One of the Qajar-era woodworker-artists from the Kashan region, about whom little is known, is Safar Ali Bidgoli. This article introduces eight of his woodworking pieces, some of which had not been previously identified. These Works include three double-leaf Wooden doors from the shrines of Shahzadeh Mohammad in Nushabad, the Jameh Mosque of Abyaneh, and Bibi Shah Zeynab in Yazdel,four pulpits located in the Chahar-Suq Hosseiniyeh of Aran, Tuydeh Hosseiniyeh in Nushabad, the Jameh Mosque of Abyaneh, and the Khanqah Hosseiniyeh in Bidgol,and one royal Qur’an stand (rahl). These Works were created over fifty years, from 1267 to 1317 AH (circa 1850–1900 AD). This study aims to identify Safar Ali's Works and to provide a preliminary understanding of his life. Therefore, the central questions pursued are: Who was Safar Ali? What Works of his have survived? Moreover, what artistic and thematic features do these Works possess? The research data were primarily collected through fieldwork and subsequently described and analyzed using historical sources. Safar Ali is an artist responsible for the most extensive body of woodwork from the late Qajar period, including some of the last distinguished religious woodcarvings in the Kashan region. The style of most of his Works—an innovative continuation of his contemporaries' approach—involved woodcarving geometric patterns centered on sunburst motifs, interspersed with floral spike designs. His pieces are artistically significant and, in terms of content, include the names of the artist and donors, dates, and religious concepts—especially Shia beliefs—expressed through Arabic inscriptions and Persian poetry. A carved door panel in the Jameh Mosque of Nushabad also remains as a testament to Mahmoud, the son of Safar Ali, who collaborated with his father on some woodworking projects.

Problem statement: The present study attempts to examine the effect of Russian Wooden house architecture on Gomishan’, s Wooden houses. To this end, the forms of Wooden houses of Turkmens in Gomishan and their Russian counterparts were examined from different perspectives such as materials, building style, physical features, aesthetic elements, and visual elements. Research objectives: The significance of this study lies in defining the relationship between the cultural characteristics of Turkmen tribes and those of Russian Tribes with whom they used to interact. The main question of this research is what relationship exists between Wooden houses in Russia and those in Gomishan. Theoretical findings of the current study highlight the interdependency of tribes’,architecture and the role of culture and cultural interactions in the formation of houses and their various parts in different tribes in the past. Research method: This study adopted a descriptive-analytical method based on a comparative research approach. Data were collected through the library method and field observations. The social and cultural principles of Turkmen tribes were compared with Russian traditional tribes. Then, similar elements and attributes between them were identified. Moreover, the effects of the extracted attributes on Gomishan’, s Turkmen houses were investigated. The architectural culture of Russian Wooden is considered the independent variable of the study while the architecture of Gomishan’, s Wooden homes is regarded as a dependent variable. Conclusion: The results of this study indicate that Russian Wooden houses have influenced the architecture of Gomishan’, s Wooden houses, spatial allocations, faç, ade, and aesthetic elements as well as building tools and methods. This effect is rooted in the interactions between their cultural and social thoughts and beliefs. It is concluded that the cultural, local, and climatic elements of Turkmen tribes have been merged with the cultural and local attributes of Russia. This has resulted in a special type of architecture that is compatible with their cultural characteristics from many aspects.

Statement of the problem: Handicrafts are particularly important in terms of symbolic meaning they convey. This symbolic meaning, however, is in turn rooted in their authenticity. In the present study, first the criteria for measuring authenticity of handicrafts are addressed and then the extent to which these criteria, as set by the World Craft Council, have been respected in the Wooden Works of Abdol-Rahim Foroutan is examined. Foroutan is an artist craftsman in Dezful who makes Wooden Works by woodturning and is the holder of World Crafts Council Award of Excellence for Handicrafts. The main questions of the study include 1) what are the criteria of authenticity for handicrafts as set forth by the World Crafts Council? and 2) to what extent such criteria have been respected in Foroutan’ s Works? Hypothesis: This study is to inform handicraft makers and all those who are interested in handicrafts of such criteria set forth by the World Craft Council so that they are encouraged to raise the authenticity of their Works. The final result is expected to remain the special place of handicrafts and the economic benefit is created for the handicraft makers. Research objective: This study is qualitative in nature and has been conducted comparatively. First, the criteria for measuring authenticity of a handicraft, set forth by the World Craft Council, have been addressed and then the extent to which the intended criteria have been satisfied in the Works of artist Foroutan has been examined. Then, the results were analyzed descriptively. The data were gathered from library sources, accredited databases as well as field studies. Results: The results indicated that nearly all criteria set forth by the World Craft Council for an authentic handicraft have been present in Foroutan’ s Works. These criteria included respecting copyright, originality of the initial concept, social rights (such as commitment to considering the workers’ rights by the employer and working safety), training the volunteers to learn the art of woodturning, high quality of the materials used, taking into account cultural identity and aesthetic concerns, respecting environmental concerns (for example using one-piece wood without using chemicals like wood adhesive and the likes), management of waste, creating competitive potential in international markets (marketing) and planting Indian rosewood trees in the region.

