Abstract
Pottery as one of the major handcrafts of human societies plays an important role in rebuilding past culture and civilization. Classification, typology and chronology of pottery are of great importance in archaeological studies. The abundance and variety of pottery in situ has made it possible for the archaeologist to obtain the best cultural evidence for the recognition of ethnicities and communities. Pottery documentation and species identification is one of the technical principles in archaeological studies. One of the less well-known areas in the archaeology of Iran’s historical period, especially in the Sassanid period, is the present-day area of Isfahan Province in the Central Iranian Plateau. Introduction and study of Shirkouh Naein area previously carried out by Alamdar hajiAlian was selected for the research since it was evaluated in terms of statistical population and type of cultural materials of the Sassanian era from both architectural and cultural point of view. 
Keywords: Classification, Typology, Chronology, Sassanian Islamic Pottery, Epistemology, Shirkooh Naein.

Introduction
The research method is descriptive-comparative and the results have been analyzed based on comparative studies. In fact, this article focuses on documentary studies, especially and studying written documents and field studies. Also, using the results of archaeological field survey, the obtained pottery was classified, classified and finally compared with the key archaeological sites of this period, and their results were compared.
 
Describe the Area of Shirkooh Naein
Naein, in Isfahan province, is a town located in the desert margin. Pakooh region is one of the villages of Naein located in the northwest. The ancient site of Shirkooh is in the vicinity of Separo Village located 6 kilometers away from the west of it. Due to its strategic location, this region has always been suitable for human settlements. Among the evidence which represents a Sassanian settlement in Shirkooh, one can mention a fortress, a Čahārṭāq (four arches), and Soffeh (Terrace platform). Before briefly discussing the main topic of the article, each will be briefly mentioned.

Čahārṭāq (Four arches)
The Čahārṭāq of Shirkooh, located in the central part of Naein, can also be placed in this category. In 2002 (1381) the monument was listed as a national property of Iran with the registration No. 7222 and after that, it was restored by Shah-Hosseini. The Čahārṭāq of Shirkooh is a square-shaped structure with approximate dimensions of 10 meters. Its current height is 12/40 meters, dome height is 6/10, and the internal height is 6/59.

Shirkooh Fortress 
The position of this fortress is in such a way that on top of it the Čahārṭāq is visible and on the other hand, the fortress is pretty obvious from the center of Čahārṭāq. Thus, these two structures are not far from each other. The plan of the fortress is almost irregular and a steep slope makes it hard to reach. The materials used in the construction of the fortress are cobblestones for the walls, mud-brick in towers and plaster as the main mortar of the entire building. At the interior of the fortress there is a rectangular structure which its directions are north-east south-west and somehow overlooking the low level of the plain and the village. Due to unauthorized excavations inside the fortress, a piece of plasterwork was found; this piece is 16 cm long and 9.5 cm wide and its surface is engraved.

Terrace Platform of Shirkooh (Soffeh)
Terrace platform is located at 38 7.33 N, 52 59 24 E. It is constructed at the farthest end of the site which connects it to the mountain. The main construction material of this Soffeh consists of cobblestones of the river. Since this terrace platform is flat and elevated, from the top of it the fortress and Čahārṭāq are remarkably visible.

Classification and Typology of Shirkooh Naein Pottery Found
The Sassanian Islamic pottery of the Shirkooh area of Nain County is varied in form Data were obtained from three Čahārṭāq sections, Shirkooh fortress and Soffeh. A total of 760 pieces of pottery (Sassanian and Islamic) were collected in the study of Alamdar haji Alian. Then, during field re-examination by the authors, 80 pieces of pottery (Sassanian and Islamic) were collected from the surface of the site; The present study was classified 63 stratigraphic fragments, typology and finally chronology. From a comparative study of 63 pieces of pottery obtained from surface examination, the number of fragments is as follows: edge 52, body 3 and floor 8; From the above-mentioned pottery, 42 pieces from the Sassanid era and 21 pieces from the Islamic era were identified. The color of the pottery is one of the most prominent features of pottery considered in the classification of pottery. This color is divided into three main groups of brown, pea, and red in the Sassanian Shirkooh pottery.
In addition to the aforementioned cases, the classification of the studied pottery of Shirkooh Naein into its fragments has also been considered. Accordingly, the rim components can be classified into eight distinct groups. Based on the typology of the pottery, five types were identified: Bowls, jars, earthenware, dish and bottles that make up the largest number of bowls and jars in the earthenware collection.

