Among the various subcategories of Islamic art, Islamic architecture specifically Islamic ornamentation is of excessive significance. The remaining artworks of Islamic ornamentation from mosques and tombs of pious men behold a unique and profound characteristic of visual art. Qom, a city in central Iran, has become a treasure for Islamic architectural decoration; mainly for the holy presence of Hazrat-e-Masoumeh and the many IMAMZADEH SHRINEs. Among them, IMAMZADEH ISMAIL known as "Seyed Sarbakhsh" will be the focus of this paper. The tomb which dates back to the fourteenth/eight century during the reign of the Ilkhanid era is embellished with exquisite and remarkable ornamentation. The current study is based on the introduction and exploration of the ornamentations of the SHRINE and features outlining explicit decorations such as curved arabesques, geometric shapes and decorative inscriptions.Aims of this research1- Understanding the elements and decorative features of the SHRINE of IMAMZADEH ISMAIL.2- Categorizing the embellishments into related groups.Research Questions:1- What are the main decorative characteristics of the mentioned SHRINE?2- What are the significant motifs of the plaster work decoration applied in this SHRINE?

The SHRINE of IMAMZADEH Sahl ibn Ali (peace be upon him) stands as a prominent architectural and religious monument in the town of Astaneh, located 40 kilometers southwest of Arak, in the Markazi province of Iran, nestled in the eastern foothills of the Zagros mountain range. The structure is recognised as one of the most significant surviving examples of the four-iwan architectural style in religious architecture across Iran. Based on historical documents and early stone carvings, the initial construction of the SHRINE is believed to date back to the 4th century AH (10th century CE), during the reign of the Buyid dynasty. A carved inscription dated 772 AH on the wooden sarcophagus inside the SHRINE confirms the site's longstanding sacred and religious significance, mentioning Sahl ibn Ali, the son of Imam Ali (peace be upon him).The current architectural form of the SHRINE primarily dates back to the Safavid era, with major renovations and additions carried out during the Qajar and Pahlavi periods. The layout includes a central courtyard with four iwans, a main domed chamber featuring a double-shell structure and an octagonal plan, a surrounding ambulatory, and additional spaces such as a smaller eastern dome chamber, prayer halls, and side chambers. Over time, several historical structures including a religious school, a caravanserai, and a traditional hammam were lost due to neglect and destruction. Today, only the fourth courtyard remains in use, serving as the main access point for pilgrims. An inscription dated 1150 AH located above the entrance of the sacred sanctuary, or Rawda-ye Monavvareh, attributes the Safavid-era restoration to the renowned architect Ali Akbar Isfahani. Further historical evidence, including references in the Habib al-Siyar chronicles, records the visit of Shah ISMAIL I to the SHRINE, indicating its prominence prior to Safavid patronage. Mohammad Hassan Khan Etemad al-Saltaneh also discusses the etymology of the name Astaneh, linking it to the burial site of Sahl ibn Ali. A deed of endowment (waqf-nama) dated 842 AH further confirms that the site held religious significance even before Shah ISMAIL's restoration, reinforcing the continuity of sacred function throughout centuries   The northern and southern iwans, along with the main domed chamber, host the majority of the SHRINE's architectural ornamentation. These decorative features, in addition to their structural and aesthetic functions, reflect deep Shiite religious symbolism, contributing to the SHRINE’s lasting spiritual significance among rulers and local populations throughout Iranian history. A semiotic analysis of the ornamental motifs reveals strong ties to Shiite mysticism and metaphysical thought. Sunburst (shamsa) designs symbolise divine unity and centrality; geometric motifs such as squares, stars, and hexagons represent cosmic balance, guidance, and perfection, respectively. Plant-based motifs—grape leaves, cypress trees, tulips, poppies—and birds like peacocks, nightingales, and doves symbolise paradise, resurrection, and purity.The SHRINE incorporates a rich variety of architectural ornamentation, including Ayeneh-kari, reverse-glass painting, polychrome tilework (haft-rang), Kufic and Bannai inscriptions, Moqarnas vaulting, and woodwork crafts such as girih tiling, carved wooden doors, and Qavareh-bori. The calligraphy is executed in Thuluth and Nastaliq scripts through painting on plaster, carved stucco techniques (Koshteh-bori), and stone engraving. These decorative elements carry floral, geometric, and figurative motifs, with Ayeneh-kari (mirror work), inscriptions, and wall painting forming the dominant visual features. The western iwan, enclosed with a triple sash door (Se-dari) and known as the Rawda-ye Monavvareh, is the most elaborately adorned space within the complex. The mirror mosaics here cover the ceilings and walls with complex light-reflecting compositions, executed during the Pahlavi era (circa 1342 SH), bearing the signature of Haj Ebrahim Talaei. Additional mirror work by the Alaei brothers in the subsequent decade, while crafted with notable precision, lacks stylistic harmony with the older Safavid