The Case of the Historical Texture of 2175 ISSN Gorgan, Iran
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Semiology Study of Shrine Geometric Patterns of Damavand City of Tehran Province1
Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND December 2015 CULTURAL STUDIES ISSN 2356-5926 Semiology Study of Shrine Geometric patterns of Damavand City of Tehran Province1 Atieh Youzbashi Masterof visual communication, Faculty of Art, Shahed University, Tehran, Iran [email protected] Seyed Nezam oldin Emamifar )Corresponding author) Assistant Professor of Faculty of Art, Shahed University, Tehran city, Iran [email protected] Abstract Remained works of decorative Arts in Islamic buildings, especially in religious places such as shrines, possess especial sprits and visual depth. Damavand city having very beautiful architectural works has been converted to a valuable treasury of Islamic architectural visual motifs. Getting to know shrines and their visual motifs features is leaded to know Typology, in Typology, Denotation and Connotation are the concept of truth. This research is based on descriptive and analytical nature and the collection of the data is in a mixture way. Sampling is in the form of non-random (optional) and there are 4 samples of geometric motifs of Damavand city of Tehran province and the analysis of information is qualitatively too. In this research after study of geometric designs used in this city shrines, the amount of this motifs confusion are known by semiotic concepts and denotation and connotation meaning is stated as well. At first the basic articles related to typology and geometric motifs are discussed. Discovering the meaning of these motifs requires a necessary deep study about geometric motifs treasury of believe and religious roots and symbolic meaning of this motifs. Geometric patterns with the centrality of the circle In drawing, the incidence abstractly and creating new combination is based on uniformly covering surfaces in order not to attract attention to designs independently creating an empty space also recalls “the principle of unity in diversity” and “diversity in unity”. -
Tourism Boom by Islamic Art Spiritual Attractions in Iran Perspective Elements
ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 7 No 4 S1 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2016 Tourism Boom by Islamic Art Spiritual Attractions in Iran Perspective Elements Susan Khataei Assistant Professor, Department of Graphic Design, Faculty of Architecture and Urban Design, Shahid Rajaee Teacher Training University, Tehran, Iran Doi:10.5901/mjss.2016.v7n4s1p40 Abstract Iran is one of the ten first countries in the world on the subject of tourism attractions. Iran, the land of four seasons simultaneously, and historical and scientific - cultural buildings is of interest for many tourists. Various works of Islamic art in the perspective of Iran that have been arisen in different periods and regions all have the same message and truth and have a sign of coordination and the greatness of Islamic civilization and culture. The artistic unity that stems from ideological unity, is able to attract many audience and can transcends the boundaries of time and place and communicate spiritually with all its contacts and believers. Islamic art and architecture is derived from religious sources and has an appearance (form) and the inside. Forms are created to give meaning and generally in Islamic art, nothing is void of the "meaning". General feeling of foreign tourists by observing Islamic-Iranian monuments is along with surprise, admiration and a sense of spirituality. In this study, the role of decorations in mosques and shrines in Iranian - Islamic architecture to establish spiritual relationship with the audience is emphasized. This is an applied research with analytical descriptive method which have been done based on observation and documentary studies. -