Suggested Chronology of Sassanian Shirkooh Pottery
One common way to identify the presence or absence of communication between cultural communities in neighboring areas is to compare their cultural artifacts with each other. To relate these potteries to relative chronology, to match the samples to Sassanian sites excavated and to have chronologies and sites found from archaeological excavations in Iran: Hajiabad, Mellian, Abou Nasser Fars Palace, Yazdgerd Castle, Oltan Ghalasi Dasht Moghan, Torang Tapeh Gorgan, Defensive Wall, Bandan Darges, Siraf and ete, and out of Iran archaeological excavations of Tal Aboushrifa, Kish and Bergotiat in Iraq, Kusad United Arab Emirates. Accordingly, it was found that the type of pottery studied in Shirkouh was most similar to the set of pottery obtained from surface surveys of Farsan plain, Torang Tapeh excavations in northeast of Iran, Yazdgerd castle and Tall Abusharifah in northwestern Iraq. Given this, Shirkooh is one of the Sassanian sites in the Naein region that has pottery traditions of this period.

Conclusion
Specifications of Shirkooh pottery and their comparison with different Sassanid zones indicate the taste of Sassanian pottery in this region and similar shapes in different periodic zones Sasanian is recognizable. Therefore, Shirkooh pottery is a local and indigenous species that can be seen in other areas. In general, the Shirkooh region is culturally influenced by western evidence such as Yazdgerd castle area and central Iranian plateau, especially east of Isfahan province, Chaharmahal Bakhtiari province and Farsan plain. In fact, based on the typological studies and comparisons of pottery with other Sassanian and Islamic sites, it seems that the settlement is located in Sassanian and early Islamic periods. As we know, the pottery at the end of each period is usually early or even later in the period and does not disappear all at once, such as the area where the Sassanian pottery of the early Islamic Times There has also been a continuing trend and it is difficult to identify.

Abstract
This research intends to investigate, describe, and analyze architectural decorations by focusing on Kashan Tabrizi Mosque during the Qajar Period. The data was collected based on field and library (documentary) studies and interpreted through a comparative descriptive-analytical method. This research has been conducted to identify and classify the main motifs and themes of the architectural decorations of the Kashan Tabrizi Mosque, including buildings that belonged to the early Qajar period, and to compare with the Sepah Salar School Mosque of the middle of the Qajar monarchy in the center of their rule. There were two main questions: What are the architectural decorations of the Tabrizi Mosque in terms of decoration and themes? and what are its differences and similarities with the Sepah Salar School Mosque? The results indicate that the Sepah Salar Mosque-School in Tehran was built by a person who had an outstanding position in terms of political and social rank; thus, it has a more decorations compared to the Kashan Tabrizi Mosque. The architectural decorations for Kashan Tabrizi Mosque include tiling, carving, inscriptions, wall paintings, and plaster-molding, following the decorations of the earlier traditional architecture. The main religious motifs employed in the mosque include plant and geometric motifs that have been accomplished in the form of painting and tiling techniques.
Keywords: Tabrizi Mosque Kashan, Sepah Salar Mosque-School Tehran, Architectural Decorations, Qajar Period.

Introduction
During the Qajar period, many mosques were built in Iranian cities, including the Tabrizi Mosque in Kashan, one of the religious buildings of the Qajar period, about which no comprehensive research has been done. Accordingly, in this study, we examine one of the religious buildings that a businessman from Kashan built during the first years of the reign of Fath Ali Shah. Meanwhile, Sepah Salar Mosque-School (Shahid Motahari) in Tehran was built in the second period of Qajar architecture (Mohammad Shah and Nasser al-Din Shah) or other words, in the middle of the Qajar dynasty (Zarei, 2017: 424). During the time that Tehran, in particular, were affected by the urban development of Paris, and Western elements (such as the Clock Tower, the Pit, etc.) can be detected in the city, and especially in the Sepah Salar School Mosque (such as Gol Farangi), while there are no signs and such elements in Kashan Tabrizi Mosque.
Research Methodology: The data was collected using the field method and library research (documentary) using written sources. This research has been conducted in the descriptive-analytical method, and subsequently, the main motifs and themes of the decorations associated with the architecture of the mentioned mosques were recognized and classified based on the attributed tables.

