اکبر شریفی نیا

Sirvan historical site is located in Sarāb Kalān village in northern area of Ilam province and according to experts and remains belongs to Sasanian and Early-Islamic periods. The purpose of this research, for the first time, was to investigate the chemical structure of 10 glass fragments (mainly including parts of the body of the vessel) obtained from geoarchaeological studies of this area, using XRF analytical method. The results of analysis show that these samples have been classified in the group of alkaline glass (silica - soda - lime) and according to the ratio of their alkaline elements, vegetable ash (probably local plants) has been used to prepare the glass load. The average weight percentage of silicon oxide is 60.97 with a variance of 15.100 and due to the amounts of aluminum and iron oxides, different sources of silica with low purity have been used in the production of these glasses. Observing variation in amounts of elements in glass lattice and lack of correlation between elements, strengthens the hypothesis of diversity and alteration in primary sources. Also, a comparative study between these samples with the analytical results of glass artifacts belonging to the closest historical sites to Sirvan (Goryeh and Jahangir Dome), indicates that probably the samples of Sirvan are older than these two sites, and trial and error has been played a main role in their production.

Today, the approach of new archeology studies is applying different sciences, especially use of geographic information system (GIS) and sciences such as statistics, and different methods and models of these sciences. By using other scientific methods and tools, the orientation of spaces archeology has largely achieved a correct understanding of issues such as establishment pattern of ancient civilizations and the interactions between humans and environment. Darreh Shahr city in Ilam province is one of the areas where, apart from some scattered references in the content of geographical texts, no purposeful study has been done regarding the presence of Sassanids there. Therefore, in order to fill this historical gap, after conducting archeological studies with the aim of discovering the cultural evidence of the Sassanid presence in this city, 117 monuments were identified. Some researchers believe that the ruins of Seymareh in the south and southwest of the present city of Darreh Shahr during the Sassanid period, and at the center of Mehrjan-e-Ghazq furnace was part of the western part or Khorbaran coast.In this study, for the first time and with respect to environmental elevation, slope, land use, and distance from roads and rivers, the settlement pattern and spatial distribution of Sassanid landscapes of Darreh Shahr are analyzed using descriptive-analytical method and field-library studies. To achieve goals such as locating ancient sites, analysis of settlement patterns and finally, investigating the impact of environmental factors on the formation process and distribution of Sassanid areas, tools such as Geographic Information System (GIS), SPSS software, statistical models such as mean of nearest neighbor, linear regression, correlation coefficient and PCA method were used. The results show that the most important factor affecting the spatial distribution of Sassanid sites in Darreh Shahr is first, the distance from rivers and then, the factors such as altitude and slope of the area. In addition, based on the average nearest neighbor model, the pattern of settlement in the Sassanid areas of this region is almost identical and clustered.

According to experts, Sirvan historical site in Ilam province belongs to the Sassanid period or the early Islamic centuries. Despite the archaeological importance of this site, unfortunately, methodical and broad archaeological and archaeometical activities have not been performed. To the systematic investigation of samples obtained from the initial excavations for geoarchaeological studies, 14 potsherds from this site were examined. Concerning this question that what are the main geochemical properties, structural similarities, and differences between these specimens, experimental analysis was done. In order to the elemental and mineralogical description of samples, estimating their firing temperature, and preparing a model for classification of them, chemical composition and mineralogical phases of samples were characterized through X-ray fluorescence (XRF) and X-ray diffraction (XRD) analysis. The standard deviations of the amount of silicon, aluminum, iron, calcium, and magnesium oxides were calculated at 11.527, 3.290, 2.705, 5.887, and 2.087, respectively. High dispersion of the quantity of elements especially for Si and Ca reveals that these samples belong to different workshops, regions, or historical periods with variation in sources and amounts of raw materials and processing steps. in the same geographical area. Moreover, any special model for classification of samples not found, except samples no. S8 and S9 that have similarity in their chemical and mineralogical composition. In addition, the three samples S12, S13, and S14 have completely different chemical and mineralogical characterization and are probably to be imported products. Also in samples with a high amount of the calcium oxide (more than 6%), probably local limestones were used as temper. In general, these samples can be considered as local production (except for the three examples mentioned. Concerning not identifying the clay minerals and presence of calcite (likely primary), diopside, and gehlenite (as firing products), the firing temperature of these samples was estimated between 850 - 900.

