Parseh Journal of Archaeological Studies

“Coba” Bowls in Kermanshah Plain: Traces of the Late Chalcolithic Pottery Tradition of Northern Mesopotamia in the Central Zagros

Sajjad Alibaigi

Abstract
Considering the importance of the Late Chalcolithic Period, especially at the end of the period, we see the emergence of the first cities and early state formation; therefore identifying the types of sites and cultural materials of this period can add important information to our knowledge about it. Among the most noteworthy tendencies of this period are the population growth, the expansion of exchange, and growing craft specialization. Despite our knowledge of different types of cultural materials, especially the pottery traditions of the Late Chalcolithic Period of the Central Zagros region, our knowledge of “Coba” pottery in Iran is limited. which were mass-produced in the northern Mesopotamia, Syria and Turkey in different forms during the “Post-Ubaid” and from the LC1 period onwards. So far, there has been little discussion about the presence of this type of vessel in Iran. This study examines Coba bowls in western Iran, especially the Kermanshah plain, and tries to answer the questions by a descriptive andanalytical method, while discussing the technological characteristics and the time span of Coba bowls in the prehistoric site of Taq-e Bustan? Also, what view do these new findings give us in terms of the distribution of these wares? The abundance of these bowls in the excavation of Taq-e Bustan in 2015 and other discovered samples from Kermanshah province and western Iran provide new evidence that this pottery tradition covered a wide area in western Iran. These samples show that we are facing a significant abundance of type 3 and 4 of Coba bowls and the bold presence of these types indicates the spread of this ware to western parts of Iran such as the Central Zagros in the Early Uruk period.
Keywords: Kermanshah, Taq-e Bustan, Late Chalcolithic, Post-Ubaid, Coba Bowls.

Introduction
Given that the fourth millenium B.C coincides with major structural changes, including the emergence of social hierarchy, technological innovations and economic reorganization, and finally the emergence early states and cities, the presence and distribution of Coba bowls, also known as mass-produced, represents a wider range of communication and interaction in the early fourth mill B.C between Mesopotamia and the Central Zagros than previously thought. Here, we aim to answer the two following questions: What are the technological characteristics of the prehistoric Taq-e Bustan place bowls? Which time period does this type of ware cover? Also, what image do these new findings provide of the distributional pattern? Therefore, the authors in this article will try to evaluate the presence of these findings in relation to the origin of this pottery and the main area of its development.
The area of Taq-e Bustan West Park, which is also known as Parthian Cemetery, is located in the northeast of Kermanshah city and the foothills of the mountains and in the west of Taq-e Bustan historical place next to a spring full of water at an altitude of 1395 meters above sea level. During the excavations of this area in 1394, a new collection of finds associated with the fourth millennium BC (traces of the Late Chalcolithic Period settlement beneath the layers containing the Parthian Cemetery) was revealed. During the initial studies, this area was considered to be on the same horizon as the Godin IV3 period.

Discussion
During the classification, typology and comparison of the pottery collection, one of the special types of pottery forms called Coba bowl was revealed in this area. The Coba bowls are the hallmark of the Post-Ubaid ceramic horizon, which has been present in four different types from the LC1 to LC3, in a wide range, including northern Mesopotamia, Anatolia and Syria. Samples of bowls from the Taq-e Bustan site are found in large numbers, upside down on the bottom floor and inside the jar. The presence of these bowls along with spherical body bowls (also know as curved bowl) -with simple rim and grooved body-, beaded-rim bowls, bowls similar to Hammerhead bowl, painted pottery comparable to pottery from Godin Tapeh of the VI3 period and other forms of pottery, are important. Based on the comparisons made, and considering the samples with absolute chronology of the Central Plateau, Central Zagros and areas outside the borders of Iran, as well as according to the radiocarbon samples obtained from the Godin period VI1, a date of about 3800 or 3700 (LC2-3) can be suggested for the settlement of Late Chalcolithic period of the Taq-e Bustan and its pottery. Samples of bowls from the Taq-e-Bostan prehistoric place are comparable to Coba bowls, such as Wide-Flower pots, conical, or V-shaped bowls. These bowls, which are considered as a relatively unknown types of this period in Iran, have not been noticed so far, if in addition to the Taq-e Bustan site, they have been obtained from Ja-baq site in Doroud Faraman of Kermanshah, Tepe Kheibar of Rawansar, Tapeh Morad Weis 2 in Sar Pol-e Zahab, Godin Tapeh period VI3, Shahzade Abdollah site in Khorramabad, Garmesi Site in Deh Luran, Tepe Badamyar of Rabat and Qale Nane in Marivan. The presence of this type of pottery in areas far from its already known areas of distribution, especially in the Central Zagros, can provide a new perspective for transregional interactions and further our understanding of the nature of society in the early fourth millennium BC in the Zagros.

Conclusion
Among the cultural finds of this site, the Wide-Flower pots with a relatively rough and uneven surface, straw temper and generally with grey core have a strong presence in the studied assemblage. Its already known sphere of development includes the northern Mesopotamia, Syria and Anatolia. The Coba bowls are an important feature of the Post-Ubaid ceramic horizon which lasts until the LC3 period. According to the division that the researchers have considered for Coba bowls, the Coba bowls of the prehistoric site of Taq-e Bustan are comparable to the third and fourth types of this V-shaped bowl, which are mostly known in the eastern areas such as Keban, Habur and Iraqi Jezira. It is certain that with further excavations and surveys, there is a possibility of changing this zoning/sphere, because examples of these bowls (V shape) are also found in western areas such as Amuq, Cilicia and southern Anatolia. These bowls are generally referred to as mass-produced bowls due to the discovery of large quantities in archaeological contexts, and the function attributed to this type of bowl generally includes household activities. Excavation in the prehistoric site of Taq-e Bustan shows the expansion of the Coba bowl sphere to the western regions of Iran, such as the Kermanshah plain in the Central Zagros. Existence of these bowls along with other comparable pottery forms in different regions within the current borders of Iran and many comparable examples in the Mesopotamia, Anatolia and Syria and the use of the Flint-scrap Technique on the surface of vessels of these sites, especially the bowls which are one of the features of the Northern Mesopotamian pottery tradition (Chaff faced-ware or Post-Ubaid culture) during the late fifth and early fourth millennium BC, indicate the prevalence and continuity of the presence of Northern Mesopotamian pottery traditions, along with the early Uruk pottery culture in the Central Zagros. This reflects the extensive regional and trans-regional relations between these areas.

Investigation and Recognition of Gray Artefacts in Chegardak Bronze Age Using Petrographic, XRD and SEM-EDX Methods

Sayyed Mohsen Haji Sayyedjavadi

Abstract
Gray pottery is one of the most significant and important cultural artifacts discovered from the Bronze Age sites in the southeast of the Iranian plateau. This style of pottery has been obtained in a very large amount from the Chagardak Asr-e-Faraghi site of Chah Hashem Plain in Baluchistan, which has so far been far from the views and studies of archeology, archeology and artistic history of the southeast of the Iranian plateau. The main question of this research is about how to make and decorate these pottery. It seems that pottery making was developed in this area and they had different construction methods. The present research has been done by analytical-experimental method and based on laboratory studies. The studied objects belong to the Museum of Southeastern Iran. Measures such as documenting the condition of objects as well as sampling necessary for laboratory tests have been performed at the restoration workshop of the Museum of Southeastern Regions of Zahedan. Then, using thin section petrographic studies (OM) and instrumental analyzes with SEM-EDX and XRD methods, the data are analyzed in order to achieve the research objectives. In this study, 11 samples of gray pottery related to Chegardak area, which were obtained from emergency excavations in 2018, were performed. All pottery was wheeled and gray in dark to light and with different thicknesses but in the range of thin pottery. Archaeological studies on pottery suggest a similar composition, but show that different production methods were used. The pottery in question was pottery produced in high heat furnaces and advanced methods such that precision in construction, elegance and strength were considered by the potters. The results show that pottery in this area has been a very advanced industry that has used iron and manganese-based minerals to decorate the pottery.
Keywords: Archeology, Petrography, Bronze Age pottery, Chegardak, SEM-EDX, XRD.

Introduction
Southeastern Iran is one of the most important and prominent regions in terms of human evolution in the Bronze Age. Evidence of this is the dispersion and existence of numerous ancient sites and hills related to the third millennium BC in this area. Significant sites such as Burnt City (Tosi, 1976; Biscione et al., 1977; Piperno & Tosi, 1975; Tosi, 1968) ¬, Bumpur (DeCardi, 1968; Mortazavi, 2004; 2006) 2018), Speedge (Heidary et al., 2019), Khorab (Stein, 1937) and Domain (Tosi, 1970) as well as Chegardak area (Heydari et al, 2015) are prominent and prominent examples in Sistan and Balochistan, all of which have been studied and various archaeological studies to date Chagardak Archaeological Site (27 ° 5’14 ‘’ N; 59 ° 7’8 ‘’ E) is located in Delgan city and Dasht-e Chah Hashem village, 10 km northeast of Chagardak village (200 km west of Iranshahr city). This area takes its name from the nearby village, namely Chagardak. This area is located in a flat and low plain. The ancient site of Chagardak in the plain of Chah Hashem Jazmourian includes a hill and two cemeteries related to the Bronze Age of Balochistan. This area has been in turmoil and damaged in 2005 due to extensive destruction and looting by traders. During the salvage excavations carried out in 1397, the Archaeological Department of the General Directorate of Cultural Heritage of Sistan and Baluchestan Province discovered a variety of artifacts, including pottery painted in pea, gray and red. Gray pottery is one of the most important finds from the lesser-known Chagardak site in Balochistan. Therefore, these findings have been analyzed and studied in this pilot study using petrographic, SEM-EDX and XRD methods. In the first stage, petrographic analysis was performed on all pottery. In the study of pottery petrography, a very important issue is the materials added to the pottery paste. All the pottery is wheeled and gray in the range of dark to light and with different thicknesses, but within the fine pottery of this region. Samples were named based on the first letter of the name of the Chagardak site in Latin (CH) and the sample number from 1 to 11. Among these specimens, numbers 1 to 8 are broken and small pieces of pottery obtained in the excavations of this area, and numbers 9 to 11 are pottery that is much more complete and with Ability to perform restoration operations (Table 1). Gray painted pottery is one of the types of pottery that has been obtained in many areas of southeastern Iran. Their designs are taken from the ecology of the region and the culture of the people of that period. Scanning electron microscopy analysis equipped with X-ray fluorescence analysis (SEM-EDX): for microscopic examination of the pottery matrix, identification of minerals as well as melting and vitrification stages of the pottery, as well as identification of the chemical composition of the matrix and minerals. SEM-EDX method was used. The SEM device used is the MIRA3 model made by Tescan, an American product. Also, to identify the composition of pigments used in painting ceramics, the EDX elemental method and the VEGA / TESCAN-XMU model made in the United States, which was coupled to the above SEM machine, have been used. The resolution was 1.5 mm at 15 kV and 4.5 nm at KV1 with BSE detector. Also, the method used in this research is point analysis. The mentioned experiment was performed in Razi Metallurgy Laboratory of Tehran. X-ray diffraction (XRD): X-ray diffraction method has been used to identify crystalline phases and mineralogical studies in the desired pottery. The model of the device used is X’spert Prompd Panytical made in the Netherlands, which has been done in Razi Metallurgical Laboratory of Tehran. The samples were analyzed at 30 Ma current and 40 Kv voltage. Information on the identification of crystal phases based on PDF2 database was reviewed and obtained by Xpert High Score Plus software version 2010. Therefore, how the art of making and recognizing the pottery industry in this region can be one of the most important questions and goals. Therefore, in this research, we have tried to answer some questions such as the following questions by using some common methods of analysis in the archeology of ancient pottery. A) What kind of mineralogical composition does the pottery discovered from Chegardak have? B) Structural and archaeometric studies of ceramics show what kind of process shows in the way of making and baking pottery?

