NEGAREH
Year:2020 | Volume:15 | Issue:54|Papers Count:8

The art of illumination and ornamentation of Qur’ an manuscripts is evidently influenced by Manichean book art. According to the results of the latest studies, the first time that the ornaments, images and generally beauty of books mattered in history of Iran (and probably history of the world) was in Manichean religious texts, thus naturally the influences of this innovative technique lasted in subsequent eras. Following the advent of Islam in Iran (7th century AD), many of these acquirements were utilized for its art of adorning books, especially for writing the holy Qur’ an. The manner of proving and representing the mentioned influences is the main core of the current article. Usually, finding roots and origins is an interesting and, at the same time, difficult issue, which includes seeking and finding the roots of different ideas or arts. One of the most critical challenges in this research and other studies in ancient subjects is that because of the antiquity of the time and the topic, it is almost impossible to provide any theory with certainty; although much effort has been made to base the content on valid documents and certain assumptions. Some of the images in the article are taken by the author and some of them are received from available sources. It was intended to provide a detailed view of the process of influence of Manichean art book on handwritten Qur’ ans in the early centuries of Islam while categorizing the impresses. Current study can lead researchers to more extensive investigations in similar fields. The art of the Muslim artists had been mainly focused on calligraphy and inscriptions. One of the reasons which can explain the popularity of calligraphy as well as illumination is the restrictions that would not allow some of the other types of art. The ornamentations and illuminations in the Islamic-era manuscripts, including the holy Qur’ an, had been very basic during the first centuries, but gradually developed into more complex and varied shapes and motifs. On the whole, this development may be categorized in two general epochs of the earlier basic works and the later more complicated ones. The focus in this paper is bestowed upon the earlier more basic Qur’ ans. The characteristics of the book art are different in each era: it is uncomplicated and more basic in the 4th century, consistent in the 5th and 6th centuries, profound and splendid in the 8th century, and detailed and luxurious in the 9th and 10th centuries. However the art which was employed by Manicheans in the mid-3rd century AD, to adorn their religious books, was taken by Muslim artists about four centuries later. Even some researchers believe that following the decimation of Manichean communities, a considerable number of their artists had been appointed by Muslim rulers to produce and create artworks in their own styles at their workshops. Continuation of the Manichean art is thus evident in the Ghaznavid and Seljuk eras, as well as in the art of the Mughals, until its peak and zenith in the Ilkhanid era. The artistic style of the Ilkhanid-era miniatures is clearly reminiscent of the detailed quality and characteristics of the Manichean art. This kind of art, turned into one of the most important Islamic arts, or in other words, the most significant Islamic art, for reasons mentioned in the article. The main purpose of the given topics, images and analysis is to find out: 1. if the Manichean book art had a recognizable effect on Islamic art book, and 2. if so, how can we describe and classify different types of these effects of the Manichean book art on the Islamic book art? At the end we try to explain the mentioned influences that can be divided into several principal categories. In this paper, after introducing a brief, but important background for the discussed beliefs and arts, we represent the central subject and conclusion. To gain a deeper understanding of works of art (especially the religious ones) it is essential to know the beliefs behind them, so it is recommended for interested readers to study about the thoughts and philosophies of the two mentioned religions of Manichaeism and Islam. As examples of the discussed influences (of Manichean book art on book art of Qur’ ans in early centuries of Islam) we can point out the following elements: using the blue background, gilding books, favoring oblong letters in writing the texts, adorning headings, and utilizing punctuations or very little decorations in lines. By studying the above mentioned elements in detail, it is possible to comprehend these influences. This study can be an introduction to later investigations on impressions of religious arts on each other in different lands and eras.

