Abstract
In Bijar County and in a relatively near route of Hasanabad Yasokand city are located of three tomb towers, in villages of Yengi Arakh, Och Gonbad Khan, and Alishah. Although, these towers haven’t been made at a time, but two samples of them are remarkably similar. These three buildings of shaped tower Ashghon Baba, Och Gonbad Khan, and Yengi Arakh are located in north of  Bijar County. These towers, in terms of geographical location, are located in caravan route of regional. Although these buildings with name of the tower are known, but the main problem is that, how can these towers placed in tomb monument? And, have these buildings been for resting of passengers? In this regard, there are two hypotheses; these buildings have been minaret of guide and sometimes from them used for resting passengers of Bijar, Soltanih, Zanjan, and Maragheh. Also, evidences of little available shows that these buildings in the late sixth century to eighth century  A.H. and by local authorities have been made for themselves or elders of their family. The result of this research shows that made these types of buildings have been due to the proximity of Soltanih Zanjan in Ilkhanids age and influenced by events in the region. Local rulers have made these types of buildings in realm of government themselves for themselves or religious and mystical elders of the region. For do this research, has been used from field – library method. In information of field section, author, buildings this study from has nearly been survey and photography them. Furthermore, from library sources for preparing images and review of historical texts for purposes of this study has been used.
Keywords: Ashghon Baba, Och Gonbad Khan, Yengi Arakh, Tomb Tower, Bijar.

Introduction
The tombs in Iranian architecture in Islamic period in terms of form and function have special place. Meanwhile, tomb tower are important in terms of shape and form. Although many these types of buildings in terms of form, architectural decorations, and function have been studied, but there are still monumental architecture of such buildings haven’t been studied because of the distance from the main roads. Unfortunately, due to neglect of these types of buildings, they have been destroyed. Including these traces are three tomb towers in villages of Hasanabad Yasokand city in Kurdistan Province. These buildings in terms of location, form, function, and use of local materials are deserving of separate study. In this regard, there are some questions: First; how can these buildings considered of tomb towers? Second; can be inferred these towers function of buildings of between roads for travelers rest? Third; these towers were related to the period and who were their builders? In relation to questions of above, can be raised these hypotheses: First; these towers are including of tomb towers and from these buildings have likely been used for funeral. Second; these towers have likely been guide minaret for guide and shelter of travelers in route of cities of Bijar in Kurdistan province and Soltanieh, Zanjan, and Maragheh in Azerbaijan. Of course, this theory haven’t been found until other documents, is accepted. The research method this study is historical-analytical that according to field surveys, providing picture, and study of historical texts and library documents has been done. So far, in relation to the topic of this research haven’t been done comprehensive studies. The only information available from these buildings is related to reports of 1970.

Location, introducing, and describing the towers
Ashghon Baba tower: The brick-work tower of Ashghon Baba is located in Siah Mansor district in near to village Alishah in Hasanabad Yasokand city, and in Bijar County. This tower due to lack of protection and restore, and also destruction by smugglers has been destroyed. The plan of this building has been octagon that up to 60 cm from the floor it has been built stonework and then up to dome valet built with bricks of special of Seljuk. The type of the outer dome it (that previously, has been made on it) has most been likely of type from frank dome of poly crack. 
Tower of Och Gonbad Khan: This tower of rocky is located in distance of 75 km northwest of Bijar city and in village of Och Gonbad Khan. Tower building has a plane of circular shape. Tower of Och Gonbad Khan has been made of stone and mortar. The current status of the building is show, ceiling has been made with a dome of stone. The internal dimensions of the tower are 4/30 meters and entrance 1/30 meters high. The width of stone walls of tower is 90 centimeters and the height is 6 meters. It seams, this tower with tomb towers of Seljuk and Ilkhanid periods as Round Tower and Tower Joy (Brand, 1997: 620) is comparable in terms of appearance and plane.
Yengi Arakh tower: This tower is located in vicinity of village with this name and 63 kilometers north of Bijar city and in route of Qom Choghay river. Yengi Arakh tower has circular plane. The internal diameter of the building is 5/20 meters, and width of the wall is 1/55 meters, and outer diameter is 8/30 meters. In this tower most of the materials are made of stone and plaster. This building is comparable in terms of type of plane, materials, and form with tower of Och Gonbad Khan.

Conclusion
The Idea building of tomb buildings, in form of tomb towers with the function of minaret or tomb in distant places, during past periods has spread. It seams, tomb towers that in this research were study, have been built with this thought. These tomb towers alongside of cities in periods of Seljuk and Ilkhanid, have been cause of increased traffic. Furthermore, these buildings have also been effective in terms of promotion traditional architecture. In alongside this communication creation of buildings in the form of tomb towers with various functions as Emamzadeh Aghil in Hasanabad Yasokand city, and three tomb towers in this study, have been created.

Abstract
The architect of Timurid have four systems or sets of proportions that could have combined them, but in general, a system had a major role. These systems can easily be equated to musical steps that although they are run by geometric progression, they are repeated. Each system is set based on an integer, but it is balanced by the root of that integer, according to geometric principles. Integers 2, 3, and 5 are each associated with geometric shapes determining the other elements of the scale. It was indeed Farabi who could discover the kinship of architecture with music, and then it was discussed by Bolatov. The nature of this system is well illustrated according to Farabi stating that the side of square and sector of circle in architecture is used as measuring instruments, and is similar to the theorem in logic and refrain in poetry, as well as poetry rhythms. It is precisely because of such an issue that Bolatov’s view can be accepted. Accordingly, the geometry of the design is not comparable with Western imaginations of proportion, which deals with the repetition of similar or related forms. In addition to its practical value, as an implementation procedure, the Islamic system provided the coordination and harmony for all parts, thereby the entire parts were associated with a single nature, like the relation of the parts of squares, triangles and pentagons with each other. 
Keywords: Applied Geometry, Buildings Abubakr Taybadi, Goharshad Mosque, School of Ghiasieh Khargerd.

