Problem statement: Iran has a long history of using a ship-shaped bowls known as Kashkul and the assumption of this article is the bowls have been changed to Kashkul though sequential receptions in Persian literature. It is possible to analyze this course of change through the reconstruction of the horizon of expectation and the chain of receptions in the light of Hans-Robert Jauss’s theory.Purpose: The purpose of this study is to examine the evolution course of Kashkul, through the reconstruction of horizon of expectation and the chain of receptions based on theory of Jauss’s viewpoints. Reconstructing the horizon of expectation has three stages - through which we can identify the criteria used by audiences to evaluate and interpret the works of an era. The chain of receptions refers to the extension of a work through the sequential receptions; and it can be understood by its historical significance and the evolution of the works. Previous studies have investigated works of art through the lens of Hans-Robert Jauss. However, our knowledge about the expectations of audiences is scanty. This study is an attempt to examine the process of reception of an artifact (ship) by the audiences using the literary texts.Methodology: First, the horizons of expectation of ship- shaped bowl were reconstructed according to Persian literary texts; Since the horizon of the expectation of this container included another container known as Kashkul shaped by successive receptions of Jauss’ chain of reception was used as a framework for data analysis Conclusion: Reconstruction of the horizons of expectation ofwine ship- shaped bowl, based on literary texts showed that there was a rich chain of receptions; so that the bowl in the course of the successive receptions has become a metaphor for the freedom from sorrow sea and through repetition, it has become a symbol of emancipation from the sad, then, with the addition of a chain, it has become the symbol of poverty, which leads to the liberation of the possessions of the world; the evidence shows that some Kashkuls are decorated with lyrics representing the chain of receptions from a drinking bowl to a symbol of poverty. Therefore, Kashkul can be considered one of the most exclusive and richest works of Iran in terms of chain of receptions; the contribution of this study is methodological as well.To this purpose, literary texts were used to explore the aesthetic status of applied art. further research in the field of literature, art and language can use the audience chain of receptions for reconstructing thehorizon of expectation, and also, studying the evolution of a metaphor to a symbol.

Visual documents are significant as first-hand illustrated sources in any period and express thought patterns and thought in different periods. From this point of view, the remaining wall paintings from the Zendiyeh era in the Hafttanan building of Shiraz are important and show special information about the common literary and mystical themes and foundations of the mentioned period. This research tries to read two pictures, one of the artworks in Hafttanan's Building, from the perspective of mystical cryptology. It seems that the two pictures of the mentioned mansion refer to the houses of the seven stages. Dervish tools, accessories and clothes in the pictures help guide the research. This article explores the mystical themes of young and old two picture Dervishes, which are also attributed to Saadi and Hafez or Saadi and Shah Abbas in some texts, in the context of reflection theory. The aim of this research will be an approach to the image system of two images of old and young dervish in relation to the authorities of mystical behavior. It seems that signs and symbols in the form of Sufis' customs and instruments can be seen in the paintings, which are related to their position in the path of their conduct. How are the bag, hand stick or mantasha, kashkul and tabarzin, many Turkish hats and special robes effective in explaining their position in the way of conduct? The explanation of the position of Kashkul and Tabarzin, Mantasha and Pashak have a significant relationship with their position in the path of the Seluk. Dongareh, one of the wall paintings of the Hafttanan monument in Shiraz, from the works of the Zendiyeh period, are the study examples of the present research. The research is descriptive and analytical from the point of view of its nature and method, and considering the purpose of the research, it belongs to the category of theoretical research. The collected information is the result of library studies and recording field observations, and the theoretical framework is inspired by Victoria Alexander's reflection theory. The result of the article reflects the stages of seeking, knowledge, poverty and annihilation in the researched paintings. Mentsha, Chante, Kashkul and Tabarzin are important signs in conveying meaning. In other words, the mentioned objects and tools indicate the belonging of the seekers to the way of walking. Many similarities between signs and symbols can be seen in each two pictures, with the difference that Mantsha, horn and ring are not seen in the image of the elderly dervish, and they are not present in the image of the young dervish of Tabarzin. The presence of old and young dervishes, as well as their specific building and mansion (the Hafttanan mansion), as well as the travelogues, narratives and stories in popular culture, are proof of the improvement of the status of this class in the twelfth century of Lunar Hijri. In this article, their clothes, tools and equipment were studied. Some signs point to the position of two dervishes, old and young, on the path of pilgrimage. They are symbols of their poverty, contentment and remembrance. Even in the image of a young dervish, the use of a ring in the ear refers to belonging to a Heydari dervish. Many Turkish hats, sticks or canes, kashkul and ax, wind instrument and ring (earring) are the most important symbols known in every picture, which express deep concepts of the situation of dervishes in the Zandiya era. Artworks are superstructures that provide detailed information about the society's infrastructure to the audience and researchers.

