Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 14 51 2026 03 21 The Cities, Narrators of the War of Wills The Cities, Narrators of the War of Wills 5 5 242145 10.22034/jaco.2026.242145 FA Seyed Amir Hashemizadegan Department of Landscape Architecture, School of Architecture, College of Fine Arts, University of Tehran, Iran Journal Article In the Ramadan War, the clash of wills between the two fronts Iran and the United States-Israel enters a new phase, and Iran’s cities become a very important part of the arena of this confrontation. Understanding the events of this confrontation, in order to “pass through” them (in Walter Benjamin’s sense), can provide the ground for an existential cultivation that offers a singular opportunity for the comprehensive flourishing of the land. A deep attention to the landscape of the Ramadan War draws our gaze to a particular mode of the distribution of power. In the past, power was imagined to be distributed in a tree‑like form with a single trunk and a top‑down structure. Today, however, we know that power is distributed in a networked form, without a single trunk and accompanied by complex media instruments. In fact, the distribution of power has an overt and compulsory layer, and another layer that operates through consent and remains hidden (hegemony). This second, deeper layer is what makes the first layer possible. Iran’s resistance to the war crimes committed by the American-Israeli enemy on 28 February 2026 and afterward has, in practice, shown that Iran’s cities possess a distribution of power that has both the intensity and the direction required for confrontation. In this regard, the winning card of Iran’s cities, in comparison with the enemy, is not based on the intensity of power but on the direction of its distribution a direction that is fundamentally different from the enemy’s calculations and, consequently, far more capable in confronting it. The generative direction of power in Iran’s cities emerging from the interactions between the people and their environment has produced a mode of perception whose elements can move along a path that dissolves the hegemony that conceals the master/slave relation of the enemy. This power, which in addition to having religious testimony is also, according to the great Persian poetry, an expression of love (“Servitude and kingship were made clear / Through these two veils, love was concealed” - Rumi). In the Ramadan War, victory belongs to the one who, together with the environment and materiality, transforms hegemony. Since the distribution of power in Iran’s cities is oriented toward freedom and an exit from the master/slave cycle, it generates events those “moments” that have the capacity to shatter the hegemony of dominating power. Although martyrdom and the wounding of the land are heavy burdens, they expose the lie of the benevolence claimed by dominating and enslaving nations, a lie wrapped in networked hegemony (“a beautiful ship!”). And with the collapse of this hegemony, its instruments lose their effectiveness. From a technical standpoint, today it is possible beyond the opaque veil of orthogonal streets and 60/40 buildings to discern the distribution of power in the Iranian city by reflecting deeply on the presence and rhizomatic gathering of the people: The initiation of population density emerging from the dispersion of alleyways as convergent neighborhoods. The connection of these dense clusters through passages where the call to freedom is openly expressed. The merging of these clusters in behavioral plazas shaped by altruism. The synergy of power within a network of ensembles driven by devotional, social, and functional wills. The redistribution of the strength generated by this unifying togetherness, in the form of Iran’s will as the spirit of a spiritless world. This distribution of power unfolds at automobile-oriented asphalt intersections whose one‑dimensional reading is not recognized by the social forces themselves. This opens a pathway to understanding the multidimensional capacities of the city and its relation to power as a means of existential elevation. It is hoped that, in the country’s development, cities can be understood as embodiments of a distribution of power oriented toward freedom, rather than as neutral environments. In the Ramadan War, the clash of wills between the two fronts Iran and the United States-Israel enters a new phase, and Iran’s cities become a very important part of the arena of this confrontation. Understanding the events of this confrontation, in order to “pass through” them (in Walter Benjamin’s sense), can provide the ground for an existential cultivation that offers a singular opportunity for the comprehensive flourishing of the land. A deep attention to the landscape of the Ramadan War draws our gaze to a particular mode of the distribution of power. In the past, power was imagined to be distributed in a tree‑like form with a single trunk and a top‑down structure. Today, however, we know that power is distributed in a networked form, without a single trunk and accompanied by complex media instruments. In fact, the distribution of power has an overt and compulsory layer, and another layer that operates through consent and remains hidden (hegemony). This second, deeper layer is what makes the first layer possible. Iran’s resistance to the war crimes committed by the American-Israeli enemy on 28 February 2026 and afterward has, in practice, shown that Iran’s cities possess a distribution of power that has both the intensity and the direction required for confrontation. In this regard, the winning card of Iran’s cities, in comparison with the enemy, is not based on the intensity of power but on the direction of its distribution a direction that is fundamentally different from the enemy’s calculations and, consequently, far more capable in confronting it. The generative direction of power in Iran’s cities emerging from the interactions between the people and their environment has produced a mode of perception whose elements can move along