Conclusion
These experiments showed that the pottery has a very dense, hard and non-porous texture, which shows that the prehistoric potters of the Chagardak area five thousand years ago were very precise and skilled in the type of drilling and processing method. So that no emptiness or signs of improper weaving can be found in the pottery. This point should be considered as one of the most important features of gray pottery in this region, especially in the southeast of Iran. On the other hand, the resulting studies show that the soil used in the manufacture and production of pottery paste is very desirable, washed and free of any additives. As their strength is so high after firing that they can not be easily broken, this can be seen well in the type of sintered and semi-glass texture of pottery. Also in XRD phase analysis, the presence of high heat phases was detected. It is very likely that high heat furnaces using regenerative conditions were used in the construction of the pottery. On the other hand, in the archeological excavations and emergency excavations carried out by the archeological group of the area under the supervision of Mohammad Heydari, the architectural remains of a pottery kiln, molten pottery and kiln were discovered, which shows this. This industry has been an art and native production of the people of this area. The last stage of producing a pottery was the methods of polishing and decorating it to produce a magnificent work of art. Elemental studies showed that the prehistoric painter and craftsman of Chagardak used iron-based minerals such as hematite and red recently to record red colors, and a combination of iron-oxide and manganese-based materials to produce black and dark colors.

An Analytical Study on the A Engraved Bronze Belt Buckle with the Two-Humped Camel, from the Iron Age Site of Lefour, Savadkuh

Kamal Aldin Niknami

Abstract
Among the collection of findings from the archeological excavations of the Iron Age cemetery of Lefour, in Savadkuh, there is an engraved a two-humped camel on a bronze belt buckle, skillfully made through molding method. According to the studies of physical anthropology, in terms of morphology of the skulls, it shows that the excavated dead bodies were different from the previous inhabitants, and the grave goods also indicate they were cattle breeders and nomads. The most prominent object found is a bronze belt buckle with the engraving of a western two-humped camel on it; this animal is definitely not native to the southern region of the Caspian Sea, and may belong to the plains of Central Asia; the southernmost habitat of this type of camel is in the north of Gorgan plain and in the south of Turkmenistan. In the Achaemenid period, two-humped camel is also shown with groups of gift givers who came from Central Asia and the east of the Caspian Sea. In the memorial stone carvings of Shalmaneser III, the King of Assyrians, there are also people carrying two-humped camels, along with the inscriptions seem to be belonged to a far distant country in the east. The most important questions in this study are: Were the human remains found in this cemetery are native or migrated from other areas? Whether the obtained grave inputs were made on site or imported, and to what extent were they influenced by the artistic and industrial techniques from near or far areas? And is it possible to reconstruct the migration route of these groups in the fertile and foothill areas of Mazandaran by studying the findings of this research? In this article, in addition to comparing the form and nature of the bronze belt buckle with other findings of Lefour Cemetery, the authors analyze and interpret it regarding historical documents and sources to provide more accurate answer to the questions. The result of the research reveals that this object was produced in another place and entered the region through immigrants.
Keywords: Iron Age, Bronze Belt Buckle, Lefour Cemetery, Savadkuh.

Introduction
The study and interpretation of the cultural characteristics of past societies and the study of the evolution of cultures based on the cultural relics left by these societies constitute the main framework of archaeological studies, the most important evidence in this regard is material and tangible effects. It is complex and difficult to know more accurately the cultural relics of past societies by relying on purely material evidence. The deep connection of religious beliefs with social customs and economic activities is one of the characteristics of past cultures. Therefore, one of the most important sources for understanding the religions, culture and functions of its predecessors is the study of ancient formulations and cultural materials. In this method, researchers usually consider one or more formative features such as objects placed inside the grave, adaptation of the grave or the general plan and location of the cemetery, and then, based on that class or social status of the buried people, adapt to the form, and compare the nature of objects. Despite the importance of accurate and scientific analysis of objects and graves from the Iron Age to explain religious beliefs, no independent research has been done so far.
Research Question: The most important question that arise as a result of the two chapters of excavation of Lefour Cemetery is that according to anthropological studies and comparison of ancient date, the graves of the deceased were relatives who migrated to this place from other areas and due to the similarity of form and was the nature of the particular object in question imported? And to what extent has it been industrial practices from near and far?
Research Method: In archaeological research, in addition to printing and disseminating data from field activities of an area, it is possible to analyze and compare the form and nature of an object with the data of regional and supra-regional sites to analyze the origin of a culture. In this article, focusing on the role of the bipedal camel on the bronze belt discovered from data from the Iron Age, Lefour and the similarity of this or that with the role of the western camel of the Persepolis donors, as well as the memorial stone of Shalmanser III it reinforces the hypothesis that it was intended to be imported and that its origin was in east and north of the Gorgan and Turkmenistan plains.

Belt buckle with the Motiv of Balkhi Camel
The most prominent object of this burial was a unique Bronze belt buckle with the image of a Balkhi bipedal camel, and it is made by casting and embossing method and is reminiscent of desert and arid regions of the east of the Caspian Sea and the steppes of Central Asia

Conclusion
The plain and mountainous regions of the south of the Caspian Sea due to their suitable biological and climatic conditions are very important in studying the settlements of the Bronze and Iron Ages, but unfortunately no independent and complete research has been done on the origin and end of this period. It is done on a case-by-case basis and separately from each other in terms of time and place. Leford Savadkuh Cemetery is no exception. Regarding Leford Cemetery, it should be noted that according to the knowledge of cemeteries and settlements in the center of Mazandaran, it is clear that the cemeteries of nomads in mountainous area, unlike the plains, are often small and limited, and each cemetery probably belonged to a specific group or tribe. The nomads, whose main occupation was herding, spent most of their time in the highlands, migrating animals from one place to another in search of pastures throughout the year and the works obtained also show that in this sense it is economics and small works have on animal husbandry.

The Spiritual Being in the Material World; The Reflection of Zoroastrian Tradition on the Iconography of Ohrmazd in Sasanian Rock Reliefs

Rahele Koulabadi

Abstract
With the foundation of Sasanian dynasty, the first fully anthropomorphic representations of Ohrmazd appeared in ancient Iranian art. He was depicted in eight rock reliefs at Firuzabad, Naqsh-i Rajab (2 scenes), Naqsh-i Rustam, Tang-i Chugan (2 scenes) and Taq-i Bustan (2 scenes) while investing a beribboned diadem to the Sasanian king. The iconography of Ohrmazd was not a new one and before Sasanian period in Commagene and Bactria, the image of Ohrmazd had mainly created by imitating Greek-Roman prototypes. But the iconography of Ohrmazd in Sasanian rock reliefs was different. He was completely depicted in Iranian artistic fashion, and in some scenes, he carried bundles of barsam. Barsam is an implement carry by priests in ceremonial rituals. However, Avesta reveals that barsam was not only use by priests, but also hold by some deities including Ohrmazd. In Aban Yasht, Ahura Mazda (Middle Persian Ohrmazd) praises Aredvi Sura Anahita with the barsam. There are still questions about the figure of Ohrmazd and the sources of his iconography in Sasanian rock reliefs. So it is significant to review Zoroastrian texts again and study whether they affect the iconography of Ohrmazd or not. By analyzing and comparing the characteristics and details of iconographical elements of Sasanian rock reliefs and also regarding Zoroastrian written sources, the authors try to find the origin of these artistic models and the reason why Ohrmazd carries a bundle of Barsam at Firuzabad, Naqsh-i Rajab, Naqsh-i Rustam and Taq-i Bustan investiture scenes. The results show that the iconography of Ohrmazd was especially modeled after the royal art and the king himself. Furthermore, Some Zoroastrian texts reveal that Ohrmazd incarnate in Gētīg (material world) as an Ahlaw man or a priest and probably Sasanian artists consciously depicting him while carrying barsam in his hand(s).
Keywords: Ohrmazd, Sasanian Rock Reliefs, Royal Appearance, Zoroastrian Priest, Zoroastrian Texts.

Introduction
By defeating the last Parthian king, Ardavan V, Artaxerxes I (224-240/1 CE) established an empire which was concentrated on centralization of Iranian state and unification of religion. To unify religion (Zoroastrianism), the iconoclastic movement was formed by Artaxerxes I. According to ancient sources, Artaxerxes I ordered to destroy idols, and instead many fires established throughout the empire; even some pre-Sasanian sacred fires were replaced by new ones. However, it seems such strictness does not prevent creating images of divine beings. There are evidences of iconography of Zoroastrian deities in Sasanian art. An important point is that in the Avesta and the Middle Persian texts, some deities were incarnated in human or animal forms and so the religious texts may be good sources for representations of deities. Interestingly archaeological evidence and written sources revealed different version of Zoroastrian in Armenia and Central Asian and idol-worship customs were prevalent there. In Commagene and Bactria, the image of Ohrmazd was mostly depicted according to Greek-Roman prototypes. On the contrary, the image of Ohrmazd as the superior Zoroastrian deity in Sasanian art was different and imitated from Iranian models. At Naqsh-i Rustam, the definite image of Ohrmazd contribute identification of him in other Sasanian rock reliefs. Due to the inscription, it was the only certain known evidence of Ohrmazd in Iranian art. At the same time, it is regarded as a significant document of the iconography of Zoroastrian divinities from the early Sasanian period. Despite extensive and diverse studies on Sasanian art and representations of Zoroastrian deities, including Ohrmazd, there are still ambiguities about the iconography of Ohrmazd and the sources of his visual images, the contribution of religious texts, and the influence of other iconographies of Ohrmazd on his representations in Sasanian art.