Ahmad Majd-al-Eslam Kermani, one of the most influential Iranian journalists, and Intellectuals of the Iranian Constitution, played a significant role in educating Iranians and directing their attention to the constitution, and law. Due to the unfamiliarity of Iranians with the principles and structure of the constitution and its institutions and the view of the majority of constitutionalists and politicians who sought to redefine the constitution based on their views, Majd-al-Eslam made some of the most important efforts on the structure of the new government, explaining the issue in his four publications, titled, Nedaye Vatan, Al-Jamal, Kashkul and the Mohakemat (Trials(, as well as several books and articles. The decline of the first Iranian National Parliament and its consequences caused him to write a book on the history of the decline of the parliament, the first intellectual of the constitutional era to find the root causes of its decline; no research has been carried out his on works. Based on the method of historical research, this research explains Majdal-e-Islam’ s views by emphasizing the book on the history of the decline of the Majlis, Nedaye Vatan magazine and other sources in order to examine the causes of the decline of constitutionalism. Findings show that Kermani considers the lack of necessary political and social contexts in Iran and the unfamiliarity of Iranians with the components of the new government and foreign interference as the most important reasons for the decline of constitutionalism. According to him, this ignorance of the structure of the new government caused the interference of each group and institution in the work of each other, and created a fundamental difference between the three important elements of Iranian society at that time, namely, the government, the nation and the monarchy.

BACKGROUND AND OBJECTIVES: Baha" al-Din Muhammad Ameli, known as Sheikh Baha"i (953-1030 AH), is one of the most virtuous scholars of the Safavid period, who wrote poems in Persian and Arabic. In this article, with a stylistic approach, his Persian and Arabic poems are analyzed in a comparative way in terms of structure and content. METHODOLOGY: The collection of research data has been done in a library manner, and the research findings are written in a descriptive and analytical way. The statistical population includes Sheikh Baha"i"s Diwan and his Arabic poems, which were published in Al-Kashkul and various books. FINDINGS: gs: Sheikh Baha"i"s Persian poems are simple and without language difficulties, and in Arabic poetry, he wrote simple poems according to Arabic Morph syntax. Macaronic language, the use of Arabic prosody, the use of Arabic words is some of the influences of the Arabic language that can be seen in his Persian poetry. In the comparative comparison, there are similarities in the structure and content of both his poems. There are many types of repetition in the form of puns, Alliteration, repetition of words, sentences rejection and reverse, similes, metaphors, Quranic Allusion, contrasts, allusions, Metonymy, in the rhetorical structure. And in the content, he pays attention to mystical, religious, educational, and lyrical themes, mysticism and religion are the main motifs of his poems. Love for God, Rogue and Qalandari, description of wine, condemnation of the hypocrisy of ascetics, attention to religiosity, advice to religion, seeking the infallible imams, seeking intercession from the imams are the main content in mystical and religious trends. And he has written the educational content with the elements of religion and mysticism. A small part of his poems is lyrical, which is more in Arabic poems than in Persian. CONCLUSION: Sheikh Bahāyi is a bilingual poet who wrote to Persian poetry and poetry in Arabic, which was his First language, In the comparative comparison of his poetry, there are stylistic similarities in the linguistic structure, rhetoric and content. He has written poetry in Persian and Arabic with a simple language, common rhetoric of literature and common mystical and religious thought.

