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era</title> <meta name="description" content="Search results for: Safavid era"> <meta name="keywords" content="Safavid era"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="Safavid era"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 15</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: Safavid era</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15</span> A Social Identity Analysis of Ottoman and Safavid Architects in the Historical Documents of the 16th to 17th Centuries</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Farzaneh%20%20Farrokhfar">Farzaneh Farrokhfar</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Khazaie"> Mohammad Khazaie</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The 16th and 17th centuries coincide with the classical age of Ottoman art history. Simultaneously with this age and in the eastern neighborhood of the Ottoman state, the Safavid Shiite state emerged, which, despite political and religious differences with the Ottomans, played an important role in cultural and artistic exchanges with Anatolia. The harmony of arts, including architecture, is one of the most important manifestations of cultural exchange between the two regions, which shows the intellectual commonalities of the two regions. In parallel with the production of works of art, the registration of information and identities of Ottoman and Safavid artists and craftsmen has been done by many historians and biographers, some of whom, fortunately, are available to us today and can be evaluated. This research first intends to read historical documents and reports related to the architects of the two Ottoman states in Anatolia and Safavid states in Iran in the 16th and 17th centuries and then examines the status of architects' information records and their location in the two regions. The results reveal the names and identities of some Ottoman and Safavid architects in the 16th and 17th centuries and show the method of recording information in the documents of the two regions. This research is done in a comparative historical method, and the method of collecting its resources is a documentary library. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=classical%20era" title="classical era">classical era</a>, <a href="https://publications.waset.org/abstracts/search?q=Ottoman%20architecture" title=" Ottoman architecture"> Ottoman architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=Safavid%20architecture" title=" Safavid architecture"> Safavid architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=Central%20Asian%20historical%20documents" title=" Central Asian historical documents"> Central Asian historical documents</a> </p> <a href="https://publications.waset.org/abstracts/136030/a-social-identity-analysis-of-ottoman-and-safavid-architects-in-the-historical-documents-of-the-16th-to-17th-centuries" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136030.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">129</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> The Role of Paper in the Copy Identification of Safavid Era Shahnamehs of Tabriz Doctrine</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ashrafosadat%20Mousavi%20Lar">Ashrafosadat Mousavi Lar</a>, <a href="https://publications.waset.org/abstracts/search?q=Elahe%20Moravej"> Elahe Moravej</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To investigate and explain the history of each copy, we must refer to its past because it highlights parts of the civilization of people among which this copy has been codified. In this paper, eight Ferdowsi’s Shahnameh of Safavid era of Tabriz doctrine available in Iranian libraries and museums are studied. Undoubtedly, it can be said that Ferdowsi’s Shahnameh is one of the most important books that has been transcribed many times in different eras because it explains the Iranian champions’ prowess and it includes the history of Iran from Pishdadian to Sasanian dynasty. In addition, it has been attractive for governors and artists. The research methodology of this article is based on the analytical-descriptive arguments. The research hypothesis is based on papers used in Shahnameh writing in Safavid era of Tabriz doctrine were mostly Isfahanian papers existed. At that time, Isfahanian paper was unique in terms of quality, clarity, flatness of the sheets, volume, shape, softness and elegance, strength, and smoothness. This paper was mostly used to prepare the courtier and exquisite copies. This shows that the prepared copies in Safavid era of Tabriz doctrine were very important because the artists and people who ordered and were out of the court have ordered Isfahanian paper for writing their books. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=paper" title="paper">paper</a>, <a href="https://publications.waset.org/abstracts/search?q=Shahnameh" title=" Shahnameh"> Shahnameh</a>, <a href="https://publications.waset.org/abstracts/search?q=Safavid%20era" title=" Safavid era"> Safavid era</a>, <a href="https://publications.waset.org/abstracts/search?q=Tabriz%20doctrine" title=" Tabriz doctrine"> Tabriz doctrine</a> </p> <a href="https://publications.waset.org/abstracts/34893/the-role-of-paper-in-the-copy-identification-of-safavid-era-shahnamehs-of-tabriz-doctrine" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34893.