Introduction
A feature of the Timurid architecture is the use of geometry, which is manifested in the magnificence and verticality of the Timurid buildings. Also, during this period, exact sciences and geometry significantly developed. These sciences were practically applied in architecture and used as a pattern in the construction of buildings. The application of geometric formulas had a major role in coordinating proportions, balancing and overall balance and its elements, which are the features of the Timurid architecture. After preparing the design, the architect has been entered the practical research stage. Therefore, the following questions are raised in this study: What is the pattern and geometrical ratio used in the design of these buildings? The architect of the Timurid Period which geometrical principles have used in the design of these buildings?

Research Findings
Timurids architects applied all of the geometric systems used since the tenth century, including: 
Rule 1: Square and its derivatives, the most important of which are the diameter of √2 of half and its double, and the side of an octagon (√ 2-1).
Rules 2 and 3: Equilateral triangle and its derivatives, i.e. sides and height (√3/2). Such triangles play a role in dodecagonal figures (the sides are equal,) (2-√3). Sometimes, the geometry of square and equilateral triangle were combined, as it is seen in (√ 2: √3) rectangles whose height is half the generatrix square. Bearer (√3) was often used. The size of this dimension can be drawn by encircling a pentagon and extending its radii.
Rules 6, 5, 4, and 7: A half-square is usually formed by dividing the square of a room into halves, so that by drawing diameters of two half-squares, a square in the center is obtained whose side is 1/ √5. The diameter itself (√5/2) plays a major role especially in determining the heights. Another method to get a rectangle with the same proportions yields a triangle with a ratio of 2:3√5. A common form associated with the half-square was a triangle made of diameters and two sides that could be used to separate the proportional parts of the line 1√5 and (√5-1) 1√5. This was done in a way that an arc was separated along the chord, the radius which was a triangle height, was then entered through this point to the base. These proportions were sometimes used for designs of façades. 
Rules 8 and 9: The √5 of a rectangle or the √5 of orthogonal: using a half-square, the base could be divided in another way, previously known to the Greeks as “moderate limit” which is involved in the construction of the “golden section”. This is done in such a way that an arc with the length of the height along the chord is separated like the previous state, then a secondary arc whose center is smaller in the angle is drawn at the point on the chord. In the point where this arc intercepts the triangle the line is divided into two parts that one is larger {(√5-1)/2} represented by M, and another one is smaller {3-√5/2}} represented by m. The multiples of this section are usually used in the design of interior and exterior façades and many other spaces. A number of decreasing triangles were applied in the same way as used for the diameter of the minarets {2 / (√5 3-7); 4 / √53-7) ...}. 
Rule 10: A decagon encircled in a circle with a radius of 2 has a side equal to √5-1. The golden rectangular was made by adding unit 1 to the larger part M {1: 2 / (√5+1)}. Using the half-square as a base, a rectangle can be easily drawn.
 
Conclosion
Abubakr Taybadi’s Tomb: The use of the rules 2 and 3, i.e. the equilateral triangle and its derivatives, like in the height of the triangle. The use of rule 5 of half-square, i.e. √5 and its derivatives and the rule 9, namely, √5 of the rectangle. The use of rule 4, i.e. half-square. Dividing the square of a room which is divided into halves. The ratio was used in this rule.
Goharshad Mosque: The combined is use of the rule 5 of half-square, namely √5 and its derivatives, and the rule 9, i.e. √5 of rectangle.   
School of Ghiasieh Khargerd: The use of the rule 1, namely √2 and its derivatives such as By analyzing such patterns and the system of proportions used in the construction of Ghiasieh Khargerd School, Goharshad Mosque and Zayn al-Din monument, the present study describes the role of mathematicians and the application of geometry knowledge by architects such as Qavameddin Shirazi in the development process of architecture during the Timurid period.

Abstract
Of the common types of late architecture in Iran various mastery buildings some examples of which were made during the Qajar period, that some examples these types are considered by the rulers of the cities and villages of this period. The Varkaneh village is located in the Eastern Alvand district and in the central part of Hamedan in the mountains area, and with Arzanfood-Varkaneh valley 15 km is away. The village has been governed in the Qajar and Pahlavi periods by Naqikhan and Mehri-Khanoom. From the presence of Qaragozlou’s family in the village of Varkaneh are two monuments of the “mastery house” and “stables of breeding horse” with distance of 100 and 500 meters outside the village respectively. Among the buildings of state as selected patterns two different types of local court architecture and comparable to the master’s buildings collection (Qaravol Khaneh) Aghovlar in Talesh will be investigated and analyzed. The main purpose of this paper is to recognize the patterns and transformations created in traditional roral architecture Based on ideas and methods of transformation in two different types of mastery buildings of the Qajar period and beyond. Accordingly, in the present study in addition introduces a descriptive - analytical method, has done analysis and classification of elements of rural architecture and fluently social transformations in the formation mastery architecture of the Qajar period in the Varkaneh village. Questions of this study: What factors have led to placement of these buildings outside context of the village? These buildings under study, how much have been effective of the area architecture? The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials.
Keywords: Qajar Architecture, Varkaneh, Mastery House, Stables of Breeding Horse.

Introduction
From examples of architecture courtesy in Qajar period is mastery architecture of Qaragozlou tribe in Varkaneh village of Hamedan. These buildings in terms of construction and materials are the most unique architectural works of this period. “Naghi Khan Qaragozlou” has been “Khan” in the village of Varkaneh that after him his daughter becomes ruler. From the Qaragozlou tribe are two buildings of “mastery house” and “stables of breeding horse” left in the village. The “mastery house” is related to the Qajar period and “stables of breeding horse” related to the early Pahlavi period. Therefore, in this study raised the following questions: What factors have led to placement of these buildings outside context of the village? These buildings under study, how much have been effective of the area architecture? The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials.

The Mastery House of Varkaneh
The mastery house of Varkaneh is located about 100 meters south of the village. It building related to the Qajar period. It is a two story building and has a crucifixion map.