a path that dissolves the hegemony that conceals the master/slave relation of the enemy. This power, which in addition to having religious testimony is also, according to the great Persian poetry, an expression of love (“Servitude and kingship were made clear / Through these two veils, love was concealed” - Rumi). In the Ramadan War, victory belongs to the one who, together with the environment and materiality, transforms hegemony. Since the distribution of power in Iran’s cities is oriented toward freedom and an exit from the master/slave cycle, it generates events those “moments” that have the capacity to shatter the hegemony of dominating power. Although martyrdom and the wounding of the land are heavy burdens, they expose the lie of the benevolence claimed by dominating and enslaving nations, a lie wrapped in networked hegemony (“a beautiful ship!”). And with the collapse of this hegemony, its instruments lose their effectiveness. From a technical standpoint, today it is possible beyond the opaque veil of orthogonal streets and 60/40 buildings to discern the distribution of power in the Iranian city by reflecting deeply on the presence and rhizomatic gathering of the people: The initiation of population density emerging from the dispersion of alleyways as convergent neighborhoods. The connection of these dense clusters through passages where the call to freedom is openly expressed. The merging of these clusters in behavioral plazas shaped by altruism. The synergy of power within a network of ensembles driven by devotional, social, and functional wills. The redistribution of the strength generated by this unifying togetherness, in the form of Iran’s will as the spirit of a spiritless world. This distribution of power unfolds at automobile-oriented asphalt intersections whose one‑dimensional reading is not recognized by the social forces themselves. This opens a pathway to understanding the multidimensional capacities of the city and its relation to power as a means of existential elevation. It is hoped that, in the country’s development, cities can be understood as embodiments of a distribution of power oriented toward freedom, rather than as neutral environments.

http://www.jaco-sj.com/article_242145_41b683fd7edab34600df6184d89411b2.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 14 51 2026 03 21 A Comparative Semiotic Study of the Moon and Star Motifs in Sassanid Silver Plates with the Motif of Kingfisher Hunting and Japanese Weaving(Shōsōin Treasury) A Comparative Semiotic Study of the Moon and Star Motifs in Sassanid Silver Plates with the Motif of Kingfisher Hunting and Japanese Weaving(Shōsōin Treasury) 6 15 233568 10.22034/jaco.2025.538915.1486 FA Alireza Taheri Comparative and Analytical History of Islamic Art Group, Faculty of Theoretical Sciences and Advanced Art Studies, Iran University of Art, Tehran, Iran 0009-0006-5759-1683 Fereshteh Rahmani Department of Art, Faculty of Humanities and Arts, Technical and Vocational University (TVU), Tehran, Iran 0009-0005-0747-4860 Neshat Farokhi Department of Art, Faculty of Humanities and Arts, Technical and Vocational University (TVU), Tehran, Iran 0000-0002-9084-5271 Journal Article 2025 08 03 Celestial symbols such as the moon and the star have long represented diverse meanings across various cultures and have been prominently featured in applied arts. This comparative study explores these two motifs within the artistic contexts of Safavid Iran and Edo-period Japan, aiming to reveal their cultural and symbolic significance. The central research question investigates the similarities and differences in the form, content, and function of the moon and star motifs across these two cultural landscapes. The objective is to analyze these symbols in Safavid ceramic plates and Japanese Edo-period textiles, with an emphasis on their symbolic meanings and aesthetic contexts. The research employs a descriptive-analytical methodology with a comparative approach, based on data collected through library and documentary resources. Findings indicate that in both cultures, the moon and star motifs are intertwined with concepts of cosmology, ritual, and visual aesthetics. In Safavid Iran, these motifs are largely associated with mystical meanings and cosmic order, whereas in Edo Japan, they are more closely linked to nature, indigenous beliefs, and the cyclical perception of time. The convergence and divergence in the application and interpretation of these symbols underscore their capacity to express profound cultural insights and highlight the richness of cross-cultural symbolic expression in Eastern artistic tradition. Celestial symbols such as the moon and the star have long represented diverse meanings across various cultures and have been prominently featured in applied arts. This comparative study explores these two motifs within the artistic contexts of Safavid Iran and Edo-period Japan, aiming to reveal their cultural and symbolic significance. The central research question investigates the similarities and differences in the form, content, and function of the moon and star motifs across these two cultural landscapes. The objective is to analyze these symbols in Safavid ceramic plates and Japanese Edo-period textiles, with an emphasis on their symbolic meanings and aesthetic contexts. The research employs a descriptive-analytical methodology with a comparative approach, based on data collected through library and documentary resources. Findings indicate that in both cultures, the moon and star motifs are intertwined with concepts of cosmology, ritual, and visual aesthetics. In Safavid Iran, these motifs are largely associated with mystical meanings and cosmic order, whereas in Edo Japan, they are more closely linked to nature, indigenous beliefs, and the cyclical perception of time. The convergence and divergence in the application and interpretation of these symbols underscore their capacity to express profound cultural insights and highlight the richness of cross-cultural symbolic expression in Eastern artistic tradition.