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">289</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> Evaluation of the Cities Specific Characteristics in the Formation of the Safavid Period Mints</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahmood%20Seyyed">Mahmood Seyyed</a>, <a href="https://publications.waset.org/abstracts/search?q=Akram%20Salehi%20Heykoei"> Akram Salehi Heykoei</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamidreza%20Safakish%20Kashani"> Hamidreza Safakish Kashani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Among the remaining resource of the past, coins considered as an authentic documents among the most important documentary sources. The coins were minted in a place that called mint. The number and position of the mints in each period reflects the amount of economic power, political security and business growth, which was always fluctuated its position with changing the political and economic condition. Considering that, trade has more growth during the Safavid period than previous ones, the mint also has been in greater importance. It seems the one hand, the growth of economic in Safavid period has a direct link with the number and places of the mints at that time and in the other hand, the mints have been formed in some places because of the specific characteristic of cities and regions. Increasing the number of mints in the north of the country due to the growth of silk trade and in the west and northwest due to the political and commercial relation with Ottoman Empire, also the characteristics such as existence of mines, located in the Silk Road and communication ways, all are the results of this investigation. Accordingly, in this article researcher tries to examine the characteristics that give priority to a city for having mint. With considering that in the various historical periods, the mints were based in the most important cities in terms of political and social, at that time, this article examines the cities specific characteristics in the formation of the mints in Safavid period. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=documentary%20sources" title="documentary sources">documentary sources</a>, <a href="https://publications.waset.org/abstracts/search?q=coins" title=" coins"> coins</a>, <a href="https://publications.waset.org/abstracts/search?q=mint" title=" mint"> mint</a>, <a href="https://publications.waset.org/abstracts/search?q=city" title=" city"> city</a>, <a href="https://publications.waset.org/abstracts/search?q=Safavid" title=" Safavid"> Safavid</a> </p> <a href="https://publications.waset.org/abstracts/34824/evaluation-of-the-cities-specific-characteristics-in-the-formation-of-the-safavid-period-mints" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34824.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">268</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12</span> A Study of Binding Methods and Techniques in Safavid Era Emphasizing on Iran Shahnamehs (16-18th Century AD/10-12th Century AH)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ashrafosadat%20Mousavi%20Laer">Ashrafosadat Mousavi Laer</a>, <a href="https://publications.waset.org/abstracts/search?q=Elaheh%20Moravej"> Elaheh Moravej</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The art of binding was simple and elementary at the beginning of Islam. This art thrived gradually and continued its development as an independent art. Identification of the binding techniques and used materials in covers and investigation of the arrays give us indexes for the better identification of different doctrines and methods of that time. The catalogers of the manuscripts usually pay attention to four items: gender, color, art elegances, injury, and exquisiteness of the cover. The criterion for classification of the covers is their art nature and gender. 15th century AD (9th century AH) was the period of the binding art development in which the most beautiful covers were produced by the so-called method of ‘burning’. At 16th century AD (10th century AH), in Safavid era, art changed completely and a fundamental evolution occurred in the technique and method of binding. The greatest change in this art was the extensive use of stamp that was made mostly of steel and copper. Theses stamps were presses against leather. These covers were called ‘beat’. In this paper, writing and bookbinding of about 32 Shahnamehs of Safavid era available in the Iranian libraries and museums are studied. An analytical-statistical study shows that four methods have been used including beat, burning, mosaic, and oily. 69 percent of the covers of these copies are cardboards with a leathery coating (goatskin) and have been produced by burning and beat methods. Its reasons are that these two methods have been common methods in Safavid era and performing them was only feasible on leather and the most desirable and commonly used leather of that time was goatskin which was the best option for cover legend durability and preserving the book and it was more durable because it had been made of goat skin. In addition, it had prepared a suitable opportunity for the binding artist’s creativity and innovation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shahnameh" title="Shahnameh">Shahnameh</a>, <a href="https://publications.waset.org/abstracts/search?q=Safavid%20era" title=" Safavid era"> Safavid era</a>, <a href="https://publications.waset.org/abstracts/search?q=bookbinding" title=" bookbinding"> bookbinding</a>, <a href="https://publications.waset.org/abstracts/search?q=beat%20cover" title=" beat cover"> beat cover</a>, <a href="https://publications.waset.org/abstracts/search?q=burning%20cover" title=" burning cover"> burning cover</a> </p> <a href="https://publications.waset.org/abstracts/34892/a-study-of-binding-methods-and-techniques-in-safavid-era-emphasizing-on-iran-shahnamehs-16-18th-century-ad10-12th-century-ah" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34892.