فهرست مطالب سیاوش عبدالهی

The present study deals with the analysis of motifs and relative comparison of the exposed gold cup from Ahmad-Bigelo village, Meshginshahr city with samples obtained inside and outside of Iran. This object was discovered and recorded through unauthorized excavations in 2013. Due to the fact that no research work has been done on this object, therefore, conducting such a research in this field in order to determine the function, construction technique, comparison, relative dating, analysis of the symbolic motifs used on this work of art. It seems necessary. The methodology of this article is in the form of a comparative and analytical-descriptive study, and the method of gathering information is also in two library and field methods. The analysis of the dating of the Meshkinshahr gold cup with domestic and foreign examples has been done in two cases: 1- the form and material of the container, 2- the decorations used on the cup. The results of the research indicate that the way of thinking and beliefs of the artists had a significant impact on the use of motifs on the cup. In fact, these motifs are ritualistic and express concepts It has been like fertility. Comparable samples of Meshkinshahr golden cup; There are Marlik Winged Cow Gold Cups, Hassanlou Cups. According to the analysis of motifs and its comparison with the samples found, the results obtained from the research show that the relative chronology of the Mushkoofeh cup belongs to the end of the 3rd millennium to the beginning of the 2nd millennium BC. And the illustrations and symbols engraved on the Meshkinshahr cup are a representation of the customs of welcoming spring in Azerbaijan with the presence of the Mehri ritual.

Troglodytic architecture includes a type of architecture in which spatial units are created by removing existing components from an existing whole rather than forming based on the accumulation of materials. This architecture has been natively formed over the centuries. In different parts of the country, a large number of Troglodytic villages have been identified and introduced so far.

Meshkinshahr, located on the southern slopes of Sabalan Mountains, Iran, is one of the areas prone to this type of architecture; so far, no studies have been conducted to record and introduce many of these places. Based on the field survey, it was determined that there are various hande-made dwellings left in Meshkinshar, which are worth reviewing and documenting. In addition, the results of this study can be a model for further studies of Troglodytic architectural works in other villages in the foothills of Sabalan Mountains. This research seeks to answer the following fundamental questions: 1. What has been the most important factor in the formation of hand-made spaces in the village of Binehler? 2. What are the components of these hand-made spaces? Therefore, in the present study, an attempt was made to record, and explain the current state of handmade spaces by field method. Also, documentary studies based on descriptive-analytical method have been used to identify the formation factor of Troglodytic architecture in Binheler village. The results showed that the village of Binehler is formed based on climatic conditions in the context of political, social and economic conditions in the region. This village can be considered as one of the rocky villages of Iran in which a combination of residential body and human behavior has been made and in fact they have influenced each other. The village of BinehLer is also morphologically one of the hand-made spaces built on a surface of a limestone wall. Most of these hand-made spaces are now abandoned and only a few of them are used by local ranchers during summers.

Rock art can be regarded as one of the oldest art forms of human societies throughout history. Therefore, the study and analysis of the art of petroglyphs plays a special role in understanding social relationships, beliefs, culture and other aspects of human life. These motifs are of great importance regarding archeological studies of anthropology; anthropology and art history was of great importance, and so far many petroglyphs have been discovered and identified in different parts of the world. The northwestern region of Iran is also one of the prone areas of rock art. During the archaeological excavations on the periphery of the permanent Quru River in the summer of 2012, several collections of petroglyphs were identified. These petroglyphs have a variety of motifs, including human, animal, and symbolic motifs, often scattered on petroglyphs and rarely scratched on the surface of individual rocks. This study investigates and overviews the petroglyphs of the Dava darasi area of Horand County and seeks to answer the following questions: What was the living structure of communities of this area based on petroglyph motifs? And how many categories can the paintings created on the rocks be classified into? The present study has been done by using descriptive-analytical method and data gathered through field and library studies. The results show that these motifs contain human, animal, symbolic and instrumental motifs, and have qualitative and quantitative similarities with the motifs of different regions of Iran. This can be due to the cultural connections and biological and social similarities of communities in these areas. In addition, according to the created petroglyphs, these communities had a livelihood structure based on animal husbandry (nomadism) which was the dominant pattern of pre-historic communities of this area.

Lithography is one of the oldest surviving human arts in history. In different parts of Iran, a number of rock designs have been identified and introduced so far, some of which are located in the geographical area of northwestern Iran. So far, various Petroglyphs have been identified and introduced in this area; in the meantime, the share of Meshkinshahr city is very significant. In this city, the number of areas with Petroglyphs has been identified, documented and introduced so far. In 2016, the authors identified, examined and documented a number of Petroglyphs while conducting a field study of Ms. Alilou’s site in Meshkinshahr identifying, reviewing and documenting about 300 Petroglyphs. In the present study, the authors use a field and library method based on descriptive-comparative studies looking for answers to the following questions. 1- How many types of Khanim Alilou’s Petroglyphs can be divided into themes? 2- Based on relative chronology, to what periods do these paintings belong? In answer to the above questions, the drawings are divided into 3 general categories of human, animal and geometric motifs; also, based on the relative chronology of these paintings, between the first millennium BC. They were created until the Parthian period and the beginning of Islam. The results of this study can be used to complete the lithographic information of the northwestern part of Iran, especially the city of Meshkinshahr.

Archaeological studies of Varzeqan county in the geographical area of ​​northwestern Iran have received more attention due to the existence of mountain fortifications and cemeteries from the Bronze and Iron Ages. In this area, however, other rich archaeological evidence remains; Which shows the position and importance of Varzeqan region in the field of archaeological studies of the historical period of northwestern Iran. In Seqay village, 10 Cut - rock spaces have been created on the rock bed, which can be considered as evidence of the position and importance of this village in archeological studies, architecture and other sciences. However, no specific research has been done on these Cut - rock spaces. Accordingly, this study seeks to answer two basic questions regarding the nature of use and chronology of the studied spaces. The purpose of this study is to introduce, typology, relative chronology and land use analysis of the mentioned handicraft spaces. However, relying on superficial data, it is difficult to answer questions about the chronology and usage of this collection. However, it is very possible to hypothesize that these rock works have been used for shelter and protection, as well as by examining, adapting the elements and architectural techniques used in the spaces and comparing them with the architectural elements of handmade spaces identified and studied in other areas. Parthian period can be suggested for the creation of these rocky handicraft spaces. Since no studies on handicraft spaces have been conducted in Varzeqan region so far, this research can be a basis for detailed scientific studies in the region to identify these works.