Abstract
Mehr-Narseh is known as one of the most important character of the middle Sassanid era. Based on the written historical sources, the construction of some buildings has been attributed to him, among which the most outstanding ones are five fire-temple monuments built in the southwest of Fars. Although various theories have been put forward regarding the location of the structures, by far, the nature and qualitative value of them are unknown. In this study firstly, the political-religious personality of this Sassanid minister in various ways was investigated, then besides recognizing their religious nature and value via analysis of the sources related to Mehr-Narseh fire temples, the Chahar-Taqis attributed to him was also studied, according to the current theories,  so as to reveal some features of  the religious architecture of Sassanid era. This is a fundamental or basic research, and the nature and method of which is historical and descriptive-analytical. The data is also collected from library and fieldwork. Based on the results of this study, it seems that the fire temples built by Mehr-Narseh included two separate types and four fire temples attriuted to him located in Abruwān area were related to family fire meaned “Dādgāh”. According to the field studies and similarity, the previous theories can be criticized and a new group of religious temple of Sasanian period in Farashband can be introduced that contains one or several fire temples, which are attributed to Mehr-Narseh. It seems that these kinds of fire temples have a complex plan with additional architectural and probably had a number of attendants to do the work related to the fire temple. Overall, this research can provide a correct understanding of the fire temples of “Dādgāh” Fire during the Sassanid period. This also provides a new grouping manner for such these temples and can be known as a pattern for reviewing of usage and religious value of other similar Chahar-Taqis.
Keywords: Mehr-Narseh, Fire Temple, Chahar-Taqi, Sassanid Era, Dādgāh Fire, Farashband.

Introduction
One of the important points mentioned in the historical resources is the information regarding the personality of Mehr-Narseh, as one of the significant figures of the middle Sassanid period, who built several fire temples and made other services in several other fire temples, which has been attributed to him by the order of the Sassanid emperors. Discovering the fire temples constructed under the order of Mehr-Narseh has been one of the most interesting study topics related to the religious architectures of the Sassanid period during the last century. There are different theories regarding the probable location of the fire temples attributed to Mehr-Narseh, which mainly include the region between the current Kazerun, Farashband, Dehram, and Firouzabad. This article attempts to study the fire temples attributed to Mehr-Narseh from a different perspective. In the first step, we study and explore Mehr-Narseh character to determine his political position in the middle of the Sassanid period and have an idea of his religious position in the system. The second step is to survey the nature and characters of the fire temples attributed to him from in terms of the quality value and their positions, to have a final analysis of their architectural complexities. The main question of this study is the religious quality of the fire temples attributed to Mehr-Narseh and what kind of fire was kept in the fire temples attributed to him? Also, based on the fires kept in these fire temples, what is the level of architectural complexity of the mentioned structures? The proposed hypothesis for this question is that it is possible that the four fire temples of Mehr-Narseh were containing the fire of “Dādgāh” and the fire temple of Jereh contained the fire of Ādarān. It is also assumed that the Dādgāh fore temples of Mehr-Narseh had additional spaces in the form of small architectural complexes. Based on the purpose of the study, this is basic research and from the perspective of nature and methodology, the study is conducted via the historical and descriptive-analytical method. The data collection method was library study and fieldwork. Initially, the political and religious figure of  Mehr-Narseh was analyzed and studied, with the help of the written sources related to him or the fire temples attributed to him, to reach understanding about the nature of his fire temples through a comparison between his character and the characteristics of the fire temples attributed to him. The next step was the archeological surveys in the fieldwork alongside the library researches and evaluating the archeological documents and reports about the proposed Chahar-Taqs for the location of the fire temples attributed to Mehr-Narseh, from an architectural perspective to finally reach a suitable point of view about the architectural and religious quality of the fire temples attributed to Mehr-Narseh.