Discussion
Archaeological evidence and written sources shows that Ohrmazd occupied the highest status in ancient Iranian beliefs. The oldest and most definite references to him traced back on Achaemenian inscriptions (Lecoq, 1997: 176-276) and fortress tablets at Persepolis (Henkelman, 2008: 527-529). Furthermore, some scholars regarded the images of the winged disk with or without a bearded bust on Achaemenian monuments as the very ancient image of Ohrmazd (Lecoq, 1984; Skjærvø, 2014: 179-180). Contemporary with Parthian at about 30 BC, the Commagene king, Antiochus I erected statues of gods at Nemrud Daq (Herzfeld, 1941: 275). According to the inscriptions, one of the statues belongs to Oromasdes who was synchronized with Zeus (Widengren, 1986). Although he dressed in Persian fashion (Duchesne-Guillemin, 1978: 189) and holding barsam, but he was depicted like Zeus. On Kushanian coins, Ohrmazd was depicted again more likely after Greek models (Shenkar, 2014: 61-62), but under the name of Ōoromozdo or the abbreviated name Ōrom (Humbach, 1975: 139-140). For the first time during Sasanian period, Ohrmazd was represented in a fully anthropomorphic figure while investing a diadem to the Sasanian kings. At Naqsh-i Rustam, Ohrmazd synchronized with Zeus (Lukonin, 2005: 307), but he was depicted completely different and he appeared resemble to Sasanian kings probably for legitimization goals. Furthermore, Ohrmazd holding barsam in several reliefs. According to Bundahišn, Shāyist Nāshāyist, Ohrmazd incarnated as an Ahlaw man or a priest (Zot or Atravan) in Gētīg. He also praised Aredvi-sura-Anahita with barsam (Yš. 5. 17). So it seems that Sasanian artists deliberately depicted barsam in the hand of Ohrmazd to show him in the figure of Zoroastrian priest. As the image of Ohrmazd was not remained similar during Sasanian period, barsam appeared on Artaxerxes I’s rock reliefs and reemerge on Khosrow Parviz’s investiture at Taq-i Bustan.

Conclusion
Before Sasanian period, no definite representation of Ohrmazd is detected in Iran. The only images of the winged disk on Achaemenian and post-Achaemenian monuments in Pars attributed to Ohrmazd by some scholars. Contrary to Parthians, the iconography of deities in Sasanian period is much fewer. Although ancient sources attribute iconoclast movement to Artaxerxes I, but archaeological evidence manifest production of divine images. However it is important to distinguish cultic statues and portrayal of deities in the art. During Sasanian period fire-temples were established all over the kingdom and the cult of fire become the state religion. Erecting cultic statues was prohibited, however the images of deities including Ohrmazd produced in Sasanian art. Investiture ceremonies on rock reliefs show Ohrmazd in the shape of a royal figure while in some cases carrying a barsam like Zoroastrian priests. As Sasanian kings emphasize their legitimate claim during their sovereign, Ohrmazd depicted similar to the king. The representation of Ohrmazd in these monuments was completely in Persian mode and was against the image of him in Commagene or Kushan where he was depicted after Zeus. In the Middle Persian texts, Ohrmazd is invisible even amongst the sacred beings, except for the prophet Zardosht. He can be comprehend through wisdom and the power of comparison. However in the Pahlavi Rivāyat and Shāyist Nāshāyist, Ohrmazd described with a human appearance. In a passage from Shāyist Nāshāyist, Ohrmazd is an intangible spirits who appears in Gētīg in the body of the Mard-i Ahlaw (Just man). According to Bundahišn, Ohrmazd appears in the form of Zoroastrian priest in Gētīg. Also, he comes to the world as Zot. He is Atravan. So it is not strange that Ohrmazd depicted as a priest in some reliefs, while carrying a barsam.

Elements and Details Related to the Architecture of Troglodyte, Ab-e-Ask village, Larijan, Amol, Mazandaran Province

Yaghoub Mohammadifar

Abstract
Troglodytic Architecture like other branches of architecture has strong relationship with the culture of the people and their daily lives, which, although at first glance, seems simple and primitive, but in fact were built by people who have used all their intelligence and ability to build them.In Troglodyte part of Ab-Ask village, the people of the past have tried to create various architectural elements in this place to meet their daily needs, each of which plays an important role in the architecture of this part in a specific shape and image. Some of these elements were created inside the Troglodyte (rooms) and some outside the rooms.Indicative environmental elements that affect the plasticity of the village are geography,security,immortality and religion,which geography has the most impact on the form of Troglodyte compared to other factors. However, the influence of other factors cannot be ignored. What has been the present research in order to answer the question of the elements related to the lifestyle of people in these Troglodyte? Using field and descriptive case study method, in Troglodyte section of Ab-Ask village, to introduce and analyze architectural elements and details in these Troglodyte including: porch, stone bench, door, window, ledge and niche, stove, manger, and etc. At the end of this study, it will show that the past people of this region with high skills in interacting with nature have been able to create more than 170 Troglodyte in this place, which were studied in 5 groups. The orientation of the facade in this complex has been done from the south to the northeast, which has been a calculated choice in relation to the winds of the region and the direction of the sun and the chronology of the collection, according to the pottery and historical texts, is probable to the historical-Islamic period.
Keywords: Troglodyte Architecture, Ab-e-Ask, Architectural Elements and Details, Immortality, Akhyeh.

Introduction
This type of architecture has been created by hand, with the help of tools, in the heart of the soil or in the heart of rocks between dams and precipices. Residents in man-made cave architecture, like living in modern architecture, require the use of elements to meet their needs. They have created the elements of this architecture in the same way in the heart of the rocks and according to their needs, which is diverse. Certainly, the past residents of man-made cave architecture of Ab-Ask village, in order to meet their needs by creating and organizing the available space in the heart of the rock, have created elements and details along with the residential space; that knowing these elements, as indicators related to lifestyle, will lead to familiarity with the pattern and lifestyle of the inhabitants of this man-made cave village.
Man-made cave part of the village, which also has a significant area, has taken on new uses today due to new needs, and due to new uses, new elements have been added to the previous samples.
Objectives and necessity of research: Due to the evidence of many rock architecture in Larijan section of Amol city (due to geographical conditions) and the lack of sufficient research in relation to these works, therefore study of the rock formations of Ab-Ask Village can be used as a prelude to a better understanding of this type of architecture and also, the role of rock architecture in rural tourism planning in Larijan section is very important
Research questions and hypotheses: What were the elements related to the lifestyle of the people in these man-made caves? It seems that the wind direction of the region and the direction of sunlight have had a significant effect on the direction of the entrance of this man-made cave.

Context
Areas of villages in Larijan district in Mazandaran province, among dams and precipices with a length of approximately 45 km, from the summer village of Plour to the village of Punjab, along the Haraz transportation road, have a variety of man-made cave architecture (Mohammadi Nashli and Rostamnejad Nashli , 2013: 2) which in this article we are researching man-made caves of Ab-e-Ask village.
Adjacent to the Haraz River, which has permanent water, at the foot of Damavand Mountain, next to numerous mineral springs and travertine makers, and near the coal mine, more than 170 units of man-made cavities inside hardened volcanic sediments (harder than soil and softer than stone) but dominated the plains and adjacent lands created by the peoples of the past.
These man-made caves are made on the walls of valleys with a height of 30 to 100 meters, all of which have a special door and hole due to the slope and climatic and perhaps religious reasons, which usually warm in winter and cool in summer in choosing the side. In these settlements, the number of openings is generally small and often only one entrance is enough, although in some, man-made caves, in addition to the opening, a hole is installed in the east direction.
Various elements have been used in man-made section of Ab-e-Ask village inside and outside the living space, and here we have tried to introduce and their possible function. Porch, parf, shelter or shelter of wind and cairn from external elements, hall, skylight window, niche, recess, jug, mortar, stove, manger and drinking fountain, room and stake including internal and at the entrance elements, stairs and platform are elements that are seen both outside and inside the space of these man-made caves, are mentioned in this article.

Conclusion
This collection includes more than 170 units of man-made cave that have been studied in five groups: residential structures, livestock-residential structures, guard structures, possibly ritual-burial structures and structures with unknown use. Chronology of the collection According to the evidence in the historical-Islamic period up to the present century, it is possible that during this period, this collection has also expanded. However, 90% of the units in this collection are still used in fodder ponds and warehouses. Pointing out that about 50% of the collection is related to the present century that people have naturally built existing structures to store fodder and keep their livestock and according to the type of rock.
7 units out of total 170 units identified in the collection were debris-removed that the different feature of these 7 units is the presence of a pounded floor with plaster, which has probably been seen in the side walls in addition to the floor. A number of units in this collection are associated with artificial architecture, which is clearly related to the surviving artificial architecture of the contemporary century and some recent years.
Existence of different architectural elements inside and outside the spaces has been a necessity in order to meet the daily needs of the residents, that in this article, a brief introduction to the elements and interior design, which were eventually created simply by working on stone and natural bedding, was obtained.
In this collection, the existing architectural elements as inextricably intertwined with other elements, such as walls, floors, ceilings are parts of the space. Each of these elements is embedded in different sizes and dimensions depending on the location and available space; due to this, we see a great variety in the architectural elements of this collection that the elements of each space are specific to that space. The presence of a natural substrate has made it possible to add new elements to the collection over time. These elements are created in the desired space due to the necessity of daily life, and that is why there is not much multiplicity about these elements.

Explanation and Analysis of the Communication Network of Sasanian Cities and its Role in the Arab Conquests

Soheila Torabi Farsani

Abstract
The expanded territories of the ancient Iranian empires raise a question for the audience, at first glance, despite a display of authority and domination of the kings, that how the central governments extended their domination over these regions and defended it against foreign threats. In the wide Sasanian Empire, one policy of the emperors of the dynasty was to establish new cities and renew old ones to expand their dominance over the country. As a result of these efforts in which required the founding and reconstruction of intercity pathways for moving goods and troops, a vast network of cities and routes were gradually formed. In this network, cities had the role of nodes for controlling and providing the essential resources and supplies for the central government. Thus, it can assume that the network of cities, moreover expanding the dominance of the Sasanian government, also had affected their fall. This study aimed to find appropriate answers for this question, using library resources through a descriptive-analytical methodology that what role the communication network of Sasanian cities has played in the Arabs conquests. The result findings indicate that the vast communication network of the Sasanian cities has not only facilitated the Arabs troops’ movement and campaign, but they were also able to weaken the defensive power of cities through Blocking support routes. Moreover, The Arabs had been able to consolidate their occupancy and dominance by capturing the cities as network’s connection points.
Keywords: Sasanian, Arabs, Sasanian cities, Conquest, Communication network.

