نشریه جستارهای باستان شناسی ایران پیش از اسلام
سال چهارم شماره 2 (پیاپی 8، پاییز و زمستان 1398)

Since works of art and the universality of art originate on the one hand in line ‎with society and on the other from the human tendencies, so archeology and even ‎anthropology, certainly cannot express human's senses, but based on the material ‎evidences left, some ideas can be put forward. In fact, archaeological evidences ‎and cultural artifacts have the task of transmitting information. Therefore, ‎studying and comparing the cultural materials of different sites is important as one ‎of the most useful and effective approaches in archeology and art in tracking and ‎understanding the cultural interactions of one another. In the present study, 12 ‎samples of painted pottery fromTape Pardis and 6 painted samples from periods ‎II and III of Cheshmeh Ali in the central plateau of Iran were ‎metarepresentationed to identify the extent to which Tape Pardis's printed pottery ‎motifs are influenced by Cheshme-Ali's printed pottery motifs, because motifs are ‎one of the main sources in metarepresentations and over-representations. The ‎results of this study show that the pottery maker of Tape Pardis has considered ‎the main basis of his pottery decorations as Cheshmeh Ali motifs. This ‎descriptive-analytical research was carried out through library studies and ‎museum's specimen research. And the motifs in each area are analyzed separately ‎and finally the motifs of both areas are metarepresentationed together.‎ Since works of art and the universality of art originate on the one hand in line ‎with society and on the other from the human tendencies, so archeology and even ‎anthropology, certainly cannot express human's senses, but based on the material ‎evidences left, some ideas can be put forward. In fact, archaeological evidences ‎and cultural artifacts have the task of transmitting information. Therefore, ‎studying and comparing the cultural materials of different sites is important as one ‎of the most useful and effective approaches in‎

The methodological survey of Teppeh Lapuie (Siyah-Khan or Shanguli) was performed by the author on behalf of the Institute of Archaeology during the winter of 2013. During this survey, after mapping and trelliswork by creating squares on the surface of the site, all cultural material within the said squares was methodologically classified, removed and studied. The results of these studies indicate that this site belonged to 3900 to 3400 B.C and the Lapuui culture in the prehistorical archaeology of Fars. Other than pottery, one of the important material acquired during this survey were a total of 76 stone artifacts, obtained from the surface of the site. Classification and typology of these stone artifacts from Teppeh Lapuui show that they include grindstones, core stones, flakes, blades, bladelets, and derbies, all of which were generally made from chert stones, most likely from stone sources within the Kur River Basin. Discovering the typology, function and also technological methods used for making these artifacts, to some degree explains the role of such tools in the emergence and development of various aspects such as specialization, nomination, agriculture and trade during the transitional periods of cultures during the end of the prehistorical period in the first half of the fourth millennium B.C.Discovering the typology, function and also technological methods used for making these artifacts, to some degree explains the role of such tools in the emergence and development of various aspects such as specialization, nomination, agriculture and trade during the transitional periods of cultures during the end of the prehistorical period in the first half of the fourth millennium B.C.

