فهرست مطالب mehdi mousavinia

 The political/military confrontation between the Sassanids and the Romans, in late ancient times, led to the formation of a kind of propaganda and deterrent art, which can be called "political art". This art served the ruling class of the war or peace parties, creating visual representations in the form of reliefs, coins, triumphal arches, and paintings. Most of these visual works of the Sassanid era and also the Roman Empire were created with the motivation of confrontation with the neighboring country, to show the weakness or promote such a situation. In this article, which was written to identify the importance of the image and the effect of image components on the audience of this type of visual art in the Sasanian period, the following question is addressed: "What are the visual representations of political/military interactions between Sassanids and Romans, the process of formation, and use of these representations"?

 This research is qualitative, and in terms of method, it includes citation studies and field surveys of the authors, which are presented using the method of historical descriptive analysis.

 The studied works showed that their function was to increase the bargaining power in the correspondence and negotiations between the Sassanid Empire and the Roman Empire for propaganda and military deterrence. Using the image as one of the most basic activities during the Cold War between the Sassanids and the Romans has been considered, which sought to persuade the local audience along with legitimizing the Sassanids and justifying the costs of the battle for the Romans.

 The use of visual representations to show off the power of the insider and the humiliation of the defeated enemy has a long history among the Sassanids and Romans, and its manifestations have been clearly seen in the research works.

Damavand is one of the most important historical regions of Iran in the southern margin of Central Alborz, which according to historical documents and archaeological data in the historical period has played an important role in political, cultural, social and economic developments of pre-Islamic Iran. Historical texts and rarely archaeological data have provided scattered information about the Damavand region during the Median, Achaemenid, and Seleucid period. The present study tries to use historical texts and archaeological evidence such as inscriptions, coins, seals and other cultural materials discovered from archaeological excavations and researches in archeological sites, the place of Damavand in the history of Iran in the pre-period Islam should be explained and evaluated. In the present research, a descriptive-analytical method has been used to achieve the set goal. Field and library studies and comparative analysis are the most important methods of data collection in the present study. Combined archaeological and historical evidence shows that Damavand, due to its strategic location, has played an important and pivotal role in the history of Iran from the historical period, especially from the first years of Parthian and Sassanid empire to the last years of the Sassanid Empire and even early Islam.In the present research, a descriptive-analytical method has been used to achieve the set goal. Field and library studies and comparative analysis are the most important methods of data collection in the present study. Combined archaeological and historical evidence shows that Damavand, due to its strategic location, has played an important and pivotal role in the history of Iran from the historical period, especially from the first years of Parthian and Sassanid empire to the last years of the Sassanid Empire and even early Islam

Damavand is one of the most important historical regions of Iran in the southern margin of Central Alborz, which according to historical documents and archaeological data in the historical period has played an important role in political, cultural, social and economic developments of pre-Islamic Iran. Historical texts and rarely archaeological data have provided scattered information about the Damavand region during the Median, Achaemenid, and Seleucid period. The present study tries to use historical texts and archaeological evidence such as inscriptions, coins, seals and other cultural materials discovered from archaeological excavations and researches in archeological sites, the place of Damavand in the history of Iran in the pre-period Islam should be explained and evaluated. In the present research, a descriptive-analytical method has been used to achieve the set goal. Field and library studies and comparative analysis are the most important methods of data collection in the present study. Combined archaeological and historical evidence shows that Damavand, due to its strategic location, has played an important and pivotal role in the history of Iran from the historical period, especially from the first years of Parthian and Sassanid empire to the last years of the Sassanid Empire and even early Islam.In the present research, a descriptive-analytical method has been used to achieve the set goal. Field and library studies and comparative analysis are the most important methods of data collection in the present study. Combined archaeological and historical evidence shows that Damavand, due to its strategic location, has played an important and pivotal role in the history of Iran from the historical period, especially from the first years of Parthian and Sassanid empire to the last years of the Sassanid Empire and even early Islam

