Nazar Research CenterJournal of Art and Civilization of the Orient2345-6612134720250403Nowruz; The Ritual of Honoring Resurrection of Human and NatureNowruz; The Ritual of Honoring Resurrection of Human and Nature5521811210.22034/jaco.2025.218112FAAliNikoeiPh.D. in Art Research, Nazar Research Center, Tehran, Iran.Journal ArticleBy the time you are reading these writings, Nowruz will have been over for you and me; it is up to you to name this year, <em>Nowruz</em>-e-<em> Khorsidi </em>( Solar)<em> </em> 1404, or <em>Nowruz</em>-e<em>-Tarsayee</em> 2024 ( Solar-Gregorian) as Tajiks and other celebrants beyond the political borders of today's Iran, or you may want to name it <em>Nowruz</em>-e<em> Avestayee</em> (Avestyan) 3763 as our Zoroastrian compatriots, or <em>Nowruz</em>-e<em> -Hijri </em>(AH)<em> </em>1446 as Iranians before the fall of the Qajar dynasty, but all these erstwhile calendars of Nowruz verify that Nowruz is not just for the beginning of the New Year!
Nowruz is one of the most ancient celebrations that have been honored by people so far, and it is not associated with anyone's birth or death. Nowruz is a cosmic ceremony that starts when the sun's rays fall on Aries, initiating the vernal equinox; it is the moment that has been celebrated for years by playing drums and trumpets and firing cannons, and it has been celebrated by Iranians for generations <sup>1</sup>. In Nowruz, the renewal of the great world goes with the renewal of the small world; nature turns new, and you and I also become new; in the Nowruz ceremony, we put on our new clothes, prettify ourselves, and... these actions and renewal of behavior coincide with the renewal of the natural world; thus, Nowruz is truly the symmetry of man with nature.
The ancient inhabitants of the great Iranian plateau were farmers who celebrated a magnificent ritual ceremony every year in honor of the plant gods. These ceremonies were usually known as the celebration of the death and resurrection of the plant god. First mourning ceremonies were held and then, as if the plant god had come to life, people rejoiced and danced. They believed that the plant god would show his favor to them if they did so and that year they would have more fruitful crops. The death and resurrection of the plant god were always accompanied by the beginning of the new year, and the purpose of holding these rituals was to attract the mercy of the fertility god and, as a result, to arouse the productivity of nature<sup>2</sup>.
Nowruz is closely associated with Iran; Nowruz and Iran are inseparable body and soul. To protect the land of Iran, whether against the destruction of its substance or against the invasion of a foreign enemy, concepts such as Nowruz [which contributes to the meaning of Iran] must be glorified. Since celebrating rituals such as Nowruz serves as a way to reflect deeply on the general belief of land, in a world where knowledge goes hand in hand with belief, rituals such as Nowruz serve as a tool contributing to raising the awareness of the general interests of society. A look at the worldview of inhabitants of the land of Iran concealed in Nowruz indicates a systematic and organized view of nature showcasing its association with human joy in the universe; celebrating human growth and life while emphasizing the vernal equinox implies tying the earth (human happiness) with the sky (the beginning of spring); such a worldview can be reflected in the inscription of Darius the Great in Persepolis [the place where Nowruz was held during the Achaemenid era], where the great king is portrayed praying and asking God to protect his land [Iran] from enemy armies, lies, and drought.By the time you are reading these writings, Nowruz will have been over for you and me; it is up to you to name this year, <em>Nowruz</em>-e-<em> Khorsidi </em>( Solar)<em> </em> 1404, or <em>Nowruz</em>-e<em>-Tarsayee</em> 2024 ( Solar-Gregorian) as Tajiks and other celebrants beyond the political borders of today's Iran, or you may want to name it <em>Nowruz</em>-e<em> Avestayee</em> (Avestyan) 3763 as our Zoroastrian compatriots, or <em>Nowruz</em>-e<em> -Hijri </em>(AH)<em> </em>1446 as Iranians before the fall of the Qajar dynasty, but all these erstwhile calendars of Nowruz verify that Nowruz is not just for the beginning of the New Year!
