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Showing 2 results for Abbasi
Reza Mehr Afarin, Zahir Vasegh-E Abbasi,
year 1, Issue 1 (12-2017)
year 1, Issue 1 (12-2017)
Abstract
Abstract
Sistan is a plain land in east of Iran and today an extensive part of it is located in Afghanistan. In Parthian period, the region was an important natural, economic and religious zone and the homestead of one of the greatest Parthian families, Soren Pahlav. In Sassanid period, Sistan was called Sakestan and due to its special region, it was ruled by the Sassanian prince Sakan shah who ruled upon vast Koost of Nimrooz. Sassanians not only centralized the political power but also they used Zoroastrianism as the official religion of the country and severely defended it so that state and religion became two inseparable brothers which support and uphold each other. At the commence of the new period, Sistan was attended by the Sassanian monarchies because of the new religious basements of it. In the few texts remained of Sassanid period Sistan is introduced as a very significant region. In Khorde Avesta, Atashbahram, in the twentieth paragraph, after three magnificent fires, fire of Karkooy is alluded (Doostkhah, 1375: 607). In Bondahesh also fire of Karkooy is mentioned related to the three magnificent fires (Faranbaghdadegi, 1369). In Islamic narratives Karkooyeh is known as a private temple of Garshasb and the author of “The History of Sistan” writes: Zoroastrians know it as a holy place and believe that Garshasb left his divine spirit there and made it a holy place by it.
Keywords: Sistan, Zoroastrianism, Fire Temple, Karkooy, Ancient relics
Introduction
The remnants of Karkooyeh or Karkooshah fire temple is twenty kilometers in west-north of Zaranj and in the left of it there is a branch of Hirmand river near Miyankangi region. This ancient building is interrelated to the culture and history of the region and the identity of it is still remained firm. The people of the region know Karkooyeh fire temple very well and narrate lots of tales about it.
Some of European scholars and counselors like colonel Yeat in 1894 have visited this place. Sir Percy Siecs in 1899 considered this place as the capital and the main temple of Kiyaniyan and in 1905 Georg Peter Tit, the topographer of Gold Smith team studied the detailed architectural features of it.
The geographers of the first decades of the Islamic period considered Karkoo a noteworthyregion and Ibne Khordadiyeh in third century H.gh counted it as a county of Sistan. Before the occupation of Sistan by Arabs, Karkooy and Targhoon fire temples were extensively important temples. Arabs stifled the temples and suffocated the holy fires. Most probably the Muslim Arabs neglected the little temples and suffocated the great and important ones to evince the predominance of Islam (Tit, 1362: 122).
Among the geographers the most amount of information was presented by Simaye-Karkooyeh, Zakariya Mohammad Ibne Ghazvini who lived in seventh century the AH. But it is not clear whether he describes the structure as it is in his age or he narrates it from what he heard from the ancestors: “Karkooyeh is an old city of Sajestan. There are two domes in it. The people believe that they belong to the age of Rostam and at the top of them there are two curved horns like the ones of a thorn. They are the wonder of the land from the age of Rostam. Under the domes there are two temples for Magians. It seems that they put up somewhere as a temple near their houses and the fire never suffocates there. And there are servants for these temples who kindle the fire by turn and sit up far from it while covering their noses and mouths and silver tongs in their hands put wood in fire and before it subside put another one in it and this is the biggest temple for magians.”(Ghazvini, 1371: 321)
According to the local studies, some cultural materials like tiles were obtained from this region to estimate the history and record of establishment in this ancient and religious land. After the typology tests and sorting them, they were studied by comparison. It shows that Tepe Karkoo was established from the Parthian period and it went on till eighth century AH (Musavi Haji, Mehrafarin, 1386: v.3). There is nothing remained of the Sassanid fire temple but from the structure of this period (the main building of the temple) some parts of a brick wall is visible; the other parts of it are under ground and the remnants of the Islamic period. Detailed study of it and drawing the outline of the plan of the fire temple is possible only through later archeological excavations.
Conclusion
Natural factors like wind, rain, severe sunshine, flood and especially human beings always had a destructive effect upon the structure.
Illegal excavations are a main reason for the destruction of the establishment. These excavations which are done by smugglers and predators of the cultural legacy cause severe destruction of the temple.
Deep roots of Zoroastrianism in this region, wealth and strong settlement of it, the strategic situation and presence of the prince, caused the establishment of such a huge and important fire temple in this region. According to the texts and books of the historians and geographers of the first decades of the Islamic period it seems that Karkooy village of today is the same Karkooy (Sassanid holy fire temple) which is mentioned in Khorde Avesta and Bondahesh and the town which is talked about in the books of Ibne Hoghal, Maghdasi, Estakhri and Hamdollah Mostofi and was alluded to lots of time in the historical texts.