Discussion
According to Pahlavi and Islamic sources, Mehr-Narseh, the minister of the Middle Sassanid period, has attained his highest religious official during the reign of Bahram V, as the honored titles of the servant of the two fire temples, since in the “Matigan-i Hazar Datistan” there is no mention of him being resented by Bahram V. During the reign of Yazdgerd II and Pirouz, he and his wife were sentenced to be the “Ādurwaxšīh” or tending the fire of the temple fire, due to a sin that some researchers associated with Zurvanism. The religious dedication of Mehr-Narseh resulted in the construction of several public buildings in the provinces of Ardashir-Khwarrah and Shapur –Khwarrah and also four religious temples on his ancestral lands for himself and his three sons, which were run by his heirs until the first centuries of Islamic period; these fire temples were shires dedicated to the “Atash-e Dadgah”. Based on the archeological findings and the presented theories, the remains of the three Chahar-Taq of “Malik”, “Tall-i Djangi”, and “Khurma yak” can be identical with one of the four fire temples belonging to Mehr-Narseh, as well as to match the information provided in written historical sources. Meanwhile, the site of “Pir-e Jeyran” may also be considered as the fourth fire temple of Mehr-Narseh in Abruwān. Based on the comparison studies of the archaeological evidence and the written sources, it can be concluded that during the Sassanid period, the shrines associated with the fire Dādgāh, could be very magnificent according to the financial conditions and social status of its founder and have donations such as gardens and farmland, and their revenues were spent for the happiness of the soul of the founder. Such fire temples were also run by a person named “Sallar” or the guardian who was chosen by the founder of the fire temple, and this responsibility was transferable to their heirs. The existence of such a title could indicate that other people also served in these private fire temples, and therefore this category of family fire temples, like the fire temples associated with the “Behrām” and “Ādarān” fires, could have hierarchical complexities in terms of the number of servers.

Conclusion
Based on the results of this study, it seems that the fire temples built by Mehr-Narseh included two separate types and four fire temples attriuted to him located in Abruwān area were related to family fire meaned “Dādgāh”. According to the field studies and similarity, the previous theories can be criticized and a new group of religious temple of Sasanian period in Farashband can be introduced that contains one or several fire temples, which are attributed to Mehr-Narseh. It seems that these kinds of fire temples have a complex plan with additional architectural and probably had a number of attendants to do the work related to the fire temple. Overall, this research can provide a correct understanding of the fire temples of “Dādgāh” Fire during the Sassanid period. This also provides a new grouping manner for such these temples and can be known as a pattern for reviewing of usage and religious value of other similar Chahar-Taqis. Before this, no specific structure for the fire temples related to the fire of “Dādgāh” in the Sassanid period, had been introduced, and the only available evidence was about the findings in “Tull-i Sifidak” which has a cruciform architectural space beside the residential context, as a sacred place for the fire. Based on conducted analyses of this study, it is possible to categorize the different types of religious architectural structures dedicated to the fire of “Dādgāh” into two groups: The first type was the buildings that include a cruciferous space attached to their residential section, that might have simpler procedures and endowments. The second type was complexes including Chahar-Taq and interconnected architectural spaces, which were probably built in the endowed properties of the fire temple, including gardens and agricultural lands, and belonged to people with high social ranks in the Sassanid society, such as Mehr-Narseh fire temples.

Abstract
Sassanid bullae are indicative of the administrative structure, commerce and other cultural concepts, which usually differ from each other in the sealed figures, size and the number of times they have been stamped. In many cases, these samples are accompanied by symbolic arrays like other cultural data of this period. In order to study of their importance and description and to answer questions about the symbolism mixed with the worldview of Mazdaznan religion and other concepts such as the knowledge of that time, we selected undocumented bullae in the archives of the National Museum. In this regard, semantics, the most frequent arrays, compatibility between these symbols with other symbols this period, relative chronology and their possible origins were investigated. Most of the images stamped on the bullae of this collection include human, animal, and geometric arrays (monograms). Some of the fifty studied bullae studied have lost their value in due to wear and corrosion or breakage. Also, there is no information about how they were discovered. These bullae are assigned to the Sassanid period only based on the writings and arrays. Our research is based on library studies and documentation of bullae of the National Museum archive and conventional methods such as photography and design of flower seals. 
Keywords: Bullae, Sassanid, Symbol, Iconography, Mazdaznan.

Introduction
Our purpose of writing this article is the iconography of bullae attributed to the Sassanid period from the archives of the National Museum. By studying these bullae, their administrative, commercial and ritual use can be understood. In order to better understand these features, symbols and writings (here symbols) have been studied. The Iconography of the archeological data of this period (especially seals and bullae) reveals points such as cultural interaction in the Sassanid Empire, similar to the concepts of the Mazdaist religion or other religions, Animal symbols in the seals of the Moghadam Museum with signs of the Mitra ritual (Dehpahlevan and Ghanavati, 2014, 47-67); or examples with Christian and Jewish symbols from Sassanid empire rituals (Lerner, 1976, 183-187 and Lerner 2009, 653-664). All in all, the symbolic nature (or not) of the arrays on the bullae can be interpreted as follows; Signs (monograms) are single or multi-purpose, human portraits are demonstrative or commanding and sometimes mythological, some of them like hearth are divine and other are mythological representations of quadrupeds or birds (Brunner, 1978, 11). However, each of which has a variety in form and details but it can be safely said that monograms are the most special type among them because it combines other symbols together (figure 1). Bullae in the archives of the National Museum are classified into human, plant, animal, astronomical and geometric types in a symbolic or natural framework. Meanwhile, their animal species is probably from the northern half of Iran in the 6th century AD. The purpose of this research is to deal with the symbolic and ritual concepts of the bullae of the National Museum and their use, classification and relative chronology of them. Their relative chronology is due to their similarity to the most well-known finds of this period, such as the documented flower seals of Takht Sulaiman and Abu Nasr Palace. The questions and assumptions of our research include What are the meanings of the Sasanian bullae symbols? What are the most repeated arrays in this collection and what are their similarities? What is the relationship between our research collection and other archaeological and documented findings? It is believed that the iconography on the seals, despite their mainly commercial or administrative use, shows the prominence of symbols and rituals in all aspects of Sasanian culture. Also, the iconography and inscriptions of some of the seals of the National Museum archive confirm their ownership to administrative and ritual positions. In this regard, we have a historical and analytical approach according to the documentation methods, typology and the review of archaeological reports.