http://www.jaco-sj.com/article_233568_74f07af8c6428c9021700524bbc622e4.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 14 51 2026 03 21 Laboratory Studies on the Alloy Composition and Microstructural Features of Metal Objects from the Taj Amir (Dehnow) Cemetery, Yasuj, Dating to the Second Millennium BCE Laboratory Studies on the Alloy Composition and Microstructural Features of Metal Objects from the Taj Amir (Dehnow) Cemetery, Yasuj, Dating to the Second Millennium BCE 16 31 235261 10.22034/jaco.2025.540548.1488 FA Elham Tavakoli Nesab Department of Archaeology, Faculty of Conservation and Restoration, Isfahan University of Arts, Iran Hamidreza Bakhshandehfard Department of Conservation of Historical Objects, Faculty of Conservation and Restoration, Isfahan Art University, Iran 0000-0002-9407-9455 Journal Article 2025 08 30 The study and understanding of ancient technologies used for producing and utilizing metals in various objects across different regions of Iran are of great importance. With the invention of copper-based alloys, such as tin bronze and arsenical bronze, ancient craftsmen achieved a remarkable level of technical knowledge and metallurgical skill. The archaeological site of Taj Amir Cemetery is located on the southern slopes of the Dena mountain range, in the eastern part of Yasuj (Kohgiluyeh and Boyer-Ahmad Province, southwestern Iran). This cemetery was identified in 2009 CE during construction activities related to the new library of Yasuj University of Medical Sciences. Excavations at the site yielded a collection of metal artifacts, particularly bronze objects, from burial contexts. In the present study, a selection of the better-preserved bronze artifacts—chosen for their diversity in form and function and belonging to contemporaneous burial layers of the Taj Amir (Dehnow) cemetery were subjected to laboratory analyses, including metallography, X-ray fluorescence (XRF), and scanning electron microscopy equipped with energy-dispersive X-ray spectroscopy (SEM-EDS). The objective was to obtain a clearer understanding of alloying technology and manufacturing techniques during the mid-second millennium BCE. For this purpose, microstructural analysis, scanning electron microscopy with EDS, and XRF elemental analysis were employed to determine the compositional and structural characteristics of the samples. The results revealed that two of the analyzed specimens were made of tin bronze alloys with relatively consistent tin contents, indicating that the ancient metallurgists had considerable knowledge of tin control in the bronze-making process. Moreover, one sample exhibited a high silver content, confirming its silvery appearance. Structural evidence suggests that these objects were produced by smelting, casting, and subsequent hammering, involving repeated cycles of cold working and annealing during the shaping process. The study and understanding of ancient technologies used for producing and utilizing metals in various objects across different regions of Iran are of great importance. With the invention of copper-based alloys, such as tin bronze and arsenical bronze, ancient craftsmen achieved a remarkable level of technical knowledge and metallurgical skill. The archaeological site of Taj Amir Cemetery is located on the southern slopes of the Dena mountain range, in the eastern part of Yasuj (Kohgiluyeh and Boyer-Ahmad Province, southwestern Iran). This cemetery was identified in 2009 CE during construction activities related to the new library of Yasuj University of Medical Sciences. Excavations at the site yielded a collection of metal artifacts, particularly bronze objects, from burial contexts. In the present study, a selection of the better-preserved bronze artifacts—chosen for their diversity in form and function and belonging to contemporaneous burial layers of the Taj Amir (Dehnow) cemetery were subjected to laboratory analyses, including metallography, X-ray fluorescence (XRF), and scanning electron microscopy equipped with energy-dispersive X-ray spectroscopy (SEM-EDS). The objective was to obtain a clearer understanding of alloying technology and manufacturing techniques during the mid-second millennium BCE. For this purpose, microstructural analysis, scanning electron microscopy with EDS, and XRF elemental analysis were employed to determine the compositional and structural characteristics of the samples. The results revealed that two of the analyzed specimens were made of tin bronze alloys with relatively consistent tin contents, indicating that the ancient metallurgists had considerable knowledge of tin control in the bronze-making process. Moreover, one sample exhibited a high silver content, confirming its silvery appearance. Structural evidence suggests that these objects were produced by smelting, casting, and subsequent hammering, involving repeated cycles of cold working and annealing during the shaping process.

