فهرست مطالب میلاد باغ شیخی

The geographical location of Ilam province and its location on the communication routes to other regions led to the formation of numerous settlements in the region, ranging from the prehistoric to the Islamic era. So far, laboratory studies based on petrography have not been conducted for pottery found from the Sassanian and early Islamic periods in the western region of Iran, and therefore the current study will try to gather more information about the production process of pottery in the aforementioned periods. Considering that pottery and its fragments were the most abundant cultural data in this ancient complex, 20 pieces from the Goriya area, were obtained from the cultural context of an excavation, and were selected to conduct mineralogical tests to find out technology behind their construction. The questions of this research are about examining the composition and pottery structure, the degree of fire in the kiln during the baking process and knowing whether they were indigenous or imported. These experiments were conducted at the Conservation and Restoration Research Institute of Iran’s Cultural Heritage and Tourism Organization. Based on the geological studies of Ivan city and petrographic analysis, it can be concluded that the three compounds of quartz, iron oxide and calcite could be seen in most of the samples of the area although based on the studies, there are exceptions in some pottery. In Sample 5, mica from the Guriye area is used. Also, except for Sample 12, all the pottery were domestically produced and in other words were local and belonged to the region itself. The clay texture in the samples was heterogeneous, silitic, porphyry and silitic. Except for Samples 10, 11, and 12 of the Goriya-surrounded pottery, calcite minerals were observed in the paste of all the pottery, which indicated that the oven firing was not more than 800 degrees Celsius.

Zeroavad Tepe II, situated in Davoudabad, Markazi Province, is recognized as one of the significant Sasanian sites in the Iranian Central Plateau. It underwent one season of archaeological excavation in 2022, revealing a plethora of cultural artifacts, particularly potsherds. Given the pivotal role of ceramics in archaeological studies, this article focuses on the analysis of 86 potsherds sampled from a total of 918 pieces recovered during the excavation of Sasanian deposits of the mound. Initially, the sherds were categorized and classified based on their technical specifications and form. This study, as a fundamental research, follows a descriptive-analytical approach. The research methods consists of two parts: library research and field studies focusing on ceramics. The findings indicate that the most frequently identified forms at Zeroavad Tepe II are jars, bowls, pots, plates, and trays, in order of frequency. The predominant decorative motifs are engraved designs. It is worth noting that the majority of the ceramics have been properly fired, suggesting that the kiln temperature was carefully controlled during the firing process. Furthermore, the comparative analysis reveals that the pottery from this region shares similarities with other areas such as Cham Ruteh, Sirm Shāh, Qal’eh Yazdgerd, Qal’eh Gori, Ecbatana (Hegmataneh), Veliran, Tesmijan, Vigol and Harasgan, and Berdankun. Additionally, the ceramics recorded in Mah Neshan in Zanjan, North Khuzestan and Mian Ab in Shushtar, as well as the Abu Sharifah site in Iraq, also exhibit resemblances. Apart from its regional characteristics, the Sasanian ceramics from Zeroavad Tepe II indicate the closest resemblance to the western Iran and the Iranian Central Plaetau.

 Coins are one of the essential sources of identifying the history of humanity and important historical documents by studying them from the technical (material, alloy) and content (patterns and themes of coins) perspectives, many aspects of the political, social, artistic, and religious developments of the governments are recovered. In the present study, which was conducted to identify the coins of the Ilkhani period, an attempt was made to describe and analyze the designs and writings of the coins of the "Fin Garden" museum and their relationship with the religion and politics of this period. The following question is addressed: "What is the theme of the Ilkhani coins of the "Fin Garden" museum and their common visual manifestations"?

 The current research is fundamental and data collection was conducted with a library and field method (National Museum of Fin Garden in Kashan) using an analytical-historical approach.

