مجید ساریخانی

Ethno-Archeology is the study of modern lifestyles to enable archaeologists to understand processes. The interdisciplinary approach of ethno-archeology can provide very clear information from archeology. One of the tribes that in terms of architectural pattern, livelihood and settlement are very similar to the sample of archaeological data in prehistoric and historical periods and interdisciplinary studies have been done in connection with them, the Bakhtiari people. The present study tries to introduce the Bakhtiari Mafe-Gah architecture, one of the behavioral aspects of this people, using the ethno-Archeology approach. The main purpose of this research is to introduce, record and document the complete Mafe-Gah in detail and compare its structural and cultural features with ancient evidence. After examining the characteristics of this work, by examining the ancient evidences such as pottery motifs, the effects of seals and the effect of seals in the Bakhtiari region, the common aspects of this behavior are compared. The descriptive-analytical research method is based on documentary studies and identification of sources and texts. In the field studies or surface survey in Bakhtiari areas, common methods in anthropology include interviewing people, visiting and observing the daily life of nomadic areas, as well as participating in funerals and mourning ceremonies of Bakhtiari people to pay attention to details. And observation of the manner in which their customs have been used. The results indicate that the installation of horns on Bakhtiari Mafe-Gah can be seen in the evidence and relics of the culture and civilization of ancient Elam.

The civilization of Iran in the Sassanid period (224-650 AD), reached its peak of prosperity in many ways and the art of this period is of special value and importance compared to other periods of ancient Iran. One of these arts is music, which can be searchable based on archaeological findings.This research tries to analyze the motifs of Sassanid musicians on metal utensils based on the following questions: A) The motifs of Sassanid musicians on which species of metal utensils is seen more and what is the reason? B. How do metal utensils with motifs of Sasanian period musicians help to understand the music of this period? In this research, it studied 147 metal utensils belonging to the Sassanid period and finally found 24 utensils with the theme of the motifs of sasanid musicians belonging to this period.. The method of conducting this research is descriptive-analytical and the collecting of information is based on library studies and virtual visit of works in museums of the world. The purpose of this research is the typology of Metal utensils with the motif of musicians, determining the species with the most motifs of musicians and also determine the types of instruments used on metal utensils in the Sassanid era. The results of the research show that Plates have the most motifs of musicians and the reason is the flat surface of the plates and having more uniform space to depict scenes and show some details than other species of utensils and the purpose of making plates can be more Be political rather than their practical use. Among the instruments depicted on metal utensils of the Sassanid period, Sorna with 7 works and then lute, horn and pan flute each have 6 works.

The civilization of Iran in the Sassanid period (224-650 AD), reached its peak of prosperity in many ways and the art of this period is of special value and importance compared to other periods of ancient Iran. One of these arts is music, which can be searchable based on archaeological findings.This research tries to analyze the motifs of Sassanid musicians on metal utensils based on the following questions: A) The motifs of Sassanid musicians on which species of metal utensils is seen more and what is the reason? B. How do metal utensils with motifs of Sasanian period musicians help to understand the music of this period? In this research, it studied 147 metal utensils belonging to the Sassanid period and finally found 24 utensils with the theme of the motifs of sasanid musicians belonging to this period.. The method of conducting this research is descriptive-analytical and the collecting of information is based on library studies and virtual visit of works in museums of the world. The purpose of this research is the typology of Metal utensils with the motif of musicians, determining the species with the most motifs of musicians and also determine the types of instruments used on metal utensils in the Sassanid era. The results of the research show that Plates have the most motifs of musicians and the reason is the flat surface of the plates and having more uniform space to depict scenes and show some details than other species of utensils and the purpose of making plates can be more Be political rather than their practical use. Among the instruments depicted on metal utensils of the Sassanid period, Sorna with 7 works and then lute, horn and pan flute each have 6 works.

