Parseh Journal of Archaeological Studies

New Evidence from Decorative Patterns of Early Bronze Age Pottery at Yanik Tepe, Iran

Lily Niakan

Abstract
Beginning in 1948, archaeological surveys and excavations in northwest Iran brought to light evidence of cultural developments related to the movements of people who colonized vast parts of the Near East from northeast Anatolia to southern Levant in the late 4th and early 3rd millennium B.C., prompted by environmental changes, population boom or shortage of biological resources in their homeland. The period is best known in the archaeological literature as the Early Trans-Caucasian (ETC) or Kura-Araxes culture, and is distinguished, by a disparate black burnished pottery with incised decorations. Here is published for the time a sample of decorative patterns on the related pottery from Yanik Tepe. The main question of the study was: To what extent did the newcomer potters communicated on this pottery the artistic traditions they had brought with themselves from their homeland? Data gathered through museum and library enquiries were used to carry out a comparative study. Data analysis was of qualitative nature, and the study represented one of culture-historical.
Keywords: Azarbaijan, Yanik Tepe, Early Bronze Age, Pottery, National Museum of Iran.

Introduction
The question central to this study is: Does the Kura-Araxian pottery tradition at Yanik Tepe reflect traits induced by indigenous experimentations, or it was simply developed via foreign inspirations and cultural interactions?
As stated, the pottery assemblages from Yanik Tepe had remained intact since their initial movement to National Museum of Iran after the close of excavation. Preparatory work was therefore required before deciding on or attempting any sort of study. Accordingly, the whole collection was recorded and washed before the decorated sherds were singled out and sorted into such groups as geometric motifs, animal motifs, plain, and miscellaneous. This was followed by the documentation process that involved photographing, drawing and registering the entire formal and technical attributes of individual pieces. Attempts were made to exclude from the final sample the patterns that were identical to those already published by Burney in various places. Also to meet the diversity criterion, pieces were selected from as varied excavated exposures as Areas or Trenches H, HX, K, L, M, P and different Levels, viz. YT.HX3, YT161HX, YTHX4, YT.HX1, YTK3, YT.HH1, YTH5, YT.HH1A, YT.C5, YT.P2, YT.LIA, YT.HH10, YT.HX1, YT.L3PRMII, YT.P2, YT.39C, and YT.RH13.

Yanik Tepe
A key site in the archaeology of the eastern Urmia Lake Basin, Yanik Tepe is 30 km southwest of Tabriz and 6 km from Khosrowshahr, within the village of Tazeh Kand on the Talkheh Rud. Burney excavated the site in 1960, 1961 and 1962, shortly after its identification in 1958-9. Yanik Tepe consists of a high mound and a low mound, rising 16.5 m and 1.50 m from the surrounding lands, respectively. With an original total area of about 6 hectares, it represents a type-site of the Kura-Araxes culture in Azerbaijan (Burney 1963, 138). Large parts of the site are now destroyed. Typical of the culture that flourished at Yanik Tepe were round and rectilinear houses and a distinct pottery tradition. Most intriguing are those types that resemble the material from the vast cultural horizon of eastern Anatolia and the early Trans-Caucasia of the mid-3rd millennium BC.
Building on the results of his excavations at Yanik Tepe, Burney divided the whole Kura-Araxes (or the ETC) sequence to the three discrete periods of ETC I, ETC II, and ETC III, where the earliest period marks the birth of the culture in its motherland, the second is associated with round structures and decorated pottery, and the latest sees the predominance of rectilinear architecture and virtual disappearance of decorations on pottery (Summers 2004, 619-620). For a more recent and detailed discussions on the chronology and dates as well as the stratigraphy of Yanik Tepe, the reader is referred to Summers 2013; 2014, 157-159.
An idiosyncrasy of the Early Bronze Age at Yanik Tepe is the handmade, black or gray burnished pottery with incised patterns. The technique is reminiscent of woodcarving and was presumably inspired by the densely forested landscape of the homeland of bearers of the culture who came to the rather sparsely wooded regions of northwest and west Iran. The technique was widely applied to pottery along with excised patterns, filled with white and occasionally ocher pastes.
Designs like birds and highly stylized rams or ibexes with curled horns, and bands of geometric motifs were carved on bowls, jars and footed pedestal vessels and small cups, the pottery forms common to the period.
The Middle Bronze period marks a shift in architectural styles as the related houses were built in a rectilinear plan using mud bricks. The thick walls spoke of two-storied buildings. The use of decorations diminishes, and the so-called graphite burnished technique emerges on a few examples of cups. Vessels are relatively finer, and burnishing is more frequent. Pottery forms show no considerable differences between the two periods (Burney 1962). However, the so-called Nakhichevan lugs, common to the latter period, occur now only in a vestigial form.

Kura-Araxes Pottery of Yanik Tepe
This section gives a description of the pottery with a special focus on decorations, along with a series of so far unpublished illustrations, which besides enriching the existing literature on the pottery history, are intended to improve the current picture of the evolution of pottery styles through the long Kura-Araxian horizon at Yanik Tepe. It is notable that, as stated earlier, the pieces and decorations published here have not been introduced in any earlier publications and have been selected from various trenches and levels to ensure a representative sample to the possible extent.
The Kura-Araxian pottery, coming in disparate wares and decorations, represent a new style that newcomer artisans had brought with themselves to northwest Iran. It is characterized by dark gray or shiny black or light brown color; vessels are handmade, contain mineral tempers, and show a burnished surface bearing an assortment of motifs such as spirals, “ram horns” and concentric circles or “eyes” (Burney and Lang 1971). In the Kura-Araxes Period I, rail rims were common, the Nakhichevan lugs were not yet emerged, and some Chalcolithic forms and decorative techniques persisted (Glumac and Anthony 1992). Related material occurs at most sites in Caucasia, the eastern fringes of Anatolia, and Geoy Tepe K1 (Sagona 2000).
The Period II is distinguished by the abundance of elbow handles and advent of semi-circular Nakhichevan lugs; the rail rims are utterly absent (Seyedov 2000). Notable in the assemblages is the ubiquitous concentric circles or “eyes” and incised triangles or chevrons. The pottery with its distinctive incised decorations shows influences from neighboring spheres. Various motifs are discernible. Animals, birds and fish occur in abundance. Birds appear as stylized representations on jars and bowls with decorations always reserved for the base or close to it. Also present are very simple geometric designs, bands raging from plain examples of undulating lines to those of a very intricate combination of nested designs, horizontal grooves or hatches, zigzags and doted patterns, rows of geometric motifs like lozenges with adjoining triangles filled with a various combinations of incised dots in diverse arrangements, swastikas, small lozenges and slanting motifs. Spirals and concentric circles were applied in incised form and evolved into an excised form with the related patterns filled with a white paste or lime. A frequent motif is the sharply angled triangles evoking the mountain motif as is the incised patterns imitating cuneiform signs. They are much finer compared with the ordinary handmade pieces. The Kura-Arax II material from Yanik Tepe find parallels in Geoy K1, Yakhvali, Ravaz (Kohna Shahar), Baruj, Haftavan VII and Godin IV (Burney 1961, 1962; Kleiss and Kroll 1979; Asurov 2000).
Typical to the Kura-Araxes III assemblages are the incised spirals and loop handles attached to the rim. The concentric circles occur in a higher frequency (Burney and Lang 1971, 67; Seyedov 2000, 19). Nakhichevan lugs show a gradual decline. Related pottery is known from Geoy K3, Godin IV, Shengavit IV, Kul Tepe of Nakhichevan, Kvatskhelebi in Georgia and sites in the Koban area of East Anatolia (Burney 1961, 1962; Burney and Lang 1971; Sagona 2000).

