Abstract
The ancient site of Dinavar, known by the locals as the city of Khāvarān, is located northeast of Kermānshāh, on the Kermānshāh-Sonqor road. The importance of the site is still evident despite environmental damage such as floods and earthquakes and agricultural development. Historical findings and archaeological evidence show that the central hill and the surrounding areas were inhabited from the Seleucid period to the present day. This site is the city of Dinavar. A city that was one of the cultural centers of western Iran in the first centuries of Islam and this issue is received from the list of thinkers attributed to Dinavar. During the surveys, in addition to the potteries, a collection of mills and large weights were observed, which indicates a pressing workshop in the site. The typology of the pressing method in this workshop and its chronology is the main issue of this research, which is addressed by asking two questions: first, what period does this data belong to, and second; What products have been produced in this workshop? Given the needs of urban communities and the need to manage and plan workshop activities, a hypothesis based on the data belonging to the time of the flourishing of the city of Dinavar and the production of oil and grape syrup is proposed. Based on the comparison and study and study of environmental data, written sources and documents of archeology and ethnoarcheology, Dinavar workshop to the time of growth and prosperity of this area in the 2nd to 4th AH. It is attributed and in addition to the production of grape syrup, the possibility of oil-pressing is also raised. Since known specimens from central and western Iran belong to the late Islamic centuries, the site data reveal part of the history of this activity.
Keywords: Pressing, Dinavar, Archaeology, Typology, Chronology.

Introduction
The study of ancient technologies is one of interests to many researchers. Archaeologists study technology to make social and economic analyzes and study human societies. Pressing and related objects are one of these ancient technologies. The ancient site of Dinavar, whose data are classified from the Seleucid era to the present day, has been one of the cultural centers of the Islamic world and one of the most important cities in the Jebāl province. Some of the archeological data of this area show that the pressing workshop was active in it. This study identifies the pressing in Dinavar with the aim of relative chronology of this method. Pressing workshops that have been built since the Safavid era near the important cities of that time provide significant signs of technical architecture, access to these structures and the continuation of the activities of some to this day, they have led to a detailed study of these works. However, it is not clear what the workshops were before the Safavid era. The present study tries to deal with how this activity took place in the pre-Safavid period. The most important questions are: 1. What period does the pressing data of the Dinavar area belong to? 2. What products have been produced in Dinavar Workshop? Considering the environmental and ethnographic data, and the necessity of managing and planning the workshop activities that are possible in the shadow of the urban system, in answer to the research questions, the hypothesis of the activity of the Dinavar workshop at the time of flourishing and Its urban growth; And the production of oil and grape syrup is measured. Field survey data are compared with similar samples to determine how this activity works, and environmental data measure the oil and grape syrup production hypothesis, or grape syrup. Archaeological and pollenological data trace evidence of olive use in the fertile crescent to ancient Paleolithic and before the beginning of agriculture (Niklewski and van Zeist, 1970; Liphschitz et al., 1991., Lovell et al., 2010 and Zohary et al., 2012). But pressing in the general sense have arisen following the complexity of societies. Pollen and archeological data show that suitable species of this practice have existed in prehistoric Iran (Van Zeist and Bottema, 1977; Djamali et al., 2010, 2016 and Mashkour et al., 2010), but the mode of operation is known only on the basis of data from the late Islamic centuries.

Materials and Method
The Dinavar is a complex site including the central hill, the religious complex and the cemetery, the remains of a castle and a Qājār bath. In a recent study, the authors found stone objects in the north of the central hill, including a healthy mill sandstone, five damaged millstones of various conglomerate dimensions, and four large conglomerate weights. The data do not provide complete information on how to press, but due to the presence of weights and the presence of four millstones, the upper surface of which shows a depression with a depth of 10 to 20 cm. The use of lever and weight pressing is discussed. In Dinavar Plain, whose vegetation has changed due to agriculture, oilseeds are native. Written evidence of pressing silenced in and around the study area, but in addition to the Celine and Satyr, the Bistun object and the stone of Tāq Bostān collection, which is obtained from the east of Kermānshāh and is considered a part of Roman mill, shows that pressing was common in this region. Ethnorchaeological studies also confirm the use of castor oil as a lamp fuel in the Qājār period up to the Pahlavi. It is worth mentioning that Dinavar community has always been a rural community and its economy has been based on agriculture, from the beginning until today. This society became one of the cultural centers of the Islamic world in the beginning of Islam. It seems that the spread of workshop and production activities such as pressing is also possible in such a structure and with the help of management and planning of the urban system, as the establishment of similar complexes near large cities has been common and pressing the ones that have been identified so far show the economic prosperity of the great Safavid cities.

