Parseh Journal of Archaeological Studies

Recently Result of Archaeological Excavation in Tape Giyan – Nahavand

Esmaeil Hemati Azandaryani

Abstract
Tapeh Giyan in Western Iran, which is well known to the archaeological academia, is one of the most important prehistoric mounds in Central Zagros which has always been noticed by both Iranian and foreign archaeologists. The last season of field works at Tapeh Giyan was done under Ali Khaksar in the spring and summer of 2012 in order to determine its boundaries. For this purpose, 27 test pits were dug all over the mound, and in trench no. 12, a distinctive burial was discovered. Since none of the 122 graves excavated by the French expedition over the years 1931 and 1932 were documented, the excavation continued on this newfound grave; it was entitled no. 123. Its burial’s corpse’s position is a combination of bent and supine position, and its mouth is abnormally wide open; also, there are 19 funerary objects buried with it. In the present study, we are going to discuss the very unique burial position of this grave together with its historic and comparative aspects.
Keywords: Iran, Central Zagros, Tapeh Giyan, Burial, Bronze Age.

Introduction
Tapeh Giyan is a well-known archaeological site located 12 km from the west of Nahavand and 70 km from the south of Hamadan city, in the marginal parts of a small town with the same name. As it was mentioned above Tapeh Giyan is situated in the Northern peripheral parts of the town, and it meets residential units in the south. This mound is 350 m long and 150 m wide, and it is also 17 m higher than the surface of the adjacent lands. Lastly, the average height of the mound is 1600 m above the sea level. This archaeological site was excavated by French archaeologists (Contenau and Ghirshman) over the years 1931-1932 and its results were published in 1935. Giyan became less important till it was once again excavated in 27 test pits in 2012 in a research program for delimitating the mound and determining its boundaries. In the course of conducting this research program, the true area of the mound was determined. The mound spreads towards the south, east and also southeast, and it continues to the beds beneath streets and houses; this was confirmed by an in-situ burial located in the outer parts of mound’s boundaries dating back to the middle Bronze Age. The burial was to excavated and studied owing to the fact that the other 122 burials were not completely/fully documented by the French expedition.

Discussion
Tapeh Giyan is one of the most prominent archaeological sites in Central Zagros from which artifacts from 5th to 1st millennia have been reported in the course of archaeological excavations. This mound’s excavations could undoubtedly bridge the gap between non-scientific/unsystematic and scientific/systematic archaeological excavations in Iran. At that time, the system of stratigraphy (was not interpreted in the same way) it does now, and what was regarded really important during excavation was finding the origin of a particular pottery from the region of Giyan as well as the bronze artifacts of Lurestan. Considering the fact that most information about Tapeh Giyan has been yielded from its burials, it cannot be reliable enough from the stratigraphic point of view; however, it’s been about 50 years that the chronology covering mid-3rd millennium to 2nd millennium B.C.E. in western Iran has been established based on Tapeh Giyan’s excavations.
Overall, 122 graves have been excavated in scattered spots of Tapeh Giyan at different depths during the previous excavations at Giyan. 119 graves in the depth of 9.5 m. from the mound’s surface, and 3 graves in depths of 11.5, 13 and 14; one in each, have been dug. These graves are in form of simple elliptical pits in the ground. The children’s skeletons have been buried in almost large jars. The corpse body and skeleton have been bent and it seems that this position pattern had not been obligatory. In the course of this season’s excavation, an accompanied burial was found in test pit number 12 in the depth of 200 cm from the mound surface. In this grave, 19 objects have also been found together with the skeleton; this assemblage of objects includes: 6 ceramic pots, 4 bronze pots, 1 bronze spear, 1 bone object, 2 bronze earrings, 2 bronze rings which were joint to the jaws, 1 metal ore-like blade, and 2 bronze rings on elbow bones. These objects which are considered funerary objects and grave gifts were mostly put above skeleton’s head and at the same level with the skeleton. As we know, the funerary objects represent both functional and ritual importance in burying traditions, and the funerary objects in this newfound grave constitute majorly potsherds.
The notable point about this burial is the skeleton’s position pattern; this skeleton’s upper part along with its pelvis is both in a complete supine position, and its mouth is unnaturally open. Considering the existence of two bronze rings at the joint of the upper and the lower jaws (mandible and maxilla), we could conclude that some changes have been exerted on the primary status of the burial. The jaw bone and the teeth are completely sound except for the premolars which have traces of wearing on them; all this makes us presume that this person would do an activity with them when he had been alive. His legs are tucked in toward his stomach on the right side of his pelvis. The toes and ankles of his both legs were below the right side of pelvis, and the pelvis itself had been dislocated after burial due to external pressures. The bone of left leg’s femur was located on the pelvis, and the femur’s head had been situated on the right hand’s elbow as well.

Conclusion
According to the paleoanthropological studies, this skeleton belongs to a hefty man aging 35- 40 years old. This skeleton, despite being almost well-preserved, bears some evidence which indicates a number of changes applied in the primary burial including lack of some hand and foot phalanges as well as the existence of the rings put on the two papillae on the lower jaw joint. It is highly likely that these rings have caused the mouth to remain open, which could imply sort of burial tradition. According to Ghrishman’s excavations in 1933 and 1934 in the Tapeh Giyan, the earrings have been among the funerary objects of men. In addition, the rings couldn’t be earrings in that in addition to the rings, there are two earrings in the grave. Because of the abundant muscles and vessels existed between upper and lower jaws, the rings could not be placed there in a living human. Therefore, the rings must have been placed in these places after death intentionally. Furthermore, the symmetrical position of the rings in the two papillae on the lower jaw joint, the impossibility of putting and removing the rings easily in this place and also having no evidence of the natural post- depositional processes, in other cases such as earrings, and the object place on the collar bone, are the reason for rejecting the natural post-depositional processes and accidental disturbance. Ceramic wares constitute the majority of the gifts. These wares are all morphologically typified as Giyan (IV, III) and Godin types which all date back to mid-third millennium through late- second millennium B.C.E. Existence of metal objects in this grave and studying the type of bronze alloy utilized in these objects’ structures shows that the method and technique used in producing these dishes and pots has been lost wax method, and beside that hammering has been applied in making the other metal objects. Finally, on the basis of the historic-comparative studies, and also with considering the chronology of prehistoric cultures at Tapeh Giyan, we can infer that this burial belongs to (middle) Bronze Age and dates back to a period of time from 2500 to 2000 B.C.E.