Evidence of Cultural Connection Between the Proto-Elamite and the Old Elamite based on Mesopotamian Texts

Kamal Aldin Niknami

Abstract
The cultural period of the Proto-Elamite, due to the entry of the Iranian plateau into another phase of the urbanization period and having a number of writings indicating the beginning of writing in this land, is an important stage in the historical beginning of Iran. Since then, the Elamite period has received much attention due to the creation of the first Dynastic governments on the Iranian Land. The Sequence of the Proto-Elamite to the beginning of the Old Elamite period is based on the Elamite text, with some ambiguities and based on some information and data, including the Elamite text, stop is considered, and its evolution until the time of Old Elam is questionable but the sequence mentioned in Mesopotamian texts can be traced and reviewed. A study was carried out with the aim of examining the name of Elam, its land and its states in the period from the Proto-Elamite to Old Elamite in Mesopotamian texts, and the most important question in this research is to find out how the succession of the Elamite to Old Elamite was based on Mesopotamian texts during this period. Research alongside archaeological data confirms the existence of the Elam and Elam states in the third millennium B.C in Mesopotamian linguistic texts obtained at this time. The Present study has a qualitative and strategic system and is based on fundamental goals and is descriptive in terms of methodology. The method of collecting the findings was done in a library manner and all of them were extracted from valid source. The base for further analysis relies on library information and findings.
Keywords: Proto-Elamite, Old Elamite, Mesopotamia, Sumerian Texts.

Introduction
Proto-Elamite first found in Susa in Khuzestan, traditionally considered one of the capital of the Elam state. Identification of this cultural period goes back to the explorations of the Susa area in the late 19th and early 20th centuries. The texts of the beginnings of the third millennium Elam deal only with administrative, local matters and are the documents for the receipt and payment of grains, livestock’s and workers. After the Elamite period the volume of information and some of the features of this period have been excluded in some areas, the written documents do not clearly indicate the continuation of the course until the next stage, the Old Elamite. The Question in this study is how the succession of the Elamite to the Elamite period is based on Mesopotamian texts during this period. The excavations along with the archaeological findings confirm the existence of the name of Elam and its states in the third millennium B.C in the inter-linguistic texts obtained from this period. This research has a qualitative and strategic system and is based on descriptive method and with fundamental aims. The basis of further analysis relies on library information and findings.

Identified Traces
The name of Ilam is clearly explored in Sumerian sources. Sumerian inscription from Mesopotamia around 2600- 2700 BC use the Sumerian legal NIM meaning king Islam, and these references can be traced back to the last king Avan and the Elamite tetts left over from the inscriptions of the Elamites themselves. The written from of the Islam land in the Sumerian cuneiform used the NIM .KI from which was spoken Elam (ma) the word NIM in Sumerian has several meanings, but because it is one of the NIM pronunciations in Akkadian elu, some orientalists have speculated that the word elam (ma) in sumerian elamtu in Akkadian must be an anonymous from of the verb root, and ilam was called the high land. Vocabulary list of the names of the gods of discovered from AbuSelabiq in southern Mesopotamia names a god named leugal NIM. NIM implies the state of Ilam as used here, so god’s name can be called king of Ilam . Other linguistic evidence from Mesopotamia, including the myth of the Arath land, also confirms the expansion of commerce and consequently increased cultural exchange.
In this discussion they have documented linguistic evidence in two parts of the cuneiform and pseudo- cuneiform texts on the relationship between Ilam and Mesopotamia. The mountainous part of the east was so important to the inhabitants of Mesopotamia that the Sumerian word Nim has been used in the Mesopotamian texts of the Uruk period for mountainous areas , especially the mountaineers of the Iranian plateau. Although complex forms of writing were invented in southern Mesopotamia and south western Iran in the 4th millennium BC, but until about 2500 BC, we cannot say precisely on the basis of written texts about the history of the region. During this period, events are based on royal inscriptions. Elamite words are visible in both Elamite and non -Elamite sources, and the Elamite vocabulary has been documented since the second half of the third millennium BC, but little information is known about the Elamites. The resources available for the history of the early Mesopotamian dynasty provide little insight into the research on the history of Ilam. These sources. Which some times refer to Ilam, Report most of the scattered wars between Ilam and Mesopotamia in the third millennium BC, which can be seen in later periods. Ilam was the most important and powerful neighbor of summer during the third millennium BC and lang after that.

Conclusion
What the documented literary sources indicate is the existence of a cultural, economic and hostile relationship between the Proto-Elamite to the Old Elamite not only did the Elam States exist but they were powerful enough to defend themselves against Mesopotamian and even attack Mesopotamia.

The Position of Music Art Among Iranian Societies and Cultures in Historical Period

Meysam Aliei

Abstract
Evidences found from Archaeological explorations, rock reliefs and rock inscriptions, express immemorial connections between music art and Iranian societies and cultures in the historical age. The music of Mythic era (Pishdadians and Kayanids) and Historical era (Medians, Achaemenids, Parthians and Sassanians) is the most general division of music history of pre Islam. The flourish of Elamid music, before the Achaemids, can be noted as well. This research is a descriptive – analysis type, conducted to survey the position of music art in the societies and cultures of Iran at the Historical age. The research findings are gathered by documentary and field studies and analyzed in qualitative manner. The results of this research state that the upper and lower classes of the society had an important role in formation, transition and evolution of this art at the aforementioned time. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. in orisons, sacrifice, wedding and mourning ceremonies, indicating the association of this art with social life of people and closed connection between music and cultural, religious, social, economical and political characteristics of societies in ancient Iran.
Keywords: Music, Historical Age, Dominant Class, Iranian Societies and Cultures.

