جستجوی مقالات مرتبط با کلیدواژه "coin" در نشریات گروه "تاریخ"

Investigation about coins of Persian and Non-Persian Kings that mint in Persia is an important archaeological subject. In this regard many scholars published many books and articles about this subject. This paper critically reviews the book entitled The Pre-Islamic Coinage of Iran (The Achaemenid to the Sassanid) that written by Bita Sodaei and published in Persia. As its name implies, the coins of the Persian and Non-Persian kings from the beginning of the rule of the Achaemenid until the end of the Sasanian era are introduced and typified. This book was written based on the turbulent repetition of the past material with old and sometimes false views, without any analysis, innovation and addressing fundamental issues.

Numismatic studies have an important role in reconstructing the history and culture of governments, which can be an accurate source of information about the past, and with their help illuminate a dark and forgotten part of history. Alexander the Macedonian established Characene in 324 BC, for commercial purposes at the bank of Arvand River. The Seleucid kings ruled this city until 127 BC. Until Hyspaosines founded a local government in this region in 125 BC. Historical sources give researchers a little information about the local kings of Characene. Therefore, identifying and studying Characene coins in museums can significantly contribute to elucidating historical events during this period and fill the existing research gaps to some extent. This study aims to introduce the Characene coins of the National Museum of Iran and to examine historical events through the coin. In this research, field and documentary methods with a historical approach have been used. The results show that the Characene coins in the National Museum of Iran belong to the kings Hyspaosines, Mithradates II, and Attambelos Kings. Historical and numismatic studies show that these kings had trade relations with the Arab regions of the Persian Gulf from the period of Hyspaosines to Attambelos VI, which politically, these local rulers played the role of negative balance in the region. However, from the period of Pacorus II (AD 131), the administration of this region was entrusted to the Parthian princes and in this way limited the power of local rulers.

The migration of Alid’s Sadat to Tabaristan and Daylam that was the result of pressure of the Abbasid caliphs, along with the subsequent uprising of Yahya bin Abdullah in Daylam led to the spread of Zaydi Shia in northern Iran. Taking advantage of the geographical isolation of these provinces and their distance from the central states, Alids succeeded in forming the first Shi’ite state of the Islamic caliphate without the permission of the Abbasids by attracting the support of the Ispahbads and local people. Hassan ibn Zayd became the leader of this new government, i.e. the Alids of Tabaristan, after the victory in Amol. Amol, Sari and Gorgan, along with the Daylam, were among the areas ruled by the Alids for about 20 years. Hassan ibn Zayd declared the Zaydi Shiite as the official religion of his government. One of the tools used by the Alids to legitimize their rule was their coins. Since coins are amongst the most authentic and significant archaeological evidences, this study has attempted to answer the question of how the Alid themes used on the coins differed from those used on the standard coins of the Abbasids and how the new verses were multiplied? The studying of the coins and historical sources indicates that the Alid of the Tabaristan with the aim of proving their political and religious legitimacy, deliberately minted coins containing verses of the Holy Quran, which were capable of interpreting the position of the Ahl al-Bayt and Jihad against the Abbasid caliphate. Thus, despite the fact that the Alid coins were quite similar in design to the Abbasid coinages, they were quite distinct as they conveyed such concepts as the support of the Prophet's Ahl al-Bayt, Shiite propaganda, and the opposition to the Abbasid caliphate.