This paper, reflecting on the village and archaeological site of Jamalo located on the top of the Zayanderud dam, aims to explore the circumstances human settlements would have encounter with the construction of the dam and when its reservoirs were flooded. About 30 years ago, as the images from Google Map showed, the water strip emerging from the Zayanderud dam, wherein the left riverbank hosted the village and archaeological site of Jamalo. This site had been occupied for much of the sixth and fifth millennium BC until the beginning of the Early Bronze Age. In the Middle Bronze Age, it had been dominated by the Proto-literate, historic, and Islamic periods. Archaeological evidence from surface surveys also indicated that pottery shreds were similar to those of Sialk III and Bakun A. Now, Jamalo is exposed to the waters of the dam reservoir. Therefore, the main objective of this paper is to provide an overview of what would have happened to archaeological sites with the construction of the dam, its reservoirs were flooded, and when landscapes were radically altered. Another question was:  “What would have happened to archeological sites as floods made it inaccessible?” Based on the excavation at Jamalo and the comparison of images taken from the region before and after the construction of the dam, it was observed that the reservoir had destroyed the village, and the slopes of the site, especially on the eastern and northeastern parts, had been covered with a layer of deposits.

Many customs of the Bakhtiari kinfolk are accompanied by ambiguities that can be adequately answered by comparing them with the archaeological findings of the Elam civilization, because animals were of special importance in ancient Elam and many cultural works left from the civilization of Elam have motifs related to animals and they have played an important role in the culture of the Bakhtiari people since long ago. Therefore, this research tries to investigate the comparative presence of animals such as lions, snakes, goats, etc. in the civilization of Elam and the Bakhtiari people.This research tries to answer these questions, which findings indicate the transfer of the concept of these motifs from the civilization of Elam to the Bakhtiari culture, and in what aspects of the Bakhtiari culture can it be seen? The research method is descriptive-analytical with field investigation with a comparative approach. The aim of the research is to examine and compare the motifs related to animals in ancient Ilam with the culture of the Bakhtiari people and it is also a study of the influence of these characters in the culture of the Bakhtiari people and by doing this research, the origin of sanctity and importance of the most important animals in Bakhtiari culture is determined and it is also proven to some extent that considering the relatively long time that has passed since the ancient Elam rule, traces of their culture can still be observed in the culture of the Bakhtiari people. The statistical population of the research includes 32 works of archaeological and artistic evidence decorated with motifs related to animals from the civilization of Elam. The research results show that the position, role and importance of animals such as; Lion, snake and goat in Bakhtiari culture and in the nomadic areas of Khuzestan, Chaharmahal and Bakhtiari province, the same importance and role of animals in Ilam civilization is continued. The continuity of these motifs has been influenced in Bakhtiari culture from Ilam in two ways: One is the transmission of religious and theoretical concepts that have come in different and partial forms from Bakhtiari culture as; Determining the gender of the child by using the carcass of a snake and animal sacrifice to remove the plague and the other in the form of tangible works such as; Bardshir and the use of horns in architecture and religious ceremonies.

After the Sassanids defeated the Parthians and came into power, they considered attributed themselves to the Achaemenian dynasty, and they considered the Parthians as foreigners. Therefore, Sassanids tried to underestimate the effects of the Parthian rule. However, in the past centuries, with the increase of archeological studies, it was found that the Parthians had a great share in transmitting culture and art to the Sassanids. The purpose of this study is to investigate how the Parthian art affects the Sassanid art by studying the art of the Parthian and Sassanid eras and citing architectural works, rock reliefs and coins. The research question indicates that in what fields and to what extent the motifs of Sassanid art have been influenced by Parthian art. The research method is descriptive-comparative, and the data are obtained from documentary studies. The results show that despite the efforts of Sassanid rulers to downplay the Parthian government, much of Parthian art has had an undeniable impact on later art, so this effect is clearly evident in the art of architecture, the visual structure of coins, and Sassanid rock reliefs. In addition, this effect was more in the early Sassanid period and in the field of architecture. Patterns such as the goddess of Nike and animals such as horses and boars, and plant motifs such as artichokes and lotus flowers, common in Sassanid rock reliefs, are indebted to Parthian art. Also, by quoting coins, religious themes of the fire altar, moon, and star, giving diadem and general image of Sassanid coins, are influenced by Parthian coins.

