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The Mongol invasion to Iran in fronted Iranian society & economy to series crisis and caused the economic depression for decades. Recognition of Muslim statesmen’s and thinker’s attitude and behavior in encounter to that time circumstance, While the depict their role in economic thought in that era cause the better understanding of social-economic structure of Ilkhanids era. This article with asking this main question which: what was the influence of the philosophical and esthetical approach of Nasir Al-Din tusi,on his economical thoughts, has this conclusion: that the great philosopher and Thinker who lived in that Nasir Al-Din tusi, sentimental era, introduced his economical thought on moral element, economic justice and affection base. This essay to consider Ilkhanids era effects, survey recognition of Nasir Al-Din tusi;s economic thought. Nasir Al-Din tusi,on pay attention to justice, ethic and security express his economical thoughts. Keywords: Nasir Al-Din tusi, economic, economic thought, Ilkhanid, political-economy

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The power which had been presented by the Chingiz and the active participation of tribal leaders in the early 7th century AH / 13th was military-essence power. The military forces were the main basis of Mongols power and reformations which Chingiz reformed to political and legal fields obviously had military effects. War was a common event among Mongols and depredation considered as significant method to supply economic demands. The mention point caused that military powers increase their influence and Mongols power mainly be military-structured in colonial areas.
In addition Ilkhanids government was military-essence and military aristocracy has special influence, particularly in first decades of their governing. These military aristocracies that tend to irregular approaches in political and economic subjects had kept his influence till Ilkhanids fall. The Position of the military aristocracy and its influence on structure of Ilkhanids government, as traditional economy changed to modern one, by paying attention to their position in pre-Ilkhanids era is subject which this essay will survey that by descriptive and analytical approach.
 