Nowruz is one of the most ancient celebrations that have been honored by people so far, and it is not associated with anyone's birth or death. Nowruz is a cosmic ceremony that starts when the sun's rays fall on Aries, initiating the vernal equinox; it is the moment that has been celebrated for years by playing drums and trumpets and firing cannons, and it has been celebrated by Iranians for generations <sup>1</sup>. In Nowruz, the renewal of the great world goes with the renewal of the small world; nature turns new, and you and I also become new; in the Nowruz ceremony, we put on our new clothes, prettify ourselves, and... these actions and renewal of behavior coincide with the renewal of the natural world; thus, Nowruz is truly the symmetry of man with nature.
The ancient inhabitants of the great Iranian plateau were farmers who celebrated a magnificent ritual ceremony every year in honor of the plant gods. These ceremonies were usually known as the celebration of the death and resurrection of the plant god. First mourning ceremonies were held and then, as if the plant god had come to life, people rejoiced and danced. They believed that the plant god would show his favor to them if they did so and that year they would have more fruitful crops. The death and resurrection of the plant god were always accompanied by the beginning of the new year, and the purpose of holding these rituals was to attract the mercy of the fertility god and, as a result, to arouse the productivity of nature<sup>2</sup>.
Nowruz is closely associated with Iran; Nowruz and Iran are inseparable body and soul. To protect the land of Iran, whether against the destruction of its substance or against the invasion of a foreign enemy, concepts such as Nowruz [which contributes to the meaning of Iran] must be glorified. Since celebrating rituals such as Nowruz serves as a way to reflect deeply on the general belief of land, in a world where knowledge goes hand in hand with belief, rituals such as Nowruz serve as a tool contributing to raising the awareness of the general interests of society. A look at the worldview of inhabitants of the land of Iran concealed in Nowruz indicates a systematic and organized view of nature showcasing its association with human joy in the universe; celebrating human growth and life while emphasizing the vernal equinox implies tying the earth (human happiness) with the sky (the beginning of spring); such a worldview can be reflected in the inscription of Darius the Great in Persepolis [the place where Nowruz was held during the Achaemenid era], where the great king is portrayed praying and asking God to protect his land [Iran] from enemy armies, lies, and drought.http://www.jaco-sj.com/article_218112_3b257d7ddc69fc273f76832895915a23.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612134720250321A Comparative Study of the Hero Archetype in the Davari Shahnameh of the Qajar Period (1238-1283 A.H.) Based on the Morphological Theory of ProppA Comparative Study of the Hero Archetype in the Davari Shahnameh of the Qajar Period (1238-1283 A.H.) Based on the Morphological Theory of Propp61920926210.22034/jaco.2024.449679.1395FAElahehPanjehbashiAssociate Professor, Department of Painting, Alzahra University, Tehran, Iran.0000-0001-5631-8622NegarNajibiPh.D. Student, Department of the Art Research, Faculty of Alzahra University, Tehran, Iran.0000-0002-8276-5853Journal Article20240408Painting of the Qajar era has expanded meanings. One of these meanings is the existence ofthe main character with the archetypal theme of the hero archetype. This feature can be seen not only in large-scale oil paintings but also in the small miniature manuscripts of this period. Davari Shahnameh ( in Persian Shahnameh Davari) is one of the miniature manuscripts of the Shahnameh in this period, in which the hero archetype is prominent. One of the contemporary theories in this field is the morphological theory of Propp, in which this Russian analyst attempts to classify epic stories and their characters. Iranian culture has a deep relationship with the hero archetype and creates mythical heroes in Iranian literature. This issue is important in the manuscript of Shahnameh Davari as the last official and complete Iranian Shahnameh in the Qajar period. This research aims to study the hero archetype in the Shahnameh Davari manuscript in the Qajar period. According to the cultural changes of this period, the character of the hero is represented differently, and investigating it with Propp’s morphological theory can suggest a new meaning of this character in this period. The main question of the