context, resulting in partial degradation due to moisture and oxidation. The wooden elements, such as the carved doors, wooden boxes, and old latticework, although their dates are not always documented, mostly belong to the Qajar period. The tilework features a palette of creamy yellow and blue tones, adorned with arabesques, floral Shah Abbasi motifs, Kufic inscriptions, and Bannai geometric tilework. These tiles embellish the courtyard façades, the iwans, window spandrels, and the dome base. Although parts of the dome were once tiled, these decorations have largely deterioratedThe murals, stylistically belonging to the late Qajar period based on restoration records and the aesthetic nature of the floral and avian motifs, demonstrate varied techniques and qualities, likely executed by different artists over time. These wall paintings exhibit a blend of realism and symbolic abstraction, portraying paradise-inspired scenes through vivid colours and layered compositions. Limited but significant examples of reverse-glass painting accompany mirror works. Among these are religious portraits (shamayel), including depictions of Imam Ali (a.s.) with his sons, executed with radiant halos and emotional expressiveness, as well as portrayals of clerics, all framed within decorative wooden borders. According to inscriptions within the SHRINE, these artworks are attributed to artists such as Master Ali Baba-ye Naqqash-Bashi and Mashhadi Ebrahim, the mirror artisan.The stucco stalactites (muqarnas) serve both decorative and structural purposes, seen prominently in the entrance of the Rawda-ye Monavvareh and under the dome’s transitional zones. These vaults are arranged in symmetrical, geometric patterns and painted to amplify their visual rhythm and hierarchy. The dome’s central sunburst creates a focal point that guides the viewer’s eye downward across the entirety of the ornamental scheme, connecting the spiritual symbolism of the celestial with the earthly space of the worshipper.One of the most important features of this SHRINE is the extensive use of calligraphy, ranging from Qur'anic verses in Thuluth script to Persian poetic verses and waqf (endowment) inscriptions in Nastaliq. These inscriptions were applied using a combination of techniques: carved stone, painted plaster, and Koshteh-bori (a technique where raised relief text is shaped on plaster). The iconographic and symbolic meanings of these texts—particularly those praising God, the Prophet, and Imams—underscore the religious reverence embedded in the architecture.This study adopts a qualitative, descriptive-analytical methodology and combines historical-documentary research with field observations. In addition to archival studies and literature review, site visits and photographic documentation were conducted. Interviews with local caretakers and historians enriched the empirical understanding of the SHRINE’s transformations. Each decorative element was documented, categorized, and compared against stylistic typologies from Safavid, Qajar, and early Pahlavi periods.The findings reveal that while the SHRINE preserves exceptional artistic and historical value, many of its original elements have deteriorated over time due to humidity, inappropriate restorations, and lack of conservation plans. Mirror surfaces have oxidised, tiles have faded or chipped, and some wooden elements were replaced without stylistic compatibility. The study emphasises the need for a comprehensive and scholarly-based restoration program, prioritising authenticity and cultural continuity. Furthermore, this typological classification of motifs contributes to broader discourses on Iranian-Islamic ornamentation, especially in the context of religious architecture, offering insights into both the aesthetic evolution and the spiritual expressions of Shiite culture in Iran.In conclusion, the IMAMZADEH Sahl ibn Ali SHRINE stands as a remarkable embodiment of religious art and architecture in Iran, encapsulating centuries of devotional creativity and craftsmanship. Through a systematic analysis of its decorative arts, the study contributes to the documentation, preservation, and appreciation of Iran's sacred architectural heritageBeyond its ornamental richness, the SHRINE reflects a layered narrative of regional history, artistic patronage, and collective religious memory. It bears witness to a continuum of aesthetic choices shaped by dynastic ideologies, theological symbolism, and local craftsmanship. The presence of inscriptions from various historical phases, as well as the diversity of techniques—from Ayeneh-kari (mirror mosaics) to glazed ceramics and hand-carved woodwork—exemplifies the adaptability of Iranian religious architecture across centuries. Each layer, whether original or restored, reveals specific cultural priorities and evolving expressions of faith.Furthermore, the integration of symbolic elements within architectural features—such as the metaphoric use of birds for spiritual ascent, or geometric repetition to evoke divine infinity—transforms the SHRINE into a visual theology. It is not merely a burial structure but a sacred space where form and ornament converge to narrate transcendental truths. The syncretic harmony between space, material, light, and text in this SHRINE resonates deeply with the broader canon of Islamic art and architecture, positioning it as a valuable site for future interdisciplinary scholarship. 

