عنوان مقاله [English]
Door and window (blacksmithing)chelengari were very important in the past and have become a cultural manifestation in buildings. Buildings in Tehran in the Qajar and Pahlavi periods have a blacksmithing(chelengari) with various designs, which shows the art of Tehrani blacksmiths. The Qajar period can be seen as the beginning of replacing metal instead of wood in the construction of fences and windows, which are known as " wrought iron". The aim of the article is to review the design, construction and techniques used in Tehran's blacksmithing(chelengari) (fence - window, door and balcony). The research method is descriptive and analytical and collecting field and library information. The findings show that the design method with the basic form of S with a ratio of 2 units for width and 6 units for length is formed under a pattern with 12 equal squares, and in drawing spirals with 4 squares divided into 2 units and 6 parts. The used techniques were divided into four categories of rectangular forms, rectangle with crescent, rectangle with crescent inscription and rectangle-square and were analyzed in three groups. Patterns too Function Traditional motifs In two general categories One motif and two or more motifs divided which is placed in three groups And by analogy, combination and multiplication, they sit together in different forms. Common motifs between these two groups, The invention of masters, long six, Six inkstand, Diamond, Acute drum, five open, eight, in Group One motif Sarme Don's bag, Seli patterns, Giwa, two or more motifs, Sarme Don's bag, Seli patterns, Toranj slow, five slow, hexagon, Toranj spicy, narrow leg, kohl dan(Sarme Don), drum, They are Pa bzi. Designs and patterns follow Iranian knots in brick and wood and especially tile work and have an identity root.