 The findings show that among the Ilkhani coins in the National Museum of Fin Garden in Kashan, the coins belong to three Ilkhani rulers, including "Ghazan Mahmud" (694-703 A.H.), "Oljaitu" (716-703 A.H.), and "Abu Sa'id" (716-736 A.H.), most of which belong to Abu Sa'id and three pieces of coins belong to the princes of the Fatrat period (Mohammed Khan and Anoushirvan). In general, writings related to the Shiite religion (names of the Imams (PBUH)) and Sunnite (names of the Rashidin Caliphs), geometric decorative frames comprising circles, plant motifs, and celestial objects, and motifs using Tamga are among the visual representations used in the Ilkhani coins in the National Museum of Fin Garden in Kashan.

 The writings on the Ilkhani coins in the National Museum of Fin Garden are related to the Shiite religion (the names of the Imams (PBUH)) and Sunnite (names of the Rashidin Caliphs). Decorative geometric frames comprising circles, plant motifs, celestial objects, and motifs using Tamga are among the visual representations used in these coins, which, like other historical periods of Iran, have represented the religion and politics of their era.

Pottery as one of the archaeological findings, plays an important role in recognizing cultural periods. Jahangir area is located in Ilam province and is one of the Sassanid sites in western Iran. In the third season of excavations at Jahangir site, significant potteries from the Sassanid period was obtained which is considerably worth studying and for this research, 92 pottery pieces were selected among hundreds that were obtained. The main purpose of this research is to introduce and classify the Sassanid potteries of Jahangir site. In the present study, the potteries obtained from Jahangir site were classified based on their technical specifications and shapes, and were typologically and finally chronologically examined (comparative and laboratory studies); the data collection method is based on documentary studies and field studies, also the research method is descriptive-analytical. The analysis have been done with the purpose of comparative chronology and explaining cultural relations with other regions. The questions posed in this research are: To what period of the Sassanid era can the pottery collection of Jahangir area be attributed? And are the potteries of Jahangir area more regional in terms of style or a trans-regional style is visible in them? The chronology done by Moluminescence (Thermoluminescence) method on Jahangir potteries, indicates the attribution of this area to the second half of the sixth century A.D., a comparative comparison also showed that in terms of relative chronology of Sassanid potteries they are similar to sites that belong to the late this era. It should be noted that the potteries of this area are comparable with areas such as Oltanqalasi in Moghan, Mahneshan in Zanjan, Qasrabunsar and Hajiabad in Fars, Shush, Sassanid sites identified in the studies of northern Khuzestan, Mianab in Shushtar, Bushehr, Ras al-Khaimah, Tal Mahuz, Abu Sharifa, and Kish and Bergutiyat in Iraq and, in addition to the impacts of regional style, it has the most similarity to the cultural field of southwestern and southern Iran.

This research intends to investigate, describe, and analyze architectural decorations by focusing on Kashan Tabrizi Mosque during the Qajar Period. The data was collected based on field and library (documentary) studies and interpreted through a comparative descriptive-analytical method. This research has been conducted to identify and classify the main motifs and themes of the architectural decorations of the Kashan Tabrizi Mosque, including buildings that belonged to the early Qajar period, and to compare with the Sepah Salar School Mosque of the middle of the Qajar monarchy in the center of their rule. There were two main questions: What are the architectural decorations of the Tabrizi Mosque in terms of decoration and themes? and what are its differences and similarities with the Sepah Salar School Mosque? The results indicate that the Sepah Salar Mosque-School in Tehran was built by a person who had an outstanding position in terms of political and social rank; thus, it has a more decorations compared to the Kashan Tabrizi Mosque. The architectural decorations for Kashan Tabrizi Mosque include tiling, carving, inscriptions, wall paintings, and plaster-molding, following the decorations of the earlier traditional architecture. The main religious motifs employed in the mosque include plant and geometric motifs that have been accomplished in the form of painting and tiling techniques.

