جستجوی مقالات مرتبط با کلیدواژه "سکه" در نشریات گروه "هنر و معماری"

The utilizing of script elements with textual inscriptions on artifacts, particularly coins, has played a pivotal role in shaping diverse lines and an array of writing styles and letter forms throughout history. This study, grounded in descriptive and exploratory methodologies, seeks to meticulously analyze and scrutinize the visual attributes of coin inscriptions from the Ilkhanid period, which are housed in the prestigious Malek Museum. These artifacts, carefully selected from a vast repository of over 400 specimens, stand out due to their distinctive line features, captivating the attention of scholars and enthusiasts alike with their visual allure and historical significance. Central to the examination of these coins is the prevalent use of Arabic/Persian in Kufic script, often accompanied by phrases in the Mongolian language, occasionally influenced by the Naskh script. Thus, the primary objective of this research is to identify and elucidate various script styles and the unique characteristics of different Kufic lines employed on coins during the Ilkhanid period. Through meticulous analysis, this study uncovers a remarkable diversity among samples of Kufic lines, each exhibiting its own nuances and artistic expressions. Despite sharing commonalities, these lines showcase significant flexibility, offering a rich tapestry for artistic exploration and innovation in letter design. The unique breadth and variety of lines used on the coins of this era is such that each of them visually has significant similarities and differences with each other. The differences are clearly visible both in detail and in general outline. The lines are intermingled with all kinds of geometrical, plants, leaves, flowers and Arabesque motifs, and also some letters end in a decorative shape. Many decorative tendencies that can be seen in the types of kufic scripts have given them a distinctive style. Beyond the immediate scope of this research, its broader aim is to contribute to the enrichment and diversification of contemporary letters and writing practices. By shedding light on the intricate details and historical context of coin inscriptions from the Ilkhanid period, this study lays a foundation for further investigations into the evolution of script and calligraphic traditions. Moreover, it underscores the significance of artifacts housed in institutions like the Malek Museum as invaluable resources for understanding and preserving cultural heritage. In conclusion, this research serves as a testament to the enduring legacy of script elements on artifacts, particularly coins, and their role in shaping diverse writing styles and letter forms. Through meticulous analysis and exploration, it not only enriches our understanding of historical artifacts but also provides a platform for the exploration of innovative perspectives in letter design. Therefore, taking advantage of the diversity of writing and investigating the unlimited visual capabilities of these lines and focusing on their structural features; can help us to achieve different tones in contemporary writing. Ultimately, it is hoped that this study will inspire further inquiry and appreciation for the richness and diversity of script traditions across different cultures and epochs.

Identifying the material and the main substrate of a cultural artifact, as well as the surface sediments in the process of conservation and restoration plays a significant role in determining the appropriate methods and ensuring the longevity of the artifact. To achieve this, the use of laboratory-based, instrumental, and microscopic techniques is indispensable. While some experts might be able to recognize the nature of the coin at a glance, this is not always possible, especially when it covered with substantial deposits or when its authenticity is in question.  Therefore, in addition to experimental knowledge and comparative studies, precise laboratory methods are necessary. In the research has been carried out in the workshop of conservation and restoration of metal works of the Research Center for Conservation of Cultural Relies, we encountered instances familiar to many dealing with coin collections. For example, coins with a silver appearance that have become darkened and tarnished due to deposits caused by the surrounding environment and wear and tear, might initially seem to be silver.  However, further investigation often reveals that they are of different alloy or have a Silver coating, or they have been silver-copper coins buried in soil, where deposits and extensive copper corrosion products sometimes make the identification more challenging. Various methods are employed in the study of coins to clarify the economic, social, and political conditions at the time of their minting. Techniques such as PIXE (Particle-Induced X-ray Emission) and XRF (X-ray fluorescence) have attracted more attention from researchers for reasons such as accuracy and non-destructiveness nature. However, it should be considered that in order to obtain a clear and accurate results, the surface of the coin needs to be clean and free of any kind of contamination before conducting these analyses. This underscores the importance of adhering to proper restoration processes for these historical artifacts. Before commencing cleaning, the conservator must consider factors such as the identification of the coin, its surrounding environment or burial and storage conditions, structural aspects, precision in coin minting, and its pathology. Assessment of these factors, not only helps numismatic studies and determining the authenticity of coin, but also assists in selecting the optimal method of cleaning. It should be kept in mind that the inappropriate selection of chemicals or the use of unsuitable mechanical tools can cause serious damage to the artifact's surface and disturb subsequent studies. this research introduces various methods used in the field of study of coins, both hammered and machine-struck, tend highlights the role and importance of laboratory studies in this context.

