https://www.hsaj.ir/ Heritage of Southwest Asia en daily 1 Fri, 22 May 2026 00:00:00 +0330 Fri, 22 May 2026 00:00:00 +0330 https://www.hsaj.ir/article_246674.html In recent years, the circulation of videos related to bushcraft, survival in nature, shelter construction, and staying in caves and rock shelters has increased on social media platforms. This article examines the phenomenon of “staging survival in nature” as a form of display-oriented intervention; interventions in which the physical manipulation of the environment gains meaning in relation to visual content production, audience attraction, and digital circulation. The main research question is what kinds of interventions are observable in these videos in caves and rock shelters, and what implications these behaviors may have from the perspectives of archaeology, natural-cultural heritage protection, and the management of sensitive spaces. The study is based on the qualitative–quantitative content analysis of 64 publicly available YouTube videos from nine channels. These videos, identified through purposive and chain-based sampling in November-December 2025 and January 2026, correspond to 64 independent places in Iran and were mainly published between 2023 and 2025. Indicators such as digging or levelling the floor, moving stone and sediment, blocking the entrance or part of the space, fire-making, smoke production, overnight occupation, modifying walls or ceilings, hunting, and connections with treasure-hunting narratives or the search for objects were recorded and assessed. Based on the intensity of visible intervention, 38 videos were classified as high risk, 19 as medium risk, and 7 as low risk. The results show that, even without field confirmation of the archaeological status of all locations, these behaviors may threaten sedimentary context, stratigraphic readability, rock surfaces, cultural evidence, and cave ecosystems. The article concludes by emphasizing the need for digital monitoring, public education, avoiding the publication of sensitive location indicators, developing guidelines for responsible behavior, and cooperation among cultural heritage, environmental, natural resources, and caving institutions. https://www.hsaj.ir/article_246675.html Pictorial carpets of the Qajar period constitute one of the artistic forms in which narrative design is prominently manifested, with a wide range of stories conveyed through woven visual representations. By depicting narrative scenes, employing symbolic imagery, and integrating diverse visual elements, these carpets construct multilayered narratives that rely on the viewer’s cultural knowledge and interpretive competence. Beyond their decorative function, such narratives reflect the social, political, and artistic transformations of the Qajar era. This study aims to examine the correspondence between the visual narration of the story of Bahram Gur Taking Admonition from the Shepherd, derived from Nizami Ganjavi’s Khamsa, and Gérard Genette’s narratological framework. Employing a descriptive-analytical approach, the research analyzes a Qajar pictorial carpet depicting Bahram Gur and the Shepherd through the lens of Genette’s theory of narrative. Data were collected using library-based research methods. The study seeks to answer two principal questions: How is the story of Bahram Gur and the Shepherd visually narrated in this pictorial carpet, and which episode of the narrative was selected for pictorial representation? The findings indicate that, despite the static nature of the woven image, the visual narrative achieves a multilayered temporal structure through the integration of the climactic scene with the marginal poetic inscriptions. While focalization in the literary text is predominantly variable internal focalization, the pictorial composition is characterized mainly by zero and fixed focalization. The marginal verses play a crucial role in bridging temporal discontinuities and reinforcing narrative continuity. Consequently, the carpet functions not merely as a visual representation of a literary text but also, within the historical context of the late Qajar period, as an allegorical and critical commentary on political authority. https://www.hsaj.ir/article_246676.html Carpet weaving in Iran constitutes an essential component of the cultural identity of this land. The motifs and designs embedded in these handwoven textiles are deeply rooted in the nation’s cultural heritage; therefore, the Persian carpet has long served purposes far beyond mere functional use. Qajar-period carpets, in particular, represent one of the richest artistic legacies of Iran. These carpets incorporate a wide range of themes, including historical, religious, and literary content. The present study aims to analyze the formal structure and thematic content of inscriptions woven into Qajar carpets preserved in the Carpet Museum of Iran. This period, marked by expanding cultural interactions and shifts in visual taste, witnessed a heightened presence of calligraphy and inscriptional elements within carpet design. The research employs a descriptive–analytical method, drawing upon both library-based and field data. The study sample consists of fifteen inscribed Qajar carpets, whose inscriptions were examined in terms of thematic content, calligraphic style, and framing structure. Findings indicate that the inscriptions fall into three major thematic categories: literary, historical, and scientific (astronomical). These