Journal of Archeology and Archaeometry
Volume:2 Issue: 4, Mar 2024

In the east of Pahanvar Ray plain, we come to a fertile area (Pishwa/Varamin plain) which has provided suitable conditions for human habitation since the formation of human settlements until today. Due to the location of this plain in the north of the central desert and the border between the two cultural domains of the northeast and the center, the environmental condition and suitable altitude, which are the main factors for the formation of permanent settlements, and the possible existence of extra-regional connections of this area with the neighboring areas, a wide survey was conducted in this area of ​​the plain. It was concluded that during this archaeological investigation, 61 ancient sites from the Sassanid era were found in the east of Varamin and south of Peshwa. It is most likely that Varamin is considered a part of Ray State and based on the available evidence, it is possible that it is the main center of Ray State as well. According to historical texts and archeological data, the state of Ray was one of the important areas of human settlement during the Sassanid period in Iran. Historical texts mention Ray in the Sassanid period, and the number of sites attributed to the Sassanid period in the geographical area of ​​Varamin has not been found until today. Despite this, based on the prominent geographical location of the Varamin region and the references of the historical texts to the Ray state, this region was probably one of the important regions of the historical period in Iran. In the present article, an attempt has been made to describe the historical geography of Ray State in the Sassanid period, while using the archaeological data of the Sassanid period of Varamin, to draw a part of the archeology and historical geography of Varamin in the Sassanid period.

Mythological themes reflecting the worldview and ideology of ancient societies have various applications. One of the applications is for rituals, which have a symbolic dimension. As if these themes are repeated in different societies, they are classified as archetypes. The archetype is derived from Jung's psychological theories, which is revealed in the form of a symbol in the context of myth, epic, and dream. Since dream and myth are the same in nature and structure, this study investigated Dumuzid's dream to find out the origin of mythological rituals in the third millennium BC in Mesopotamia. This study was conducted by a descriptive analytical method using Jung's archetypal approach based on library studies, the results of which showed a relationship between the myth of Dumuzid and rituals of Mesopotamia society, and the story of vegetation gods connected with the rituals of spring and fertility in nature as the source of collective mourning ceremonies and celebrations held every year in their memory. In fact, the rituals are cultural phenomena left over from the agricultural and prehistoric times in ancient societies.

The wave scroll motif is among the designs that, nowadays, are mainly seen in rural and nomadic carpets in a wide geographical area, from Central Asia to Anatolia and the Caucasus, as well as Iran. Historically, this motif originates from Hellenistic art and is still used in oriental carpets today. The purpose of this article is to find out how and the possible time of the arrival of this pattern from Greek art to Iranian carpets using archaeological evidence, including old museum carpets. Using valuable motifs of Sassanian Carpets, this article tracks the transfer of this motif from the Hellenic-Byzantine civilization to the art of pre-Islamic Iran and in various artistic disciplines such as pottery and textiles to clarify this motif’s long journey from pre-Islamic art to the Islamic period. This study shows that the motif was most likely known since the Seleucid period in the Persianate world, but the most evidence of it can be seen in the art of the Parthian and Sasanian periods, furthermore the findings show that this motif was used at least from late Parthian era on the border of hand-made textiles like carpets.

In the 5th AH / 11th AD century, the Seljuk government was formed in Iran, and over time, they were able to defeat the Abbasid caliphs in Baghdad and the Eastern Roman empire in Anatolia. Before the 5th AH / 11th AD, the Anatolian region was under the domination of the Christian Romans and the churches were considered the religious architecture in this region. The purpose of this research is to investigate the evolution of Seljuks of Rum and Ottoman mosque architecture and the influencing factors in the formation of mosque architecture in the Anatolian region, which was carried out by field, library and descriptive, adaptive and analytical approaches. The results show that the architecture of early Islamic mosques , Roman architecture and Seljuks of Iran played a significant role in the formation of Seljuk architecture in Anatolia , and local architecture played an important role in the formation and evolution of Anatolian mosque architecture

Antiquarianism is one of the significant elements of Iranian nationalism that emerged through archaeological research and exploration by Iranian scholars and Western archaeologists in the realm of Iran's history and culture. It provided a fresh definition of Iranian history and identity, playing a crucial role in the construction of modern Iranian nationhood during the era of Reza Shah. Nationalist antiquarianism had a lasting impact on cultural, literary, and even political aspects, transforming the understanding of Iranian history and identity. As an intellectual and cultural movement, antiquarianism aimed to uncover the unknown aspects of Iran and its people beyond recorded history. Its purpose was to revitalize the material and spiritual culture of the historical Iranian nation, turning it into a source of pride and a foundation for constructing a new government-nation with a rich historical civilization. In this context, Reza Shah leveraged the Iranian antiquarian movement to construct a modern Iranian government-nation, utilizing the deep-rootedness of the monarchy system in pre-Islamic Iranian history as a legitimate link, presenting it as a legitimate pole against the backdrop of Islamic Iranian history. This research seeks to answer the question of the function of antiquarianism in the development of Iranian nationalism during the reign of Reza Shah, employing a descriptive-analytical method. It explores the coordinates of Iranian nationalist antiquarianism and investigates why Iranian nationalists conceptualized antiquarianism as the foundation of the Iranian nationalist movement.

The art of glassmaking in Iran, with a glorious historical background, visual richness and unparalleled beauty reached its peak of prosperity in different historical periods. Safavid and the Qajar era are among the brilliant periods of Iranian art, which in many fields, was the continuation of the Timurid golden age. These works include the most outstanding examples of court objects, they include the most mundane objects and household utensils produced in workshops, which in each of these two groups, depending on the social class of their patrons and creators, have unique features. One of the unique glassmaking in that era was the production of scent-bottle. The root of the word "perfume" is derived from the Latin word "perfume" and means "passing smell". Scent-Bottles were containers that kept all kinds of perfumes (oily liquid, perfumes, and even pharmaceuticals) in it. Iran is one of the most important centers for the production of glass perfume bottles; however, no research has been done in this field. In this research, while taking a brief look at the historical background of glass production and its manufacturing technique, the form and motifs of Iran's glass perfume bottles have been examined and their manufacturing technique, shape, size and decorative motifs have been studied. The research method is historical-analytical and the purpose is to examine the differences and similarities of perfume bottles in different historical periods, and finally the results proved that there are fundamental differences between perfume bottles through different historical periods in Iran.