Shams Sojasi wrote Faraed Al-Soluk in the description of moral values with technical prose in the late 6th and early 7th century. Faraed Al-Soluk offers a distinctive methodology of interpreting moral concepts among different moral writing texts. Intentional description of this text such as a purposeful narration of morality to influence the awareness of the audience turns its discourse analysis into a necessity. Laclau and Mouffe theory is a good way to analyze this book due to its emphasis on the social and political context of the work and its meta-sentence components and as well as the belief in the text as a construction of hidden reality. The result of the research shows that Faraed-o- al-Soluk in sense gives legitimacy to a government that has made moral values as the basis of its laws and rituals, but in another sense, it delegitimizes the slave-born rule due to lack of moral virtues. The Nodal point of Shah- Ulil-Amr as the node religious discourse and Sufi & Fati styles revealed the hidden point of neo-Muslim hypocrisy by being born as a slave and not having Iranian origin of the shah, and it warns to king's his inadequacy despite of his religious and social responsibility. The author uses the power of Sufism to confront the oppressors and penetrates among the people with the discourse of Fotovvat. The purpose of combining religion, Sufism, and Fotovvat has been to subjectification people around and including the king for to build a peaceful world and healthy society by reminding them of their responsibilities.  Introduction:Isaac Ibn Ibrahim Shams Sojasi, in the late sixth and early seventh centuries AH (Hijri), wrote Faraed Al-Solouk in a technical prose style resembling a story. The book discusses ethical concepts. It comprises an introduction followed by ten chapters with titles such as reason, knowledge, justice and injustice, generosity, determination, courage, wisdom, fortitude, chastity, and moral virtues. This work exhibits semantic, content, and historical discrepancies in its presentation and the connection between concepts and themes. The preface of the book, after praising God, the Prophet, and the Imams, concludes with praising for Atabak Azbak (the ruler). Each chapter begins with a religious theme and sometimes touches on Sufism. The stories and characters are also presented based on Sufi practices and virtues. However, at the end, Mozaffar Al-Din Ildigoz is introduced as a model of a saint, Sufi, and wise person. Sojasi’s praises of Shah Ozbak as the ethical center of each chapter don’t present enough historical evidence regarding his actions and behavior. The history portrays Atabak Muhammad and Mozaffar Al-Din as usurpers of the government due to their negligence in their royal duties and ethical shortcomings. They gave rise to power without relying on lineage or specific skills, thanks to their acceptance of Islam, and they shared in the wealth of the people.Materials and Methods:Faraed Al-Solouk presents a different interpretive and personal approach to ethical concepts among literary texts on moral education. As the deliberate explanations of this text reveal, it provides a purposeful narrative about ethics to impact the audience’s awareness, utilizes examples, and presents poetic citations, stories, and personal interpretations for the ruler. This highlights the text’s divergence from historical events during the author’s time. The narrative constructs a meaningful account of Faraed Al-Solouk. Therefore, analyzing the discourse function of the work is essential for achieving the depth of meaning and the uncovered hidden angles in the text, and resolving the existing contradictions in its composition. The theories of discourse analysis by Laclau and Mouffe are suitable for examining the work due to their emphasis on the socio-political context and intertextual elements. Additionally, their belief that the text is a constructed reality provides an appropriate framework for investigating Faraed Al-Solouk. In this research, we analyze and interpret the religious, Sufi, and general discourse within the text.Results and Discussion:In his discourse structure, Faraed Al-Solouk is a “Kashkul” of the principles of religion, which has been continuously repeated and emphasized through the discourse of Sharia, Sufism, and fotovvat. This text devotes legitimacy both to the subject audience and to the government that has put moral values as the principles of government, the basis of its law and ritual. These values ultimately create an ideal world with the action of the king and the audience.The central discourse of religion is articulated with the main "node" of the king the first. Due to the hegemony of the religious discourse, the discourse fields of Sufism and Fotovvat have also been reproduced for the benefit of the discourse and are articulated around the central signifier of the king - Olel Al-Amr.The discursive function of Faraed Al-Saluk is based on the intellectual agent with "dimensions" and "signs" such as writing a book with the aim of broadening the current situation, and the provision of an incorrect tone, mentioning allegorical stories of the four chapters of reason, science, justice, and courage in the manner of animal stories or fables. Contrary to the cruel history of Atabakan's rule, and the revelry and enslavement of Mozaffar Al-Din Atabak's character which are thanked and addressed at