Investigation 4th Millennium B.C. Sites of Marivan Plain, Western Iran

Morteza Zamani

Abstract
The Marivan Plain is a small elongated alluvial plain which lies at the westernmost extent of the Zagros Mountains in the Iranian province of Kurdistan and c. 80 km west of the provincial capital Sanandaj. The plain is c. 60 km from the Iraqi city of Sulaymaniyah and less than 20 km from the Sharizor Plain in Iraq to the west. The plain is located between two archaeologically important regions of western Iran: the central Zagros to the southeast and the Lake Urmia region to the northeast. Early studies of prehistoric periods were mainly conducted in these two regions, while little attention was paid to the region of Marivan. Prior to the commencement of the 2018 project, an earlier survey in the Marivan region had been carried out by Department of Archaeology at Bu-Ali Sina University in Hamadan (Iran). Research focused on the Palaeolithic and Neolithic periods and, unfortunately, evidence from the Chalcolithic periods is yet to be published. In 2018, we began to re-examine ancient settlement in the Marivan region with a 4 week survey. The survey identified and documented more than 60 sites. Preliminary studies of the material collected during the survey resulted in the identification of about 13 sites dating to the Chalcolithic period; it was possible to differentiate the material sufficiently to allocate occupation at the sites to the Early, Middle and Late Chalcolithic periods. This paper presents the important and new evidence of the development of Late Chalcolithic period settlement and is starting to provide an insight into the impact of the Uruk Expansion in this part of the Zagros Mountains. Even the Late Chalcolithic (LC) period in Marivan area is somewhat overlap to Uruk (early, middle and late) period in Mesopotamia, until LC5 phase (Tepe Rasha), not any Mesopotamian influences is evident in Marivan sites.
Keywords: Marivan Plain, Late Chalcolithic, Uruk, Mesopotamia, Tape Godin.

Introduction
This paper presents the first results from the Marivan Plain Survey (MPS) in the province of Kurdistan – one of the westernmost regions of Iran and the Zagros Mountains. The project recorded important new evidence of the development of Late Chalcolithic period settlement and is starting to provide an insight into the impact of the Uruk Expansion in this part of the Zagros Mountains. The MPS project began work on the Marivan Plain in the summer of 2018. It is undertaking a review of previous survey work in the region and is directed by Morteza Zamani with the assistance of Sirvan Mohammadi Ghasrian. The Marivan Plain is a small elongated alluvial plain (UTM 38S 603000E, 3930000N) which lies at the westernmost extent of the Zagros Mountains in the Iranian province of Kurdistan and c. 80 km west of the provincial capital Sanandaj. The plain is c. 60 km from the Iraqi city of Sulaymaniyah and less than 20 km from the Sharizor Plain in Iraq to the west. In the past, the plain of Marivan with its picturesque Lake Zerewar an important node in the communication routes between Iraq and Iran. The plain is located between two archaeologically important regions of western Iran: the central Zagros to the southeast and the Lake Urmia region to the northeast. Early studies of prehistoric periods were mainly conducted in these two regions, while little attention was paid to the region of Marivan. In 2018 the MPS began to re-examine ancient settlement in the Marivan region with a 4 week survey. The survey identified and documented more than 60 sites. Preliminary studies of the material collected during the survey resulted in the identification of about 13 sites dating to the Chalcolithic period; it was possible to differentiate the material sufficiently to allocate occupation at the sites to the Early, Middle and Late Chalcolithic periods.

Conclusion
Investigations conducted by the MPS on the Marivan Plain have resulted in the identification of two preliminary trends related to LC period sites:
Firstly, the MPS has recorded several sites dating to the Middle Chalcolithic and the later part of the LC period. Except for a few earlier LC (2) shreds (Godin VII/VI:3 period) identified from the site of Aba Fatol, not any LC 2 sites have yet been confirmed on the Marivan plain. This contrasts with other areas of western Iran and the province of Kurdistan where early LC2 sites are common. At this stage of research on the plain, it seems that there was a lower number of sites in the earlier LC (LC2) compared to both the previous Middle Chalcolithic period (Seh Gabi and Dalma pottery traditions) and the subsequent later part of the Late Chalcolithic –LC 3-5 (Godin VI: 2-1).
Secondly, the MPS recorded Uruk culture related material from a single site (Tepe Rasha) and only in the form of Bevelled Rim Bowl shreds. This is surprising and suggests that cultural interaction with southern Mesopotamia was limited or that what impact there was from cultural interaction was low and did not permeate into the local cultures. Limited evidence of contact with Uruk Mesopotamia is also evident from recent surveys in north-western Iran and in northern parts of the Iraqi foothills of Zagros. In contrast, distinct and substantial evidence of contact with the south is to be found in the central Western Zagros and Central Plateau of Iran and on the plains south of the Greater Zab River in north-eastern Iraq. Iran and particularly its western regions is crucial for the understanding of key events in the history of Mesopotamia, one of which is the spread of Uruk culture from southern Mesopotamian into neighbouring regions during the Late Chalcolithic (LC) period (5th-4th millennia B.C.).

A New Edition and Transliteration of Two Proto Elamitd Tablets (MDP 31, 33 and MDP 31, 27) Held in Louvre Museum

Rouhollah Yousefi Zoshk

Abstract
Proto-Elamite writing system known as phase 2 in proto-writing system in the Iranian plateau. Unfortunately, in decipherment and interpretation of the Proto-Elamite texts, they are always Under the influence of their contemporaneous writing system, proto-cuneiform. With further study at this system, albeit they have a common ancestor, but we have to consider to its specific and unique properties like Ecological geography, subsistence system, social hierarchy and etc., that make this culture.
Keywords: Proto-Elamite, Susa, Proto-Cuneiform, Tablet.

Introduction
During the early French excavations of Susa, more than 1600 texts and fragments were found and were recognized to be a very early writing system (Dyson, 1968), and called the Proto-Elamite writing system (Scheil, 1900). After a while, Proto-Elamite texts have been found at sites across Iran. Due to the nature of the available radiocarbon data, the Proto-Elamite tablets can only to be dated with confidence to around 3300-3000 BC (Dahl, 2014:24). Current archaeological research suggests that many important sites across Iran were abandoned around 2800 BC. However, there is no consensus of how we understand the data, and we can here only note that there exist no samples of writing from Iran between the disappearance of Proto-Elamite writing system around 2900 BC and the introduction of cuneiform around 2300-2200 BC (Ibid:26).
Since Proto-Elamite texts record administrative transactions within a cultural and economic setting which is not entirely unknown to us, and since the scribes who wrote the texts had inherited certain bookkeeping techniques the content-specific numerical system, from their western neighbours in Mesopotamia, we can decipher the content of many texts. In 1978-79, Joran Friberg proposed a partial decipherment of a group of texts based on the number of cereal products found in these texts, the use of specific numerical systems, and the resemblance to text from Mesopotamia. Building on the results of him Peter Damerow and Robert K. Englund, a few years later proposed several sign identifications. Years after them, Jacob Dhal, also proposed a partial decipherment of sheep and goat terminology in Proto-Elamite texts(Ibid).
Though all these decipherments are true for part of these texts, but they consist of the relationship with Mesopotamian writing systems. Following this article, we can find at least two texts that could not verify all their signs and numerical systems match with that decipherment, and they could suggest that we need to review the decipherments manner with more Accuracy and independent from Mesopotamian texts.