Kashan of the Safavid era, due to its special geographical location, between the two important Safavid cities, Isfahan and Qazvin, received more attention from the kings and took the path of prosperity and progress. This article tries to answer this question, "what was the physical and spatial structure of Kashan in the Safavid era?" A typical picture of the physical appearance of the city in the Safavid period is provided as an example. It is assumed that the physical changes of the city in this period have been affected by the palace, sharestan, bazaar, fence and so on. The type of study in this research is historical and the research method is descriptive-analytical using library resources and field studies. The results of the study show that the attention and interest of the Safavid kings to the development of cities caused that in this period, economic buildings (bazaar, caravanserai), welfare places (guest house, water storage, dam), religious places (mosque), sanitary buildings (bath), Residence areas(house) and burial places (tomb and shrine) were built or renovated in Kashan.

Religious monuments from ancient period has played an important role in the formation of spatial structure of cities and villages. Archaeological excavations and available historical evidence show that religious sites in historical periods, especially theSassanid period, have been one of thecenters of people for religious ceremonies. One of the important findings of archeological excavations in Isfahan province is areligious building called Vigol fire temple, which was found in excavations of M.Javari in 2010,in 10 kilometers southeast of AranandBidgol cities. The materials of this building is unlike with other buildings of its age andhas cross-shaped and cruciform plan. In middle of the Vigol fire temple, a fire base consisting oftwo square platforms and agypsum columnar stem with spoon-shaped grooves is made ofgypsum and rubble. In thisregard, thepresent article hasbeen discussed and analyzed with theaim of recognizing andcomparing the architectural aspects of Vigol fire temple with some fire temples in different regions. Therefore, the present study isbased onthe purpose of basic research and based onthe nature andmethod, historical and analytical research; The required information has been collected through two methods ofdocumentary andfield studies and istrying to answer theleading questions: 1. Isit possible to prove its use as a fire temple based on the evidence left from the architecture of this building, andwhat kind of fire inthis fire temple was lit according tohistorical sources? 2. Has thearchitectural plan ofthe Vigol fire temple followed a specific pattern? The results showed that th analysis and comparison of the architectural style of Vigol fire temple with other contemporary Sassanid examples shows the similarities of this work such as architecture orfire base inits construction has used a pattern similar to Sassanid examples andwith the presence ofneighboring architectural remains, including the twirling Corridor, canbe considered theuse of a fire temple forit. Also, due to the degree of fire inthis period, the fire that was worshiped inthis place wasprobably of the local fire type (Âdorân).

the thesis of the Iranshahr County and Geospatial Moses Khourni are among the most important sources in addition to the various religious and administrative works of the Sasanian kingdom (Kaaba Zarathustra), the most comprehensive awareness of the province and the cities of the Sasanian era is available to researchers. the thesis of the Iranshahr County details of the province and cities do not provide details about the province and cities but the full division of Iranshahr to the four kust and mentioning cities and regions has expressed well. among the above-mentioned sources, the Iranian national epic Shah name, which in addition to talk about the history of Iranians from the mythological to historical, consist of historical context in which the author can be used as a reliable historical source; therefore, in the Sassanian Shah name, some kind of historical geography can be interpreted. the purpose of this study is comparative study of names in the three sources to clarify how historical names are matched with historical and archaeology evidences. the proposed method is an archaeology- historical method based on archaeology studies. the results showed that by studying the texts of Pahlavi language and geographical texts among all cities kust I Nemroz specified that the Persians of Sassanian province is of great importance to other states also by considering and comparing the three texts, there are contradictions between the three sources studied in the geographical directions of kust I Nemroz cities;

The present paper studied is to examine the position of women in Sassanian civilization from the perspective of historical and archaeological evidence. The present research includes women's role in cultural relics from the Sassanian era. The sample studied is the role of women in cultural materials left over from the Sassanian era based on archaeological evidence. The method was descriptive -analytical. Data collection It was done in the form of a library and through a receipt. And after that, study archeological evidence from the position of women in Sassanian cultural Iran was examined and the information was analyzed qualitatively. The results showed that the role of women in the arts related to architecture such as painting, plastering, weaving, mosaic, etc is evident and in terms of political position, women had good power in society and historical sources and archaeological evidence, such as coins, confirm that. On the other hand Finding the image of women among most archeological cultural materials shows that Respect for women and the spread activities of political, economic and etc art Another special of the court and in the hands of royal members But also by improving social laws women have a better position and freedom of action Along with the class society, they were patriarchal.