the end of each chapter by Faraed Al-Solouk, Shams Sojasi's dissatisfaction with the neglect and literary support of the court, and finally the ambiguity in the name and fame of the author despite donating authored works to the rulers of the age, are unspeakable.The hidden aspects and obscure angles of the work reveal the deep structure (same as the main discourse) at the disposal of the intellectual communicator, and the religious discourse of this work introduces a kind of social criticism on the government of Mozaffar Al-Din Atabak. This is contrary to the discourse structure of the work, while the discourse intention of this structure is to legitimize the ruling agent.In Faraed Al-Solouk, the central sign of Shah-Olel Al-Amr as the "node" of religious discourse and Sufi and Fati stereotypes, the hidden sign of neo-Muslim hypocrisy, the king's slave birth and lack of racial originality, and the shah's inadequacy and indolence regarding his religious and social responsibilities are highlighted. Sojasi believes that religion, Sufism, and Fotovvat are the foundations of velayat, and wherever velayat appears, religion, Sufism, and Fotovvat should be perfected and exalted. From the author's point of view, the province is the basis of the construction of the utopia and the tendency towards monotheism, but he has introduced the society under the rule of Atabak Mozaffar. Finally, via the realism of politics moral, Sojasi intends to reduce the harm of the rulers' unlimited power.Conclusion:Sojasi criticizes the two other subjects, referred to as Sufis and ascetics, through the discourse of Sufism and asceticism. For the general audience, Faraed Al-Solouk reveals the gap between reality and the discourse of the Atabaks after reading the work and becoming aware of the responsibilities of a ruler toward society. The rulers of that time, in order to maintain their oppressive rule over the people and increase their endurance, utilize both Sufis and ascetics to reinforce obedience to their commands. Faraed Al-Solouk dismisses the religious scholars and jurists by presenting a virtuous city based on true religion, asceticism, and genuine Sufism. The rightful ruler, who emerges from unwavering belief in the unity of God, possesses virtues such as wisdom, justice, chastity, courage, and other moral qualities. In this society, the common people and the government will find tranquility.As a religious orator, the author of Faraed Al-Solouk employs the power of Sufism as a specific intellectual and educational movement among the elite, including court scholars, to counter oppressors and tyrants. By highlighting this group and connecting it with the discourse of asceticism among the common people, the author associates religious law with the discourses of Sufism and asceticism. The purpose of integrating religion, Sufism, and asceticism is to shape a peaceful world and a healthy society by reminding those in authority of their responsibilities. It aims to create a society that believes in the divine truth and acknowledges the powerful influence of religion in constructing an ideal community.

Studying the Historical Evolution of the Basic Pattern in the Architecture of the Ancient Period and Iranian Tradition   Farshad Hatami Bargh*  Behrouz Mansouri**  Sayyed Mostafa Mokhtabad Amrei**  Leila Zare****   The role and importance of the influence of geometry and mathematics in Iranian architecture since pre-Islamic times has been used in the form of technical (experimental) architecture and pattern (Mendel) as a practical application in the geometric arrangement of buildings. It has been observed in many buildings with sovereign, ceremonial-residential, and residential uses, respectively, of the social classes of the elite and the common people in ancient times and after Islam; the fourth to tenth centuries A.H., and the approach of influences in functional spaces and following early patterns in the Iranian architectural style is expressed as indoor and outdoor spatial functions. Studies of the course of historical developments show that residential architecture in Iran has resulted from the use of a formal pattern as a spatial arrangement in examples of buildings from three historical periods: ancient, traditional, and modern. In this research, data collection is library-based and the research method is interpretive-historical, descriptive-analytical. The aim of the research is to explain the impact of the developments of formal patterns in the form of architectural crafts, which is influenced by applied geometry and mathematics, which is reinforced by the studies of Iranian philosophers including Khwarizmi, Banu-musa, Abu al-WafaBuzjani, Ikhwan al-Safa, Nasir al-Din al-Tusi and Sheikh Bahai Also, since the beginning of the third century A.H., under the influence of mathematics and geometry discussions, following numbers and estimating distances, geometry in the form of the second dimension, the third dimension, and finally the architectural craft and mystical meanings and the journey and transcendence (rational-sensible) are reflected in the combination of the order of Platonic shapes and volumes in religious places. The results of the research show that the use of the basic pattern in residential buildings is influenced by the use of mathematics and geometry in Iranian formal and modular meanings, which had its initial origin in Chahar-Soffeh, four-iwans, andChahartaq, and is observed in the buildings of the Qajar period as the basis of spatial arrangement.   