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">238</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> Studying Iranian Religious Minority Architecture: Differences and Commonalities in Religious and National Architecture after Safavid</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saeideh%20Soltanmohammadlou">Saeideh Soltanmohammadlou</a>, <a href="https://publications.waset.org/abstracts/search?q=Pilar%20M%20Guerrieri"> Pilar M Guerrieri</a>, <a href="https://publications.waset.org/abstracts/search?q=Amir%20Kianfar"> Amir Kianfar</a>, <a href="https://publications.waset.org/abstracts/search?q=Sara%20Sadeghian"> Sara Sadeghian</a>, <a href="https://publications.waset.org/abstracts/search?q=Yasaman%20Nafezi"> Yasaman Nafezi</a>, <a href="https://publications.waset.org/abstracts/search?q=Emily%20Irvin"> Emily Irvin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Architecture is rooted in the experiences of the residents in a place. Its foundations are based on needs and circumstances of each territory in terms of climate, available materials, economics and governmental policies, and cultural ideals and ideas of the people that live there. The architectural history of Iran echoes these architectural origins and has revealed certain trends reflecting this territory and culture. However, in recent years, new architectural patterns are developing that diverge from what has previously been considered classic forms of Iranian architecture. This article investigates architectural elements that make up the architecture created by religious minorities after the Safavid dynasty (one of the most significant ruling dynasties of Iran (from 1501 to 1736) in Iranian cities: Isfahan, Tabriz, Kerman, and Uremia. Similarities and differences are revealed between the architecture that composes neighborhoods of religious minorities in Iran and common national architectural trends in each era after this dynasty. This dynasty is specific as a point of reference in this article because Islam was identified as the state religion of Iran during this era. This decision changed the course of architecture in the country to incorporate religious motifs and meanings. The study associated with this article was conducted as a survey that sought to find links between architecture of religious minorities with Iranian national architecture. Interestingly, a merging of architectural forms and trends occur as immigrants interact with Iranian Islamic meanings. These observations are significant within the context of modern architecture around the world and within Western discourse because what are considered religious minorities in Iran are the dominant religions in Western nations. This makes Iran’s architecture particularly unique as it creates a kind of inverse relationship, than that of Western nations, to the ways in which religion influences architectural history. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architecture" title="architecture">architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnic%20architecture" title=" ethnic architecture"> ethnic architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20architecture" title=" national architecture"> national architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=religion%20architecture" title=" religion architecture"> religion architecture</a> </p> <a href="https://publications.waset.org/abstracts/129838/studying-iranian-religious-minority-architecture-differences-and-commonalities-in-religious-and-national-architecture-after-safavid" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/129838.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">125</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">10</span> Geometric Continuity in the Form of Iranian Domes, Study of Prominent Safavid and Sasanian Domes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nima%20Valibeig">Nima Valibeig</a>, <a href="https://publications.waset.org/abstracts/search?q=Haniyeh%20Mohammadi"> Haniyeh Mohammadi</a>, <a href="https://publications.waset.org/abstracts/search?q=Neda%20Sadat%20Abdelahi"> Neda Sadat Abdelahi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Persian domes follow different forms depending on the materials used to construct and other factors. One of the factors that shape the form of a dome is the geometric proportion used in the drawing and construction of the dome. Some commonly used proportions are revealed by analysing the shapes and geometric ratio of the monuments’ domes. The proportions are achieved by the proficiency of the skilled architects of the buildings. These proportions can be used to reconstruct damaged parts of the historical monuments. Most of the research on domes is about the historical or stability features of domes, and less attention is made to the geometric system in domes. Therefore, in this study, we study the explicit and implicit geometric proportions in Iranian dome structures for the first time. The study is done based on a literature review and field survey. This research reveals that the permanent geometric rules are perfectly used in the design and construction of the prominent domes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=geometry%20in%20architecture" title="geometry in architecture">geometry in architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=architectural%20proportions" title=" architectural proportions"> architectural proportions</a>, <a href="https://publications.waset.org/abstracts/search?q=prominent%20domes" title=" prominent domes"> prominent domes</a>, <a href="https://publications.waset.org/abstracts/search?q=iranian%20golden%20ratio" title=" iranian golden ratio"> iranian golden ratio</a>, <a href="https://publications.waset.org/abstracts/search?q=geometric%20proportion" title=" geometric proportion"> geometric proportion</a> </p> <a href="https://publications.waset.org/abstracts/149514/geometric-continuity-in-the-form-of-iranian-domes-study-of-prominent-safavid-and-sasanian-domes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149514.