http://www.jaco-sj.com/article_235261_8d58b2d512d804dff90f2da50ee08ae7.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 14 51 2026 03 21 The Manifestation of the Mystical Thoughts of Husayn Ibn Mansur al-Hallāj in the Works of Erol Akyavash & Mansoureh Hosseini The Manifestation of the Mystical Thoughts of Husayn Ibn Mansur al-Hallāj in the Works of Erol Akyavash & Mansoureh Hosseini 32 41 238419 10.22034/jaco.2026.524583.1478 FA Fatemeh Heddat M. A. in Visual Arts (Painting), Sepehr Non-Governmental Higher Education Institute, Isfahan, Iran Master in Persian Language, Department of Literature and Humanities, Payame Noor University, Najafabad Beach, Isfahan, Iran 0009-0002-9277-2691 Hojat Amani Department of Painting, Art and Architecture Faculty, Tarbiat Modares University, Tehran, Iran 0000-0002-1096-9566 Journal Article 2025 06 14 The examination and understanding of the concepts and teachings of Islamic mysticism within the underlying structure of painting, and reflection upon them, constitute essential research requirements in the contemporary era. Mysticism is an intuitive and love-centered perspective on existence, and art within Islamic civilization has drawn upon this outlook, thereby attaining a status distinct from that of art in the West. The presence of the artist in Islamic civilization extends beyond that of a mere creator of works; it is a presence imbued with knowledge of the Truth—knowledge rooted in wisdom and esoteric beliefs that manifests itself through lines, geometric motifs, letters, and colors. This study investigates the manner in which the ideas of Husayn ibn Mansur al-Hallāj have influenced and been reflected in the works of contemporary artists in the Islamic world, with Especially the works of Erol Akyavash and Mansoureh Hosseini. The research aims to identify the impact of mystical thought on the works of artists in the Islamic world and to examine symbolic expression in the selection of visual elements, employing a descriptive–analytical methodology and drawing on documentary sources. The findings of the research indicate that Iranian–Islamic mysticism is present throughout the surviving works of these two contemporary artists, and that in certain themes—particularly in relation to the thought of Ḥallaj—they exhibit a perceptible affinity. Moreover, a number of contemporary artists of the Islamic world have drawn inspiration from al-Ḥallāj’s ideas, incorporating them into their artistic works in the form of abstract compositions with an emphasis on textual and discursive elements. The examination and understanding of the concepts and teachings of Islamic mysticism within the underlying structure of painting, and reflection upon them, constitute essential research requirements in the contemporary era. Mysticism is an intuitive and love-centered perspective on existence, and art within Islamic civilization has drawn upon this outlook, thereby attaining a status distinct from that of art in the West. The presence of the artist in Islamic civilization extends beyond that of a mere creator of works; it is a presence imbued with knowledge of the Truth—knowledge rooted in wisdom and esoteric beliefs that manifests itself through lines, geometric motifs, letters, and colors. This study investigates the manner in which the ideas of Husayn ibn Mansur al-Hallāj have influenced and been reflected in the works of contemporary artists in the Islamic world, with Especially the works of Erol Akyavash and Mansoureh Hosseini. The research aims to identify the impact of mystical thought on the works of artists in the Islamic world and to examine symbolic expression in the selection of visual elements, employing a descriptive–analytical methodology and drawing on documentary sources. The findings of the research indicate that Iranian–Islamic mysticism is present throughout the surviving works of these two contemporary artists, and that in certain themes—particularly in relation to the thought of Ḥallaj—they exhibit a perceptible affinity. Moreover, a number of contemporary artists of the Islamic world have drawn inspiration from al-Ḥallāj’s ideas, incorporating them into their artistic works in the form of abstract compositions with an emphasis on textual and discursive elements.