The Stables of Breeding Horse of Varkaneh
Mehri Khanom Qaragozlou after becoming the ruler of the village, with help of the royal society, she made a stables in the south of the village. This stables for was taking care horses in spring and summer. This stables is to form of separate building, but it is part of the Varkaneh village. The building has a length of 22×72 meters and a total area of 1584 square meters. The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials.

Conclusion
Protecting and maintaining buildings, especially monuments is one of the most important steps that can be taken in relation to the valuable work of past ancestors. Where cannot be keep well or continue to use it, it definitely disrupts the life cycle of the building and causes irreparable damage to it. In these situations, natural and human factors always effect the building and damage it. Since the damage caused by the building gives it an unpleasant appearance, it is also difficult to operate and maintain it. Today are monuments that life cycle has been destroyed due to negligence. The collection of historical works in Varkaneh, is one of the most valuable remains of the Qajar period, because of neglect exposed to distraction. This collection can be moong the effects of the master rural area. Which has been driven by the central government, feudalists, and the productivity of the agricultural and natural an ability to meet the needs of the court. The Varkaneh master collection in fact has been one of the buildings local governor’s seat. These boilding have been governed by the family of Qaragozlou and used for nomadic residence in the spring and summer. The Varkaneh master house has been made white rocky material and cruciate map of unique works. That with method the extrovert architecture and interior spaces are enclosed between walnut and poplar tree. The stone building master’s house shows the innovative use of local and native capabilities so as to resist the cold weather of the mountain. Horse stables have been made white and this kind of approach, property and clever thinking of choosing a place, built in a stalemate valley due to the lack of written evidence, it is not possible to accurately determine the date of construction of both buildings. The result of this research is show that the architectural features of these two buildings, a part from the Varkaneh village texture with the effect mastery architecture and European architecture on the Qajar period they were made with indigenous materials. These both buildings related to the Qajar period these buildings are comparable with Aqhovlar building in Talesh.

Abstract
The coffeehouse painting, a school of oil color narrative painting, was formed in the late Qajar government during the constitution movement by untrained artists in coffeehouses with martial, artistic and religious themes. With the suppression of people’s liberty by such tyrannical government, the constitution revolution led to people’s movement in coffee houses where was made as one of the most important societies in the Qajar era playing a major role in shaping this movement. In the following article, it has been attempted to establish the coffee house as an institution with social and cultural functions in order to strengthen the national and religious spirit of the individuals. The research methodology includes library and field study based on the research of coffeehouse painting, the constitution revolution, and the study of Qajar coffeehouse atmospheres. After having analyzed and adapted the data, the following results are presented: the process of coffeehouse painting in coffee houses during the constitution Revolution was an anti-authoritarian and a critical movement against the Qajar government. Also, the content of the discourse in coffeehouses during the noted regime affected the themes of the paintings with a significant influence on the constitution revolution.
Keywords: Coffee House Painting, Coffee House, Qajar Autocracy, Constitution.   

Introdction
Due to the need and demand of people and the respect for their beliefs, coffeehouse painting is a kind of oil color narrative painting that was emerged by untrained artists with martial, religious, and artistic themes during the constitution movement, based on the traditions of folk and religious art. Although the basis for this painting was an ancient tradition of storytelling and sorrow expressing in Iran, conditions for the growth of this popular art in coffee houses were provided during the Qajar era, and some painters in this school came up with a procedure that was beyond the domain of that time art (Saif, 2011). During this period (Nasser al-Din Shah’s long reign from 1848 to 1896 B.C, 1264-1313 A.H), with the emergence of foreign wars and the internal problems, the internal legitimacy crisis appeared by which influential religious and social heavals were created. This circumstance expresses the transformation of social forces and anti-authoritarian movements against the government of the time and the constitution revolution, which was the foundation of these radical changes, created profound and great social transformations that remarkably affected the strengthening of public institutions. Therefore, the coffeehouse, which was more important and long-lasting than the other institutions, became a place for attending these communities and as a strong and active social institution, played a very significant role in appearing public movement and had an undeniable effect on coffeehouse painting. With the assumption that the coffeehouses were the main factor of shaping the coffeehouse painting during the constitutional period regarding the social governing conditions, the influence of this public institution in its era on coffeehouse painting is reviewed, considering the atmosphere of coffeehouses during the constitution revolution and the Qajar dynasty.
 
The Influence of Constitution on Art and Culture Changes
Coffeehouse painting is a style of Iranian painting that reached its peak in the late Qajar era simultaneous with the constitution movement (Saif, 2011).
In the trend of the formation of constitution movement and the general awakening of the people and their awareness of the condition in the country, all the urban classes participated in the revolution, and there was not even one social class entered the scene against the revolution. Accordingly, a coalition of different groups of cities and various classes participated in the movement of constitution, and such a revolution was a public, democratic, mass and urban movement, instead of a bourgeoisie one (Yazdkhasti & Esmaili, 2008: 108). 
In the field of culture and art, new conditions came to the fore. The Iranian people were involved in a new world-wide view by observing the new situation and suppressing the liberationist movements while facing their state and religious leaders who were involved into the battle. The Persians were witnessing new colonial intrigues on the one hand and the pressures of domestic tyranny every day on the other hand. Those who were not hopeful for the improvement and the destruction of seven-headed colonial and tyrannical dragons by observing the chaos and hypocrites in their real life were subconsciously attracted to the mythical and historical heroes and revived them (Saif, 2011). The constitution revolution, if not the turning point, was a breakthrough in Iran’s social transformation. It deeply changed Iran’s social and intellectual history. In this regard, two important issues should be mentioned:
1. In such a movement, people dared to present their social rights for the first time. It is very important for the people to have the right to think and to comment rightfully.
2. The society of Iran at that time focused on the main obstacle of the community improvement, and that was the terrible domination of despotism. In the view of Constitutionalists, the autocracy dried out sapling of thought and human growth, disclosed the liberation of the thought and the act of humans. This was the center of attention of the warriors and intellectuals (Nazari, 2007: 33).