MDP31, 33 and MDP31, 27
Both are administrative Proto-Elamite clay tablets and first published by Roland De Mecquenem in 1949 and keep in Louvre Museum.
In the seventh entry of MDP31, 33 texts, there is a string of signs: M024+M004+M218+M263~b+M038~a, that shows the owner(s) name of products M263~a which count with 2 N01. Because of the fading, it also might be two strings of names, but the important thing is the sign M263~b appeared in the string of the names and its very common in other texts that one sign which represents as products or workers, used as a syllable of the names. The other important thing like MDP31, 27 is behind the tablet, where we had an entry that normally should be the total account, but the entry contains sign M243~g which does not appear in the rest of the text and counting with numerical signs: N39b+1N24+1N30C and this number is not equal with this tablet’s front text. So, we can offer that, this tablet is not about the accounting of few products and their final total, but it represented several products that they had been donated to the warehouse (maybe the elite warehouse) and the sign M243~g is an introduction for the module and its size which, each product counts with this. The other suggestion for this Inequality can be: the products accounting with another numerical system that could not be recognised for us by now.
In MDP31,27, also, the above result could be true, but the other impressive difference in this text is the absences of the signs of owner(s) before product signs, which shows that all these products (grain and dairy which usually did not account together) belongs to the household or institute that came at header entry sign and that’s why the scriber didn’t need to separate them.

Conclusion
As a conclusion to sum up, the texts that were reviewed shows that hypothesis based on proto-cuneiform texts contemporary Proto-Elamite period which considered for the decipherment of these texts couldn’t be true and need more investigating.
In addition, the lake of material evidence from Proto-Elamite sites that showing their subsistence system and management system, hasty look and compare this period with its neighbors in Mesopotamia, Leads to more problems to its decipherment.
So, it’s worthy to consider in additional of Semantic structure, notice to the subsistence system, the economic and social hierarchy of the Proto-Elamite period.
So far, the assumption in the interpretation of Proto-Elamite texts has been revealed that everything on the tablet count should be accounted as their final total on the reverse the tablet exactly. But these two tablets presented that this rule might be a break and we might search on the new numerical system or consider them as text that contains products that offer to a warehouse, and this entrance wasn’t important as export from the warehouse or to have final total.

A Reappraisal of Shahdad: Chronology, Seals, Metal and Clay Objects

Nasir Eskandari

Abstract
The western Lut desert is well-known in the archaeology of Southwest Asia because of the existence of an early urban center (Shahdad) that dates back to the 3rd millennium BC. The site of Shahdad, as one of the major urban centers of the Bronze Age of Southeastern Iran, plays an important role in the Near Eastern archaeological studies. After half a century of Shahdad excavations, it is time to have a new look at Shahdad and its objects in light of our present knowledge from the archeology of southeast Iran. Here is an assessment of Shahdad data obtained from Shahdad excavations such as seals, metal and clay objects. In another article, we discussed the rest of finds of Shahdad. In this study we tried to present a revised chronology for Shahdad. This article also provides information on the status of the regional and trans-regional cultural interactions of Shahdad.
Keywords: Shahdad, Chronology, Metal Objects, Seals, Cultural Interactions.

Introduction
The site of Shahdad is located at the base of an alluvial fan where it was in antiquity surrounded by the Shahdad River and a number of streams flowing east from their origin in the western mountains. In 1968, during a general geographical reconnaissance of the Lut depression, the Early Bronze Age site of Shahdad was identified. Excavations lead by Ali Hakemi of the Archaeological Service of Iran began in the following year and continued until 1978. The work concentered on a necropolis in which 383 graves were cleared including many with spectacular grave goods, including impressive human statuettes, elaborate metal objects such as a bronze standard, numerous stone and ceramic containers and ornamental finds. Hakemi also did some excavations in the east of the site, Operation D, which he identified as an industrial area of the urban center of Shahdad. Overall, excavations in necropolis and industrial area provided evidence for local craft activities and cross-regional contact. This article reevaluates the results of Shahdad excavations conducted by Hakemi.

Chronology, Seals, Metal and Clay Objects
The comparative study of the metal artifacts of Shahdad with those of the sites of Southwestern Asia revealed some results. First, the interactions of Shahdad with long-distance areas such as Indus valley, Central Asia, East, West and southwest of Iran were identified, then the evidence of the existence of a very homogenous style in metal objects in a wide geographical area was revealed and third, Shahdad was a metal production center with its own characteristics. Due to the comparative chronology, Shahdad metal artifacts date back from the mid third millennium BC to the early second millennium BC.
According to the comparative studies, Shahdad seals share some similarities and characteristic with those of Early Bronze Age sites such as Shahr-e Sokhta, Jiroft, Tepe Yahya and the remote areas such as Central Asia and the Indo-Iranian borderlands. It was also revealed that most of Shahdad seals are not comparable with those found from other regions and they had their own local characteristics. One-cylinder seal was also uncovered from workshop D that is not yet published. Due to erosion, its motif is not very clear. It seems to represent a winged goddess.
Two unique artifacts were found from Shahdad; one human statues and one house models. In total, 24 human clay statues were discovered from Shahdad cemetery which had ritual functions. The clay house models were uncovered from 33 graves of the cemetery of Shahdad. They are cubical and 20-30 centimeters long. Some researchers take them as a 3D example of house motifs on chlorite vessels. Hakemi called them shrines.
The comparative analysis of the funerary goods reveals that the cemetery A of Shahdad dates to the mid third millennium BC and lasts until the late third millennium BC (2500-2000). This dating is based on the comparative studies on pottery, chlorite and marble vessels, bronze objects and seals of Shahdad with the contemporaneous areas of southeastern Iran and neighboring regions such as Shahr-i Sokhta, Jiroft, Bampur, Tepe Yahya, Mundigak, Umm-al Nar, Susa and the sites of the central Asia. Also, the dating of the second half of the third millennium BC was proposed for the artisans ‘area (area D), the residential areas excavated by Kaboli and, in general, the entire area of the city of Shahdad. In other words, the flourishing period of this city is the second half of the third millennium BC. Furthermore, the early 2nd millennium BC was proposed for the culture after the collapse of the urbanization of Shahdad (cemeteries B and C).