Introduction
The concept of the realm can be defined by some individual domains played a source role for a central government interconnected via some access roads, and being protected from improvised border posts; however, each domain is surrounded by some enclosed areas not being purposed for settlement (Smith,2007:28-29). The ancient governments were modeled as some access networks to resources like cities, trade bases, or natural mines for their developed dominance based on the management of those charged operators in the controlled trades, taxes, infrastructures, law enforcement, and military proceedings (Smith,2005:835-836). In this way, the empire owns actually a communication network for transported goods and cities could be interlinked (Liverani,1988:86-92). Based on this model, the governors initially establish their authority over the most critical chosen resources, and subsequently, control the corridors and essential routes connecting the relevant domain to the imperial network system; so it is possible to construct some links as roads or canals from the new domain into other parts. Therefore, they can manage those realms with a high transformed economic and social data shown with their widespread control over the essential resources (Smith,2007:32-33). Facilitating the communication among various empiric sections, the Sasanian communication network plus their cities were widespread under the imposed state surveillance (Miri,2012:104). In the late period, monitoring the main network routes was assigned into the quadratic generalissimo (Spahbodān) of the Sasanian empire (Howard-Johnston,2012:125). It suggested a political and military significance of the network maintenance for the Sasanians, and according to Smith, after the intercity network of interaction finished, it was possible to collapse the states (Smith, 2005: 838). Given that the role of every Sasanian city was based upon certain matters and essentials, it is necessary to compare and analyze their effects in the fall of the Sasanian empire. The study findings are beneficial for those investigators of the historical urban background and the condition of traditional ancient Iran.
Therefore, this study aimed to evaluate the collapse of the Sasanian state and the Arab conquests based on the perspective of the network interconnection of Sasanian cities. The raised study question is that based on their status and place in the widespread network of Sasanian cities, what roles and effects had every Sasanian city placed along the routes of Arab conquests in this event? Library resources were used for data gathering in this descriptive-analytical study.

Network of Sasanian Cities and Roles in Arab Conquests
The Sasanians established their dominance policy based on the city developments and the necessity of their interconnection. Accordingly, surveillance of urban connection routes became essential for the state because of both military logistics and support and trade and revenue. That was highly important, especially in border regions and even some cities were established to support other cities in the frontlines (Liverani,1988:92). Besides the development of cities and communication routes, the states were considered the source access network with some defined regions and borders to be defended (Smith,2005:835). The potential danger of the Arabs made the Sasanians construct a defensive line of small military forts for surveilling important points in the communication network of the Mesopotamian plain (Howard-Johnston,2012:97-98). The Arabs used to violate the state frontiers. After the succession of Yazdgerd III, their motives increased for capture more areas after their progressive onrush into Iran’s territories (Tabari,2004:1587-1588). Intercity routes with a previous role for widespread Sasanian authority in Iranshahr cities were traversed by the Arabs and their troops to progress into the Persian central plateau (Tabari,2004:1959). Eastern Iran disconnected from the central cities after Rey’s capture (Frye,1977:12) as a critical route from the western cities to Khorasan (Nicolle,1996:12). Also, Zarang’s capture led to the disconnected Sistan-Khorasan due to the defeated highway of Zarang-Kirkuk-Herat (Ibn Huql,1987:158), and subsequently, Yazdgerd III was trapped in Khorasan (Farrokh,2013:92). Yazdgerd went to Marv city with special military strength and position in order to take back the monarchy, but Neishabour capture, the support military base, happened earlier by the Arabs (Bruner,2014:174). After the weakened defenses, the death of Yazdgerd III, and the peace of governor with the Arabs occurred in Marv city, the fall of the Sasanian dynasty was realized there.

Conclusion
The Sasanians expanded their authority through the developed urban centers and roads over their empire and then established strategic base points for land maintenance and protection. Due to the policy, cities like Neishabour in Khorasan or Mesopotamian Anbar were higher political and economic prominence over others being responsible for providing military and economic support to the surrounding cities. However, cities like Isfahan or Qazvin alongside Oboleh functioned as connection points and crossroads in the urban network, and sometimes, their removal meant simultaneous disconnection of several state routes from the control of the central government. Therefore, the Sasanians invested variously in building walls and ditches for cities’ protection, but political turmoil, civil wars in the late Sasanian period, and destructive effects of the long Byzantine wars overall weakened the defensive shield. Apparently, after invading Iran’s cities, the Arabs could use the joined Iranians to their armies, or the Iranian settled Arabs and identified well the routes and connection points of the cities, blocked the supply and support routes, and facilitated Iranshahr capture.

Space Organization, Form and Operation of Mountain Castles, Tehran Province; Case study: Castle-City of Firuzkooh

Hassan Karimian

Abstract
Castles are one of the most amazing innovations of Iranians in the field of architecture and one of the most numerous remnants of the past. These buildings, which have been formed in most areas with the aim of securing the inhabitants of this land, have been developed and developed with the passage of time and in accordance with the existing needs and according to the construction location, performance and objectives of its builders. the two main types of plain and mountain castles, mountain castles, commonly known as fortresses, have a more diverse space organization and form and its construction location determines the type of its map. Tehran province is one of the regions that due to its special geographical location and located in the path of highways connecting the central areas of the country with other parts of the country, as well as the existence of the ancient and historical city of Ray, which was at some point in the history of the Capital of Iran, countless castles can be searched in its plains and mountains. field studies of authors, a considerable number of these castles were identified, some of which are based on alborz heights overlooking tehran plain. Therefore, determining the spatial organization, form and function of these castles is the subject of research and its results are presented in this paper. In achieving this goal, answering questions about spatial and temporal distribution, the governing model of space organization, form and function, as well as the focus of these defense fortifications were necessary. In field studies, which were carried out by reviewing and documenting all samples, 159 fortresses and defensive buildings from pre-Islamic times and various Islamic periods were identified these, 69 castles and defensive buildings (about 40%) are located in mountainous areas and more than 50% of them are located in the east of Tehran in Firuzkooh city, most of which were founded in pre-Islamic times and have been exploited in various Islamic periods. One of the prominent examples of mountain fortresses located in the center of Firuzkooh city is a castle called Firuzkooh or Firuz Shah, which is the largest and most important mountain tin in Tehran. In this paper, we have tried to introduce this highly prominent and identified sample by relying on reliable historical documents and sources and archaeological field researches.
Keywords: Mountain Castles of Tehran, Firoozkooh Castle, Historical Texts, Archaeological Studies, Historiography and Practice.

Introduction
territory that is now called Tehran province is one of the areas that has been important in different historical periods due to its brilliant geographical location and favorable environmental conditions and being located along important highways of communication. The favorable conditions mentioned as the growth and development of civilizations in this region have also caused threats to the inhabitants of this plain and have prompted them to establish defensive buildings and facilities, including castles, in different parts of it for the rest of their lives. of the indicators identified in this study is the mountainous tin of Firouzkooh or Firuzshah in the east of the province. According to authentic historical documents and texts, the castle is an important government military center and one of the seven main darbands of the Ray-Tabarestan highway and the Great Khorasan Road, and until the 10th century AH, it has played an effective role in regional and trans-regional developments. this study, we tried to answer the question of what characteristics can firuzkooh be considered as the most important mountainous tin of the province and what was the historical background, spatial organization, form and function of this castle? It was assumed that due to the importance of communication in Tehran plain, strong castles have been constructed along the communication network of this plain, especially in the mountainous highlands of the east of the province. Furthermore, given the strong construction of defense facilities in the Medes era, it seems that tehran’s first mountain fortresses have been formed during this period. aim of this study was to analyze the governing model of space organization, form and performance of one of the most prominent examples identified (Qala-e-Firoozkooh) while presenting the list of castles and mountain defense facilities in Tehran province. . In achieving this goal, library studies as well as the results of field studies of authors have been used. The main approach of the paper on documents,, texts and historical reports and its adaptation to archaeological field studies.

Firuzkooh Castle: Space Organization, Form and Operation
In field studies of authors in Tehran province, 159 defensive buildings including castle- hill, fortress, observation tower, wall and other defense facilities were identified and documented. In this study, it was found that about 60% of the province’s defense facilities are scattered in the plains of the southern half and 40% in the mountainous parts of the north. to typology, the province’s mountain defense facilities include: 59 castles and fortresses, 9 observation towers and 1 building (possibly as a roadblock). The results showed that in terms of spatial distribution, mountainous peaks have generally been established in the vicinity of major roads, crossings and communication networks as well as main population centers. most concentrated castles from east to west are in Firoozkooh, Damavand and Shamiranat. In terms of time distribution, most of the mountainous castles of the province belong to historical periods (Parthian-Sassanid) and Islamic eras, especially the early and middle centuries (3rd to 9th century AH) and most of them are located in Firuzkooh city. The qala-e Firuzkooh or according to the people of Firuzshah on the height of a mountain located in the southwest of Firuzkooh city and completely overlooking it, is the largest and most important mountain fortress of Tehran, which due to its special geographical location and conjointity with the Tabarestan area, is of particular importance to the central governments and rulers of Tabaristan, especially Espahbodan, and its possession has led to various events, which are described in historical and geographical sources and texts. Middle Islamic sources such as Mu’jam al-Baldan Yaghut, History of Tabaristan ibn Esfandiar, Seljuqnameh, History of Jahangah Jowini, Naza al-Qulub Hamdollah Mostofi, Zafarnameh Sharaf al-Din Ali Yazdi, Travel The letters of Kalavikho and others and some of the most recent sources and travelogues such as Rawda al-Safa, The History of Jahanara, Habib al-Sayyer, the history of the Abbasid world of votes and the writings of Etemad al-Saltanah have been brought up and in this regard are also an exception.

Conclusion
The spatial structure of Firoozkooh’s castle made it clear that the castle was constructed from three different parts of the citadel, Sharestan and Rabaz with materials of stone, gypsum, clay and mud, wood and brick, and these sections have been expanded from east to west according to the form and shape of the mountain. The citadel in the westernest and highest point of the mountain and completely dominant and overlooking the perimeter and with walls and towers separated from other parts, Sharestan Qala in the East, with a wall enclosed and Rabaz has a fence that has been destroyed by expanding the texture of the current city.
Analysis of the references contained in historical and geographical texts related to it indicates that the building was a completely military fortress and a very important military garrison or permanent center, which on the one hand was highly regarded by the rulers of various governmental dynasties such as the Samanids, al-Boy. It was the Seljuks, Mongols, Kharazmshahians, Timurids, Aq Quyunlus and Safavids, and on the other hand, it was considered by the rulers of Tabaristan, and in written references, often as it was One of the most important peaks of Tabaristan is mentioned.
This building, more than a millennium, is at the heart of many regional and trans-regional political and social developments and is considered an exceptional example of the first foundation belonging to the pre-Islamic days and one of the important doors of the Sassanid era and can be considered as the main focus of the formation and preservation of the historical city of Firuzkooh.