After the construction of the Zayanderud dam in central Iran, a total number of five villages, i.e., Yancheshmeh, Abadchi, Murah or Baba Aghdaghan, Jamalo, and Ghaleh Raeis, along the Zayanderud River were displaced and some sites like Jamalo, Ashna, and Koganak also went underwater. Reducing rainfalls and droughts over the past ?? years have accordingly caused the decline of water in the reservoir of Zayanderud dam and the size of the lake is decreasing year by year. The event also led to the emergence of the Jamalo site from the water. Due to the limitations of archaeological studies in ????, as well as the special condition of the site due to the richness and expansion of evidence (Neolithic to Islamic period), and the probability of falling underwater again, the arena and the proposed privacy to the site towards the mid of ???? have been thus far determined. The systematic survey and arena determination of the site and its surroundings was performed. The present study was carried out by descriptive-analytical method and a combination of library and field studies. Therefore, the main objective of this paper was to provide an overview of the settlement status of the site and presenting a relative chronology based on surface findings. The survey and excavation teams also covered ??? ??×?? m squares for systematic sampling, and recorded the digging of ?? trenches, measuring ?×? m. Based on the excavated trenches the area of the site was determined of ???? square meters. Based on the surface findings, it seems that Tape Jamalo was first occupied in the first half of the sixth millennium BC, after the invention of pottery. The site then continued to be dominated for much of the sixth and fifth millennium B.C., until the beginning of the Early Bronze Age. In the Middle Bronze Age, it had been also dominated by the Porto-literate, historic, and Islamic period. Some pottery shreds on the surface were similar to those of the Khuzestan and Fars regions, and the central and western Iranian Plateau.

Recognizing the history of culture governing the currentchr('39')s traditional societies is one of the important and significant issues which has been studied by domestic and foreign investigators. Archaeologists are among the researchers, accompanied by other interdisciplinary investigators, who can reconstruct the culture of our ancestors through the findings obtained from exploration, and match them with various aspects of nomads and tribes. In the present investigation, it has been tried to study the customs of Bakhtiari people. The main aim is to study the micro-cultures which have been expressed in the life of Bakhtiari people in the form of some customs of ancient Ilam. The assumptions of this investigation are based on the following questions: which customs of ancient Ilam have been inherited by Bakhtiari people? Which aspect of their life have been influenced by this expression? The method is descriptive-analytical along with field survey via a historical approach. In this investigation, 23 archaeological works from ancient Ilam civilization have been studied. The results of the research indicate that the customs of people who are now known as Bakhtiari are somewhat the lineage of the people who lived as a strong government of ancient Ilam in the region. Although the cultural and population complex of Bakhtiari has significantly changed during thousands of years, there is still an evidence implying that they are the heirs of old culture of ancient Ilam.

Islamic Philosophy and whatever is associated with Islam; benefited from the drop - Quran and Islam and Islam does not mean no funds biblical miracle of Quran. The effects of divine revelations have emerged everywhere and the Islamic Philosophy is one of them.What is the current research the role of Islamic Philosophy in Islamic Art. Motifs in Islamic art has a lot to realize that the two sides of attendance is debatable; One of is the descriptive and other analytical that it is necessary to know both the researcher because both are interdependent. Descriptive way, it is clear; But what will work closely with the research, Analytical aspects are artwork that A profound relationship with the Islamic philosophy (wisdom). Islamic philosophy and linked Islamic Art with Quran and the teachings of the Quran and benefit from the same root and origin. For a good analysis and analytical of Islamic art in all branches provided, It is essential to understand Islamic Philosophy to be able to access the graphic motifs.

The research method is analytical and descriptive. Therefore the treasures of the National Museum of the field visit was undertaken and between the museum and the number 7 or the altar was identified rug prayer( Ja-namazi ) rug that data from this study are. The research question is how Islamic philosophy can be explained on the altar carpet? The hypothesis is based on that altar carpet motifs representing symbols and allegories of paradise.