A coin is one of the most important archeological artifacts scattered in distant lands due to its economic-financial function and importance in this regard. It can be said that coins, like the pottery, are distributed throughout the empire and sometimes beyond. The economic value and significance of these works and the raw production material ensured their preservation and stability for centuries. These characteristics led to the constant use of kings, caliphs, and rulers as a medium for expressing political and religious views and propagating the empire. For this very reason, the central governments used them as a sign of their guardianship over the territory; the emperors, princes, and local rulers also consistently declared their allegiance, coinage, and various forms of coinage. From an archaeological point of view, while receiving the exact date of construction, they facilitate the chronology of archaeological layers. Because the canvas coin is so important in capturing and preserving past governments' political and cultural views, it is also of great importance in archaeological interpretation and analysis. Coins were one of the most important landmarks for portraying the faces of kings and rulers before the spread of Islam, and the inhabitants of the farthest parts of the land could see their ruling face through them. However, in the Islamic era, despite the activities of some local and regional rulers, the depiction of the ruler's face and other human and animal arrays on coins disappeared in general, despite the prohibition of portraiture.Meanwhile, copper coins called follis appeared in a different form, especially in the later centuries of the Islamic period. The line of prohibition was not observed for them, and mainly by local multiplication, they became a significant canvas for depicting animal faces and celestial bodies. Research has been done on the function of these motifs; some have attributed them to the constellations of the zodiac, while others have described them as repetitions of ancient imagery that pre-Islamicized. Some noted the religious use of these arrays.In the Iran Money Museum exhibition section, there is a dirham of Kaykhosrow Kiqbad, the merry king of Roman Seljuks in the seventh century; AH, and several follises that carry remarkable astronomical motifs and constellations. They have not been considered in independent and unique research despite preparing an export file. In the present study, an attempt was made to study these samples, introduce them and obtain their characteristics. Attempts have also been made to bring the function of the motifs to the extent to which historical sources, historical geography, and archaeological documents contribute.From the time man needed to know the time and place in the regulation of daily affairs, he noticed the apparent and esoteric movements of the planets, including the sun. He also quickly directed the light and heat of the day and year and the adjustment of the seasons to the sun. Hence, he valued it and other planets more than ever; besides tying his destiny to their actions, he was also given a divine status. He attributed much of what was happening or happening around him, including the weekly colors, the days of the week he had set, the weekly minerals, the components of the human body, and so on, to the seven constellations he knew. These objects became more and more critical in his thoughts because he was able to accurately observe their movement in the houses of the celestial sphere to determine the exact time of day, week, month, and year. So he tried to reflect the image of them or the signs of the calendar he had set on them in works of art and architecture.Communities' need for declining mid-value money to meet daily needs led to the creation of copper coins. That is why the local governors used their multiplication with the permission of the central government. Specifically, in the text of the expressions of the Safavid period follises, its local content can be seen; Because there are no more poems such as "The servant of the king of the province ...", "The coin hit the gold ..." and "Behgiti, the coin of the Qur'an ..." which was exclusively in the hands of the kings of this period. On the other hand, the annual and, at various times, non-renewable validity of these coins and their limited regional value had detrimental economic effects on the general public. The yearly renewal, despite the available results, guaranteed meager incomes for the central government and local governors. Counterfeiting in the minting of these coins had also become commonplace. These few factors led to the coinage of what had initially been an efficient solution for tax affairs based on the economy itself and gradually the economic decline of governments.At times, the base metal of coin production, especially copper, fluctuated in frequency; In such cases, copper utensils were also used in commercial exchanges and used as a means of exchange. Sometimes the dishes were cut into pieces different from the usual shape of a coin tablet. Coins were stamped in the mint, and coins were found and offered to the market. The unusual form of some Money Museum coins goes back to such exceptional circumstances. These types of currencies were popular in financial relations with letters such as "scrap," "small money," and "broken money." Insufficient supervision by the central government and the need to mint coins in large quantities had minimized the accuracy of minting. For this reason, in many specimens in which the coins of the Money Museum are mainly classified, the position of the designs and expressions do not overlap with the circular surface of the coins and sometimes did not mint.In other words, part of the vinegar is pounded out of the metal tablet during production.The frequent presence of figures in the symbolism of the Iranian and Islamic calendars with the sign of the month of the year or in astronomical rulings as the time and hour of Saad and Mubarak, and at the same time with the same image on the coins of the Money Museum, induces a similar function. This is true when we recall that in the thirteenth year of his reign, Jahangir Gurkhani ordered that in a few years, his gold coins be stamped with the symbol of the Twelve Towers, which are the twelve houses of the Sun 365 days a year, in a vivid way. Although doctrinal and religious themes can be found in some of the other coins, they are also commonly found in coins of the Money Museum and many other Islamic-era coins recorded in different public and private collections; others, although they may not show a specific month or year, mark a duplicate aspect of celestial bodies or the constellations. In other words, although many of these motifs appear to have a particular purpose in depicting the constellations of the zodiac and the periodic animals of the Chinese-Tatar calendar, they may not represent a particular year; Because multiplying a large number of them in a certain year and with various animal motifs, makes their relation to a certain year seriously questionable. Therefore, this category should be considered purely imitative and not necessarily with a calendar function.The coins of the Money Museum of Iran belong to the seventh to the end of the thirteenth century AH; One dirham belongs to Ghiasuddin Kaykhosrow Kiqbad, king of Roman Seljuk. This coin plays the role of the lion and the sun, which was the fortune of the king. Although, according to historical reports, another meaning of this role has emerged in the opinion of Shah Seljukh, one can find the horoscope of Ghias-ud-Din Kaykhosrow, which is the same tower of Assad with the presence of the sun in it. In the science of the ancient delegation, among the zodiac constellations, the lion or Assad is known as the house of the sun; That is, the sun was in the Leo, which is equivalent to August in the solar calendar. Whenever this happened naturally, it was also considered Saad clock; because at this time, the power of the sun and its warmth in Mesopotamia and the vast geography that has long carried the Iranian culture, due to the natural distance between the two seasons before after, more than ever. This idea found another face in the later centuries of the Islamic era. The new aspect goes back to the Shiite culture of the Iranian governments; the sun or sun was depicted as a symbol of the Holy Prophet of Islam (PBUH) and the lion as a symbol of the first Imam of the Shiites, Hazrat Amir al-Mo'menin Ali (AS). To express this religious idea explicitly, the phrase Yam Mohammad in the form of the sun and Yaali in the form of a lion are multiplied. Other museum coins are, in fact coins from the later centuries of the Islamic period, one belonging to the late Timurid period and several others minted in the Safavid and Qajar periods. The role of two symmetrical fish on the coin of the Timurid period is a repetition of the same pattern that has been seen in many works of art of the Islamic period; This array is considered the symbol of Pisces, which is equal to March of the glorious calendar, and a similar interpretation can be given in the examples of the Money Museum. The role of the sun, identified with the human face, can be seen in two examples. This array of repetition is the same form that existed in pre-Islamic art without a human's face. The importance of this star in providing some of the vital needs that before Islam had given it a quadruple rank is effective in its entry into works of art. In the Islamic era, he appeared in the form of the sun in works of art and architecture, and in the late Middle Ages and later centuries, he continued his artistic life with a human face. Apart from the importance of the astronomical and calendar function of this star, which has been constantly considered by human beings in compiling the first calendars, it also found another aspect in the Islamic era, namely that the sun was considered a sign of the presence of the Holy Prophet of Islam (PBUH). And they used architecture.On some others, an example of which is given in this article and belongs to the middle of the Qajar period, changes were made to the lion and sun emblem, and Zan became the official emblem of Iran; The change, which had a religious color, was that the lion's array was identified and a sword was placed in one of his hands. This sword is a symbol of Zulfiqar Imam Ali (AS). In other words, the sign that was previously represented by the phrase Ya'ali in the early Qajar period was completed with the annexation of Zulfiqar. In this way, the ancient and national emblem was combined with the Shiite religious idea and found its final form and was preserved on or on the back of Iranian coins for a long time.

