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Afrasiab Garavand, Reza Rezalou,
year 2, Issue 6 (3-2019)
year 2, Issue 6 (3-2019)
Abstract
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.
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.
Afrasiab Garavand, Karim Hajizadeh, Fatemeh Malekpuor, Akbar Abedi,
year 3, Issue 10 (2-2020)
year 3, Issue 10 (2-2020)
Abstract
Abstract
Khoy Plain has attracted various tribes in terms of geographical conditions and suitable environmental capacities over the course of thousands of years, and has been the basis for establishing human settlements in different periods. The pattern of dispersion of the areas identified in this mid-range plain in the Bronze Age reveals the emergence and existence of a large center called “Dozdqi”, which in this period becomes a very important center. Dozdaqi with a height of 1200 meters above sea level is an area with more than 16 hectares and 24 meters above the surface of the surrounding area, the highest prehistoric area of the plain, which is located along the permanent river of Ghodvokh Boghan and the springs and wetlands. The existence of a salt mine as an export commodity in this area, as well as obsidian artefacts (imported goods) in 7 different colors. The percentage of the volume of distribution of pottery on the surface of the site indicates that the period of dynamism and flourishing of the site was in the Bronze Age, and it seems that during this period and for the first time in Khoy plain, there could be an over-the-center Of the 16 hectares.The existence of such a center is likely to be in the context of trans-regional trade. In this research, 20 samples of the Bronze Age pottery sherds were collected from the surface survey and speculation to determine the area and privacy of the study area and typology.
Keywords: Dozdaqi Khoy, Bronze Age, Pottery.
Introduction
The late fourth millennium and early third millennium BC, one of the most important milestones not only in Iranian history, but also in the history of the Near East. This period coincides with major events such as the formation of the first city government, the beginning of urbanization and the expansion of its line.
The ancient Bronze Age in the northwest is part of a widespread culture called the Culture of Kura-Aras (Rezalou and Zaban Band, 2016: 17) or Yaniq’s Culture (Burney and Lang, 1971: 44, Dayson, 1973: 686-7) Is known. n this regard, Dozdaqi Khoy with an area of more than 16 hectares of the largest settlements in the north of Lake Urmia is related to the Bronze Age, which has cultural works of the Neolithic, Copper, Bronze and Iron Age periods. The percentage of the volume of distribution of pottery on the surface of the site indicates that the period of dynamism and flourishing of the site was in the Bronze Age, and it seems that during this period and for the first time in Khoy plain, there could be an over-the-center center Of the 16 hectares, he said that the existence of such a center is likely to be in the context of trans-regional trade. Therefore, attention to the above-mentioned cases, as well as the study of the status of the Dozdaqi area in the Bronze Age, is one of the most important goals of this research in terms of the presence of cultural materials related to the three old, middle and new bronze periods on the site. In this research, 20 samples of the Bronze Age clay collected from the surface survey and speculation to determine the area and privacy of the study area and typology.
The Dozdaqi Khoy Area
The Dozdaqi area consists of two parts of the east (Dozdaqi area) and the western one (Hill Dozdaqi) separated by a sandy road (Picture 1). This ancient site is located 1.5 kilometers southwest of Khoy city, in the central part and 1 kilometer north of the Amirbiq village, in longitude N: 38.31 23, and latitude E: 44.5514 with an average elevation of 1200 meters The water level is formed in the middle of a mid-range plain and the fertile part of the plain on the eastern side of the Qodwokh Boghan River.
The most important bio-properties of the Dozdaqi field are as follows: the area of the fertile and cultivated land, the amount of precipitation, the appropriate height, access road, the presence of pastures and suitable vegetation available around the site, fuel resources, abundant water resources and most importantly, there was a salt mine in the east of the area. This ancient work has brought the most important potential and conditions of economic exploitation based on agriculture, animal husbandry, trade and cultural exchanges (salt, rock quarrying, etc.) with neighboring areas.