The Khorasan region, especially the Kashafrud basin, has culturally retained a strategic position by virtue of its location between three major cultural spheres of southwestern Central Asia, the Central Plateau of Iran, and northeastern Iran. The Iron Age still remains a mainly unknown period in this region. In northeast Iran, particularly in the Greater Khorasan, the period is characterized by cultural attributes utterly different from those of the other parts of the Iranian Plateau. Coeval archaeological evidence from Khorasan shows affinities with the Yaz and Dahistan cultures of Central Asia. The major topics considered in this study are: the distribution pattern and major influential factors in the formation of the Iron Age settlements in the Kashafrud basin (Mashhad Plain), the nature of Iron Age cultural material in the region, and the characteristics shared between the contemporary settlements in Mashhad and the adjacent regions. Further major research objectives include proposing a comparative chronology, analyzing the regional cultural landscape, and specifying the Iron Age settlement patterns in the region. Thus, attempts have been made to answer the research questions through ArcGIS maps, analysis of surface ceramics, and the landscape archaeology approach. The results indicate the impressive role of environmental factors, especially the Kashafrud River as the leading regional resource, in the advent of Iron Age settlements. Moreover, the regional material culture exhibits strong affinities with the Iron Age culture of “Yaz” in Central Asia, and indicates relations and population movements between the different regions that were under the influence of this culture.

Unlike Sasanian period, we haven’t got more information about Zoroastrian burial customs in Islamic period. The early Islamic funerary inscriptions give some information about burial practices in this period. The Yazdgerdi calendar dates on these epitaphs provide an absolute date for them in the first three centuries of the Islamic period. Until recent excavation at Tepeh Qaleh Khalachan weren’t any evidences of Zoroastrian burial customs in Middle Islamic period. In Archaeological excavation of Tepeh Qaleh Khalachan a roofed tower of silence was discovered. Model of this structure before have been found in Bandyian in Dargaz from Sasanian period. In this paper tried to answer three questions about structure and burial custom. What is exactly the feature of Zoroastrian burial custom in Middle Islamic in Iran? What are mutual and different features between Tepeh Qaleh Khalachan and Bandyian towers of silence? What is precisely important of this roofed tower of silence in archaeological studies of Islamic period? Because some mutual features has been supposed influence of Bandyian on Tepeh Qlaeh Khalachan tower of silence. Besides, Zoroastrian mirror communities had Some influences on burial customs. Methodology of present paper is analytical descriptive. Archaeological data of Tepeh Qlaeh Khalachan and Bandyin have been investigated and at the same time, library resources about Zoroastrian burial customs, towers of silence and Zoroastrian communities in Islamic period have been studied. This paper showed tower of silence was a burial custom in Middle Islamic in Iran and had some mutual roots with Bandyian ones. Best example of these mutual features is a roof on these two towers of silence. What it shows roofed towers of silence continued to Middle Islamic period in Iran. Hence it is plausible if someone supposes towers of silence in Yazd, Kerman and Rayy are belonging to the second generation of towers of silence in Iran what is dating to after Middle Islamic period.

One of the most important and, at the same time, uncertain subjects related to Sassanid period is the recognition of common burial customs. Despite great attempts of Zoroastrian religious texts to represent a uniform burial tradition across the whole Sassanid Irānšahr, archaeological findings reflect plenty of variety in burial customs, including towers of silence (Dakhma) and ossuaries (astōdān), coffin burial, jar burial, cavity interment, and simple-pit burial. Out of the said customs, simple-pit burials are the most challenging, given the fact that they apparently stand against Zoroastrian teachings. According to Sassanid religious texts, the burial of the dead in the ground (soil) and infecting soil, a sacred element in Zoroastrian worldview, is repeatedly condemned and considered an inexcusable guilt. However, mounting evidence indicates that simple-pit burials are frequently observed across the Sassanid Irānšahr. How could this contradiction be explained? These burials have long been neglected because of being eccentric and divergent from Sassanid common burial traditions. Repeated discoveries of simple-pit burials make the reasonable supposition that this phenomenon was not an exceptional and unusual practice but a normal and probably common burial method. One of the instances of such burial tradition is recorded in Qaleh Iraj, where the corpse is in the crouched position. In the present paper, the authors investigate some examples of Sassanid period simple-pit burials and, then, describe the Qaleh Iraj case. Finally, the mentioned burial custom during the Sassanid period are examined closely. The results indicate that the burial of Qaleh Iraj is a lesser-known burial practice associated with architectural space previously reported only from Qumis and Gyaur Kala. In addition, according to the context, the burial of Qaleh Iraj is related to the final settlement phase of the southeastern gate and, therefore, attributable to late Sassanid period.