Mirrored Interiors of Iran Palaces and Holy Places Lustrzane Wnętrza Irańskich Pałaców I Świętych Miejsc
1/2019 PUA DOI: 10.4467/00000000PUA.19.006.10009 Olga Shkolna orcid.org/0000-0002-7245-6010 Borys Grinchenko Kyiv University Mirrored interiors of Iran palaces and holy places Lustrzane wnętrza irańskich pałaców i świętych miejsc Abstract Typical mirrored interiors of Iran from the eighteenth to the beginning of nineteenth century are discussed in this article. Aesthetic, plastic, architectural and design peculiarities of such places in the Persian tradition are researched using examples of the Golestan and Saadabad royal complexes in Tehran, religious sights of Qazvin (the holy place Hossein Imamzadeh grave mosque and Friday mosque); the mausoleum of the descendant of Abraham, the prophet Keydar in Ostan-e Zanjan; the Sayed Alaeddin Hussein mosque, the Shah Cheragh mosque (blue or mirrored mosque), and Ali Ibn Hamzeh mausoleum in Shiraz. Peculiarities of the addition of mirrored sculptural elements, precious stones and silver plates to amalgamated glass in such complexes are clarified. Keywords: Iran, mirrored interior, palaces, mosques, holy places, eighteenth to the beginning of nineteenth century Streszczenie W tym artykule omówiono typowe lustrzane wnętrza Iranu od XVIII do początku XIX wieku. Cechy estetyczne, plastyczne, architektoniczne i projektowe takich miejsc w tradycji perskiej są badane na przykładach królewskich kompleksów Golestan i Saadabad w Teheranie, zabytków religijnych w Ka- zwinie (mauzoleum Hossein Imamzadeh wraz z meczetem piątkowym); mauzoleum potomka Abra- hama, proroka Keydara w Ostan-e Zanjan; meczet Sayed Alaeddin Hussein, meczet Shah Cheragh (niebieski lub lustrzany meczet) i mauzoleum Ali Ibn Hamzeha w Shiraz. Artykuł wyjaśnia specyfikację dodawania lustrzanych elementów rzeźbiarskich, kamieni szlachetnych i srebrnych płytek do amal- gamowanego szkła w takich kompleksach. -
The Art of Islamic Architecture During the Safavid Period and the Introduction of the Teachings of Islam
Journal of Fine Arts Volume 1, Issue 3, 2018, PP 37-42 ISSN 2637-5885 The Art of Islamic Architecture during the Safavid Period and the Introduction of the Teachings of Islam Ali reza Khajegir PhD*1, Mohammad reza Afroogh PhD student2, Ali reza Fahim PhD2 1Shahrekord University, Iran 2Department of Law and Theology, Najafabad Branch, Islamic Azad university, Najafabad, Iran *Corresponding Author: Ali reza Khajegir, Shahrekord University, Iran ABSTRACT Islam played an important role in the development and progress of most arts in different periods, especially during the Safavid period in Iran. During the Safavid period, the arts, paintings, lines, gilding, carpet weaving, cloth, tiling, etc. reached the peak of their evolution, which is seen less in the past and subsequent times. The extensive activity of the Safavid era began since Shah Abbas. In Safavid era, the style of ancient architecture of Iran