Typology of the Bronze Age Crystal Enclosures
In this paper, 20 pieces of samples of pottery sherd that were collected during the speculation of the field and area of 1395 from the surface of the site were studied and typified (Plan 1 and Table 1). The color of the pottery is varied, and in this regard, the pottery of the collection can be divided into three groups: brown dumplings, gray dwarfs, red pottery, besides in one color case Black beetle. In making most of the samples, the binder is used in the mineral and the surfaces of the clay are smooth and smooth. On two levels, most of the pottery is covered with thick or thin flowers to peppery, light brown, cream and red. There is also a wheel maker in the collection of handmade pottery. The temperature required to bake most of the pottery has been sufficient. The specimen of the Bronze Age is a hot dip galore comparable to the clay samples obtained from the hills of Yannick (Burney, 1961), Burton-Brown Hill (1948), Haftevan (Burney, 1973), Gijler (Pecorlla,and Salvini, 1984), Cole Tape (Abedi, 2011), the Kohneh Tappeh Cy (Zalaghi and Akhalari, 2007) the Kohneh Pasgah (Akhalari 2008) and the Barouj Tappeh (Alizadeh and Azarnoush, 2002).
Conclusion
The percentage of the volume of distribution of pottery on the surface of the site indicates that the period of dynamism and prosperity of this site has been in the era of urbanization and urbanization, and it seems that during this period, and for the first time in the plain, there could be a center with an area of more than 16 hectares said that the existence of such a center in the Khoi Plain is likely to be in the context of trans-regional trade.
Khoy Plain has attracted various tribes in terms of geographical conditions and suitable environmental capacities over the course of thousands of years, and has been the basis for establishing human settlements in different periods. The pattern of dispersion of the areas identified in this mid-range plain in the Bronze Age reveals the emergence and existence of a large center called “Dozdqi”, which in this period becomes a very important center. Dozdaqi with a height of 1200 meters above sea level is an area with more than 16 hectares and 24 meters above the surface of the surrounding area, the highest prehistoric area of the plain, which is located along the permanent river of Ghodvokh Boghan and the springs and wetlands. The existence of a salt mine as an export commodity in this area, as well as obsidian artefacts (imported goods) in 7 different colors. The percentage of the volume of distribution of pottery on the surface of the site indicates that the period of dynamism and flourishing of the site was in the Bronze Age, and it seems that during this period and for the first time in Khoy plain, there could be an over-the-center Of the 16 hectares.The existence of such a center is likely to be in the context of trans-regional trade. In this research, 20 samples of the Bronze Age pottery sherds were collected from the surface survey and speculation to determine the area and privacy of the study area and typology.
Keywords: Dozdaqi Khoy, Bronze Age, Pottery.
Introduction
The late fourth millennium and early third millennium BC, one of the most important milestones not only in Iranian history, but also in the history of the Near East. This period coincides with major events such as the formation of the first city government, the beginning of urbanization and the expansion of its line.
The ancient Bronze Age in the northwest is part of a widespread culture called the Culture of Kura-Aras (Rezalou and Zaban Band, 2016: 17) or Yaniq’s Culture (Burney and Lang, 1971: 44, Dayson, 1973: 686-7) Is known. n this regard, Dozdaqi Khoy with an area of more than 16 hectares of the largest settlements in the north of Lake Urmia is related to the Bronze Age, which has cultural works of the Neolithic, Copper, Bronze and Iron Age periods. The percentage of the volume of distribution of pottery on the surface of the site indicates that the period of dynamism and flourishing of the site was in the Bronze Age, and it seems that during this period and for the first time in Khoy plain, there could be an over-the-center center Of the 16 hectares, he said that the existence of such a center is likely to be in the context of trans-regional trade. Therefore, attention to the above-mentioned cases, as well as the study of the status of the Dozdaqi area in the Bronze Age, is one of the most important goals of this research in terms of the presence of cultural materials related to the three old, middle and new bronze periods on the site. In this research, 20 samples of the Bronze Age clay collected from the surface survey and speculation to determine the area and privacy of the study area and typology.
The Dozdaqi Khoy Area
The Dozdaqi area consists of two parts of the east (Dozdaqi area) and the western one (Hill Dozdaqi) separated by a sandy road (Picture 1). This ancient site is located 1.5 kilometers southwest of Khoy city, in the central part and 1 kilometer north of the Amirbiq village, in longitude N: 38.31 23, and latitude E: 44.5514 with an average elevation of 1200 meters The water level is formed in the middle of a mid-range plain and the fertile part of the plain on the eastern side of the Qodwokh Boghan River.