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">284</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> Historical Studies on Gilt Decorations on Glazed Surfaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sabra%20Saeidi">Sabra Saeidi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research focuses on the historical techniques associated with the lajevardina and Haft-Rangi production methods in creating tiles, with emphasis on the identification of the techniques of inserting gold sheets on the surface of such historical glazed tiles. In this regard, firstly, the history of the production of enamel, gold plated, and Lajevardina glazed pottery work made during the Khwarizmanshahid and Mongol era (eleventh to the thirteenth century) have been assessed to reach a better understanding of the background and the history associated with historical glazing methods. After the historical overview of the production technique of glazed pottery work and introductions of the civilizations using those techniques, we focused on the niches production methods of enamel and Lajevardina glazing, which are two categories of decorations usually found in tiles. Next, a general classification method for various types of gilt tiles has been introduced, which is applicable to the tile works up to Safavid period (Sixteenth to the seventeenth century). Gilded lajevardina glazed tiles, gilt Haft-Rangi tiles, monolithic glazed gilt tiles, and gilt mosaic tiles are included in the categories. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gilt%20tiles" title="gilt tiles">gilt tiles</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20art" title=" Islamic art"> Islamic art</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20art" title=" Iranian art"> Iranian art</a>, <a href="https://publications.waset.org/abstracts/search?q=historical%20studies" title=" historical studies"> historical studies</a>, <a href="https://publications.waset.org/abstracts/search?q=gilding" title=" gilding"> gilding</a> </p> <a href="https://publications.waset.org/abstracts/109691/historical-studies-on-gilt-decorations-on-glazed-surfaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109691.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">123</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8</span> The Effect of Artificial Intelligence on Decoration Designs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ayed%20Mouris%20Gad%20Elsayed%20Khalil">Ayed Mouris Gad Elsayed Khalil</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research focuses on historical techniques associated with the Lajevardin and Haft-Rangi production methods in tile production, with particular attention to identifying techniques for applying gold leaf to the surface of these historical glazed tiles. In this context, the history of the production of glazed, gilded and glazed Lajevardin ceramics from the Khwarizmanshahid and Mongol periods (11th to 13th centuries) was first evaluated in order to better understand the context and history of the methods of historical enameling. After a historical overview of glazed ceramic production techniques and the adoption of these techniques by civilizations, we focused on the niche production methods of glazes and Lajevardin glazes, two categories of decoration commonly found on tiles. A general method for classifying the different types of gold tiles was then introduced, applicable to tiles from to the Safavid period (16th-17th centuries). These categories include gold glazed Lajevardina tiles, haft rangi gold tiles, gold glazed monolithic tiles and gold mosaic tiles. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ethnicity" title="ethnicity">ethnicity</a>, <a href="https://publications.waset.org/abstracts/search?q=multi-cultural" title=" multi-cultural"> multi-cultural</a>, <a href="https://publications.waset.org/abstracts/search?q=jewelry" title=" jewelry"> jewelry</a>, <a href="https://publications.waset.org/abstracts/search?q=craft%20techniquemycenaean" title=" craft techniquemycenaean"> craft techniquemycenaean</a>, <a href="https://publications.waset.org/abstracts/search?q=ceramic" title=" ceramic"> ceramic</a>, <a href="https://publications.waset.org/abstracts/search?q=provenance" title=" provenance"> provenance</a>, <a href="https://publications.waset.org/abstracts/search?q=pigmentAmorium" title=" pigmentAmorium"> pigmentAmorium</a>, <a href="https://publications.waset.org/abstracts/search?q=glass%20bracelets" title=" glass bracelets"> glass bracelets</a>, <a href="https://publications.waset.org/abstracts/search?q=image" title=" image"> image</a>, <a href="https://publications.waset.org/abstracts/search?q=Byzantine%20empire" title=" Byzantine empire"> Byzantine empire</a> </p> <a href="https://publications.waset.org/abstracts/184426/the-effect-of-artificial-intelligence-on-decoration-designs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184426.