The experience of failure and high risk of mega-projects especially in decayed areas increased the importance of risk assessment prior to its implementation. One of the projects is the development of IMAMZADEH-Zeinab SHRINE in Isfahan. It covers an area of about 19 hectares with the aim of recreating, creating an urban square and compensating for the shortage of per-capita. The purpose of this paper is to risk assess of urban development plan of IMAMZADEH-Zeinab SHRINE in isfahan using failure modes, effects and criticality analysis (FMEA) technique. In this regard, a mixed methodology paradigm has been used (the combination between case study research method and the non-experimental research method). At the same time, data collection was done through documentary, content analysis and field study method. In addition, the obtained data were analyzed through the failure modes, effects and criticality analysis (FMEA) technique and with the help of Delphi Group. Finally, the relevant problems were identified and prioritized based on the priority estimation index. The results show that the urban space of the IMAMZADEH-Zeinab SHRINE in the physical and security component has the minimum and maximum distance to the ideal urban space, respectively. Also, within the security component, it has the most possible problems in the field of space, lighting and social surveillance, respectively, which can be an obstacle to creating a presentable, dynamic and usable space for all individuals and age groups. For this aim, solutions have been proposed to minimize these problems before the implementation of the plan.

The SHRINE of Abdolazim located in Ancient historical city of Ray is a complex including holy SHRINEs of Immamzadeh Taher, Immamzadeh Hamzeh and Abdolazim Hassni. Immamzadeh Taher’s SHRINE is placed at the north side of the complex and at the east side of Abdolazim Hassni’s SHRINE and the museum of the complex also is at the south east of Mosalla (praying room for muslims) which is ornamented with decorative arrays. The complex is one of the most valuable treasures of architectural works and related arts. Its construction dates back to the second half of third Hijri century and it has been developed and evolved up to the present century. The complex has been greatly decorated with some artistic works. Some of the most significant of which are inscriptions by "Mohammd Ebrahim Tehrani known for Mirza Amo" who has been one of the outstanding and well-experienced inscription creators of Qajar era in Iran. The inscriptions were executed by applying Nastaliq script, and are considered important documents in the study of the development of Nastaliq scripts. They were written and made in two calligraphic and architectural methods, respectively, on papersand on seven-color tiles. Nastaliq as a favorite script has appeared in architectural designs attributed to Qajar era along with Thulth script. Thus recognition and awareness of prevalent Nastaliq inscriptions and their transformations are considered crucial needs for calligraphy and architecture communities, but the subject has been neglected by most researchers. Evaluation of calligraphic transformation through paper inscriptions which are directly written by calligraphers is an excellent and professional case study. Furthermore, since the quality of scripts undergo some changes or defects when transferring to tiles, stones or other things, analysis and comparison of paper inscriptions and seven-color tile inscriptions should be paid close attention to. Actually, it is a new look at epigraphy on seven-color tiles in which not only the calligrapher but the tileralso is involved. It can not be denied that production of calligraphic works specially Nastaliq script, is influenced by understanding transformations of scripts and manuscripts in form and structure over time; hence epigraphy and its transformation especially in holy places and the conformity of Nastaliq script with characteristics and requirements of epigraphy as well, have been overlooked by researchers. The purpose of this survey is to distinguish the differences between two methods of epigraphy, on papers and on tiles, and to realize transformations of Nastaliq letters and words when they were transferred from paper sheets to tiles. Library-based and field study resources as well as observational descriptive and analytical methods have been implemented to conduct the study. Some questions should necessarily be answered to obtain the aim of this study. Firstly, what are the differences between Mohammd Ebrahim Tehrani’s paper inscriptions kept in the museum of Abdolazim Hassani’s holy SHRINE and his seven-color tile inscriptions located in the veranda of IMAMZADEH Taher’s holly SHRINE in terms of writing form of Nastaliq and its composition (tarkib)? Secondly, which attributes should be taken into consideration to classify these inscriptions? The result of evaluation in both types of epigraphy indicated some stylistic features and visual standards for the works available from second period of the Qajar era, namely, writing big sizes of words and letters plus relative structural coherence in Nastaliq writings. It was revealed that slight variations exist between the two types of epigraphy. In the tile inscriptions, for instance, letters and words were written smaller in size and they were also executed bolder in comparison to the paper inscriptions. Thestretched letters (kashidas)are noticed to be elongated shorter in this type of epigraphy, though. Individual letters Additionally, the angel between calligraphy ."ه" are not attached tothe letter of ha "و،ر" such as ra and vav pen and the paper while writing dots (noghte) varies between 36 and 50 degrees. Furthermore, fewer ‘seating’ lines (korsi) and the same type of gemination, the doubling of a consonantal sound, were conceived in composition (tarkib) of the tile inscriptions. It was observed that words and letters underwent minor changes when they were transferred from the papers to the tiles, due to direct supervision of the calligrapher and his expertise in writing on variety of surfaces in addition to theskillful tiler who neatly created the tile inscriptions. Tehrani also has signed his paper inscriptions (1291 Hijri), available in Abdolazim Hassani’s SHRINE, as "Mohammd Ebrahim Tehrani" which is the calligrapher's full name. He has utilized black ink on the pale gold background papers to make the inscriptions. Another notable feature is that two types of curved and angular frames are perceived in his paper inscriptions. His tile inscriptions (1301 Hijri), however, have been signed as "Mohammd Ebrahim, Mashhor Be Mirza Amo" which includes calligrapher’s first and nick names. White ink, navy blue backgrounds and curved shape frames were noted as the characteristics of the tile inscriptions by Tehrani.