The most important bio-properties of the Dozdaqi field are as follows: the area of the fertile and cultivated land, the amount of precipitation, the appropriate height, access road, the presence of pastures and suitable vegetation available around the site, fuel resources, abundant water resources and most importantly, there was a salt mine in the east of the area. This ancient work has brought the most important potential and conditions of economic exploitation based on agriculture, animal husbandry, trade and cultural exchanges (salt, rock quarrying, etc.) with neighboring areas.
Typology of the Bronze Age Crystal Enclosures
In this paper, 20 pieces of samples of pottery sherd that were collected during the speculation of the field and area of 1395 from the surface of the site were studied and typified (Plan 1 and Table 1). The color of the pottery is varied, and in this regard, the pottery of the collection can be divided into three groups: brown dumplings, gray dwarfs, red pottery, besides in one color case Black beetle. In making most of the samples, the binder is used in the mineral and the surfaces of the clay are smooth and smooth. On two levels, most of the pottery is covered with thick or thin flowers to peppery, light brown, cream and red. There is also a wheel maker in the collection of handmade pottery. The temperature required to bake most of the pottery has been sufficient. The specimen of the Bronze Age is a hot dip galore comparable to the clay samples obtained from the hills of Yannick (Burney, 1961), Burton-Brown Hill (1948), Haftevan (Burney, 1973), Gijler (Pecorlla,and Salvini, 1984), Cole Tape (Abedi, 2011), the Kohneh Tappeh Cy (Zalaghi and Akhalari, 2007) the Kohneh Pasgah (Akhalari 2008) and the Barouj Tappeh (Alizadeh and Azarnoush, 2002).
Conclusion
The percentage of the volume of distribution of pottery on the surface of the site indicates that the period of dynamism and prosperity of this site has been in the era of urbanization and urbanization, and it seems that during this period, and for the first time in the plain, there could be a center with an area of more than 16 hectares said that the existence of such a center in the Khoi Plain is likely to be in the context of trans-regional trade.
Afrasiab Garavand, Ardeshir Javanmardzadeh, Mehdi Hosseyni Niya, Fatemeh Malekpur,
year 8, Issue 27 (5-2024)
year 8, Issue 27 (5-2024)
Abstract
Abstract
Khoy county, as one of the archeological fields of Iran, has been one of the most important centers for the presence of human societies, and the process of formation of ancient societies from prehistoric to historical and Islamic eras is quite obvious and can be explored. One of the landmarks of this city is Shams Tabrizi, which is located in the northwest of Khoy county between Rabat neighborhood and Imamzadeh neighborhood, and on its southern front, there is a monument called Shams Tabrizi minaret. This area was excavated in 2007, in 2018, with the aim of studying the layers and archaeological deposits and being aware of the existence of cultural periods, by creating 3 boreholes in the northern and eastern parts. This research is the result of studying the pottery data of the mentioned area. Accordingly, the main question of this research is posed as follows; Given the diversity of pottery species and their adaptation to other sites, what cultural periods does the site chronology include? Findings of this study; The pottery of this area is classified into two main groups of glazed pottery (monochrome pottery, multicolor painting on glaze and painting under glaze and Esgrafiato) and unglazed (molded and ordinary pottery) based on the typology of pottery. And their adaptation to other areas should be said; Shams Tabrizi Khoy area is a settlement belonging to the Middle Ages to the late Islamic period. The peak of prosperity of this area was related to the Middle Islamic centuries and it should also be noted that the pottery index species show close similarities with other centers in the northwest and west. It indicates the existence of an extensive communication and cultural network in the region, and historical texts and travelogues reinforce this conclusion.
Keywords: Khoy County, Shams Tabrizi Area, Pottery, Chronology.