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">56</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> Islamic Art and Architecture on Religious Buildings of Dagestan, Russia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anahita%20Shahrokhi">Anahita Shahrokhi</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamed%20Kazemzadeh"> Hamed Kazemzadeh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Various issues are included in cultural relations between societies. Art styles along with architectural similarities are by far one of the most noticeable cultural-historic relations. The Dagestan Republic located in the south of Russia Federation in the North Caucasus has had cultural relations with historical Iran since long ago and is considered as a part of the Islamic world. From Sassanid era and Islamic Empire prior to Tsars’ government, such relations had been maintained largely due to Iran and Islam’s political and social dominance over the region. The presence of the Iranians, mostly for business and commerce, is evident through not only written documents but also other cultural elements including architecture and art. Southern Dagestan and northern provinces of Iran, not distant from each other by sea, have a lot of artistic and cultural aspects in common. The architecture used in some structures such as religious centers, Tekie and Saqa Nafars strongly resembles religious centers in the south of Dagestan. The majority of these similarities lie in the wooden carvings, engravings, and paintings of the interior decorations on the pillars, capitals, walls, and ceilings, as well as the similarity of the plans. Such designs were formed in Safavid dynasty first in Mazandaran and later in Dagestan so that this style is currently named Persiski, meaning Persian, in the Dagestan Republic. These similarities indicate the relationship between the artists and educated people from Iran and Dagestan and the Iranians’ role on the religious and cultural development of Dagestan from the 17th and 18th centuries. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=wooden%20works" title="wooden works">wooden works</a>, <a href="https://publications.waset.org/abstracts/search?q=Mazandaran" title=" Mazandaran"> Mazandaran</a>, <a href="https://publications.waset.org/abstracts/search?q=Dagestan" title=" Dagestan"> Dagestan</a>, <a href="https://publications.waset.org/abstracts/search?q=Saqa%20Nafar" title=" Saqa Nafar"> Saqa Nafar</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20and%20Islamic%20architecture" title=" ritual and Islamic architecture"> ritual and Islamic architecture</a> </p> <a href="https://publications.waset.org/abstracts/32087/islamic-art-and-architecture-on-religious-buildings-of-dagestan-russia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32087.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">477</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> Contemporary Vision of Islamic Motifs in Decorating Products</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shuruq%20Ghazi%20Nahhas">Shuruq Ghazi Nahhas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Islamic art is a decorative art that depends on repeating motifs in various shapes to cover different surfaces. Each motif has its own characteristics and style that may reflect different Islamic periods, such as Umayyad, Abbasid, Fatimid, Seljuk, Nasrid, Ottoman, and Safavid. These periods were the most powerful periods which played an important role in developing the Islamic motifs. Most of these motifs of the Islamic heritage were not used in new applications. This research focused on reviving the vegetal Islamic motifs found on Islamic heritage and redesign them in a new format to decorate various products, including scarfs, cushions, coasters, wallpaper, wall art, and boxes. The scarf is chosen as one element of these decorative products because it is used as accessories to add aesthetic value to fashion. A descriptive-analytical method is used for this research. The process started with extracting and analyzing the original motifs. Then, creating the new motifs by simplifying, deleting, or adding elements based on the original structure. Then, creating repeated patterns and applying them to decorative products. The findings of this research indicated: repeating patterns based on different structures creates unlimited patterns. Also, changing the elements of the motifs of a pattern adds new characteristics to the pattern. Also, creating frames using elements from the repeated motifs adds aesthetic and contemporary value to decorative products. Finally, using various methods of combining colors creates unlimited variations of each pattern. At the end, reviving the Islamic motifs in contemporary vision enriches decorative products with aesthetic, artistic, and historical values of different Islamic periods. This makes the decorative products valuable that adds uniqueness to their surroundings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Islamic%20motifs" title="Islamic motifs">Islamic motifs</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20patterns" title=" contemporary patterns"> contemporary patterns</a>, <a href="https://publications.waset.org/abstracts/search?q=scarfs" title=" scarfs"> scarfs</a>, <a href="https://publications.waset.org/abstracts/search?q=decorative%20products" title=" decorative products"> decorative products</a> </p> <a href="https://publications.waset.org/abstracts/142479/contemporary-vision-of-islamic-motifs-in-decorating-products" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142479.