Explore the vast range of titles available.

This paper focuses on the production technology of late nineteenth-century tiles from the Ettehadieh House Complex in Tehran, Iran. It makes use of the opportunity to provide for the first time the results of chemical and microstructural analyses of late nineteenth-century tiles selected directly from context and with known provenance. The paper integrates the results of chemical study of the Ettehadieh tiles with other available technological information on nineteenth-century Persian tiles, including chemical analyses of signed tiles and samples of pigments, as well as the study of the treatise of a certain Persian potter, ‘Ali Mohammad Isfahani, to suggest processes of materials procurement and manufacture. These processes are used as evidence to discuss trade and technological interactions between Iran and Europe in the nineteenth century.

We present topographic slope positions of seismic stations within four independent networks (IGUT, IIEES, GSI, and BHRC) in Iran through integrated use of digital elevation models and GIS. Since topographic amplification factor (TAF) due to ground surface irregularity could be one of the reasons of earthquake wave amplification and unexpected damage of structures located on the top of ridges in many previous studies, the ridge stations in the study area are recognized using topographic position index (TPI) as a spatial-based scale-dependent approach that helps in classification of topographic positions. We also present the correlation between local topographic positions and V s 30 along with Voronoi tiles of two networks (IGUT and IIEES). The obtained results can be profitably used in seismology to establish homogeneous subnetworks based on Voronoi tiles with precise feedback and in the formulation of new ground motion prediction equations with respect to topographic position and topographic amplification factor.

The paper presents an analytical method developed for the nondestructive study of nineteenth-century Persian polychrome underglaze painted tiles. As an example, 9 tiles from French and German museum collections were investigated. Before this work was undertaken little was known about the materials used in pottery at that time, although the broad range of colors and shades, together with their brilliant glazes, made these objects stand out when compared with Iranian ceramics of the preceding periods and suggested the use of new pigments, colorants, and glaze compositions. These materials are thought to be related to provenance and as such appropriate criteria for art-historical attribution. The analytical method is based on the combination of different nondestructive spectroscopic techniques using microfocused beams such as proton-induced X-ray emission/proton-induced γ-ray emission, X-ray fluorescence, 3D X-ray absorption near edge structure, and confocal Raman spectroscopy and also visible spectroscopy. It was established to address the specific difficulties these objects and the technique of underglaze painting raise. The exact definition of the colors observed on the tiles using the Natural Color System®© helped to attribute them to different colorants. It was possible to establish the presence of Cr- and U-based colorants as new materials in nineteenth-century Persian tilemaking. The difference in glaze composition (Pb, Sn, Na, and K contents) as well as the use of B and Sn were identified as a potential marker for different workshops. [graphic removed]

Occupational lead poisoning is a health problem in Iran. Renal and neuropsychiatric complications of occupational lead poisoning are the main concerns for the workers and their employers. It was thus aimed to investigate the renal and neurotoxic effects of lead poisoning in the workers of two traditional-tile-factories. Researchers visited the workers in the factories and collected data by taking direct history and physical examinations in summer of 2005. Data were recorded in previously designed forms. Blood and urine lead concentrations were measured by an atomic absorption technique. A neurologist examined all workers and electrophysiological investigations were undertaken as clinically indicated. Data were analyzed by SPSS software and chi-square, student t test and Pearson correlation tests were used accordingly. The numerical data were expressed as mean ± standard deviation and p < 0.05 was considered as the significant level. Overall, 108 male subjects aged 37 ± 7.8 years were studied. Duration of lead exposure was 9.8 ± 6 years. Lead concentration in 2005 was 361.5 ± 176.9 μg/L. The main objective clinical findings were lead line (64.8%), peripheral neuropathy of upper limb (37%), suppression of deep tendon reflexes (DTR) in upper limbs (25.7%), tremor (23.3%), peripheral neuropathy of lower limbs (17%) and abdominal tenderness (15.1%). The subjective findings were mainly on the central nervous system, such as loss of memory (57%), moodiness (56.1%), agitation (47.7%), drowsiness (36.4%), and headache (29.9%). There was no significant correlation between blood lead concentration and glomerular filtration rate (GFR). But there were significant correlations between the blood lead concentrations and urine lead concentration (p < 0.001). This study showed that lead had toxic effects on the teeth (bone), central and peripheral nervous system, more than renal function. Prophylactic and treatment measures were performed.

The mosques in the citadel of Yerevan are lost today and almost unknown. Here, the most significant of them is reconstructed from visual and literary sources, documented by unpublished photographs, and related to the early Qajar period under the last Iranian governor Ḥusayn Khān, prior to the Russian conquest of Yerevan in 1827. The second mosque in the citadel is attributed to the Ottoman period; the third one remains uncertain. While the type of the Qajar mosque is compared to earlier buildings in Yerevan, notably the 18th-century Gök Jāmiʻ, stylistic elements are analysed with reference to early 19th-century architecture in Iran and a building at Qazvīn. The interpretation seeks to understand the different references of the Qajar mosque as the construction of a visual statement of local and Iranian identity in a period of change.

Transcribes an interview with Jafar Mogadam, an Iranian artist who paints Persian tiles. Traces Mogadam's development as an artist and describes how he creates his tile compositions. Provides a brief history of Persian tiles. (DSK)