Pottery, as the most important archaeological find, has a very important role in describing and interpreting the cultures and civilizations of the past. According to researchers, pottery is a significant source for obtaining information about the reconstruction of human behavior in archaeological studies. One of the perspectives and approaches to the study of ancient pottery is to study the impact of cultural and non-cultural factors on pottery production. From this perspective, pottery is considered as a reflection of human cultural behaviors.Meanwhile, our knowledge of Sassanid period pottery, despite many excavations in various Sassanid regions, is very little. Among the reasons for this; The simple passing of the Sassanid layers in the excavations is the focus on other findings of this period and the lack of publication or incomplete publication of the pottery findings of the Sassanid sites. The pottery of the Sassanid period, like other periods, is known, among which one of the main characteristics of Sassanid pottery in this period. Among these, one of the main features of Sassanid pottery is its "locality" and their other feature is the remarkable stability of many forms and the existence of homogeneous forms of pottery in a wide area of the Sassanid territory, which according to The style and shape of the decoration are different from each other in different areas. In fact, in this period, the forms are almost identical with differences in the details of the cross-sectional shape, but what makes them "local style", in addition to their different technical characteristics, is the different decoration in each area. In this research, using a descriptive-analytical method, we study the relief pottery attributed to the Sassanid period that has been mentioned in various sources. So far, no comprehensive research has been done on the decorative motifs of such utensils, the meaning and content of their decorative motifs . Reflect some of the religious, political or social ideas of the time. The purpose of research is to classify the decorative motifs of such vessels, to obtain the meanings and themes of their decorative motifs and to discover the currents that affect the creation of such motifs. The results show that these pottery with human, animal, plant and geometric motifs and with a molded method, mostly express political, religious, military and sports narratives in human motifs and mythical and realistic meanings and themes in plant and Animal motifs. It should be said that the Sassanids in these pottery, using the mold method that has been used before in the Parthian period and being influenced by Chinese, Roman and Greek forms, have tried to repeat their attribution to the pre-Parthian period, the Achaemenids. In other words, these motifs show the continuity of ancient oriental motifs that were used during the Sassanid period.

In rebuilding the livelihood patterns of past inhabitants of different parts of Iran, accommodating the content of historical and geographical texts with archaeological evidence will be very helpful. Darreh Shahr, located in Ilam province, is one of the areas where the most establishment period, in terms of concentration of works, belongs to the Sassanid era (117 works). Here, we aim to infer and present the Sassanid inhabitants' livelihood patterns of Darreh Shahr by integrating and matching the archaeological evidence and environmental information with geographical texts' content. Based on archaeological evidence, the results show that in the Sassanid era, the most basic livelihood patterns adequate with the region's natural geography were irrigated agriculture, followed by dry farming and livestock farming. Hence, there is a close correlation between the analysis of archaeological data and the content of historical and geographical texts around the agriculture of this area. According to ethnological studies, the use of canals for the irrigated agricultural sector and stone terraces for dryland farming were common. This research is based on historical and descriptive-analytical research methods, and its information is gathered from field studies and libraries.

Human has always been seeking to meet his needs and commensurate with his environmental capabilities. The idea of taking the advantage of these potentials reflects the human culture of adapting to environmental conditions and maximum use of them for creation of various architectural works. Water availability and its usage could be regarded as one of the factors influencing the sustainability of the civilizations. Optimal use of water in the old water networks and the other associated installations indicates the sufficient knowledge of their creators about the principles and science of water. The mill has been one of the vital structures whose existence was essential for human survival as it has been a valuable factor for better regulation of food system during different stages of life. Mill is one of the oldest industrial achievements of mankind having a long history in human life. Based on some Islamic narratives, Adam was the first one who learnt how to build and use mill stones. "For the first time Gabriel instructed Adam to build the mill under the mountain rock and ordered him to grind the wheat" Tabari wrote. Investigating the architectural structure and discovering the hidden socio-economic layers and functions of Iranchr('39')s water mills are of great importance in Iranian cultural and civilization studies owing to their direct connection to peoplechr('39')s livelihood. Water mill is one of the different types of Iranian architecture which has a direct relationship with the social and economic life of past inhabitants of this land especially the villagers. Darreh Shahr city is one of the areas in Ilam province possessing surface water resources which cover most of its villages due to its location on the slopes of Kabir Kuh and flowing seasonal and permanent rivers in it. The old inhabitants of these villages have rightly recognized the enormous potential of these surface waters and taken their advantages to meet their economic need, supplying wheat or barley flour. In this research, as a result of archaeological studies and identification, 14 water mills scattered in the villages of Darreh Shahr city have been identified and studied with the aim of documenting and gaining a true understanding of their architectural structures, social and economic aspects. Accordingly, for obtaining the purpose of the study, the research questions are specified in this way: 1) What are the architecture and components of Darreh Shahr’s water mills? 2) Among the mills that are known in Iran, what kind of water-mills are those located in Darreh Shahr? 3) How and by whom were the water mills been managed? and 4) What factors or environmental factors influenced the dispersion pattern of water mills in this city? The results show that the water mills in the city of Darreh Shahr are of the type of headrace mills whose distribution pattern is directly dependent on the rivers rout originating from Kabir Kuh Mountain and the past residents of the city have used part of those rivers through channel to turn the mill wheel. The structure of these mills is comprised of Tanoreh (headrace),Tavarah, Beleskah, Mazgio, Parah Parah, KouinahMikh, SangMirah, Kho, Chaghchaghah, Sarsoil, Sardoulalo, StonMill, Zhersho, rest place. The management and supervision of these mills, some of which were owned by rich people of the villages, were entrusted to persons named Awsta Asiaw, Lovinah, and Meyshah Konah, respectively. A full day milling activity to provide Awsta Asiaw’s wage, receiving 3 kg out of 60 or 30 kg of product imported to the mills by Lovinah, taking 1 bowl to 3 kg of flour out of the wheat milled by the Meyshah Konah and renting these mills for 1500 kg wheat or barley are some examples of the economic relationships underlying the architectural structure of the citychr('39')s water mills. This study was done through descriptive-analytical method and information collecting was based on the field and library studies.