Designers and weavers of Kashan carpets have used different themes in their works. some of these are in Includes religious, national, indigenous literature and etc. the aim of this study is to achieve the imagery aspects of the motifs in Kashan carpets. according to the Iconography method It tries to convey the concepts of visual concepts used in the carpet to the audience. Most of the motifs used in Kashan carpets have appeared in the same color as in the same colors of nature. but with the expansion of Iranian relations with the European countries during the Qajar period, the tendency of Kashan carpet designers to design and material and material development projects. 1. What are the imaging aspects of Kashan carpet? And 2What is the most important factor in creating patterns used in Kashan carpet especially Qajar era? The present study is applied in terms of purpose and descriptive in nature. Data collection was done through library (documentary) and field studies (in-person interviews with experts and experts) and The research results show that Looking at the roles of the carpets, Two sub - sets of roles Separate from each other Roles inspired by nature and the role of pure geometric and abstract elements Painting also has the greatest influence on the rug and the effects that have made visual carpets of the art of painting Unrealistic and exemplary spaces are the simplest and simplest types of carpet designs, and sometimes the carpet combinations have changed.

Pottery as one of the major handcrafts of human societies plays an important role in rebuilding past culture and civilization. Classification, typology and chronology of pottery are of great importance in archaeological studies. The abundance and variety of pottery in situ has made it possible for the archaeologist to obtain the best cultural evidence for the recognition of ethnicities and communities. Pottery documentation and species identification is one of the technical principles in archaeological studies. One of the less well-known areas in the archaeology of Iran’s historical period, especially in the Sassanid period, is the present-day area of Isfahan Province in the Central Iranian Plateau. Introduction and study of Shirkouh Naein area previously carried out by Alamdar hajiAlian was selected for the research since it was evaluated in terms of statistical population and type of cultural materials of the Sassanian era from both architectural and cultural point of view.

The 1st Ardeshir(224_240 m) as the progenitor of Sasani revived ancient Persian conventions. Among social classes of Sasanian the warriors formed the second class. They had to protect the empire and subordinates. At first,Iran army was responsible for the guidance and leadership of soldiers,but during the ruling of Ghobad and his son the first Khosro, the establishment of the army changed and it was delivered to four armies in four corners of Sasani sovereignty.  The present research aims to evaluate the extent of consistency between historical data and archeological findings about Sasani army and the question here is that which archeological evidence have been found about Sasani army in Iran?The research method is historical _ archeological based on library studies and archeological evidence. The research results showed that in this period the constructed ddefenive structures are constrained to three groups: castles, defensive walls and trenches. Sasani kings started to construct defense structures such as defense walls of Darband,Gourgan,Temishe, Kalat, Goori…castles like Siraf,Abonasr, Nakhlak, Shirkooh… in sensitive geographical areas to protect paths and to prevent alien attacks to the empire

An examination of the historical background of Iranian lands in the ancient era is highly dependent on the geography of their geography. In the sixth century AD. The new Sassanian administrative divisions, the substitute for the former administrative system and the country, were divided into four sections. The purpose of the research is to study written sources of literature, including the writings of early Islamic historians and geographers, as far as possible, a general picture of the position of the Nanina administrative system as a subset of his administrative system can be drawn. So, the questions here are raised 1. What is the history of human presence in the cultural landscape of Nain? 2. Regarding the administrative divisions of the Nain region during the Sassanid period and, as a matter of fact, the revelation of the coming of Islam was considered one of the ancient kilns? The adopted method is a combination of historical methods and the historical geographic area. The results of the research showed that the oldest evidence of human presence in the region dates back to prehistoric times and we do not know about the fate of the region before the Sassanid era, and archaeological excavations and studies can explain the status of this region. With the advent of Islam, especially the early Islamic centuries, Nain was considered one of the largest furnaces of the Fars capital.