http://www.jaco-sj.com/article_238419_86487e73f9029629b0f70ee8a1315827.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 14 51 2026 03 21 An Analysis of the Architecture of the Neolithic and Chalcolithic Periods in Kermanshah (A Case Study of Ganj Dareh and Godin Tepe) An Analysis of the Architecture of the Neolithic and Chalcolithic Periods in Kermanshah (A Case Study of Ganj Dareh and Godin Tepe) 42 63 238418 10.22034/jaco.2026.524244.1477 FA Seyedeh Saeideh Mahdavian Department of Architectural Heritage Studies and Conservation, School of Architecture, College of Fine Arts, University of Tehran Elham Andaroodi Department of Architectural Heritage Studies and Conservation, School of Architecture, College of Fine Arts, University of Tehran Pegah Samei Yazdi Department of Architectural Heritage Studies and Conservation, School of Architecture, College of Fine Arts, University of Tehran Mohammad Hassan Talebian Department of Architectural Heritage Studies and Conservation, School of Architecture, College of Fine Arts, University of Tehran Journal Article 2025 05 24 The Kermanshah region in the Central Zagros, with prominent archaeological sites like Ganj Dareh and Godin Tepe, is considered one of the main centers for the formation of culture and architecture in the prehistoric period of Iran. Despite numerous excavations, the focus of most previous research has been primarily on ceramics and tools, while the physical and spatial analyses of the architecture have received less attention. This shortcoming has prevented a proper understanding of the connection between construction patterns and the social and ritualistic structures of the early communities in this region. This research focuses on Ganj Dareh (Layer D, Late Neolithic PPNB) and Godin Tepe (Period VI, Early Chalcolithic) to identify and compare the architectural patterns, spatial organization, and ritualistic elements in these two sites. The main research questions are: 1) What role did the architectural innovations of Ganj Dareh play in the formation of the physical structures of contemporaneous sites such as Tepe Zagheh, Sang-e Chakhmaq, and Sheikhi Abad? 2) What are the similarities and differences between the architectural pattern of Godin Tepe and other prominent sites of the Chalcolithic period, including Susa III and Tall-e Malyan? The current research is based on pure architectural analysis and spatial organization analysis. The data includes excavation reports, plans, maps, and published visual documents from the studied sites. The research process was conducted in three steps: 1) Collection and documentation of architectural data. 2) Structural, spatial, and physical element analysis. 3) Comparative analysis at the regional scale. In this interpretive approach, each architectural element is examined not as an isolated object, but as a reflection of the spatial and cultural order of the prehistoric society. The findings indicate that Ganj Dareh, with its dense structure, square plans, and contiguous organization, reflects the initial experiences of sedentary settlement and the close intertwining of life and ritual. In contrast, Godin Tepe, with its rectangular spaces, symmetrical doorways, and central depressions, is indicative of a more advanced stage of architectural organization during the Chalcolithic period. These similarities and differences suggest the existence of networks for cultural exchange and the transfer of architectural patterns across the Iranian Plateau, and they solidify Kermanshah’s position as one of the centers of architectural innovation in the Central Zagros during prehistory. The Kermanshah region in the Central Zagros, with prominent archaeological sites like Ganj Dareh and Godin Tepe, is considered one of the main centers for the formation of culture and architecture in the prehistoric period of Iran. Despite numerous excavations, the focus of most previous research has been primarily on ceramics and tools, while the physical and spatial analyses of the architecture have received less attention. This shortcoming has prevented a proper understanding of the connection between construction patterns and the social and ritualistic structures of the early communities in this region. This research focuses on Ganj Dareh (Layer D, Late Neolithic PPNB) and Godin Tepe (Period VI, Early Chalcolithic) to identify and compare the architectural patterns, spatial organization, and ritualistic elements in these two sites. The main research questions are: 1) What role did the architectural innovations of Ganj Dareh play in the formation of the physical structures of contemporaneous sites such as Tepe Zagheh, Sang-e Chakhmaq, and Sheikhi Abad? 2) What are the similarities and differences between the architectural pattern of Godin Tepe and other prominent sites of the Chalcolithic period, including Susa III and Tall-e Malyan? The current research is based on pure architectural analysis and spatial organization analysis. The data includes excavation reports, plans, maps, and published visual documents from the studied sites. The research process was conducted in three steps: 1) Collection and documentation of architectural data. 2) Structural, spatial, and physical element analysis. 3) Comparative analysis at the regional scale. In this interpretive approach, each architectural element is examined not as an isolated object, but as a reflection of the spatial and cultural order of the prehistoric society. The findings indicate that Ganj Dareh, with its dense structure, square plans, and contiguous organization, reflects the initial experiences of sedentary settlement and the close intertwining of life and ritual. In contrast, Godin Tepe, with its rectangular spaces, symmetrical doorways, and central depressions, is indicative of a more advanced stage of architectural organization during the Chalcolithic period. These similarities and differences suggest the existence of networks for cultural exchange and the transfer of architectural patterns across the Iranian Plateau, and they solidify Kermanshah’s position as one of the centers of architectural innovation in the Central Zagros during prehistory.