After many years of absence of Shiite topics in Iranian painting, Mahmoud Farshchian experienced them in his works. Farshchian, as one of the most famous painters of contemporary period, built a new experience in creating painting with Shiite topics which was welcomed by the public and affected some of the Iranian painters. As “ topic” is one of the important aspects of Iranian painting (Negargari), we considered topic, themes and the visual techniques of the artist as the main issues of this article. The aim of this study is to understand and explain the innovations of the artist in representation of Shiite topics and to provide the contemporary painters and researchers with a self-awareness regarding this aspect of Farshchian’ s painting. To address the problem, we need to pose such questions as: what are the topics and themes used by Farshchian? why has he used such themes and how has he represented them or through what techniques he created his works? To answer these questions using an explanatory-analytic method for analysis, many data was gathered through studying and interviewing some painters and professors. The written sources, books and articles include data on biography, education, aspects of his style and his innovations in contemporary Iranian painting. Farshchian who was born in a religious family and trained under a Shiite system of ceremonies such as pilgrimage, mourning and resorting, has deeply affected and founded a Shiite aesthetics of his own. Like his family, especially his mother, he has gained his most effective educational experience in Mirza Emami workshop. Trained by Mirza, Farshchian gradually achieved a vision toward art; a vision which identifies art in relation to theosophy. These two factors have deeply led him to represent Shiite topics with especial characteristics of his own. Moreover, his other masters like Issa Bahadori, and his trips to European countries to study the masterpieces of art in museums have also been influential. Our study and analysis based on data extracted from sources, clarified that the approach he chose and his inclination towards Shiite topics are related to theosophical understanding of art and social condition in which he created his works. Shiite paintings in past schools of Iranian painting like the Ilkhanid, the Timurid and the Safavid schools, were made to identify and defend the Shiite beliefs which were gradually being welcomed by rulers and the public. After many years of absence concluding the Qajar period and the first Pahlavid era in contemporary time, Farshchian has connected Shiite topics to painting. In this connection, the artist has created a new visual identity for Shiite beliefs and topics in harmony to people and the needs of contemporary world to meaning and spirituality. So he has represented Shiite topics with a cultural approach to manifest Shiite collective feelings and meanings concentrated on Imams, because Shiite art cannot be imagined without Imams. On the other hand, based on a theosophical approach, the painter has focused on an empathetic and conceptual representation of Shiite topics about Imams and their status rather than a physical and narrative one. In this approach, Farshchian has put his stress on meaning and feelings. According to this approach, the artist has formed his Shiite themes in two sorts: firstly, themes regarding meanings related to Imams such as birth, martyrdom, asylum, pleading, guardianship, helplessness, orphanage and final coming of Mahdi, and secondly, themes referring to placement of Imam in this world and the world after death, like mediation, substitution, holiness, etc. These topics and themes have been managed through special visual techniques. So, in the realm of form making and visual techniques, Farshchian has used three kinds of composition in harmony with the themes: concentrative, triangular and vertical. These compositions have enabled him to choose and combine visual elements in a significant form. In addition to composition, the artist has applied visual techniques to form the themes of his own. He has reduced decorative elements to let the viewers seek the meaning, he has also used curved and nonfigurative lines to protect the figures and things from materiality. He has handled the colors in a significant way and emptied the space to reduce the physicality of the space as well as emphasizing on meaning and emotions. The way artist has used colors such as white and green is highly in accordance with Shiite beliefs and ceremonies. Such process of creation, helps the Shiite community to unify around Imam which is the core concept of Shiite identity. This function of Shiite works of Farshchian is achieved through the way his works are used and displayed. The museum in which the works are kept is in holly shrine of Imam Reza. Some of his works are used widely in illustration for religious activities.