To get familiar with a society, recognition of the culture, human relationships, cultural roots, morals, rituals, and traditions of a nation is essential. To achieve this end, referring to the commonwealth's artistic heritage, which is gained through the collective experience and real life of its builders, is very efficient. In this research, using descriptive case studies or applying field and library methodology, the gravestones decorations of Darreh Shahr city, with the aims of identifying their artistic style and discovering the hidden layers of material and behavioral traditions of the past inhabitants of this region, are going to be investigated. Based on this, the main research questions are: (1) what is the artistic style of the gravestones decorations of Darreh Shahr? (2) what were the material and behavioral traditions of the past inhabitants of this land? The results show that the artistic style of gravestones decorations is a common or realistic style of art. Based on this style, which relates to the social structures of that society and is based on the realities of life, the material tradition resources of this city include guns, daggers, one-sided or two-sided combs, carpet weavers, carpet scaffold, hookahs, turbah and tasbih, afatabah, scissors, and animals like horse, goat and dog. Their behavioral traditions include hunting, flocking, fighting against nature forces, hospitality, carpet weaving and acting on religious principles that, beside material traditions, should be performed by any tribal and nomadic people of the region, appropriate to their gender, for earning the social respect.

The Seljuk era is one of the most important periods in the history of Iranian Islamic culture and art. Through an overview, it seems that the plasterwork decorations of this period include simple plant elements, half palmate and palmate leaves, artichoke leaves, five-lipped palm and lotus flowers, and in general, technically and in terms of the use of patterns and drawings, these decorations are based on plasterwork art in the Sassanid era. On the Seljuk altars, the main motifs are artichoke leaves, lotus flowers, and especially vines instead of leaf and rose ornaments. During this period, the motifs of the background of the inscriptions, at the end of which leaflets appear, have made great progress, the first examples of which can be seen in Rey Mosque and Imamzadeh Yahya, etc. In the Seljuk era, the same plant motifs of the Sassanid that included the lines and dimensions of a building period, it covers the lines of Islamic Kufi or the same decorative method, i.e. the branches that can be seen following some motifs of the Sassanid period. Here, too, they have emerged from the end of the Kufic letters.

Existence of plaster decorations of Karar shrine in Isfahan as a building from the Seljuk period which dated back to 528 AH, led the writers to present an independent study on how the Seljuk period plasterwork art was influenced by Sassanid plasterwork art. This tomb is located in Bouzan or Bouzoun, in the east of Isfahan, 6.5 km from the old caravan route to Nain . The old building is a tomb with dimensions of 40 square meters and belongs to the year 528 AH. In the year 713 AH, repairs have been done in this place and finally in 2001, the old building of the tomb was destroyed and a new building was built by the effort of the board of Trustees, donors and the Endowment Office. An iron shrine with dimensions of 3.5 × 2.5 square meters is located on the tombstone. The shrine has four porches with mirrors and beautiful paintings under the dome. The dome of the shrine has a height of 23 meters up to the ceiling. From the tomb of this Imamzadeh, which is surrounded by newer buildings, except for a part of the main nave and its southern wall, which is covered with a very beautiful altar which dated back to 528 AH, no other artifacts remain. The main purpose of this study, while introducing and describing the form and shape of the decorative patterns of the plasterworks of the Imamzadeh Karar of Isfahan, is to study the background of these decorative motifs and their origins. This research has been completed descriptively-analytically and with a comparative view and relying on field studies (referring to the National Museum of Iran, preparing images and designing them) and library studies.