research is as follows: According to Propp’s morphological theory, how is the archetype of the hero redefined and interpreted in the paintings of Shahnameh Davari? The methodology in this paper is qualitative research to gather non-numerical data to produce insights, and Shahnameh Davari was studied by the descriptive-analytical method. Also, based on Propp’s theory, it explains the redefinition of the hero archetype as a mythological archetype. The results of the research clearly show that the archetype of the hero is particularly important in the version of Shahnameh Davari, and it is compatible with evolution and development in the morphology of the figures of this Shahnameh.Painting of the Qajar era has expanded meanings. One of these meanings is the existence ofthe main character with the archetypal theme of the hero archetype. This feature can be seen not only in large-scale oil paintings but also in the small miniature manuscripts of this period. Davari Shahnameh ( in Persian Shahnameh Davari) is one of the miniature manuscripts of the Shahnameh in this period, in which the hero archetype is prominent. One of the contemporary theories in this field is the morphological theory of Propp, in which this Russian analyst attempts to classify epic stories and their characters. Iranian culture has a deep relationship with the hero archetype and creates mythical heroes in Iranian literature. This issue is important in the manuscript of Shahnameh Davari as the last official and complete Iranian Shahnameh in the Qajar period. This research aims to study the hero archetype in the Shahnameh Davari manuscript in the Qajar period. According to the cultural changes of this period, the character of the hero is represented differently, and investigating it with Propp’s morphological theory can suggest a new meaning of this character in this period. The main question of the research is as follows: According to Propp’s morphological theory, how is the archetype of the hero redefined and interpreted in the paintings of Shahnameh Davari? The methodology in this paper is qualitative research to gather non-numerical data to produce insights, and Shahnameh Davari was studied by the descriptive-analytical method. Also, based on Propp’s theory, it explains the redefinition of the hero archetype as a mythological archetype. The results of the research clearly show that the archetype of the hero is particularly important in the version of Shahnameh Davari, and it is compatible with evolution and development in the morphology of the figures of this Shahnameh.http://www.jaco-sj.com/article_209262_81108f28887e6bb33e1baa77feb8a349.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612134720250321An Investigation of the Process of “Assimilation” in The Safavid Society: An Examination of Clothes, Instruments, and Moods in the Paintings of the Three Schools of Teimurian, Tabriz and EstrabadAn Investigation of the Process of “Assimilation” in The Safavid Society: An Examination of Clothes, Instruments, and Moods in the Paintings of the Three Schools of Teimurian, Tabriz and Estrabad202720926310.22034/jaco.2024.454808.1405FAMohammad RezaSharifzadehProfessor, Department of Art Research, Faculty of Arts, Central Tehran Branch, Islamic Azad University, Tehran, Iran.0000-0002-8965-9287Mohammad RezaSakhtemangarPh.D. in Comparative and Analytical History of Islamic Art, Department of Art Research, Faculty of Arts, Central Tehran Branch, Islamic Azad University, Tehran, Iran.0000-0002-1478-8228AbolfazlDavodi RoknabadiProfessor, Department of Textile and Clothing Design, Yazd Branch, Islamic Azad University, Yazd, Iran.0000-0001-8279-2803MohammadArefAssociate Professor, Department of Drama, Faculty of Art, Islamic Azad University, Central Tehran Branch, Iran.0000-0002-6804-7716Journal Article20240430Comparing the paintings of the Safavid period with former schools shows that the Safavids, following the assimilation policies of the government, were looking for the trends of assimilation of the society by adopting culture through clothes, instruments, and manners. Such assimilation two thousand years after the achaemenid assimilation is unique in Iran. Also, centuries after the Sassanids, assimilation did not occur with the official single religion. During the Safavid era, when Iran was politically unified to some extent and the official religion was Shia, this point was also reflected in the appearance of the people. However, this social change was less felt in the provinces and cities due to the distance from the center of power, and this issue is evident in the study of the paintings of the “state” and “courtly” schools of the Safavid era.In this article, an attempt is made to investigate the process of “assimilation” in the Safavid society by referring to the visual sources of the schools of Herat Teimuri, Tabriz II, and the state school of Estrabad during the Safavid period.The current research is based on an analytical approach and library studies with reference to historical texts.The investigations obtained in comparing the pictorial resources of the Herat school, as a pre-Safavi school, the court school of Tabriz, and the state school of Estrabad as two painting schools of the Safavid period, show that the process of “homogenization” in the Safavid society, as opposed to “multiplicity” before It has led to the formation of a trend and a general tendency to pretend to be uniform and united in terms of clothing and even body language.Comparing the paintings of the Safavid period with former schools shows that the Safavids, following the assimilation policies of the government, were looking for the trends of assimilation of the society by adopting culture through clothes, instruments, and manners. Such assimilation two thousand years after the achaemenid assimilation is unique in Iran. Also, centuries after the Sassanids, assimilation did not occur with the official single religion. During the Safavid era, when Iran was politically unified to some extent and the official religion was Shia, this point was also reflected in the appearance of the people. However, this social change was less felt in the provinces and cities due to the distance from the center of power, and this issue is evident in the study of the paintings of the “state” and “courtly” schools of the Safavid era.In this article, an attempt is made to investigate the process of “assimilation” in the Safavid society by referring to the visual sources of the schools of Herat Teimuri, Tabriz II, and the state school of Estrabad during the Safavid period.The current research is based on an analytical approach and library studies with reference to historical texts.The investigations obtained in comparing the pictorial resources of the Herat school, as a pre-Safavi school, the court school of Tabriz, and the state school of Estrabad as two painting schools of the Safavid period, show that the process of “homogenization” in the Safavid society, as opposed to “multiplicity” before It has led to the formation of a trend and a general tendency to pretend to be uniform and united in terms of clothing and even body language.http://www.jaco-sj.com/article_209263_5fd10f5a9353436239c13bcddd715298.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612134720250321Analysis of Northern Khorasan’s Kurdish Women’s Clothing in LayinAnalysis of Northern Khorasan’s Kurdish Women’s Clothing in Layin284121271110.22034/jaco.2024.459507.1410FAZeynabGerivaniM. A in Fashion Design, Department of Fashion Design, Faculty of Art and Architecture, South Tehran Branch, Islamic Azad University, Tehran, Iran.RezaAkbari BengarAssistant Professor, Department of Fashion Design, Faculty of Art and Architecture, South Tehran Branch, Islamic Azad University, Tehran, Iran.0000-0003-4518-6331Journal Article20240526Clothing plays a significant role in preserving the cultural and identity values of any region. This study focuses on the clothing of Kurdish women from Northern Khorasan in Layen, located in Razavi Khorasan province. These garments represent one of the oldest forms of Kurdish women’s clothing in Khorasan. In the current tumultuous modern world and the transition from tradition to modernity, these clothes are now only worn during ceremonies and festivals. Understanding the cutting and sewing techniques of traditional clothing, which are rooted in the cultural and identity aspects of each ethnic group, can help prevent their obsolescence and pass this indigenous knowledge to future generations. This study examines the processes of cutting and sewing these garments, illustrating a broad design and classifying the components of the aforementioned clothing for preservation. Consequently, this study is descriptive-analytical, with data collected through fieldwork (interviews and observations) and archival information. The results indicate that the components of clothing of Kurdish women from Northern Khorasan in Layen can be categorized into “Bady Garment,” “Outer Garment,” and “Head Covering,” including “Pacheh,” “Zir-Pirahan (in English underdress),” “Pirahan (in English dress),” “Niv-taneh,” “Kole,” “Shal,” and “Shar.” Local tailors of Layen’s Kurdish community do not use pre-drawn patterns; instead, cutting is done