was renewed and in the design of buildings, the shape and materials of buildings opened their place. Most of the buildings in the Safavid period were built like four-edged mosques, schools and caravansaries. The use of mosaic tiles and seven colors for decorations has become widespread. In this paper we try to reveal some ways they use to develop Islamic cultural concepts in architecture field. Keywords: Architecture, culture, Safavid era, art, Islam INTRODUCTION during the 42 years of his rule, he continued to develop the country, especially Esfahan. The One of the brightest artistic periods of great square of the role of the world, the great architecture in Iran is Safavid era, in 1502 AD. -
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IN THE NAME OF GOD IRAN NAMA RAILWAY TOURISM GUIDE OF IRAN List of Content Preamble ....................................................................... 6 History ............................................................................. 7 Tehran Station ................................................................ 8 Tehran - Mashhad Route .............................................. 12 IRAN NRAILWAYAMA TOURISM GUIDE OF IRAN Tehran - Jolfa Route ..................................................... 32 Collection and Edition: Public Relations (RAI) Tourism Content Collection: Abdollah Abbaszadeh Design and Graphics: Reza Hozzar Moghaddam Photos: Siamak Iman Pour, Benyamin Tehran - Bandarabbas Route 48 Khodadadi, Hatef Homaei, Saeed Mahmoodi Aznaveh, javad Najaf ...................................... Alizadeh, Caspian Makak, Ocean Zakarian, Davood Vakilzadeh, Arash Simaei, Abbas Jafari, Mohammadreza Baharnaz, Homayoun Amir yeganeh, Kianush Jafari Producer: Public Relations (RAI) Tehran - Goragn Route 64 Translation: Seyed Ebrahim Fazli Zenooz - ................................................ International Affairs Bureau (RAI) Address: Public Relations, Central Building of Railways, Africa Blvd., Argentina Sq., Tehran- Iran. www.rai.ir Tehran - Shiraz Route................................................... 80 First Edition January 2016 All rights reserved. Tehran - Khorramshahr Route .................................... 96 Tehran - Kerman Route .............................................114 Islamic Republic of Iran The Railways -
Strategies Employed in Translation of Tourist Guidebooks Culture-Specific Items from Persian Into English
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 4, No. 4, pp. 750-757, April 2014 © 2014 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.4.4.750-757 Strategies Employed in Translation of Tourist Guidebooks Culture-specific Items from Persian into English Masoome Rezaei Department of English Language, East Azarbaijan Science and Research Branch, Islamic Azad University, Tabriz, Iran Davud Kuhi Department of English Language, Maragheh Branch, Islamic Azad University, Maragheh, Iran Abstract—One of the major duties of every translator is to use an appropriate method in dealing with culture- specific items (CSIs). In this paper an attempt has been made to study the translation of two Iran tourist guidebooks translated by Oksana Beheshti and Amir Hassan Hakimian from Persian into English in order to analyze the strategies the translators have employed for translating CSIs based on Newmark’s model and then to explore whether most these CSIs are domesticated or foreignized. For this purpose a number of