Numismatic study of Arab-Sassanid coins can be a turning point in the numismatic study of Both Sassanid and Islamic era. It provides us with extensive information about victories, conquerors, governors, political and administrative geography and etc. General motifs, themes, writings, and pictures on the coins show no different with the Sassanid Dirhams but according to the inscriptions they date back to the first centuries of lunar calendar and categorized as Arab-Sassanid coins. In winter 2012, Vali Zareie found 4 coins in a small shelter at Dūkohak, a small village near the town Arsanjān. The coins had undergone some erosion during the course of time. 2 of them were minted at Bishāpur and Dārābgerd in 34 and 75 A.H which carry the name of Muslim governers Abdollah-ibn-Amer and Mohleb-ibn-Abisofreh in Pahlavi alphabet. The other 2 do not have any Arab governers’ name and the name of Khosrow II (Khoasro Parviz) is readable on them in Pahlavi alphabet; they were minted in 33 and 50 A.H at Jay and Nahāvand. In the following research beside defining the spot where the coins are found the historical geography of the location Dašr-e Tavābec-e Arsanjān and Dūkohak village within Sassanid time and the first centuries of Islamic era, plus the location where they are minted will be studied.

Coin minting is basically a symbol of the formation and confirmation of a political sovereignty. The Shiite rulers of al-Boyeh were among the local and regional governments of the geographical area of Iran, that  after the establishment of a political government in the year 322 AH and in imitation of the previous governments, according to the usual practice, coins were minted after the formation and stability of the political government. It seems that in the early days of the rule, the Al-Buyeh family used some of the symbols of the Abbasid dynasty and before it in their coins to validate and legitimize their political rule. that with the passage of time and the entry of this Shia political rule into the middle and final period; All the symbols of other local and regional governments have been removed from the front and back of the coins and replaced by symbols that show Shiite vision and thinking, and gradually with the passage of time, these symbols have reached a stage of maturity and complete guidance . It is one of the very important topics that the current research has aimed at, in addition to searching and analysing historical sources and new researches, to explain the reasons, motivations, and existing platforms for this change and transformation in the coins of Al Boyeh. to do and the nature of using these symbols and why not using another symbol as well as their growth and excellence from 322 to 454 Hijri, a period of 123 years with this question; What are the indicators of the minting of the coins of the Shiite Albuyeh rulers in Iran? How to challenge its adaptations, innovations and differences to other coins? Preliminary studies show that the Albuyeh ruling family, like other ruling families of their time, had to first legitimize the newly established system. They use the symbols of Bani-Abbas and before that in their coins and with the passage of time and the establishment of political rule, they tried to include Shia and Iranian symbols on their coins and their rule by minting dinar coins. (gold) and dirhams (silver) to everyone.