Art of wood working is one of the most important and beautiful arts of Islamic period. Artists of this era have created some of the most refined and precise ornaments on the rude surfaces of wooden artifacts. Because these artifacts are exactly a part of Islamic art, one can see influences of this culture on them. Unfortunately despite its importance, we do not have more samples of this wooden art in Islamic period. Because of their potentially destructible nature, these artifacts are rarely preserved during the time. Though, because wood is inexpensive and abundant, it is plausible to assume wooden artifacts are one of common artifacts in the history of past humans. One of these groups of Islamic arts is pulpits. Beside formal and decorative features, because pulpits at the same time have some social-political roles in Islamic world, these artworks have a prominent position in comparison with other Islamic artworks. For example some of Islamic sources mentioned that some of kings carried their pulpits whenever they traveled. History of these artworks goes back to the early decades of Islamic period. Thanks to Islamic sources, there is some information about structure of the first pulpits in Islamic period. Interestingly, structure of Islamic pulpits did not change much in this period. There are plenty of Islamic sources that let us know about this group of Islamic arts; from the first pulpits, their features and political-social roles to their religious and cultural importance. Pulpit of Naghoosan is exactly a true representation of wood art in Islamic era. This pulpit has been found by authors in a mosque warehouse in Naghoosan village in the Tafresh County, in a dreadfully badly preserved situation. This pulpit is damaged with cracks and even some parts of it have recently been burnt. It is really necessary to say that thanks to Markazi Heritage Organization, the preservation process of this pulpit is being carried out right now. Naghoosan pulpit has been made of walnut and celtis australis woods. These trees still exist in Naghoosan village which make one think that Naghoosan pulpit was built in this area with some woods from these trees. Creation technique of this pulpit is tongue and groove with use of glue and nail. The main frame of this pulpit is fretwork and pierced work which is common in most of Islamic pulpits. On the surface of this pulpit, some ornaments, as well as Kufic and Naskh calligraphic scripts of Quranic verses, some information about name of the patron and date of pulpit are carved. Naghoosan pulpit, thanks to its inscription, is dated 540 AH which makes it one of the oldest pulpits in the history of Iran. Since this pulpit has a great value in history of Islamic wood studies, this study aimed to investigate this pulpit in terms of some of its aspects. Firstly, it has been tried to introduce this pulpit as one of the most important and the oldest pulpit in Islamic world. Secondly, it is attempted to show some features of that from formal and decorative points of view. This study compares Naghoosan pulpit to its contemporary pulpits in the Seljuk period as well. The research questions are as follows: What is the feature of Naghoosn pulpit from formal and decorative points of view? To what extent is this pulpit influenced by the Pre-Islamic art of Iran? What are the similarities and differences between the Naghoosan pulpit and other Seljuk pulpits in terms of forms and decorations? What is its significance and status in the Islamic-era wood art in Iran? These questions have been answered to in this paper using a descriptive-analytical method. The data was collected using library and field research methods. The results indicate that the Naghoosan pulpit dates back to the Seljuk period (540 AH) which is the second oldest pulpit in the Islamic-era history of Iran after the Abyaneh pulpit. Besides, decorations of this pulpit reflect the influence of Sassanid art in the Seljuk period. However, despite some differences in decorations, Naghoosan pulpit has some common features with Seljuk pulpits in terms of structural forms. As it was mentioned, this pulpit has been found in a dreadfully bad situation. It is plausible to think this pulpit could potentially indicate more, had it been preserved in a good situation. Though thanks to these cracked remains of Naghoosan pulpit, here is more information about wooden arts and pulpits in Islamic period and the Seljuk dynasty. Based on the date and features of this cracked pulpit, this artwork is considered as one of the masterpieces of wood arts in Islamic world and the Seljuk period in Iran. It is hoped that after preservation and registration on national monuments’ list, this pulpit would gain its true position among wooden artifacts of Islamic world and the Seljuk dynasty.