Introduction
Music, art phenomena of human society from ancient times had an enormous impact on human life and the instruments used in each of the shapes and forms found. Some researchers, regardless of the place of music in ancient societies, conflicting views about the history and musical instruments proposed. Melody of emotions and human-induced internal interactions and represents sadness and joy, excitement and peace of mind of human beings. Clearly, music is a twin phenomenon and the essence of every nation in the world and part of the national identity and the culture of each society. Is that every nation and culture with its own music and is presented well and every nation has a special music from the distant past, a feature that the nation remained culturally distinct from the rest of the United Nations. Evidences found from Archaeological explorations, rock reliefs and rock inscriptions, express immemorial connections between music art and Iranian societies and cultures in the historical age. The music of Historical era (Elamites, Medians, Achaemenids, Parthians and Sassanians) is the most general division of music history of pre Islam. The flourish of Elamid music, before the Achaemids, can be noted as well.

Discussion
This research is a descriptive – analysis type, conducted to survey the position of music art in the societies and cultures of Iran at the Historical age. The research findings are gathered by documentary and field studies and analyzed in qualitative manner.
Elamite period, the religious aspect is more art (probably due to lack of awareness of the use of this type of art, not a fact issue) of music and musicians in different events such as prayer to God (s) and sacrifice is used, although in that evening treated to music for celebrations. Choghamish seals in pre-historic and close to the Elamite era boom in the art show. Another important point in this era, there are three types of instruments (wind, percussion and string) in relief Kul-farah, Nineveh and Choghamish is obvious. The Medes also continued the tradition of singing the prayer ceremony. The art of this period are still among the lower class of society was not room for growth. Apparently the enthronement ceremony of the kings of the Medes, and continued playing music with ancient traditional shows. Another important point is that in this era, more music and religious aspects of the court official. In the Achaemenid era, a variety of martial music, festive and popular religious and because they Achaemenid Empire, many ethnic groups and was brought under the umbrella of its sovereignty, it is natural that people and communities benefit from these experiences. For example, the relative effects of Elamite and Achaemenid Persians in Mesopotamia the art of music is evident. There are a variety of instruments such as bass drum, horn, trumpet, harp, and trumpet and so does the variety of music in the evening. Although most economic activity in the state and was Clergymen and music is also closely associated with the court and Clergymen, but the bards and minstrels in ceremonies such as weddings and parties, it is reported that the ceremony might have the class and the ruling of is. Women who are part of every society, at court, continuing a long tradition, at least since Elam shows. Of military music show which direction the signal should not ignore the start and end of the war was used. In the Seleucid era by combining the theory of joint Iranian Persian music and Greek - Greek arose that its effects can be seen in the Western and Arabic music communities. The Parthian era, social security and qualitative progress in the industry, the development of the art of music. At this time a singer by the name of the party “gossan” was formed and it was probably the kind of song street market quotes were chest to chest. The importance of music in the Sassanid era, forced the king to appoint a minister for relations such art. Rank them in court Bahram Gur was promoted to second grade classes of the community court. Due to the rising value of the musicians in the court, there are special procedures for the ceremony music. In Sassanid period like the past, different types of music can be seen. Including a festive and happy, when hunting was hunting that deception, as well as the religious ceremony of singing used to comply with previous periods. In the course of the past continued to use some of the instruments. Also at this time the instruments were invented, how notation arose and skilled musicians and great musicians like Barbad, Bamshad, rebellious, Nakisa and others emerged and certain sounds like Ravshn or “way” was coined during this era. Poetry and music together in this land, and poet and musician is often a people. The music of this era is also quite popular among ordinary people and continued to Islamic periods.

Conclusions
The results of this research state that the music, as a general, was a special art for dominant ruler in the society which professional artists used to gather in their courts. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. in orisons, sacrifice, wedding and mourning ceremonies, indicating the association of this art with social life of people and closed connection between music and cultural, religious, social, economical and political characteristics of societies in ancient Iran.

Bilateral Seal Achaemenid of Persepolis

Mosayeb Amiri

Abstract
The most important way of understanding human being in the past is to study their relics and among the works that have made a significant contribution to identifying culture and civilization and many other issues of ancient Iran, the motif are seals. Studies of this kind of data have been the focus of archeologists and historians for many years and many articles and books have been published on this endless subject. Because the seal and sealing in answering some questions, the correct orientation of a number of questions and new questions about social, economic and people perceptions of the past have been raised. In some motives the artist describes his/her world and this kind of description is actually the optimal use of symbols. In the Persepolis museum, there is a black seal that differ substantially from other Achaemenid seals. This bilateral seal is a lesser-known role in the art of molding and is unique in Achaemenid molding. This seal is first published and revised based on various criteria such as art style and symbol interpretation. The main purpose of this article is to document and introduce the symbols of this seal; the author will also answer a few questions about this seal by using descriptive-analytic methods and by using authentic library resources after fully describing this seal. First, what are some of the concepts used on the engraving on the seal? How these symbols originated and whether these forms were the result of Achaemenid thought or a legacy of a very ancient culture?
Keywords: Seal, Achaemenid, Persepolis, Symbol.

Introduction
On the occasion of the plan of organizing the repositories of the Persepolis museum in the summer of 2015, I had a black seal on a meeting in august of that year. This seal had differences A double-sided stamp seal that is unique in the Achaemenid period. On the other hand, the seals have a special place among the represent the customs, habit and believes of a people and also showcase history, religion, philosophy and art alongside administrative. Social management for centuries, these motives are rooted in ancient Iranian civilization and sometimes influenced by neighboring nations. This portable data has also spread art and culture to other lands due to its use in commercial exchanges, office letters and political relationships. The main purpose of this article is to document this seal and to interpret the emblems that have reached the Achaemenid from the distant past. Recorded in the Persepolis museum of bilateral seal No. 1267. It has a diameter of 15 mm and a thickness of 9 mm. It is made of stone and its location is Persepolis. There are three distinct roles on the seal. First the man sitting and holding a bowl in his hand and a flower in his other hand. The second is the cedar tree behind the man, and the third is censer in front of the man. The man is Probably a king with a short crown, the hemisphere is like the Achaemenid image.