Art of wood working is one of the most important and beautiful arts of Islamic period. Artists of this era have created some of the most refined and precise ornaments on the rude surfaces of wooden artifacts. Because these artifacts are exactly a part of Islamic art, one can see influences of this culture on them. Unfortunately despite its importance, we do not have more samples of this wooden art in Islamic period. Because of their potentially destructible nature, these artifacts are rarely preserved during the time. Though, because wood is inexpensive and abundant, it is plausible to assume wooden artifacts are one of common artifacts in the history of past humans. One of these groups of Islamic arts is pulpits. Beside formal and decorative features, because pulpits at the same time have some socialpolitical roles in Islamic world, these artworks have a prominent position in comparison with other Islamic artworks. For example some of Islamic sources mentioned that some of kings carried their pulpits whenever they traveled. History of these artworks goes back to the early decades of Islamic period. Thanks to Islamic sources, there is some information about structure of the first pulpits in Islamic period. Interestingly, structure of Islamic pulpits did not change much in this period. There are plenty of Islamic sources that let us know about this group of Islamic arts; from the first pulpits, their features and political-social roles to their religious and cultural importance. Pulpit of Naghoosan is exactly a true representation of wood art in Islamic era. This pulpit has been found by authors in a mosque warehouse in Naghoosan village in the Tafresh County, in a dreadfully badly preserved situation. This pulpit is damaged with cracks and even some parts of it have recently been burnt. It is really necessary to say that thanks to Markazi Heritage Organization, the preservation process of this pulpit is being carried out right now. Naghoosan pulpit has been made of walnut and celtis australis woods. These trees still exist in Naghoosan village which make one think that Naghoosan pulpit was built in this area with some woods from these trees. Creation technique of this pulpit is tongue and groove with use of glue and nail. The main frame of this pulpit is fretwork and pierced work which is common in most of Islamic pulpits. On the surface of this pulpit, some ornaments, as well as Kufic and Naskh calligraphic scripts of Quranic verses, some information about name of the patron and date of pulpit are carved. Naghoosan pulpit, thanks to its inscription, is dated 540 AH which makes it one of the oldest pulpits in the history of Iran. Since this pulpit has a great value in history of Islamic wood studies, this study aimed to investigate this pulpit in terms of some of its aspects. Firstly, it has been tried to introduce this pulpit as one of the most important and the oldest pulpit in Islamic world. Secondly, it is attempted to show some features of that from formal and decorative points of view. This study compares Naghoosan pulpit to its contemporary pulpits in the Seljuk period as well. The research questions are as follows: What is the feature of Naghoosn pulpit from formal and decorative points of view? To what extent is this pulpit influenced by the Pre-Islamic art of Iran? What are the similarities and differences between the Naghoosan pulpit and other Seljuk pulpits in terms of forms and decorations? What is its significance and status in the Islamic-era wood art in Iran? These questions have been answered to in this paper using a descriptive-analytical method. The data was collected using library and field research methods. The results indicate that the Naghoosan pulpit dates back to the Seljuk period (540 AH) which is the second oldest pulpit in the Islamic-era history of Iran after the Abyaneh pulpit. Besides, decorations of this pulpit reflect the influence of Sassanid art in the Seljuk period. However, despite some differences in decorations, Naghoosan pulpit has some common features with Seljuk pulpits in terms of structural forms. As it was mentioned, this pulpit has been found in a dreadfully bad situation. It is plausible to think this pulpit could potentially indicate more, had it been preserved in a good situation. Though thanks to these cracked remains of Naghoosan pulpit, here is more information about wooden arts and pulpits in Islamic period and the Seljuk dynasty. Based on the date and features of this cracked pulpit, this artwork is considered as one of the masterpieces of wood arts in Islamic world and the Seljuk period in Iran. It is hoped that after preservation and registration on national monuments’ list, this pulpit would gain its true position among wooden artifacts of Islamic world and the Seljuk dynasty.