Introduction
The city of Khoy has been an important gateway and a crossroads for trade in distant and nearby lands. This area, due to its location in communication centers, connects to the Urmia Lake basin on one side, the southern Caucasus region on the other side, and the eastern Anatolia, making it strategically important for prehistoric societies and significant in studies related to the formation of societies. The region’s archaeological explorations indicate that the oldest settlements in the area date back to the late Neolithic period (sixth millennium BCE). The environmental and biological components of the region have created favorable conditions for permanent and temporary settlements in various cultural periods, playing a very important role throughout history. Despite its great importance in Iranian archaeology, this region has received less attention. However, archaeological findings and historical documents attest to the significance of this region in cultural periods. In the field of archaeology, ceramic findings in the stratigraphy of sites and the study of cultural changes are of great importance. Systematic research on the types of ceramics in the Shams Tabrizi Khoy area is no exception to this rule. Given the lack of attention to this site in Iranian archaeology studies, it is necessary to investigate and study these data, as archaeological findings and historical documents indicate the importance of this region in cultural periods. The study of ceramic typology in this region is essential for understanding the prosperity and decline of the city, as well as cultural and trade relations with neighboring regions. Therefore, the main objective of this research is to study the Islamic period ceramics of this site, their typology, and relative stratigraphy. In the study of ceramics resulting from excavation and considering the type of data, the following questions are raised: 1) Which areas have similarities with the incised ceramics in this site? 2) Which regions have similarities with the turquoise-black ink ceramics of this site? 3) Based on the comparative study of ceramic types, what are the fundamental steps in understanding the prosperity and decline of the city and its cultural and trade relations with neighboring regions?
The Text of the Article
The Shams Tabrizi complex is located in the northwest of the city of Khoy, situated between the Rabat and Imamzadeh neighborhoods. Three trenches were created in the north and east fronts of the complex for identifying layers and accessing cultural deposits. Regarding the typology of ceramics in the Shams Tabrizi complex and their similarities with other complexes, it can be said that similar ceramics have been found in regions such as Rey, Sultaniyeh, Saveh, Sultanabad, Kashan, Hamadan, Bojnourd, Aqkand, Yazkand, Sultaniyeh, Sheikh Tappeh in Urmia, and others. Khoy was part of the Seljuk territories, especially under the Seljuk Rum branch, due to its strategic location on the trade route between the East and West. During the reign of Sultan Sanjar Seljuki, he appointed Khoy as a peer to Rey and considered Khoy and Rey as part of his special territories. The similarity of ceramic types with Rey is evidence of this statement. After flourishing during the Seljuk era and suffering damage during the Mongol invasions, especially in 628 AH, Khoy gradually regained its prosperity during the Ilkhanid period. Ceramics from the Ilkhanid period have been found in this complex, comparable to complexes of that time. In the Safavid era, Khoy gained attention from Shah Ismail I, who chose it as his winter capital. Historical sources indicate that Islamic historians attribute Khoy’s prosperity and fame to the middle centuries, particularly the 5th to 8th centuries AH. Ceramics from this period show undeniable similarities with complexes in eastern, western, and central Iran, likely due to cultural, economic, and trade exchanges between Khoy and those centers. Key ceramic types in this complex include multicolored underglaze, simple turquoise glazed ceramics, red and beige ceramics with black, blue, and purple patterns under and over turquoise and white glazes, orange and reddish ceramics with black patterns under yellow, turquoise, white, and aubergine glazes, orange ceramics with black and crackled (sgraffito) patterns under turquoise glazes, and unglazed ceramics.
Conclusion
Based on the archaeological studies and historical texts such as Ibn Hawqal, Masudi, Hamawi, and Emad al-Din Zakariya, Khoy has been a prosperous city during the Islamic period, especially from the 5th to the 8th centuries AD, due to its location on the East-West trade route. The pottery collection unearthed from the archaeological excavations of the Shams Tabrizi area also indicates that this region had cultural, commercial, and economic interactions with other centers during that time, reaching its peak during the Seljuk and Safavid periods. However, due to political and historical events, especially during the Ilkhanid and Safavid periods, all its cultural achievements were destroyed by invaders such as the Mongols and Ottomans (during the reign of Suleiman, Murad III, and Murad IV). Nevertheless, it has managed to regain its dynamism and greatness.