Discussion and Analysis
Symbolism is an integral part of Iranian culture. Undoubtedly, since bullae were representative of the administrative and commercial system throughout the Sassanid Empire. the reflection of well-known and ancient symbols on bullae is also an effort to culturalization and reminding with them. According to the Authors, the common message of the symbols of each category clearly expresses systematic beliefs that are evident in all cultural and political aspects of this era. Just like the deification of all creations, which has been mentioned many times in Sasanian literature and art especially in the fourth century at the same time as Khosrow II Sassanid (Yarshater, 2016, 176-190). Iconography was of interest throughout this period and only the appearance and quantity of some of them, such as the animal examples of the time of Kartir and Bahram II or the symbols of the goddess Anahita during the time of Mobad-e-Mobadan Atorpat Mehraspandan (beginning of the 4th century AD) caused that some researchers consider them as new symbols. Sometimes iconography is a way to know the origin of bullae such as the arrays of camels and winged horses that are the symbol of the fire temple of Azargoshnasp that can show that part of this collection was made there or in the workshops of the northern half of Iran. In this regard the mineralogy of flower beads will also be our answer in belonging to the specific place of preparation of materials, the production and baking of flower beads. In addition, the names of Mad, Pars, Bishapur and Farah (Khora) of Ardashir (Firouzabad) are also mentioned on these seals. However, some names such as Azargashnesab were also used to name places and people (Yamauchi, 1993: 7-46). It is also possible that the flower seals and their iconography are more visible throughout this period, especially during political and social upheavals such as the period of Qabad I (488-496 AD) or Khosrow Anushirvan (531-579 AD).  In this regard, the archives of Takht Suleiman’s bullae and the reflection of the well-known early patterns of this period, such as the depiction of the king riding a horse on the bullae, clearly indicate their use and symbols for a long time, especially in the second half of this period.

Conclusion
The celestial and religious or scientific attitude to phenomena can be seen in Sassanid art and culture and before them in Iran. From a conceptual point of view, showing tangible species such as goats and rams, boars, etc. is also a good way to better believe the detailed definitions in a symbolic format. For example, in Iranian mythology, the gods had an iconic form of human, animal, etc., such as Anahita, the goddess of flowing waters, seal (Mitra) of the sun’s ray. All of them are represented in symbols, signs and inscriptions that are rooted in ancient beliefs.
The symbolism of bullae of the National Museum Archive helps us to understand ancient symbols and concepts such as animism and godliness and ideas mixed with the knowledge of the times. The role of symbols on the bullae for which administrative and commercial uses is presumed clearly indicates the value of product or message, the position of the seal holders and sometimes a sign of administrative and ritual base. Therefore, the symbol of the Sasanian seal and bullae, which was used as a medium to keep ancient ideas alive based on the materials and strategies of its time, can be a useful for the sociology of the Sasanian period. Seals and bullae have been most available to the elites in the judiciary, property, shrines, etc., and diverse human profile and different names on the archive of seals is a confirmation of this statement. Other points that can be seen from the symbolism of the bullae in addition to the recreation of symbols with concepts in the style of the millennia BC, the unreasonable interaction of cultures (symbols), especially based on the trade and shrewd attitude and policy of the Sassanid empire in coexistence with neighboring lands. Fleshy artistic style of arrays (especially human and animal species) is also a rare phenomenon in the history of Iranian art, although the geometric style of the Sassanid seals of Devin and Ajmiadzin of Armenia, or Qasrabun Nasr in the museum The New York Metropolitan, can be the result of the influence of individuals, the mass production of seals, the artistic style of seals and sometimes their inseparability from Parthian or pre-Party specimens.