Conclusion
The revision of Shahdad data yielded some new information. Shahdad had been inhabited for a long period from the middle third millennium BC to the early second millennium BC and it was flourished during the second half of the third millennium BC. By studying cultural materials found from Shahdad area, one can find cultural interactions of Shahdad with other regions. The impact of Shahdad on Central Asia through the Bronze and chlorite materials can be easily observed. Despite all the cultural interactions with all these regions, the local and regional cultural traditions dominated in Shahdad and it has all the characteristics of a city with local cultural character in 3rd millennium BC. In general, the similarity and harmony between the cultural materials of Shahdad and different parts of the Southwest Asia, from Mesopotamia and Southwest Iran to Central Asia, the Indus valley and the south of the Persian Gulf indicate the existence of a cultural interaction sphere in the west of Asia during the early and middle Bronze Age.

Reflection of Concepts and Motifs of Sassanid Metal Works in Mosul Metal Works

Mohammad Afrough

Abstract
Sassanian metalwork is one of the most influential ancient arts in Islamic art, especially metal working. in the art of this period, aesthetic dimensions including all kinds of mythical and symbolic concepts in the art of metallurgy were revealed. with the advent of Islam and the development of the art of metallurgy, in addition to the aesthetic dimensions, the technological aspects including methods and techniques of making and decorating in the art of the metalwork of the Islamic era and especially the metalwork of Mosul reflected and continued. in the metalwork school as one of the most prominent centers for the production of metal works in the Islamic world, various types of metallurgical works were produced and presented for various purposes. in these works, there are well-known traces of various types of motifs and concepts commonly found in the Sassanid Empire. therefore, the important question of this article is: what are the motifs and concepts used in the works of Mosul metal that is influenced by the art of Sassanian metallurgy? concepts such as hunting (riding or walking along with arrows or arrows or sword), two beasts on either side of the sacred tree or life, the sultan (motif) sitting on the bed with legs stretched out and servants in Two sides and a hand on a sword or in a quadrangle (And the crescent of the moon or cup of wine in hand), Bahram and Azadeh, bass, dance and music, plant motifs including the tree (cypress, pine), tangled and interconnected ivy (slavic), various flowers (lilies , Leafy leaves, multicolored flowers), animals and birds (lion, hog, bear, elephant, camel, ram and gooseberry), gazelle, deer, ram behind me, hawk (eagle), birds in front. Pearl strings (rows of round shapes). is the result of this research? This research is of fundamental type and research method is descriptive-analytical. the method of data collection is in the form of a library and search in museums.
Keywords: Sassanid, Seljuk, Metal Working, Khorasan, Mosul.

Introduction
During the observation of Iranian art and its civilization, it is possible to find a lesser period that was as impressive as the Sassanid art of the art of the contemporary civilizations and, more importantly, beyond itself. metalworking is one of the most prominent Sassanian arts that has made itself in the manufacture of all types of metal works, especially silverware. Artists of this age, using the techniques of making, decorating and reflecting many old Iranian beliefs and traditions in metal works, have preserved the identity, artistic values and experiences of the past, and transmitted and continued it to the Islamic era. the artistic work of the Islamic era and the geography of Iranian civilization, especially during the rule of the Seljuk Empire, expanded rapidly in the light of security and tranquility, and outstanding metallurgical schools appeared in the production of metal works such as Khorasan and Mosul. artists active in these two schools, while paying attention to and modeling the Sassanian art of art in technical and artistic dimensions, were able to with their innate innovations, ingenuity and creativity, as well as the attention to common religious beliefs in some sciences such as astronomy and astrology, the nature They created a new artistic dimension for this art. the mentioned schools, especially Khorasan, were very dynamic and thriving during the Seljuk period. In addition to the influence of Sassanid art, there were significant effects, especially in decorative styles, on visual effects and roles on the metal works of Mosul. in fact, Mosul was directly (neighboring the Sassanid-Madan capital - and included in the Sassanid civilization) and indirect (the modeling and influence of the metal art of Khorasan through the interactions and the migration of artists from Khorasan, especially the artists of Herat to Mosul in the direction Mongol invasion) has benefited from Sasanian art and this is evident in Mosul’s works. The purpose of this research is to identify the dimensions of the influence of the Sassanian metalwork art on Mosul’s metalwork, its introduction and documentation in order to protect and protect an important part of Iranian art and civilization. what are the motifs and concepts used in the Mosul metal works affected by the Sassanian metalwork art? the topics discussed in this article are as follows: The influence of the Sassanian metalwork art on the art of metalworking of the Islamic period, the impact of the Mosul metal school on the metalwork of Khorasan [Herat], and the impact on other metalworking schools, the general coordinates of the Sassanid metal works of Khorasan and Mosul, decorative practices and content (Patterns and roles mapped from Sassanid art and specific themes and roles of Mosul) Mosul metal works.

Type and method of research
This research is of fundamental type and research method is descriptive-analytical. What is the way to collect data in a museum-like book-house?

Conclusion
The most important result of this research is the introduction and reflection of the concepts and motifs of Sassanid metal works in the metal works of the Mosul metalwork school. Hence, the metalworkers have been instrumental in aesthetic and technological aspects of the methods of making, decorating and paying the art of Sassanid metalworkers through the metalwork school of Khorasan during the Seljuk period. In the aesthetic aspect, we can refer to a variety of themes and motifs commonly used in Sassanian Iranian art that also reflected Seljuk art. The themes of hunting, the two beasts on the two sides of the tree of life, the Sultan (ruler) sitting on the throne with legs, Mars and Azadeh on horseback, which, of course, has been used in camel works in place of horses, music, Dance, plant motifs including the tree (cypress, pine), various flowers such as flowering flowers, palm trees, etc.

Study of Data Excavation in the Amir Sharlogh Area in Islamic Period, Base on the First Excavation

Mohamad Ebrahim Zarei

Abstract
Amir Sharlogh located in Hossein Abbad in northeastern of the Semnan province. Amir Sharlogh area at an altitude of 1379 meters above sea level located in the North eastern part of Miami and 210 kilometers distance from the Shahroud. This area is restricted Golestan forest from the north, Jajarm area in Khorasan province from the east, Minoodasht town in Golestan province from the west and eastern Kalate part of the Miami from the south. Big east Khorasan road that would connect the east world to west is located on this highway. evidence from several ancient hills indicated that this area was on the part of business and economic way road to Gorgan and Khorasan and connected 3 provinces of Semnan, Golestan and Khorasan together. There are several ancient hills in region, one of which is Tepe Amir Sharlogh was being explored. In addition of salvage excavation project was defined for instruction of dam Kalpoush, the importance of the hill is related to being a suitable reign for detection and study of the cultural status. Compared to the other regions, Northeast of Iran has not received as much attention in the history of Archeological studies despite, decent Geographical condition and critical geopolitical location, it has been a home to huge human settlements from the prehistoric period up till now.
Keywords: Northeast Area, Amir Sharlogh, Shahroud, Saljughid Period.