In this regard, the Shams Tabrizi area in Khoy is one of the prominent Islamic settlements in the region, possessing valuable cultural data, including diverse pottery artifacts. These pottery artifacts, classified based on comparative typology, belong to the Middle to Late Islamic periods and are divided into two main groups: glazed and unglazed pottery. The unglazed pottery consists of molded pottery and ordinary pottery, while the glazed pottery includes single-colored glaze, multi-colored glaze, overglaze painting, underglaze painting, and sgraffito. Due to the diversity of pottery types in terms of form, they mostly consist of various pottery bowls, and in terms of technique and decoration, they include distinctive types such as sgraffito, molded pottery, underglaze painting, and overglaze painting. Therefore, it can be said that pottery known as sgraffito in other regions such as Aqkand, Yazkand, Sultaniyeh, Sheikh Tappeh in Urmia, Hamadan, Kangavar, Taq-e Bostan, and Takht-e Soleiman, has been obtained, and in terms of style and technique, there are similarities between the turquoise pottery of this area and other regions in some cases. Similar turquoise pottery from this area has been obtained in Sultanabad, Kashan, Sultaniyeh, Hamadan, Bojnourd, and other regions, and can be compared to them in this respect. The results of the study of different types of pottery in the Shams Tabrizi area indicate that the pottery of this area mainly belongs to the Middle Islamic periods.
Khoy county, as one of the archeological fields of Iran, has been one of the most important centers for the presence of human societies, and the process of formation of ancient societies from prehistoric to historical and Islamic eras is quite obvious and can be explored. One of the landmarks of this city is Shams Tabrizi, which is located in the northwest of Khoy county between Rabat neighborhood and Imamzadeh neighborhood, and on its southern front, there is a monument called Shams Tabrizi minaret. This area was excavated in 2007, in 2018, with the aim of studying the layers and archaeological deposits and being aware of the existence of cultural periods, by creating 3 boreholes in the northern and eastern parts. This research is the result of studying the pottery data of the mentioned area. Accordingly, the main question of this research is posed as follows; Given the diversity of pottery species and their adaptation to other sites, what cultural periods does the site chronology include? Findings of this study; The pottery of this area is classified into two main groups of glazed pottery (monochrome pottery, multicolor painting on glaze and painting under glaze and Esgrafiato) and unglazed (molded and ordinary pottery) based on the typology of pottery. And their adaptation to other areas should be said; Shams Tabrizi Khoy area is a settlement belonging to the Middle Ages to the late Islamic period. The peak of prosperity of this area was related to the Middle Islamic centuries and it should also be noted that the pottery index species show close similarities with other centers in the northwest and west. It indicates the existence of an extensive communication and cultural network in the region, and historical texts and travelogues reinforce this conclusion.
Keywords: Khoy County, Shams Tabrizi Area, Pottery, Chronology.
Introduction
The city of Khoy has been an important gateway and a crossroads for trade in distant and nearby lands. This area, due to its location in communication centers, connects to the Urmia Lake basin on one side, the southern Caucasus region on the other side, and the eastern Anatolia, making it strategically important for prehistoric societies and significant in studies related to the formation of societies. The region’s archaeological explorations indicate that the oldest settlements in the area date back to the late Neolithic period (sixth millennium BCE). The environmental and biological components of the region have created favorable conditions for permanent and temporary settlements in various cultural periods, playing a very important role throughout history. Despite its great importance in Iranian archaeology, this region has received less attention. However, archaeological findings and historical documents attest to the significance of this region in cultural periods. In the field of archaeology, ceramic findings in the stratigraphy of sites and the study of cultural changes are of great importance. Systematic research on the types of ceramics in the Shams Tabrizi Khoy area is no exception to this rule. Given the lack of attention to this site in Iranian archaeology studies, it is necessary to investigate and study these data, as archaeological findings and historical documents indicate the importance of this region in cultural periods. The study of ceramic typology in this region is essential for understanding the prosperity and decline of the city, as well as cultural and trade relations with neighboring regions. Therefore, the main objective of this research is to study the Islamic period ceramics of this site, their typology, and relative stratigraphy. In the study of ceramics resulting from excavation and considering the type of data, the following questions are raised: 1) Which areas have similarities with the incised ceramics in this site? 2) Which regions have similarities with the turquoise-black ink ceramics of this site? 3) Based on the comparative study of ceramic types, what are the fundamental steps in understanding the prosperity and decline of the city and its cultural and trade relations with neighboring regions?