Throughout the history, the development of carpet designs, especially rug patterns, have been influenced by political, social, and cultural factors. These variables have played a decisive role in the aesthetic and the transformation of Persian city-woven rugs. Thus, dealing with techniques and materials, artists had to be faced simultaneously with their patrons’ ideologies and aesthetic agreements. Early Islamic documents show an enthusiasm of Arab governments to revive the glory of their precedent empires. Umayyad Caliphs imitated Byzantines, and Abbasids adopted the Persian Sassanid culture by the means of their arts and crafts. The latter proved to be dominant in Islamic territories, accepting and strengthening the presence of the eastern Turkic tribes in martial and administrative affairs. The climax of the Turkic presence in Persia occurred under Seljuk rule, during which the decorative elements became more flexible and Turkic taste merged with preIslamic Iranian aesthetics, making changes in ‘ Islamic arts’ , including carpet designs. The clues from the 4th to the 9th centuries AH (11th to 16th AD) show an interrupt in the way the Sassanid and early Islamic carpets were patterned. The replaced style shared the patterns and designs (and probably the structure) with Anatolian manner of weave, on the basis of comparison between pieces discovered at the beginning of the 20th century by J. H. Loytved-Hardegg and F. R. Martin in Konya and the rugs depicted in Persian miniature paintings from the 8th and the 9th centuries AH (15th and 16thAD). Islamic beliefs have ultimately been fixed and new tools and materials, brought by coming Turkic tribes, played major roles, but chiefly the change of patronage led to the transition. The Turkic peace style, maintaining the common style of the steppes, homeland to Turk ancestors, lasted throughout the Mongol Ilkhanid and Timurid Dynasties, therefore called TurkicMongolian style. This common style has simple basis in patterns, including rectilinear and semirectilinear repeats with limited diversity in basic forms: endless knots, multi-pointed stars, crosses, geometric shapes such as octagons, hexagons and pentagons, hooked lozenges and Kufic-like script, used chiefly in rugs’ margins. Prevalent from Central Asia to Anatolia, the Turkic-Mongolian style appears to be dominant in Persia till the 9th century AH. However, there is no preserved Persian rug remained from the beginning of the Islamic era to the rise of the Safavid Dynasty (7th -16th centuries AD) to be used to identify the long period, s patterns and designs. Hence, available sources representing rug designs are miniatures and written texts as histories and travelogues which are always under discussion. In former researches, more focus has been placed on motifs and patterns and less on the transition of designs. This paper is to investigate the process of changing the structure (form) of Persian rug designs from the second half of the 9th century to the early part of the 10th century AH (16th and 17th AD). The significance of this period is that from this date, Persian rug designs separate little by little from the Turkish-Mongol rectilinear repeats, turning into half and quarter designs with intricate curvilinear patterns. So the main questions of this article are: 1. how did the most important changes happen in Persian rug designs from the middle of the 9th to the beginning of the 10th century AH? 2. Who played the main roles in the Persian rug designs, developments from the middle of the 9th century to the beginning of the 10th century AH? This is a documentary research and its method is descriptive and analytical. The statistical population is the miniatures painted in Iran between 849 and 920 AH (circa 1447-1518 AD) in which samples of Persian rugs have been depicted, historical texts (history books and travelogues) have also been used as references. The method of analysis is qualitative. Sometimes in the classification of carpet designs, historical variables and the gradual process of transformation have not been taken into account. This is more evident in pre-Safavid carpets from which no actual example is in hand. The events of this nearly 70-year period (beginning with the death of Shah Rukh in 1447) ultimately founded the royal style of the Safavid rug workshops. Despite its vital importance, the mentioned period has not been studied thoroughly yet. The research results indicate that during this period of time, Persian rug designing was released from Turkish-Mongol rectilinear repeating patterns, and, the design structure was changed into half and quarter forms. The changes started in Herat, and then spread to Shiraz and Tabriz. Based on the available evidences, great masters, Kamal al-Din Behzad and Farhad, played major roles in this restyle.