Introduction
In order to identify zone settlement and cultural sequences the Archaeological excavation take starts after primary studying, survey and approving boundaries. Field works contains 7 trenches which is covered 700m² area. At -450m virgin land level was reached. The find evidence such as Archaeological remains and different layers’ shells (up to dawn) and also the signs at surface section refer to Islamic period which is involved one period and two short phases. Archaeological diffusion and no fluency status show the migrating usage of the site at related time. Large amount of kitchen pottery, various fireplaces and ovens all show that the place was an immigration one.
According to similar historical data in all I to VII trenches at -450m depth and documentation of tangible and intangible finds, the excavation was stopped at this location and we change do the excavation at north and north west of upper trace which was called Amir Shalegh and covered nine 5×5 norths-south trenches. It results to discover a historical cemetery with 20 grave that was related to Saljughid and Ilkhanid era.
The Archaeological excavation of Kalpoush dam site contains wide information of cultural status, life and Economical situation at this area. It’s also importance in view of its serious role of formation and developing of immigration. At this paper the several find and results of Archaeological excavation will be discussed.

Conclusion
The environment and the geography of the region: Being 515,985 km2 in size, Semnan province is located on the way of Silk Way – one the ancient Iranian heritages. Being surrounded by Alborz Mountains on the north and Kavir Namak which was once a home to a rich civilization, it has a special geographical position and several climate conditions. Semnan province is located on the south (central - east) slopes of Alborz highlands and the north side of big Kavir and therefore, from a geological point of view, belongs to two ground structures of (central) Alborz and central Iran. In the north of Semnan, “Semnan fault” is known as the border between Alborz and central Iran. The northern stripe of Semnan province (the road connecting Garmsar- Semnan-Damqan-Shahroud) is part of the southern slope of Alborz having a high and coarse morphology and is usually referred to as the central-eastern Alborz. In general, Neishabour plain is a road heading towards west, from Afghanistan to Shahroud, and is a part of The Great Khorasan. The evdince found on the way in the ancient regions such as azure, alabaster, and turquoise show that the east-west road from Khorasan to Damghan was always paid considerable attention to since 4000 AD to the Parthian and the Sasanid and then to the Islamic era (Hiebert & Dyson, 2002: 116). The eastern Iran is made up of mountain borders and barricades, misshaped valleys and huge spaces of deserts (Fisher 1986). Khorasan region is surrounded by Gorgan and the Atrak River on the northwest, and by Kopet Dagh mountains I the north and northeast. The northern border of Khorasan and the Iranian plateau is surrounded by mountains and is formed by the Atrak River and Mashhad plain, Hezar Masjid Mountain, the border of Kopet Dagh and the south chain including Binaloud and Shah Jahan mountains. The valleys located between the two mountains and the southern parts of Kopet Dagh are 1000 meters higher than the regions in the north of Kopet Dagh (Hiebert & Dyson, 2002: 115; Eduljee, 2007: 9).

Study and Analysis of the Effect of Azeri Style Architecture on the Isfahan Style Case study: Columned Mosques of Asnagh and Jamalabad, Mehrban City

Hamid Khanali

Abstract
Using the column element provided the necessary context to extend the architecture spaces. According the archeology findings the north-west area of Iran, due to the existence of abundant wood and stone resources has been leading using this element. In view of the remaining of the ancient columned buildings, the importance of column in the past is understood. Also during the Islamic era the element play a key role in the buildings of this region. In the Ilkhanid and Safavid era due to the climatic and cultural reasons, stony and wooden columns were used with abundant decorations with capital and base plinth in some mosques of Azerbaijan. It seems that Asnagh and Jamalabad Mehrban mosques are the start point of columned architecture with laborious decoration that in the following they reach to peak beauty in the Safavid columned palaces. The present article, on one hand, studies the process of column evolution in this region and, on the other hand, looks for the origin of the architecture tradition of decorative columns used in the mosques and palaces of Safavid era such as Ali Ghapoo in Isfahan, Bonab and Maragheh. The data gathering method include field visits, recording and documenting the data that finally was analyzed using descriptive-analytical method and using library studies.
Keywords: Architecture, Azerbaijan, Column, Asnagh Mosque, Jamalabad Mosque.

Introduction
Architecture of every nation is a reflection of its thought and economic situations. The climate circumstances, beside these factors, also play a role an essential role in the formation of architecture. Materials and decorations also have a close relationship with these factors. Using column in the great building has a long history. Column is designed mainly to support the heavy load of roof and generally plays the role of strength and beauty of a building. In the ancient hills such as Yaniq Tapeh probably to cover the ceiling of the circular rooms the central columns have been used. The columned halls of Hasanlloo (Dyson: 1989), Nooshijan (Stronach:1978), Goodin Tapeh (Young: 1969), Babajan (Goff: 1969), the Mad’s catacombs and Achaemendis palaces (Sarfaraz and Firoozmandi, 2006), Parthian and Sassanid temples (Herman, 2008) and palaces represent the use of column in the past architecture that shows the importance of column in the pre-Islamic architecture. In the Azerbaijan area due to the mountainous climatic conditions, the architecture features of Iranian mosques such as porch and central courtyard are less observed. And the central courtyard in this climate is converted in harem (shabestan) through covering the ceiling and using column (Omrani, 2007: 18).
In the Ilkhanid and Timurid era the element of column was applied in stony form with moqarnas capitals in the mosques of Azerbaijan. By the beginning of Safavid era, we observe changing the material of column and capital from stone to wood in the mosques. In this period, the procedure of using column was maximized and in the following affected on the columns and capitals of Safavid palaces as well as the buildings of Qajar era, particularly in the bathrooms and mosques. This article studies the background and evolution of applying column and its function in the architecture of Azerbaijan and the role that played in the architecture of the columned palaces of Safavid era.

