نشریه پژوهش های باستان شناسی ایران
پیاپی 23 (زمستان 1398)

Most studies on numerous potteries found in archaeological excavations are aimed at understanding people s mentality and beliefs in that era, in case that these images are externally and naturally roots of our visual art. The recent analytical-historical study will review visual structure of the illustrations in Iran plateau B.C with a formalist approach. The study is based on painted potteries and it is aimed at achieving visual characteristics. Studying vessel forms, elements and visual principle used in images clarifies the dominant visual features and provides context for categorizing samples based on the region’s visual priorities which include density of motifs, compositional structure of illustration and its elements, and type and repetition of motifs. Fars’s Tall-e Bakun is chosen as this study’s case geography because of its geographical extent, plurality of findings and its rich images. Visual samples are gathered by studying excavation reports and observing museum objects. In Tall-e Bakun b’s findings, vessel forms are limited. There’s a density of motifs in image frames, margins, in Tall-e Bakun a’s findings. Variety of motifs outnumbers variety of composition and structure. Visual elements were complementary in most images. However, a few vessels were illustrated only by using them. Visual equality between positive shapes and negative space is the unique feature of many images in this era. Movement and rotation are mostly observed in not band-based structures or animal expressive motifs. After visual analysis and visual criteria determination of motifs, vessels were classified as two major categories of either Fully-Painted or Scattered-Painted. Each category ‘s images were also classified into subgroups based on visual structure, elements of structure, quantity, type and method of motifs’ repetition. More than 90 percent of available vessels specially the scattered ones have band-based structures. Most images are fully painted with a single row or two rows of motifs.

Archeaometric studies were carried out on fragments of very important jar called Life Cycle Jar and 9 other pieces of potteries which were obtained from rescue archaeological excavation by Haidari in the Keshik cemetery during 2010. All samples were tested using Interdisciplinary laboratory analysis methods similar to petrography and x-ray diffraction analysis with powder method and the techniques of construction, the differences and structural similarities, and the type of mineral to obtain the origin of their deposits were studied. Due to the uniformity of the existed mineral elements in the soil, the results of the above methods indicate the use of soils with alluvial and regional origin of the Keshik River for all potters, which indicate the local origin of the pottery studied in the area. Also, no variety of minerals is observed in the making pottery, and all of them follow the consistency characteristics of mineralogy and technology. Pottery tufts manufacturing technology is evident in cross sections due to the same alignment of cavities. Regarding the presence of calcite minerals inpotteries4,5and10,temperatures of up to850°C and for other potteries beyond that can be suggested. Finally,according to the analyzes carried out, all selected samples represent the same and similar structural elements and minerals in the study area and as a result of the indigenous nature of the production of ceramics.The conducted analyzes present the similarity of all samples,both in terms of the materials used in the fabrication and the technique and the manufacturing method.Archeaometric studies were carried out on fragments of very important jar called LifeCycle Jar and 9 other pieces of potteries which were obtained from rescue archaeological excavation byHaidari in the Keshik cemetery during 2010. All samples were tested using Interdisciplinary laboratory analysis methods similar to petrography and x-ray diffraction analysis with powder method and the techniques of construction, the differences and structural similarities, and the type of mineral to obtain the origin of their deposits were studied.

The city of Sar Pol-e Zahab is located in the western part of Kermanshah province close to the Iraqi border. Due to its geographical location it has played an important role in the Iranian history since it has opened the gate entering the central Zagros and to the Iranian central plateau. There have been two bas reliefs remained from Anubanini and Idin-Sin, which are located near the Sar Pol-e Zahab city, both historically are of significant. On the inscriptions engraved on both reliefs, those are referred to a name as Batir. Batir is a single mountain has more likely portraited on the Anubanini reliefs. This mountain, as a defensive wall divided the Sar Pol-e Zahab plain into the eastern and western parts. It is important to cite here that the name of Batir is not limited to the name of the mountain in Sar Pol-e Zahab, but the name is also mentioned by some texts obtained from Tel al-Salimeh, that is located in 75 km west of Sarpol-e Zahab, and near the Hamrin Lake, There have been tablets representing the city’s name as “Batir or Batiri” along with a manifestation of a temple was given to the goddess of Batiritum. The presence of two names, could give rise to the question of what relation might be between these two places? Can these two names refer to a single place? Is it possible that Batir could be a holy Mesopotamian name? It seems that, because of the importance of the land of Ĥelman / Helman (Sar pol-e Zahab) for the Mesopotamians the name of Batir was given by them to a city located near the Batir Mountain. In this paper we tried to provide a clear interpretation of this ancient name based on the texts obtained from Tel al-Salimeh, Anubanini and Idin-Sin inscriptions as well as other Mesopotamian texts.