Conclusion
In the definitions given to the coffee house, it was a place where attention was paid to the political, social and cultural considerations of the Qajar dynasties, and the presence of painters in this space, due to its simultaneity with the constitution movement, is a reason for their reconciliation with the atmosphere of the coffeehouse against the tyranny of the government. Just as the political revolutions originate from the lower and middle classes of the society and are based on the structure of the people’s organization, such as the workers and religious revolutions that rise against the autocracy and insurrection, the coffeehouse painting is formed from the lower layers of the society, and painters, who generally had a career other than painting, have shown a kind of intellectual awakening in their work, without being trained in a particular school.

Abstract
Amir Sharlogh located in Hossein Abbad in northeastern of the Semnan province. Amir Sharlogh area at an altitude of 1379 meters above sea level located in the North eastern part of Miami and 210 kilometers distance from the Shahroud. This area is restricted Golestan forest from the north, Jajarm area in Khorasan province from the east, Minoodasht town in Golestan province from the west and eastern Kalate part of the Miami from the south. Big east Khorasan road that would connect the east world to west is located on this highway. evidence from several ancient hills indicated that this area was on the part of business and economic way road to Gorgan and Khorasan and connected 3 provinces of Semnan, Golestan and Khorasan together. There are several ancient hills in region, one of which is Tepe Amir Sharlogh was being explored. In addition of salvage excavation project was defined for instruction of dam Kalpoush, the importance of the hill is related to being a suitable reign for detection and study of the cultural status. Compared to the other regions, Northeast of Iran has not received as much attention in the history of Archeological studies despite, decent Geographical condition and critical geopolitical location, it has been a home to huge human settlements from the prehistoric period up till now.
Keywords: Northeast Area, Amir Sharlogh, Shahroud, Saljughid Period.

Introduction
In order to identify zone settlement and cultural sequences the Archaeological excavation take starts after primary studying, survey and approving boundaries. Field works contains 7 trenches which is covered 700m² area. At -450m virgin land level was reached. The find evidence such as Archaeological remains and different layers’ shells (up to dawn) and also the signs at surface section refer to Islamic period which is involved one period and two short phases. Archaeological diffusion and no fluency status show the migrating usage of the site at related time. Large amount of kitchen pottery, various fireplaces and ovens all show that the place was an immigration one.
According to similar historical data in all I to VII trenches at -450m depth and documentation of tangible and intangible finds, the excavation was stopped at this location and we change do the excavation at north and north west of upper trace which was called Amir Shalegh and covered nine 5×5 norths-south trenches. It results to discover a historical cemetery with 20 grave that was related to Saljughid and Ilkhanid era.
The Archaeological excavation of Kalpoush dam site contains wide information of cultural status, life and Economical situation at this area. It’s also importance in view of its serious role of formation and developing of immigration. At this paper the several find and results of Archaeological excavation will be discussed. 

Conclusion
The environment and the geography of the region: Being 515,985 km2 in size, Semnan province is located on the way of Silk Way – one the ancient Iranian heritages. Being surrounded by Alborz Mountains on the north and Kavir Namak which was once a home to a rich civilization, it has a special geographical position and several climate conditions. Semnan province is located on the south (central - east) slopes of Alborz highlands and the north side of big Kavir and therefore, from a geological point of view, belongs to two ground structures of (central) Alborz and central Iran. In the north of Semnan, “Semnan fault” is known as the border between Alborz and central Iran. The northern stripe of Semnan province (the road connecting Garmsar- Semnan-Damqan-Shahroud) is part of the southern slope of Alborz having a high and coarse morphology and is usually referred to as the central-eastern Alborz. In general, Neishabour plain is a road heading towards west, from Afghanistan to Shahroud, and is a part of The Great Khorasan. The evdince found on the way in the ancient regions such as azure, alabaster, and turquoise show that the east-west road from Khorasan to Damghan was always paid considerable attention to since 4000 AD to the Parthian and the Sasanid and then to the Islamic era (Hiebert & Dyson, 2002: 116). The eastern Iran is made up of mountain borders and barricades, misshaped valleys and huge spaces of deserts (Fisher 1986). Khorasan region is surrounded by Gorgan and the Atrak River on the northwest, and by Kopet Dagh mountains I the north and northeast. The northern border of Khorasan and the Iranian plateau is surrounded by mountains and is formed by the Atrak River and Mashhad plain, Hezar Masjid Mountain, the border of Kopet Dagh and the south chain including Binaloud and Shah Jahan mountains. The valleys located between the two mountains and the southern parts of Kopet Dagh are 1000 meters higher than the regions in the north of Kopet Dagh (Hiebert & Dyson, 2002: 115; Eduljee, 2007: 9).

Abstract
The existence of route such as the Khorassan highway and the Shah’s subway in the Hamadan have made the region known as an important station throughout the historical periods. In the Islamic era, these trade routes have led to the emergence of various types of pottery cultures in the region. Due to the influence of the pottery cultures of Hamadan from the large areas of Islamic pottery production, this research has tried to address the issues such as: the era of Islamic pottery of Hamadan region? Which types of Hamadan region have local cultures? With the aim of identifying various kinds of clay of the Islamic period of the region, which is carried out through the study of archaeological data, a variety of pottery styles of the Islamic Ages are identified and introduced. During this research, more than 12 pottery styles were identified. All these types of pottery date back to the early centuries, the Middle Ages, and the later centuries. In the first centuries a variety of Unglazed pottery’s, Flower-shaped species and Sgraffiato were obtained. In the medieval pottery the types of pottery can be mentioned: Monochrome, Unglazed pottery with marble and mosaic designs, Ghalam Meshki, Silhouette, Lakaby, pottery of Sultanabad, Zarinfam and the Blue and White of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late centuries. During this period, the production of species such as Blue and White Safavid era and engraved pottery on ghosts with abnormal designs are prevalent.
Keywords: Hamadan Region, Pottery Styles, Islamic Era.