Review and Analysis
The main element in the columned buildings to construct column and ceiling coverage is wood. Probably one of the reasons that in the early centuries of Islam the normal form of dome and porch becomes the most common architecture method is lack of wooden resources in some regions (Ukan, 2002: 203). But in Azerbaijan due to the suitable environmental conditions for growth of trees and availability of them, the columned architecture continues its life more or less during the medieval Islamic centuries. Entering the Ilkhani era and transferring centrality to Azerbaijan, the old procedure of columned architecture appeared again and was represented in the local mosques of Asnagh and Jamalabad and then became the architecture pattern of mosques of Safavid era in Azerbaijan and columned palaces of this era.
The most important feature of Asnagh and Jamalabad mosques is stony walls and columns and using timber to cover ceiling and also the decorations of capitals and columns that continues to exist in Safavid era in the columned mosques of Maragheh, Bonab and columned palaces of this era. The height of the stony columns of these mosques is consistent completely with the height tendency of Azeri style of Ilkhanid era. The stony columns of Mollarostam and Sheykhbaba mosques that are related to the Timurid era are the climax of the art of column carving. They are implemented by the same procedure of Asnagh and Jamalabad mosques with the difference that inscriptions have been made on the columns body. Given the remaining of these columns it seems that in the Timurid era, construction of columned buildings was in Ilkhanid method with the same materials.
In Safavid era due to developing many buildings and acceleration in architecture, the stony columns were substituted by wooden columns with the same dimension and decorations in order to speed up the construction of buildings. In this era the high wooden columns were put on the stony plinths. The capitals were made from timber and moqarnases were decorated by inscription and painting.
Among the most famous wooden-columned mosques of the early Safavid era affected by Ilkhanid and Timurid stony-columned mosques are: Mollarostam, sheykhbaba, Rihan, sheykhtaj, Zarir, Mehrabad, Zargaran, Ajabshir etc. among the most important decorative features of these mosques can refer to the moqarnas decorations and paintings on the plinths, high wooden narrow columns, stony plinths as well as the painted wooden ceilings that in the continuation of their evolution process effect on Safavid palaces of Isfahan including Chehel Sotoon and Ali Ghapoo palaces and other columned buildings of this era.

Conclusion
Column in architecture is used mostly in the regions in which the resources of wood and stone are available sufficiently. Azerbaijan is among these regions. Existence of sufficient wood and stone resources has resulted in construction of columned mosques in this region of which most prominent examples are Asnagh and Jamalabad mosques. The columns of these mosques represent the peak of column carving in the Islamic era. How these mosques are constructed and ceiled affected on the architecture of the next periods throughout Iran, such that a close similarity is observed in the columns of these mosques with the Safavid and Qajar era. Further, it can be concluded that construction of Safavid columned palaces somehow complement Ilkhani columned architecture that was represented in Asnagh and Jamalabad mosques and after its evolution period in Safavid wooden mosques of era was utilized in the construction of palaces.

A Comparative Study of Islamic Medieval Pottery Motifs with Constellations

Nasrin Beyk Mohammadi

Archaeological evidence and the study of remains from prehistory to the Islamic era show that astronomy has been prevalent among ancient peoples for thousands of years. Astronomy made a great progress in the Islamic era and was used in both science and astrology. In the middle Islamic Period, the motifs used on pottery varied widely, so that the origins of pottery motifs on the one hand and the interpretation of its concepts on the other challenged scholars and has been caused disagreement and divisions between them, insofar one group refers to pre-Islamic influences especially the Sassanians and the other seeks to interpret it with the ideas of the community context in which these motifs were formed. The necessity of this research, therefore, is due to the vacuum felt by the authors in locating the purports of pottery motifs by an astronomical approach. The forgoing essay is rooted in questions such as "Should the origins of medieval pottery motifs be merely searched in the pre-Islamic era?", "How the constellations were reflected on the pottery motifs of this era?" The methodology of this paper is historical-analytical-comparative and based on and library studies. In the process of researching, we first done to gathering statistical samples from museums, drawing the motifs with CorelDraw software and matching the pottery designs with constellations and in the continuation of the research, library studies have been carried out to trace the semantic themes and meanings of historical documents. The achievement of a comparative study of pottery motifs with constellations showed that astronomy and constellation discussions formed part of the credence and beliefs of the medieval peoples that often incorporated with superstitions and supernatural beings. Therefore, some of the themes of pottery motifs can be attributed to superstitious beliefs of constellations.
Keywords: Pottery, Middle Ages, Constellations, Astronomy, Astrology.

Introduction
Astronomy in Islamic times consists of two parts: Astrology (Astrology and Superstition) and Science (Vegetarianism, 2009: 20). Agriculture, prediction of phenomena such as, eclipse and calendar design and timing are the most important reasons to pay attention. Evidence suggests that astronomical rulings were popular during this time, so that the dependence of the affairs of life on the celestial bodies gave rise to a wide range of superstitions. Due to the prohibition on the use of gold, silver and metal utensils in the Islamic era, one of the important sources of this "pottery" era is the beliefs and values of artists and clients in the motifs of Islamic pottery. Pottery has greatly improved in the Middle Ages, with a variety of pottery construction techniques, motifs and ornaments.
The origins of pottery motifs and the interpretation of its concepts have challenged, disagreed and multiplied the researchers. Hence the necessity of research on pottery of the Middle Ages is due to the lack of comprehensive research and void felt by the writers on the astronomical approach of pottery ornamentation.
Questions and Hypotheses: Two questions are asked, "Should the origins of the medieval pottery motifs be searched only in pre-Islamic times?" And "How have the constellations reflected the motifs?" Hypotheses state that "the similarities of the motifs of these two eras cannot be understood solely as the reason for their origin from the pre-Islamic era and must be found in the intellectual context of those who ordered them at that time and in social and political conditions" and "given the progress of astronomy and its influence. It is possible for people to trace the origin of motifs in constellations and astronomical topics. "
Methodology: The method of this research is historical-analytical-comparative based on library studies which initially collected statistical samples from museums, designed drawings with CorelDraw software, and compared pottery designs with constellations.

Matching the Pottery Motifs of the Middle Ages with the Constellations
This section of the paper studies the reflection of astronomy on medieval pottery motifs from two scientific and superstitious perspectives on the basis of different and common statistical examples of the time, which have not been studied from an astronomical approach so far. These works include three specimens of ceramics with scientific function and 11 specimens of astrology and superstitions that are further adapted to their motifs and themes by the constellations mentioned in the Suralququebb book.

Reflection of the Constellations on Pottery with Scientific Function
The scientific reflections of the constellations on the motifs include three containers held at the Ashmolean, Metropolitan and Boston Museum.
The designs on these three containers include the role of the sun in the center and the six famous planets (Moon, Mercury, Venus, Mars, Jupiter, and Saturn) and the twelve eclipses that collectively exist on earthenware and can be used for special purposes such as education, Clay astrolabe set the calendar and courtyard because astronomy education and learning was in the hands of the rulers, scientists, and scholars at that time, and the limited number of these dishes confirms the public claim of the dishes.

