It is a common perception that the Persian garden, if is located in a flat space, is based on the fixed pattern of four gardens, and if it is built next to a mountain and its topography allowed, it has a platform and stepped shape. But sometimes, as historical evidence shows, there are other patterns. In this context, a question rises as what had gardening been like in the Safavid period? Had it always followed the pattern known as the Persian garden? This article challenges the hypothesis of a set pattern for the garden, focusing on the Beyromabad garden in Kerman. Beyromabad garden is the only surviving garden from the Safavid era in Kerman. Beyram Beyg Afshar first built it during the reign of Shah Ismail. Ganjali Khan, the ruler of Kerman, in the late 16th century (During the reign of Shah Abbas), at the same time as creating civil changes in the structure of Kerman city, restored and developed the garden. Two mansions both belonging to the Safavid, two main axes and locating a part of the main building outside the garden wall, are of the different examples of the well-known pattern of the Persian garden. In this research, the main question is for what reason the different form of Beyromabad garden is? The hypotheses are as follows: 1-Safavid gardening did not pursue a specific pattern and one of the influential points has been the different condition and facilities of the garden land. 2-Political and social concepts have influenced Beyromabad garden’ s development plan and this influence has become so powerful that the concept has prevailed over garden’ s design based on the earth’ s morphology. In this article, after collecting information through library and field research, the structure of Beyromabad garden is reviewed and studied by descriptive-analytical method and an attempt is made to show the correctness of these hypotheses.

A review of findings shows that Persian gardens have attracted a wide area of interests between psychologists and environment designers. The main reasons behind the attraction of Persian gardens are natural content and particular landscape configuration. To study these features, overall organization examination is employed according to psychological pattern. One of the impressive psychological patterns to evaluate the natural landscape is preference matrix which has been developed by Stephen and Rachel Kaplan. In this study, characteristics of Persian gardens are reviewed and they are analyzed according to the Kaplan preference factors (coherence, legibility, mystery and complexity). Hence, four gardens namely, Fin, Shazdeh Mahan, Eram and El Goli, with different topographies are randomly selected and have been analyzed based on the four mentioned factors. Because of the inseparable relationship of human behavior and environment, the research methodology applies psychological approach based on a descriptive – analytical method and to implement this method library documents are used. As the discussion demonstrates, concepts created from the relationship between factors and Persian gardens' characteristics are associated with coherence, legibility, mystery and complexity. It shows that elements shaping the Persian gardens have close relationship with these factors because they are important in perception of the natural environment. Based on analysis, the elements in Persian gardens are used to provide the best psychological and aesthetic responses for viewers. Also, it can be concluded that, the quality of the material and semantic makes them more attractive.

Fath-Abad garden in Kerman, in the central desert of Iran, is one of the considerable examples of Persian garden in the Qajar period. The garden strictly responds to the original factors of the Persian garden, while represents some contradictions with classic structure of the Persian garden. After decades of neglect, this garden was renovated in 2015 and opened to the public. Today, when we visit this garden it is difficult to redefine it as a Persian garden. By referring to the previous on the structural indicators of the Persian gardens, this paper compares Fath-Abad garden, before and after renovation, with original characters of Persian garden as a unique identity. To achieve this goal, aerial photos as and general photos of the garden before and after renovation were the basic resources of this research. Considering the garden’ s structure before and after renovation, this paper argues that the neglect of two main structural indicators of the Persian gardens, which has disturbed the perception of this garden as a Persian garden. The results show that the ignorance of two important indicators of Persian garden including being enclosed with walls, the position of the main entrance and its relation with main axis and pavilion, have disturbed the perception of this garden as the Persian garden and as a complex of three detached garden.