Identified Traces
Three separate images can be seen on the seal, first is the man sitting and holding the wine cup in one hand and the flower in the other the second is the cedar tree behind the man and the third the udsuz in front of the man.
The man is probably a king with a short crown with several congresses, it is depicted from the half- face like the other Achaemenid image, the crown is similar to the Ahura Mazda round Cap. On the king’s seal has the original image and the role of cendar and is quite marginal.
Beneath the crown of hair, curly like all the motifs of persepolis the forehead and back, the king’s face wide and his eyebrows reached the ears, the nose is delicate, long and straight, lips are up and drinking and beard shorter than persepolis motifs but curly, the king’s eyes look great. The king’s neck was proportioned to the body, part of which was nuder the dress, the king’s hands are long and stretched and he looks thin. The king has a lotus flower in his left hand with a bud in his right hand corner, like Darius in the Naghshe Baram. The branch of the flower is tall and its end protrudes from the king’s hands. The king has a large wine cup in his right hand that lifts it up or closes it. The king’s waist is slender and its curvature is quite evident, and the belt is wrapped in two rows around the king’s waist. The king’s feet are on the ground and parallel to the base of the chair. The king’s Boot is a long boot with twisted straps that are not simple in the designs attributed to king Boots, but a simple shoe. Behind the king is a small triangular cedar, there are ten rows of branches on the left and eleven branches on the right of the cedar tree. The branches have all gone upwards and look like praying hands.
It is noteworthy that most tree motifs are on the palm tre seal and less than the cedar tree. Lion painted on a young and very angry seal seems to be a characteristic of most of the lions imprinted in the Achaemenid period. The body of lion is soft and agile, his head turned back. The hands and feet are in a relaxed gait so that the lion triumphantly moves forward the bird on the seal is Dorna that wing has been opened it seems that the artist insisted on drawing the head and neck of the Dorna so as not to induce the role of the Farrah.

Conclusion
Prehistoric believes of Iranian ethnicity have had such a broad role in shaping Iranian art that it is still visible in many works of art, an example is the seal studies. At a time when most of the seals built during the Achaemenid period are cylindrical, a bilateral seal imprinted on Persepolis is the most famous and important Achaemenid city, all the carved motives on it reflect the millennial believes of the Iranian people, some of which still have the same implicatins for contemporary people. None of the motives were devised by the Achaemenid artist, rather, old concepts in a new way with new technology and sophistication are on the seal.

Discovering an Important Historical Truth: The Presence of Tansar in Ardeshir Babakan’s Rock Releifs

Iman Khousravi

Abstract
Up to now, 35 rock reliefs have been identified from the Sassanid period, one of them is located outside the political borders of Iran, at the site known as the Rag-e Bibi in Afghanistan. 34 other rock reliefs have been discovered inside Iran’s political borders in various regions such as: Rey city, Taq-e Bustan, Salmas, Barm-e Delak, Goyum, Tang-e chogan of Bishapour, Naqsh-e Rostam, Naqsh-e Rajab, Sarab-e Bahram, Tangab-e Firouzabad, Darabgerd, Tang-e Qandil and Sar Mashhad. Although all of these rock reliefs were studied by archaeologists and domestic and foreign researchers repeatedly, but most studies have focused on identifying the main character of the rock reliefs -the Sassanid king. And there is no serious and diligent attempt at identifying other characters on the scene. Of course, some scholars tried to clarify the true identity of some of the characters in the Sasanian rock reliefs. But most of them did not succeed. Because most of these identities are based on speculation. However, identifying individuals in the Sasanian rock reliefs should be based on historical evidence or face recognition or semiotic studies. For example, some researchers said that the character discussed in this article should be the servant of the king. Some also said that he should be the representative of the Karin family. In this research, which is based on the purpose of basic research and based on the nature and method of historical research, was attempted to clarify the true identity of one of the characters in the rock reliefs of Ardashir Babakan with the help of historical evidence, face recognition and semiotic studies. The results of the studies show that the person present in the rock reliefs of Ardashir Babakan should be Tansar. An influential clergyman who has been tried to spread Zoroastrianism and to regulate the texts of Avesta, and helped Ardashir Babakan to reach power and also helped him stabilize his power.
Keywords: Sasanian Rock Reliefs, Ardashir Babakan, Tansar, Historicl Approach, Face Recognition, Semiotic.

Introduction
Personology of Sassanid reliefs raised debates among researchers, because of same thematic models of Sassanid kings and lack of inscriptions. Present paper discusses Ardashir’s relief of investiture and crowned by Ahuramazda.
The research is based on the purpose of basic research and based on the nature and method of historical research, whereas collected data bibliographically, identification and thorough study of different written historical sources, and fieldwork, visiting Ardashir’s reliefs at Tanganb Firuzabad, Naqsh-i-Rajab and Naqsh-i-Rostam. Comparative study of historical sources and analytical approach at archaeological evidences and using historical approache are the methods to analyze and interpret data.

Visual Evidence and Semiotics
Sassanid martial activities initiated years earlier that Ardashir to overcome Persia. Different factors caused clergymen raised to power and became influential through Sassanid rule (Hosseini 1392). Ardashir Babakan was a priest of Anahita temple at Istakhr, Fars (Christensen 1367: 134) enjoyed and joined dissatisfied clergymen to his government and endowed them high positions; it was his philosophy because his new ruling based on religious power and aristocracy that concluded to unification of religion and ruling (Hosseini 1392). As conclusion, one can say Ardashir needed clergymen confirm him to legitimize his ruling. Direct relation and superiority on people, doubled acceptance and support of clergymen. Following study of historic and written sources on presence of a cleric figure alongside Ardashir, firstly there is need to involve in similar visual parameters of the relief, which is identified earlier, for personological studies of the figure. In order to conclude, figure of Kartir is the best option, among options, because of the similarities to target figure, on the other hand, we know Kartir for the badge on his hat (Moosavi Haji 13996: 166); powerful face with shaved face, a badged hat, and his hair that came out of his hat on neck (fig. 5). His official custom is a long robe to his knee and a belt with a sheath (fig. 6). All explanation about his appearance is comparable to our target figure, so one could suggest that the appearance characteristic of Sassanid clergymen relied on the same pattern and tradition. However, every clergyman has common characteristic in every given religion.