The goal of the present research is to propose step by step models of knot design based on the most important principle of knot design (generative) within the realm of Islamic Iranian architectural tradition. In the present study, in addition to introducing the common methods to design knots, the knot designing based on grinding (generative) has been analyzed. Our emphasis is on the importance of knot designing method based on the principle introduced, and thus it is emphasized that unlike the existence of written documents and works remaining from traditional Islamic architecture, some efforts have been carried out by a group of western researchers to recreate the initiative knot designing methods. As it has been proposed by some researchers regarding the Iranian origin of the knot generation, and also the emphasis on logical and mystic principles in knot designing fundamentals, the most important method in designing and generating knots refers to knot crushing in Iranian architectural tradition which has been documented by many scholars and contemporary traditionalists as the basis for knot designing. The basic point in the present study is to propose a knot designing method based on generation principles and the generation of knot regarding the background knots. This method, known as the most important characteristic of drawing and designing knots in traditional arts, is based on the fact that if one of the ‘ slow’ (acute) knots is drawn using one of radius construction infrastructure networks or polygons, and then the constituents of the designed knot are first made ‘ fast’ (obtuse), then made ‘ slow’ and subsequently made ‘ fast’ again to the extent that it can reach a knot background with all possible states called “ knot in knot” , the knot generation method is achieved through this trend. In this method the main hypothesis is that: if a knot is generated based on a crushing (generative) principle, it is not out of the constituents known as the models mentioned above. In other words, the present study is based on general knot designing principles, presupposing the lack of the existence of constituents other than the ones mentioned above in drawing knots, using crushing or generative method which is described above. Accordingly, in the present research we try to first introduce and design the knots through its constituents and show frequent and consecutive generation methods of the knots through the background knots. Thus, the present research has been carried out using a descriptive, analytic, and comparative methods as well as library research method. This study was based on the question that what are the rules, characteristics and geometrical language of generation regarding knot grinding? How have knot states been achieved using grinding method and how have generative knot tools been created? How have knots’ permanence and connectivity been practiced in using grinding method? Accordingly, and to respond the questions above, step by step knot generations have been carried out. This study is based on the main hypothesis that there are not any external constituents in generating the knots. Therefore, to test the hypothesis, first the step by step design of knot generation has been represented, and then the principles and foundations of knot crushing have been utilized to prove that there are not any external constituents for the knots in the present research. Thus, to achieve better results, one of the most complicated, complete, and functional methods of knot designing and rectangular knots, called the slow knot of ‘ Sormeh dan-e-Chahar-Shamseh’ was utilized to do the tests within ‘ knot generating’ due to the fact that it entails all ‘ slow’ knot constituents and it has been carried out using step by step generations in 5 stages. The results approved the research hypothesis as well as the emergence of all knot constituents in step by step generations of the knots, and that there are not any other external constituents considering what is known as the background knot. To test the hypotheses above, 5 step by step and gradual designing stages were carried out, through which 4 stages are related to knot generation through grinding and generation. During all stages, the generative principle hypotheses including lack of external tools and the completion of knot tools in the presence of the repeated knot units were approved. Also, some other advantages of designing and developing knots using grinding and emphasizing on generation principles are the continuous relations and observation of a permanent relationship between the knots compared to the previous knots and the forthcoming knots as well as assuring the fact that all resulting geometrical roles follow knot regulations, and geometrical figures which do not encompass knots are avoided.