Afsharid and Zand arts have long been neglected as the artistic achievements of the Safavids and the Qajar in Iran have been under the spotlight. As the currency for business transactions among nations, coins can be studied from a cultural and artistic perspective in addition to their economic dimension. As the time passes, coins, banknotes, and other tools for transactions have gained a function beyond their initial purpose and as documents, they contain valuable information. Preliminary studies showed the difference in the shape and content of legends, framing and patterns of coins minted during the reigns of Nader Shah Afshar and Karim Khan Zand in Iran. Accordingly, this comparative study aimed to examine the inscription, framing and patterns of coins minted during the Afsharid and Zand periods and analyze the roots of their differences. The central question was raised as follows: What were the influential elements in the formation of the legends on coins during the reigns of Nader Shah Afshar and Karim Khan Zand? In this regard, the main purpose of the study was understanding the similarities and differences of the coins in their inscriptions, framing and patterns. There is a lacuna of research on the works remaining from some historical eras although they are temporally closer to the contemporary era. As artistic texts, coins can be read within different discourses. There is an evident change in the legends, framing and patterns of coins minted during Afsharid and Zand periods in Iran. In addition to providing a social study through analysis of coins, the significance of this study lies in expanding the specialized knowledge in the neglected artistic fields of 17th century AD/12th century AH in Iran. Therefore, the analysis of legends, framing and patterns during the Naderi and Zand eras can fill this research gap. It seems that various socio-cultural aspects of the Afsharid and Zand eras were reflected in the various dimensions of the coins minted by the shahs at the time.This qualitative descriptive-analytical study was conducted through library research and observing the coins remaining from the reigns of Nader Shah Afshar and Karim Khan Zand. The writing system (legends) and the visual system (framing and patterns) were examined and the coins were studied comparatively to find the similarities and differences of the samples. The data were collected through library research and the studied samples were selected through convenience sampling. Through non-probability sampling and according to the components of the study (legends, framing, and patterns), a total of 10 coins were selected from the coins minted in Isfahan, Shiraz, Tabriz, Mazandaran, and Qazvin, Iran. The collected index cards were reliable instruments for this study.The comparative study of the legends on the coins minted during the reigns of Nader Shah Afshar and Karim Khan Zand indicated considerable differences in the writing systems of the eras. Given Iran-India relations during the reign of Nader Shah Afshar and his military campaign reaching to the border of India, Iran’s art was influenced by Indian art and culture at that time. However, Karim Khan Zand was much more influenced by ancient Persian arts, Safavid art and even the actions of temporary rulers before him in the field of coinage than the artistic and cultural models of the Naderi era.  It seems that Nader Shah Afshar and Karim Khan Zand saw coins as tools to propagate religious rites and political beliefs. It is interesting to note the variety and development of rites in Naderi coins during his twelve-year reign. Only in the limited studied coins in five mints of Isfahan, Shiraz, Tabriz, Qazvin and Mazandaran during the Naderi era, the legends were selected variously as in the following.“Sekkeh bar zar kard nām-e saltanat-rā dar jahan/Nader-e Iran zamin o Khosrow-e giti-setan” [The Nader of the land of Iran, the sultan who seizes the world, coin in precious metal broadcast the name of this sultanate throughout the world].“Hast soltan bar salatin-e jahan / Shah-e shahan, Nader-e sahibqiran” [He is the ruler over all the rulers of the world/Nader, the king of the kings, the owner of the Qiran].“Az Khorasan sekkeh bar zar shod be toufiq-e khoda/Nosrat emdad-e shah-e din Ali-Musa Reza” [The coin was struck in Khorasan with blessing of God/With help from the king of religion Ali ibn Musa al-Reza (al-Rida)].On the contrary, only a single legend was inscribed on the similar coins during the reign of Karim Khan Zand: “Shod aftab o mah zar o sim dar jahan/az sekke-ye emam bar haqq saheb zaman” [Of the coin of Imam Zaman /Sun and the moon became gold and silver]. Selection of such a legend on Karim Khan coins is rooted in his policy. Karim Khan outwardly kept his links with Ismail III, the last of the Safavids, and the ulema. To gain the political legitimacy he needed to continue his rule, he assumed the title “Wakil-al Raʿāyā” [deputy of the people] and minted coins with the name of the twelfth Shia Imam, Muhammad al-Mahdi (Ṣāhib az-Zamān). In this way, he received the support of the clerics and the ulema to gain legitimacy. Karim Khan tried to continue the discourse of Mahdism propounded during Safavid era. His selected legend on the coins led them to be known as “Ṣāhib az-Zamān” coins. Adherence to this legend could indicate the universality and rootedness of the belief and discourse of Mahdism during the Zand era. Such an approach may have been for the revival of Mahdism, which is one of the initial principles in the formation of the Safavid government, or the need for the support of a savior after the hardships and sufferings the Iranian society went through following the fall of the Safavids. Although these causes may seem correct, lack of social, religious, and political base of the Zands within the Iranian society and Karim Khan’s attempt to gain the trust of the ulema and clerics account for him using the “Ṣāhib az-Zamān” legends on coins.The comparative study of the writing system of coins during the reigns of Nader Shah and Karim Khan showed that the legends had more variety during the Afsharid peiod. The forming principle of inscriptions on Naderi coins were representing Iranianism, displaying power, and endeavoring to eliminate Shia conflicts. However, Karim Khan sought to continue the tradition of legend selection similar to the past rulers, particularly the Safavids.The framing as the overall structure and form of Afsharid coins minted in five mints under study can be categorized into three groups including “pearl-shaped”, ‘simple circle”, and “Tughra”. On the other hand, the framing had more variety in the coins of Karim Khan’s era for which seven types were identified: “Stigma-shaped”, “pearl-shaped”, “simple pomegranate flower”, “four-armed”, “crescent-shaped pomegranate flower”, “citron-shaped with stigma”, and “epigraphic”.The patterns of the coins from both periods were pretty much similar and had no substantial difference. However, the decorations and patterning of Karim Khan coins were greater in number compared with Naderi coins. Two types of patterns, namely connected and broken, were identified in terms of the connectedness of the patterns, and in the studied coins, there were only floral and geometrical patterns. Floral patterns, particularly simple round flowers (seven-, six-, five-, four-, and three-petal flowers) and geometrical patterns such as simple small circles were the most frequent patterns observed on the coins of both periods. Arabesque pattern was observed only on a Karim Khan coin minted in Shiraz. The comparative study of the coins revealed greater variety in the legends of Naderi era coins compared with those of Karim Khan era. A single legend or maximum two types of legends were identified for the Zand period. Framing had more variety in Karim Khan coins. The coins from both periods were most similar in their patterns. The only difference was that connected and highly-decorated patterns were found more on the coins from Karim Khan’s reign. Overall, simple round flowers in floral patterns and simple small circles in geometrical patterns were the most frequent patterns found on the studied coins.