Conclusion
Accordingly, one could conclude:
- It is not logical that a neutral person, a servant, would be carved on a public media such as a royal relief, let alone in a scene of investiture ceremony and crowning of Ardashir as the representative of Ahuramazda on earth.
- No servant allowed to hold sword.
- Accordingly, Ardashir always needed general legitimation and acceptance that could be facilitated by a chosen religious figure at people.
- Considering Sassanid and further written and historical sources, presence of Tansar as great supporter and evangelist is undeniable. His appearance in the relief matches to the discussion of present paper.
- Visual composition and evidences of the figure, garment, shaven face, hat, and hairs are completely similar to great clergyman Kartir of later Sassanid period, so one could probably suggest it as general homogeny of the clothing of clerics during Sassanid period.
- Badge of the figure, is completely similar to Kartir’s badge, on the other hand, adaptable to fire altar of reverse of coins of Persid period. Persids ruled Fars province during Seleucid and Parthian eras, who were eager to religious issues, so some scholars name them “fire servants”.
- The target figure is present at Sassanid sources and religious events of Ardashir reign, but according written sources, Kartir replaced him after this period with no further trace on reliefs.

An Overview on the Archaeology Aspect and Cultural Developments of the Islamic Settlements of Tuyserkan Plain (Beginning of Islam to The End of the Qajar Period)

Khalilollah Beik Mohammadi

Abstract
Tuyserkan plain is one of the middy mountain and highland plains in Alvand Range, strategically one of the most important connector plains of western Iran and throughout history, especially the Islamic period, the path of the great Khorasan has been of considerable importance. This plain has been studied and identified during the winter of 2012. This study has been studied at random by collecting cultural material from the area of the site in order to identify and record ancient sites and monuments. The results of the study include 44 sites from the copper and stone Age to the late Islamic period, and according to the identified surface artifacts 14 of these sites have artifacts from different Islamic times, this area has shown importance in the Islamic era but so far the plain has not been explored in terms of the cultural developments of the Islamic settlements. The question now is, what are the characteristics of Islamic period in Tuyserkan plain and what is their pattern of distribution and expansion, and in what periods has it grown and expanded? The main purpose of the research is to study the archaeology of the Tuyserkan plain with the typology of cultural changes in the works and settlements of the Islamic periods and it is an appropriate pattern of distribution in the Tuyserkan plain. The research method utilizes spatial analysis and field and library, analysis of cultural works and materials collected from archaeological survey and study of Islamic settlements of Tuyserkan plain, it will be based on current theories of settlement patterns and archaeological landscape. The results show that the settlements of Islamic period of this plain are distributed in all parts of the plain, consisting of large enclosures as the main dwelling cores and small enclosures formed as small bases dependent on roads and arable land, in the Safavid period, the Tuyserkan plain also witnessed a growing number of settlements with the Carvansara and Bridge Farasfaj being one of the most significant monuments of that period, and finally in the Zandieh and Qajar period expanding population and settlement.
Keywords: Archaeology Study, Tuyserkan, Islamic Period, Archaeology Aspect.

Introduction
One of the most fundamental archaeological studies (archaeology surveys) to identify and deter mine the location of archaeological sites and settlement characteristics. Archaeological surveys are carried out to find out general information about settlement developments in different areas. This is a forerunner to archaeological excavation, which in fact means reconstructing and accurately identifying communities and their cultural achievements, archaeological studies are an important step in the analytical programs of the historical evolution of human societies and the selection of index sites for exploration. Based on the above, the Tuyserkan plain has been investigated and identified during the winter 2012. This study was conducted in a randomized manner by collecting cultural material from the enclosures at random to identify and record ancient sites and monuments stone age and copper period, and identified by surface artifacts, there are 14 sites from various Islamic periods that indicate the importance of this area in this period. Prior to this research, the Islamic period sites of Tuyserkan plain were not explored and it was necessary to study them. The lack of studies of Islamic settlements in the Tuysrkan plain provides the motivation for studying and comparing population- based settlements as well as their relevance to ancient habitats.

Identified Traces
There are various definitions for the concept of landscape but all of these definitions are in common sense, and they include the structures created by humans between their own space and their natural structure. Obviously, human tissues in different societies are made in accordance with their environment. Many of today’s concepts and meanings of landscape come from the writings of German geographer otto schuler written in the early 20th century. He believes that geographical studies should be dedicated to the visible landscape. Human societies and natural geography are the two major factors that make up the Archaeological landscape structure. Since two- thirds of the world’s vegetation is made up of fields, pastures and artificial forests, one can understand the crucial role of humans in creating landscapes. Human societies are constantly changing and experiencing space throughout their lives, and the place is always confronted with the effects of human behavior. Tuserkan is a subsidiary city of Hamedan province with one area of about 1480 sq. K. M. Which covers 7.7.7. Of the area of Hamedan province. As we know in the year 21AH when the war of Nahavand occurred and led to the defeat of the Iranians against the Arabs, all areas of Hamedan including Tuserkan were captured. On the urban situation and the situation of the people in the Tuy and Serkan from the seventh to the tenth century AH there is no precise information, but since the tenth century, the rise of the Safavid dynasty, your village is known as Tuserkan while the Serkan remained with its old name.
Of course, there are no credible sources to show exactly what date Tuy name was converted to Tuserkan and the reason that the possibility of renaming this name whit the Safavid period should be known is that there are books related to this period that their authors have the reputation of Tyserkan while none of the works before the Safavid era have the reputation of Tuserkan. The few people in this place who are mentioned in some of the Safavid works are known as Tuyi and this shows that at first this village was famous under the same name as Tuyi.

Conclusion
By studying Tuyserkan plain, 14 sites have been identified from different periods of the early Islamic to the later ages. Environmental factors have played an important role in the process of formation and expansion of these sites, factors such as height, suitable soil, access to communication, access to water resources and access to range lands. Most of this sites in this period were formed in lowland and mid- mountain and fertile lands in susceptible grassland areas. The impact of cultural and human factors on the pattern of settlement in Tuyserkan plain has not been affected. The peak of the flourishing and growing of settlements dates back to the early and middle centuries of Islam and its decline in later Islamic times. In recent centuries the number of sites has diminished and never reaches the boom of the early and middle ages. The reason for this was the growth of population in the main sites and surrounding areas, which have become large cities and villages today, and their lives continue. The results show that the settlements of the Islamic period of Tuyserkan plain are distributed in all parts of plain, consisting of large sites as the main center of settlement and small sites as bases of roads and arable land.