This study explores the distinguished Persian Sufi mystic Shaykh Maḥmūd Shabestarī’s Golshan-e Rāz, or The Rose garden of Mystery. Adopting a hermeneutic approach, it scrutinizes the intricate spiritual journey towards divine realization delineated in Shabestarī’s poetry, utilizing qualitative content analysis of original texts and interpretations by scholars such as Lāhījī and Ibn Turka Iṣfahānī. The main question the paper addresses is this: “How can the spiritual journeyer overcome obstacles—particularly ‘otherness’—and achieve unity with the divine Essence within the framework of Islamic mysticism, as interpreted through Shabestarī’s teachings in Golshan-e Rāz?” To answer this inquiry, the paper addresses pivotal questions concerning Shabestarī’s depiction of the spiritual journeyer’s path, its stages and challenges, and the critical role of the human form in divine manifestation. The study underscores the necessity of overcoming duality and distinction, alluding to the transformative nature of the journey that necessitates self-purification and the cessation of otherness. Findings from this study provide an enriched understanding of Shabestarī’s thought, contributing to the discourse on Islamic metaphysics. It presents valuable insights into the spiritual journeyer’s path, offering a comprehensive interpretation of the challenges, practices, and transformative experiences leading to divine realization and unity.

Iranian garden is one of the frequent and popular subject matters in Iranian paintings and carpets. The various types of Iranian art in Islamic period widely focused on displaying gardens. The present study aimed at examining Iranian garden and the process of building gardens in Safavid period in two visual fields of painting and scarpets. Therefore, this research tries to study the composition and viewing angles of on garden carpets and Iranian paintings of the Safavid period and their mutual relationship. soSo that it could reach a comprehensive structure of designing gardens and spectator’s visual imagination in this two visual fields.The study was in a type of descriptive analytic approach and data analysis was carried out inductively.The study was a qualitative research with a comparative approach. The main part of this study is based on library obtained data. The purpose was to investigate the main structure of garden in carpets and Iranian paintings of the Safavid period, to find out existing similarities and differences between these two visual fields. The main research question here is that what kind of the structural linkage is there between the form of garden in paintings and carpets of Safavid period.The hypothesis is that the two artistic forms of garden carpets and paintings have mutual effects and intertextual linkage. Therefore, and based on carried out investigations in Safavid period, we selected 20 carpets and 46 paintings, and finally we randomly selected 5 samples out of each group for analysis then we tried to confirm the hypothesis having structuralistic and intertextuasl orientation.. The results showed that the composition of Persian gardens in the Safavid paintings and garden carpets was derived from the Chahar Bagh pattern with the emphasis on the centrality of dock, water distribution network, symmetry, naturalism, harmony of elements of the garden and the separation of spaces. Existing Existing viewing angels varied according to the spectator’s position.

Peroxidase used in oxidation of a wide range of aromatic chemicals. We used a domestic source of peroxidase (garden radish, Raphanous sativus L.) to treat the following hazardous chemicals: phenol, aniline, bnzidine, alachlor, butachlor, acid red 88 and acid blue 62. Crude enzyme removed the above-mentiond chemicals more efficiently in 24 hr treatment. Changes in pH cause a removal efficacy change, for example lowering pH from 7 to 4.0 for phenol treatment increased removal from 0.5% to 100% for crude enzyme. In conclusion, garden radish is a good substitute for horseradish in order to treat aromatic wastewaters.

Background and Objective: Interpretation of historic urban gardens as a text containing multilayer meanings, in order to create a structure that meets the physical and spiritual needs of humans over the time, would be a reason for planning for new functional requirements in new urbanism. In this research, by assuming that the historic urban gardens have a readable and comprehensible pattern language in Persian’ s gardening tradition, we attempted to recognize the pattern language of in Masoudiyeh garden, Farah Abad garden and Negarestan garden. Material and Methodology: In this study, research is "theoretical", the philosophical basis of research is interpretive, research approach is qualitative and research design is deductive-comparative. The method of data analysis is through the Analytical Hierarchy Process (AHP) and the data gathering tools are library studies and survey research. Findings: Having reviewing the literature of research and determining the pattern language of the Persian gardens and weighting the patterns in the data analysis stage, the results showed that physical structure with a weight of 0. 428 is more important than functional structure (0. 334) and a spatial quality structure (0. 238). In the overall results of the patterns and final weight of the adaptability of the pattern language of the gardens shows that Masoudiyeh garden ranked the first with a weight of 0. 436, and then the Farah Abad garden (0. 345) and Negarestan garden (0. 219) stands second and third. Discussion and Conclusion: In this way, understanding the language of urban historic gardens can be a basis to respond to the needs of today’ s circumstances.