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One of the main reasons of building Qadamgāhs (literally meaning the place of foot or the place of stepping) was the dreams a believer had of a saint. There are a large number of such buildings in Iran. In some cases, the dreams are inscribed on tablets in order to preserve the dream for future generations. This paper introduces five lustre ceramic tablets, which contain records of such dreams. The texts of two of them have been preserved completely, and significantly show astonishing similarities. The first is dated back to 1312 AD and belongs to Qadamgāh of Mehrīqābād. Its text mentions that Fakhr al-Din Hasan Tabari saw Imam Ali in a dream ordering him to build a shrine. According to the text of the second tile in Qadamgāh-i Khezr in the village of Yazdelan in 1607, someone saw Khezr in a dream who orders to reconstruct a ruined domed building. This article examines the differences and similarities between these two tablets from the Ilkhanid and Safavid periods, and analyzes them in detail. It can be said that these two tablets have a common content that have been written with the aim of documenting the reconstruction of a religious building borrowing the Iranian and Shi'at themes. These two examples show that the tradition of recording dreams on lustre tiles was not only prevalent at the glorious era of lustre production, but also extended to three centuries later.
Introduction
“Qadamgāh” refers to some places of pilgrimage in the Islamic world where a Prophet, Imam or saint has passed or has been seen in a dream. Dreaming has been one of the main reasons for building Qadamgāhs, in that, it was built when someone saw one of the saints in a dream and based on the saint’s order or his own decision, he called that place a Qadamgāh. This phenomenon, which sometimes led to the establishment of a building, has been common among Shi'ats. In some cases, commemorative tablets made of stones or tiles were used to record the dreams. Five lustre tiles, which belong to the Qadamgāhi buildings, have been identified in the region of Kashan, that contain a record of a dream. Three of them, which bear the name of a Qadamgāh, called Darb-e Mehriqābād, were produced in the fourteenth century. Although the tradition of writing on lustre tiles has continued until the Safavid period, no example containing a dream is known except for an unpublished tile from Qadamgāh-e Khezr in Yazdelan village. This tile, which dates back to 1015 AH/1607 AD, is full of symbolic and mythical signs. Interestingly, the Mehriqābād tiles dates back to 711 AH/1312 AD, and the Yazdelan tile have significant similarities with them in terms of form and content.
Research Background
The major research on lustre tiles has been done by Oliver Watson (1975, 1985). However, no research has been done on the Qadamgāhi lustre tiles, except for two papers written by Chahryar Adle about the tiles of Mehriqābād (Adle, 1972, 1982). Nonetheless, he has made some mistakes in reading the text and also did not notice the fifty-year difference in the date of these tiles. In addition, he was unable to identify the exact building of this Qadamgāh.
Discussion
There is a pair of circular lustre tiles in the Musée national de céramique de Sèvres, the text of which mentions the construction of a Qadamgāh in Kashan. The text of the tiles tells us that a person named Sayyed Fakhr al-Din Hassan Tabari finds himself in a dream in the middle of a crowd in the garden of Amir in Kashan. There, he sees Imam ‘Ali who tells him to construct a building in that place so that whoever wants to visit him can come to that position. Three centuries later, a lustre tile was installed in the Khezr Qadamgāh of Yazdelan, which narrates a dream that led to the construction of the building. According to its text, a person saw Khezr in a dream, who asked him to repair a domed building.
One of the similar and important elements in both dreams is their connection to the garden. In fact, the holy sites in question are located in the garden that was famous at that time. The timing of both dreams is interesting in its own way. The dream of Mehriqābād coincides with Eid al-Fitr and the dream of Yazdelan coincides with Nowruz. In fact, the dreamers have been influenced by the religious festivals at both times, which belong to a mythical and ritual time. Another common feature of both texts is the effort to document the dream, which mentions the exact characteristics of the place and time of the dream.
Conclusion
During the Ilkhanid period, as there was more religious freedom for Shi'ats, the opportunity to express and document such Shi'at dreams became more prominent. On the other hand, with the rise of the Safavids and the prevalent freedom for the Shi'ats, the emergence of Shi'at beliefs developed unprecedentedly. Although the two lustre tiles examined in this paper were made over a period of three centuries, they are certain significant similarities in their content. The main theme, the type of time and place, the sacred personality, the attention to documentation and the influence of Iranian culture in both examples are comparable. In fact, they both express an identical concern: the reconstruction of a religious building the location of which has sacred memories. Interestingly, in the inscriptions of both buildings discussed in this article, there are signs of pre-Islamic beliefs of the people of the region. However, this is far from the common traditions of Islam and is based mostly on popular beliefs.
References
Adle, Ch. (1972). Un disque de fondation en céramique (Kâšân, 711/1312), Journal Asiatique, CCLX (3‒4), 277‒297.
Adle, Ch. (1982). Un diptique de foundation en ceramique lustrée, Kašan 711/1312, In: idem, ed., Art et société dans le monde iranien, (pp. 199-218). Paris: Institut Français d’Iranologie.
Watson, O. (1975b). Persian lusterware, from the 14^th to the 19th centuries. Le Monde Iranien et l'Islam: Sociétés et Cultures, 3, 63-80.

Watson, O. (1985). Persian lusterware. Faber and Faber.

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Undoubtedly, pottery is among the most important information types that can help understand societies and cultures better. Despite introducing pottery known as Sultān Abād and its classification over the last few decades, very limited information has been published so far on the origin of its type and about archeological sites containing them. The main reason for this seems to be that containers could not be found in archeological excavations, and most of these potteries were obtained through illegal excavations hence; are part of private collections and museums. Consequently, our understanding on their origin, extent and distribution is very limited. In the current study, we attempt to present a brief introduction about the technical and decorative features of this pottery type, its construction origin, historical background and the likely place or places of its production. Then, based on information from recent archaeological excavations and surveys, this pottery type is described and explained.

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By selecting Northwest Iran as the early capital of Ilkhanid dynasty, Mongol rulers had governed this area for about one century which would have been the official route of administration and communication between Mongolia, Inner Mongolia, Northeast China, and Iran. The existence of three unknown rock-cut archetypes in Maraghe (new capital) and its surroundings are among the most controversial subjects for historians and archaeologists. Although the period between 1256 and 1335 is seen as a period of cultural interventions from Mongolia and Inner Mongolia into the Northwest Iran, the architectural influences during Mongol's dominion has been less considered by the scholars. In this way, recent archaeological developments related to this region are beginning to shed new lights on recognition the architectonic appearance and the application of these unique underground architectures in Northwest Iran. Considering comparative studies besides analytical expository of architectural evidences from Mongolia, Inner Mongolia, and Northeast China, this project is aimed at standardizing the identity of unknown rock-cut structures in Northwest Iran. According to the results, the combination of a corridor leading to one or more chambers is not entirely random in Northwest Iran but also shares an exact assimilation of those in Mongolia, Inner Mongolia, and Northeast China.