Study and Analysis of Pottery Styles from the Beginning of the Islamic Era to the end of the Safavid Period in Hamadan

Mohammad Ebrahim Zarei

Abstract
The existence of route such as the Khorassan highway and the Shah’s subway in the Hamadan have made the region known as an important station throughout the historical periods. In the Islamic era, these trade routes have led to the emergence of various types of pottery cultures in the region. Due to the influence of the pottery cultures of Hamadan from the large areas of Islamic pottery production, this research has tried to address the issues such as: the era of Islamic pottery of Hamadan region? Which types of Hamadan region have local cultures? With the aim of identifying various kinds of clay of the Islamic period of the region, which is carried out through the study of archaeological data, a variety of pottery styles of the Islamic Ages are identified and introduced. During this research, more than 12 pottery styles were identified. All these types of pottery date back to the early centuries, the Middle Ages, and the later centuries. In the first centuries a variety of Unglazed pottery’s, Flower-shaped species and Sgraffiato were obtained. In the medieval pottery the types of pottery can be mentioned: Monochrome, Unglazed pottery with marble and mosaic designs, Ghalam Meshki, Silhouette, Lakaby, pottery of Sultanabad, Zarinfam and the Blue and White of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late centuries. During this period, the production of species such as Blue and White Safavid era and engraved pottery on ghosts with abnormal designs are prevalent.
Keywords: Hamadan Region, Pottery Styles, Islamic Era.

Introduction
Hamadan is one of the areas that has had a strategic position throughout history. This area allowed the Central and Eastern Plateau to connect with the West and Mesopotamia. The existence of major routes such as the Great “Khorasan Road” and the “Royal Road” route has affected the region’s transformations in the various cultures of human societies. For example, during the survey and archaeological excavations in this region the influence of the Yanik culture from the northwest and the Black on Buff Ware (BOB) from the southwest on this region has been determined. One of these developments is the creation of various styles of pottery of the Islamic era. Surface surveys on the Islamic period of the Hamadan region indicate that in this region various types of pottery styles have been used in different parts of Iran. However, except for the alternate and two underground crumbling basins, the Samen (It’s a underground archaeological site in the southwest of Hamadan province) is still not one of the sites of the era Islamic, with the approach of identifying and introducing various types of pottery of Islamic era, has not been explored. Based on the data obtained from the archaeological excavations carried out in Hamadan (like Hegmatana, Arzanfood underground archaeological site, Samen underground archaeological site, Islamic city of Darjazin and Zinoabad ) it seems that apart from the few centuries that, in the absence of exploration of the temporal exploration of the pottery cultures of this region, it is still unclear to our knowledge of the next century pottery, which is generally from archaeological surveys Gets more accessible. In this study, by studying these data, a variety of ornamental species commonly associated with the Middle Ages are known, such as simple mosaic-free glazed ceramics, graphite pottery, pencils, zarrinfam, aquatic blueberries of the Middle Ages, and others in Hamadan region.

Decorative Styles of Pottery of the Islamic Era in Hamadan
After reviewing all the archaeological sources of the area, 12 styles of decorative decoration of Islamic pottery were identified for the period of the early centuries to the late Safavid era. Decorative styles include: plain clay and glazes, all kinds of pottery with monochrome glazes, clay pottery with glazed pottery and stamping, scratching, lacquering pottery, all kinds of underbrush glazes, silhouette, types of painting on the glaze of type Zarrinfam, Sultan-Abad style pottery, famous blue and white pottery and various styles, generally related to the later period, the Qajar period.

Conclusion
The result of the study of Islamic clay data obtained from the archaeological explorations of Hamadan region is the identification of 12 species of clay. These types of pottery were each produced with different decorative features in different Islamic periods in this region. In general, Islamic pottery can be divided into three periods of the early centuries, the Middle Ages, and the later centuries. In the first centuries of the Islamic era, due to limited studies, the conditions of the cultures of the Hamadan region are not clearly known, but based on this limited information, a variety of simple ceramics without glazes, clay dipped and pottery clay. The next period is related to the medieval pottery. The pottery of this period has been identified in many Islamic sites of Hamadan. Among the types of pottery of this period are: monochrome pottery, unmolded pottery with decorated motifs, black pottery, silhouette, lakaby, pottery of Sultan Abad, pottery of Zarrinfam and blue and white species of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late century’s pottery. However, during this period, some species of pottery of the previous periods, with changes in the type of dough and motifs used, were still used, but the production of species such as blue and white Safavid era and engraved pottery on the glaze with austerity motifs from this era became popular. From late centuries later, in the area of Hamadan, pottery products have found local flavors and a variety of cultures have been created. The peak of this process is seen during the Qajar period and with the advent of Laljin. The city is still known as the largest pottery center in Iran, the center of which exports its own clay styles to different regions.

An unknown memorial in Zavaghan: Jomeh Mosque or Mansion

Hassan Akbari

Abstract
he results of experiments on the materials of this building revealed that most of the material was composed of very small amounts of rock, lime, sand and gypsum, the brick baking temperature is below 800 c and some gypsum is used inside the bricks. The bricks used in Semnan game Mosque are different in terms of construction and baking technology in many parts of the building we are witnessing the wear and tear of the brick layers, that have been imbalanced either in terms of increased vulnerability or aesthetically impaired. Some of the 200- meter- high bricks on the side of the city entrance were used by Russian occupation forces to build a swimming pool in the midst of world war II. With the current state of the building, we needed to put them in our context for a complete understanding of the data and to achieve a reasonable result by adapting to the context. All the data in this building were partial and incomplete parts that we had to put together in order to build a unit, understanding them will help us achieve the best possible results. The lack of historical documents about the building, the construction in the words of the local people about the building and the belief that the Mosque was destroyed in the flood of 1346 AH, (some past floods have been blamed for the devastation). While there were no traces of belongings except this porch and the two hogreh, and the lack of architectural work around the building reinforced this hypothesis, from the beginning there was no trace of the building or residential area that was destroyed and before that, gardens and farmlands surrounded the building needless to say, small finds were scattered around the building in a small area and as we move away from this set, the number of findings is also greatly diminished.
Keywords: Safavid Era, Gate, Jomeh Mosque, Zavaghan.

Introduction
Many efforts have been made to introduce and identify Irans multi- thousand- year- old architecture many researchers have in recent decades erased dust from the face of historical monuments and reappeared them, in the meantime, a number of buildings remain unknown and even a number of them that have been in traduced are in doubt, also keep in mind that some popular buildings have different uses. The building dedicated to the mosque of Zavaghan in similar to this, this building is in the middle of the narrow gardens of Zavaghan region and when we reach it we face the high door, inside this alley, the gardens look unexpected. Because it is not visible around the building except for garden and fields and some water engine, of this building, only the entrance and the two surrounding Hojreh are left, and only a few remnants have suffered natural and human damage in the past decade. The people of Zavaghan call Zavaghan Jame Mosque and they believe that Imam Reza door prayed in the mosque while heading to Marv, but besides the above the mentioned there is no other work to deter mine the use of this mansion. According to archaeological findings and data, what period does this building belong to? What is the use of this building based on the appearance and evidence found?
The main purpose of the authors was to describe this particular monument in general, archaeological findings conclude that it probably belongs to the Timurid period, which was abandoned in the late Safavid period. The building belonging to the Zavaghan Jame Mosque is located in the north of Zavaghan and Imam Hossein street and among the green gardens on the western edge of Semnan, Zavaghan region is one of the old areas of Semnan and it is common that in Zavaghan area some of the innocents are buried that the burial of some of them is unclear.
No traces of inscriptions were found around the building, which heightens our suspicions that the mosque was not. The surrounding land is all agricultural and horticultural, and there is no new about the old texture of the Zavaghan Alleyways of gardens and water ways pass all around the texture.

