran; by looking at his remains in Esfahan (Si-o-se-pol), Shiraz (School of the Khan) And Mashhad (Dome of Allahverdi Khan). This magnificent building is one of the most beautiful buildings in the holy shrine that Arthur Pope, in the book of Iranian architecture, considers the most complete part of the shrine of Imam Reza (AS). The mosaic tiles of this porch are decorated with inscriptions, animal motifs, plant, and geometric designs. Many of these motifs are conceptualized, which have a particular place in the culture and literature of this boundary. In this regard, the present study was conducted using descriptive and content analysis based on field observations and library data. Among the 487 roles in 9 species of animals, each of which is a world with full of mysteries, the highest number motifs include the motif of the bird (chicken) and then there are, respectively, pheasant, parrot, peacock, duck, dragon, simurgh, deer and Chicken Bismillah. Research purposes: 1. to introduce the symbolic of the animal motifs in porch of Allahverdi Khan. 2. The study of symbolic concepts of animal motifs in the mentioned porch. Research Questions: 1. what are the types of animal motifs in porch of Allahverdi Khan? 2. What are the symbolic implications of this motif?

The target bridges in this study were constructed during the Safavid era in Isfahan city and are considered as one of the mos t important components of the urban structure; during history. They have shown various functions in addition to their role as a connecting route, which has varied from individual scale to collective spaces over time. This research study is trying to find out the architectural components affecting the public presence in these urban buildings, specifically in two bridges called, Allahverdi Khan (Si-o-se-pol) and Khajoo bridge in the contemporary era, to see if they would correspond the needs of today’ s urban residents. To get this aim, the qualitative research approach was adopted based on an interview framework. To answer the questions was arranged based on three functional, physical, and structural aspects of these bridges, and a significant result was achieved by applying qualitative content analysis. The architectural components influencing the public presence were included eight general components and sub-components. These items were either in line with or opposite to each other, including the social functions and the contemporary space of bridges, the bridges’ cultural and physical structure, the shaping context of the bridges and the memorability of them, the environmental psychology and the related aesthetics aspects. According to the content analysis outcomes, a functional review of the space of these bridges in the future can lead to the qualitative improvement of architecture and space of them.

The shrine of Imam Reza (AS) is considered to be the largest and the most important religious attraction in Iran, which we see throughout the history of Islam. The dynasties, personalities, and elders of each era have been refurbishing and developing this sacred place, to the extent that each section describes the art of architecture at a specific time in the history of Islamic art, including the elders and kings of the Safavid dynasty, the main reason being the recognition of the Shiite religion and the reverence and respect for the elders of this religion. The architecture of the Safavid era is a symbolic manifestation of a sublime truth, leading man from the multitude of the outside world to divine unity where one can feel the presence of God. The kings, artists, and architects of this period, with an emphasis on unity, sought to evoke divine unity in minds, creating a style known as the Isfahan style,the latest of the four Islamic architectural styles in Iran which is based on the simplicity of most designs. Allah Verdi Khan, a brave warrior and military commander of the Safavid era, has done a lot of work to promote the culture and civilization of Iran and paid special attention to the architecture of this era. This can be emphasized by looking at the works remaining from him in Isfahan (Si-o-se-Pol), Shiraz (Khan School) and Mashhad (Dome of Allahverdi Khan). The Dome is one of the most important mystical symbols. Its special form, which resembles the enameled Dome, represents the inclusion of all creation (by heaven). For this reason, the artist always imitates the Dome of heaven with large Domes in the mosques and provides the opportunity for spiritual worship to seek the blessings of divine power for believers. Dome of Allahverdi Khan, is one of the most beautiful buildings of the Astan Quds Razavi, which Arthur Pope, in the book of Iranian Architecture, considers to be the most complete part of the shrine of Imam Reza (AS). The mosaic tiles of this porch are decorated with the inscriptions and animal, plant, and geometric motifs. Many of these motifs include a concept that has a particular place in the culture and literature of this land. Since the use of peacock motif, as a decorative element, has reached its perfection in Safavid era architecture, and its use is observed in many buildings of this period, the main purpose of this paper is to study the motif of peacocks in the tiles of the above-mentioned porch. The questions are: 1-To which period most of the peacock motifs belong? 2-What is the position of this motif in the holy shrine in the Safavid era and the subsequent periods? The symbol of the peacock has cosmic, intrinsic and mythological meanings in the art and architecture of ancient and Islamic Iran. Therefore, its study as one of the most widely used animal motifs, considering the historical period, in order to grasp symbolic concepts and how to place this role and the type of attitude towards it in different periods is of importance and necessity. In this regard, the writing of this article is based on the historical-descriptive method and the use of library documents, as well as the gathering of material as a transcript, field observations, and photography of other peacock motifs on the tiles of the holy shrine of Razavi and Porch of Allahverdi Khan. Data analysis is also qualitative. In total, 132 peacock motifs from the three historical periods of the Safavids, Pahlavis and the Islamic Republic era have been studied, including 10 compositions in 17 tiled frames in the Porch of Allahverdi Khan and 6 compositions in 14 tile frames related to other parts of the shrine. Most of these motifs in the holy shrine are related to the Islamic Republic era (96), 26 to the Safavid period and 10 to the Pahlavi period. In terms of positioning, most of the peacock motifs are represented in a side view, 114 of which as guardians, while there are 18 motifs from the front view. Finally, after searching and discovering the deep meanings of this symbol, one can reach the semantic underlying layers and the reasons for its application. These tiles, consisting of physical form, layout and motif, are all intended to attain the highest order of existence, immortality and rebirth, to relate to the creator of life, blessings and fertility, as well as to pass through the temporal phase of the lowness and to connect to the highest eternal order. Repetition and symmetry also have existential and anti-mortal meanings, so there is no custom in which there is no repetition. The presence of these motifs, besides the quoted meanings, also induces these implicit meanings: unity in plurality, plurality in unity, plurality of eternity and infinity, power, spirituality, bottom-up connection, and earth to heaven.