The purpose of this review, analysis and acquisition of Islamic Philosophy (wisdom ) is the altar ( Mihrabi ) carpet motifs and data from the research of the treasures of National Museum of Iran are the altar ( Mihrabi ) carpet. Carpet or rug prayer altar ( Mihrabi ) and a prayer rug, also known by the name of why are Muslims who are accustomed to using carpet prays according to the principles that have been raised in this regard, Another group has made the creation of carpets in Iran that prayer or prayer rugs ( Ja - namazi Ghalicheh ) or carpets are famous altar( Mihrabi ). These rugs are woven in small sizes were. Shah Abbas I alter rug weaving was very common. Weaving industry, although to some extent the decline led to the extinction of the Safavid dynasty, but disappeared. Artists of our time, given the current situation to continue. Zand and Qajar era, as well as examples of beauty in the hand, Some of which are excellent in terms of texture and pattern among carpets.

The research result shows the altar of Iran's Islamic architectural elements and the appearance and beauty that is consistent with the teachings of the Quran, reminded worshipers is in paradise; The plan specifies the direction of prayer to Mecca and to holiness, which is on the carpet and mat has reminded worshipers and the rugs or mats, carpets altar ( Ja-namazi Rug ), prayer, or prayer that is and the altar as an input paradise and the altar ( Mihrabi ) paintings like Sdrat -Al- Montaha tree, tree of Tuba, the peacock bird garden and fountain, pond Kosar and signs in paradise carpet and if the act of prostration prayer ( which takes its embryonic state ) Intention to pass the entrance to paradise ( which is the same sanctuary ) into the garden, summer, garden, morphic, Khld Brin's morphic Almavy and ... . Around the edges of the carpet like a fence to prevent the entry into the spiritual and the divine realm is evil that worshipers entering its.

The ecology of Tabaristan region had been an impediment to provide a regularly communicative path and Haraz path is one of the oldest ones that had communicated the north of Iran to the central plateau in different periods. This study attempts to deal with archaeological data of this communicative path in Sasanian period and at the beginning of Islam. A descriptive-analytical method and scaling archeological investigation in region has been used in the study. The research question is that how the relationship of communicative path of the Valley of Haraz River in Sasanian period and at the beginning of Islam can be explained with sustainable architectural components and archeological works of region? The research hypothesis is that the environmental conditions (impassable mountains, valleys and rivers) and ideas of architects and designers had been considered as the main sustainable components in providing communicative paths, distribution and typology of architectural and archeological works of the Valley of Haraz River. The results show that writers identified the architectural remains of this path in theses villages: Lasem, Ira, Nava, Hareh, Wana, Bayjan, Aliabad, and behind the tunnel No.6 during field investigation; mainly, these villages have been located in mountainous areas and this road was not identified in plains and forested areas. The reason is hidden in the role of the geographical area of the investigated region because highlands of Amol have created hardships for Sasanian architects that led to show their skill.

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. 

The art of the Sassanid period is considered as an excerpt from the art of all ages of Iran. The art of this period is an expression of ancient Iranian elements that has come into being in the taste of the artists of that period. The most characteristic of Sasanian art is its decorative designs and one of the manifestations of these designs is in Sasanian textiles Which has had a profound impact on the different periods and had different nations of history in terms of the beauty of appearance and symbolic concepts. They are known as an important feature of Iranian art. Animal designs in Sassanid textiles are more than other motifs and symbols. This research is based on the fact that the species of animals in the Sassanid period was very much considered and analyzes these elements in the textiles of this course.The present paper is descriptive and analytical, and library and field design. The method of data collection is through library studies and field visits, because using valid documents can explain the general features of Sassanian mythology and study their traits and their role in shaping the contours of historical events and the reasons for their occurrence and the purpose of the field is to capture and document their images and analyze them The results indicate that the artistic insight of the Sasanian society has been a belief in Zoroastrian mythology and religion. Which formed the basis of the creation of artwork before Islam. Because each of the beast (hog, deer, ram, etc.), in the Zoroastrian vision and the Avesta book, have a certain philosophical meaning. And on that basis, they were respected by the peoples of that time. thus, the motifs of these animals are abundant in the Sasanian era and each of these animals contained some special meaning for the people of that time.They turned to the Zoroastrian ideology (its peak at the end of this period). The same worldview was created at that time which, they pay more attention to the role of birds and their symbolic meaning more than ever and the shape of the wing on their crown actually refers to their agorasity and extraterrestrialitya. They wanted to make people believe and legitimate. The Sassanid era has a special place in terms of the sanctity of plants (appeasement) in the structures of thought (myths), Because the myths of this continuum are from previous beliefs, one can be mentioned with Zoroastrianism, Mehri and Mani In all of them, the tree played a central role. At the entrance to the Taq, the role of the tree of life is depicted. Other mythological symptoms in takhost is the role of the crescent of the moon. The signs and the role of the crown of Sassanid rulers based on the crescent of the moon have a certain aspect of holiness and mythological status among the ancient Persians. Because many kings used to decorate their clothes, beds and crowns from the crescent of the moon.