Abstract
The primary questions of this research include the chronological and stratigraphic situation, the cultural material features, and the cultural interactions of the Tape Gohareh with other contemporary sites in the Central Zagros region. Based on preliminary evidence and surface findings, it appears that the Tape Gohareh contains continuous settlements from the Seleucid to the Parthian periods. The characteristic pottery of these periods includes painted, glazed, kiln-fired, and plain pottery. The study of these findings, along with other cultural artifacts from the site, indicates a cultural homogeneity between this mound and other contemporary sites in the region. This research aims to analyze the historical and cultural status of the Tape Gohareh and its connections with other contemporary cultural centers in the Bagestan region and Central Zagros. The research methodology was based on field methods and documentary analysis, where the former involved archaeological excavations documenting the deposits and cultural findings, while the latter included historical sources, books, published articles, and excavation reports. The results indicate the existence of an ancient site from the Seleucid and Parthian periods in the Bisotun and Central Zagros region. Studies on the social structure and livelihood patterns of the Tape Gohareh communities suggest that livestock farming, hunting, and possibly agriculture, along with other social activities such as weaving, spinning, and pottery-making, were common in these societies. Architectural remains from various phases of settlement, as well as characteristic pottery—such as painted, glazed, kiln-fired, and plain pottery—were among the significant cultural findings. The analysis of these artifacts highlights the cultural homogeneity of the Tape Gohareh with other prominent Central Zagros sites such as the Parthian slopes of Bisotun, Sorkh Dom-e-Laki Kuhdasht, Laodicea of Nahavand, Ecbatana and Sang-e-Shir Hamedan, Anahita of Kangavar, and Khurheh.
Keywords: Central Zagros, Bisotun, Tape Gohareh, Seleucid, Parthian.

Introduction
The ancient site of Tape Gohareh is located in the province of Kermanshah, within the region of Bisotun (ancient Bagistana). Situated in a mountain valley overlooking the Chamchamal plain, it lies approximately 4.5 km from the historic remains of Bisotun, adjacent to the northern side of the village of Gohareh (Map. 1 & Fig. 1). Bagistana, or modern Bistun, was one of the important regions of Central Zagros in antiquity, and is mentioned by Isidore in the first century AD as a Parthian city (Schoff, 1914). Despite numerous activities and research conducted in Bisotun and the Central Zagros region in recent years, our understanding of certain historical periods, such as the Seleucid and Parthian eras, remains limited. Given the significant political and historical influence of the Seleucids in the Central Zagros during the third and second centuries BC, only a few sites, such as Laodicea (Rahbar & Alibaigi, 2011), Ecbatana (Azarnoush, 2007), and Sorkh Dom Laki (Shishegar, 2005), as well as scattered artifacts such as the statue of Heracles (Bernard, 1980), an Ionic column base in Bistun (Lushe, 2006), stone vessels and a broken stone basin from Dinavar (Ghirshman, 1971), the Kermanshah Greek inscription (Robert, 1967), a capital discovered in Shiyan, a Greek inscription in Eslamabad (Alibaigi et al., 2020), and the Daya Cave in Sarpol-e Zahab (Alibaigi et al., 2023), have provided us with insights. In this light, archaeological research and excavation of the Tape Gohareh at Bisotun, a site with cultural remains spanning the Seleucid to Parthian periods, could be a valuable endeavor in understanding the region’s historical and cultural developments during these eras. The key questions of this research are: What is the stratigraphic and chronological sequence of the site? What are the characteristics of the cultural materials from the Seleucid and Parthian periods found at Tape Gohareh, and based on the existing cultural artifacts, what level of interaction did this site have with other contemporaneous regional sites? Moreover, what was the social and cultural status of Tape Gohareh in the region during the Seleucid and Parthian periods?
It appears that Tape Gohareh was continuously inhabited from the Seleucid through the Parthian periods. The cultural remains of this era include notable decorated, glazed, clink, and plain pottery. The study of these finds, along with other cultural materials from the site, suggests a cultural affinity with other contemporaneous sites in the Central Zagros region. The research on the social structure and livelihood patterns of the communities of Tape Gohareh indicates a prevalence of pastoralism, hunting, and possibly agriculture, as well as other social activities such as weaving/spinning and pottery-making.