Aims: In the Safavid era, due to the government’ s approach to the issue of collective life, as well as attention to the issue of national unity and the society unity, certain changes can be observed in the type and manner of social activities. Therefore, it is of paramount importance to investigate the impacts of the Safavid government on the formation of urban spaces. It is considered the process of turning the bridges built during this period, such as the Allahverdi Khan and Khajoo Bridges, into the context of group activities and the role of the government in it. Instruments & Methods: In this study, with the interpretive historical method, Safavid Travelogue to extract social activities has been studied. Then, by explaining the role of government in such activities, the causes of government agency in holding various social events are examined and the creation of Allah Verdi Khan and Khaju Bridges as a place of collective behavior of the people are then analyzed. Findings: Since the legitimacy of the Safavid government relies on the national unity, the public territory, as the sphere of communication of society, has become the scene of national and religious events, and the government has been responsible for establishing and forming many social events. Hence, spaces such as Naqsh-e Jahan Square, Chaharbagh Street, as well as Allah Verdi Khan and Khaju Bridges have been formed during this period. Conclusion: The urban bridges of Safavid era, i. e. Allah Verdi Khan and Khaju Bridges, have become the context of social activities of the people and the king, and instead of the mere function of a passage, they have formed a key collective space in the structure of Isfahan with their special architecture.