http://www.jaco-sj.com/article_238418_3bf48dde45110070411edbf1b994d22f.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 14 51 2026 03 21 Typology of Safavid Era Accommodation Buildings Based on Non-Iranian Travelogues Typology of Safavid Era Accommodation Buildings Based on Non-Iranian Travelogues 64 75 236860 10.22034/jaco.2025.543727.1493 FA Nima Deimary Department of Architecture, Faculty of Civil Engineering and Architecture, Malayer University, Malayer, Iran 0000-0001-7998-0395 Aida Maleki Department of Architecture, Faculty of Architecture and Urbanism, Tabriz Islamic Art University, Tabriz, Iran 0000-0003-3490-3251 Farhad Akhoundi Department of Architecture, Faculty of Architecture and Urbanism, Tabriz Islamic Art University, Tabriz, Iran 0000-0002-3067-5178 Ahad Nejad Ebrahimi Department of Architecture, Faculty of Architecture and Urbanism, Tabriz Islamic Art University, Tabriz, Iran 0000-0001-6025-1942 Journal Article 2025 08 30 The Safavid era is often referred to as the “golden age of caravanserai construction”, with Šāh Abbās referred to as “father of caravanserai construction” in Iran. During this period, the prosperity of trade on the one hand and consolidation of relations between Iran and Europe on the other, the construction of roads and roadside facilities flourished greatly. Many travelers took advantage of these accommodation buildings, traversing the roads of Iran. European travelers described these facilities in considerable detail and introduced lesser-known types of accommodation buildings. However, no independent research has yet been conducted based solely on travelers’ reports regarding these facilities. The main objective of this study is to identify and classify the types of Safavid-era accommodation buildings from the perspective of non-Iranian travel writers. This fundamental qualitative research employed a mixed-method approach. Data were collected from 20 travelogues from the Safavid period, and the resulting information was analyzed through an analytical-comparative method to produce the final typology. The accommodation buildings that travel writers spoke of and described in detail included Sābāt and Langar, Rebāt, Xān and Xāneqāh, Karbāt and Caravanserai, Mehmān-xāne and Urban Caravanserai, Bridges and Qahve-xāne, Royal Residences and Daskare, Residential Villages and Private Houses, Religious Sites, Tents and Mobile Structures, and Temporary Stations. The Safavid era is often referred to as the “golden age of caravanserai construction”, with Šāh Abbās referred to as “father of caravanserai construction” in Iran. During this period, the prosperity of trade on the one hand and consolidation of relations between Iran and Europe on the other, the construction of roads and roadside facilities flourished greatly. Many travelers took advantage of these accommodation buildings, traversing the roads of Iran. European travelers described these facilities in considerable detail and introduced lesser-known types of accommodation buildings. However, no independent research has yet been conducted based solely on travelers’ reports regarding these facilities. The main objective of this study is to identify and classify the types of Safavid-era accommodation buildings from the perspective of non-Iranian travel writers. This fundamental qualitative research employed a mixed-method approach. Data were collected from 20 travelogues from the Safavid period, and the resulting information was analyzed through an analytical-comparative method to produce the final typology. The accommodation buildings that travel writers spoke of and described in detail included Sābāt and Langar, Rebāt, Xān and Xāneqāh, Karbāt and Caravanserai, Mehmān-xāne and Urban Caravanserai, Bridges and Qahve-xāne, Royal Residences and Daskare, Residential Villages and Private Houses, Religious Sites, Tents and Mobile Structures, and Temporary Stations.