The Text of the Article
The Shams Tabrizi complex is located in the northwest of the city of Khoy, situated between the Rabat and Imamzadeh neighborhoods. Three trenches were created in the north and east fronts of the complex for identifying layers and accessing cultural deposits. Regarding the typology of ceramics in the Shams Tabrizi complex and their similarities with other complexes, it can be said that similar ceramics have been found in regions such as Rey, Sultaniyeh, Saveh, Sultanabad, Kashan, Hamadan, Bojnourd, Aqkand, Yazkand, Sultaniyeh, Sheikh Tappeh in Urmia, and others. Khoy was part of the Seljuk territories, especially under the Seljuk Rum branch, due to its strategic location on the trade route between the East and West. During the reign of Sultan Sanjar Seljuki, he appointed Khoy as a peer to Rey and considered Khoy and Rey as part of his special territories. The similarity of ceramic types with Rey is evidence of this statement. After flourishing during the Seljuk era and suffering damage during the Mongol invasions, especially in 628 AH, Khoy gradually regained its prosperity during the Ilkhanid period. Ceramics from the Ilkhanid period have been found in this complex, comparable to complexes of that time. In the Safavid era, Khoy gained attention from Shah Ismail I, who chose it as his winter capital. Historical sources indicate that Islamic historians attribute Khoy’s prosperity and fame to the middle centuries, particularly the 5th to 8th centuries AH. Ceramics from this period show undeniable similarities with complexes in eastern, western, and central Iran, likely due to cultural, economic, and trade exchanges between Khoy and those centers. Key ceramic types in this complex include multicolored underglaze, simple turquoise glazed ceramics, red and beige ceramics with black, blue, and purple patterns under and over turquoise and white glazes, orange and reddish ceramics with black patterns under yellow, turquoise, white, and aubergine glazes, orange ceramics with black and crackled (sgraffito) patterns under turquoise glazes, and unglazed ceramics.
Conclusion
Based on the archaeological studies and historical texts such as Ibn Hawqal, Masudi, Hamawi, and Emad al-Din Zakariya, Khoy has been a prosperous city during the Islamic period, especially from the 5th to the 8th centuries AD, due to its location on the East-West trade route. The pottery collection unearthed from the archaeological excavations of the Shams Tabrizi area also indicates that this region had cultural, commercial, and economic interactions with other centers during that time, reaching its peak during the Seljuk and Safavid periods. However, due to political and historical events, especially during the Ilkhanid and Safavid periods, all its cultural achievements were destroyed by invaders such as the Mongols and Ottomans (during the reign of Suleiman, Murad III, and Murad IV). Nevertheless, it has managed to regain its dynamism and greatness.
In this regard, the Shams Tabrizi area in Khoy is one of the prominent Islamic settlements in the region, possessing valuable cultural data, including diverse pottery artifacts. These pottery artifacts, classified based on comparative typology, belong to the Middle to Late Islamic periods and are divided into two main groups: glazed and unglazed pottery. The unglazed pottery consists of molded pottery and ordinary pottery, while the glazed pottery includes single-colored glaze, multi-colored glaze, overglaze painting, underglaze painting, and sgraffito. Due to the diversity of pottery types in terms of form, they mostly consist of various pottery bowls, and in terms of technique and decoration, they include distinctive types such as sgraffito, molded pottery, underglaze painting, and overglaze painting. Therefore, it can be said that pottery known as sgraffito in other regions such as Aqkand, Yazkand, Sultaniyeh, Sheikh Tappeh in Urmia, Hamadan, Kangavar, Taq-e Bostan, and Takht-e Soleiman, has been obtained, and in terms of style and technique, there are similarities between the turquoise pottery of this area and other regions in some cases. Similar turquoise pottery from this area has been obtained in Sultanabad, Kashan, Sultaniyeh, Hamadan, Bojnourd, and other regions, and can be compared to them in this respect. The results of the study of different types of pottery in the Shams Tabrizi area indicate that the pottery of this area mainly belongs to the Middle Islamic periods.
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