Keyword:Architectural style, Traditional period, Geometry, Archetype, Formal pattern (form).     Introduction Contemporary Iranian architecture is influenced by the culture and lifestyle of European and Western countries, with a gradual change in the functionalism of interior spaces in the form of eliminating small spaces with different functions and reducing the size of the building. Therefore, examining architecture through historical studies of architectural periods of pre-Islamic and traditional buildings by selecting different examples and even paying attention to the analysis in the theories of Iranian architectural philosophers can help in providing a suitable explanation of the position of applied geometry and mathematics in the form of a formal pattern and achieving the goal of modular patterns resulting from the unity of elements under the influence of an effective unit in the design of functional and functional spaces. The stages of research in following the contemporaneity of architectural patterns of buildings from different historical periods and the interpretations of architectural theorists can be appropriate in achieving the goals. Art, architecture, and city design have long been intertwined with geometry in human culture. In Islamic culture, the expression of meanings and concepts in the form of simple and abstract shapes and motifs has always found a new expression. To the extent that the course of thought in the infinite world has led to the name of sacred geometry. On the other hand, the combination of some simple geometric shapes such as triangles, squares, and circles expresses broad symbolic concepts that are not limited to art and architecture. In particular, a wide range of shapes and meanings lies in the combination, integration, and division of these simple shapes (Tavasoli, 2004, p. 18).   Research Method Based on the research process in terms of how to examine the gradual changes in the architectural design of contemporary residential houses resulting from the ancient and traditional periods and the need to pay attention to the traditional architecture of the transitional period (Qajar) and the application of spatial organization characteristics and geometric order in different patterns in different regions of Iran and the superposition of Iranian and Islamic architectural values ​​in providing a solution and achieving an optimal pattern, it is necessary to examine library studies and the research method in housing studies is interpretative-historical and descriptive-analytical in achieving the final model of Iranian housing. The method of collecting information is library (Table 1) and the research method is interpretative-historical and descriptive-analytical (Figure 1). The statistical population is historical monuments of the ancient and Qajar periods.   Chart (1). Research Method Chart   A) Gradual developments in mathematics and geometry and their impact on architecture From the review of historical studies in the pre- and post-Islamic periods in the theoretical foundations of research in the field of applied mathematics and geometry analysis and their impact on the architecture (industry) of buildings with residential use in different periods, the course of developments from the stages of the rational to the tangible and attention to numerical quantities and spatial qualities and the relationships between numbers and shapes in geometry, the results in Table (2) have been achieved.   Table (2). Characteristics of philosophers before and after Islam who had an impact on the sciences of mathematics and geometry   Row. application Philosophy names period Books name theory 1 Geometry and theoretical mathematics Thales 527 B.C. - Mathematics, theorems (congruence of two triangles), equality of two angles in an isosceles triangle, height of triangular pyramids 2 Pythagoras 600 B.C. Philosophy Geometry, numbers, shapes and music 3 Plato 348 B.C. The Epistle of Timaeus Shapes and figurative numbers - pure and applied mathematics 4 Euclid 300 B.C. Plane geometry, principles Algebra and number theory, linear proportions, phi number, golden ratio 5 Archimedes 287 B.C. - Obtaining the number pi, statics, center of mass, Archimedes' solid (regular 13-sided) 6 Geometry and practical mathematics Al-Majusi-Khwarizmi(1) 233 A.H. Algebra and Counterfactual Arithmetic and astronomy, distances between cities 7 Banu Musa (Muhammad, Ahmad and Hassan) 300 B.C. معرفه المساحت الاشکال البسطه و الکریه، الشکل المدور المستطیل Angle trigonometry, calculating the volume and area of ​​a circle (Pi), drawing an ellipse, the Wall of Dhul-Qarnayn in Gorgan, the Dar-al-Taj Observatory in Tigris, 8 Abū al-WafāBūzhjānī 328 B.C. هندسه ایرانی/ فی معرفه الابعاد بین المساکن/ فیما یحتاج الیه الصانع من الاعمال الهندسه Regular polyhedron, Sinaat, Platonic shapes/Surface and distances of cities/Division of shapes/Drawing two-dimensional and three-dimensional shapes/Spherical geometry/Baghdad Observatory 9 Brethren of Purity 400 B.C. الرساله الجامعه Numbers, Forms - The Sensible and Sensible World, Unity and Plurality, Sacred Number, Mysticism, Quality and Quantity/Morphology/Cosmology/The Pilgrim's Progress from This World/Wisdom and Craftsmanship 10 Naṣīr al-Dīn al-Ṭūsī 597 B.C. زیج ایلخانی، تذکره فی العلم الهیئه/ اشکال