Persepolis has two sets of east and north staircases embossed on the east staircase of 23 deputations. The Median board of trade in the West of the Iranian Plateau is one of those that has the most people. The board carries an amphora, a pair of bowl, a dagger and two pairs of rings on the day of Nowruz, which are led by a senior officer to the post. In this study, we have compared the commodities of this board with the metal species found in domestic and foreign museums through library studies, field survey and museum reviews, and visiting websites of the museums. The findings of the study show that the amphorae and bowls of this board were used in ceremonial and court parties that they are open-plan form. the Achaemenid artists made such metal containers of gold, Silver and sometimes bronze and have been used hammering, engraving and molding methods. they have used animal, plant, geometric and combinatorial designs to decorate some of their metal species. The dagger brought by the group, although it is part of the combat tool and has a military function, is used as a ceremonial and formal ritual on the day of Nowruz. Handle of metal species of this dagger are decorated with real animal’s head like lion and cow. Achaemenid artists were interested in such decorations and used rivets and molding to make this dagger. In addition to containers and daggers, the Median board also carries rings that have formal and ceremonial use. These rings are made of gold and silver, which adorn some of their metallic species, which are also found in indoor and outdoor museums, using real animals such as lions and deer and griffin as a mythical animal. It should be noted that these rings are made so that both animals are facing each other and are symmetrical. The rings are made by molding, etching and riveting methods. Since the art of the Achaemenid period was courtly and the artist had no practical freedom, so the metal species of goods such as amphorae, bowls, daggers and rings that are nowadays in major museums of the world, had belonged to the affluent class of Iranian society at that time and they have used combinatorial motifs in the decoration of these goods. Most of the animal designs in the metal species of the goods in the museums (amphorae, cups, daggers and rings) relate to lion and cow that they are symbol of power and wealth in Achaemenid art

Weaving is one of the main techniques of the Bakhtiari tribe and their handwovens have diverse designs, techniques and methods inspired by the artists' minds and the design and pattern of woven materials are closely related to the culture and nature of the Bakhtiari area in the highlands and valleys - Zagros rivers. The geographic location of the area, especially the twist of communication networks and rivers and other environmental elements, have played an important role in shaping the archeological data and the artistic features of artworks: one of these works of art is the Bakhtiari nomadic handwoven motifs . The best archaeological data is for adhering to the motifs of handwoven and pottery. The purpose of this research is analyzing the common features of Bakhtiari handwovens with prehistoric pottery in the southwestern region of Iran to explain the subject. The research method is descriptive-comparative along with analysis and data is derived from library studies and field surveys (To access the Bakhtiari handwoven) and the research approach is historical. The research question is How can we explain  the adaption of motifs of Bakhtiari handwovens with pottery (archaeological findings) in southwestern Iran in prehistoric era? The results of this study show that Bakhtiari handwovens  are rooted in nature around their lives, beliefs, culture and traditions in southwestern part of Iran and there are many similarities between motifs of handwovens and pottery. many of thesemotifs such as geometric, plant, human, animal motifs and other, such as rood (Chilipa), Maander with prehistoric motifs in the southwest region of Iran (Jafarabad, Joy, Bandhal, Choghamish, Suziana, and Chaharmahal Bakhtiari province copper-stone period such as the Sourak hill, Khanmirza, shahrekord and the Hafshejan hill) are matched.

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.