The location of Isfahan province in a highway which connects the north to the south and the east to the west has created a suitable situation for transformation and innovation of art and architecture. Naein in Isfahan province is a town located in the desert margin. Pakooh region is one of the villages of Naein located in the northwest. The ancient site of Shirkooh is in the vicinity of Separo Village located 6 kilometers away from the west of it. Due to its strategic location, this region has always been suitable for human settlements. Among the evidence which represents a Sassanian settlement in Shirkooh, one can mention a fortress, a Čahārṭāq (four arches), and Soffeh (Terrace platform).It is likely that in the past this region was located near a major communication highway. Hence, the Sassanid constructed a fortress on top of Shirkooh (Zardkooh).

The method of research in this paper is descriptive-analytical and data collection has been established by conducting a field survey and studying written documents. Using the second method, all information and data related to this paper, including historical texts and particularly geographical accounts, have been collected. By archaeological survey, architectural structures and cultural materials such as wares completely studied and documented. Then both data evaluated which made Comparative studies and relative chronology possible.

By studying the historical texts, we recognize that the state of Fars was not only a religious and political center but also officially important for the Sassanid dynasty. During the reformation of Khosrow I, Iran was divided into four sections. 1. Kust-e-xwarasan, northeast part؛2. Kust-e- xwarwaran, Southwest part؛ 3.Kust-e- Nimruz, Southeast part; 4. Kust-e- Adurbadgan, northwest part (Daryaee, 2009: 21-24). According to some credible historical texts like Šahrestānīhā ī Ērānšahr Fars state was located in one of these sections called Kust-e- Nimruz. Based on some geographers of the early Islamic Centuries like Ibn Hawqel, Abu Abdallah Jayhani, and Istakhri, Fars was one of the most extensive states which was divided into five Kura and Naein is considered to be a town in Kura of Istakhr. (See also Istakhri, 1970: 15; Ibn Hawql, 1966: 34; Jayhani, 1989: 111).One of the most important evidence to complete the knowledge of existing historical sources about the presence of the Sassanid in the Central plateau of Iran can be obtained through archaeological studies. Although systematic studies haven’t been carried out in this region yet, some sporadic archaeological surveys indicate the existence of different historical periods, most notably in Shirkooh, a village located in the northeastern part of Nain. During this survey, archaeologists found a site consisting of a Čahārṭāq, a fortress, and a Soffeh which date back to the Sassanid and early Islamic era. The aim of this paper is to discuss these three important architectural structures. Čahārṭāq (Four arches)Čahārṭāq and fire-temples are among the most important archaeological and yet controversial structures of the Sassanian architecture. The Čahārṭāq of Shirkooh, located in the central part of Naein, can also be placed in this category. In 2002 the building was listed as a national property of Iran with the registration no. 7222 and after that, it was restored by Shah-Hosseini (Shah-Hosseini, 2002: 327). The Čahārṭāq of Shirkooh is a square-shaped structure with approximate dimensions of 10 meters. Its current height is 12/40 meters, dome height is 6/10, and the internal height is 6/59 (Namjoo, 2013: 172). The architectural elements of Čahārṭāq consist of piers, arch, squinch, and dome. The interior has no special decoration, but remains of plasterwork could be seen in some parts of the squinches. Studying wares and plan of the building, we could say that this Čahārṭāq dates back to the Sassanid era. The well-known types of wares are bowls with smoothed or inverted rims (samples 2 and 3) comparable to wares of Chal-e-Tarkhan, Tel Abu-Sharifeh; and jars with quartet rounded rims (sample 4) can be compared with wares of Farsan (Khosrozadeh, 2014: figs. 83-5).Shirkooh fortress The position of this fortress is in such a way that on top of it the Čahārṭāq is visible and on the other hand, the fortress is pretty obvious from the center of Čahārṭāq. Thus, these two structures are not far from each other. The fortress is constructed in the mountainous north of Shirkooh village. The plan of the fortress is almost irregular and a steep slope makes it hard to reach. The materials used in the construction of the fortress are cobblestones for the walls, mud-brick in towers and plaster as the main mortar of the entire building. At the interior of the fortress there is a rectangular structure which its directions are north-east south-west and somehow overlooking the low level of the plain and the village. The dimensions of this rectangular structure are 8 × 2 meters (Alian, 2007: 17). Due to unauthorized excavations inside the fortress, a piece of plasterwork was found; this piece is 16 cm long and 9.5 cm wide and its surface is engraved.The type of design, which is likely to be two-dimensional, could have been used as part of a plaster pillar or Qarniz (baseboard). It should be noted that due to a lot of damages it is not easy to discuss this piece. The side section has two vertical lines with two rows of pearls in the shape of laced circles. The main part of the design has also two waves motifs One up and the other down.Terrace platform of Shirkooh (Soffeh) Terrace platform is located at 38 7.33 N, 52 59 24 E (Aliyan, 2007: 21). It is constructed at the farthest end of the site which connects it to the mountain. The main construction material of this Soffeh consists of cobblestones of the river. Since this terrace platform is flat and elevated, from the top of it the fortress and Čahārṭāq are remarkably visible.Unfortunately, many unauthorized excavations have been carried out the site that can be considered as the most important factor in the destruction of the surface of the terrace platform. It should be noted that during the survey of Soffeh we haven’t found any cultural materials like wares. Overall it can be said that the most significant materials used in these structures (Čahārṭāq, fortress and terrace platform) are cobblestones and plaster mortar. Mud-brick was only used constructing fortification towers, while the plaster widely used for decorating and coating the walls of the fortress.