http://www.jaco-sj.com/article_236860_70c6339af1eb8d34c2eecacfe3477200.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 14 51 2026 03 21 Architecture as a Media for Representing Time in Painting: A Comparative Study of Spatial Structures in the Works of Junayd Baghdadi and Masaccio Architecture as a Media for Representing Time in Painting: A Comparative Study of Spatial Structures in the Works of Junayd Baghdadi and Masaccio 76 89 239703 10.22034/jaco.2026.542718.1490 FA Masoumeh Yavari Kolour Department of Architecture, Faculty of Art and Architecture, Khatam University, Tehran, Iran Hamed Abedini Department of Architecture, Faculty of Art and Architecture, Khatam University, Tehran, Iran 0000-0003-0926-5518 Journal Article 2025 08 22 Time, one of the most complex concepts in the history of human thought, has long been of interest to scholars across disciplines. This inherent complexity has made the philosophical representations of time in works of art a key topic in interdisciplinary studies. Understanding the mechanisms of these representations, while deepening our grasp of the worldviews that govern artistic eras, opens new ground for the philosophical analysis of works of art. The research examines the representation of time’s physical nature in 15th-century paintings. This study, which focuses on two artistic schools of the East and the West (Iranian painting centered on the works of Junayd Baghdadi and the Italian Renaissance with an emphasis on the works of Masaccio), highlights cultural differences in the perception of time and reveals philosophical-artistic connections. This fundamental research, with a qualitative-comparative approach, analyzes six prominent works by Junayd Baghdadi and Masaccio. The data were collected from available sources through library research, and the visual and semantic elements of the works were analyzed using a descriptive-analytical approach, with “architecture in painting” as the key medium. Finally, through comparative analysis, the similarities and differences in the attitudes of these two schools towards the concept of time were inferred. The comparative analysis of the works revealed two distinct systems of representation of the concept of time. In Western art (e.g., Massaccio), time is represented linearly and instantaneously, using techniques such as single-point perspective, realistic architecture, and physical depth, which reflect the Aristotelian and anthropocentric worldview of the Renaissance. In contrast, the Eastern school (Junayd Baghdadi), employing a spatial perspective, symbolic architecture, and simultaneous representation of events, presents time in a cyclical and transcendental form rooted in the wisdom of Ishrāqi and a mystical attitude. These two modes of representation, respectively, exhibit predictive correspondences with the concepts of Newtonian physics and Einsteinian relativity. By emphasizing the connection between philosophical worldviews and artistic expression, this research opens new horizons in interdisciplinary studies of the philosophy of art, the history of science, and visual semiotics. Time, one of the most complex concepts in the history of human thought, has long been of interest to scholars across disciplines. This inherent complexity has made the philosophical representations of time in works of art a key topic in interdisciplinary studies. Understanding the mechanisms of these representations, while deepening our grasp of the worldviews that govern artistic eras, opens new ground for the philosophical analysis of works of art. The research examines the representation of time’s physical nature in 15th-century paintings. This study, which focuses on two artistic schools of the East and the West (Iranian painting centered on the works of Junayd Baghdadi and the Italian Renaissance with an emphasis on the works of Masaccio), highlights cultural differences in the perception of time and reveals philosophical-artistic connections. This fundamental research, with a qualitative-comparative approach, analyzes six prominent works by Junayd Baghdadi and Masaccio. The data were collected from available sources through library research, and the visual and semantic elements of the works were analyzed using a descriptive-analytical approach, with “architecture in painting” as the key medium. Finally, through comparative analysis, the similarities and differences in the attitudes of these two schools towards the concept of time were inferred. The comparative analysis of the works revealed two distinct systems of representation of the concept of time. In Western art (e.g., Massaccio), time is represented linearly and instantaneously, using techniques such as single-point perspective, realistic architecture, and physical depth, which reflect the Aristotelian and anthropocentric worldview of the Renaissance. In contrast, the Eastern school (Junayd Baghdadi), employing a spatial perspective, symbolic architecture, and simultaneous representation of events, presents time in a cyclical and transcendental form rooted in the wisdom of Ishrāqi and a mystical attitude. These two modes of representation, respectively, exhibit predictive correspondences with the concepts of Newtonian physics and Einsteinian relativity. By emphasizing the connection between philosophical worldviews and artistic expression, this research opens new horizons in interdisciplinary studies of the philosophy of art, the history of science, and visual semiotics.

http://www.jaco-sj.com/article_239703_edc18e637eec1822ac539f1ba02b5fd1.pdf