Harsin city is located in the southeast of Kermanshah province, because of its special geographical location and suitable environmental conditions, it has always been one of the most suitable places for human settlements. The city, with two sections, Harsin and Bistoon, covers an area of ​​about 1010 km2 and is 45 km from the provincial capital. In addition to Meskuh Valley, Chamchamal Plain and Harsin Plain are located in relatively high mountains with fertile soil, suitable climate and abundant water resources, which is quite suitable for agricultural activities. In a survey conducted by Translator and Chrysler in 2002 and 2009, 221 archaeological sites were identified in this area, and a total of 43 post-colonial settlements were identified based on surface findings, indicating the high importance of the area in the area. According to surface findings, there are a total of 43 settlements belonging to the Era. Archeological studies of abundance and diversity of clay pots in Harsin city's rocky areas show that Harsin city's plains and valleys can be considered as one of the routes of the north-west of south of Lorestan. Therefore, in this article, we try to examine the following questions and hypotheses based on the clay findings. Common Zagros sites during the Copper Age (Old, Middle, New) have been developed in the study area; cultural data from field surveys indicate regional cultural relevance to the Kangavar (Godin and Shegabi) and Mahidasht (J) areas; It is trans-regional with Azerbaijan (Dalma) and the land of Mesopotamia (Obaid). As in other areas of central Zagros in the area under study in ancient Stone Age, Goodin XI culture, in Middle Stone Age, Goodin X, IX cultures and in Late Stone Age, Goodin VIII, VII and VI cultures were prevalent. However, the presence of Mahidasht stone copper pottery in this region also indicates the presence of pottery cultures in the western regions. This article deals with the typology and analysis of pottery of the Harsin region which in addition to its native and local features have some similarities with those of the Kangavar, Mahidasht, Azerbaijan and Mesopotamia. Indicative pottery can be found in the type of pottery, dalma, triple, pottery with a black effect on chickpea and pottery with red cover. The role of the dominant liquids is on geometric imprinted pottery.

Ancient architecture is the manifestation of artistic patterns and has been beautifully designed with it. Although these patterns may look striking at first sight , but there is a secret meaning in them, and figuring this meaning out can explain why such patterns have been created and used in ancient architecture . This knowledge can link us up with the ancestor’s beliefs and worldview. In this respect Achaemenid - known as the largest Persian Empire - has vast Architectural monuments such as Pasargadae , Susa and Persepolis which are full of meaningfull patterns , since these monuments were built and designed at the command of the kings of that time and their beliefs as society’s highly valuable political and religious models . Hence, different ideas have been presented by researchers regarding the Achaemenid cosmological point of view, i. e. their religion and ideological perspective , none of which was definitively expressed. Therefore, a study on the motifs remained of the Achaemenid civilization can remove the ambiguities in this regard to a large extent. Accordingly , in the present research, the authors seek to answer the following questions: To which theory of Achaemenid religion do the symbolic motifs created on the Achaemenid architecture correspond? Can this theory be regarded more probable than others? Therefore , in this research, which is based on an analytical-comparative method and has been conducted in the form of a library study, eight motifs from three sites, i.e. Pasargadae , Susa and Persepolis, were identified , categorized and then semantically analyzed. After the comparative analysis and concept analysis of the motifs, it was revealed that polytheistic worship with centrality of the worship of Ahura Mazda and the influence of the religious ideology of Mesopotamian and pre - Aryan (Empire Elamite) civilization have been prevalent in the Achaemenid religious view, which is in accordance with this theory that the Achaemenids have been henotheistic .

The regions of the South Caucasus (present-day Georgia, Armenia, and Azerbaijan) as well as Anatolia (modern-day Turkey) were part of the vast Achaemenid Empire (330-550 BC), with vast archaeological data including jewelry, seals, and metal utensils. , Pottery, etc. in these areas, have been obtained from excavations of Achaemenid layers. But the most important data found in these areas are the reliefs and architecture with Achaemenid art themes. While a number of Achaemenid palaces have been found in the South Caucasus region, a number of prominent Achaemenid satrapies have survived in Anatolia; While in the Caucasus no reliefs have been found so far, and in Anatolia no architectural structures or architectural elements similar to Persepolis have been found. These differences seem to reflect the Achaemenid policies of governing the areas under their control and their federal model of government