directly on the fabric. The cuts are simple, avoiding complexity and waste.Clothing plays a significant role in preserving the cultural and identity values of any region. This study focuses on the clothing of Kurdish women from Northern Khorasan in Layen, located in Razavi Khorasan province. These garments represent one of the oldest forms of Kurdish women’s clothing in Khorasan. In the current tumultuous modern world and the transition from tradition to modernity, these clothes are now only worn during ceremonies and festivals. Understanding the cutting and sewing techniques of traditional clothing, which are rooted in the cultural and identity aspects of each ethnic group, can help prevent their obsolescence and pass this indigenous knowledge to future generations. This study examines the processes of cutting and sewing these garments, illustrating a broad design and classifying the components of the aforementioned clothing for preservation. Consequently, this study is descriptive-analytical, with data collected through fieldwork (interviews and observations) and archival information. The results indicate that the components of clothing of Kurdish women from Northern Khorasan in Layen can be categorized into “Bady Garment,” “Outer Garment,” and “Head Covering,” including “Pacheh,” “Zir-Pirahan (in English underdress),” “Pirahan (in English dress),” “Niv-taneh,” “Kole,” “Shal,” and “Shar.” Local tailors of Layen’s Kurdish community do not use pre-drawn patterns; instead, cutting is done directly on the fabric. The cuts are simple, avoiding complexity and waste.http://www.jaco-sj.com/article_212711_019909e2bfb034928271b89ddb755c04.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612134720250321Iconographic Reading of Afghan War Rug
(Case Study: The War Rug with Ahmad Shah Massoud as Majnun)Iconographic Reading of Afghan War Rug
(Case Study: The War Rug with Ahmad Shah Massoud as Majnun)425121422210.22034/jaco.2025.455798.1406FALalehAhaniAssistant Professor, Faculty of Carpet, Tabriz Islamic Art University, Iran.0000-0003-0742-049XAzadehYaghoubzadehAssistant Professor, Faculty of Carpet, Tabriz Islamic Art University, Iran.0000-0003-4875-2298Journal Article20240505Arts are often influenced by significant political, social, economic, and cultural events within societies. One of the best examples confirming this notion is the Afghan war rugs. The designs of these rugs predominantly feature images of elements and motifs related to war. Among a subset of these rugs, there is a focus on depicting individuals influential in the course of the war. Ahmad Shah Massoud, as one of the key figures in the Afghan war, has been a recurring subject in Afghan pictorial rugs. However, in the rug analyzed in this study, Ahmad Shah Massoud is depicted alongside numerous elements that, at first glance, appear unrelated. This study aims to uncover the semantic connections between the various motifs present in the composition. This study seeks to answer the main question: what message is intended to be conveyed through the depiction of Ahmad Shah Massoud and the other elements present in this rug? The study examined one Afghan war rug featuring Ahmad Shah Massoud using Erwin Panofsky’s iconology approach, employing an iconographic method in two stages of description and analysis. The study employed a descriptive-analytical methodology and used a library study for data collection. Through an iconographic approach and a semantic and symbolic analysis of the icons within the rug’s imagery, the findings reveal that the rug implicitly conveys a message through the diverse elements included in its composition. The rug evokes the tale of “Layla and Majnun,” with Ahmad Shah Massoud portrayed as Majnun—a world-renouncing lover of his country. The other elements in the rug symbolize the aspirations and dreams of the Afghan people, who long for a free nation.Arts are often influenced by significant political, social, economic, and cultural events within societies. One of the best examples confirming this notion is the Afghan war rugs. The designs of these rugs predominantly feature images of elements and motifs related to war. Among a subset of these rugs, there is a focus on depicting individuals influential in the course of the war. Ahmad Shah Massoud, as one of the key figures in the Afghan war, has been a recurring subject in Afghan pictorial rugs. However, in the rug analyzed in this study, Ahmad Shah Massoud is depicted alongside numerous elements that, at first glance, appear unrelated. This study aims to uncover the semantic connections between the various motifs present in the