Conclusion
Pottery production, pressing, milling, and in general workshop and production activities, along with labor and energy, require management and planning. This management is formed in urban system and in order to meet the needs of the urban society. Historical texts about Dinavar urban society have been silent in the first centuries of Islam, but the splendor of this society and its cultural growth is evident from the long list of thinkers attributed to this land. In this urban society, which is formed in the bed of a rich plain, the pressing of fruits and oilseeds is common. The rich vegetation and vineyards of the region confirm the production of grape syrup and oil. Extraordinary data of the area and their location near the central hill where it was located from the beginning of Islam to the ninth century AH. It goes on to show that this activity was common in the form of lever and weight, and its growth was at least from the 2nd to the 4th AH, at the same time as the establishment and development of Dinavar city and culture. Accordingly, pressing objects in Dinavar provide the basis for the study of pressing from the beginning of Islam.

Abstract
Kamaliyeh Collection is one of the most significant remnants dating back to the first half of the 8th century AD in the city of Yazd. Despite its historical and archaeological importance, no studies have been conducted on this collection. Through systematic efforts carried out in the 1970s, 24 intact or broken tiles with luster patterns depicting plants, birds, and inscriptions in the form of star-shaped (kokabi) motifs were discovered. Since there have been no published studies or reports on these tiles, the present research aims to examine their visual, content, and probable origin characteristics based on historical and architectural evidence through a comparative analysis with existing samples. Therefore, the following research questions are addressed: 1. What information can be obtained from the patterns and inscriptions on luster tiles of Kamaliyeh School in Yazd? 2. Based on the visual features of the patterns, which centers of luster tile production do the identified tiles belong to? The current study employs a documentary and descriptive-historical approach, along with analytical and comparative methods, to logically address the research questions. The results indicate that the patterns on the tiles include floral designs (three pattern models with a lotus flower motif and Shah Abbasid buds around the center of the tile), birds (a flying eagle with spread wings among floral patterns), and inscriptions (Quranic verses with themes of victory, admonition, sustenance, and Persian literature derived from Ferdowsi’s Shahnameh and Shams Tabrizi). These designs on the tiles serve specific religious, belief, and burial functions within the collection. Moreover, considering the significant similarity in pattern models, designs, and inscriptions among the studied samples, it is likely that Kashan was the major center for tile production. This is plausible considering the strategic communication route from Rey to Kerman passing through Kashan to Yazd for the distribution of luster tiles.
Keywords: Kamaliyeh School, Yazd, luster tiles, floral patterns and inscriptions, Kashan.

Introduction
The Al-Muzaffar era is one of the significant historical periods in the city of Yazd, ruling over the southern and central regions of Iran in the 8th century AD. The flourishing construction and development in Yazd during this period were substantial enough to lead to the expansion of its citadel and wall in several stages, particularly the relocation of some city districts outside its fortifications (Kateb, 1966: 69).
Luster tiles were crucial architectural elements used in both religious and non-religious structures during this period, adorning interior or exterior facades and mihrabs. In the Ilkhanid era, some religious buildings in cities, including the mausoleums of Shiites, were adorned with luster artworks. It seems that Yazd was one such city, gaining increased significance during the Middle Islamic centuries with the rise of the Al-Muzaffar dynasty. The Al-Muzaffar rule in Yazd, due to their support for the arts and culture of the Yazdi people, contributed significantly to the prosperity and development of the city. This support was to such an extent that one of the shining cultural periods in Yazd’s history is attributed to the reign of the Al-Muzaffar dynasty (Kateb, 1966: 89).
One notable feature of this era was the establishment of numerous Dar al-’Ilms (houses of knowledge), with Yazd earning the title of Dar al-’Ilm. Various sciences were taught in schools, mosques, Dar al-Siyadehs, and Khanqahs (Mirhosseini, 1993: 58). Another characteristic of this period was the flourishing of Sufism and the creation of various khaneqahs in Yazd and its surrounding regions, including the Rastaq Khanqah (Ibid: 265). These institutions made utmost efforts to create robust architecture and embellish it with the finest elements. One of the historical buildings of great value, adorned with remarkable luster tiles, is the Kamaliyeh Collection or Shah Kamal in Yazd. This structure was constructed in the year 720 AH by Khwaja Kamal al-Din Abu al-Ma’ali.
In the early 1970s, during organizational efforts, a number of luster tiles were discovered installed above a wall and are currently preserved in the secure storage of the Cultural Heritage, Handicrafts, and Tourism Organization of Yazd Province (Afshar, Vol. 2, 1996: 613). Although these objects have been organized and cataloged in recent years, a comprehensive scientific study on these tiles and their origin has not been conducted so far. Therefore, the present research aims to provide logical answers to existing ambiguities regarding the origin and nature of these tiles by studying their patterns and inscriptions and comparing them with contemporary and similar samples.