Introduction
Hamadan is one of the areas that has had a strategic position throughout history. This area allowed the Central and Eastern Plateau to connect with the West and Mesopotamia. The existence of major routes such as the Great “Khorasan Road” and the “Royal Road” route has affected the region’s transformations in the various cultures of human societies. For example, during the survey and archaeological excavations in this region the influence of the Yanik culture from the northwest and the Black on Buff  Ware (BOB) from the southwest on this region has been determined. One of these developments is the creation of various styles of pottery of the Islamic era. Surface surveys on the Islamic period of the Hamadan region indicate that in this region various types of pottery styles have been used in different parts of Iran. However, except for the alternate and two underground crumbling basins, the Samen (It’s a underground archaeological site in the southwest of Hamadan province) is still not one of the sites of the era Islamic, with the approach of identifying and introducing various types of pottery of Islamic era, has not been explored. Based on the data obtained from the archaeological excavations carried out in Hamadan (like Hegmatana, Arzanfood underground archaeological site, Samen underground archaeological site, Islamic city of  Darjazin and Zinoabad ) it seems that apart from the few centuries that, in the absence of exploration of the temporal exploration of the pottery cultures of this region, it is still unclear to our knowledge of the next century pottery, which is generally from archaeological surveys Gets more accessible. In this study, by studying these data, a variety of ornamental species commonly associated with the Middle Ages are known, such as simple mosaic-free glazed ceramics, graphite pottery, pencils, zarrinfam, aquatic blueberries of the Middle Ages, and others in Hamadan region.

Decorative Styles of Pottery of the Islamic Era in Hamadan
After reviewing all the archaeological sources of the area, 12 styles of decorative decoration of Islamic pottery were identified for the period of the early centuries to the late Safavid era. Decorative styles include: plain clay and glazes, all kinds of pottery with monochrome glazes, clay pottery with glazed pottery and stamping, scratching, lacquering pottery, all kinds of underbrush glazes, silhouette, types of painting on the glaze of type Zarrinfam, Sultan-Abad style pottery, famous blue and white pottery and various styles, generally related to the later period, the Qajar period.

Conclusion
The result of the study of Islamic clay data obtained from the archaeological explorations of Hamadan region is the identification of 12 species of clay. These types of pottery were each produced with different decorative features in different Islamic periods in this region. In general, Islamic pottery can be divided into three periods of the early centuries, the Middle Ages, and the later centuries. In the first centuries of the Islamic era, due to limited studies, the conditions of the cultures of the Hamadan region are not clearly known, but based on this limited information, a variety of simple ceramics without glazes, clay dipped and pottery clay. The next period is related to the medieval pottery. The pottery of this period has been identified in many Islamic sites of Hamadan. Among the types of pottery of this period are: monochrome pottery, unmolded pottery with decorated motifs, black pottery, silhouette, lakaby, pottery of Sultan Abad, pottery of Zarrinfam and blue and white species of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late century’s pottery. However, during this period, some species of pottery of the previous periods, with changes in the type of dough and motifs used, were still used, but the production of species such as blue and white Safavid era and engraved pottery on the glaze with austerity motifs from this era became popular. From late centuries later, in the area of Hamadan, pottery products have found local flavors and a variety of cultures have been created. The peak of this process is seen during the Qajar period and with the advent of Laljin. The city is still known as the largest pottery center in Iran, the center of which exports its own clay styles to different regions.

Abstract
The tomb of Cyrus the Great, the founder of the Persian Empire, is one of the most important buildings of the early Achaemenid period in Pasargadae. The function of the tomb has changed over time, the most important of which is the transformation of it into a mosque in the Ataba-kan period and the construction of a miḥrāb inside the chamber of the tomb on the southern wall. In addition, the walls and stone surfaces of this building contain signatures of visitors, tourists, and pilgrims who have visited the building over time. Previous research has been done on the miḥrāb of Atabaki Mosque, but its inscriptions and memorabilia have received less at-tention. The purpose of the present article is to classify and identify the petroglyphs left on this tomb, which, as a result of a field study of all the motifs and lithographs, has been fully de-signed and documented. In the library study stage, all historical sources have been studied and, according to the inscriptions as well as the comparison of the signs engraved on the walls, each one has been studied separately. The following questions have been asked in this regard: What are the tomb’s oldest petroglyphs or inscriptions? Is there an inscription on the stone blocks of the tomb from the Achaemenid period? To which historical figures do the inscriptions on the tomb belong? The results of this research are the identification of more than one hundred in-scriptions and petroglyphs, the oldest of which are signs belonging to the Sasanian period. Many of the signs and inscriptions on the tomb belong to the contemporary era, which has led to the study of part of the historical course of this valuable building.
Keywords: Tomb of Cyrus the Great, Pasargadae, Memorial, Petroglyph.

Introduction
The tomb of Cyrus the Great has always been of interest throughout its life, and many people who have visited or lived around it have written inscriptions on its stone walls. From the com-mon people to European travelers and agents, Since many humans, animals, plants, and geo-metric motifs are engraved everywhere on the stones of the tomb of Cyrus the Great, a number of motifs were selected and studied from each category.
 The purpose of this article is to classify and identify the drawings, which were the result of a detailed study of all the stones in the tomb of Cyrus the Great. In the first stage, all the litho-graphs have been fully designed and documented, and in the next phase, by referring to the ex-isting books and documents, as well as comparative studies, he has analyzed and interpreted the lithographs and signs. The result of this research is the identification of more than one hundred inscriptions and engravings, the oldest of which are motifs belonging to the Sasanian period. Many of the motifs and inscriptions on the tomb belong to the contemporary era.
Azizi Kharanaghi and Ms. Salimi have studied the tombstone lithographs and one of the animal motifs of the tomb under the title “Pasargadae petroglyphs” (Azizi Khoranaghi and Salimi 2011). Also, Mirza Abolghasemi has already studied the Mihrab inside the tomb and the inscriptions on the columns and stone pieces under the title “Pasargadae inscriptions in the Islamic period” (Mirza Abolghasemi 2011). A comprehensive study of the signs on the tomb has not been done yet.