Most of the decorative motifs of Karar shrine, are consist of plant motifs such as rosette, grape leaves and clusters, artichoke leaf, pine fruit, tulip, four-leaf clover and palm leaf, and geometric motifs such as circle (pearl shape), star, triangular, zigzag and rhombic. Comparative studies on the plasterwork decorations of Sassanid sites, such as Hajiabad, Bishabour, Hesar Tappeh, Tappeh Mill, Chal Tarkhan, Shush, Taq-e Bostan, Hezar Castle in Nizamabad, Barz Qavaleh, Qala Gori, Yazdgerd Castle, Kish, etc., with the plasterworks decorations of the Karar shrine in Isfahan, reflect the direct influence of Sassanid art on Islamic plasterwork art. In the Islamic era, artists have correctly revealed the influence of Sassanid art by using subjects such as grape leaves, artichoke leaves, palm leaves, pearl patterns, etc. The decorations in this building, such as the plaster decorations of Nain Mosque, Isfahan Mosque, Robat Sharaf altars, Sangan Mosque, Alavian Dome of Hamedan, etc., are based on the foundations of Sassanid works. Most of these motifs in a wide range of Sassanid culture and civilization reflect aspects of pre-Islamic mythological beliefs in Iran. In the plaster decorations of the Karar shrine in Isfahan, the artists of the Islamic period, while imitating the designs of the Sassanid plasters, have presented innovations in combining the patterns and changing their decorative themes. Such an effect can be studied from the two perspectives of imitation, and imitation along with change and innovation. In the field of decorative motifs of the plasterworks of this shrine, borrowing Sassanid decorative motifs in terms of the type of motifs and their method of execution, which is mostly in the form of carvings and engravings, as well as the general characteristics of the Sassanid period plaster ornaments such as contrast, symmetry, and repetition, is a direct imitation of the Sassanid plaster art. However, in the field of innovations and executive changes of these designs in the decorative surfaces of this shrine, the combination of grape leaves and clusters with artichoke leaves, placing rosette buds inside concentric circles,ending the end of the circle curve with elements such as grape leaves, artichoke and palm with more edges and petals, the continuation of the motifs in an infinite extension and most importantly, the combination and placement of inscriptions with divine and religious themes pointed to these motifs. Therefore, the effect of plaster art of the Sassanid period on the bedding art used in decorating the interior surfaces of the Karar shrine building in Isfahan can be considered a direct and obvious effect along with innovations in the execution and composition of decorative designs.

The plaster decorations of the Imamzadeh Karar building in Isfahan, like the plaster decorations of buildings such as Nain Mosque, Isfahan Mosque, Robat Sharaf altars, Sangan Mosque, Alavian dome of Hamadan, etc., in the early Islamic centuries, are comprehensive examples of the influence of Sassanid plaster art on plaster art. Iran is in the Islamic era. Patterns such as vine with central stem and broad leaves, grape fruit, circular pearls, rosette, artichoke leaf, pine fruit, tulip, four-leaf clover, palm leaf, star motifs, rhombus and zigzag pattern are some of the motifs widely used in gypsum decorations in the Sassanid era with a very rich mythological background. Undoubtedly, being in the land of Iran, employing Iranian artists, the existence of cultural and artistic richness in this land, directly affected the cultural and civilization atmosphere of the divine religion of Islam. On the contrary, with the domination of Islam over Iranian culture and civilization, Iranian communities within Islamic culture, in order to grow and survive, lost their mythological look. During this period, inscriptions with religious and divine themes, along with plant and geometric motifs, showed the nature and dimensions of human existence under the domination of divine power. As mentioned, the influence of the art of plasterwork in the Sassanid period on the plaster art of the first Islamic centuries can be studied from two perspectives: imitation and imitation along with change and innovation. The plaster decorations of the Karar shrine in Isfahan show the imitation of Sassanid decorative motifs along with changes and innovations in the execution of decorative surfaces. These motifs should be considered as a comprehensive example of the transition of decorative motifs of Iranian plasterworks to the first centuries of Islam.Funding: There is no Funding support Authors' Contribution: The authors' participation in the preparation of this article is confirmed as follows; the findings were collected by Akbar Sharifinia and the analysis and comparative studies were performed by Majid Sarikhani and Akbar Sharifinia. Finally, all authors review the research results and approve the final version of the article.Conflict of Interest: Authors declared no conflict of interest. 

Seimara city or nowadays darreshahr, which according to historical sources in the pre-Islamic period is called Mehregan Kadag or in the language of the Arabs Mehrjan Ghazaq, is located in western Iran. Simin Lakpour, in his book Archaeological Excavations and Studies in the city (Seimara), comments on the location of this city and provides reasons to consider it as the city of Ibn Habira from the Umayyad period and Hashemite in the Abbasid period. The present study intends to refute this claim in a historical way and based on Islamic texts and geographical sources, and by presenting the historical geography of each three mentioned cities, to show their separation. According to the results of this study, the mentioned cities are not in the same geographical location. The results show that the city of Seimara is the capital of Mehrjan-e-Ghazaq province, from the Sassanid period and later a city from Jabal province and in the northern part of Khuzestan province with agricultural livelihood model. besides Ibn Habira is another city from the Umayyad period and between Baghdad and Kufa and with the model of livelihood is based on trade and commerce and most likely agriculture. And finally, the city of Hashemiya is a city attributed to Abu al-Abbas Saffah from the Abbasid period and its approximate location is probably very strong in Anbar region and most likely near Kufa. Therefore, the location of the cities: Ibn Habira and Hashemiya in the city of Darreshahr(Seimara) cannot be confirmed based on the studies.