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">159</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cengiz%20Tav%C5%9Fan">Cengiz Tavşan</a>, <a href="https://publications.waset.org/abstracts/search?q=Niloufar%20Akbarzadeh"> Niloufar Akbarzadeh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Architecture in Iran has a continuous history from at least 5000 BC to the present, and numerous Iranian pre-Islamic elements have contributed significantly to the formation of Islamic art. At first, decoration was limited to small objects and containers and then progressed in the art of plaster and brickwork. They later applied in architecture as well. The art of gypsum and brickwork, which was prevalent in the form of motifs (animals and plants) in pre-Islam, was used in the aftermath of Islam with the art of calligraphy in decorations. The splendor and beauty of Iranian architecture, especially during the Islamic era, are related to decoration and design. After the invasion of Iran by the Arabs and the introduction of Islam to Iran, the arrival of the Iranian classical architecture significantly changed, and we saw the Arabic calligraphy decoration of the mosques in Iran. The principles of aesthetics in the art of calligraphy in Iran are based precisely on the principles of the beauty of ancient Iranian and Islamic art. On the other hand, after Islam, calligraphy was one of the most important sources of Islamic art in Islam and one of the important features of Islamic culture. First, the calligraphy had no cultural meaning and was only for decoration and beautification, it had the same meaning only in the inscriptions; however, over time, it became meaningful. This article provides a summary of the history of calligraphy in the mosques (from the entrance to Islam until the Safavid period), which cannot ignore the role of the calligraphy in their decorative ideas; and also, the important role that decorative elements play in creating a public space in terms of social and aesthetic performance. This study was conducted using library studies and field studies. The purpose of this study is to show the characteristics of architecture and art of decorations in Iran, especially in the mosque's architecture, which reaches the pinnacle of progress. We will see that religious beliefs and artistic practices are merging and trying to bring a single concept. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Islamic%20art" title="Islamic art">Islamic art</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20architecture" title=" Islamic architecture"> Islamic architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=decorations%20in%20Iranian%20mosques" title=" decorations in Iranian mosques"> decorations in Iranian mosques</a>, <a href="https://publications.waset.org/abstracts/search?q=calligraphy" title=" calligraphy"> calligraphy</a> </p> <a href="https://publications.waset.org/abstracts/77746/a-look-at-the-history-of-calligraphy-in-decoration-of-mosques-in-iran-630-1630-ad" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77746.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">274</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> Investigating Elements of Identity of Traditional Neighborhoods in Isfahan and Using These Elements in the Design of Modern Neighborhoods</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saman%20Keshavarzi">Saman Keshavarzi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The process of planning, designing and building neighborhoods is a complex and multidimensional part of urban planning. Understanding the elements that give a neighborhood a sense of identity can lead to successful city planning and result in a cohesive and functional community where people feel a sense of belonging. These factors are important in ensuring that the needs of the urban population are met to live in a safe, pleasant and healthy society. This research paper aims to identify the elements of the identity of traditional neighborhoods in Isfahan and analyzes ways of using these elements in the design of modern neighborhoods to increase social interaction between communities and cultural reunification of people. The neighborhood of Jolfa in Isfahan has a unique socio-cultural identity as it dates back to the Safavid Dynasty of the 16<sup>th</sup> century, and most of its inhabitants are Christian Armenians of a religious minority. The elements of the identity of Jolfa were analyzed through the following research methods: field observations, distribution of questionnaires and qualitative analysis. The basic methodology that was used to further understand the Jolfa neighborhood and deconstruct the identity image that residents associate with their respective neighborhoods was a qualitative research method. This was done through utilizing questionnaires that respondents had to fill out in response to a series of research questions. From collecting these qualitative data, the major finding was that traditional neighborhoods that have elements of identity embedded in them are seen to have closer-knit communities whose residents have strong societal ties. This area of study in urban planning is vital to ensuring that new neighborhoods are built with concepts of social cohesion, community and inclusion in mind as they are what lead to strong, connected, and prosperous societies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=development" title="development">development</a>, <a href="https://publications.waset.org/abstracts/search?q=housing" title=" housing"> housing</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=neighborhood" title=" neighborhood"> neighborhood</a>, <a href="https://publications.waset.org/abstracts/search?q=policy" title=" policy"> policy</a>, <a href="https://publications.waset.org/abstracts/search?q=urbanization" title=" urbanization"> urbanization</a> </p> <a href="https://publications.waset.org/abstracts/96806/investigating-elements-of-identity-of-traditional-neighborhoods-in-isfahan-and-using-these-elements-in-the-design-of-modern-neighborhoods" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96806.