The various types of coins with different materials, shapes, and themes in each period are a reflection of the cultural functions of that period, and in addition to the economic function, have presented a set of ideologies of the ruling system. Coinage is one of the first obvious signs of civilization and a kind of beginning of the complex social life of the tribes. Patterns and themes engraved on coins have been a constant trend throughout history, but on the other hand in each period they would change and these changes have been influenced by the political and religious attitudes of rulers and artists who designed these coins. The coins of the Safavid period are no exception to this rule and these works have been an important platform and media for the presentation and expression of ideas and beliefs of the time, and the Safavids have used this tool well. Shiite religion, which played a key role in the formation and perpetuation of the Safavid rule, also played an important and stable role in the formation of culture and art of this era, and this area was not unaffected by the change in ideology and social developments of the time. By changing the political, military, economic, and religious structures in Iran, the Safavids achieved significant development, progress and cultural advancement. The concentration and integration of the Safavid state organization caused all the arts to flourish and many productions to be made in all fields of art, and thus the arts in this era grew significantly in quantity. The works formed during this period, backed by valuable experiences of the Timurids, had a unique strength and integrity and masterful skill that is less seen in the post-Safavid period. Shiite philosophy and thought had a special manifestation in the works of this period, to the extent that with the recognition of the Safavid Shiite dynasty in Iran, artists put more emphasis on Shiite themes as the basis of their works and used Shiite calligraphy and religious ideology in applied arts as decorative elements and tools to propagate and strengthen Shiite values. Due to the existence of two characteristic features of Shiite religion and national identity, the art of this period had become a tool for expression and was used in service of the religion. Various disciplines of art in this period were associated with Shiite thought, and symbolic language expressed the ideas of this religion. Iranian and Shiite artists reflected the spirit of Shiite thought, i.e. devotion to the family of the Prophet and the Imams, and especially Ali ibn Abi Talib (AS) himself in various ways in their works of art. This article aims to explore the hidden and less studied characteristics of copper coins or foluses of this period. Accordingly, while introducing the silver motifs on these foluses, it analyzes the motifs regarding the image of "lion and sun" as a relatively recurring theme in these works. This research with a descriptive-analytical method and historical approach, studies the content of the theme of "Lion and Sun" engraved on the common foluses of the late Safavid period, based on prefixes such as: "Content of common astronomical knowledge", "presented descriptions", “Shiite index themes in the content of narrations and hadiths" and "descriptions of Shiite index themes in literary sources", "written themes of contemporary coins" and "functional contexts of these coins". Data collection was done by library method and their analysis was qualitative. 41 folus coins minted in the Safavid period decorated with the image of lion and sun, form the samples studied in this study. The results of this study show that the designs stamped on Safavid copper coins include human (human body on horseback), cattle (horse, lion, elephant, deer, wild goat, monkey, camel, etc.), birds (with emphasis on the image of peacocks), aquatics (with emphasis on the image of fish), plants (cypress and arabesque), celestial (sun and constellations) and hybrid (peacock and snake, lion and sun, cow and fish or whale, etc.). Meanwhile, the image of "lion and sun" was one of the most frequent motifs on these copper coins. In the process of semantic analysis of this image, various contexts such as "content of common astronomical knowledge", "literary sources", "content of narrations and hadiths", "written themes of contemporary coins", "examples of paintings" and the "functional contexts of these coins" were studied, and finally, the religious and Shiite content for this image and this functional context was found more probable than other assumed contents (astronomical, ancient). According to the study of the above-mentioned texts, the content of this image is related to one of the most important principles of Shiite belief; namely the succession and guardianship of Imam Ali (AS) after the Holy Prophet of Islam (PBUH) and has a high status since it represents Imam Ali (AS) in Shiite thought.