Although garment studies have been widely practiced as cultural phenomena, nomadic garment designs and in-depth studies have not been addressed. Nomadic apparel, as an example of ethnic art, is a cultural product which indicates how the structure, shape, and role of nomadic clothing are the main issues of the present study. Bakhtiari, as one of the largest nomadic tribes of Iran, preserves a life based on nature, observing which makes it is possible for researchers to have a deep and participatory understanding of the field of research. Therefore, in the present study, the main purpose of identifying cultural components in the form of Il Bakhtiari’ s clothing was to address this issue by adopting a qualitative approach to cultural studies using a functional anthropological method. The main questions are: why clothing has remained stable in the nomadic community? And also, what role does culture play in shaping the structure, role and color of the tribal garment? The study of culture is essential, and it is so important from the perspective of the garment study that it can serve as a mirror which reflects a whole view of human culture to provide a more comprehensive understanding of human lifestyles, and beliefs that are highly important to the nomad, s dependence on the species. He reveals their clothes. Therefore, the study of Bakhtiari men, s clothing also seems to have a central role in culture. The research method is qualitative and descriptive-analytical in nature and data collection is done by library and field research methods using participatory survey and observation tools. Therefore, textual analysis and presentation of tables to recognize the visual and structural components, roles and colors of garments, have been considered which were studied in three categories of head covering, foot covering and tone covering from both descriptive and thematic angles. The research population is tribal garments of the Bakhtiari tribes which are the examples in this research. The necessary information was gathered through library resources and field methods with the main tools of participatory observation and observation, and general sections of apparel, including the Bakhtiari men, s apparel, cover and tunic are studied as examples in terms of the color and shape. The role was also analyzed. The findings of this study indicate that the clothing structure of the Bakhtiari men reflects the cultural manifestations of this ethnic group and is rooted in their religious and mythical beliefs, among which are the signs of secularism and Zoroastrianism. Consequently, in accordance with the nomadic lifestyle, the relationship between the structural system of the garment and religious beliefs as well as its transcendental status is one of the most important reasons for the stability of Bakhtiari men, s clothing designs and motifs. The structural features of the Bakhtiari men, s garments, due to their non-alignment, are a circular embodiment that is directly related to the dynamics of nomadic life and reflection, reflecting the constant movement and flow of life, and mediating the balance between the earth and the sky. Bakhtiari man in this clothing is a virtuous individual who is committed to preserving nature and the flow of life. Because of the visual characteristics of their garments, it became clear that this garment is sacred, and in a way, expresses the religious thinking and ideology of the Bakhtiari tribe. Given the choice of black and white and the interpretation of the black (down) and white (up) roles, this was clearly observed. The nominal parallels and motifs used are of a kind of harmony, so due to the important position of the mountain or the Chogha in the ancient religions, the position of the gods in this matter was not only a very important one in the religious life of ancient times, but also in the lives of the Bakhtiari tribes. It has been critically acclaimed and reflected on architecture, nature, funerals, and ultimately the role and name of clothing. Therefore, when the structural system of clothing originates from the outline of society and its culture, this continuity becomes so profound that, despite its hidden features and qualities, it still maintains its sustainability and finds cultural value and status. Slowly, the primacy of existence and the ethnicity or the ethnicity of the Bakhtiari person is based on their clothing.

The Qavarebori has flourished in the Qajar era to such an extent that one of the hallmarks of Qajar architecture is the presence of doors, windows and beautiful sashes made with this authentic Iranian art. The eye-catching visual features and remarkable technical characteristics such as high strength and cost-effective use of wood and glass are the reasons for the prevalence of wooden elements decorated with qavarebori technology in this period. According to the type of use, taste of founder or taskmaster, as well as the type of artistic attitude of the time and the influence of the social characteristics, the qavarebori ornaments of each building have undergone many changes, not merely in terms of technique, but in design and motif as well. In every historical period, royal palaces and monuments are the most important and the greatest places to show the peak of art and taste of the artists of each era, and the most appropriate case studies to fully explore the arts, especially architectural ornaments, can be found in these mansions. The royal citadel of Tehran, as the ruling headquarters of the Qajar dynasty (1793-1924 AD), is a collection of six monuments with various uses, each adorned with ornamental and varied architecture. Among these decorations, which are widely seen in all buildings of the Golestan Palace complex, are qavarebori decorations that adorn doors, windows, etc. The main question of this research is as follows: What are the similarities and differences in the structure of the motifs of the Golestan Palace Complex? And what have been the developments of the decorations of this royal complex over time? This research is a historical case study that, through library and field (photography) research methods, analyzes the studied samples qualitatively. The results of studies indicate that the function of buildings, taste, influence of social indices, etc., caused changes in design, motifs and other artistic features of works. The qavarebori of this complex mainly depict duplicate (reflective) motifs with rectangular copies and circular cracks adorned with arabesque patterns that were most commonly used in sashes and crescent forms above the doors. It also seems that the variety and complexity of the qavarebori motifs and their executive techniques in early Qajar buildings are greater than the subsequent ones; however Shams al-Amara palace may be regarded as an exception. Because in its construction and decoration, it was tried to use the finest and the most beautiful arts of the time to create a beautiful and artistic work of art. For example, despite the construction of the building during the late Nasserian period, some of the motifs of the qavarebori of this mansion, namely the examples on the large sashes of the first floor and the upper ones, still display complexity, while the simplicity of the other works of this period can only be seen in the few windows of the mansion such as the windows below the first floor of Shams al-Amara. On the other hand, in most of the works, made during these years, qavarebori has been used solely and without having been incorporated with other arts. But in some qavarebori works of this mansion, such as the main sash on the first floor Ivan of Kiosk, art techniques such as square signet, trelliswork, etc. have been combined with qavarebori, creating a beautiful and unique work.