Investigation and Analysis of Newly Siscovered Coins from Zolfaabad Site of Farahan

Mohammadreza Nemati

Abstract
Coins are one of the most important findings in archaeological excavations, which are the best examples of historiography after geographical and historical sources and texts. By and analyzing the information contained in them, information about each region in various fields such as history, culture, economy, politics, religions and social conditions can be completed and more accurate judgments about the identity of that community can be obtained. In the archeological excavation of 2009, in the historical site of Zolpabad, Farahan, Markazi province, twenty complete coins and five cut scissors were found, which we will study in this research. The purpose of this study is to read the calligraphy,mint place, motifs and visual elements used in their decorations in order to achieve a connection with religion, language, calligraphy and their use in commercial and cultural exchanges. The present study is a historical research based on nature and method, descriptive-analytical research based on archaeological field and a library studies. The most important of questions in this research are: the coins discovered from the archeological excavations of Zulfabad What are period and which of the rulers? What are the qualitative and quantitative characteristics of these coins and what are the visual elements governing the decorative motifs struck on them? And what does indicate the presence of these coins in this site ? The results of this research show that the coins discoverd from Zolfaabad are belong to three early rulers of the Ilkhanid period, namely HulaGu, Abaqa Khan and Ahmed Tekuder. These coins have inscriptions in Uyghur and Kufic script, Religious inscriptions in geometric decorative frames consisting of circles and squares, floral motifs and squares are the most visual representations used in these coins.
Keywords: Coin, Ilkhanid, Zolfaabad, Farahan.

Introduction
Coins are a written, valid document and an important source of information for examining any government’s culture, history, language evolution, beliefs, and economy. As the most enduring historical document, the coin is a manifestation of the various dimensions and aspects of a society’s life that reflect the industry, type of clothing, religious rites, and so on. Despite its economic function and facilitating the trade exchanges of societies, the coin has acted as a symbol and image of society and a transmitter of religious messages and concepts between societies (Thawaqeb et al., 2016: 67).
In terms of a variety of themes and motifs, the coins in this period of time have a lot of information that is very significant for researchers. The Mongols used the script and language of the conquered lands and the Uighur script in their coins. However, until the middle of the Ilkhanate government, the scripts of coins were to some extent influenced by the Mongolian culture, so the kings of this period wrote their names in the Uyghur language and script (Jafari Dehghi, 2013: 23).
Research Questions and Hypotheses: The most important questions of this research are: 1- Coins discovered from Zolfabad archeological excavations belong to which period and which Ilkhani governors? 2- What are the qualitative and quantitative characteristics of these coins, and what are the visual elements governing the decorative motifs mint on them? 3- What is the role of discovering these coins in the studies of this area? The proposed hypotheses in answer to these questions are: The results of the study, research, and reading of the discovered coins show that these coins belonged to the governors of the early patriarchal period, that means, from the time of Hulagu to Ahmad Takudar, and they have inscriptions in Kufic and Uighur scripts and geometric patterns.
Research Method: Therefore, the present study has been done by descriptive-analytical method and relying on field research and library studies.

Research Objectives
The main purpose of writing this article is to know the coins better and more accurately, read the scripts, decorations, place of beatening and accurate dating of the area through these coins.

Investigation and Analysis of Zolfabad Farahan Ilkhani Coins
Zolfaabad historical site is located in the south of Tafresh city, 3 km northeast of Farmahin city.

Coins of Holakokhan (663-654 AH)
The coins discovered from Holako in Zolfabad (Table 1) have the same design and writing. On the coin in decorative Kufic script inside the pearl circular frame is written “The Great Law of Hulagu Ilkhanum al-Mu’azzam”, and in the margin, based on similar samoles, it is written “Haza al-Darham” and contains the name of the mint and the year multiplied by the Kufic script inside the circular box. The text “La ilaha illa Allah wahada lashrikullah Muhammad Rasoolullah” is written on the back of the coin and inside the circular box. On one of the coins, the word “Allah” is added at the beginning of the inscription.

Coins of Abaghakhan (680-663 AH)
Four types of coins were obtained from Abaqan: The first type of coins are the coins on which the titles and names of the governor that is “Khaqanunarbar Abaqa Deld Kogoluxin” meaning “the coin was minted by Abaqa on behalf of the great house”, is written in the Uyghur script and inside a pearl-shaped circular box. On the back and inside the square box, the phrase “La ilaha illa Allah Muhammad Rasoolullah” is written in Kufic script. And outside the box at the top, mint coin location is written and, on the left, the year and the units digit of the year are given, on the lower part the tens digit and on the right side the hundreds digit of the year is written in Arabic.
The second type are coins on which, in a hexagonal frame with the Gereh design, the words “Qaan al-Adil” are written and the back of the coin is the same as coins type 1.
The third type is such that the phrase “Qaan al-Azam Abaqa Ilkhan al-Mu’azzam” is written on the coin and in the center of it inside a circular pearl frame. And in the margin on the coin, based on similar examples, the phrase “Hazal Derham”, the name of the mint and the year multiplied by the Kufic script are written inside the circular box. On the back of the coin in the center, inside the circle, the phrase “Lel Molk, La ilaha illa Allah Muhammad Rasoolullah Sallal lah Alayhe vas alam “ is written and in the margin inside the circular pearl frame a part of verse 26 of Surah Al-Imran is written.
In the fourth type of coins, based on coin 73-A in the book of Ilkhans, on the coin and inside the circular box of pearls, the phrase “Qaan al-Azam Abaqa Ilkhan al-Mu’azzam, rival of Umm Khaldullah Malik Homa” is written. ]n the margin of the coin, the phrase Bismillaha and also, the type of coin, year and the place of minting is mentioned. On the back of the coin, inside the circular box, the phrase “La ilaha illa Allah ova Wahda Laashrikullahu Salah Allahu alayhi wa sallam.” Is written, and the verse 33 of Surah Tawbah was in the margin.

Coins of Sultan Ahmad Takudar (683-680 AH)
Only one coin was obtained from Ahmad Takudar in Zolfabad. The titles and name of Ahmad Takudar “Khaqano Narbar Ahmadun Deldekgoluxin” are written in the Uyghur script on the coin. and on the back of the coin, it is like the first type of Abaqa coins, and the date of minting, 681 AH, is engraved on the margin.

Scrap Coins
Five scrap coins were found from the coins discovered in Zolfabad area, of which one belonged to Hulakukhan and the other four pieces could not be read, and they were traded simply by weighing. Scrap coins were used in the past for two reasons: One is the transaction with weight, which is a certain amount to get the exact weight and a coin must be added to it to get the exact weight, and the second is the daily transaction for goods that are worth less than one dinar or dirham (Quchani, 2004: 89).

Conclusion
By conducting archaeological research in Zolfabad, valuable historical and cultural documents, including coins, architecture, and pottery, were obtained, which marked a part of the history of this region in the Ilkhani period. Like most coins of the Ilkhani period, these coins were dirham and made of silver; they were also the type of coins of the first and second periods of the Ilkhani period. In the first period, coins under the influence of pre-patriarchal coins and under the influence of rich Islamic culture used Islamic expressions to mint their coins in Kufic script. In the second period, the effects of Mongolian culture on coins increased. During this period, in addition to using Islamic expressions in Kufic script on the back of the coin, they wrote their titles and names in the official Mongolian language, the Uyghur language, on the coin. Coins show that Zulfabad existed from the beginning of the Ilkhani period and expanded and flourished during this period. The study of discovered coins shows that Zulfabad has been prosperous since the time of the first Ilkhani governor, Holaku, in the early second half of the seventh century AH. Most of the studied coins belong to the reign of Abaqa Khan (663-680 AH), the son of Holako, who are often minted in Tabriz. In addition to the coins, historical texts have also confirmed the presence of Abaqa in the Farahan region. Therefore, Zulfabad was more important in the Abaqa period and later lost its importance. Only one coin was obtained from Ahmad Takudar, and no coins were obtained from the governors after Takudar. Discovered coins show important documents related to the prosperity and historical, cultural, economic geography of Zolfaabad. Coins related to Abaghakhan by multiplying the commercial and political importance of Zolfaabad. In the coins related to Abagakhan, by minting in different regions, the importance and commercial and political prestige of Zolfabad in the era of Ilkhans and especially during the government of this governor is shown. According to the studies carried out from this period, the coin of Zulfabadabad has not been mentioned in numismatic sources and books. For this reason, it can be considered that during this period, especially after the Abaqa Khan period, Zolfabad was less important than other cities of this period in which coins were minted and they are mentioned a lot in historical texts, and it has not been as big as big cities.

A Study of Physical-Semantic Evolution of “Fakhr and Madin” in Tomb Buildings Left Over from the Islamic Period (Comparative Study of Ilkhanid, Timurid and Safavid Periods)

Atefeh Sedaghati

Abstract
Fakhr and Madin are the networks inside the fence and religious places that are repeated in the form of grids. Such walls are made with pieces of baked clay in geometric and non-geometric shapes, and because holes have appeared between them, they have tried to make their form beautiful as well. In the Islamic era of Iran, mausoleums and tombs after mosques are among the most important works of architecture and urban planning. The construction of this building began in the fourth century AH and continues with ups and downs until the Safavid era. According to the surviving works, the Ilkhanate period in Iran can be considered as the peak period of the popularity and prosperity of the construction of “Fakhr and Medin” in tomb buildings. In this article, a number of tomb buildings from the Ilkhanid, Timurid and Safavid eras are comparatively studied. The paper follows the main question of what evolution Fakhr and Madin have undergone in the Islamic period with emphasis on the three mentioned periods, and how its application can be explained and traced in comparison? This research is a combination of two types of qualitative and quantitative research methods and descriptive-analytical method based on logical reasoning. Data collection was done through library study and valid historical documents and review of images and documentation centers. In this regard, first, the historical background and theoretical foundations of the topic have been examined. Then, all the types of Fakhr and Madin in the tombs of the three Ilkhanid, Timurid and Safavid periods (a total of 25 case studies) have been analyzed according to the geometric patterns, location and materials used in their construction. The result of a comparative study shows that “Fakhr and Madin” has been compiled in the form of seven physical-semantic indicators. These characteristics include: spirituality, transparency, environmental comfort, security, visual interaction, privacy and beauty, and it was found that in the Ilkhanate period, the characteristics of “spirituality” and “visual interaction”, in the Timurid period, the characteristics of “environmental comfort” and “Visual interaction” and in the Safavid period, the characteristics of “spirituality” and “environmental comfort” have been emphasized..
Keywords: Fakhr and Madin, Tomb, Ilkhani, Teymouri, Safavid.
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Introduction
Iranians have always revered their dead throughout history, but this reverence has never been for the deity of beings, either before Islam or after Islam. This attention and respect can be considered as a mixture of theology and fear of death and love and affection for parents and ancestors, which has never reached the stage of worshiping the dead.
In the Islamic era of Iran, the tomb, with the exception of the mosque, has received more public attention than any other type of architecture, so that in few cities there is no share of such buildings. On the other hand, assuming the obvious connection of many architectural and urban works of early Islamic Iran with pre-Islamic heritage, it is worth emphasizing that in pre-Islamic times, with the exception of the magnificent tomb of Cyrus, there are no important signs of tombs that were built independently.
Tomb buildings from the fourth century AH, after both religious and non-religious in Islamic architecture and urban planning in Iran, have opened their place, with the difference that the buildings are part of the religious group and mostly Shiite tombs and holy shrines have been given special attention in terms of sanctity and have been renovated over the years. But the non-religious tombs, which include the tombs of the rulers, princes and elders of the country, have not been given much importance and most of them have suffered various injuries or changes over time or have changed their nature and have become religious tombs and buildings. In this article, in line with the above, it has been tried to study and explore the architectural-urban works of the Islamic period (tombs and mausoleum) with emphasis on the three periods of Ilkhanids, Timurids and Safavids, and in particular “Fakhr and Madin” in these tombs should be analyzed.