Coins are engraved metals that are similar to a book full of historical, cultural, religious, and mythological information that can survey their motifs through symbolism. Therefore, studying the images and symbols on them opens a window to ancient periods for researchers. The Parthians (Arsacid) is one of the most important periods of ancient Iran. due to their long reign, they minted many coins with various motifs. The aim of this study is identifying the symbols of Mehr (Mithras) in the Parthian drachma coins of Ekbatan mint, to be revealed the religious belief of the rulers of this period. This research has been done in a descriptive-analytical method with an iconographic approach, which is a method of collecting information and data based on library and museum studies. The statistical society consists, two hundred and fifty coins in the repository of the Reza Abbasi Museum were examined and studied. These coins were purchased from individuals and collectors in the years before the 1979 Revolution. The results show, according to Zoroastrian religious texts, the motifs that symbolize Mithras are: Bow, Rosette, Flag, Ring, Bird, Star and Moon. Parthian Kings have used these symbols since the beginning of their reign which is caused by their being warriors and nomads. Symbols of Mithras increase during the reign of Mithradase II to Artabanos II (121 BC- 38 AD), Its probably caused by the increase of their power in the region and from the reign Vologases I to the end of the period, the symbols of Mehr are removed from the drachmas, on the king's hat can be seen deer antler symbol which originates from the nomadic traditions of Central Asia. Considering that Parthian kings were liberal in religious matters. they did not have an official religion but mostly they have used Mehr(Mithra) symbols in the drachmas.