The art of the Sassanid period is considered as an excerpt from the art of all ages of Iran. The art of this period is an expression of ancient Iranian elements that has come into being in the taste of the artists of that period. The most characteristic of Sasanian art is its decorative designs and one of the manifestations of these designs is in Sasanian textiles Which has had a profound impact on the different periods and had different nations of history in terms of the beauty of appearance and symbolic concepts. They are known as an important feature of Iranian art. Animal designs in Sassanid textiles are more than other motifs and symbols. This research is based on the fact that the species of animals in the Sassanid period was very much considered and analyzes these elements in the textiles of this course.The present paper is descriptive and analytical, and library and field design. The method of data collection is through library studies and field visits, because using valid documents can explain the general features of Sassanian mythology and study their traits and their role in shaping the contours of historical events and the reasons for their occurrence and the purpose of the field is to capture and document their images and analyze them The results indicate that the artistic insight of the Sasanian society has been a belief in Zoroastrian mythology and religion. Which formed the basis of the creation of artwork before Islam. Because each of the beast (hog, deer, ram, etc.), in the Zoroastrian vision and the Avesta book, have a certain philosophical meaning. And on that basis, they were respected by the peoples of that time. thus, the motifs of these animals are abundant in the Sasanian era and each of these animals contained some special meaning for the people of that time.They turned to the Zoroastrian ideology (its peak at the end of this period). The same worldview was created at that time which, they pay more attention to the role of birds and their symbolic meaning more than ever and the shape of the wing on their crown actually refers to their agorasity and extraterrestrialitya. They wanted to make people believe and legitimate. The Sassanid era has a special place in terms of the sanctity of plants (appeasement) in the structures of thought (myths), Because the myths of this continuum are from previous beliefs, one can be mentioned with Zoroastrianism, Mehri and Mani In all of them, the tree played a central role. At the entrance to the Taq, the role of the tree of life is depicted. Other mythological symptoms in takhost is the role of the crescent of the moon. The signs and the role of the crown of Sassanid rulers based on the crescent of the moon have a certain aspect of holiness and mythological status among the ancient Persians. Because many kings used to decorate their clothes, beds and crowns from the crescent of the moon.

The basis for the formation and survival of the governments from the past to the present depends on the status and support of the people, which is called legitimacy. Legitimacy in governments is based on specific principles rooted in the traditions and cultural beliefs of the people of their land. The Sassanians, as one of the most important states in the historical period, were founded on the basis of the Zoroastrian religion by Ardashir I. Investigating Sasanian rock reliefs in order to examine the elements of legitimacy in this period is a necessity that has not been addressed independently and extensively so far. This study attempts to investigate this issue with the help of archaeological evidence and historical evidence. To this end, the symbolic motifs and symbols found in Sasanian rock reliefs within the geography of present-day Iran have been identified and carefully studied. The most important goal of this research is to attempt to semeiotics each of the symbolic motifs and symbols as well as to clarify the true identity and the real meaning of each. The results of this research, that based on its purpose is considered a fundamental research and based on the nature and method a historical research, clearly show: Most of the motifs of the Sasanian rock reliefs have religious origins, and some of them, like the crown of the Sasanian kings, represent one of the gods in their various forms. Symbolic motifs and nonreligious symbols mainly represent the themes of victory, the captivity of the enemy, and respect, depicting the power and grandeur of the empire, all of which represent the legitimacy of the Sasanian king.

One of the most important cities in the west of Iran, which has received unique stuccoes from the early Islamic centuries, is the historic city of Saimarreh in Ilam province. In this city, a large number of stuccoes with geometric and plant motifs and a plaque with the human figure has been found. According to the results of archaeological excavations, these stuccoes were created while the city was being built in the first half of the second century AH. Among the prominent features of these stuccoes are the use of geometric nodes and geometric and plant motifs in combination. In this article, we try to identify the influential trends and sources of inspiration of the artists by examining the motifs used in these decorations. The research approach is historical-descriptive and the data were collected through the library and objective observation. The results show that the designs used in these stuccoes, in addition to borrowing from the art of the Sassanian era, have clearly been influenced by Islamic Art. Inspired by Sassanian art and influenced by the nature of the region, the artists of these stuccoes have put Sassanian art into the Islamic forms and instituted a new style of stucco decoration that has been used in all kinds of different art forms in later centuries. The results show that the designs used in these stuccoes, in addition to borrowing from the art of the Sassanian era, have clearly been influenced by Islamic Art. Inspired by Sassanian art and influenced by the nature of the region, the artists of these stuccoes have put Sassanian art into the Islamic forms and instituted a new style of stucco decoration that has been used in all kinds of different art forms in later centuries.