Comparative Study: The position of “Fakhr and Madin” in the Ilkhanid, Timurid and Safavid Periods
This type of bricklaying (Fakhr and Madin) with its lattice module which is composed of regular and sometimes irregular geometric shapes, in the case of gardens, in order to illuminate and clarify the building, play with light and shadow, pay attention to the issue of privacy and prevent the view of the object directly and from the inside, be safe and secure, was actually used. This porosity in the garden fence in addition to creating vision and perspective into the garden and visual interaction with the internal environment, with shadows and stylized space, with the weakening of the light intensity for pedestrians providing a favorable path, causing its lattice body.
In this section, the tombs of the Islamic period are studied with emphasis on the status of Fakhr and Madin. As mentioned earlier, Fakhr and Madin has been one of the elements of Iranian indigenous architecture, which has a special place in various types of Iranian architecture. Architects have used this technique to create shadows and lights for visual beauty as well as to attract attention to the building. The selection of 25 case studies of the tomb in the three periods of the Ilkhanids, Timurids and Safavids is the basis of a comparative study of this part of the study. The use of Fakhr and Madin dates back to the pre-Ilkhanate period, but due to the small use of this element, their study has been abandoned. At the same time, for example, the Nain Grand Mosque in the Albuyeh period and the Ardestan Grand Mosque in the Seljuk period have benefited from its pride and use. In the first case, Fakhr and Madin have been used as skylights and connectors for air conditioning, as well as in Patio. In the second case, Fakhr and Madin on the ground floor and the first floor, with the aim of visual interaction and shading, air conditioning and light transmission, have been considered.
In order to summarize the discussion and the possibility of comparing the results, Fakhr and Madin indicators (7 indicators) in 25 samples were presented comparatively in the form of a table and separately for the three periods studied.

Conclusion
The result of this comparative study shows that in the Ilkhanate period, Fakhr and Madin were used in different parts, including under the dome of the outer fence of the altar porch and the porch of the tombs. This course includes the most variety in the places used. Of course, the greatest benefit of Fakhr and Madin was identified under the dome and then in the walls around the compound. Therefore, it can be concluded that the most important subject of the Ilkhanate was “spirituality” and then “visual interaction”. This is while in the Timurid period, the most use of Fakhr and Madin was in the outer body and then in the porch, dome and lanai. So in this period, the most important topics are “environmental comfort” and “visual interaction”. In the Safavid period, Fakhr and Madin was used in the dome and the outer wall. In this period, “spirituality” and “environmental comfort” have been the most important characteristics used by Fakhr and Madin. On the other hand, according to the studies done, in the case of different types of tombs, the most use of Fakhr and Madin has been in individual tombs, although a mass tomb was also found during the Ilkhanid and Timurid periods (who used Fakhr and Madin). Also, the most varied form of Fakhr and Madin is under the domes and around the courtyards and fences, almost a fixed form of Fakhr and Madin has been used. As expected from the definitions of Fakhr and Madin, the most used materials were bricks. But other materials such as pottery and wood have also been used in its construction. Finally, the most important indicator used of pride and civility was “transparency” and then “environmental comfort” and in the next category “spirituality”, although it seems that in the collection of tombs, the indicator of “security” was considered and Special emphasis has been placed on it.

Magnetic Surveys as a Method to Determine the Core Zone of Archaeological Cemeteries Case Study: Mehdiabad-e Olia in the Cultural Landscape of Bam

Kourosh Mohammadkhani

Abstract
In premodern societies, cemeteries were formed next to human settlements. The distribution of graves in these cemeteries depended on the size of the population and the use of these settlements. One of the difficulties in modern archaeological research in identifying cemeteries is determining their core and buffer zones. Due to the dispersion of graves, the density of graves in cemeteries can sometimes vary considerably. Determining the core and buffer zone in these areas is therefore always done with great caution. With the advancement of science and various new methods in archaeological fieldwork, the core and buffer zones of archaeological sites can now be done more precisely. One of the more efficient and effective methods in identifying, and consequently, determining the core and buffer zone of sites, is the geophysical survey. A geophysical survey with the magnetic method in the archeological site of Mehdiabad-e Olia in the cultural landscape of Bam was carried out to determine the distribution of archaeological graves and determine the core zone of this ancient cemetery in 2018.
Keywords: Archaeological Cemetery, Geophysical Survey, Core Zone, Buffer Zone, Mehdiabad-e Olia Cultural Landscape of Bam.

Introduction
Archaeological sites are spaces where physical and material artifacts of past human life entangle. These sites can be investigated by various types of archaeological fieldwork. Archaeologists identify the ancient sites by using remote sensing studies, aerial photography and satellite imagery, and pedestrian surveys. Most of the time, when we move from the center to the outside of the sites, the density of cultural finds such as sherds of pottery, artifacts, stone tools, bones, or architectural remains decreases. Sometimes, around the ancient sites, the topography, geomorphology, and landform, as well as sediments during different periods, cause cultural materials and artifacts to remain under these sediments and be hidden from view. Therefore, archaeologists often need to excavate to determine the presence or absence of materials below the surface. Areas, where the remains of ancient materials are present and can be reached with confidence by survey and excavation, are called the core zones of an archaeological site. From a legal point of view, it is forbidden to do any modern changes in the core zone of an archaeological site. A buffer zone is often added to protect ancient sites. The buffer zone is defined concerning the core zone and depends on the topography, geomorphology, environmental conditions, and elements related to the site. One field where the density of artifacts is very uncertain is the ancient cemeteries, which were generally built next to the settlements. The graves were mostly solitary and sometimes included secondary burial or mass burials.
Sometimes, due to the lack of obvious evidence of these graves, it is difficult and impossible to identify them, and determining their density and dispersion and the core zone of the cemetery. Determining the core zone and suggestion of the buffer zone traditionally is by using archaeological surveys and digging experimental sondages around the ancient site with special methods. Sometimes in ancient cemeteries, determine the core zone is not accurate, because maybe the archaeologist dig the experimental sondages between two graves and he doesn’t identify the graves, and due to the lack of awareness of the existence of graves, he doesn’t put this sections in the core zone, and this part should be outside the scope of the laws of the core zone of the archaeological site, and due to the lack of awareness of the existence of graves, this section not be included in the core zone of the site and will be outside the scope of the laws of the core zone of the archaeological site. But by geophysical methods, archaeologists can identify the location of all the graves and determine exactly the core zone of the ancient cemetery.

Identified Treces

The ancient cemetery of Mehdiabad-e Olia is located 3 km south of the village of Mehdiabad-e Olia. The cemetery expands on both sides of a branch of the seasonal River of Bandenesa, 90 km from the city of Bam. In winter 2016, after a flood event, several pits with ancient pottery fragments were found. Based on a preliminary analysis of the ceramics by the archaeologists of the research center of the citadel of Bam they were able to identify these to be of Achaemenid or Parthian date. Most of the graves are rectangular and they are only about 90 to 120 cm below the surface. The large extent of the site is ideal for geophysical studies to determine the distribution of graves and identify the core zone of this ancient cemetery. A magnetic survey is a fast and efficient method for the first approach of an archaeological site. The principle of the magnetic method is to measure the local variations of the Earth magnetic field due to the presence of iron oxides in the soils and the archeological structures. Surface soil is magnetically stronger than underground soils. Its properties are further enhanced by human activities. This makes identification of different archaeological structures possible: graves, pits, and holes prove a higher magnetic record after they were filled with soil and surface sediments. The difference in the intensity of the magnetic field causes graves and pits can be identified as point anomalies with the surrounding context on magnetic maps.
The magnetic survey on the site was carried out with a cesium gradiometer G858 with a mesh grid of 1 m x 0.10 m interpolated at 0.50 m. Our survey covered an area of 8 hectares and focused on both sides of the road and the river by which several graves had been found. The magnetic map showed several anomalies: linear anomalies and positive and bipolar point anomalies. The strong linear anomaly on the south of the map was linked to the recently made modern canal. Another linear anomaly corresponding to the road in the southwestern part of this area. Other linear anomalies were related to artificial water passages. The majority of point anomalies are related to the graves, however. Our magnetic map identified approximately 800 graves. Some of these point anomalies are located on the surface graves that were found in the flood.

Conclusion
According to the magnetic map, the density of point anomalies decreases in the east, south, and southeast of the area surveyed. This means that the limit of the cemetery is specified in this section and the core zone line of the site can be well defined here. The highest density of cemetery graves is in the central part of the studied area. The anomalies of graves continue in the north and west of the section, but the density of these anomalies decreases, and the line of the core zone of the cemetery can be identified in this part of the area. Our magnetic survey shows that the core zone of the ancient cemetery is well recognizable without actual excavation. Any excavation and opening of sondages in this region are dangerous and would pave the way for the looting of these sites. A geophysical survey, however, will protect this ancient cemetery. After our survey, an Iranian archaeological mission directed by Shahram Zare found a large Achaemenid building near 650 m west of the cemetery. Archaeological research on this site is continuing.

Study and Analysis of Zal and Simorgh Drawings in Illustrated Shahnamehs from the Ilkhanid Period (750-654 AH) to Safavid (1135-905 AH)

Ali Salmani

Abstract
The story of Zal and Simorgh is one of the interesting subjects of Shahnameh that has been illustrated many times by painters in different periods. Simorgh appears in Shahnameh with its legendary features. However, there is a close relationship between these features and the characteristics of a number of other creatures in the history of Iranian mythology. Simorgh acts like a mysterious animal in the shamanic religion and breeds Zal like a novice shaman in nature. Zal is sometimes depicted with a veil and sometimes without a veil and naked. Also, in terms of location, Zal is sometimes designed to ride on Simorgh’s back or in his arms or on the plain and on top of a mountain in Simorgh’s nest. The composition of the drawings is such that the further we go, the more acceptable and eye-catching order we see in the drawings. Considering the systematic and hierarchical study of Zal and Simorgh paintings from the Ilkhani to Safavi periods, the approach of artists in depicting the epic aspects of the story and the romantic and spiritual atmosphere that prevails is a point that should be considered in the present study. Let us. The use of common elements in the paintings such as trees, mountains and plains shows the definition of a special framework in “depicting” the story of Zal and Simorgh. This descriptive-analytical method and with a historical approach to the paintings of Zal and Simorgh illustrated in various Shahnamehs has reached the conclusion that in each painting, the influence of the school of each period can be clearly seen and also the elements used in the paintings are almost similar to each other.
Keywords: Shahnameh, Iranian painting, Zal, Simorgh.