Inscriptions
On the stone blocks on each step, there are many inscriptions in Persian, Arabic, and Latin. Most of the themes are names, dates, prayers, and some poems, each written in a different size, style, and script. Many of these texts were written on top of each other; that is, at the point where the stone was flat, a text was written. After time and erosion, another person wrote the same text on the previous text.

Human Motifs
A scene of cattle grazing is carved on the stone blocks in the northwest corner of the tomb. In one part of this scene, two people are depicted standing with very light bodies. On the foot sur-face of the second platform on the south side of the building, a large number of engravings, in-cluding the face of a woman whose long hair is silver, by creating a line on the right side of her face and the left side by creating several parallel lines.

Animal Motifs
Most of the motifs are related to animals such as goats, sheep, and a number of dogs, which were probably created by cattle breeders and shepherds in later periods. The most interesting animal motifs that can be mentioned are the needle motif of five deer standing. The signs are created with shallow lines on the stone and some of the details of the animals’ bodies are finely silver-plated. These needle designs probably belong to the Sasanian period.

Plant Motifs
Five plant motifs are carved on the stone blocks of the tomb. The role of a flower with short stems and two oval leaves, which is very primitive and can be seen obliquely inside the tomb room and on the north walls, The wheat cluster on the blocks on the west side of the tomb, the role of a six-pointed flower on the platform on the north side, the role of a flower with a long stem, two leaves, and a very simple three-leafed flower, and next to it, the word Shirazi with number 39 on the third platform.

Geometric Signs 
Many different geometric signs can be seen on tombstones, including circles, squares, rhom-buses, and irregular geometric patterns that have been repeated over and over again. A marker for the qibla has been created in the southern corner of the third platform of the tomb with a diameter of 20 cm. The outer circle is about 20 cm in diameter and the inner circle is about 15 cm in diameter.
A square has been created in the western corner, the interior of which has been filled with inter-secting lines. Below this picture and attached to it, the two words “Action ------- Al-Hamdani” is written with a space between them.

Other Signs
Other motifs and works that can be mentioned are scissors, horseshoes, and instrumental mo-tifs. A grid square is one of the most notable works that has been seen several times on some of the petroglyphs.

Conclusion
In this research, the signs have been classified into six categories: more than 100 lithographs in Persian, Arabic, and Latin and 200 lithographs including human, animal, plant, geometric, and other signs have been identified. All the motifs and inscriptions identified in the tomb belong to the post-Achaemenid period. Given its style and subject matter, the needle motifs of the deer on the north wall of the tomb might belong to the Sasanian period. Some of the writings belong to famous people and officials from Iran and European tourists who have engraved their names or titles in Latin and beautiful script with history. The existence of a number of inscriptions and memorabilia of high-ranking officials and people shows the importance of this building in the Islamic periods. The present study has been written as a preliminary, and its supplementary studies will be published in the future.

Abstract
One of the key issues of the Paleolithic archaeology is pathways and expansion routes of Pleistocene human populations into Asia. Recent discovered Paleolithic sites in the southern coasts and hinterlands of Iran, indicate the importance of these zones in the Pleistocene human dispersals. The 1977 joint French-Iranian geological survey carried out by Thibault, Dufaure, Mercier and Kadjar, gave rise to one of the important contributions to Paleolithic knowledge on the northern coastline of the Persian Gulf and the Oman Sea in pre-revolutionary years. During this survey, remarkable lithic assemblages were collected above a sequence of successive pediment surface, but unfortunately, the final report of Paleolithic finds, was never published. The lithic collections kept at the Paleolithic Department of National Museum of Iran. In this paper, the techno-typological characteristics of this collection is presented. The most prominent feature of this collection is the core-flake industry of the Lower Paleolithic; although we are not sure about the Acheulian evidence. The Middle Paleolithic artifacts in the collections are defined by Levallois debitages, discoid/semi-centripetal cores, and scrapers on flakes, especially transverse and oblique scrapers; however, it is not enough to attribute these finds to the Mousterian culture. The low frequencies of the blades and the lack of bladelets make it difficult to draw conclusions about the Upper/Epipaleolithic industries. The small number of blades and the presence of single platform blade/bladelet core, as well as a truncated blade, are possible evidence of Upper/Epipaleolithic presence in these assemblages. These assemblages can be considered as a new insight into technological behavior of Pleistocene hunter-gatherers in this poorly known part of the Iranian plateau. They show the high capacity of northern shores and littoral of the Persian Gulf and Oman Sea for Pleistocene archaeological studies, and a notable place to test hypotheses such as Out-of-Africa and coastal expansions.
Keywords: Persian Gulf, Oman Sea, Pleistocene Archaeology, Paleolithic, Lithic industries, Coastal Dispersal.

Introduction
An important aspect of Paleolithic archeology relates to pathways and routes taken by Pleistocene human groups in Asia. Discovered Paleolithic sites along the northern coasts and hinterlands of the Persian Gulf, Strait of Hormuz and Oman Sea (Thibault, 1977; Vita-Finzi & Copeland, 1980; Sarlak et al. 2004; Dashtizadeh, 2009, 2010, 2012a, 2012b; Ali Talesh, 2012; Biglari et al. 2012; Barfi et al. 2013; Zarei & Ravaei 2013; Anjomrooz, 2019; Rahmati & Dashtizadeh, 2019; Zarei, 2021) indicate the importance of these zones in the Pleistocene human dispersals. One of these region that produced a substantial body of evidence is the northeastern shores of the Strait of Hormuz in the Hormozgan Province.
The first Paleolithic material discovered along the southern coast of Iran was by Vita-Finzi during his 1974 and 1975 fieldwork along the Makran coast. It constituted a surface collection with Middle Paleolithic characteristics, including the use of the Levallois method (Vita-Finzi & Copeland, 1980). After that, the French-Iranian joint team with the supervision of Claude Thibault and Mohammad Hassan Kadjar surveyed this region during April and May 1977. During this mission, remarkable lithic assemblages were collected on the surface of a succession of pediment surfaces (Thibault, 1977; Dufaure, 1978). Unfortunately, the final report of this survey was never published due to the untimely death of Thibault (Thibault, 1977; Amirlou, 1986; Biglari & Shidrang 2006). The lithic assemblages kept in the Paleolithic Department of the National Museum of Iran, has been studied by the author for a Master thesis (Zarei, 2015). A small part of the survey finds was taken to Bordeaux University by Thibault for further analysis and therefore were excluded from this study (F. Biglari, personal communication, Jan 2014). In this paper, I present the techno-typological characteristic of this lithic collection.