A clue of Gilgamesh and Istar on prehistoric potteries from Iranian Central Plateau Abstract: Among numerous painted pottery shreds discovered throughout Iran, just on the surface of some restricted shreds dating to the 6 to 2th millennium BC from Iranian central plateau and southwestern Iran, some paintings were reported that would have represented a symbolic story. This painted potteries are so scares and narrated a fighting story between human and dog and a feline. Current paper is related to investigation those mentioned scenes depicted on the surface pottery of the Abgine Museum (Tehran), Tepe Ozbaki (Nazarabad), Lama cemetery (Yasuj), Ghabristan (Qazvin Plain) and Arisman (Natanz). Painted scene showing a fighting between king of animal and a Leopard characterized by ritual influences. Even the details of this story is not clear, but beheaded tigers and also some other vague scenes, demonstrated their mythological purport. If our interpretation from this painted senses would be correct, so those senses on the surface of 6 and 4th millennium BC, is represented the fighting between Master of animals (Gilgamesh) and goddess with Leopard apparent that called Inana/Istar in Ancient Near Eastern art. This analogous evidences showing that in western of Iranian central plateau from north to south, would believed to a mythology that their signs can be traced in Lama cemetery in southwest of Iran. Painted scene showing a fighting between king of animal and a Leopard characterized by ritual influences. Even the details of this story is not clear, but beheaded tigers and also some other vague scenes, demonstrated their mythological purport. If our interpretation from this painted senses would be correct, so those senses on the surface of 6 and 4th millennium BC, is represented the fighting between Master of animals (Gilgamesh) and goddess with Leopard apparent that called Inana/Istar in Ancient Near Eastern art.

Pins of Central Zagros in Iron Age are categorized into two main groups of Straight Pins and Headed Pins. The second group has three subgroups: 1-Castting Pinheads, 2- Openwork Pinheads and 3- Dis-headed Pins. . many scholars began to propose various interpretations concerning the nature, function, and symbolic meanings of these motifs. Among them, one can point out to the theories that attributed them to Mesopotamian gods & Iranian gods and myths. None of the ideas has been presented based on the analysis of all sorts of disc-headed pins; therefore, they are not able to provide a fairly comprehensive theory that can be regarded as true for all of them and /or present a viewpoint about the beliefs of those people who made them. Therefore, in the present study, as a substitute for the traditional symbols of these works, the method of Saussure's structuralism semiotic method was used and 145 disc-headed pin from various museums of the world were studied. Trying to achieve common semantic categories, the analysis process was based on analyzing the structural relationships of the set of designs on the pinheads including, A. go togetherness (rational relations between the motifs) and B. replacement (the possibility of presenting one motif as another). The results of the analysis indicate three possible categorizations such as groups of male, female, and human-like central motifs and separate motifs associated with each of these groups. Another group of pins also displays common motifs between women and men's groups in the form of a common affiliation with the domination of the female groups on the male groups conveying concepts such as bonding and birth. With regard to the characteristics of the eastern state of art, these groups can be attributed, respectively, to female and male goddesses, as well as pseudo- humans with horns, the underworld god who is neuter and dominates both male and female group.

Due to the construction of the Ibn Sina Petrochemical Company in Hamadan province, Haji Khan Tape is located in the middle of this complex. As a matter of fact, it was necessary to carry out archaeological researches in this area. The first exploration season in the Haji Khan area in the vicinity of the Ibn Sina Petrochemical was conducted under the supervision of Esmail Hemati Azandaryani in the winter of 2016 and the spring of 2017. The Haji Khan Tape, 17 km from the city of Famenin in Hamadan province, is located at geographical coordinates of N 35˚01 '58.11 "and E 49˚01'16.85", and is considered a part of the cultural domain of western Iran. The site is at 2 km from Zaraqan, a village close to the walls of the Ibn Sina Petrochemical Complex. In the following excavations, traces of architectural remains with a 165 cm wide wall was discovered, which led to several extended trenches in varying sizes and in the west, east and south of the above trenches. The site is at 2 km from Zaraqan, a village close to the walls of the Ibn Sina Petrochemical Complex. In the following excavations, traces of architectural remains with a 165 cm wide wall was discovered, which led to several extended trenches in varying sizes and in the west, east and south of the above trenchesThese all help identify several architectural spaces and findings including, a systematic and coherent architecture with chelepa (cross) plan with 7 spaces. Likewise, among other architectural elements of Haji Khan Temple, including the upright stepped fireplace (altar), the middle of the altar, the partition wall, niches in the walls (in Spaces 1, 2 and 3), and gateways between spaces, have a very close similarity with the other sites of median period such as: Nush-i Jan Tape, Gunepan Tape, Yalfan Tape, Moush Tape, Baba Jan Tape and Godin Tape.

