نشریه پژوهش های باستان شناسی ایران
پیاپی 27 (زمستان 1399)

 The most important issue about gray pottery is migration; because researchers believe that gray pottery, as the pottery of migrant or invader tribes, affects plateau settlements. A part of pottery findings of Taleghan region includes gray potteries not known enough in the founded region so far. Problem statement: gray pottery is the main characteristic of Iron Age. The common use of the term Iron Age is due to similarities of pottery, especially gray pottery, to iron technology. The places where this pottery is found are located in the pathway of Aryan tribes’ migration. Taleghan region is one of these places. Most of areas of Taleghan region have gray pottery samples similar to other major regions of Iron Age of central north of the Iranian Plateau, and they have coincidence with adjacent regions in the time period between Iron Age I and Iron Age II. Gray pottery of Taleghan has not been comprehensively studied so far. In the present research, gray pottery of Taleghan region is studied for the first time. Its comparison with other adjacent regions of the north of the Central Iranian Plateau has resulted in a scientific approach and new innovation.

this research is aimed at investigating the emergence of gray pottery of Taleghan region and comparing that with other contemporary areas in the north of the Central Plateau.

data collection was done by searching library and electronic resources and field studies. Then, the results were proposed in a historical, descriptive, and analytical manner.

Based on the studies, it was revealed that the Taleghan gray pottery maybe the result of a new deployment; and the presence of some indications has strengthened the theory that the Taleghan gray pottery is the product of a nomadic rancher society or, in other theory, the product of a rural rancher society associated with the advanced societies in its central north.

The Beginning of Ishaq Ibn Ahmad Samani's Emirate (301 AH) in Samarqand Based on Numismatics Evidence Abstract After the death of Ahmad ibn Ismail (295-301 AH), at the same time Ishaq ibn Ahmad (301 AH), the great of the Samani family and Nasr ibn Ahmad (301-331 AH), emir Ahmad's young son rose to claim Emirate, which eventually led to the infighting and victory of Nasr. Since historical books have been widely dispersed, coin science can provide researchers with valuable information to address these discrepancies. emir Ishaq is the name of the late emir, also known as Ismail ibn Ahmad (279-295 AH) and dates to 301 AH. He was beaten in Samarqand. The main questions of this study are: 1. How can a part of the history of that era be reconstructed by using the copper coin of emir Ishaq (issued by Samarqand in 301 AH)? 2. emir's name is dead, why has Ismail insisted on this type of coin, and what role did Ishaq have in legitimizing it? In addition to introducing this first coinage index, this paper seeks to reconstruct and identify the causes of some events along with the cognitive cointegration data along with historical texts, using a cognitive archaeological approach and a historical approach. The main result of this study was the issue of legitimizing the Emir of Ishaq from the Baghdad Caliphate, which can be concluded that this coin was minted during the process of legitimizing the Emirate of Ishaq by the Abbasid caliphate, and since the coinage was considered a sign of power. And his legitimacy for the Emirate was also in the offing, bringing the name of the emir down to the coins could guarantee Ishaq's legitimacy at that time. Keywords: Ishaq ibn Ahmad, Samarqand, Numismatics, Samanids, Nasr ibn Ahmad. Keywords: Ishaq ibn Ahmad, Samarqand, Numismatics, Samanids, Nasr ibn Ahmad.

"Symbol"is a collection of signs, indications, and words that denote a higher meaning and concept than its appearance. In other words, symbols are used to express concepts that roots of many of them can be found in the history of predecessors and myths. Artwork is one of the most suitable platforms for the emergence of the symbol. In the meantime,"pottery"is one of the most important art works in early Islamic centuries, which it contains many symbols among the"cows", and can be traced its implications in the myths of historical and Islamic periods. The aim of this study, semiotics of cow with regard to social conditions, religious and the idea and beliefs of the people of the early Islamic centuries through analysis of historical documents. Hence, following the semiotics of cow, the following question is raised: What is the origin of the cow symbol on the Neyshabur pottery? The research method is historical-analytical and based on library studies. In the process of research, we first began to collect statistical samples from museums, designing motifs with CorelDraw software; and in the following, library studies have been conducted to identify the subject matter of the cow in historical documents. The achievement of studying the cow symbol and its conception in the pottery of Neyshabur suggests that, considering the importance of cow in livelihoods of people in different historical periods and using of: meat, skin, milk, fats (for domestic heating and cooking) along with its efficiency in portage and plowing, can be imagen such icons as: power and strength, fertility and fecundity, which these symbols can be traced from prehistoric times to the aforementioned period in different artistic works and have common concepts. In addition to the above mentioned concept, other symbols, such as the combination of cattle with humans, the composition of cows with birds, are found in Neyshabur's pottery with astronomical and religious concepts and their origin is specific to Islamic beliefs.

Mirror work is one of the elegant arts used extensively to usually decorate the interior of a building. Although this art was used at least since the Safavid period, it has become more common in the Qajar Era and reached its climax in this period including in constructing some halls like Mirror hall of Golestan Palace and especially in constructing religious and holy monuments. It results the reflections of light through these pieces of mirrors, which produce a dazzling display of sparkling light. This kind of deliberate decorations, leads to a bright and highly shining atmosphere created upon consecutive reflections of light in numerous mirror pieces. As the historical texts testify, this fine and delicate art is surely an invention of Iranian architects. The mirror reflects the sky, water and every color and is a symbol of light and life. The decorations developed during the Qajar period so that the presence of this art can be seen in different buildings particularly in the residential houses. Yazd is one of the rare Islamic cities of Iran, in which that the historical tissue is preserved very well . The historical tissue of the city presently consists of both ordinary and aristocratic houses. The mostly owners of these aristocratic houses were merchants in Qajar era that some of them had mirror work decoration in the interior parts. According to the results the use of stucco on mirror and mirro work on stucco together is a common technique based on 58% in these hoses. Also the Geometric and plants motifs based on 90% and 75%, are the most ones and the Kase Boshghabi motif is the less one that has been used in the houses of Yazd. Mirror rooms are placed 91/7% in the winter part of the houses(north and west) that including different uses like: the reflection and increasing the light in the cold seasons that the sky was some how darker.