In the southwest of Kashan, a short distance from Fayz Cemetery, there is a SHRINE known as the Ghayeb SHRINE. According to aerial photographs of 1956 and 1964, this tomb was mainly located between farms and gardens. Although the current situation has changed slightly and residential units and other buildings can be seen in the vicinity, still, a large part of the surrounding area includes gardens and farmlands. According to the existing stone inscription, this tomb was the SHRINE of Ghāem al-e Mohammad and dated back to 1514. The building consists of a chamber in the center, other spaces, and Shabistans around it. It also includes a newly built mosque, a Hosseinieh (religious center), and a courtyard. The whole complex is located on a passage that is roofed next to the tomb. Also, a cistern is located on the other side of the passage and in front of the tomb. The study of the building shows that some parts have already been destroyed while some other parts have been added to it. Hence, the questions that are raised are how the building looked like in origin, when it was built, and what changes it has undergone. This study seeks to find the core of the original tomb and the process of its development. The research method is descriptive historical, and most of the information has been collected through the survey and documentation of the building and of its surroundings as well as interviews. All the information and documents have been interpreted to determine the original form and the following development of the building. The results showed that the original building was a small tomb built in place of a water management room (sarejeh peymayi), and then was developed and found this form, including a dome with eight spaces around it.

The art of embellishing Iranian ceramics and tiles has always captivated the attention of artists and craftsmen in this region. Among the various techniques employed to adorn pottery, the creation of Luster glaze (Zarinfam) stands out as the most significant and intricate method according to art experts. During the height of lusterware production in the 7th century A. H. (10th Century A. D. ), Iranian artists, particularly those from Kashan, honed their skills and expertise in this field. They developed innovative approaches to crafting luster glaze, which they then utilized in the decoration of Iran's most sacred religious places. This article aims to explore and present five examples of luster tiles from IMAMZADEH ISMAIL in Bideghan village, Qom province. Indeed, the collection is analyzed through a comparative and descriptive approach, and regarding historical sources. Among the tiles are one star-shaped tile with Fakhreddin's signature and dated 661 A. H (1262 A. D. ), as well as four tiles with similar themes but without signature or date. Comparative studies reveal that the tiles belong to the Kashan school, and it is possible that they were created by the same artist during the same period.