The 1977 Joint French-Iranian Geological Mission
The French-Iranian joint field mission included the following: C. Thibault as Quaternary geologist and Paleolithic archeologist; Jean-Jacques Dufaure as geomorphologist and Jacques Mercier and M. H. Kadjar, both structural and regional geologists, all arrived together in April 1977 with base camp in Minab. On the very first day of field work along the Hassan Langi to Roudan road section, Thibault began picking up lithics material left behind on a pediment surface superposed on a magnificently exposed reverse fault. Unfortunately, with the untimely death of Thibault in a car accident during an archeological mission in Algeria, a final publication concerning these Paleolithic finds was no longer possible but accompanied with a preliminary field report (Thibault, 1977). Dufaure, also wrote a detailed review and synthesis of his observations (Dufaure, 1978). After two decades, a new French team came back to the Minab area to set up a GPS network for Neotectonic studies. Regard and colleagues also measured in situ produced 10Be in quartz boulders exposed on the top surfaces of Late Quaternary sequences (Regard et al. 2005).
With the initial establishment of Center for Paleolithic Research (later Paleolithic Department) in 2000 and officially starting this center, all lithics were taken out from warehouses of museum and organized at this center. Meanwhile, Thibault’s collection was obtained and transferred to the Paleolithic Department and the was briefly studied by Biglari and Shidrang (2006). Initially, the assemblages which consists of 430 lithics, were divided into 6 general categories based on the locations in the tags which include: Minab-Roudan Road, Minab, Sadich, Hassan Langi, and two untitled locations. These locations contain 22 sampling points based on the combination code of the tags. Due to the presence of geofacts in the initial observation, the geofacts and lithic artifacts were separated, which resulted in the identification of 160 lithics (37.2%) and 270 geofacts (62.8%).

Conclusion
Paleolithic research in Southern Iranian coasts, began in 1974-77 following the geological studies of east Hormozgan. During the geological survey of French-Iranian joint mission by Thibault and Kadjar in 1977, a significant lithic assemblage was collected. The typo-technological characteristics of Lower Paleolithic core-flake in these assemblages shares some similarities with Baluchistan region and Arabian Peninsula. In addition, possible artifacts attributed to Acheulian culture are comparable to the Arabian Peninsula; however, such evidence has not been reported in more northern regions such as Kerman, Fars, and Southern Zagros. On the other hand, the use of Levallois method along with some scrapers in the Middle Paleolithic period is comparable to the examples of Arabian Peninsula, Southern Zagros, Fars, and Kerman. However, these assemblages do not provide sufficient information to identify the Upper Paleolithic/Epipaleolithic culture on the southern coasts of Iran and its comparison with the neighboring regions.
The surface of the Persian Gulf has been affected by changes in the mean sea level and these changes caused the Gulf to pull back to follow the Strait of Hormuz during the Middle and Upper Pleistocene and in several phases dried completely (Rose & Petraglia, 2009; Rose, 2010; Armitage et al., 2011). According to the recent finds, it is possible that Pleistocene human groups entered the northern shores of the Persian Gulf after passing the Arabian Peninsula and crossing the dry Strait of Hormuz. However, the route of distribution from Southern Zagros to the northern shores of the Persian Gulf and the Sea of Oman is also worth considering and must be tested. To gain more concise details regarding the Pleistocene human distribution in this region, intensive and systematic survey, excavation of in situ deposits, absolute datings and more accurate knowledge of the typo-technological characteristics are needed, that should be expected in the near future.
 

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
The art industry of locksmithing, like other metal arts in Iran. Is a kind of reflection of the customs. Beliefs and traditions of the people of this land. This art is in a delicate fusion of aesthetics with steel and iron, and finally leads to a thoughtful accompaniment of art and craft. Therefore, it can be understood that we are facing a valuable category that has various visual, formal and aesthetic capacities. The purpose of this research, while categorizing locks and features of form and role, recognizing different capabilities and functions, is to decipher the patterns and traditions and beliefs around them. The main research questions and raised about, this is where the designs of Safavid locks were adopted? What are the formal and conceptual characteristics of the designs used in the locks of the Safavid periods? And to what extent is it related to the doctrinal aspects of the Safavid period? This research is of a fundamental type and is descriptive and analytical in nature. The method of collecting information will be field and library based on description analysis and history.  In this study, an attempt has been made to show that in Safavid era, locking, in addition to the protective aspect (practical), had a ritual aspect and had a direct and close relationship with The Islamic tradition. The mental concepts of the craftsman artist also played a role in a making the locks. Which often contain symbolic information, besides being made based on culture and custo. 
Keywords: Looking, A Simbel and Semiotics, Safavid Period.

Introduction
The art of lockmaking, like other metal arts of Iran, is a kind of reflection of the customs, beliefs and traditions of the people of this land. This art is in a delicate blend of aesthetics with steel and iron and finally leads to a thoughtful companionship of art and industry. The first human locks were made of wood. The key that was discovered from the excavations of the “KhorsAbad” palace in Nineveh is the oldest part of the lockmaking profession obtained so far. This key is nearly four thousand years old and belongs to a wooden colony. According to the available evidence, Iranians have been familiar with locksmithing for a long time and are among the nations that have played a major role in the development and completion of this discipline, but there is little mention of it in Western sources. The lockmaking industry also continued to evolve during the Islamic era in Iran, and valuable examples were created both technically and aesthetically. The Safavid era is also considered a turning point in the history of Iran. At this time, the traditional artists of the Safavid community, especially the metalworking artists, also displayed the signs and symbols of the Shia religion and the national, mythological and Iranian identity in their works and created symbols with their national and religious identity. In the approach to the Iranian lock as an art, what is sometimes left out of consideration is the connection of the content of this art with the upper and mythical world and the use of symbolic elements in this field. Examining the relationship between the form of locks, mythology and semiotics and the use of symbols, in addition to defining the richness of the place of symbols and signs in different ages, also adds to the spiritual richness and external beauty of Iranian locks.