Introduction
In this research, the paintings of Zal and Simorgh in different Shahnamehs from the Ilkhanid period to the end of the Safavid period, which have been illustrated by artists, are examined. In this study, we have tried to answer questions such as how the paintings are executed, how they are painted and the elements of these paintings are combined.
Research method: This research uses a descriptive-analytical method and a historical approach to study the paintings of Zal and Simorgh that have been illustrated in different Shahnamehs. Also, information was collected by library method and authoritative academic dissertations, articles and websites contributed to advancing the objectives of this study.
The subject of Zal and Simorgh has been discussed in articles which are: “The opposition of nature and culture in the painting of Zal and Simorgh” by Zahra Rahnavard (2009) in which the paintings have been studied in a symbolic framework. In the article “History of Simorgh in Ancient Iran” (2016), the cultural roots of Simorgh in Iran and its nomenclature have been studied and in the article “A Look at the Forms of Rashida Shahnameh Paintings” Pakzad (2014) Rashida Shahnameh Paintings Are. Also, in the article “Study of Shamanism and other spells in the story of Rostam and Esfandiar” written by Aminipour (2017), the story of Zal’s birth and how he became a shaman has been studied.

Conclusion
According to the mentioned contents, the following results have been obtained;
1. Zal and Simorgh paintings of the first school of Tabriz in the patriarchal period have been somewhat influenced by Chinese art traditions. The rocks are very simply drawn, showing the species of abstraction. Zal is depicted with human cover and in Simorgh design, the effect of Chinese painting is mainly observed.
2. In Isfahan, the patriarchal period is generally characterized by raw abstraction. Simorgh free from splendor are designed naked. The rocks are depicted symbolically. In general, the division of the painting space into four parts, including Zal and Simorgh at the top of the painting, and rabbits and statues at the bottom, has achieved a relatively eye-catching order.
3. In the Shiraz school of the Al-Inju period, large engravings and a uniform golden background are evident. Zal is depicted in white and Simorgh with golden feathers and a dark beige head.
4. In the Shiraz school of the Al-Muzaffar period, a very simple composition can be seen by dividing the space into two parts, Zal, Simorgh and caravans. In general, the background of the painting is divided into two parts under the influence of composition by turquoise and gold colors. Zal riding on Simorgh are naked and Simorgh are depicted in abstract ways.
5. The Herat school of the Baysanghar period was like a launching pad in Iranian painting. There is no sign of abstraction in the painting. The artist has creatively balanced the painting. Zal and Simorgh in the center of the image, the tree and Sam on the right and the rocks on the left create a dynamic balance image. Unusual colors and the shape of the rocks indicate the evolution of painting in this period.
6. The most basic feature of the Isfahan school was the artist’s interest in showing the movement of statues, which aesthetically considered the wavy, twisted and curved Islamic form in relation to all the elements of the subject. In the graphic used in this school, the method is used. Zal is standing in front of Sam with white cups, red hair, holding hands. The splendor of the tree in this painting, unlike other paintings, is noticeable. The rocks are dimmer and occupy a small part of the image.
7. In the painting related to Qazvin school, a completely different atmosphere is seen from other paintings. Simorgh nest can be seen on the top of a very tall tree that stretches from the middle of a cliff. Zal is in the arms of Simorgh and Simorgh itself is depicted with warm colored wings and cold colored feathers. The sharp shape of the rocks makes Simorgh’s nest invincible.
8. The peak of glory, taste and creativity of an artist can be seen in the painting done in Isfahan school. In general, the composition in this painting and its masterful coloring have created a dreamy atmosphere consisting of four chapters. The sponge rocks on which the Simorgh nest is located, reflect the talent of Fayyaz Negargar as much as possible.
9. In this painting, there is no sign of the splendid decorations of the Isfahan school. It can be admitted that there is a kind of rawness in the whole image. Simorgh, while flying from his lair, embraces Zal and returns him to his father Sam. Also, most of the image space is covered by rocks and mountains.
10. A beautiful and regular work, Zal and Sam are depicted in two corners of the painting, facing each other, one riding on the back of Simorgh and one on the plain. Rocks play a lesser role, although they cover about half of the image.
11. The use of cool colors in depicting Simorgh and the light colors of rocks and mountains, which are all white, and the uniform dark background of the plain is noticeable. Zal is also depicted on top of rocks and naked with white hair.
12. A clear example of a masterpiece of Iranian painting that was created in the school of Tabriz II. Simorgh’s masterful design and painting is a manifestation of his glory and awe. The color of the rocks is also in harmony with the colors used in Simorgh and is reminiscent of sea waves.
In general, Zal and Simorgh paintings have a similar generality in terms of visual structure and execution style, but the color scheme of the elements has been dramatically and fundamentally different and has been influenced by the school of time and the taste of the painter.

The Tradition of Previous Repairs and the Foundations of New Approaches to Conservation and Restoration in Murals of Chehelstoun Palace

Hossein Ahmadi

Abstract
Chehelsotoun Palace has always been a source of traditional and new interventions in the restoration of murals, which indicates the evolution of views on this issue in Iran. This study aims to understand the evolution of conservation and restoration approaches to murals by referring to the tradition of previous repairs and new approaches to conservation and restoration has studied murals in Chehelsotoun Palace and has sought to answer these questions: What were the procedures of the previous repair tradition? What were the new approaches to the conservation and restoration of murals and their fundamentals? What were the differences between the two? Data collection was done by documentary method. First, by adopting a comparative and descriptive method, the previous repairs will be examined. Then, the research, which has a qualitative and interpretive approach, uses an analytical method to explain the issues about the tradition of previous repairs and the fundamentals of new approaches. In the end, the results will be explained with logical reasoning. The research findings indicate that the previous repairs were performed in the form of repainting on the original murals, in the continuation of the life of Iranian Traditional Paintings. Such repainting, while following the visual elements of the original murals, also has different expressions from the artist in charge of the repair, which was rooted in the tradition of previous mural repairs and their contexts. New approaches were based on historical authenticity and aesthetic integrity, and led to the removal of some of the stages of mural development and reintegrated of the lacunas with a distinction from the original murals. The aesthetic and historiographical approaches of the West were the source of the differences between the new interventions and the semantic procedures of traditional repair which always focused on the nature of things.
Keywords: Repair Tradition, Conservation and Restoration Approaches, Mural, Chehelsotoun, IsMEO Group.

Introduction
In recent years, the need to pay attention to the tradition of indigenous conservation in accordance with the specific cultural, intellectual, religious, historical and social contexts of each land; has been considered by international forums. In Iran, there are still many points about the tradition of heritage protection and repair that need researched and will cause to be known, like Western societies, the origins and evolution of views, procedures and approaches in the field of conservation and restoration in Iran. Chehelsotoun Palace murals have always been the subject of a variety of interventions, from previous repairs to new conservation and restoration approaches that became common in the mid-1940s. Today, only a few traces of the previous procedures of repairing murals in Iran have been left. In particular, the undesirable evaluation of traditional repair procedures has left no opportunity for their recognition. While in international treaties and documents have always been emphasized the importance of indigenous conservation traditions in each region and the role of recognizing these traditions as an intangible aspect of heritage in its preservation has been considered important. On the other hand, despite the continuation of many new approaches to the conservation and restoration of murals those took place in the mid-1940s; their constructive principles and criteria, and how they deal with previous procedures, have not been studied. This study will also explore the tradition of previous repairs to some of Chehelsotoun murals and how they were transformed into new conservation principles.
The aim of the present study is to gain an understanding of the tradition of previous repairs and the foundations of new approaches to conservation and restoration in Chehelsotoun murals, and finally an analytical cognition of how they differ from each other.
In conducting the research, the following questions were considered: What were the procedures of the previous repair tradition? What were the new approaches to the conservation and restoration of murals and their fundamentals? What were the differences between the two? Data collection was done by documentary method. First, by adopting a comparative and descriptive method, the previous repairs will be examined. Then, the research, which has a qualitative and interpretive approach, uses an analytical method to explain the issues about the tradition of previous repairs and the fundamentals of new approaches. In the end, the results will be explained with logical reasoning.

Discussion
In previous procedures, the purpose of the artist in charge of repair was to Continuing the spiritual dimension of the heritage. The artist performed traditional repairs according to the moral, intellectual and spiritual functions that traditional art had given him. Such repairs to the murals in question took the form of repainting performed by the artist directly on the original mural. These repainting, while having visual elements and general similarities with the original murals, also displayed different expressions from the artist in charge of the repair. The traditional repairs in imitation of the original murals, along with different expressions from the artist in charge of the repair, were a kind of mimesis of the original murals, as a representation of the original mural through the wishes, thoughts and ideology of the artist in charge of the repair. Also, the process of traditional repairs of murals had a hierarchy in the tradition of teaching art techniques. Such repairs, in the midst of the prevalence of the eclectic style of Qajar painting and then the abandonment of past traditions and covenants, were a kind of revival of the themes and features of traditional painting in the form of murals.
Restoring the Safavid identity and recovering the older layers of the murals was one of the main approaches of the new currents of conservation and restoration in Chehelsotoun Palace, As the IsMEO group seldom left evidence of traditional repairs on murals. IsMEO also used a system recognizable of distinct restorative additions to older sections in order to avoid misleading restoration operations in addition to establishing aesthetic integrity. Following the emphasis on preserving all the remains of the surviving murals from the Safavid period, the treatment of the murals with strategies resulting from the application of science gained a lot of importance. Thus, the use of new materials to help materials that no longer had the desired function, found a new place in the conservation and restoration of murals in Iran. It should be noted, however, that with the exception of a few experiments, the results of an accurate assessment of the compatibility between such solutions and the main materials of the murals and the traditional methods of their construction have not been published by IsMEO.

Conclusion
The new approaches to the preservation and restoration of the murals discussed at Chehelsotoun were based on an assessment of the aesthetic and historical aspects of the murals. IsMEO’s methods for reintegrating the lacunas of murals were also linked to the two fundamental categories of the historical authenticity and artistic integrity of murals. Aesthetic approaches in the new currents of conservation and restoration, derived from the perspective of art for art and beauty in a pleasant and enjoyable sense. Following this view; Attention to the main intention of the artist, and subjectivity, found a special place in many approaches to conservation and restoration. In contrast, traditional repairs were semantic in nature rather than aesthetic in appearance. Previous procedures were subject to spiritual concepts and also used visual values to express spiritual and epistemological expressions.
Emphasis on the historical authenticity in new currents was another way of distinguishing it from previous procedures. This view arose following the disintegration of Western societies from the past and the formation of historical consciousness, and forbade the process of re-creation and competition with the original artist in restoration. But in contrast to the new approaches focused on the nature of things and their semantic and epistemological aspects, they were independent of the time and place of the phenomena.