composition. This study seeks to answer the main question: what message is intended to be conveyed through the depiction of Ahmad Shah Massoud and the other elements present in this rug? The study examined one Afghan war rug featuring Ahmad Shah Massoud using Erwin Panofsky’s iconology approach, employing an iconographic method in two stages of description and analysis. The study employed a descriptive-analytical methodology and used a library study for data collection. Through an iconographic approach and a semantic and symbolic analysis of the icons within the rug’s imagery, the findings reveal that the rug implicitly conveys a message through the diverse elements included in its composition. The rug evokes the tale of “Layla and Majnun,” with Ahmad Shah Massoud portrayed as Majnun—a world-renouncing lover of his country. The other elements in the rug symbolize the aspirations and dreams of the Afghan people, who long for a free nation.http://www.jaco-sj.com/article_214222_988fb4e08fec9ecd9fa132c46ff875af.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612134720250321A Review and Introduction of Ottoman Castle in Tabriz Based on Written Sources and New Archaeological FindingsA Review and Introduction of Ottoman Castle in Tabriz Based on Written Sources and New Archaeological Findings526121288310.22034/jaco.2025.473614.1417FABehzadMehdizadehPh.D. Candidate in Archaeology, Archaeology Department, Ege University, Faculty of Literature, Izmir, Türkiye.AytekinErdoğanFaculty Member in Archaeology, Archaeology Department, Ege University, Faculty of Literature, Izmir, Türkiye.Journal Article20240831During their military campaigns to the borders of the empire, the Ottomans always followed a "fortress-centered" system. In this system, the progress of conquests and the road map for territorial expansion were based on the capture and reconstruction of castles to advance their military and political objectives. Through field and library research conducted by the authors, three castle in Tabriz and its surroundings have been identified as utilized by the Ottomans according to this method: 1-Rashidiyye Castle 2-Jafar Pasha Castle 3-Khameneh Castle. This research is based on a combination of library and field methods. The studied sources were compared with archaeological evidence obtained. From a theoretical perspective, Colin Renfrew's dominance theory(the relationship between political and military centers) was used to analyze the research findings. By examining the mentioned castles, it is concluded that each of these castles had specific political and military potential and influence on the developments of this period. This can be analyzed within Renfrew's theory of dominance, suggesting that although each castle operated as an independent political-military unit, it functioned as a coordinated system within the Ottoman political structure in the occupied northwestern regions of Iran. Thus, the Ottoman castles in Tabriz, operating within this castle-centered system, contributed to the 20-year political dominance of the Ottoman state in the occupied regions of Azerbaijan, particularly Tabriz, from 1585 to 1603 A.D.During their military campaigns to the borders of the empire, the Ottomans always followed a "fortress-centered" system. In this system, the progress of conquests and the road map for territorial expansion were based on the capture and reconstruction of castles to advance their military and political objectives. Through field and library research conducted by the authors, three castle in Tabriz and its surroundings have been identified as utilized by the Ottomans according to this method: 1-Rashidiyye Castle 2-Jafar Pasha Castle 3-Khameneh Castle. This research is based on a combination of library and field methods. The studied sources were compared with archaeological evidence obtained. From a theoretical perspective, Colin Renfrew's dominance theory(the relationship between political and military centers) was used to analyze the research findings. By examining the mentioned castles, it is concluded that each of these castles had specific political and military potential and influence on the developments of this period. This can be analyzed within Renfrew's theory of dominance, suggesting that although each castle operated as an independent political-military unit, it functioned as a coordinated system within the Ottoman political structure in the occupied northwestern regions of Iran. Thus, the Ottoman castles in Tabriz, operating within this castle-centered system, contributed to the 20-year political dominance of the Ottoman state in the occupied regions of Azerbaijan, particularly Tabriz, from 1585 to 1603 A.D.http://www.jaco-sj.com/article_212883_de5f06df5bdc0153cce78de13b841eae.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612134720250321A Comparative Study on Traditional Architectural Openings Based on Fundamental Concepts