instances which are highly specific cultural references have been collected and the strategies applied by translators have been identified. According to the obtained results, the most abundant strategies used in the translation of these two corpses are Newmark’s transference with the addition of some notes. Therefore, although both domesticating and foreignizing strategies have been used, the most common strategy in the translation of these two tourist guidebooks is foreignization. Index Terms—culture, culture-specific items (CSIs), domestication and foreignization, tourist guidebooks, translation strategies I. INTRODUCTION By knowing the languages alone it is not possible to guarantee the success of translations. -
Analysis of Vocal Ornamentation in Iranian Classical Music
437 Analysis of Vocal Ornamentation in Iranian Classical Music Sepideh Shafiei Graduate Center, City University of New York [email protected] ABSTRACT There are two main recorded vocal radifs sung by two mas- ters of the art during the twentieth century: Davami¯ and In this paper we study tahrir, a melismatic vocal ornamen- Karimi. tation which is an essential characteristic of Persian classi- cal music and can be compared to yodeling. It is consid- Tahrir is rapid transition between the main note and a ered the most important technique through which the vo- higher-pitched note. The second note is usually referred calist can display his/her prowess. In Persian, nightingale’s to as tekyeh, which means leaning in Persian. From sig- song is used as a metaphor for tahrir and sometimes for a nal processing perspective one of the differences between specific type of tahrir. Here we examine tahrir through tahrir and vibrato is that the pitch rises and fall in tahrir is a case study. We have chosen two prominent singers of usually sharper and the deviation from the main notes can Persian classical music one contemporary and one from be larger compared to vibrato [3]. Also, the oscillation in the twentieth century. In our analysis we have appropri- vibrato is toward both higher and lower frequency around ated both audio recordings and transcriptions by one of the the main note, but in tahrir mainly the higher frequency most prominent ethnomusicologists, Masudiyeh, who has is touched abruptly. There are different types of tahrir in worked on Music of Iran [1]. -
Sultan Amir Ahmad Bathhouse : Khan Gostar Restaurant Gorgeous Ancient Spa in Iran
ا تتی یتاست تایاک رﻓﺘﻦ ﻧﻮد ﻣﺮدى اتاا ﻓﻘﺮآﻫﻦ زﻣﺎﻧﯽ ﮐﻪ او در زﻧﺪان ﺑﻮد، ﻣﻦ ﺑﺎ ﻣﻌﻠﻢ ﺑﯿﻤﺎرى ﺷﺎﯾﻊ زﻧﺎن زﺑﺎن ﭘﺴﺮم آﺷﻨﺎ ﺷﺪم و او ﺑﻪ ﻣﻦ ﻋﻼﻗﻪ ﮐﺮﺑ اﻣﻦ اﺳﺖ ﮐﻢ ﺧﻮﻧﻰ ﻧﺎﺷﻰ از ﻓﻘﺮآﻫﻦ از ﺷﺎﯾﻊ ﺗﺮﯾﻦ ﻣﻨﺪ ﺷﺪ و ﮔﻔﺖ: از ﺷﻮﻫﺮت ﻃﻼ ﺑﮕﯿﺮ ﺷﺮﮐﺖ در ﻣﺮاﺳﻢ ﭘﯿﺎده روى ارﺑﻌﯿﻦ اﻣﺮاض ﺧﺼﻮﺻﺎ در ﻣﯿﺎن زﻧﺎن اﺳــﺖ، ﺑﻪ و ﺑﯿﺎ ﺑﺎ ﻫﻢ ﺑﻪ ﺧﺎر از ﮐﺸــﻮر ﺑﺮوﯾﻢ . او ﺣﺴــﯿﻨﻰ از ﻃﺮﯾﻖ ﺛﺒﺖ ﻧﺎم در ﺳﺎﻣﺎﻧﻪ اﻧﺪازه اى ﮐﻪ ﻫﻤﻪ روزه ﺑﯿﻤﺎران ﻣﺘﻌﺪدى ﺑﻪ ﺗﺎﮐﯿﺪ ﮐﺮد ﮐﻪ ﭘﺴﺮم را ﻫﻤﺮاﻫﻢ ﻧﺒﺮم، ﺳــﻤﺎ( samah .haj .ir) ﺳﺎزﻣﺎن ﺣ ﻋﻠﺖ ﻋﻮارض ﻧﺎﺷﻰ از ﻓﻘﺮآﻫﻦ رواﻧﻪ ﻣﺮاﮐﺰ اﻣﺎ ﻣﻦ ﺑﻪ ﭘﺴﺮم واﺑﺴﺘﻪ ام؛ ﻓﮑﺮ ﻣﯽ ﮐﻨﻢ ﺳﺮ ﺳﻔﯿﺪ در داﻧﺎه و زﯾﺎرت اﻣﮑﺎن ﭘﺬﯾﺮ اﺳــﺖ ﮐﻪ ﺗﺎ 24 ﻣﺮم درﻣﺎﻧﻰ و ﺗﺨﺖ ﻫﺎى ﺑﯿﻤﺎرﺳﺘﺎﻧﻰ ﻣﻰ ﺷﻮﻧﺪ. ﺑﺎ ﻣﻌﻠﻢ زﺑﺎن ﭘﺴﺮم ﺧﻮﺷﺒﺨﺖ ﻣﯽ ﺷﻮم ﻧﻘﺪ و ﺑﺮرﺳﻰ ﻣﻰ ﺷﻮد آﺑﺎن ﻣﺎه اداﻣﻪ دارد. ﻏﻼﻣﻌﻠﻰ زاﻫﺪى ﮐﻔ ﻫﺎ را آوﯾﺨﺖ ﺗﺤﻘﯿﻘﺎت ﻣﯿﺪاﻧﻰﻧ ﺸﺎن ﻣ ﻰدﻫﺪا ﮐﺜﺮ ﻣﺮدم وﻟﯽ ﭘﺴﺮم را ﻧﻤ ﯽداﻧﻢ... ﻣﺪﯾﺮﮐﻞ ﺣ و زﯾﺎرت اﺳﺘﺎن... ﻧﺴﺒﺖ... | | | | | | ﺳﻪ ﺷﻨﺒﻪ 27 ﻣﻬﺮ 1395 18 اﮐﺘﺒﺮ 2016 16 ﻣﺤﺮم 1438 ﺳﺎل ﺑﯿﺴﺖ و ﭘﻨﺠﻢ ﺷﻤﺎره 5242 ﺻﻔﺤﻪ WWW. NASLEFARDA.NET naslefardanews naslfarda 30007232 17 ﯾﺎاﺷﺖ وﯿﺖ ﯿﻔﻰ ا اﺻﻔﻬﺎن وﺑﺎر ر ﺷاﯾ ﻧﺎﺳﺎ ﺑا ﮔو ﺎ ﺣﺎ ار ار ﺎ از ﺷﻌﺎرﻫﺎى ﻧ ﻧﻤﺎ ﺷﺪه دﺳﺖ ﺑﺮدارﯾ د ار درﯾﺎ وﻓﺎﯾﻰ ﺳﺎزﻣﺎن ﻓﺎﺋﻮ 16 اﮐﺘﺒﺮﻫﺮﺳــﺎل را روزﺟﻬﺎﻧﻰ ﻏﺬا ﻧﺎﻣﮕﺬارى ﮐﺮد ﺗﺎ اﯾــﻦ روز ﺑﻬﺎﻧﻪ اى ﺑﺎﺷــﺪ ﺑﺮاى ﻫﻤﺪردى ﺑﺎ ﮔﺮﺳــﻨﮕﺎﻧﻰ ﮐﻪ از اﺑﺘﺪاﯾﻰ ﺗﺮﯾﻦ ﺣﻖ ﺧﻮد ﯾﻌﻨﻰ ﻏــﺬا ﻣﺤﺮوﻣﻨﺪ و ﺻــﺪ اﻟﺒﺘﻪ ﺗﻠﻨﮕﺮى ﺑﺎﺷــﺪ ﺑﺮاى ﺑﯿﺪارى وﺟﺪان ﻫﺎى ﺑﻪ ﺧﻮاب رﻓﺘﻪ. -