Among the important findings of excavations and archaeological research in Seymareh, the discovery of its mosque and its stucco decorations is highlighted. Regarding the Sasanian background of Seymareh and the direct effect of Sassanid stucco art on its mosque, the main objectives of this study are, first, the typology of herbal designs and then, identification of the mythological and sacred herbal patterns of this mosque. Accordingly, the main questions of the research are: 1) what are the mythological plant designs used in the mosque? 2: How explainable is the use of these motifs in decorations of the mosque, besides its religious and Islamic atmosphere? According to the studies, the sacred herbal patterns of this mosque include: pomegranate, vine, acanthus, palm, lotus, pine and oak fruit. Findings show that among the cultures of different nations in pre-Islamic period, pomegranate, vine, palm, and pine were symbols of fertility, immortality and blessing. Also, lotus, oak and acanthus were symbols of life, security, fertility, victory and success. Moreover, due to the establishment of Sassanid government in region, the moldings used in this mosque are derived from the Sassanid stucco art, lack of pre-Islamic mythological and symbolic views. Therefore, the plant designs of the mosque stucco decoration are derived from Sassanid era in terms of shape and form; also, regarding conceptual and content themes, these patterns are based on Islamic teachings, empty of mythological themes of Sassanid period. This study has been done by the descriptive and analyzing methodology, based on field and library studies.

The historical buildings from the late Qajar and early Pahlavi periods of Darreh Shahr are the evidence based on which, one can understand the military, social and economic developments of these periods. The main objectives of this research are: first, to describe the architectural structures of each of these buildings, and second, to examine the reasons for their construction and, third, to study their distribution patterns in the region. Accordingly, the main questions of the study are: 1. What pattern does the layout of these buildings follow? 2. How explainable is, on the basis of historical studies, the reasons for the construction of these buildings in Darreh Shahr County? 3. What factors did their distribution pattern follow?The results of the study show that the historical buildings belonging to Qajar and early Pahlavi eras in Darreh Shahr County include Pour Ashraf Castle from the late Qajar period (date of construction or repair backs to 1335 AH), and houses of Mir Gholam Hashemi and Jahangir Abad from the Pahlavi period. The latter is assumed to be belonged to the second wife of Mir Gholam Hashemi. The initial reason for the construction of these buildings was the military conflicts between the regional rebellions and the military forces of the central government under the command of Seyd Mohammad Khan Pour Ashraf. Having the rebellions suppressed and with the accession of Mir Gholam Hashemi to power, the buildings of this type including Qal'eh-i Pour Ashraf and newly constructed buildings (Qal'eh-i Mir Gholam Hashemi and Qal'eh-i Jahangir Abad) served as places for tax collection and tackling socio-economic affairs. Finally, the increased importance of taxation on agricultural affairs, good-weathered, fertile-soil and water-filled areas such as Jahangir Abad and Sheikh Makan were the factors that advocated the construction of these buildings at these positions. They provided proper supervision of tax collection among nearby peasants and farmers. The methodology of this research is descriptive-analytic and has been conducted based on field and library studies.

At the beginning of the human communities’ formation and in the early societies, clothing has had a protective role to keep human body safe from the natural factors. Later, with the development of social and cultural activities in societies and formation of religious beliefs, clothing and type of color, texture, form and style of dressing, gained a cultural role and their social, cultural and symbolic function became highlighted. What is important about the garment of a social group, tribe or a society is, first, the cultural patterns according to which people choose the material, size, color, shape and style of sewing. The other is the function and role which some clothing play in various social, cultural, occupational, ritual and religious circumstances. In the tribal communities whose people follow the same patterns in social, cultural and religious behaviors and are bound to follow the usual norms of the same traditional wearing, there is no variation in the economic and the material structure, as well as plurality, diversity and enthusiasm in their occupations and clothing. So, all are influenced by the common cultural patterns among the people of those societies which are adapted with the norms and criteria of their native culture. The issue of traditional clothing, like the other cultural and artistic aspects of Iran, is an undeniable point in the anthropologic topics, as well as, in the familiarity with the language and the identity of the inhabitants of the various regions of this land. Studying the various artistic aspects of each of the traditional clothing of these regions’ indigenous people one might open a window for discovering their unknown cultural and artistic identity. According to anthropological studies carried out by researchers, various types of women’s head cover in the province of Ilam have been introduced. For example, based on these studies, types of women’s head covers of Ilam are: Araqchen, Klaw, Golvani (Golwani), Kat, Lacheg, Sarvan, Habar, Kasaari, Black Veil, Aba, Qatrah, Taqari, Sawah Siah, Scarf (Maqena), Sheleh (which is special for Arab women of Mousyan) and Baan Sarvan (Mohammadi Seif, 1395: 171). Hence, Golvani, which is one the main traditional clothing in Ilam and Lorestan, has been selected for conducting this purposeful study. The main goal of this research is to introduce, describe and analyze the method of production, decorative motifs and cultural background of this type of head cover, regarding its current widespread usage in various cultural and artistic events. The main research questions are: 1. what are the decorative patterns used in design of Golvani? 2. How explainable are the conformity among the decorative patterns used in Golvani in Ilam and Lorestan? The findings of the study indicate that the decorative motifs of Golvani are a combination of the natural and abstract motifs and everyday instruments used by women. The main reason for the similarity of these motifs in Lorestan and Ilam is the tribal life of people living in these areas. This research has been done descriptively, analytically and based on field and library studies.