 Qaleh Iraj is one of the Sasanian archaeological sites in Tehran plain. The site is enclosed by arectangular defensive wall (rampart), 1470×1300m in dimension; thus, the surface area of the site would be aound 190ha. So far, field investigations have yielded no extensive architectural remains in this vast area enclosed by the wall.For this reason, the main objective of the present paperwould be to locate the architectural structures related to the living spaces of the inhabitants. In addition, the second query to answer would be the spatial organization of the architectural structures recovered within the Qaleh Iraj rampart.To answer the principal question, it seems, due to the lack of architectural remains in the vast are enclosed by the wall and regarding the fact that such remains are abundant within the defensive wall itself, the inhabitants were probably living within the structures (numerous rooms) built inside the huge defensive wall itself and not in the whole site. To answer the second question about the spatial organization, it seems, according to the field studies, the architectural spaces were systematically builtwithin the entire defensive wall of Qaleh Iraj, including stunning 828 similar rooms, one all-embracing corridor, 148 watch-towers, and some exterior arches.

This research was conducted in order to search for the living spaces of the inhabitants of Qaleh Iraj. Due to the fact that they were absent in the whole 190ha area enclosed by the wall, the huge defensive wall was chosen for archaeological excavations. After the discovery of abundant architectural remains within the defensive wall itself, these remains were examined thoroughly. Finally, some hypotheses were offered for explaining the spatial organization of the architectural structures.

In this research, descriptive-analytical method was used to answer the questions of the study. In the first step, the architectural remains that discovered from the field investigationsweredescribed and then, by putting the jigsaw puzzle pieces together as a whole, archaeological examinationsweredonein order to develop hypotheses on thespatial organization of the defensive wall elements.

The presence ofarchitectural remains within the defensive wall or rampart of Qaleh Iraj was unknown previously. Field excavations indicated that the defensive wall itself contained numerous rooms and a corridor and these were built for the sake of living of the inhabitants. As a result of the mentioned archaeological discoveries in Qaleh Iraj, it is now clear that the architectural structures such as rooms were built all over the defensive wall, executed in a similar fashion.The remains within the defensive wall include rooms, a corridor, watch-towers, and exterior arches. In addition to what mentioned, it seems the architectural system was changed in the later phases possibly due to security reasons.

Tepeh Bahram is located next to Moghim Abad village in Rayy County in Tehran plain. This site has been fortified with three walls and some towers. In archaeological survey of Tepeh Bahram no reliable materials about its dating and function were found- unless some rarely brick and pottery sherds. Hence the first excavation season has conducted to reveal some archaeological findings about dating and the function of this site. Besides, an archaeo-geophysics survey was conducted to detect and suggest some archaeological data to excavate. Based on excavation findings and archaeo-geophysics survey, this paper tried to present some hypothesis about dating and functions of this site. In this regard two important questions arose about the dating and the function of Tepeh Bahram. This paper was done using a descriptive-analytical method studying some files and library documents. This paper showed Tepeh Bahram is a Buyid site. Tepeh Bahram was probably a luxury center and at the same time an industrial area in early Islamic period. Thanks to some kiln wasters in the last phase in some parts of site, Tepeh Bahram mainly had an industrial function in this time.