Abstract Armenia is among the Caucasian territories and has caused tensions between Iran and the Byzantine since its capture by the Parthians until the end of the Sassanid period. The continual fighting of the two ancient powers over the country made it a division in the year 387. After this division, Theodosius the First ordered that the border town of Theodosipolis be created in the western part of Armenia. The city was built on a hillside in the Karin area near the sources of the Euphrates River. The results of this study indicate that the Byzantines sought to build some solid fences in the border towns, including Teodosipolis, and the establishment of sufficient forces there, in order to prevent the rapid advance of the Iranian army in the Byzantine territory and could even In some cases, those cities would invade the Sassanian lands. The Sassanians, with the capture of the city, could have more easily attacked the eastern lands of the Byzantine Empire; besides, the occasional seizure by Iranians of the city caused the Byzantines not to fight their forces To organize the lands of Iran, and to focus more on the reconstruction of this castle-town, which had the shield for the Byzantine Empire. The existence and strengthening of fortresses in this city, which had a specific geographic location and strategy, indicated that the capture of this city was dominated by the possession of the Caucasus, Asia Minor, Mesopotamia and Syria, and was lost. Giving the city a major shift in the balance of power between the two empires.Keywords: Armenia, Sassanid Empire, Byzantine Empire, Theodosipolis Armenia is among the Caucasian territories and has caused tensions between Iran and the Byzantine since its capture by the Parthians until the end of the Sassanid period. The continual fighting of the two ancient powers over the country made it a division in the year 387.

In the XIXth century, Sultāniyya plain became an important region; this importance is due to favorable climate, rich pasturage, strategical location, including proximity to Tehran and Tabriz and the borders of Ottoman Empire and Russia. Thus during this period, a large number of evidences were written that show the various aspects of Sultāniyah plain’s cultural landscape. Political condition was required that Fatḥ Alī-Shāh spent several summers in Sultāniyya, he set up an encampment and a palace near the grass or Čaman Sultāniyya. Now, this monument is destroyed completely and remained two mounds with 25 height that are called “Tepeh qaleʿh”. The analysis of historical and cultural context in which the palace was constructed and the study of its architectural structure, can help us to understand the cultural landscape of Sultāniyah in the XIXth century, and also it can be a great step to preserve the actual site or Tepeh qaleʿh. The aims of this paper are why the Qajar chosen and stayed in Sultāniyah and built such palace here, and also the analysis of architectural aspects of this building. This paper shows that the choice of Sultāniyya as a summer residence was initially linked to the military operations against Russia. Hence Fatḥ Alī Shāh built a palace or a summer residence to train the army in the grass or Čaman and called it “Sepehr Barin”. This building contained several spaces that were related to the interconnected elements such as Garden, Qanat, Hamams, yards, mosque and other small constructions around it. Studying this palace beside the other contemporary buildings show that this building was not specified to the women (Haram), rather than it was constructed for political purpose. The Women’s apartment was only a part of this complex and other parts like Divan khāneh and Khalvat khāne was the places for kings and elites.

Traditional houses are important place for exposing the life style.Lack of recognizing and understanding the houses gradually lead houses construction into replacing by temporary house. Kermanshah is a city with rich history and historical parish had placed many of valuable houses but because of war, expansion, emigration ,changing life style, the big part of issues and valuable houses was destroyed. This research explain the typology of Kermanshah historical houses in Qajar and Pahlavi Period. This formal typology includes these subjects for instance formation disciplines, space organization, relation of form, material, method of definition of space.The aim of this research is to study typology of houses for recovering valuable building and rescue them against creating un normal building. The result of this research could lead us to analyzing the historical house according to characteristic of form.This article is trying to answer these two questions , How many types are in Historical houses in Kermanshah? What are the extracted pattern in Qajar and Pahlavi Period houses?The way of gathering information is documentary- and researching way is descriptive-analytic.The result show that construction of Qajar Period house in Kermanshah areintroversion and in the Late Qajar Period are introversion-extroversion and in Pahlavi Period are extroversion that this transformation was effected by many factors ,for example change in the pattern of architecture ,effect of west architecture and transformation of social and historical construction ,in this period. Houses with one or two or three and four yards in Qajar Period turn into one yard house in Pahlavi Period. Omitting vestibule and transferring kitchen from basement and with having privacy yard into yard with direct relation with yard are the other changes in Pahlavi Period.Transporting stairs from corner to major axes of building is the another changes in Pahlavi Period. Decreasing the closed space and increasing opened space are the other changes in Pahlavi Period and also three types of traditional and foreign and integrative was observed.