Findings Gone Bacheh
This type of pottery is found in this area with delicate, white and porous paste that is usually clean and free of additives. Green glaze and dark green, brown and black paint under the transparent glaze adorn the dishes. Containers are small and medium sized bowls and bowls with a short concave base. The motifs include the role of geometrical and plant motifs and are difficult to identify because of the small number of other diagnostic parts. The oldest of these pottery is attributed to the late 9 th century and is known as Mashhad, Neyshabur, Ray, Varamin and Alamut Castle.
Blue and white type: This kind of clay is cooked with every delicate and pure white paste without good additives made with solid, firm paste, the thin wall and translucent white glaze make it easily distinguishable from other types.
Blue and white ornamented pottery was produced in the early centuries of Islamic urbanization in major Islamic urban centers and probably the earliest method of making this type of pottery started in China in the eighth century B.C.E, but the type found in this area was later. The earliest date of its construction in Neyshabur goes back to 6 AH. This type of pottery was manufactured in several production centers in Iran until the year 6 AH. Because of their fracture potteries are not detectable by the finer parts of the dishes, but only by the shape of bowl.

Conclusion
Conclusions about the building are now early and more studies are needed on the building. Undoubtedly extensive archaeological research and finding authentic historical documents can open many unknown angles. However, due to the impact of environmental and climatic factors and human intervention many of the impacts have been lost perhaps having a tall verandah will create the remains of a mosque, but merely placing it in the alley of the garden and not having the inscription will cast another vote.

Archaeological Investigation of Medieval Islamic Potteries from Troglodytic Structure of Tahigh, Khomein

Hossein Sedighian

Abstract
Islamic potteries have been studied since about 100 years ago, which concluded to whole bunch of disseminated literature, including books and articles. However, new findings from archaeological excavations and surveys light ambiguities and develop modern knowledge of potteries. Archaeological excavation project of troglodytic structure of Tahigh revealed glazed and unglazed potsherds that have been left unstudied. Accordingly, present research aims to classify findings from Tahigh to define cultural interactions with neighboring areas, further than relative chronology. Two main problems raise here as period of potteries of Tahigh and relevant manufacturing center(s). collecting data follow bibliographic and field work studies that is based on analytic-descriptive method. Considering comparative studies, the findings probably date to Islamic medieval centuries; and regarding available data, exotic items mostly imported from sudden neighboring areas or close regions of Central Iranian Plateau, including Zolf Abad of Farahan, Moshkoyeh Zarandieh, Aveh, Rey, and Kashan, however, there have not been identified any items from further regions of Kurdistan, Zanjan, and Kirman or other countries of China and India.
Keywords: Underground Hand Making, Tahigh Khomein, Pottery, Investigation of Medieval Islamic.

Introduction
Present paper comes from a season of archaeological excavation and unearthing troglodytic structure of Tahigh, Khomein, which concluded to many pieces of potsherd (Sherahi 1393). It is necessary to involve in the excavation and pottery findings in a monogram, because of lack of relevant literature and diversities of findings. Accordingly, present paper intends to classify and define cultural interactions, in addition to relative chronology, that is responding to problems facing chronology, manufacturing centers, defining local, regional, and intraregional cultural and commercial relations of residents of Tahigh to the other areas. Descriptively and analytically present paper investigates data that collected according field works and bibliographic methods; findings resulted of archaeological basic activities and excavations that studied bibliographically. The authors, firstly, present introductions on Tahigh site, then investigate different types of revealed potsherds.

Discussion
Some 10,000 pieces of glazed and unglazed potsherds revealed following the 1st season of excavations of troglodytic structure of Tahigh. Around 60% of total amount of potsherds are unglazed ones, as the most amount of findings. One could categorize potsherds to different types, considering technical and decorative characteristics, as follows: Plain or decorated kitchen wares with grey or black temper; Plain or decorated kitchen wares with reddish buff temper or smoky dark brown, similar to some findings from Rey; Plain or decorated wares with reddish buff temper; Decorated or plain wares with buff temper; Wares with reddish buff temper and inlaid to patches of turquoise glaze, or with dark brown temper and inlaying of patches of bronze similar to samples from Moshkuyeh and Rey;Wares with buff or reddish buff and typical stamped Seljuq decoration, and wares with light buff temper and orange painted decoration.
Glazed wares from the site mainly are frit wares that vary to many types including different types of glazed monochrome ones and underglaze incised or stamped decorations, types of underglaze paintings on white or turquoise background for example blue and striped white, wares with silhouette turquoise underglaze decoration, and few samples are painted luster or enameled wares. The potteries are very similar to medieval potteries from Zolf-Abad, Moshkuyeh, Kashan and Rey. Furthermore, there were found four unique miniature frit wares with painted underglaze decorations from Tahigh; there have not been recovered similar comparative samples from the other sites. There were recovered many glazed and unglazed tallow burners that formally categorized to four groups of plain cup-like, couple handled cup-likes, plain piped, and bisection piped.

Conclusion
There have been recovered different types of unglazed potteries, with clay, sand or grit temper, whereas glazed findings are generally frit wares, and few clay wares. The unglazed wares show stamped decorations that typically manufactured during medieval Islamic centuries, however, decorations of unglazed painted samples characteristically revealed during 11 to 13th centuries, which have not been reported from other archaeological sites. Considering comparative chronologies, the unglazed potteries of Tahigh probably manufactured during Islamic medieval centuries especially 11-13th centuries; they were probably manufactured in workshop(s) close to the site or peripheral settlements. However, the other unglazed potteries, including stamped ones, probably imported from other areas such as Moshkuyeh Zarandieh or Rey. The glazed wares revealed abundance and diversities of burnishing and productions, generally frit wares, however, there were identified few clay ware samples. Regarding comparative chronologies, the potteries manufactured between 12-13th centuries. No samples were regional production, while they were probably imported from other regions including Zolf-Abad, Moshkuyeh, Aveh, kashan, and even Rey. Furthermore, tallow burners, generally frit wares, probably manufactured during 11-13th centuries. According to comparative studies of Islamic potteries of Tahigh, one could suggest that residents had local and regional cultural and commercial relations. Accordingly, pottery findings generally are reveal similarities to settlements at Iranian Central Plateau including Moshkuyeh, Kashan, and Rey, rather than other sites such as Jiroft, Aqkand of zanjan, and Garoos of Bijar. It may be troglodytic construction, structure, and small area with little population of Tahigh that never permitted it to raise as a metropolis with intraregional or even international commercial relations.