Reflection of Constellations on Pottery Using Astrology (superstitions)
This section refers to the constellation symbols of the North Face, the Exterior Area, and the South Face on the pottery.
Deb Akbar: A blue-and-black plate with the role of a bear and 27 stars inside it and eight stars outside it (sixth century AH) is held at the Los Angeles Museum of Art. (Dehkhoda, 1373: below Deb Akbar).
Figures (inflamed): Plate of Zarrinfam (6th and 7th centuries AH) with human role in his hand 11 stars and outside those two stars, made in Kashan, is kept at the Aga Khan Museum in Toronto. (Sufi, 2002: 44).
Essence: Enamel plate (6th and 7th centuries AH) with the role of a woman sitting on a 13-star bed, made in Kashan at the Metrolithin Museum. (Sufi, 2002: 74).
Nasr Ta'air: From the north faces is a bird that is adaptable to the two eagle (5th and 6th century AH at the David Museum) and vulture (6th and 7th century AH at the Metropolitan Museum) there are nine stars inside it and six stars outside it. (Sufi, 2002: 102)
Al-Fars al-Thani: A Seljuk-era gold plate with a winged horse and 20 stars inside it, built in the city of Rey, is kept at the Metropolitan Museum (Sufi, 2002: 109).
Thor: Gross-style green pottery with the role of a cow and 33 stars inside it and 11 stars outside it (5th and 6th centuries AH) is preserved in the Sincinati Museum. (Sufi, 2002: 129).
Cancer: Porcelain clay molded with white monochrome glaze with 9 stars inside it and four stars outside it (5th and 6th centuries AH) probably produced by Kashan or Ray and is kept in the British Museum. (Sufi, 2002: 148).
Assad: The Golden Lion Bowl with the role of a lion inside him of 27 stars and outside of the eight stars (sixth century AH) made by Kashan is held at the Metropolitan Museum of Art. (Sufi, 2002: 152).
Kolb and Arneb: The Albarlow-style Zinfam jar with the role of dog and rabbit (sixth century AH) made by Kashan is kept at the Brooklyn Museum. (Sufi, 2002: 230, 233)
Courageous: The bowl is kept in the Boston Museum by painting it under the snake's glaze inside the 25 stars and outside those two stars, related to the Seljuk era, made by Kashan. (Sufi, 2002: 250)

Conclusion
The comparative study of medieval pottery motifs with constellations shows that astronomy and its topics were widely popular among the people of this period because of the rulers' support for it in both scientific and superstitious dimensions. Also, the twelve-face facial motifs, with the greatest number of illustrations, are of particular interest to the people of that time. Now the answer to the question, "Should the origins of medieval pottery motifs be searched only in the pre-Islamic era," said the origin and concept of many bizarre animal and human motifs derived from widespread superstitious beliefs about constellations in That is the era. In response to the second question, "How have the constellations reflected on the motifs?" It can be said that the male and female gender constellations come in two groups for special containers and single use, superstitiously derived from people's belief in supernatural powers. However, the illiteracy of the potter in this regard, and only the aesthetic attention, as well as the distortion of astronomy by superstitious beliefs, have made the difference between motifs and constellations.

Iconographic Interpretation of Animal Designs in the Ghareh Klisa of Chaldoran

Afrasiab Garavand

Abstract
The audience of every work of art is willing to receive its meaning, and the exact recognition of an image or image for its meaning and content requires reading and even interpretation, and iconography is essentially trying to express the meaning of the image. In visual arts, a symbol is an image, a plant, an animal, or a sign that has a deeper meaning than what is seen. It is often not easy for us to get the meaning and interpretation of the symbols of the past centuries. Occasionally, symbols refer to an event or story, and a group of symbols replaces personalities and individuals. In this regard, the monastery of the Ghareh Kelisa is one of the most important Armenian churches in Iran, located in the northeastern part of Chaldoran. Throughout the northern and southern walls of the church, as well as the bell tower, it has unique and unique carvings. Sculptures This monument can be divided into five categories, including: human designs, animal motifs, plant designs, geometric patterns and mythological motifs. The designs are beautifully crafted, crafted, and beautifully crafted by experienced and experienced craftsmen, and the artist’s creative, abstract, decorative look is best illustrated in all designs and each role is a special symbol and symbol. Among the paintings of the Ghareh Kelisa, the role of animals is more than other motifs, both due to the variety of animal species in the surroundings and the symmetry of many animals such as milk, ram, cow, horse, etc. These motifs have no merely decorative aspect and offer higher meanings and concepts, and are one of the most diverse symbolism for symbolic aspects. In this article, it has been attempted to introduce and interpret the animal designs of this monument.
Keywords: Chaldoran, Ghareh Kelisa, Animal Figures, Symbols.

Introduction
Some ancient works bear the institutional values and messages that are embodied in the form of artwork and in the form of their roles based on the beliefs and beliefs of the ancient human body, and to understand the meaning of these ancient designs, one needs to know the symbolic components. That once, because the verbal language had a certain meaning in ancient cultures and somehow represented a mythical belief (Rafi Farr and Malek, 2014: 7). The motifs used in Iranian art from late to present, have always included symbolic meanings in addition to its decorative and aesthetic aspects (Sabagh pour and Shayestefar, 2010: 31).
The role of the elements in the art of Iran has been bearing the concepts and themes of interest of the people of different ages, and the continuation of their design reveals the visual changes of each period. One of the most important paintings that has always been considered in Iran and even continued with the change of religion is artifacts arranged in various arts (Mortezaei and Sedaghatzadeh, 2013: 47).
In this regard, the construction of the Ghareh Kelisa is one of the most important and most representative Armenian churches in Iran, located in the northeast of Chaldoran. Throughout the northern and southern walls of the church, as well as the bell tower, it has unique and unique carvings. Sculptures This monument can be divided into five categories, including: human designs, animal motifs, plant designs, geometric patterns and mythical motifs. These designs are carved by artist and experience mastermanship with elegance, flair and beauty, and each role is a symbol and symbol.
the Ghareh Kelisa sculptures actually reflect the culture and the arts, beliefs, cultural and social relations of ancient societies and have a special place in various studies and researches, especially archeology and anthropology. In this essay, it attempts to introduce and interpret the animal designs of this monument.

Ghareh Kelisa Animal Characters and Their Symbolism
Animal statues are one of the oldest paintings man has made in his works. These motifs in Iranian art (like other designs) were not merely decorative, but sometimes expressing hope, fear, or resort to a force to fight the dangers of nature and life, and sometimes express religious beliefs and myths. The same values and special expressions sometimes transformed motifs into symbolic and symbolic symbols that used them as a message transmission during the course of history (Khazaee and Samavaki, 2003: 8). Animal designs, including roles that have been dominant and frequent in many ancient civilizations, including Iran. Cassirer believes that in the course of the worship of primitive human beings, we see that a human beast has become and worships animals, such as worshiping a variety of phenomena and things encountered in its surroundings, and Kasier is referred to as gods It commemorates a moment and, through this worship, leads to functional gods (based on their interests and their function in life) (Kasier, 2012: 75-76).
In this regard, the structure of the Ghareh Kelisa, consisting of two parts of the eastern (black) and western (white), the eastern or black part, which is the oldest part of the building, does not have much role and only in the part of the side Northeastern and southern skylights are cross-linked and surrounded by chainsaws. But the western part (white) of the Ghareh Kelisa is divided into 5 rows by stripes of simple profile, which can be categorized into five groups: human designs, animal drawings, plant designs, geometric patterns and mythological motifs.
Most of the sculptures in the third row have been carved into the third row. These motifs are the ones directly hunted by humans or in some way related to the subject of predation and daily routine of hunters, or rooted in past religions, and most of the beliefs are that these images are abundantly and the numbers can be distinguished in the following order.