The system of Waqf not only made many of the valuable spaces and elements of cities; but also has been closely links to religious affairs to the sustainability of urban spaces over time. The Continuity of Waqf with Islam caused considerable attention from society; as in the history of the Islamic period would be seen many schools, mosques, tekyes, caravansaries, baths and markets that product of Waqf. In Kermanshah, the tendency to the Waqf more than the preceding periods has become popular; especially more prosperity with the coming of Mohammad Ali Mirza Dolshah and Emad Al-Dawlah sons and descendants of Fat Ali shah. According to the necessity, this research intends to use historical documents such as the endowments and written works of researchers who have studied in this regard, Analyzed the important elements of architecture and urbanization in city of Kermanshah during the Qajar period.Therefore, the fundamental question of research is Waqf as a religious factor, has played what role in the development and prosperity of the city of Kermanshah during the Qajar period? Considering above issue, it is assumed with the support of the Qajar princes from the waqf system and the economic prosperity created during this period, the waqf of numerous monuments is expanding considerably, as important buildings of the city such as mosques, tekyes, shops and caravansaries have been dedicated. The Waqfs of the city of Kermanshah have played a significant role in the prosperity and development of the city during the Qajar period. During this period, Donors has devoted a lot of buildings that if we remove these buildings from the urban context of Kermanshah, virtually no remarkable building will remain. The only material presence in the form of a mosque, shrine, market or caravanserai is not important; But their significance for the city even more because of their presence as important social and economic institutions.

After developments in military technologies in Qajard period, the importance of warm weapons was added and cold weapons found less use in wars, but their production continued in limitted quantity because of other side applications. During this period, various kinds of cold weapons were used in battlefields, such as bladed weapons, knockers and pounders, throwing wapons, and some tools for capturing castles. The focus of research is on daggers, knives and PishQabzes which all of them have sharped bladed but short ones. The main purpose of this article is investigating features of the daggers, knives and PishQabzes, and function of these weapons, the possible relationship between their decorations and their warlike or ceremonial functions, in order to have better understanding and recognition all of these weapons and their evolutions during Qajar period. In this regard, answering these questions was considered: what are the characteristics of forms; motifs, themes and techniques decorations in the daggers, knives and PishQabsez in Qajar period? How is the relationship between the quality and quantity of decorations with the function of those weapons? This research was conducted by a historical-descriptive and analytical approach; and the founding methodology based on library resources and field studies on 17daggers, 17knives and 3PishQabzes Which are mainly from museums inside and outside of country. The results of research show that these weapons vary by scales and levels of curvature of blades. The various parts of these weapons are decorated with vegetal-geometrical, human-animal and inscriptive motifs, and decorated mostly by gilded and metal emboss working and enamel techniques. Vegetable-geometrica and human-animal motifs have feast and party themes and inscriptive motifs have religious, diatribe, charm and literary themes.The execution of decorations motifs mostly by costly and magnificent techniques such as enameling or inlaying on daggars and knives(which didn’t use these techniques on PishQabzes) suggests that these two weapons were used mostly for decoration and not for real use on battlefields in Qajar period.

The study concerned with “the archaeology of dwelling” as a new theoretical approach with its own problematics and thematics. Dwelling perspective in archaeology is the product of some epistemological lack in the discipline; the lack of research in those kinds of phenomena which could be marked truly as cultural/cognitive; Phenomena unexplainable in ecological, environmental, geographical and anthropological terms. This weakness comes from such a consideration in conventional view of archaeology as a discipline unable to investigate past meanings through material remains. The concept of Dwelling used in the study derives from a philosophical conception of the term according to which, being in the world of human beings is profoundly different from other creatures in that, it dwells within its linguistic, imaginary realities through which a world could be produced for settling and livelihood. In other word, the human being is settled in its world primarily by means of cognitive/cultural meanings which are attached cognitive/ culturally to the surrounded environment. The problematics of the study was to recover a kind of credit for archaeology in that, it can approach factors beyond ecological, geographical or anthropological, without losing its archaeological accurateness; factors such as cognitive, metaphysical, semiotic, and conceptual. The study defined dwelling philosophically, anthropologically and archaeologically to build up three levels of archaeological facts, each of them with its own problematics and thematics. A Cognitive Niche Construction approach has been used in the study to justify the results. Niche construction means that every organism has a behavioral/ ecological inheritance which could be considered as an active part of adaptation with a particular environment, supplementary to passive inheritance derived from natural selection. A case of Sarfiroozabad used as an explanation of practical applicability of the new level of archaeological research, which could be called the poetic. The case study showed that, by applying proper means of analysis, the poetic qualities of past peoples are detectable archaeologically, even in archaeological surface surveying projects.