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In the city of Esfarayn, for the first time coins were minted during the Ilkhanid era. The aim of the current study is to examine the form and content of inscriptions on those coins and seek answer to the following questions: What are the motives of engraving on Esfarayn coins of the Ilkhani period? What meanings the inscriptions of Ilkhanid coins contain with? The research method applied here is historical, descriptive and analytical. The statistical population of the study is 42 coins minted in Esfarayn. The results show that the Ilkhanids designed a variety of designs such as pentagonal, hexagonal and octagonal stars, circle, mandala, multicolored flowers, clover flowers, circle, borders and horseman for coins. Calligraphic changes with Arabic, Persian, Uyghur, Chinese scripts and motifs multiplied on Esfarayn coins, with the appointment and removal of Ilkhan. Despite religious beliefs of Shamanism, Buddhism, Christianity and Jews, they established religious tolerance in the political arena of Iran by accepting Islam. In addition to Islamic rituals, they could also reflect their own religious rituals on the coins bearing cultural messages. The differentiation of Mongolian rulers from the Iranian people and their religious and governmental policies reflects most changes in terms of themes and contents reflecting on the coins that have been studied in three periods altogether.

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It is well documented that the Mongol rule in the thirteenth and fourteenth centuries fostered the direct exchange of ideas and practices between diverse cultures and religions. From this point of view, while the Mongols believed in shamanism, they embraced other religions for several reasons, ranging from a personal desire for the spiritual gains to issues of control and political and social cohesion. Hence, century of Mongol domination in Great Iran (1256-1353 CE) witnessed the practice of Buddhism, Manichaeism, Zoroastrianism, Judaism, Christianity, and Islam. While the importance of the Ilkhanid period for the architectural history of the Islamic World has generally been acknowledged, explanations for the appearance of rock-cut buildings in Iran under the Mongol dominion, in contrast with Islamic architecture, are not very satisfying. By focusing on field studies, the aim is to catalogue rock-cut architecture of Ilkhanid Iran with certain parallels with Buddhist architecture, isolate construction phases of monuments of this type in northwest Iran. According to the results, while an investigation of Buddhist architecture in northwest Iran would reveal a vibrant portrait of life in Ilkhanid Iran by illustrating how Ilkhanid architecture responds to various faiths and traditions, it would be possible to have a fresh look at the sociopolitical history of Islamic Iran in collision with the Mongol culture.

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The village of Viyar is known for its impressive rock-cut architecture called "Dash Kasan Temple." This monument is special in its architectural layout; two large scale dragon snakes carved out of cliffs, also the creation of a vast open area by excavating solid rock are the only examples in Iranian art and architecture. Although most of the debates generated hitherto on the identity of the so-called Dash Kasan are centered on a temple construction with a Mongol background in the Ilkhanid capital of Sultaniyya, there has been less architectural evidence to support this idea. Hence, the nature and the extent of the earlier studies are not sufficient to substantiate the architectural discourse in this monument. Consequently, most of the works done so far are mainly limited to general information from past decades attesting its monastic function. Thus, there remain several controversies about the inception of the architectural layout of the so-called Dash Kasan which needs to be further explored. The most recent field studies headed by the author in the spring of 2020 had developed one major question to be answered regarding this site: Why the so-called Dash Kasan cannot be a Buddhist temple. This research rejects the function of this complex as a temple based on its architectural composition. While the results clearly suggest an outright contradiction to the traditional views of scholars as a Buddhist temple, it is possible to trace a similar construction scheme between this site and Chines style ceremonial halls in Central Asia. This paper is intended to review the monastic function of the so-called Dash Kasan, and to further stimulate others to explore this extraordinary site.