Understanding the elements and motifs is very essential in archaeology. The motifs on the coins play an important role in the knowledge of ancient religion, sects, and myth and illuminate the history of many religious events. Coins have a significant impact on the knowledge of art and, studying can help, how art progresses and degenerates in different eras and ethnicities. The study of coins is of great importance in archaeology, especially in historical times. Because by using the motif elements of coins, can be achieved of government, ideology and economic system in the past societies. The primary purpose of this study, to identify the symbolic motifs of 405 Parthian Bronze coins in the Kolbadi museum of Sari, which these coins discovered in 2011 in Babol. The main point is the unique motifs of these coins, mainly geometric and symbolic motifs, discovered in several Parthian coins. most motifs on Parthian coins have been symbolic and human motifs and, religion had a significant impact in creating symbolic motifs of these coins. This research has been using analytical – experimental and using expert and observation of these coins in the Sari museum. The result shows that the prominent motifs of these coins are symbolic especially, the moon, star, anchor, royal ring and, wheat, which these motifs related to the religion of the Parthian period. The symbolic crescent moon is one of the elements of light and fire, which these motifs related to the religion of the royal ring are one of the sun symbols.

The application of semiotic approaches in the study of the themes of coins, considering the written-visual feature of the visual elements of coins, can reveal their hidden and implicit meanings than other artistic texts. Relying on semiotic approaches (especially its poststructuralist concepts), this study has considered the themes in the visual elements of the Ilkhanids coins and in this way has used the theory of legitimacy of power of David Bettham. The main question of the research is “what is the interaction and semantic relations of the codes of the Ilkhanid coins?”; and “how are the symbolic systems manifested in them?” The data was collected using library resources and implementing an analytical-historical approach. The results reveal that using this method involves broader paradigms and leads to a better understanding of connotations in coin themes. The meanings of visual elements in coins of Hulagu Khan reign until the middle of Abaqa Khan rule indicate the Khans' efforts to gain the first level of legitimacy and the elements in coins near the end of Abaqa Khan rule to Gaykhatu Khan indicate the Khans’ failure to promote their justification goals and lack of common beliefs (the second level of legitimacy) by minting coins with Christian, Jewish (Star of David) and even Shiite themes. After Ghazan Khan until the extinction of the Ilkhanate dynasty, the coexistence of Islamic, Uyghur and Iranian codes in the coin themes occurs simultaneously with the third level of legitimacy in the society. In this period, the symbols of the main pillars of power (political, religious and economic) coexist harmonically in the coin themes and are a reflection of the power network. In this period, the meanings of coins had become a kind of semiosis through the expansion of intertextual connections with other areas.

After killed Yazdgerd III the last king of Sasanian Empire and Decline Empire, Muslim rulers immediately mintage coins that called Kasravi that named Arab-Sasanian coins by scholars today. Investigation about Arab-Sasanian coins is an important archaeological subject and many scholars published some books and articles about that. This paper critically reviews the book entitled “the A Special Coin, in the Transition period from Sassanid to Islamic”. This book is not a research book in the field of Arab-Sasanian coinage, but a catalog in this field that does not have much value and it does not provide valuable information to the academic and scientific community, and to the general public.

Coins are one of the most important findings in archaeological excavations, which are the best examples of historiography after geographical and historical sources and texts. By and analyzing the information contained in them, information about each region in various fields such as history, culture, economy, politics, religions and social conditions can be completed and more accurate judgments about the identity of that community can be obtained. In the archeological excavation of 2009, in the historical site of Zolpabad, Farahan, Markazi province, twenty complete coins and five cut scissors were found, which we will study in this research. The purpose of this study is to read the calligraphy,mint place, motifs and visual elements used in their decorations in order to achieve a connection with religion, language, calligraphy and their use in commercial and cultural exchanges. The present study is a historical research based on nature and method, descriptive-analytical research based on archaeological field and a library studies. The most important of questions in this research are: the coins discovered from the archeological excavations of Zulfabad What are period and which of the rulers? What are the qualitative and quantitative characteristics of these coins and what are the visual elements governing the decorative motifs struck on them? And what does indicate the presence of these coins in this site  ? The results of this research show that the coins discoverd from Zolfaabad are belong to three early rulers of the Ilkhanid period, namely HulaGu, Abaqa Khan and Ahmed Tekuder. These coins have inscriptions in Uyghur and Kufic script, Religious inscriptions in geometric decorative frames consisting of circles and squares, floral motifs and squares are the most visual representations used in these coins.