Introducing Kashan Tabrizi Mosque
Tabrizi Mosque is located in Bab-ul-Hawaij Street and the historical context of Kashan Bazaar/Market, near the Mian Chal Safavid Mosque-School. This mosque was built in a unique location, and one of the entrances of Kashan Bazaar/Market passes through this place and Malek bazarche, built by Haj Mohammad Hussein Tabrizi, one of the merchants from Kashan.

Analyzing and Comparing the Decorative Arrays of Kashan Tabrizi Mosque
A set of cultural developments and new sciences were formed in the West, including the invention and presentation of photography, and the extensive application of stamps in postal items. These developments affected the decorations of the mosques of the Qajar Period so that the natural scenes of architecture, flower and vase designs, particularly roses and lilies in the designs and decorations of tiles and carvings have been applied in these buildings (Sajjadzadeh et al., 2017: 227). The inscriptions were as important as in the previous period, and mainly the chirography of Qajar inscriptions is in two types: Thuluth and Nastaliq, Quranic inscriptions and narrations have been written in the Thuluth and narrative phrases or history and poems have been written in the Nastaliq (Husseini and Ahmadzadeh, 2017: 72). The decorative motifs of the Tabrizi Mosque can be generally divided into two classes: plant motifs, geometric motifs, and the type of inscription scripts, and each one has different components.
1. Plant motifs include: a) Arabesque traceries/motifs b) Khatai flowers (Lotus motif with buds and leaves) c) Flower and plant motifs; 2. Geometric motifs include: a) embroidery b) rhombus motifs c) star-shaped motifs d) Mogharnas /decorated with paintings; 3. the type of inscription scripts including a) Thuluth b) Nastaliq c) Naskh.
A) Tile decorations: Tile decorations have been performed in the Kashan Tabrizi Mosque in the form of seven-color and mosaic techniques. Motifs are geometric and plant, but tiles have been extensively used in the form of seven-color, Bannai, and mosaic techniques, along with the various natural, geometric, animal, religious, and western themes in Sepah Salar School - Mosque. But, except for plant and geometric themes, no other motifs have been used in the Tabrizi mosque.
B) Carving decorations: The carving in Tabrizi Mosque is in the form of spiral columns, the base of the vase around the crescent of the altar of the nave, and the cypress motif on the side dado of the entrance of the mosque. Foreign decorations in the form of flower and vase designs have been performed naturally in the carving of Sepah Salar Mosque-School.
C) Inscription decorations: The inscriptions applied in Tabrizi mosque include the Thuluth, Naskh, and Nastaliq scripts, which the Thuluth has been used for writing in the inscriptions of the porch and the altar of the mosque, the Naskh has been used for writing the four-pillar inscriptions of the nave column, and the Nastaliq has been used for short phrases on the walls of the nave and on the inscription on the seven-colored tile at the entrance of the mosque, and all of their themes are Quran verses, hadiths, and divine names. The Nastaliq scripts of Tabrizi Mosque are simple and frequently have no decorations and have been performed in rectangular frames. The inscriptions have more variety and themes in Sepah Salar Mosque-School and include verses of the Holy Quran, hadiths, divine names, founders, calligraphers, tilers, architects, sculptors along with the materials of history, which have been used Naskh, Kufi, Thuluth, and Nastaliq scripts for writing.
D) Plaster-molding decorations: The plaster-molding / Stucco of Tabrizi Mosque has been used to construct the decorative moqarnas in front of the mosque altar entrance and the construction and writing of inscriptions on the entrance and porch of the mosque. Stucco /plaster has been used in abundance in decorating and writing inscriptions and plant motifs, including stucco flowers and vases in Sepah Salar Mosque-School.