Central Zagros and its eastern regions have relatively a favorable environmental condition for the formation of ancient settlements. One of these regions is Malayer intermountain plain that is located in the vicinity of Hamadan, Nahavand and Boroujerd. According to archaeological evidence, beginning of the setteling in this plain is Chalcolithic period. However, recent studies have identified several sites of the Neolithic in the region. The present study examined the Chalcolithic and Bronze Age settlement pattern in the southwest of the region. The research is based on the study of archaeological data obtained from the fieldwork of the region. For achieving considered goals, we have used and analyzed geographical information, using Arc GIS 9.2 software and then, for interpretation of data, Excel software was applied. By establish a data bank for the study, which is in the form of geographical information system, we carried out analysis on spatial distribution of the sites. Study of the neighborhoods cultures impact based on archaeological data is the other issues in this research. According to the comparison of data it can be said that cultural interactions have been between the central Zagros region and Kangavar plains. Analysis of the data has also revealed a linear model of sites distributed along the rivers and irrigation canals.

Natural events and disasters always have a devastating impact on human settlements and incur economic and social effects on societies by destroying buildings and infrastructures. One of these destructive phenomenons is landslide that could damage communities, meadows and forests, communication lines, and monuments extensively in many parts of the globe, especially in mountainous countries such as Iran. Some information is currently available about the morphological cause and effects of some apparent cases. However, the destructive effects of this phenomenon on ancient settlements have not adequately been mentioned. This study examines an ancient landslide by combining data from two seasons of archaeological excavations of Tepe Mehr Ali, located in Fars province, and related interdisciplinary studies. The results of the excavations, geological evidence and morphology of the site indicate that the southern slope of the mound (about 35 degrees) to Balangan River, represent a landslide event leading to the abandonment of this site for some time during settlement periods.

According to the documents of beginning stage, music was referred to speech or religious rituals. The word music was in a bush of ambiguity at early documents. The later documents demonstrated that music is returned to the pre-historic and Paleolithic period. Moreover, ancient society evidences illustrate that music and art of making musical instruments dated back to pre-historic period. Evidences show that the iconography of musical instrument had been identified on many ancient artifacts such as seals, high reliefs, different containers. Since human can display his/her inner passions by voice and the regular sound of the nature which they received, they started to create music with a variety of cultural songs and began to make a musical instrument. One of the earliest documentation of ancient musicology during urbanization is from the Sumerian period in Mesopotamian civilization. No written musical evidences have remained from Elamite period, but there exist some documents of written musical notation discovered from the ancient Sumerian city of Ur and Nippur in 1800 BC and ancient city of Avkaryt, the coast of Syria in the ancient Babylonian period which reveals the importance of music. Mesopotamia and Elam civilization during different periods have impinged over each other. Therefore, it is evident that their clothing, reliefs, seals, etc., have influenced by each other. The main question of this paper is how to shed light on the effect of music on Elamite and Mesopotamian civilization and the effect of Elamite and Mesopotamian civilization on music, according to archeological evidences. This study aims to analyze the place of music and the remains of its related motifs and iconographies from Elamite and Mesopotamian civilization descriptively and comparatively by library study and field study of the remains in the National Museum of Iran. The musical instruments motifs of Elam and Mesopotamia serves similarities and differences which demonstrated the musical culture of both sides. It can be said that at the old Elamite period Elamite musical culture was formally influenced by religion, but in early Elamite period it was influenced by everyday life usage of music. And before it started during the Elamite clay Chaghamish trace of stamp shows the use of music in everyday life. The influence of religion on the musical culture of ancient societies of Elam and Mesopotamia is similar. The musical culture of the Old and Middle Elamite period is in accordance of Sumer and Babylon musical culture. Elam musical culture has influenced by Sumer and Babylon civilization and religion. However, harp and lyre are the transitional musical instruments of Mesopotamia, Sumer, and Assur, which has been exported to Elam, Elamite music, in the second millennium BC, was more advanced because they used independent instruments such as Strum Handle. The double chord handle strum instrument Assyria has been influenced by Elam music. Elam music is independent by itself and most of the time have affected on Mesopotamia. In addition, festive music began in the country, New Elam also has evidence that the festive music, including a PA Arjan's Cup, The influence of music Elam is interesting, because before it was music in the service of religion and not only musical instruments but also the operation of the Assyrian similar lyrical music can be seen. The terms are due to musical works from Elam, and compare it with its own adjacent land is Mesopotamia. Another notable animal motifs and forms, as well as musicians playing it is significant, Especially in October, one of Elam is there and Mesopotamia where the horses are busy playing the harp. Its show is all musical cultures.