AbstractCoins are illustrative and credible sources of ancient times whose study can shed light on the darker parts of history. Coins had security, commercial, and media role in the past. The purpose of this study is to investigate the factors that enhance and threaten the security functions of the Achaemenids period coins (559-330 BC) using a historical research method and a descriptive-analytical writing approach, library sources, and museum archives and documents. Trade and trading tools have always been one of the most important components of a society’s social life. The present study attempts to investigate this aspect of socio-economic history by proposing the hypothesis the political and economic factors can affect the Achaemenid coin security functions. The findings indicated that the Achaemenid coins have to be reinforced by Darius’s efforts to pay attention to economic (royal road), administrative (Divine Road), and political management practices (Satrapies). The threatening effects of the Achaemenid coins must also be found in the political, social, and economic mismanagement of Darius’s successors, such as the policy of gold coinage in the Peloponnesian Wars, the recruitment of mercenary soldiers, corruption of the court, the rise of the Satraps, and the increase in interest rates and taxes.

Abstract The coin is a valid and written document and a tiny rich book and the necessity of recognition and its importance in different aspects is important. A coin is a piece of metal of a certain weight on which the official mark of the state or government which shows its weight and cutie is inscribed. Coinage is one of the great human inventions that continued uninterruptedly, and despite political conquests, it continued on its way, creating a strong communication field for people to use common criteria for evaluating their assets, profits, losses and debts.  The amount of tax, intra-border and cross-border transactions was calculated by coin. In most ancient Iranian coins, the face of the kings was carved head-on, while in the Parthian period most of the faces of the emperors and kings were carved from side and profile on the coins. Even the long bearded royal and bearded faces are clearly visible on their coins. The image of the ruler is in profile, often to the left and rarely to the right, and in some cases the image of the king is presented in full. In the Malek Museum Collection there are only three coins belonging to the Parthian Period, depicted the King's coin, looking to the right. Numismatics had a great service to mankind in order to clarify the past history. The coin primarily has economic and political importance in any period. Besides it indicates the habits, costumes, script, language, art, religion, civilization, development and the decline of social status. As a matter of fact, it is the source of accurate information about the period in which the coin was minted. Malek Museum is one of the precious and great treasures in terms of numismatics of ancient Persia. The Parthian coins existing in the museum have a special place in this collection. The wide variety of decorative motifs used in the Parthian’s coins available at the Malek Museum contains symbolic and historical religious references and other details that provide scholars with useful information about the culture and its history in ancient Iran. These motifs rely on a rich symbol system. In ancient Iran, during the Achaemenid period, Darius I for the first time minted the famous gold and silver coins that were in full use in the world of that day. This trend continued uninterrupted in the post-Achaemenid period. In the Parthian Era, most coins were minted in silver, copper and other alloys, which are aesthetically and historically valuable. Many coins of this period are kept in the Malek Museum. The purpose of this study was to identify the apparent structure of Parthian coins based on a specimen of the Malek Museum Treasury to identify them. The main purpose of the research is to identify, gather and analyze the decorative motifs on the Parthian Period coins in the Malek museum. Introducing the Malek Museum can be of great help to ancient Iranian Art scholars as it has a relatively rich treasure and gathering this volume of ancient Iranian coins into one collection will shorten the difficult way for researchers to search for it. This research was started with the following question: “How is the relation of the image and content structure of Parthian coins in the Malek Museum with art and history of mintage period?” It is an analytical – descriptive research. So, after visiting the Malek Museum, we collected the relevant information using library sources. Then we introduced and described the Parthian Coins in this collection. Finally, according to collected data, we answered the mentioned questions that are the main stand of the research. As a result, it can be noted that Parthians had craved the image of Arsaces I on the back of dirhams for nearly five centuries (about 248 – 250 BC) because of special love and respect to the founder of the dynasty. The method of collecting field information has been through the use of written, library and other sources such as the World Wide Web.

In this letter, a part of a Sassanian relief that is historically of great importance has been investigated and introduced; the significance of this motif is due to the short period of the reign of this historical personality over Iran during the Sassanid era. This bas-relief belongs to Hormuz I (273-272), the Sassanid ruler; there are little historical information and consciousness of his short reign period. By examining first-order documents like bas-reliefs or coins and putting these findings together, we can understand many of the mysteries and unspoken truths of that age that have been forgotten in the mist of time, and thus explain more clearly the events of that short period for researchers and scholars.