Kerman Province
In TheGod Name of Kerman Ganjali khan water reservoir / Contents: Subject page Kerman Province/11 Mount Hezar / 11 Mount joopar/11 Kerman city / 11 Ganjalikhan square / 11 Ganjalikhan bazaar/11 Ganjalikhan public bath /12 Ganjalikhan Mint house/12 Ganjalikhan School/12 Ganjalikhan Mosque /13 Ganjalikhan Cross market place /13 Alimardan Khan water reservoir /13 Ibrahimkhan complex/ 13 Ibrahimkhan Bazaar/14 Ibrahimkhan School /14 Ibrahimkhan bath/14 Vakil Complex/14 Vakil public bath / 14 Vakil Bazaar / 16 Vakil Caravansary / 16 Hajagha Ali complex / 16 Hajagha Ali mosque / 17 Hajagha Ali bazaar / 17 Hajagha Ali reservoir / 17 Bazaar Complex / 17 Arg- Square bazaar / 18 Kerman Throughout bazaar / 18 North Copper Smithing bazaar / 18 Arg bazaar / 18 West coppersmithing bazaar / 18 Ekhteyari bazaar / 18 Mozaffari bazaar / 19 Indian Caravansary / 19 Golshan house / 19 Mozaffari grand mosque / 19 Imam mosque / 20 Moshtaghieh / 20 Green Dome / 20 Jebalieh Dome / 21 Shah Namatollah threshold / 21 Khaje Etabak tomb / 23 Imam zadeh shahzadeh Hossien tomb / 23 Imam zadeh shahzadeh Mohammad / 23 Qaleh Dokhtar / 23 Kerman fire temple / 24 Moaidi Ice house / 24 Kerman national library / 25 Gholibig throne palace / 25 Fathabad Garden / 25 Shotor Galoo / 25 Shah zadeh garden / 26 Harandi garden / 26 Arg-e Rayen / 26 Ganjalikhan anthropology museum / 27 Coin museum / 27 Harandi museum garden / 27 Sanatti museum / 28 Zoroasterian museum / 28 Shahid Bahonar museum / 28 Holy defense museum / 28 Jebalieh museum / 29 Shah Namatollah dome museum / 29 Ghaem wooden -
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AN ANALYSIS OF ECLECTIC THEATRE IN IRAN BASED ON TA’ZIYEH FARIDEH ALIZADEH CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR University 2015of Malaya AN ANALYSIS OF ECLECTIC THEATRE IN IRAN BASED ON TA’ZIYEH FARIDEH ALIZADEH THESIS SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR University of Malaya 2015 UNIVERSITI MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: Farideh Alizadeh Registration/Matric No: RHA110003 Name of Degree: Doctor of Philosophy Title of Thesis (“this Work”): An Analysis of Eclectic Theatre in Iran Based on Ta’ziyeh Field of Study: Drama/Theatre I do solemnly and sincerely declare that: (1) I am the sole author/writer of this Work; (2) This Work is original; (3) Any use of any work in which copyright exists was done by way of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyright work has been disclosed expressly and sufficiently and the title of the work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledge nor ought I reasonably to know that the making of this Work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (‘UM’), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of making this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM. -
Life Science Journal 2013;10(9S) Http