Recognition of Basic Spatial Units in Order to Determine the Patterns of Physical Order of Houses of Qajar Period, Isfahan Province

Nourmohammad Monjezi

Abstract
The Iranian house is full of structural units. The cohesion of the units creates more complex patterns, which, as a result of their location in different parts of the building, also form its physical structure and functional and cultural characteristics. Since the combination of these patterns in the home is always a reflection of the customs and lifestyle of residents and local conditions, knowing each of the patterns allows them to be used on a larger scale in the design of new homes. The content of structural patterns and the extent of their impact on Iranian-Islamic residential architecture is the basis of research inquiry. The research intends to take a physical approach to express the structure of the architectural language of the house in the sample buildings of the Qajar period; and in this way provide the basis for restoring the architectural values of the past. The research method is descriptive-historical and the method of finding research is a combination. The basis of observational studies has also been done through the presence of buildings that have a relatively complete architectural composition, and citation of existing maps, images and texts. The abstracted contents with the help of AutoCAD software introduce the basic units in geometric shapes and check their applicability in 50 houses of historical-cultural value. One of the important results of this search is the generalizability of the logical order of the initial units identified in various combinations and the production of more complex spatial units than the initial units of 5040 patterns. The results show that the patterns participate in various proportions from 0.06% to 27.16% and 42 in selected houses. Among these, pattern number 8 has the most (453) presence; while Patterns 12, 33 and 42 have the least (1) applications.
Keywords: Iranian-Islamic Architecture, Architectural Model, Architectural Physical Order, Language of Architecture, Qajar House.

Introduction
Due to the common economic and social prosperity, the residential houses of the Qajar period define a rich language in architecture that can be extended to Iranian-Islamic houses in the contemporary and future periods. Field studies show that there are a variety of patterns in residential homes that are physically part of a sequential structure and order. From the coherence of these initial units, more complex patterns emerge, which, according to their location in different parts of the building, express the physical structure and functional and cultural characteristics of the building. Since the combination of these patterns in the home is always a reflection of the customs and lifestyle of residents and local conditions, knowing each of the patterns allows them to be used in the design of new homes on a larger scale.
Housing construction in the contemporary era of Iranian architecture and urban planning, especially in recent decades, has found significant differences with the previous era. Field studies and observations indicate a significant reduction in physical-cultural values arising from new housing methods. For example, the gradual obsolescence of the middle fabric of cities is an issue that easily causes their instability.
This study tries to identify the past methods in housing architecture and highlight the points of emphasis in its structures and concepts, and then shaping those features into a new format, introduce the most important effective spatial patterns in order to improve the physical and quantitative structure of modern house.
According to historical background of home architecture in Iran, and the need to review the structure of modern home architecture, research seeks to find answers to these questions: 1- What are the basic spatial units in the architecture of the Iranian-Islamic house? 2. What patterns does the spatial order of the units create? 3- What is the frequency of these patterns in the existing samples?

Survey of Basic Spatial Units
The research has summarized the data using a descriptive-historical method. A review of studies conducted by researchers and experts in Iranian and non-Iranian architecture and urban planning confirms the similar and sometimes different points of view of the linguistic structure of Iranian-Islamic architecture. Each of the statements has somehow emphasized the characteristics of Iranian-Islamic architecture; and they are summarized at the crossroads of the world of meaning and the world of matter and are located in six directions (Falamaki, 2012, 194).
In the Iranian- Islamic culture, it is believed that matter or the material world is opposite to light or the spiritual world (Holy Quran, Esra: 70). In Iranian-Islamic architecture, the spatial arrangement of the body shows that, in its spatial organization, attention is directed from light to matter. In fact, “it is a journey from pure light to the depths of matter” (Holy Quran). Although architecture is shaped by the combination of matter and space, form is created by the domination of space. Therefore, the form depends on the arrangement of the initial units that make up the architecture of the building. These units include a closet, room, living room, hall, porch, Platform, courtyard and basement.
Examination of the frequency of practical application of patterns in sample houses shows that out of a total of 42 patterns used, pattern No.8 has the highest presence among the 42 units; Patterns No. 12, 33, and 42 have the least presence in the composition of houses. Among the most complex patterns, pattern No. 1 with 15 times the company had the least and pattern No. 18 with 40 times had the most use. The results also show that the patterns contribute in various proportions from 0.06% for patterns No. 12, 33 and 42 to 27.16% for pattern No. 8 in the sample houses.

Conclusion
The seven structural foundations of house architecture in Iranian-Islamic, including: basement, room, living room, hall, porch, platform and courtyard are clearly recognizable. Each of these seven primary units is distinct due to its purity and structural simplicity. The reason for the differentiation of the primary units is their placement in a successive series from darkness to light. For this reason, these units are turning points in marking the evolution of syntax and syntactic language of Iranian-Islamic housing architecture, and their location in the series of units generates patterns that allow them to produce a significant variety in housing architecture. In order to accept this theoretical view, field observations on houses of historical-cultural value make the existence of diversity correct. Based on factorial 7 mathematical calculations, there are 5040 possibilities for the logical arrangement of the initial space units and the production of a pattern; while according to field observations, only 42 possibilities have been used in sample houses so far. Primary units, in part or in whole, can communicate with other units in four directions. Studies show that the two directions of north-south and east-west are the most important patterns in terms of complexity and the extent of their use in Qajar period houses. Patterns together create a large, controlled space that joins together in hot conditions to create a larger space; while in cold conditions, these spaces separate from each other and create small and independent single spaces.
The coherence of the patterns in both longitudinal and transverse directions shows that the design language of the Iranian house, based on the flexibility of the constituent patterns in practice, has the ability to create newer examples. The flexibility of the patterns is affected by the integrity of the initial units, which is provided by adding and subtracting some initial units in the form of order.

Investigating the Effective Factors in Collecting Carpets by European in the Qajar Period

Taher Rizazadeh

Abstract
The special conditions of the Qajar period have made it possible for Europeans to obtain Iranian carpets more than before. During this period, Europeans interested in Iranian rugs took advantage of the unique opportunities available to them to create, develop, and complete the assets of their rug collections in the best way. Familiarity with the fields of creating these opportunities on the one hand and knowledge of European strategy regarding the acquisition of Iranian carpets in this period are among the important and contemporary issues and concerns of carpet studies and of course museum studies and can complete our knowledge in this field. Accordingly, this article intends to follow the most important methods and strategies of Europeans in acquiring and owning Iranian rugs to identify and introduce the factors affecting their access to these rugs and their storage. In fact, in this research, we want to know what factors were involved in the formation of the process of collecting Qajar rugs by Europeans. For this purpose and to find the answer to this question, in this article, we have used the descriptive-analytical research method. We also collected our data in a library method and used a qualitative method to analyze them. Findings and results of this study indicate that the tradition of offering rugs to ambassadors and European courts on the one hand and the rugs export industry of this period have been the most important traditional factors in collecting valuable Iranian rugs by Europeans. Also, due to the cultural changes and modernization of the Qajar kings, especially Nasser al-Din Shah, and the welcome to participate in the famous international exhibitions of the nineteenth century is also one of the newest methods and facilities of European carpet collecting in this period.
Keywords: Persian carpets, Qajar period, Carpet Collection, European collections.

Introduction
The special conditions of the Qajar period had made it possible for Europeans to obtain Iranian carpets more than before. During this period, Europeans interested in Iranian carpets took advantage of the unique opportunities available to them to create, develop and complete the assets of their carpet collections. Today, one of the topics of concern and contemporary concerns in carpet studies is getting acquainted with the fields of creating these opportunities on the one hand and becoming aware of the facilities and methods used by Europeans about Iranian carpets on the other hand. Just as the quantity and quality of the presence of Iranian carpets in European collections and museums is important, so are the factors influencing the transfer of these carpets and the manner in which they were taken over by the Europeans.
Therefore, this article intends to follow the most important methods and possibilities of Europeans in acquiring and possessing Iranian carpets in the Qajar period to identify and introduce the effective factors in their acquisition and storage of these carpets. In order to achieve this goal, in order to explain this issue in principle, the contents of this article were organized under two general sections. At the beginning and in the first part of the article, the role of the court tradition of donating carpets to ambassadors and European courts, which has been common, in examining Iranian carpets to European collections, was examined. On the other hand, in the continuation of this section, the contribution of the carpet export industry to the prosperity of European collections was studied and analyzed. Here, the role of Iranian merchants in transporting carpets to Europe was mainly discussed. In the second part of the article, the effect of international exhibitions on increasing popularity and subsequently expanding the desire of Europeans to own Iranian carpets was discussed. International exhibitions are considered a relatively new phenomenon that the holding of these events facilitated and accelerated the development of Iranian carpet collections in Europe even more than the previous factor.
This article has been written using descriptive-analytical research method and has collected its data by library method. The statistical population is based on books, articles, catalogs and some related documents that have been analyzed qualitatively.

Discussion
This article tried to follow the most important methods and possibilities of Europeans in acquiring and possessing Iranian rugs in the Qajar period, to identify and introduce the factors influencing their access to and storage of these rugs. To achieve this goal, and to explain the principles of this issue, we have organized the contents of this article under two general sections. First, and in the first part of the article, we examined the role of the court tradition of donating rugs to ambassadors and European courts, which has been common, in finding Iranian rugs to European collections.
On the other hand, in the continuation of this section, we have studied and analyzed the contribution of the rug export industry to the prosperity of European collections. Here we have mainly dealt with the role of Iranian traders in transporting rugs to Europe. In the second part of the article, we have discussed the effect that international exhibitions have had on increasing popularity and, consequently, expanding Europeans’ desire to own Iranian carpets. International exhibitions are a relatively new phenomenon and are specific to the Qajar period. Holding these events has facilitated and accelerated the development of Iranian rug collections in Europe even more than the previous factor.

Conclusion
Numerous factors have paved the way for Europeans to embroider carpets during the Qajar period and their access to exquisite Iranian carpets. Items such as the tradition of offering carpets to European ambassadors and courts on the one hand, and the export of carpets by Iranian merchants on the other hand are among the most common and prevalent of these factors. Of course, during this period, in addition to embassies and European courts, their collections were also among the targets of these offerings. Museums such as Victoria and Albert have acquired excellent carpets in this way. Tabriz merchants have also played a special role in warming the Iranian carpet market in Europe. A significant part of Iranian carpet customers in Europe have been wealthy urban consumers. Although the carpets sent to these houses have in some cases been taken from private and public collections, the museum brokers have not neglected the Iranian carpet export markets and have started carpet weaving for their collections directly by purchasing these carpets. During this period, due to the development of exports, in addition to old and worn carpets, which were not originally woven for export purposes, new carpets were introduced that were woven specifically for presentation in European markets.
One of the unique ways of offering Iranian carpets in the Qajar period is attending international exhibitions in the nineteenth and early twentieth centuries. During this period, exhibitions were held in Vienna, London, Paris and Munich, in which Iranian carpets were also able to participate. Many of the rugs on display at these exhibitions belonged to the Safavid period. These carpets were more popular than the carpets of the Qajar period. Nevertheless, the carpets of both periods have attracted European customers. Many rugs were identified by Europeans by attending these exhibitions and were able to enter European collections and museums.