Objective and Background: In Isfahan, a new age in Iranian civilization began with the rise of the Safavid Dynasty. Economically strong and politically stable, this period saw a flourishing growth in many social events, engendering new viewpoints in developing social issues. Traditional architecture evolved, leaving its impact on many new realization plans. New master plans were elaborated regarding what could be understood as progressive urban planning in consideration of town expansion. With important social concerns, the appearance of new patterns based on geometrical networks in the development of cities organized the open urban spaces, taking into account all the natural elements. The social life of the society has been following these developments and has emerged at different levels of the city. During this period, a major linking avenue, known as Chahar Bagh Avenue, and a public square known as Naqsh-e Jahan, and the Bazaar created the possibility of social life in the city. Due to the particular geographical position of the Safavids’ capital, known as Isfahan, the river context has provided a situation to reflect the effects of these activities on the bridge structure. Chahar Bagh Avenue created the town’ s main fusion and viewpoints towards Zayandeh Rud River and bridges such as Allahverdi Khan, Khaju; hence, creating greater social accessibility to different quarters and communities. Each bridge coincides with a straight avenue running through the city from north to south. Bridges had two functional purposes, to link the town’ s two parts, to function as a dam. But mostly, due to the progressive social views, they were to create places of encounter, rest, and gathering for the people. Therefore, the bridge was conceived as an urban living space inherent to the town itself with different layers of rest, commerce, and use, as well as benefiting from the agreement of Zayandeh Rud River. The Safavid bridges of Isfahan are an important part of the urban structure in this city. This study seeks to explain the components which shaped these building as a collective space in the contemporary era. In this article, the qualitative research method has been used for data collection, and data were analyzed through qualitative content analysis. This method aims at the collection and a broad description of a phenomenon, and the achievement of this analysis is the concepts or descriptive classes of a phenomenon. The data of this research has been collected through oral interviews. The original codes were extracted from the text of the interview and then classified. The method of data analysis is content analysis with a deductive approach. The units of meaning were selected from the text in the form of paragraphs and statements, and the primary codes were extracted. Finally, the main classes (categories) were extracted. Methods: Throughout history, rulers and designers have always paid special attention to the design and construction of bridges. The difference between the bridges in Iran is caused by the geographical conditions of the area and the need for water storage, which has caused many original bridges to be constructed in the form of a bridge and a dam simultaneously. The construction of urban bridges in Isfahan during the Safavid era is a major milestone in the history of bridge construction in Iran. The Safavid era should be considered the golden age of bridge design and construction, especially the innercity bridges. Khaju and Allahverdi Khan Bridges are the most famous bridges that always took people’ s attention because of their memorable roles in Isfahan’ se structure and urban society. The special point in shaping Khaju and Allahverdi Khan Bridges is the attention to urban and recreational functions along with the function of passage. These bridges are considered urban elements in the landscape of Isfahan city due to their various functions and their essential role in the city structure. Findings: Architecture shapes a part of the culture in each society, and the formation of culture in each community is approximately dependent on architecture. It is a need that requires paying more attention to consider and review the context of forming these bridges. Memorability is a part of the perceptual sense of architecture acceptance. Citizens consider the sense of nostalgia in these buildings as a very influential factor in their presence. This memorability impacts the formation of their individual and social identity. In a city like Isfahan, where urban spaces act as urban signs, bridges are considered a part of the city identity because of their historical character. Their identity role becomes more effective as a result of being located in the city and playing the contemporary and functional role. Obviously, the presence of Isfahan residents on these bridges significantly affects their psychological and environmental perception. It can be said that environmental psychology is an influential component for presence in these places. The components, such as the visual and perceptual sense of materials and their influence on the user, create a sense of place attachment. Natural river context influences the user, in the perspective of influencing phenomenological senses. Also, the structure of bridges in interaction with the river context leads to the creation of phenomenological senses. As in Khaju Bridge, the creation of water sound is one of the elements considered by the interviewees as an inseparable part of the bridges. Conclusion: As stated, the codes extracted from interviews were classified into 12 general categories. The main categories of this study refer to the subjects influencing social acceptance of the bridges. These categories can be mentioned as: aesthetics dimension, psychology and environmental perceptions, the components affected by memorable sense, the impact of natural river context, on how to welcome the building, visual and perceptual impact of materials, interaction between different functions and bridge architecture. It can be said that the compiled components cannot be introduced separately; they influence each other or have two-sided interactions, in addition to the conducted categorization. All components extracted in the contemporary period greatly influence the creation of functional public space in the urban structure of Isfahan. The oldness and nostalgia of the bridges have created a quality that can act as architectural units with urban performance as the function is reviewed in the contemporary period. An analysis of these components also stated that functional review on the space of these bridges in terms of their architectural components in attracting society provides an efficient approach to creating contemporary public spaces.

Imam Qoli Khan, a powerful ruler of Fars and prominent figure of the Safavid era, was murdered by Shah Safi (1628-1642) in 1632. Consequently, the decline of Allahverdi Khan’s family was the important event during the reign of this shah, which will be assessed from different point of views. This homicide, and similar incidents during the time of Shah Safi caused the European travelers at that time to drawing atrocious face for Shah Safi as well as latter researchers. This paper, firstly, endeavors to analyze this issue based on the reports of historians while considering the views of contemporary scholars.  Next, it will also examine the political and military situations of Imam Qoli Khan in the Safavid state, its causes and motives of his murder and its consequences.

BACKGROUND AND OBJECTIVES: Morteza Gholi Khan is one of the governmental, literary and cultural figures of the Safavid era, and since he is one of the pioneers and leaders of calligraphy, more attention has been paid to his calligraphy and his biography and works are not mentioned in the history books of literature. Morteza Gholi Khan has two poetry collections in Persian and Turkish. He himself has stated that the number of verses of his divan is about twenty thousand verses. In this research, we intend to determine his literary position by examining his poetry style. METHODOLOGY: In the present article, based on library studies and descriptive-analytical method, the stylistic features of Morteza Gholi Khan Khan Shamloo Persian poems have been studied and analyzed. FINDINGS: There are often common themes in the Indian style in the poetry of Morteza Gholi Khan. Since he has written the poems of his former and contemporary poets, the influence of the poetry of poets such as Khaghani, Nezami, Sa’ adi, Rumi, Hafez, Babafaghani, Mullah Mohsen Feyz Kashani, etc. is evident in his poetry. CONCLUSION: The language of most of Morteza Gholi Khan's poems is inclusive, simple and far from poetic. He himself says that in Ghazal he follows the style of Saeb Tabrizi, but in some cases his poems prove that he paid special attention to the poetry of people like Bidel Dehlavi and Kaleem Kashani. However, there are all elements of Indian style in Morteza GholiKhan's poetry, but what distinguishes his poetry from the poetry of his contemporaries is the use of terms and expressions related to calligraphy and calligraphy, which sometimes in simple and sometimes complex language are the basis of his poetic fantasies. Has been.