Today, concepts such as place attachment, sense of place, meaning of place, place identity, and. . . has devoted many studies in literature of architecture and urban design particularly in the field of environmental psychology. ImamZades, as a religious building, can help to the religious teachings. ImamZades were built in all over of Iran in different architectural styles. They during the course of history caused social unification and make the spiritual life of pilgrims and other people. Some of these buildings have been rehabilitated in recent decades due to various reasons such as the damage caused by the war or the effect of destructive natural disasters. The shape and space organization have been effective in terms of the level of place attachment. Any changes in the physical and mental dimensions of the building could have influenced its sense of place. Some ImamZades have been damaged in western and southern provinces during wartime or natural erosion, which has led to the rebuilding. The change of body, form and spatial systems can be effective on the spiritual senses of pilgrims and their geography of memory. The authors focus on understanding the relationship between physical-functional changes and sense of place, with the aim of examining the concept of the sense of place to recognize the most important indicators affecting its creation and promotion in ImamZades. The research question is what factors influence the formation of a sense of place in religious monumental buildings like as ImamZades? Two ImamZades in Ilam were selected and studied. In this regard, SPSS software was used for data analysis. To measure the relationship between variables, Pearson Correlation Method was used and Simple Linear and Multivariate Linear Regression tests were used to determine the relationship and intensity and direction of the relationship between independent and dependent variables. The Path Analysis was used to determine the direct and indirect effects of variables on the sense of place. According to the results, physical, perceptual, and social components have the most impact on IMAMZADEH› s sense of place, and the functional component has less effect on the sense of place enhancement. Also, variables of visual diversity, social communication, vitality and spirituality are directly affecting the sense of place, and the variables of previous memories and attachments, spatial quality and activity are indirectly influenced by other variables on the sense of place in the imamzades. In other words, in order to promote the sense of place in the buildings of the religious SHRINE, physical interference should be minimized and changes made to changes and creation of communal spaces.

In some point of view, neither Michel Foucault nor Ibn Khaldun are considered philosophers in the conventional classifications, but both are very  important in intellectual and, of course, in philosophical contexts, especially for those who are interested in the deep study of human life from the perspective of political thought.The main concern of two thinkers, one in the 14th century, the other in the 20th century, is the issue  of power, although neither of them provided a precise definition of it. In this article, an attempt has been made to show the place of power and domination in the political thought of both thinkers by examining the thoughts of two thinkers. And in search of an answer to this question, how did Asabiyyah and industry of religion in Ibn Khaldun's thought and social control through self-technology and discipline in Foucault's thought lead to the expansion of the domination of power? This article is written by analytically comparing the opinions of two thinkers based on Ibn Khaldun's most important book called Muqaddimah and Foucault's late works

By trying to achieve political power, the Shiite Mushasha'ids were able to form a local government in the marshes of southwestern Iran in the middle of the 9th century. However, Shah ISMAIL, who founded the Safavid state at the beginning of the 10th century, had claimed a national government. Obviously, this led to conflict between them. This study, using a descriptive-analytical approach, seeks to answer the question of why and how the Safavid Shah ISMAIL invaded the Mushasha'ids and took control of their territory. The findings show that Shah ISMAIL invaded Hoveyzeh from Baghdad at the end of Rajab 914 AH. Taking advantage of their internal disputes of the Mushasha'ids he crushed them in a one-day battle. He ended the Mushasha'id rule through killing the leaders of the Mushasha'ids, appointing one of the Qizilbash emirs in Hoveyzeh, and overthrowing the Ra'anashi Family in northern Khuzestan. Yet, due to the rebellion of the Arabs in the region, and expelling of the Qizilbash garrison from Hoveyzeh, Shah ISMAIL was forced to maintain the Mushasha'i dynasty by appointing Fallah ibn Mohsen as the first Safavid governor in western Khuzestan, after considering conditions such as the climate of the region, its geographical position, and the deep conjunction between the Mushasha'ids and the tribes in the region.

ISMAIL bin Abī-Zīād Sakkūnī Shaīrī is one of the narrators whose narrations quoted several times in different books that resulted in his significance in narrative and juridical sources. He has described “weak” and “Sunnite” in juridical and Rijali sources for several reasons: lack of sheikh Sadūq’s fatwa about his exclusive narrations (Monfaredāt), explicit view of several jurisprudents and Shiite Rijali scholars about his weakness, being Sunni, and even his heresy, and joint path with Sunnis. In this essay after clarification of mentioned reasons and evidences, these statements has been rethink critically in order to discover their validity in proving the mentioned view about ISMAIL’s weakness and being Sunni. The result was that regarding to the reasons and evidences, some effective documents about his weakness or credibility have not been considered or the mentioned view is exclusively based on reference to Rijali sources. Lack of attention on his credibility and belonging to Īmāmīeh such as his narration’s content, lack of Ahl-Bayt (pbut)’s reservation for saying narration to him, his narrations’ acceptance, quotation of narration of him by consensus’s companions, and numerous quotation of narration of him by scholars are other defects of this viewpoint. Thus, ISMAIL will be accepted among Shiite narrators and even among credible Shias.