Persepolis annual rainfalls, sometimes had caused storing huge quantity of water in underground waterways and eventually damaging the waterways and palaces. The main aim of the excavation along the Persepolis canals outlet, (started from April 30, 2012 and continued for 112 days until August 20, 2012) was to open an urgent way ,among the mass of deposited soils of Persepolis previous excavations in south of the terrace, to led the stored water of annual rainfall in the underground canals, out of the PlatformFor the purpose of Excavation, a north - south trench (Started from outlet of the canals to the south where the soils of previous excavation was finished) with about 100 meters and with 4 meters width was designed. It was necessary to finish the operation in just one season of work, before that the annual rainfall of the region get started. With achieving to the main aim of the excavation in the end also a series of interesting findings, including new details on the Persepolis terrace wall and some waterways in the trench was detected.
Though, given the relatively similar levels of identified waterways with other Achaemenid structures in south area of the terrace and also due to the other discovered evidence, they can be dated to the Achaemenid era, it is difficult to understand their function and organization in south area of the terrace. Generally, discovered waterways can be considered as a part of Achaemenid structures system surrounding the Persepolis Platform. Nonetheless, it’s possible to say that Revealed evidence including direction of discovered canals and specially cut off waterways of No 2 and 3, perhaps indicating existence of a pond in south area of the terrace.

Environmental factors play a decisive role in all aspects of human life. Obviously, this effect in ancient times has been caused because of the lack of advanced technologies, using environmental resources and control environmental impacts, since, most of the communities to find suitable living conditions, were constantly being migrating. Factors such as keep off and proximity to water resources, vegetation, climate, slope, and etc. had been integral role in the choice of lives’ location of the ancient people. The difference in the degree of importance of each factor can be due to intensity of element and on the other hand, the particular type of food or the culture of the area. But, the awareness of this issue which: What factors have involved in the selection the location of sites in a region, isn’t possible only with study of area, but these studies are required to investigate all sites of a specific geographic area. Furthermore, studying possibility of set of works (effects) as a whole unit is the reason for the spread of these studies. Songhor city with 2308 square kilometers and geographical coordinates 47˚ 31ˊ to 47˚ 55ˊ east of the meridian of 33˚ 37ˊ Greenwich 5/0˚ 34ˊ north of the equator in the eastern Kermanshah province, located at an altitude of 1700 meters above sea level. This plain is neighbor to Kurdistan province from the north and north-west, with Hamadan province from east and with Kangavar and Sahneh city from South. In 2004 and 2009 two seasons archaeological survey was conducted in the Songhor and Koliaie plain and the result identified and recorded 286 ancient site. Further studies and typology of pottery compared with data obtained from sites with absolute chronology, showed that of these, 54 site was in Sassanian pottery effects. In this study, the data obtained from archeological analysis of Sonqor province is analyzed and the relationship between Sassanid settlements and their natural environments were evaluated by Programs used in the science of Geography and Statistics. The method is firstly collect the city’s geographical position information then combined with spatial data of Sassanian sites. Merge data of this study, geographic information systems (GIS) and other statistical programs such as Excel were applied. The result shows that a high percentage of the area affected by geographical factors have been created. Most of sites follow the same pattern and characteristics of the environment, such as elevation, slope degree, slope, proximity to water resources, land using and geomorphology, have the same conditions. It should be noted that the same environmental conditions, sites which have a tendency towards the West part of the plain, in these circumstances, it is likely that the trend toward urban areas closest Dinawar (located in the northwest of the Sahneh plain), which are is improbable; But the proof of this issue need to more research in a larger area. The importance of this study is not purely Identifying of natural factors affecting the formation Sassanid settlements of Sonqor plain. But this study can be used as a model for the future in Archaeological surveys, in the same spatial- temporal condition to reduce the time and cost. Also considering that the Sonqor and Koliaie plain on the border of between the provinces of Kurdistan, Hamedan and Kermanshah have increased the importance of the study.

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.