Sistan is a plain land in east of Iran and today an extensive part of it is located in Afghanistan. In Parthian period, the region was an important natural, economic and religious zone and the homestead of one of the greatest Parthian families, Soren Pahlav. In Sassanid period, Sistan was called Sakestan and due to its special region, it was ruled by the Sassanian prince Sakan shah who ruled upon vast Koost of Nimrooz. Sassanians not only centralized the political power but also they used Zoroastrianism as the official religion of the country and severely defended it so that state and religion became two inseparable brothers which support and uphold each other. At the commence of the new period, Sistan was attended by the Sassanian monarchies because of the new religious basements of it. In the few texts remained of Sassanid period Sistan is introduced as a very significant region. In Khorde Avesta, Atashbahram, in the twentieth paragraph, after three magnificent fires, fire of Karkooy is alluded (Doostkhah, 1375: 607). In Bondahesh also fire of Karkooy is mentioned related to the three magnificent fires (Faranbaghdadegi, 1369). In Islamic narratives Karkooyeh is known as a private temple of Garshasb and the author of “The History of Sistan” writes: Zoroastrians know it as a holy place and believe that Garshasb left his divine spirit there and made it a holy place by it.
Keywords: Sistan, Zoroastrianism, Fire Temple, Karkooy, Ancient relics
Introduction
The remnants of Karkooyeh or Karkooshah fire temple is twenty kilometers in west-north of Zaranj and in the left of it there is a branch of Hirmand river near Miyankangi region. This ancient building is interrelated to the culture and history of the region and the identity of it is still remained firm. The people of the region know Karkooyeh fire temple very well and narrate lots of tales about it.
Some of European scholars and counselors like colonel Yeat in 1894 have visited this place. Sir Percy Siecs in 1899 considered this place as the capital and the main temple of Kiyaniyan and in 1905 Georg Peter Tit, the topographer of Gold Smith team studied the detailed architectural features of it.
The geographers of the first decades of the Islamic period considered Karkoo a noteworthyregion and Ibne Khordadiyeh in third century H.gh counted it as a county of Sistan. Before the occupation of Sistan by Arabs, Karkooy and Targhoon fire temples were extensively important temples. Arabs stifled the temples and suffocated the holy fires. Most probably the Muslim Arabs neglected the little temples and suffocated the great and important ones to evince the predominance of Islam (Tit, 1362: 122).
Among the geographers the most amount of information was presented by Simaye-Karkooyeh, Zakariya Mohammad Ibne Ghazvini who lived in seventh century the AH. But it is not clear whether he describes the structure as it is in his age or he narrates it from what he heard from the ancestors: “Karkooyeh is an old city of Sajestan. There are two domes in it. The people believe that they belong to the age of Rostam and at the top of them there are two curved horns like the ones of a thorn. They are the wonder of the land from the age of Rostam. Under the domes there are two temples for Magians. It seems that they put up somewhere as a temple near their houses and the fire never suffocates there. And there are servants for these temples who kindle the fire by turn and sit up far from it while covering their noses and mouths and silver tongs in their hands put wood in fire and before it subside put another one in it and this is the biggest temple for magians.”(Ghazvini, 1371: 321)
According to the local studies, some cultural materials like tiles were obtained from this region to estimate the history and record of establishment in this ancient and religious land. After the typology tests and sorting them, they were studied by comparison. It shows that Tepe Karkoo was established from the Parthian period and it went on till eighth century AH (Musavi Haji, Mehrafarin, 1386: v.3). There is nothing remained of the Sassanid fire temple but from the structure of this period (the main building of the temple) some parts of a brick wall is visible; the other parts of it are under ground and the remnants of the Islamic period. Detailed study of it and drawing the outline of the plan of the fire temple is possible only through later archeological excavations.
Conclusion
Natural factors like wind, rain, severe sunshine, flood and especially human beings always had a destructive effect upon the structure.
Illegal excavations are a main reason for the destruction of the establishment. These excavations which are done by smugglers and predators of the cultural legacy cause severe destruction of the temple.
Deep roots of Zoroastrianism in this region, wealth and strong settlement of it, the strategic situation and presence of the prince, caused the establishment of such a huge and important fire temple in this region. According to the texts and books of the historians and geographers of the first decades of the Islamic period it seems that Karkooy village of today is the same Karkooy (Sassanid holy fire temple) which is mentioned in Khorde Avesta and Bondahesh and the town which is talked about in the books of Ibne Hoghal, Maghdasi, Estakhri and Hamdollah Mostofi and was alluded to lots of time in the historical texts.
Javad Abbasi, Roya Bahadori, Federica Cappa, Dubravka Jembrih-Simbuerger, Manfred Schreiner, Seyyed Iraj Beheshti,
year 7, Issue 23 (5-2023)
year 7, Issue 23 (5-2023)
Abstract
Abstract
In this study, the colors used in the Inscription and mural paintings of tomb of Ghadmagah in Neishabour were analyzed by instrumental analytical methods. Ghadmagah is located in the center of the Zabarkhan section, on the Neyshabur-Mashhad Road. Ghadmagah tomb-garden is located in the village of the same name 24 kilometers east of Neyshabur, Iran, and was built in the early seventeenth century. According to historical sources Ghadmagah was built in the early eleventh century AH (ca. 1600 AD), and the origin of this site dates back to Islam. Some believe that the Ghadmagah monument was designed by Sheikh Baha’i. The architectural decoration of this building is most importantly tiling, plastering and mural paintings. Given that the building was built in different periods and originally dates back to the Safavid period. The present study aimed to study the color bedding and pigments in the Inscription and mural paintings of the building to find out what period the mural paintings in the building belong to. Mural painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially mural paint, is the identification of the nature of paintings used to decorate the walls. Identification of pigments is also important not only from the perspective of archeology but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Keywords: Pigment, Neyshabur Ghadmagah, Inscription, Mural Painting, Analytical Methods.