Based on the information obtained from the Muslim geographers and historians, Shirkooh region was under the cultural-political supervision of Istakhr, known as the northernmost Kura of Fars. The mountains of the Shirkooh region are naturally considered as an enclosure to cover the site from the world outside. Shirkooh fortress was built on top of a relatively steep and impassable mountain placed at the northernmost part of the site.The plan of the fortress is approximately irregular because of the natural shape of the mountain. It is pretty obvious that the most important cultural material that exists in most of the sites and plays a crucial role in chronology is ware. The comparison of potsherds of Shirkooh fortress with samples of Chal-e Tarkhan at the central plateau of Iran, Qal'eh Yazdgerd at the west (Kermanshah province), Oltan Qalasi at Mugan plain, Hajiabad at Fars, Tureng Tepe at Gorgan , Tel Abu-Sharifeh at Iraq, indicates that the cultural materials of this site belongs to the Sassanid era. We believe because of the existence of a military fortress and a religious complex (Chartaghi) both close to a communication highway which connects south to the north and west to the east, Shirkooh must have been a principal site of the Sassanid era. Considering that the interior of the fortress is not so large, it might have been used as a military or road controlling fortress. We hope more archaeological research helps us expand our knowledge of the site, especially obtaining an absolute dating through interdisciplinary studies.

Murals of holy places are representative of folk art. In such monuments the artist portrays religious events such as Tasua and Ashura (the 9th and 10th days of Muharram) alongside with decorative motifs like flowers and birds. In Safavid era, buildings known as tikyeh (royal theatre) and Husseiniya were considered the inseparable parts in most of the historic cities and villages of Iran. In this research the murals of Abbas Abad tikyeh (Kashan), from early Qajar era, has been studied. Nowadays, this building is located in one of the neighborhoods of Kashan known as Posht-e Mashad. Today, due to the construction of a boulevard, one of the three archspans of this building has been destroyed. Therefore, more than half of the paintings are gone and the part that remains is deteriorating as a result of poor preservations. Now faces of the characters in the figural paintings are just recognized by the presence of some names written next to them. The results of the research show that we can find subjects of "good and bad" by means of applying visual similarities. The main themes depicted in this place are as follows: the conversation of Abul-Fazl Abbas with Horr, the war of the prince Ali Akbar, war of Qasim with Shami's sons, Sultan Qeis. The painter has often taken a particular criterion in terms of the importance of the subject to illustrate the narratives. Hence, the themes mattered very much are placed in central locations. The methodology used in this research is based on descriptive-analytical study and the information has been gathered from library sources and by field observations.