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">173</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Historical Development of Bagh-e Dasht in Herat, Afghanistan: A Comprehensive Field Survey of Physical and Social Aspects </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Khojesta%20Kawish">Khojesta Kawish</a>, <a href="https://publications.waset.org/abstracts/search?q=Tetsuya%20Ando"> Tetsuya Ando</a>, <a href="https://publications.waset.org/abstracts/search?q=Sayed%20Abdul%20Basir%20Samimi"> Sayed Abdul Basir Samimi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Bagh-e Dasht area is situated in the northern part of Herat, an old city in western Afghanistan located on the Silk Road which has received a strong influence from Persian culture. Initially, the Bagh-e Dasht area was developed for gardens and palaces near Joy-e Injil canal during the Timurid Empire in the 15<sup>th</sup> century. It is assumed Bagh-e Dasht became a settlement in the 16<sup>th</sup> century during the Safavid Empire. The oldest area is the southern part around the canal bank which is characterized by Dalans, sun-dried brick arcades above which houses are often constructed. Traditional houses in this area are built with domical vault roofs constructed with sun-dried bricks. Bagh-e Dasht is one of the best-preserved settlements of traditional houses in Herat. This study examines the transformation of the Bagh-e Dasht area with a focus on Dalans, where traditional houses with domical vault roofs have been well-preserved until today. The aim of the study is to examine the extent of physical changes to the area as well as changes to houses and the community. This research paper contains original results which have previously not been published in architectural history. The roof types of houses in the area are investigated through examining high resolution satellite images. The boundary of each building and space is determined by both a field survey and aerial photographs of the study area. A comprehensive field survey was then conducted to examine each space and building in the area. In addition, a questionnaire was distributed to the residents of the Dalan houses and interviews were conducted with the Wakil (Chief) of the area, a local historian, residents and traditional builders. The study finds that the oldest part of Bagh-e Dasht area, the south, contains both Dalans and domical vault roof houses. The next oldest part, which is the north, only has domical vault roof houses. The rest of the area only has houses with modernized flat roofs. This observation provides an insight into the process of historical development in the Bagh-e Dasht area. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Afghanistan" title="Afghanistan">Afghanistan</a>, <a href="https://publications.waset.org/abstracts/search?q=Bagh-e%20Dasht" title=" Bagh-e Dasht"> Bagh-e Dasht</a>, <a href="https://publications.waset.org/abstracts/search?q=Dalan" title=" Dalan"> Dalan</a>, <a href="https://publications.waset.org/abstracts/search?q=domical%20vault" title=" domical vault"> domical vault</a>, <a href="https://publications.waset.org/abstracts/search?q=Herat" title=" Herat"> Herat</a>, <a href="https://publications.waset.org/abstracts/search?q=over%20path%20house" title=" over path house"> over path house</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20house" title=" traditional house"> traditional house</a> </p> <a href="https://publications.waset.org/abstracts/96853/historical-development-of-bagh-e-dasht-in-herat-afghanistan-a-comprehensive-field-survey-of-physical-and-social-aspects" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96853.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">133</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> Examining the Concept of Sustainability in the Scenery Architecture of Naqsh-e-Jahan Square</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahmood%20Naghizadeh">Mahmood Naghizadeh</a>, <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Memarian"> Maryam Memarian</a>, <a href="https://publications.waset.org/abstracts/search?q=Hourshad%20Irvash"> Hourshad Irvash</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Following the rise in the world population and the upward growth of urbanization, the design, planning, and management of the site scenery for the purpose of presentation and expansion of sustainable site scenery has turned to be the greatest concern to experts. Since the fundamental principles of the site scenery change more and less haphazardly over time, sustainable site scenery can be viewed as an ideal goal because both sustainability and dynamism come into view in urban site scenery and it wouldn’t be designed according to a set of pre-determined principles. Sustainable site scenery, as the ongoing interaction between idealism and pragmatism with sustainability factors, is a dynamic phenomenon created by bringing cultural, historical, social and natural scenery together. Such an interaction is not to subdue other factors but to reinforce the aforementioned factors. The sustainable site scenery is a persistently occurring event not only has attenuated over time but has gained strength. The sustainability of a site scenery or an event over time depends on its site identity which grows out of its continuous association with the past. The sustainability of a site scene or an event in a time frame intertwined with the identity of the place from past to present. This past history supports the present and future of the scene. The result of such a supportive role is the sustainability of site scenery. Isfahan Naqsh-e-Jahan Square is one of the most outstanding squares in the world and the best embodiment of Iranian site scenery architecture. This square is an arena that brings people together and a dynamic city center comprising various urban and religious complexes, spaces and facilities and is considered as one of the most favorable traditional urban space of Iran. Such a place can illustrate many factors related to sustainable site scenery. One the other hand, there are still no specific principles concerning