The monuments of Qajar and early Pahlavi periods in the valley of Darreh-Shahr of Ilam province are among the works that reflect the political and social developments of this era. The purpose of this study is to investigate the adaptive study of the spatial and temporal structure of Ghala Poursharf, Mirgholam Hashemi and Ghaleh Jahangirabad, the causes of their formation and pattern of distribution. The research method in this study was experimental research, field and library studies. In this regard, by studying the architectural elements each of the buildings, the Appellation of them according to their spatial-physical structure is to be re-evaluated. The results of the research are show that the construction of the studied buildings in the city of Darreh-Shahr, according based on military and security necessity and then on political and social grounds. The results of the research are show that the construction of the studied buildings in the city of Darreh-Shahr, have been according based on military and security necessity and then on political and social grounds. These buildings are located at the most appropriate geographical locations and related to agricultural affairs and tax affairs. On the other hand, according to architectural and archaeological studies, other buildings of Pourashraf fortress, has been built on the basis of military and security necessity, and the buildings of Mirgholam Hashemi and Jahangirabad have been manor house and where built at the beginning of the Pahlavi period for political and social reasons. So, in this study, these questions are raised: What is the pattern of distribution of these buildings in Darreh-Shahr? How are the spatial structure of these buildings? Can be used the title of fortress for these buildings?

The decorative motifs of tombstones are a reflection of cultural, social and religious condition which manifest themselves in format of motifs such as bestial, human, geometrical motifs, inscriptions and symbolic patterns. Based on the field studies carried out, the old cemetery of Mar Zoleykhah (Madar Zoleykhah) in the city of Darreh Shahr, is one of the area where, in spite of erosion of its gravestones due to various reasons, it stills holds great importance and value from anthropological and artistic studies point of view. The main objectives of the present study are two categorize and differentiate the decorative motifs of Mar Zoleykhah (Madar Zoleykhah) cemetery and to present an analysis of the aforementioned decorative patterns on the tombstones based on anthropological studies.
The main research questions are:1. What kind of motifs have been portrayed on the tombstones of Mar Zoleykhah cemetery?
2. How this pattern can be explained according to the culture of the region?
The results show that based on the decorative motifs on the gravestones, they could be divided to the graves belonging to men and graves belonging to women. Decorative patterns on the tombstones of cemetery of Mar Zoleykhah include animal motifs (antelopes and horses), human designs, and inscriptions (indicating the religion, name, date of death and clan of the deceased person), religious sign designs (mohr (praying staff) and rosary), and unreligious motifs (tools of daily life). According to anthropological studies, each of these decorative motifs, alluding to the gender of the deceased, indicates the tribal culture of the area which are depicted despite the very limited space available on the tombstone. Present study is a descriptive-analytical study and based on field work and library resources.

Iranian architecture and its related decorations including stucco, has maintained its dynamism and continuity from the Parthian and Sassanid periods to the present day. Meanwhile, Sassanid art of plastering and its main motifs is one of the main pillars of Islamic decorative arts and has been able to pave the way for the continuation and evolution of various types of decorative artifacts. Among the most important findings during the excavations of the historical city of Seymareh are its mosque and the adornments of this monument. Due to its history dating back to the end of Umayyad era and the early Abbasid period, as well as the richness of its adornment decorations based on the artifacts of the Sassanid era, this mosque is one of the most important and suitable case examples in terms of studies related to Iranian religious architecture such as stucco adornments. In terms of the decorative arrays, this mosque is very similar to the mosques of Noh Gonbad of Balkh and Samarra. The similarity of the decorative motifs of Seymareh mosque with the stucco patterns of Noh Gonbad and Samarra monuments led to take into account the position and importance of this building in archeological studies of the Islamic era and its decorative arts, in order to introduce more and better the decorations of this mosque. The other objectives of this study are: 1) to present the background of Noh Gonbad Mosque, and Seymareh Mosque 2: to illustrate the influence of Iranian art on the A and B styles of Samarra art from the Abbasid period, based on the case study of Seymareh stucco decorations. The main research questions are: 1) how much the decorations of mosques of Seymareh and Noh Gonbad are similar with each other? 2) how much distinguishable is the presence of decorative motifs of the Seymareh stucco in the stucco patterns found in Samarra (A and B styles)? As in stucco patterns of Noh Gonbad mosque, a move from realism to abstractionism is obvious in Seymareh mosque, too. Therefore, the first Islamic art trends toward abstractionism can be studied in Seymareh mosque. On the other hand, as Seymareh and Noh Gonbad mosques are very similar regarding decorative and composition arrays, background of the decorative patterns of the Noh Gonbad mosque can be searched and traced in Seymareh. Accordingly, in the study of Iranian art in the early Islamic centuries, the mosque of Seymareh is worth studying before the other mosques of early Islam period. Finally, in confirmation of the content of the historical texts regarding the use of Iranian artists in the construction of the Samarra building, the Seymareh Mosque is a clear example of the influence of Iranian art on the stucco art of Samarra. This research has been conducted through descriptive-analytical and comparative methods, based on field and library studies.