Conclusion
Architects have always considered the most important mosque as the most important religious building of a city and a religious, political, and social focus. Examining the architectural arrays related to the architecture of Tabrizi Mosque and comparing them with the arrays of Sepah Salar School Mosque in Tehran as the Qajar capital, as well as analyzing their structural and decorative features, indicate a combination of Iranian and Western elements. There are many rooms built around the courtyard for summer, but the winter naves here are not comparable to the Sepah Salar School Mosque in Tehran, which was built for high-ranking government officials in the form of four porches, tall domes, and minarets, and is so glorious. This small mosque is built as a summer and winter nave on two floors. Kashan Tabrizi Mosque includes tile decorations, inlays, inscriptions, murals, and plastering to write inscriptions in terms of decorations and follows the art and decorations related to the traditional architecture of the previous periods as this mosque was built in the early period Qajar in 1212 AH and many natural themes can be seen in its decorative elements, as it can be considered the only building in which there are weak influences of Western culture. Tehran Sepah Salar School-Mosque was built in 1296 AH and its decorations and decorative motifs originated from traditional and western architecture. In such a way that western elements such as architectural landscaping have been used as a house or church, in contrast to which there were no western elements in the Tabrizi Mosque of Kashan.

Abstract
Gorieh site located in Zarneh section of Ivan Gharb city is one of the important Sassanid and early Islamic sites in archeological studies of the west of the country which has been excavated in 2015. During a season of excavation in this ancient site, a variety of cultural artifacts were found, including pottery, and due to the importance of pottery and its role in archaeological studies, this cultural material was studied in this article. Therefore, for this study, 127 pieces of pottery from the Sassanid era, from 1500 pieces of pottery obtained from excavation, were selected for study. Initially, these pottery were classified typologically based on their technical characteristics and shape or form. This research has a fundamental nature with a descriptive-analytical approach and the method of this research has two parts: library and field studies (pottery). The main purpose of this article is to study the quantity and quality of Sassanid pottery in Gorieh area, then their typology, classification and relative chronology. Chronology has been done comparatively and cultural relations with adjacent areas have been explained based on comparative studies of pottery. The results showed that among the identified forms among the pottery of Gorieh area, including Ewer, jug, bowl, cup and plate and the most common decorative patterns of pottery are carved patterns. Pottery is often suitable for baking and a sign of oven temperature control for baking pottery, and the quality of their construction is generally average. Also, a comparative comparison showed that in terms of relative chronology, Sassanid Gorieh pottery is relatively similar to the areas of the late period. Therefore, while having some local characteristics, the pottery of this area with areas such as, Qasr-e-Bonsar, Hajiabad, Sassanian sites identified in the survey of the Mahneshan of Zanjan, North Khuzestan, Mianab Shushtar, Bushehr, Ras al-Khaimah and Tal-e mahuz sites, Abu Sharifa in Iraq They are comparable and in addition to the influences of regional style, it is most similar to the cultural sphere of southwestern Iran.
Keywords: Typology, Classification, Sasanian Potteries, Gorieh Site, Ilam.

Introduction
Gorieh area is located in geographical coordinates of 38s x: 605380 and Y: 37522210. This site is located 50 km northwest of Ilam, Zarneh district in Ivan city, about 800 meters south and southwest of lower Sartang village. (Khosravi, 1395: 32) Gorieh region drowned in water after impounding of Kangir dam in year of 1394 AH. (Fig. 2) Part of the Zagros Mountains, which overlooks to Mesopotamia and the plains of Khuzestan, is now called Ilam Province. Pottery is the most abundant cultural material in archaeological excavations and studies. Pottery is mostly used for relative dating and to know the cultural and trade relations of the ancient sites. (Khosrozadeh et al., 1399: 119) Therefore, in the present study, the Authors try to introduce and study the pottery findings as one of the cultural materials discovered from the excavation of Gorieh site, which was excavated by one of the Authors of the article, with other sites at the same contemporary.