(Case study: Persian Orosi and Japanese Shoji)A Comparative Study on Traditional Architectural Openings Based on Fundamental Concepts
(Case study: Persian Orosi and Japanese Shoji)627721422110.22034/jaco.2025.456047.1408FAMohammadIranmaneshAssociate Professor in Architecture, Saba Faculty of Arts and Architecture, Shahid Bahonar University of Kerman, Iran.0000-0001-9138-2419ElhamKhajehpourLecturer in Architecture, Saba Faculty of Arts and Architecture, Shahid Bahonar University of Kerman, Iran.0009-0008-6394-5948PoonehRajabzadehM.A. in Architecture, Saba Faculty of Arts and Architecture, Shahid Bahonar University of Kerman, Iran.0000-0001-6464-3900Journal Article20240512Communities, based on their specific cultures and climates, have developed different architectural styles. However, there can be found similarities and differences among the characteristics of some instances of architecture; caused by common human creative thinking and diverse contexts, presenting features of architectural elements. Opening elements in architecture are important, as they control relationships between different spaces, such as the inside and the outside. Naturally, designing them is influenced by some source concepts, that originated in cultures of communities, which appears in the formation of the architectural openings and somehow the whole identity of that architecture. From this point of view, openings have an outer layer, which includes the morphological aspects, and an inner layer carrying meanings and ideas. “Orosi” is a type of opening in traditional Persian architecture and “Shoji” is a type of opening in traditional Japanese architecture. Each is a distinctive element of its region’s architecture. Notwithstanding the evident difference in their appearance, they both are openings that create flexible interaction between the interior space and the exterior. To understand the characteristics of these two openings, especially in their inner layers, this paper investigates their significant similarities and differences through a comparative study of three dimensions: morphological, technical, and inner. Main Similarities are found in fields of spatial influence, adjusting in/out relation, fuzziness and flexibility in enclosure, and cultural/environmental characters. The main differences found are geometric complexity vs. simplicity, dominant function turning to climate or boundary, non-minimalism vs minimalism, and preferring color or shadow designing. Communities, based on their specific cultures and climates, have developed different architectural styles. However, there can be found similarities and differences among the characteristics of some instances of architecture; caused by common human creative thinking and diverse contexts, presenting features of architectural elements. Opening elements in architecture are important, as they control relationships between different spaces, such as the inside and the outside. Naturally, designing them is influenced by some source concepts, that originated in cultures of communities, which appears in the formation of the architectural openings and somehow the whole identity of that architecture. From this point of view, openings have an outer layer, which includes the morphological aspects, and an inner layer carrying meanings and ideas. “Orosi” is a type of opening in traditional Persian architecture and “Shoji” is a type of opening in traditional Japanese architecture. Each is a distinctive element of its region’s architecture. Notwithstanding the evident difference in their appearance, they both are openings that create flexible interaction between the interior space and the exterior. To understand the characteristics of these two openings, especially in their inner layers, this paper investigates their significant similarities and differences through a comparative study of three dimensions: morphological, technical, and inner. Main Similarities are found in fields of spatial influence, adjusting in/out relation, fuzziness and flexibility in enclosure, and cultural/environmental characters. The main differences found are geometric complexity vs. simplicity, dominant function turning to climate or boundary, non-minimalism vs minimalism, and preferring color or shadow designing. http://www.jaco-sj.com/article_214221_22e2fc3e5d84e72b8d6bbf303e8ac945.pdf