Given its rich cultural dimension and influence over other arts, including painting, Iranian literature is one of the most distinctive contexts in the field of comparative literature. This field can explore the relationship between poetry and painting from two aspects: First, how an identical concept is manifested in both written and visual arts and, second, how written art or poetry could affect visual arts or painting. Ferdowsi’s Shahnameh is one of the cultural, mythological texts which goes beyond its initial coding system, becomes present in various epistemological and artistic realms, and affects them. One of the important themes in Iranian painting is the battle betweenDiv (Demon) and human beings. The present paper intends to investigate the form of Div in the painting schools of the Ilkhanid period to the end of the Qajar period and the reasons for differences in portraying it based on Paul Ricoeur’s theory. This study seeks to provide some answers to the following questions: 1) What are the formal characteristics and distinctive features of the image of Div in the different painting Schools between the Ilkhanid and the late Qajar periods? 2) How could the differences between the images of Div in the painting schools of the mentioned time interval be explained? The results of the study indicate that the images of Div in the paintings of this period have been drawn with animal features in the body of human beings. On the other hand, the existing differences in this regard originate initially in the metaphorical aspects of Shahnameh and then in the personal perception of painters and their understanding of the text, the artistic taste of their period and the school in which they have been trained, and the social, cultural, political, and gnostic conditions and necessities of their time. This study has been conducted following the descriptiveanalytic, comparative, and library methods.

The confrontation between good and evil forces, the division of the world into two realms of light and darkness, and the belief in the permanent quarrel between Ahoorian and Devilish phenomena, is a common belief among all folks and nations, a struggle that continues till the world is set up, and the ultimate victory belongs to the light front. Demons, who are the inhabitants of the darkness, are abnormal, black creatures with long, hog-like teeth, thick and black lips, and occasionally blue eyes. The body of these cannibals is covered with thick hair and they have several heads, horns, tails and large ears with a pair of wings. Demons are one of the most devilish creations in Iranian mythology, whose main goal is to eliminate Ahoorian creatures. Ferdowsi has shown this idea in his Shahnameh; it is even seen in the epic poems afterward. Meanwhile, Demons, which represents the devil and enemy, is shown as naked animal figures with horns and tail, possessing primitive weapons. The painters have somehow emphasized the superiority of the creation of the goddess against devilish creation by displaying these features. The main goal of the research is to study the role of the Demons in Ilkhani and Timurid eras (Herat and Shiraz) and their differences in their images. The main questions of this research are: 1. what are the characteristics of Demons in the paintings of the Ilkhani and Timurid eras? 2. How can the difference between the face of the Demons in Ilkhani and Timurid periods be explained? The results of the study showed that in the painting of this era, Demons are depicted with the animal nature in the shape of human body. On the other hand, the difference in the shapes of Demons in these schools is first drawn from the metaphorical aspect of Shahnameh, and then the personal perception of the painter and his interpretation of the text, the artistic style of his era, the cultural conditions and the school in which he grew. This research has been accomplished by a descriptive-analytical and comparative method, based on library studies.

Tombstones have been mirrors of the culture and customs of traditional societies in Iran. In pristine areas such as the city of the province of Ilam; Darreh-shahr, decorative motifs of tombstones are a gateway to the world of religious and cultural thoughts of the people of this land. The city Darreh-shahr cemetery tombstones are similar to other Iran regions and Abdanan tombstones in Ilam, Adorned with reliefs and decorative motifs, they are derived from the cultural, social and religious context of people who live in this area. The current study presents a survey and identification of Mahdi-Saleh-Majin cemetery tombstones, Var-kamareh, Koleh-jub, Qur-Qamarbeg, Sheikh-Makan and Babaseyf-e-din-Aramu cemetery a rural district in the central district of Darreh-Shahr County, Ilam Province, in order to examine these reliefs. The study was descriptive, analytical with field and library studies of low reliefs, meanwhile, through classification of tombstones reliefs which have been the case study, we attempt to find the answers of following questions: what type of reliefs or decorative motifs are used on the tombstones? How are these reliefs explained and interpreted in the social and cultural environment of city Darreh-shahr? The results indicated that reliefs of females tombstones are different from males and are classified in specific category with a variety of themes such as hunting, companion events, the quotidian tools: (dagger, gun, comb, scissors, ewer and washbasin, etc.) and religious reliefs: (religious inscriptions, seal designs and bead roll ). Repetition and similarity of reliefs in all the under study cemeteries are an indication of presence of a specific and predominant pattern in tombstones design and decoration in this region. Precisely, according to researchers, the study of these sort of disregarded monuments should be performed for a better realization of local culture in this area. A very interesting point in investigation and recognition of the under study reliefs is gender segregation which can be perceived based on design. Female graves are decorated with motifs such as scissors, double comb, Krkit (carpets comb) and mausoleums decorated with images of men hunting, one-sided comb, dagger or sword. Some exceptions can be seen among the tombstones and inscriptions decoration depending on the social status of the deceased person. In addition, the artist uses motifs that are tribal women's and men's specific features in this area, trying to show the important characteristics of a male or female and nomadic favorites such as hunting, carpentry, hospitality and ceremonies related to events such as guests hand washing with ewer and washbasin, making hookahs, etc., using this method, in the small surface of tombstones, visual recounting of the most important nomadic culture features of the region. The influence of religious culture (religious phrases and motifs with religious content) was discussed in the text, in addition, decoration of under study tombstones is quite tangible and visible to review. Finally, all of these designs and reliefs are the reaction of the nomadic life in the religious sphere. Today, due to negligence in the protection of these monuments, tombstones and burial culture of the region fade into oblivion and will be destroyed.