include Persian poetic verses, laudatory expressions referring to kings, dates of weaving, names of weavers and patrons, names of historical figures, architectural monuments, and astronomical symbols. In terms of form, twelve types of inscriptional frames were identified, among which the elongated toranj (medallion) frame was the most frequently used. Regarding calligraphy, Nastaliq, appearing in fourteen carpets, was the predominant script, followed by Naskh. Overall, the inscriptions in Qajar carpets function not merely as decorative elements but as carriers of historical, cultural, and identity-based information. They establish a meaningful relationship between text, image, and the visual structure of the carpet, transforming these woven works into multidimensional cultural documents. https://www.hsaj.ir/article_234637.html A comprehensive assessment of a historical building requires a holistic approach that fully recognizes its integrity; that is, the entire developmental trajectory of the structure must be thoroughly identified. This includes materials, mortars, construction details, procedural hierarchies, execution techniques, construction tools, the placement of structural elements and their interrelations, as well as the interaction between structural components and decorative features, piers, and all other constituent parts of the building. In constructing a karbandi, once the load-bearing bases are built according to the underlying plan, the primary load-bearing tavizehs are erected, followed by the installation of the intermediate elements (lengehs) upon them. From the initial stage of layout implementation to the construction of the araqchin (dome cap), the design and execution of a karbandi require continuous review and precise control of the construction process. Understanding the methods of assembling karbandi components and the techniques of execution monitoring can provide valuable insights into strategies for maintaining and conserving these traditional structures. The objective of this article is to elucidate the execution and control procedures of karbandi construction—particularly in rectangular layouts—based on the practical knowledge of traditional master builders and an examination of actual case studies. To this end, data were first collected through library research, direct field observations and measurements, and interviews with master craftsmen and conservation specialists. The geometric systems of the case studies were then reconstructed through three-dimensional modeling. The findings indicate that although the overall principles of karbandi construction among traditional Iranian builders are largely consistent, noticeable differences exist in the details. These variations relate to the arrangement of bricks in the lengehs and tavizehs, the filling materials, the araqchin, the formwork techniques, the geometric configuration of the base plan, and other aspects. Such variables are ultimately subject to the decisions of the executing architect, who determines the detailed specifications of these features. Moreover, during construction, the horizontal and vertical alignment of formworks and karbandi components is critically enhanced through the use of control instruments, significantly contributing to accuracy and structural precision. https://www.hsaj.ir/article_246883.html The art of Persian Negargari encompasses a wide range of paintings and drawings that have survived from different historical periods. These pictorial compositions, especially during the Safavid period, achieved notable stylistic and thematic diversity under courtly patronage, giving rise to an autonomous painting current. In this regard, “single-leaf” Negargari in the Qalam-e Siah style were recognized as self-contained, independent works, emerging alongside conventional paintings as a distinct artistic phenomenon.The continuation of this development gave rise to a new current within Persian Negargari, which also manifested transregional characteristics. Indeed, during the Safavid period, the courts of the Mughal Empire in India and the Ottoman Empire in Anatolia paid particular attention to single-leaf Persian drawings, and this style subsequently gained traction within both courts. The present study addresses two main questions: Which single-leaf compositions can legitimately be considered independent, and how did independent drawings emerge and gain prominence within the Safavid, Mughal, and Ottoman courts. In this regard, information was examined and collected using a descriptive and comparative method and by referring to library resources and information provided on the web. The results of the studies indicate that the adjective "independent" can be applied to those types of drawing images that are self-sufficient and independent in the four components of media, style, subject, and presentation format. These drawings emerged and gained prominence in the Safavid court as both phenomena and agents of artistic currents, accompanied by distinctive thematic creations, and were later transmitted to the Mughal Court. This development was facilitated by the Mughal emperors’ temporary residence at the Safavid court and Iranian artists’ presence at the Mughal court, leading to the emergence of the “Nim- Qalam” style. In contrast, within the Ottoman court, despite the presence of Iranian artists, greater attention was paid primarily to the phenomenal aspect of independent drawings within a more limited scope.