Introduction
The use of physical and chemical analysis methods to identify the constituents of works of art, before any intervention occurs, plays a key role; because the results of such an analysis are very useful for deciding whether to conserve or regenerate these materials. In addition, each of the different pigments can have a different regeneration process. On the other hand, the analysis of ancient paintings may provide information about the artistic techniques and visual materials used in the past and expand the knowledge of the customs and techniques of ancient societies.
In fact, physical and chemical analysis provides useful information about the range of pigments present in an area and knowledge of dye preparation techniques and applications. In addition, the study of the originality and origin of pigments allows the discovery of connections and trade lines. On the other hand, restorers need detailed information about the chemical composition of the materials used in a work before restoration work.
Identifying the materials and pigments used in this building is one of the most important questions of this research, and then by considering the history of using pigments, we can understand the dating of the paintings in this building. Do these paintings belong to the period of construction of the building, ie the Safavid period, or were they added to the building in later historical periods? Depending on the type of painting pigments, the colors can be restored.
Materials and Methods
In this research, empirical and analytical methods have been used to achieve the goals. Data collection is based on information from library studies and instrumental methods. The complete information of the devices used in this research is fully described in the Materials and Methods section.
In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Data
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O) also gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors.
Discussion
The inscription at the top of the building used two colors, blue and gold, the result of the analysis showed that the blue color was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
Green phthalocyanine copper is a new pigment that may have been used to restore painting. This pigment was first used in 1320 AD, but it is not clear on what date this pigment was used to repair or reconstruct this paint. Due to the presence of oil in the FTIR spectrum of this color, it seems that unlike other colors, oil has been used to close this color, and the technique used in this color is different from other colors.
Conclusion
Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period.
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The results of identification of gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
In this study, the colors used in the Inscription and mural paintings of tomb of Ghadmagah in Neishabour were analyzed by instrumental analytical methods. Ghadmagah is located in the center of the Zabarkhan section, on the Neyshabur-Mashhad Road. Ghadmagah tomb-garden is located in the village of the same name 24 kilometers east of Neyshabur, Iran, and was built in the early seventeenth century. According to historical sources Ghadmagah was built in the early eleventh century AH (ca. 1600 AD), and the origin of this site dates back to Islam. Some believe that the Ghadmagah monument was designed by Sheikh Baha’i. The architectural decoration of this building is most importantly tiling, plastering and mural paintings. Given that the building was built in different periods and originally dates back to the Safavid period. The present study aimed to study the color bedding and pigments in the Inscription and mural paintings of the building to find out what period the mural paintings in the building belong to. Mural painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially mural paint, is the identification of the nature of paintings used to decorate the walls. Identification of pigments is also important not only from the perspective of archeology but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Keywords: Pigment, Neyshabur Ghadmagah, Inscription, Mural Painting, Analytical Methods.
Introduction
The use of physical and chemical analysis methods to identify the constituents of works of art, before any intervention occurs, plays a key role; because the results of such an analysis are very useful for deciding whether to conserve or regenerate these materials. In addition, each of the different pigments can have a different regeneration process. On the other hand, the analysis of ancient paintings may provide information about the artistic techniques and visual materials used in the past and expand the knowledge of the customs and techniques of ancient societies.
In fact, physical and chemical analysis provides useful information about the range of pigments present in an area and knowledge of dye preparation techniques and applications. In addition, the study of the originality and origin of pigments allows the discovery of connections and trade lines. On the other hand, restorers need detailed information about the chemical composition of the materials used in a work before restoration work.
Identifying the materials and pigments used in this building is one of the most important questions of this research, and then by considering the history of using pigments, we can understand the dating of the paintings in this building. Do these paintings belong to the period of construction of the building, ie the Safavid period, or were they added to the building in later historical periods? Depending on the type of painting pigments, the colors can be restored.
Materials and Methods
In this research, empirical and analytical methods have been used to achieve the goals. Data collection is based on information from library studies and instrumental methods. The complete information of the devices used in this research is fully described in the Materials and Methods section.
In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Data
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O) also gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors.
Discussion
The inscription at the top of the building used two colors, blue and gold, the result of the analysis showed that the blue color was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
Green phthalocyanine copper is a new pigment that may have been used to restore painting. This pigment was first used in 1320 AD, but it is not clear on what date this pigment was used to repair or reconstruct this paint. Due to the presence of oil in the FTIR spectrum of this color, it seems that unlike other colors, oil has been used to close this color, and the technique used in this color is different from other colors.
Conclusion
Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period.
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The results of identification of gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
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