Orsi, an Iranian handmade pop-up, has long adorned Iranian buildings, from the Safavid to the Qajar eras, and can be seen everywhere in Iran. In fact, Orsi entered the Iranian architecture during the Safavid period, and undergoing little changes in the Zandiyeh period, it gained considerable prominence in the Qajar dynasty. Existing evidence indicates that Orsi was not used publicly, but in many buildings, including palaces, some mosques and Hussainiyas as well as the homes of those who were financially capable, it was an architectural and decorative element. Orsies are not only decorative and functional elements, but they can include tonality, control of light and heat entering the building, remove insects and creatures, affect the acoustics of space and create a wide exterior view. They have been fabricated and dealt with in various geometric, Islamic or hybrid designs in varying sizes. Orsi is a wooden pop-up with one of the prominent elements in Iranian architecture. Their use has been around for a long time and has been prevalent in many buildings in the regions and cities of Iran. Orsi is one of the original Iranian arts and has never been devoid of Persian monuments from the Safavid period to the Qajar period. From the definitions of Orsi, it can be concluded that the word Orsi refers to windows that open in a specific, sliding, upward manner, leading to a chamber at the top with a nail, or a bolt that lies beneath it. These types of windows can be simple with smooth and colorless glass or even made of iron sheet or genuinely knit and colored glass in which the glass may be found in a certain order according to color, principles and performance. However, it is possible to discuss the type of window and its dimensions. Genuine and traditional Orsi windows are available in single, double, triple, quadruple, quintuple and septuple windows, and in some cases in nine or twelve piers, depending on the type of building in which they are used. Orsies are mostly observed in houses among other buildings and Ardabil houses have not been left without this architectural blessing. Decorative elements are observed in the extensive architecture which remains among Ardabil’ s historical monuments and Orsi, with its unique features as an Iranian art, is no exception. The Orsies left in the Ardabil houses have been reminiscent of Zandieh era, and especially the Qajar period. They have a wide range and allow us to examine them in different ways. The question therefore arises: Is there any other component such as ornamentation or proportion to their classification besides the historical delineation of Qajar Orsies of Ardabil? What are the differences or similarities in their shape, structure, ornamentation or other characteristics in these three time periods, when compared to the Arsacid houses? In order to answer the above-mentioned questions, Orsi, in these three suggested timespans, has been studied in terms of the differences and similarities in frequency, design and role, overall shape, color of glass, orientation, use of vegetative motifs, Quranic verses, divine names as well as construction techniques. Therefore, according to the nature of the research, a descriptive-analytical method was used and the information was collected using library research method as well as field research. According to the researches, it can be said that the Orsies of the Qajar-era houses in Ardabil during the three phases of the Qajar period depict similarities in orientation and design, and many differences in terms of the use of color in the glass of Orsi, as well as the use of vegetative motifs and the divine names on the beadings of the Orsies and their general shape. Given the similarities and differences in the presented analysis, it can be stated that from the first to the third period, the use of colored glass and motifs and patterns as well as other decorative arts in Orsies have been decreased and the decorations have become less frequent and simpler. The quality of the Qajar Orsies in Ardabil has declined during three periods from the early to the late part of this era.