Discussion and Analysis
Tile Shape: The identified luster tiles in this structure are octagonal, a model commonly used in combination with cross-shaped (Chelipa) tiles with turquoise single-glaze enamel in the decoration of religious Shia buildings, such as the shrines of Imam Reza (AS) and Hazrat Masoumeh (SA) or Takht-e-Soleiman, dating back to the 7th century AD. In their decoration, plant, animal, and inscription motifs have been employed.
Patterns: The bird pattern of a flying eagle is one of the common motifs in the decoration of these tiles, appearing in the midst of floral patterns with outspread wings. Comparable examples can be identified among luster vessels produced in the city of Kashan. Among the comparable examples, luster star-shaped tiles in the Museum of Islamic Art in Istanbul, a sample from Takht-e-Soleiman in the British Museum, samples from the Sackler collection, the Victoria and Albert Museum, and the Freer Gallery of Art, all date back to the Ilkhanid period and were produced in the city of Kashan.

Floral Patterns
Most of the studied tiles depict a blue lotus flower with dense branches and leaves covering the entire central area of the tile. The spaces between the branches and leaves are filled with small circular motifs arranged in a band. While the floral patterns show overall similarity, careful examination reveals at least three design patterns among them: 1) a floral design with a Shah Abbasid flower at the top with branches and leaves on both sides (examples 16-1), 2) a Shah Abbasid flower in the center with dense branches and leaves around it (example 17), and 3) a small hexagonal flower at the top with two Shah Abbasid flowers on either side (example 20). Among these three patterns, the similarities between patterns 1 and 2 with samples from the Cambi Auction House in Genoa, Italy, a specimen from Sultanabad, and a sample preserved in the Victoria and Albert Museum are noteworthy.

Inscriptions
All the studied tiles include outer margins adorned with inscriptions. Among the 24 studied tiles, 18 are adorned with Quranic verses, 6 with Persian verses, 5 with verses from the Shahnameh, and one of the samples features verses from Shams Tabrizi.
The detailed analysis of the identified luster tiles in the Kamaliyeh Collection provides valuable insights into the patterns, shapes, and inscriptions used during the Al-Muzaffar era in Yazd. Comparisons with contemporary examples from Kashan and other regions contribute to a better understanding of the cultural and artistic context of this historical period.

Conclusion
The Kamaliyeh School is one of the significant educational institutions of the Ilkhanid period in the city of Yazd, expanding its influence in subsequent eras. It appears that luster tiles were utilized in adorning certain sections of the building, though the exact purpose of their use remains unclear. In the explorations conducted in Yazd, few traces of luster tiles have been discovered, and the collected samples from the Kamaliyeh School are the most important luster artifacts found to date. A crucial point is the function of these tiles, as research suggests that they are generally associated with religious beliefs or identity burial practices and have been predominantly used in shrines or burial sites. In the Kamaliyeh Collection, it is probable that they were used in the burial chamber, similar to examples found in the Seyyed Shams al-Din and Seyyed Rokn al-Din shrines in Yazd. While the samples from Takht-e-Soleiman primarily depict a royal structure (palace), the presence of religious color throughout the entire collection justifies the usage of such ceramics. Moreover, considering the Kamaliyeh Collection’s diverse functions, including a khanqah, school, and dome, and its educational-religious approach, the use of these types of tiles was likely a common practice during its time. The results also indicate the use of three categories of patterns: floral, animal, and inscription motifs. The floral patterns mostly depict a blue lotus flower, which has a long history in Iranian culture and has been used in various arts, including carpet weaving, under different names like “Shah-Abbasi flower.” With regards to the better-preserved examples, at least three design patterns emphasizing the Shah Abbasid flower are conceivable. The bird pattern of a flying eagle, present in the midst of floral patterns and on the central area of octagonal tiles, is surrounded by inscriptions in though script on the outer margin. The inscriptions draw inspiration from two different sources, the Holy Quran and Persian literature. Quranic inscriptions are categorized into several groups based on content, and the presented concepts can be considered relevant to the building’s function. Persian verses are mostly related to the Shahnameh, with only one case influenced by the poetry of Shams Tabrizi. Through a comparison of form, design patterns of motifs and inscriptions, and even the colors used, with examples preserved in museums such as the British Museum, the Museum of Islamic Art in Istanbul, the Sackler Collection, the Victoria and Albert Museum, and the Cambi Auction House in Genoa, it can be asserted that the probable place of production for the luster tiles of the Kamaliyeh School was the city of Kashan.