Coins are one of the important evidences in archeology; because they are intacter than the other archeological findings such as textile, wood and parchment. With study of the coins, we realize the important subjects of art, religion, social status, culture, languages and scripts; and they will probably be able to resolve some of ambiguities of history.Parthian coins have the great importance because they show the true picture of the Parthian rulers. In the study of coin designs, should be considered special features such as hat or crown, necklace, beard, hair and wart on the forehead. In this article, I survey the moles or warts on the face of rulers in some Parthian coins.

Qajar era can be considered as the period of innovation and beginning of new developments in Iranian art. One of these developments is increasing relationship and different exchanges with the West whose particular influences on various affairs in Qajar era is seen following the entrance of different kinds of knowledge and new sciences to Iran. Meanwhile, changes occurred in the official positions and due to the establishment of new postal organizations for faster communications among the internal states and provinces stamp was designed following European style. Although the motifs of coin and stamp in Qajar era are amongst the historical heritages of Iran and in spite of the importance of applied motifs on these items which can be considered as the objective evidence for retelling historical, social and cultural changes and dominant ideas upon the country’s system, unfortunately, there are less research and study about recognition of motifs used on them than other industries and arts. The applied research method in this article is historic and data collection method is library study along with review of historical documents. According to the review of historical documents as well as comparison of pictorial elements, the common pictorial aspects of coins and stamps motifs in Qajar era can be identified. Moreover, the motifs and images of stamps are somehow continuing and related to motifs on coins and both of them have been a factor for displaying power. It is hoped that the exploration of changes in coin and stamp motifs increase our knowledge about them.

Always on kingdom history of the world a king without a crown is unconceivable. The Persian kings were not exception of this rule. Iranian ancient kings crown as one of the aspects of the monarchy and power, the image of king while makes he distinguishes from other persons is visible in various artistic works. One of the important artistic works that image of Iran’s kings with their power symbol namely the crown, on it by Iranian’s gifted and talented artists is carved, are the coins. The coins can study from various aspcts, for example kind of metal applied in the coins in each era is demonstrating which its demonstrator authority financial and credit that one era, or by surveys delicacy and precision crevedimades on the coins can be realize artist ability in each era, and this had been demonstrated the political, social and economic peace in that eraBy surveys. Acaemenid coins can be observed that Achaemenid kings crown became opparent as entirely simple and with dentante on the coins of this age.Achaemenid period coins are more like a medal of honor than current money in the country.TheAchaemend Gold coins were called Darik and silver coins were called Sycle in this period.With studies Achaemenid coins we conclude that the Achaemenid kings crown were made by valuable metal like gold and silver. In opposite to uniformity of Achaemenid king crown from. We see variety in from of the Parthian crown that craved on the coins were precious, variety, symbolic and seemly.The Parthian kings crown been from kind squatty fabric and rich metel that pranked by jewels and pearl. Each kings sassani owned particular crown rom themselves, or somtims each king relieved tow or multiple crown kings crown in this era were luxurios, patchwork and those inclusive stamps symbolic such as image moon, star, sun sphere, bird wing and plants.Jag is symbolism from heaven threefold strata, sphere is symbolism from earth, moon is symbolism from productivity, star is symbolism fromTishtar,sun is symbolism from Mitra,bird is symbolism from Verethraghna,plants is symbolism from life. Sassani kings crown on the coins exposed variety form, symbolic stamps and complement.Symbolic stamps applied on the Sassani kings crown owned wholly aspect religious and those were for worship Ahora.TheSassani kings kind been from worth metal, silk fabric and valuable jewels. Method study in this research is descriptive _ historical that through gathering libraries and documental information and also observed the coins in some museum was undertaken; meanwhile that studying evolution crown kings scheme makes possible achieve to crowns differences and similarities. In these essays the authors attempt is that stydies, Kings Crown evolution carved on three great ancient empires (Achaemenid, …) coins. The aim of surveyed the kings crown in ancient iran historical periods is cognition, recognition, identify and separate them from each other via study of the coins, because each kingdom had its own crown and sometimes in addition to crown design; have been different in used motifs, material and the symbols.