الکرویه/تجرید الهندسه/الشکل القطاع Ethics, logic, mathematics, astronomy, philosophy, theology, the observatory and library of Maragheh 11 Ghiyāth al-DīnJamshīdMasʿūd al-Kāshī 809 B.C. رساله مفتاح الحساب/ رساله محیطیه/ رساله وتر و جیب This school of astronomy,Samarkand/ Geometry and proportions 12 Baha al-Din Muhammad ibn Husayn al-Amili(1) 953 B.C. خلاصه الحساب (بحر الحساب) Iranian geometry, Euclid's principles, proportion, equations, Naqsh-e Jahan Square, Isfahan   B) Study of examples of buildings from the ancient and traditional periods Different buildings are listed in Table (3) according to the historical periods of the ancient and traditional periods, and from drawing the plan and examining the basic and archetypal patterns, the characteristics of the formal and functional patterns in each of the buildings are listed. The purpose of conducting studies in different buildings is to explain the course of historical developments in different periods and the gradual process of evolution of the four-faced and four-porch patterns until the end of the traditional period.     Table (3). The course of developments in the formal and functional patterns of spaces according to the use of archetypes in the ancient and traditional periods     Chart (3). The gradual trend of scientific developments in the application of geometry in buildings and urban planning     Conclusion - The manifestation of justice and fairness in the architecture of Iranian houses is sought in various geometric components, including harmony, balance, unity, proportions, limits and boundaries, symmetry, equilibrium, hierarchy, and static principles. Through the coordination of quantitative and qualitative aspects of geometry in architecture before and after Islam, the relationship between order and size with the justice of God and the unity of components is addressed. Excellence in Iranian architecture is provided by the adaptation of sensory and rational perceptions in explaining the defined factors of mathematics and geometry in the course of developments from theoretical application to practice and manifestation in the architectural industry. - The application of geometry in the architecture of buildings (temples) dates back to Egypt and Turkey (Assyrian civilization), respectively, which was in the eighth century BC, and studies have shown the transfer of techniques from Egypt to Iran and then Turkey, and following that, in the fifth century BC, the construction of the Parthenon Temple began, which was in line with the research of Thales, Pythagoras, and then Platonic volumes are investigated. - The study and research in the field of applied geometry in Iranian architecture, influenced by the experiences of the ancient period, reached its peak and flourishing by Iranian scientists and philosophers in the tenth century.   Footnote 1. In the 7th century AH, Khwaja Nasir al-Din Tus was one of the prominent figures. During the Mongol era, he established an observatory in Maragheh and engaged in research in natural sciences such as mathematics, astronomy, and geometry. It was in this observatory that the Zij al-Ilkhani was compiled, and under Tusi's supervision, almost all classical Greek mathematical works were translated into Arabic. Some of Khwaja Nasir's mathematical books include: - The book Kashf al-Qana’ on the secrets of the shape of the sphere, this book was translated into French by Iskander Pasha Karateu Derry in 1891. - Al-Hisab Baltakht wa al-Tarab. This book was translated into Russian in 1963. - Al-Risalah al-Shafi’ah an al-Shak fi al-Khuti al-Mutawaziyyah. This book was translated into Russian by Rosenfeld in 1960. - The writing of Euclid’s Principles. - The writing of Archimedes’ Book of the Sphere and the Cylinder Baha' al-Din Muhammad Ameli, known as Sheikh Baha'i, was a scholar during the reign of Shah Abbas Safavi. He was born in Baalbek in 953 AH. He immigrated to Iran with his father at the age of 13. He has written in Persian and Arabic, totaling 88 books and treatises. His works include Kashkul, Divan Ghazaliyat, Jame' al-Abbasi (in jurisprudence), Khalasat al-Hesab, Shashq al-Aflaq, and two famous Mathnavis, "Nan va Halwa" and "Shir va Shakar." He passed away in Isfahan in 1030 AH. His body was transferred to Mashhad and buried in the Goharshad Mosque.   References Ardalan, N., & Bakhtiar, L. (2019) Sense of Unity (The Role of Tradition in Iranian Architecture). Tehran: New Thought Book. Akbari, F. (2016) Rethinking the Geometric Proportions of Creation in Works of Islamic Art and Architecture. 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Space Ontology International Journal, 17-31. https://www.ysma.gr/en/monuments/parthenon/ https://chinarmart.com/2022/03/12/the-digital-reconstruction-of-the-legendary-armenian-temple-of-haldi-in-musarir/ https://www.urartians.com.tr/alticerik/62/temples-and-religious-practices.html         * Ph.D Student in Architecture, Tehran-West Branch, Islamic Azad University, Tehran, Iran. projecthatami2020@gmail.com ** Corresponding Author: Professor of Architecture Department, Tehran-Central Branch, Islamic Azad University, Tehran, Iran. emarate_khorshid@yahoo.com *** Professor of Art and Theater Department, Tarbiat Modares University, Tehran, Iran. mokhtabm@modares.ac.ir **** Assistant Professor of Architecture Department, Tehran-West Branch, Islamic Azad University, Tehran, Iran. zare.leila@gmail.com