Discussion 
Masbezan was one of the Sassanian provinces during the rule of Ardeshir Babakan (ruled 244-241 AD) (Rawlinson, 1362: 44); in historical books, this province has been recorded in two forms: ((Masbezan)) and ((Mah, sebzan)). The word Mah or May in the word ((sabzan)) is the changed form of the word ((Mad)) which means city (Qara Chanlu, 1360: 31-32) and the change of the word Mad to Mah and May, which was done during the Parthian and Sassanian eras, was also a common word in the Islamic period for refer to Iraq and non-Arabic places. (Ibid: 32) During the early centuries of Islam, western Iran in the terms of geographical divisions was considered as Jabal province (mountain) in. (Fig. 1) among the cultural findings of the excavation in the Gorieh site, a number of pottery obtained from different spaces. In the present study, from hundreds of Sassanian pottery pieces obtained by screening method, Index pottery was selected from 127 pieces and then categorization, typology and chronology were proposed. Most pottery was made using the wheel-making technique and most of them are sufficiently baked; the pottery s are made entirely of mineral chamotte (sand). In terms of the quality of the pottery s, the earthenware of Gorieh area can be divided into three groups: 1. medium 2. Average 3. Rough. In the present study, the studied samples are pottery s from ancient textures and spaces which cognitively obtained and representative of all classes and species, these potteries were selected accordingly and then discussed and analyzed. Therefore, from a comparative study conducted in a chapter of archeological excavations in Gorieh area, the number of pieces was selected separately: 96 rim, 1 pipe, 4 handles, 18 body and 8 pottery bottom Sassanian unglazed pottery s in terms of color of the dough are divided in three main groups: pea near to green (79 of 127 pieces), pea (20 of 127 pieces), red (19 of 127 pieces), brown (7 from 127 pieces) and gray (3 out of 127 pieces). In addition to the above, for the classification of pottery s which studied in Gorieh, the shape of their rims has also been considered. Accordingly, the rim founded pieces are classified into separate groups: gutters shape, triple, compact, standing and round, round inward or outward, quadruple, and flat .The highest rim diameter among Ceramics is 400 mm and the lowest is 40 mm, in terms of rim type’s number, the highest type of rim is the rounded rim. The pottery bottoms are divided into three groups: flat (Table6, numbers 1 and 3), legged bottom (Table6, number 4 to 7) and upright bottom (Table6, number 2), and handles are in two circular shapes (Table6, number 9 to 11) button shapes, (Table6 number 8) and a container tube (Table6 number 12) are separable Motifs and decorative elements of Gorieh pottery’s can be divided into four categories: 1. Simple patterns (stump) 2. Composite patterns 3. Added patterns and 4. Compression patterns.
The studied potteries, as mentioned before, is placed in common (simple) type in terms of construction and technical characteristics. In the present study dishes, based on the general shape of the earthenware and the type of edge are divided into different shapes of jug, crock, bowls, plates and cups.

Conclusion 
In each cultural region, the quality and quantity of archaeological data provide the basis for archaeological evaluations. The exploration, typology, and chronology of the potteries of a Guriyeh region were carried out to answer the research questions. The technical characteristics of the pottery show that sand is used in its composition. What is clear is that most of the potteries were fired sufficiently, and some of them were fired insufficiently, which indicates the lack of heat control in the pottery kilns. Most of the potteries studied in the present study were in the medium group, showing the tendency of the residents of Guriyeh to use vessels with medium elegance. The majority of the pottery has been made through wheel throwing, demonstrating the use of the potter’s wheel in making pottery; only a few of them are handmade. Wet hand polishing is also observed on the inner and outer walls of most of the pottery. In addition to the polishing of some earthenware, a thin or thick mud layer was also applied on the inner or outer wall and even both walls. In total, several types of pottery, including jugs, crocks, bowls, cups, and plates, were obtained from the Guriyeh area. The comparison of the kinds of pottery with those of other regions showed that pottery with general use, such as jugs (48.96%), is the primary type used by people living in this region. In terms of decorative diversity, Guriyeh’s pottery includes engraved, embossed, and combined motifs. Among them, the use of fingernail pressure to design the pottery seems to be indigenous to the Western region of Iran, and it has not been observed in other areas. Since there is very little archaeological information about Sassanid pottery in the Western region of Iran, the pottery of the Guriyeh area was compared with other regions. Based on comparisons, it was found that the potteries of the Guriyeh area have relative similarity with those of regions at the end of this period, such as (Abu Nasr Palace in Fars, Abu Sharifah Hill in Iraq, and Bushehr surveys). In general, the Guriyeh area was located on two ancient communication routes from Iran to Mesopotamia, as well as a route to the West and Southwest of Iran. Accordingly, Guriyeh’s pottery is comparable to that of other cultural regions of Iran. It can be concluded that based on the available documents, the area of Guriyeh seems to be culturally influenced by the cultural region of Southwest and South Iran, which can be attributed to its specific regional style.