Discussion 
Excavations at Tape Gohareh revealed two trenches, Trench 1 (10×5 meters) and Trench 2 (3×2 meters), which uncovered cultural remains including architectural structures, pottery, decorative stones, glass artifacts, storage jars, pestles and mortars, metal objects, evidence of pottery-making activities, and the bones of both domestic and wild animals, as well as an Islamic-period cemetery.
The architectural remains consist of five distinct phases from the Seleucid and Parthian periods (Fig. 2, 3 & 4). The first phase includes a floor made of plaster or lime mixed with gravel. A 20 cm layer of ash above this floor in both trenches suggests the possibility of a widespread fire, marking the end of Phase 1 habitation. The site was reused in Phases 2 and 3, with more extensive and higher-quality architectural features compared to later phases. It is likely that these communities had a higher social and economic status compared to the societies of Phases 4 and 5. Phase 4 saw a decrease in architectural construction, and Phase 5 shows more significant construction activities, although only stone foundations of the walls remain. Phases 1 to 3 likely date to the Seleucid period, spanning roughly from the mid-3rd century to the mid-2nd century BC. For Phases 4 and 5, a middle Parthian date is suggested. Additionally, excavations uncovered 20 graves from an Islamic-period cemetery. The animal bone remains from the site indicate the presence of domesticated herbivores (cattle, sheep, goats, horses, and donkeys), wild herbivores (boars), and carnivores (dogs). The economic structure of the Tape Gohareh communities seems to have been based on pastoralism, with the highest frequency of animal use being sheep (30%), followed by boar (22.5%), cattle, goats, and horses (15% each), and donkeys and dogs (2.5% each) (Chart. 1). 
The site’s pottery is classified into four groups (Fig. 8, 9, 10 & 11): plain, decorated, clinky, and glazed. The plain pottery from both the Seleucid and Parthian periods shows similar forms, with no significant differences in shape. However, finely decorated pottery is characteristic of the Seleucid period at Tape Gohareh. These decorated pottery pieces were not found in Parthian layers and likely date to the mid/late 3rd century to the mid-2nd century BC. Two decorated pottery fragments were recovered from Parthian layers, but the quality of their craftsmanship was inferior. The earliest glazed pottery pieces at the site likely date from the late 3rd century to the mid-2nd century BC. Clinky pottery fragments were found in cultural layers likely dating from the late 3rd century to the 1st century BC. Pottery traditions at Tape Gohareh show a cultural affinity with other Central Zagros sites. These pottery pieces can be compared to finds from the Parthian Bisotun slopes, Kangavar, Sorkh Dom Laki, Laodicea of Nahavand, Ecbatana, and the Sang-e Shir of Hamedan, as well as from Khurha Central (Kleiss, 2007; Kambakhshfard, 1995; Shishegar, 2005; Rahbar & Alibaigi, 2011; Azarnoush, 2007; Afshari & Naqshineh, 2014; Rahbar, 2003). Additionally, in some cases, comparisons can be drawn with sites such as Ghale Yazdgerd (Khosrowzadeh et al., 2021), Nushijan (Stronach, 1974), and extra-regional sites such as the Elhaei site in Khuzestan, Susa, Pasargadae (Sharifi, 2005; Haerinck, 1997; Stronach, 1997), Failaka Island in Kuwait (Hannestad, 1983), and the Uruk site (Petrie, 2002).

Conclusion
The findings from the cultural excavations at Tepe Gohareh suggest three distinct phases of settlement, beginning with the Seleucid period from around the mid-3rd century to the mid-2nd century BCE. Following this period, a relatively small settlement from the Middle Parthian era developed on the site, and then, possibly towards the end of the Parthian period, a larger settlement emerged. After this phase, the site was abandoned, and eventually, a cemetery was established on it during the early Islamic period.
An examination of the social and economic structures of the site reveals that the communities of Tepe Gohar followed a consistent subsistence pattern throughout the settlement phases, primarily involving livestock farming, hunting, and possibly agriculture. The discovery of cultural artifacts such as mortars, spinning whorls, slag, and discarded pottery suggests other societal activities, including agriculture, weaving/spinning, and pottery production. Additionally, items related to personal hygiene, cosmetics, and adornment—like small glass vessels and decorative stone beads—were also found.
Among the most significant finds were distinctive pottery pieces from the Seleucid and Parthian periods. The analysis of these finds indicates that Tepe Gohareh shares a cultural homogeneity with nearby sites in Central Zagros, such as the Parthian terrace at Bisotun, the Anahita Temple in Kangavar, the Sorkh Dom Lakki of Kuhdasht, Laodicea of Nahavand, Ecbatana, and Sang-e Shir in Hamadan, Khorheh, and in some cases, with Nushijan and Ghale Yazdgerd. Although some pottery pieces resemble those found at sites such as Pasargadae, the Elhaei site, Susa, or the island of Failaka in Kuwait, and Seleucid-era Uruk, the cultural similarities are not significant enough to confidently discuss a broader regional connection.