Sanandaj city has an area of ​​about 2960 square kilometers, which is limited to Divandere city and part of Marivan city from the north, to Kamyaran city from the south, to Qorveh city from the east and to Marivan city from the west. Dushan village is located on the southeastern side of Sanandaj city and 2400 meters east of the belt road of this city. This village used to have a texture similar to other villages in the province, but due to the expansion of urban development, it has recently undergone changes. Pirdoshan hill (Dushan hill) is located on the south side of Dushan village. Its height from the surface of the open sea is 1507 meters and the average height of this hill from the surface of the surrounding lands is about 27 meters. Pirdoshan hill is formed on a conical rock hill. Due to the steep slope of the hill, parts of its cultural materials have been eroded over time, so that even in some parts of it and in the middle of the field, there are limited places without cultural effects. During the excavation in order to determine the area and territory of Dushan hill in 1392, evidence of architecture and cultural data was obtained, which included 266 pieces of pottery. These pieces of study material make up this study. This research has been done by descriptive-analytical method and information collection method in the form of library and field research in several stages. In this research, while introducing the Parthian pottery of the area, their classification and typology are put on the agenda. Our aim in this study is to describe and classify Parthian pottery.

Our knowledge about construction at the Sassanid period has had many shortcomings except few cases. Records of architectural achievements of one of the vast and powerful empires of near east are only ruins of few palaces and dozens of fire temples that combine to few small structures such as bridges, and dams. There are many structures assigning to Sassanids, however, only a few ones exactly date to the Sassanid period, whereas the rest ambiguously dates to the Sassanid period. New architectural school emerged at Sassanid period, not only consisted Sassanid architectural style, but also it was foundation for later Islamic architecture of Iran and other countries; domical roofs of bricks, stone piers, pillars of stone and chalk that buttressed walls, brick domical roofs on cubes, and great halls with vaulted porticos [ivan] if only one introduce few innovations. Undoubtedly, roman and middle east artistic features influenced Sassanid architecture, however, considering comprehensive archaeological investigations, the contemporary architecture influenced by neighboring cultures, but also one can suggest it as the trajectory of Parthian architecture, reviving Iranian architectural tradition that shows little difference between Parthian and Sassanid buildings, regardless Sassanid domes. Furthermore, initiation of domes rooted in Parthian periods, regarding ruins of Kuh-i-Khaje, Sistan. Parthian legacy penetrated to Sassanid arts. As renaissance with national characteristics, it transformed exquisite foreign features to Iranian characters that influence eastern and western civilizations. The present paper attempts to introduce and analyze the palace of Firuz Abad as the first vaulted and domical Sassanid structure, then compare homogeneity and heterogeneity of the structure to Parthian ones to achieve a reasonable conclusion.

Changing in constructions techniques and their components and also reasons of such innovations has been always an important question for researchers and the history of architecture in Iran is full of such changes. one of them is in type of roof that has always been one of architects’ concerns. At first, it was not that difficult because of small architectural spaces and it was possible by only a few pieces of wood, straw and even animal skins but, passage of time and new needs made changes in architectural styles. Styles such as columnar spaces that has been accepted for long years as the main method of buildings. Column is one innovative parts of Iranian architecture. Its usage starts from when human had constructed a shelter for himself and had used wooden poles and trees bough with litter as roof and to prevent bending wooden poles used on ceiling he used primitive column. In addition, some archaeologists believe that the evolution of architecture with flat rooms is the cause of emergence of the column. But the main questions of this research are that column making technology as the main issue of this research -that has thousands of years' history- did emerge as an innovation in the Achaemenids period? Has the entry of columns into Iranian architecture been influenced by Greek architecture? This research aims -by reviewing reports published on archaeological activities- first, consider the origins of column making technology in pre-historic Iranian works and then later introduces outstanding works in Iranian architecture. Although it is very clear that the Achaemenes period is the peak of the use of columns in Iranian architecture, but it is unthinkable that such an advance in column construction was created all at once.