The Elymais, as a semi-autonomous and sometimes autonomous satrap, had a special place in southwestern, western, and southern Iran at the same time as the Seleucids and Parthians. Most of the Parthian monuments are located in the Elymais geographical region and many of the traditions that were manifested during the Sassanid period have been the main achievements of Elymais culture. Despite the wide range of artifacts identified during this period, many aspects of the Elymais rule are still unknown. Coins as useful and index data in archaeology, due to their durability and frequency, by studying motifs and texts, provide valuable information about different periods. In addition, the use of laboratory science on these findings provides useful supplementary information for researchers. In this article, a collection of bronze and silver coins belonging to the Elymais period were studied by the PIXE method, in order to answer the questions about the concentration or purity, the number of mines, the number of mints on these coins, and the appearance of these compounds in understanding the economic and political structure of the period. To achieve these purposes, 35 coins from the Elymais were analyzed. These coins ranged from 85 BC to the early third century AD. The results showed that the analyzed coins were minted in six mints and their raw material was different from the three mines. On the other hand, the ratio of the percentage of the main elements of coins in the three Elymais periods are different and the decreasing trend of silver and copper percentages and the increasing trend of lead percentage in the analyzed coins indicate a better coin minting situation in the first Elymais period than the second and third periods, and the better political and economic situation of the kings of this period; In addition, the domination of the Elymais over Susa had a direct effect on the purity and better quality of their coins

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.

The existing knowledge about different strata of women in the Seleucid society is not inclusive. However, as the surviving artifacts show the women of the royal family are better known in this period. The present study, using a descriptive-analytical method and based on existing historical sources and archaeological evidence such as coins, inscriptions, seals, and seals, has investigated the position and status of women in the royal family in the Seleucid period. The purpose of this study is to understand the presence of women of this period in the political, economic, religious, and social spheres. The study shows that several women in the royal family have appeared very powerful in various fields including equipping and leading the army in times of need, sometimes opposing the son as viceroy, or relying on the throne. The worship and naming of the famous women for the cities of this period such as Apame, coins, and seals, indicates the position of the court women in this period.

Intertextual and extratextual forms of inquiry refer to the same process of discourse analysis and seek to discover open and hidden meanings in discourse. Through a study of the poems engraved on the coins of the period of Shah Abbas II, the present study aims to provide some answers to the following questions: What do the Persian poems on the coins refer to? Do the intertextual meanings conveyed through morphological, syntactic, and rhetorical devices denote the intended meanings of Shah Abbas’s words? Is it extratextual or metalinguistic factors which impose his intended meanings on the engraved poems? Following a library and interdisciplinary (literature and archeology) approach, the author has carried out a descriptive-analytic research in order respond to the mentioned questions. A discourse analysis of such poems demonstrate that Shah Abbas placed greater emphasis on extratextual factors than on intertextual ones, which demonstrates his intention to reflect the Iranian national culture and identity and consolidate the Twelver Shi’ite religion through the use of these poems.

The inscription of the phrase “Shah of Iran” on a coin from the era of the reign of Qizil Arsalan (582-587 AH), one of the Atabeks of Azerbaijan (541-626 AH), is considered a novel and unique deed. The use of the word “shah” on coins in post-Islamic Iran was not new, and the rulers of the Buyid dynasty and then the Seljuk dynasty used this word on their coins; but the juxtaposition of the two words “shah” and “Iran” is considered new in the history of post-Islamic Iran. This not only was unprecedented in the history of post-Islamic Iran, but was not repeated until the reign of Nader Shah Afshar. The main issue in this research is the study and analysis of the reasons for using the phrase “Shah of Iran” on this coin. After gaining religious legitimacy, Qizil Arsalan sought to gain national popularity. Therefore, he had silver coins minted and the words “Shah of Iran” inscribed on them — silver and shah being the symbols of ancient Iran. It is important to note that the region of Azerbaijan was one of the bases of cultural ideology during the Sassanid era, and Sassanid traditions were rooted in this region. In addition, the poetry of the Azerbaijani school reflect the poets’ interest in Iranianism, and this influenced Qizil Arsalan. Considering his untimely murder and reviewing the poetry collection of poets such as Zahir Faryabi and Khaghani Shervani, we realize the failure of Qizil Arsalan in gaining national popularity.