Wooden capitals in Wooden mosques are important elements of this type of architecture and are indicative of the artistic taste and cultural heritage of the artist or architect who created them. There are notable examples of such Works in northwest Iran, on which limited studies have been conducted to date, indicating the necessity for comprehensive research to their introduction. The aim of this research is to conduct an applied study and investigate the vertical Wooden capitals of East Azerbaijan, focusing on the examination and analysis of selected samples from an artistic and technical perspective. This involves the dissection and analysis of the components that make up the studied capitals, including complete elements, shapes, compositions, connections, and construction techniques. The research method used is descriptive-analytical, which delves into the form, geometric characteristics, construction process, and constituent elements of the capitals and compares and contrasts the components of capitals in historical and Wooden mosques selected for analysis. Due to the compatibility and durability of wood in the climatic conditions of East Azerbaijan province, its use as a prominent element in architecture has been welcomed by a segment of artists and architects in Azerbaijan, especially in regions such as Bonab, Ajabshir, and Maragheh. The delicacy and workability of wood have led to the creation of exquisite capitals with sometimes differing geometries, and while these capitals may appear similar at first glance, the analysis shows that there are differences in terms of geometry, formal details, and constituent elements among them. It is worth noting that these differences do not seem to be visible in the construction technique of the analyzed samples, suggesting that the construction process in these cases has been similar, possibly influenced by artists inspiring each other in creating these Works.

A methodology is presented to estimate the post- construction reliability of Wooden floor subjected to human- induced vibrations. The serviceability limit state requirements of Eurocode- 5 (EC- 5) are the basis for the design conditioned on predefined reliability indices. The influence of variability of material and geometrical properties as well as of the impulse unit load on the reliability of the initial design is taken into consideration. Sets containing admissible design values for the relevant design variable are derived and displayed graphically for instant application.

Mosque is the prayer site of Muslims and their gathering place in all around the world. Mosques are as old as the history of Islam, since coincided with the prophet entering the Medina; the first mosque was founded by him. Thus, mosques are of the obvious evidences of Islamic community. The role played by mosques in different realms of Islamic society, has resulted in the development of Islamic culture and civilization.However, the impact of culture and environmental conditions of each community on its architecture shouldn’t be ignored. So, the mosques with Wooden structures are also of those architectural elements which have been made under special climatic conditions. The Wooden mosques of Eastern Azarbaijan as well as Abyaneh Jame’ Mosque are among the Wooden mosques which had inspired Safavid architecture particularly in Isfahan. Architectural elements of Abyaneh Jame’ Mosque and those of Eastern Azarbaijan mosques are categorized in to three groups: merely structural, purely decorative and structural-decorative.The structural elements of the mosques including main and small timbers, Wooden columns and Wooden ceiling are the same in both groups, but in some cases such as the bins in Azerbaijani mosques and absence of them in Mosque of Abyaneh or the Wooden frames in the ceiling of Abyaneh Mosque instead of the narrow timbers called Purdue used in the mosques of Eastern Azarbaijan can be considered as distinguishing aspects. Of course, the Purdue in the ceiling of Abyaneh Mosque are used to fill the empty spaces instead of the Wooden frames. The research method is analytic-descriptive and the data collection is done through filed and library study.Objectives:1- To Introduce the Wooden ornaments of Abyaneh Jame’ Mosque and those of the Wooden mosques of East Azarbaijan 2- To make a comparison between the Wooden ornaments of Abyaneh Jame’ Mosque and those of the Wooden mosques in East AzarbaijanQuestions:1- What are the similarities and differences between the elements of Abyaneh Wooden mosques and those of the Eastern Azerbaijani mosques?2- What elements have been applied in the decorations of Abyaneh Jame’ Mosque and in those of Eastern Azerbaijani ones?