Life Science Journal 2013;10(9s) http://www.lifesciencesite.com Studying Mistaken Theory of Calendar Function of Iran’s Cross-Vaults Ali Salehipour Department of Architecture, Heris Branch, Islamic Azad University, Heris, Iran [email protected] Abstract: After presenting the theory of calendar function of Iran’s cross-vaults especially “Niasar” cross-vault in recent years, there has been lots of doubts and uncertainty about this theory by astrologists and archaeologists. According to this theory “Niasar cross-vault and other cross-vaults of Iran has calendar function and are constructed in a way that sunrise and sunset can be seen from one of its openings in the beginning and middle of each season of year”. But, mentioning historical documentaries we conclude here that the theory of calendar function of Iran’s cross-vaults does not have any strong basis and individual cross-vaults had only religious function in Iran. [Ali Salehipour. Studying Mistaken Theory of Calendar Function of Iran’s Cross-Vaults. Life Sci J 2013;10(9s):17-29] (ISSN:1097-8135). http://www.lifesciencesite.com. 3 Keywords: cross-vault; fire temple; Calendar function; Sassanid period 1. Introduction 2.3 Conformity Of Cross-Vaults’ Proportions With The theory of “calendar function of Iran’s Inclined Angle Of Sun cross-vaults” is a wrong theory introduced by some The proportion of “base width” to “length of interested in astronomy in recent years and this has each side” of cross-vault, which is a fixed proportion caused some doubts and uncertainties among of 1 to 2.3 to 3.9 makes 23.5 degree arch between researchers of astronomy and archaeologists but the edges of bases and the visual line created of it except some distracted ideas, there has not been any which is equal to inclining edge of sun. -
Investigating the Spatial Organization Traditional
DOI: https://doi.org/10.32813/2179-1120.2020.v13.n2.a567 Revista Ciências Humanas - UNITAU - ISSN 2179-1120 UNITAU, Taubaté/SP - Brasil, v. 13, n 2, edição 27, p. 28 - 41, Maio/Agosto 2020 INVESTIGATING THE SPATIAL ORGANIZATION TRADITIONAL NEIGHBORHOODS OF HAMEDAN AND ITS IMPACT ON SOCIAL RELATIONS INVESTIGANDO A ORGANIZAÇÃO ESPACIAL DOS BAIRROS TRADICIONAIS DO HAMADÃ E SEU IMPACTO NAS RELAÇÕES SOCIAIS Zahra Jamebozorg¹, Araz Najafi, Zarrin Fakhar ORCID IDS Najafi A - https://orcid.org/0000-0001-7356-2299 Abstract Hamadan’s traditional neighborhoods organize and shape the basic spatial structures of architecture and urbanization of the Qajar era, which have undergone many changes over the course of the city’s development plans, and their tra- ditional structure has changed over time due to non-compliance. They are worn out and have lost their functionality, which has reduced the level of communication between the residents. Hamadan neighborhoods in the Qajar period have been identified and evolved in two forms: linear, field, mosque, lawn, bath, caravansera, Imamzadeh, Sardabeh, Cheshmeh, etc. The center of the neighborhood was the heart of the neighborhood. Shops built around it. Keywords: Neighborhoods, Traditional Neighborhoods, Hamadan Neighborhoods, Space Organization. Resumo Os bairros tradicionais de Hamadan organizam e moldam as estruturas espaciais básicas da arquitetura e urbanização da era Qajar, que sofreram muitas mudanças ao longo dos planos de desenvolvimento da cidade, e sua estrutura tradi- cional mudou ao longo do tempo devido à não conformidade. Eles estão desgastados e perderam a funcionalidade, o que reduziu o nível de comunicação entre os moradores. Os bairros do Hamadan no período Qajar foram identificados e evoluíram de duas formas: linear, campo, mesquita, gramado, banho, caravansera, Imamzadeh, Sardabeh, Cheshmeh etc.