Conclusion
In the meantime, the archeology of Iran’s religious architecture, and in particular the Ghareh Kelisa of God, is a rich treasure of motifs that, in addition to values and beauties, expresses the secret and need for cultural and religious secrets in themselves. This role of the motifs due to the deep roots in Iranian culture expresses the noble concepts that have remained in popular belief in the form of visual arts in simple and prolonged forms.
Among the paintings of the Ghareh Kelisa, the role of animals is more than other motifs, both due to the variety of animal species in the surroundings and the symmetry of many animals such as milk, ram, cow, horse, etc. These motifs are associated with the continuation of some ancient Iranian art traditions and is one of the most important interconnected circles of Iranian art before and after Islam. Drawing Animals in a Dynamic Mode, Variety in the Size of Animals; Small, Large in Nature; Attention to Exposure; Increasing Naturalism; Variety in the Design of the Foot, Eye, Horn, Head and Neck, Wings and Body; Characteristics of Animal Drawings The Ghareh Kelisa is the artist’s most abstract, creative, decorative look, best illustrated in all designs, and each role is a special symbol and symbol.

Explaining of the Conceptual Framework for Sustainable Regeneration of Historical Fabric (Reviewing Documents, Statements and Regeneration Charters)

Shahriar Nasekhian

Abstract
Sustainable regeneration is an approach whose objective is to improve the economic, social and physical state of the historic environment and it is an approach which is familiar in the field of conservation and heritage protection. Documents and statements of this approach have been restored since the 1990s. Many studies have been done on this topic. Each of them proposes principles for the realization of regeneration but until now, none of them has provided comprehensive view in urban sustainable regeneration. This research aim is Explaining of the conceptual framework for sustainable regeneration of historical fabric. The Methodology of this research is functional on objective and content analysis in method. Analyses, comparison and summation are used in this paper. The conceptual framework is explained by analyses of documents, statements, charter and previous research. The zone of this research is all of the historical fabrics. In this research, regeneration of historical fabric is defined in 4 dimensions: economic, social, management and cultural. Property value, private investment and branding are Economic scales in Sustainable regeneration of historical fabric. Resource supply, Sustainable urban management, Citizen Participation and promoting the level of knowledge and awareness of society from historical fabrics are Sustainable regeneration in the field of management. Social status, social identity, Social capital and Social Security are social scales in Sustainable regeneration. Cultural scales in Sustainable regeneration are creative industries, cultural neighborhoods and Cultural events. So, this research seems necessary because of the attention to the dimensions and criteria of sustainable regeneration of historical fabrics. The aim of the present is to explain a conceptual framework for sustainable regeneration of historical fabric.
Keywords: Historical Fabric, Regeneration, Urban Sustainable Regeneration, Urban Regeneration Documents.

Introduction
Historical fabrics face a variety of problems today, such as Exiting residents from area, Existence. Low-income people in it, and the imposition of high costs to conservation these areas. Experience shows that applying a single-dimensional model in the urban system in which historical fabrics is located, generally leads to serious problems. Therefore, when making a model, it is vitally important to take various aspects of the issue into consideration including economic, social, cultural, demographic, and management indexes. Accordingly, one of the most recent approaches dealing with historical fabrics in urban planning, is urban regeneration approach. This approach was originally emerged from the principles raised in sustainable development and from the growing importance of the participation of relevant groups in the process of urban planning. One of the salient features of urban regeneration approach is that it simultaneously takes into consideration social, economic, cultural and management indexes in historical fabrics. In similar studies previously done by other researchers, certain factors were suggested to realize sustainable regeneration. However, no integrated model has been so far suggested to comprehensive attention of historical fabrics. In this research, in order to provide a model for the dimension of social sustainability. So, this research seems necessary because of the attention to the dimensions and criteria of sustainable regeneration of historical fabrics. The aim of the present is to explain a conceptual framework for sustainable regeneration of historical fabric.

Text of paper
Regeneration approach focuses on improving economic, social, and environmental conditions of the city. It covers a wide range of activities which makes deserted regions, worn-out buildings and those being reconstructed, habitable again. Regeneration, broadly speaking, is meant to improve the general conditions of city and citizens (Hull, 2000: 77). Different definitions of sustainable regeneration indicate that this approach focuses on improving economic, social, cultural, environmental and physical conditions.
Economic in historical fabric’s regeneration: To English Heritage (2008), the main purpose of regeneration historical fabrics is to make the productivity of the place. It provides return of fund for owners or developers. So, it provides income for conservation and preservation of historical buildings and fabrics.
Management in historical fabric’s regeneration: The preservation of historical contexts does not make without the presence of the people. So, attracting and creating the necessary context for people’s presence requires management tools.
Social in historical fabric’s regeneration: To Assefa and Frostell (2007), although all principles of sustainable development are involved in regeneration, it is the recently-poised issue of “social sustainability” which is the main topic in sustainable places. While it has been suggested that the final goal of development is social sustainability, economic and environmental sustainability are also two pivotal tools by which sustainable development is reached.
Culture in historical fabric’s regeneration: To pour Ahmad et al (2010), the most important aspects of this approach are the attention to the role of culture, the use of historical and cultural values as resources for development and the leisure time of the people.
Regarding the dimensions of the historical fabrics’ regeneration approach, this study categorized the regeneration variables into four economic, managerial, social and cultural dimensions. To this end, major document and charters released since 1990s, when the idea of urban regeneration started to emerge, and studies related to this subject were examined.

Conclusion
In this study, the criteria for sustainable regeneration of historical fabric were identified with reference to documents, statements and charters and previous researches. The results of the study have introduced criteria in four economic, managerial, social and cultural dimensions for sustainable regeneration of historical fabric. Economic value, private investment, and branding are criteria of the economic dimension of sustainable regeneration of the historical fabric. Criteria for management of historical fabric have been introduced such as resource preparation, sustainable urban management, citizen participation, and the development of knowledge and awareness. Social capital, social security, social status, and social identity were defined as dimensions of social dimension in regeneration. Creative industries, cultural neighborhoods and cultural events are criteria for cultural regeneration of historical fabrics. The table below shows the sustainable regeneration criteria of historical fabrics.