In the wide spectrum of Islamic art and culture, architecture is the manifestation of divine verses and the sayings of prophets and holly and selected people. Such buildings, including mosques and minarets, can be regarded as the most prominent works reflecting the Islamic thought during their constructing and decorating. Minarets, with religious and nonreligious applicability, are embroidered with varieties of geometric and inscription designs. The main objective of this study is investigating and evaluating the place of the inscriptions in Saljoughi minarets’ decorations. This study tries to answer this question: which kind of religious concepts and themes the holly verses written on the minarets are representing of? The framework of this study is steady upon this hypothesis that the artists who made inscriptions on the minarets such as Chehl Dokhtaran, Minare Gar, Ziar and Sareban, beside of trying to indicate and focus on the absolute traits of Allah through employing verses like Ayatol Korsi , aimed to make a purposeful combination of the height of the minarets and the motifs of the inscriptions which indicate God’s sovereignty over the world. Due to their height, Islamic minarets which are interpreted as the pillars between earth and heaven according to the theosophical point of view, guide the view of the audience from earth to the sky. By applying the sentences and religious verses indicating the absolute rule of God, artists who designed these monuments have fertilized the view of the audience during this ascendant.So, it could be indicated that the concept of the inscriptions drawn on the minarets has a direct relation with the height of the Saljoughi and Islamic minarets which have been investigated in this study. This study has been conducted through descriptiveanalytical method, using library investigations.

Seimareh region (Darh Shahr township), with the advantage of being located close to Kabir Kooh highlands, has always been a rich resource for its inhabitants to well sustain a life. The existence of various remnants from different historic-cultural periods of time in this region could be a valid piece of evidence for what was just said. The authors who had already taken an expedition to this strait for conducting a survey on the Sassanid relics in the region could notice the on-rock reliefs/designs there for the first time. These designs definitely belong to people who some time used to be residents in this region. The main theme of this rock-art works appears to be cattle’s grazing or in particular the relation existing between human and ibex. Our main questions here are as follow. Which period of time do these reliefs belong to? Do these reliefs represent mythological beliefs as well as daily life and subsistence base of their creators? The presumption our study is based on come from the fact that the abundance of the motif of this animal (ibex) on the other museum objects indicates the existence of a mythological idea, i.e. the myth of procreation, in these people’s art and culture. In the end we will come to this conclusion that these rock-art works probably date back to the first millennium B.C. since during this millennium the myth of procreation could be observed on other different existing records and finds. This study has been carried out applying a descriptive-analytic method beside both library and field researches.

The stuccos of Imamzadeh Abdollah in Arak are Iranian-Islamic motifs common in Seljuk era and influenced by the Sassanid period. The study has been conducted by an analytico-descriptive and comparative methodology and the data have been collected through library research and survey. The study attempts to provide answers to the questions in that to what extent the art of Islamic stuccos are indebted to the Sassanid period and how the underwent changes on the Islamic stuccos are determined. The results indicate that the foundation of decorating stuccos has been influenced by the stuccos of the Sassanid period and their motifs’ contents have been inspired by divine teachings and important social events (translation movements and tendency to rationalism); accordingly، four kinds of changes (eliminating human and animal motifs، having tendency toward plant and abstract motifs with a mythological view on them، applying inscriptional motifs، and proposing polygonal geometrical motifs) could be observed in the themes of the stuccos’ motifs of the Imamzadeh.

During the fieldwork for rescuing the Fadel Ibn Sulaiman building in Aveh، Markazi province، researchers found، for the first time in the region، many luster tiles with their dates mentioned on them (648 AH). In order to learn more about this art in Aveh region، a few samples were selected through field research and library sources، using analytical and descriptive methods. The main research questions are as follows: 1. What are the main decorative elements in Aveh luster tile designs? 2. How similar are decorations of Aveh luster tiles and other central producers of such decorations? The main objective of this study is to identify the origin of such decorations in Aveh region along with the identification and analysis of Aveh luster tile designs for the first time in Iran. The results of this study show that the art of tiling in Aveh، regarding its resemblances to the decorative motifs of Kashan luster tiles، is an imported product from Kashan to Aveh region.