The Dome is a form that has a great impact on the formation of architectural forms and landscapes in Iranian cities. Architects and researchers have always been concerned with the methods of Dome construction, recognizing its types, studying the performance of the instrument, drawing methods, and its execution methods. Among the valuable historical context of Kashan, the Grand Mosque is one of the oldest surviving buildings in the heart of the ages, which unfortunately has been abandoned and except for limited studies, it has not been addressed and its registered documents have serious shortcomings and mistakes. In this article, in addition to a general knowledge of the mosque and a summary of its evolution, its Dome has been paid special attention. It is one of the few standing buildings after the devastating earthquakes in the region. In the structure of the Dome of the mosque, there are initiatives that cause differences with other similar Domes and this shows the need to study and document it. Most of the research that has been done about this mosque has been in the field of archeology and about the altars, decorations and pottery kilns (located in the nave) and so far the architectural aspects and construction techniques have not been studied. Therefore, the purpose of this research is to pay attention to the historical background of the mosque and accurate documentation of various elements and decorations used in the Dome, the method of construction of each component and structural form of the Dome. To achieve this goal, an important part of the research data has been obtained through attending the Kashan Grand Mosque and field survey of the Dome, and library and oral resources have been used to control the field findings and know the course of construction and techniques used. Is. The main strategy of this research is descriptive-analytical and interpretive-historical. One of the findings of this article is the accurate identification of the components and how the bricks and poppies are arranged in this Dome. The result of the research shows that the form of the Dome is in the form of two discrete shells which are made using the technique of whip and chain and moving template, respectively, internal and external Dome and the shape of the inner Dome arch is hung close to the string curve. Also, the analysis of the decoration of the Dome of the house shows that the porch and the altar are decorated with an original and unique example of use and Mogharnas. Due to the artistic skills and decorations of the Timurid era, no complex decorations have been used in this building and most of the surfaces have been decorated in the simplest way, which indicates the haste in the reconstruction and the subsequent decline of the mosque. Comparing the mosque with three Domes of the same period and approximately the same area shows that the construction of all four Domes has common features and differences that these differences can be seen in the executive details as well as in the decorations.

This piece of research aims at answering two questions. First, what were the reasons and objectives behind Davoud Khan"s rebellion, the son of Allahverdi Khan, a member of a noble family with political and military credit within Safavid government? Second, what was the outcome of this rebellion and why did it happen?This rebellion which was of the sorts happening among the elite for gaining political power occurred in 1042 H., during the era of Shah Safi, the successor of Shah Abbas I, whose rule is regarded as the beginning of the second political period of the Safavid.Recognizing that different movements during the era of the Safavid had their roots in the history, religious approaches, political situations and socio-economic changes in Safavid government, we can not overlook the role of Shah Safi"s rough method of dealing with government affairs and his diability in establishing a balance between the elite of Shah Abbas"s era and the supporters of the new government that increased the compelition among them. However, Davoud Khan"s personal incentives and his desire for power are other motives behind the rebellion.In this paper, the reasons for Davoud Khan"s rebellion and his moves, Shah Safi"s policy against him, and finally the causes of his defeat and its outcome are investigated and analyzed.

(His Personal dispositions and his vindictiveness’s, and his order to marrying Karim Khan’s daughter with a Driver of beasts of burden.Aga Mohammad Khan’s aunt was Karim Khan’s wife. This wife of Karim Khan (Aga mohammad’ssister was eager that Aga Mohammad Khan’s sister, to be married with Karim Khan’s son. But Karim Khan’s daughter opposed this marriage.When Aga Mohammad Khan rose to the Throne, he summoned Karim Khan’s daughter and fold her. “It was you who opposed my sister’s marriage with your brother. “ Then he ordered Karim Khan’s daughter to be married with a Driver of beasts of burden called Baba Fazel Gazvini.