sustainability in the architecture of site scenery. Meanwhile, sustainability is recognized as a rather modern view in architecture. The purpose of this research is to identify factors involved in sustainability in general and to examine their effects on site scenery architecture in particular. Finally, these factors will be studied with taking Naqsh-e-Jahan Square into account. This research adopts an analytic-descriptive approach that has benefited from the review of literature available in library studies and the documents related to sustainability and site scenery architecture. The statistical population used for the purpose of this research includes square constructed during the Safavid dynasty and Naqsh-e-Jahan Square was picked out as the case study. The purpose of this paper is to come up with a rough definition of sustainable site scenery and demonstrate this concept by analyzing it and recognizing the social, economic and ecological aspects of this project. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Naqsh-e-Jahan%20Square" title="Naqsh-e-Jahan Square">Naqsh-e-Jahan Square</a>, <a href="https://publications.waset.org/abstracts/search?q=site%20scenery%20architecture" title=" site scenery architecture"> site scenery architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainability" title=" sustainability"> sustainability</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable%20site%20scenery" title=" sustainable site scenery"> sustainable site scenery</a> </p> <a href="https://publications.waset.org/abstracts/44078/examining-the-concept-of-sustainability-in-the-scenery-architecture-of-naqsh-e-jahan-square" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44078.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">312</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Khiaban (the Street) as an Ancient Percept of the Iranian Urban Landscape: An Aesthetic Reading of Lalehzar Street, the First Modern Khiaban in Iran</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Atashinbar">Mohammad Atashinbar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Lalehzar was one of the main streets in central Tehran in late Qajar and 1st Pahlavi (1880-1940) and a center of attention for the government. It was a natural walk during the last decade of the reign of Nasser al-Din Shah (1880-1895). However, this street lost its prosperity status under the 2nd Pahlavi and evolved from a modern cultural street to a commercial corridor. Lalehzar's decline was the result of the immigration of the upper class from the inner city to the northern part and the consequent transfer of amenities and luxury goods with them. It seems that during Lalehzar's six decades of prosperity, this khiâbân has received an aesthetic look, which has made it enjoyable and appreciated by Tehran’s people. Various post-revolutionary urban management measures have been taken to revive Lalehzar and improve the quality of its urban life. Since the beginning of the Safavid era, the khiâbân was accompanied by the concept of urban space, and its characteristics are explained by referring to the main axis of the Persian Garden with rows of trees, streams, and a line of flowers on both sides. The construction of a street inside the city as an urban space benefits from a mental concept as a spiritual and exciting space, especially in common forms in the Persian Garden. Before that, the khiâbân was a religious and mythical concept, and we can even say that the mastery of this concept led to its appearance in the garden. In Tehran, Lalehzar Street is a gateway to modernity. The aesthetic changes in Lalehzar Street, inspired by Nasser al-Din Shah's journey to Europe around 1870, coinciding with the changes in architectural and urban landscape movements around the world between 1880 and 1940. The Shah is impressed by the modernist urbanism and, in particular, the Champs-Élysées in Paris. A tree-lined promenade with the hallmarks of the Persian Garden is familiar to Nasser al-Din Shah's mental image of beauty. In its state of mind, the main axis of the Persian Garden has the characteristics of a promenade. Therefore, the origins of the aesthetic of Lalehzar Street come from the aesthetics of the khiâbân. Admitting that the Champs-Élysées served as a model for Lalehzar, it seems that the Shah wanted to associate the Champs-Élysées with Lalehzar and highlight its landscape aspects by building this street. Depending on whether the percepts have their own aesthetic, this proposal seeks to analyze the aesthetic evolutions of the khiâbân as a percept towards the street as a component of the urban landscape in Lalehzar. The research attempts to review the aesthetic aspects of Lalehzar between 1880-1940 by using iconographic analysis, based on the available historical data, to find the leading aesthetics principles of this street. The aesthetic view to Lalehzar as an artwork is one of the main achievements of this study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lalehzar" title="Lalehzar">Lalehzar</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=percept" title=" percept"> percept</a>, <a href="https://publications.waset.org/abstracts/search?q=Tehran" title=" Tehran"> Tehran</a>, <a href="https://publications.waset.org/abstracts/search?q=street" title=" street"> street</a> </p> <a href="https://publications.waset.org/abstracts/135964/khiaban-the-street-as-an-ancient-percept-of-the-iranian-urban-landscape-an-aesthetic-reading-of-lalehzar-street-the-first-modern-khiaban-in-iran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135964.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">151</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); 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