Illustrations of Qajar Period Laquer Artworks with Iconography Approach

Fataneh Mahmoudi

Abstract
In the Qajar period, the relationship between the visual elements and the composition of the paintings follows certain precise principles that are consistent with the art of Laquer painting. In Persian lacquer the base is almost always of papier-mâché. The surface was thinly coated with a fine plaster, or gesso, and upon this the painter executed his design in the miniature-painting technique of the time. The whole was then covered with a layer of transparent lacquer or varnish, which not only protected the painting, but enriched and mellowed the colors. The difference between the iconography of the Qajar period and the previous period is that folk themes are prevalent and their types are found in tiling, oil painting, Laquer, and Lithography. The main questions of the study are: 1- How is the Qajar period illustrated on the Laquer artworks from the iconography approach? 2- What are the intertextual elements in the Qajar iconography on Lacquer’s artworks? The main problem of research is about iconographic reading of the icons in the Qajar period Laquer painting. For this purpose, in this article, two exemplary examples of artworks with emphasis on iconography have been analyzed. The research method is descriptive-analytical. The purpose of this research is to identify the role of the common themes of the Qajar period in the iconography of these works. In order to achieve this goal, it is necessary to identify literary, historical and artistic sources. Identifying sources and gathering information has been in a library manner. Data analysis has been qualitative. The research hypothesis is that in almost all works there are signs to reach another story or text. Findings and results indicate that: In addition to the common features of the Qajar style of painting, these works have a strong relationship between literary, religious and political texts and intertextual relations.
Keywords: Laquer, Qajar Jllustration, Jconography, Jntertextuality.

Introduction
Lacquer painting during the Qajar era, in addition to the usual Qajar art style, also had visual and practical decorative aspects, and was a good platform for illustration. This type of painting, which was applied to various objects in the applied context, peaked during the Qajar era and then declined. The argument of this research is that the influence and interactions of cultures on each other should not be taken into account, as this transfer of data and information is exchanged across territories in different ways, resulting in the creation of artistic styles over time. It has become indigenous to every region. The present study is descriptive in terms of its fundamental purpose and nature. The issue facing the research is how to characterize the iconography of papier-mache paintings and lacquer paintings. In this period, we see the increasing influence of Western painting on Iranian painting and iconography. Incomplete western perspective principles, the use of color shades to represent the volume, and the use of a variety of angels and a variety of techniques have made artists more instrumental. Each of these techniques also has its own language and makes the theme of iconography different depending on the technique. This study first examines Laquer’s art in the Qajar era and then analyzes its methods, contexts, applications, and themes, specifically, Laquer’s imagery and its types. The purpose of this article is to identify and introduce the values of Lacquer’s works from the point of view of iconography and to study and classify the iconographic themes of the icons in the Qajar period on the artworks of the aliens. The last years of the nineteenth century saw a tendency towards an even more marked Westernization. This took two forms. Firstly, the depiction of single figures and scenes of an almost photographic realism, under the influence of imported Russian pieces made for the Persian market. But, as already mentioned, much lacquer painting of this late Qajar period takes the form of exercises in the Safavid style, There can be no doubt that many of these works in Safavid style were intended to deceive, including endless versions of Shah Ismail at the battle of Chaldiran and Nadir Shah at Karnal derived from the large murals Chehel Sutun in the Isfahan. We will also try to answer the following questions: 1. How is the Qajar period illustrated by the iconography of the Lacquer’s paintings? 2. What are the intertextual elements in the Qajar iconography on the artifacts?

Identified Traces
In this short paper have made no attempt to present a full and coherent history of lacquer painting in the Qajar period; that would require a full-length book. I have merely tried to draw attention to some interesting points, a handful of outstanding objects, and one or two remarkable personalities. Qajar lacquer may not be great Art with a capital A, but its spirit is light-hearted, its technical brilliance is undeniable, its colors are warm and bright, and it has given, and continues to give, an immense amount of quiet pleasure both in the land of its origin and in the West. This pen-box is belongs to a group known as qalamdan-i kayani or “royal penbox”, notable for their style of decoration, with figural scenes extending to the base of the cover, and to the sides, base and sometimes to the inside of the sliding drawer as in the present lot. The basic template for the layout is common to extant examples and these pen-boxes were clearly made to order rather than as workshop pieces for the market. The figures surrounding the Shah differ from example to example and many represent known personalities. Generally, the theme of kingship dominates the exterior whilst the internal decoration consists of panels showing miracles and other episodes from the lives of Sufis. The importance of this pen-box is not only the colophon, but also the only-known self-portrait of the artist. Sayyid Muhammad was a painter of the Nasir al-Din Shah period. The top has a central cartouche depicting Nasir al-Din Shah Qajar sitting on the Peacock throne flanked by princes on the left, and ministers and court officials, ambassadors and foreign dignitaries on the right, inscription-filled cartouches above and below with a couplet in his praise. Other cartouches to either side of the Nasir al-Din Shah scene contain depictions of the courts of Persian kings mentioned in Firdousi’s Shahnama.

Conclusion
In many of papier-mache paintings, the widespread use of epic, religious, and literary texts has established a kind of intertextual connection. In the case Kiyani (royal) penboxes with cartouches framing audience scenes, celebrate Persian kingship by linking the ruling monarch with Iran’s great historic and legendary rulers. This example features the court of Nasir al-Din Shah Qajar (r. 1848–96) at the center of the lid. Other audience scenes of Persian rulers, such as Genghis Khan and Khusrau Parviz, as well as legendary kings from the Shahnama (Book of Kings), such as Afrasiyab and Manuchihr, are each identified by inscriptions. Such penboxes were not made for the market but were often commissioned and given as presentation pieces. The image and text element are the main elements that make up this image text. The writing is often about artist signatures or in relation to the subtext that the themes play as the text. Case studies of the present study include Shahnameh, Khamseh Nezami, Mantegh- al-Tayr Attar, and Qessas- al-Anbiya as the textual paintings. In this search, it is clear that the paintings of Laquer work, like other texts, are not independent and original, but consist of thousands of literary, religious, and political cultural texts.