Research Method
The collection method in this research will be field and library based on description, analysis and history. In the library method, by using the written resources of the library, documents, the use of articles, the use of internet resources, dissertations, photography, after careful examination in terms of form, concept (symbol), content, classification and then examined  and we will study and research about them in the field method by referring to museums and taking photographs.

Discussion
In this research, the issue of lockmaking industry in the Safavid era was first discussed and it was shown that lockmaking in this period is a continuation of the previous tradition. During this period, locks were made both fixed and movable. In this period, the locks were made of metal, gold, silver and brass. IN the continuation of the research, the design of motifs in the third Islamic period and from the 10th to the 12th half of the Ah period was discussed. In the following all patterns of locks were examined and divided into three categories: 1- inscription patterns, 2- slimy patterns, 3- geometric patterns. In order to analyze the reason for this design on the locks, the symbology of the text of the inscriptions, geometric motifs (circle, rectangle, square, and triangle) and types of plant motifs were discussed. Which showed that in addition to the aesthetics of motifs, the content of motifs is also very important. 

Conclusion
The form of the locks shows a series of certain beliefs and beliefs, for example magic lock (rammal locks) are included in the category of fortune-telling locks. Locks also have ritual uses and are used as vows and to fulfill needs, or as a means against unfortunate events. Various designs of locks are designed according to the prevailing culture, social and economic conditions, internal mechanism and locksmith equipment so that the consumer has more connection and motivation to use it. Due to the reasonable price of steel, its high resistance and also its availability, most of the locks that have been used and produced more in the regions of Iran are of this type. On the other hand, the political and social conditions prevailing in a region could affect the form and mechanism used in locks. During the Safavid era, the lock had a protective (practical) aspect and mostly a ritual aspect and had a direct and close relationship with the Islamic tradition. During the Safavid era, different forms of locks were made based on culture and customs, and special artists and craftsmen started the profession and art of lockmaking. In the investigations, it was found that steel locks have less decorations than other brass and bronze locks, and due to the movement and transfer of locks, which is a natural thing, the place of manufacture has not been mentioned, which is considered a problem. Some locks are functional and some are symbolic. In addition to the fact that the locks are made based on culture and customs, the artisan’s mentality and interiority also played a role in making the lock, and often the motifs contain symbolic and symbolic information. It has been observed that sometimes the symbols used are very similar, and most of them do not have any signification with the subject in terms of appearance, and its true meaning cannot be understood from their appearance.

Iran holds great significance for the question of the eastward expansion of the Acheulean hominins, as it is situated between the Arabian Peninsula and the Indian subcontinent, both of which have long and rich records of the Acheulean techno complex. Despite its strategic location, Iran has produced little evidence of the Acheulean techno complex. The only notable examples have been found in the western and northwestern regions of the country. The absence of Acheulean sites in southern Iran cannot be justified. Because this region, located in the northern parts of the Persian Gulf, was one of the main dispersal routes for Acheulean hominins towards the east. Here, we present a report on the discovery of a Lower Paleolithic locality near Dehtal, located in the northern region of the Persian Gulf. Additionally, we discuss the techno-typological characteristics of the lithics found in the area. Dehtal yielded a small, but characteristic lithic assemblage, which included a handaxe, a massive scraper, a large flake, and a flake core. The raw materials used are sandstone and fossiliferous limestone rock, which can be found as cobbles and boulders in secondary contexts on the northern slopes of Par-e Lavar. In addition to these findings, two boulder cores with large removal scars were also documented in the area, indicating large flake production in this locality. The site offers a unique opportunity to study a lithic assemblage in a relatively unknown area within the distribution range of the Acheulean technocomplex.

Abstract
City of Karaj Abu-Dolaf is one of the important cities in Islamic period which formed in early Islamic period then got prosperity in middle centuries. Knowledge about this city was limited to written resources till three decades ago. At present, we have more information about its location and remains through enough archaeological surveys as well as study of texts. One of the most important remains of it are Khanqahs. Khanqahs were constituted as centers for teaching the bases of religious learning and the principles of the Sufi orders from the fourth century in Islamic lands. Besides the city of Karaj Abu-Dolaf had several Khanqahs, so the aim of this research is to investigate those through archaeological survey then documents and texts. This research has three questions as following: 1. what time is supposed to formation and development of Khanqahs based on written documents and historical evidence? 2. What role documents and archaeological evidence has in coincidence of Karaj place with Astaneh city? 3. What were the location of Khanqahs in spatial structure of Karaj city? The approach of this article is historical-descriptive-analytical and information was obtained via documentary and field researches. Till now, no research has done about Karaj Khanghahs and based on documents and archaeological surveies, in addition to coincidence of current location of Astaneh city with old city of Karaj Abu-Dolaf, we can state Khanghahs of Karaj city were parts of spatial structure of city and sustained its functional relations with the architectural structures and remains after city’s decline.
Keywords: Khanqahs,Zawiah, Karaj Abu-Dolaf, Astaneh, Sufism.

Introduction
Khanqahs are one of the important architectural space related to sufism and its thoughts. One of the cities that these sort of spaces was prominent is Karaj city.  This city was formed in entrance of Islam then in middle century was one the important cities of Jebal or Iraq ajam (Banakati, 2007: 458; Ibn-Batuteh, 1997: V. 1: 281). Written sources have mentioned the location, political and social status of Karaj thus these traces let investigators to purpose suggestions about coincidences of Astaneh city with Karaj. Fortunately,through recent decade a lot of archaeological evidence were recognized in Astaneh city. One of the most important evidence was the inscription of instruction of a Khanqah and other works related to this structure that was found in water infrastructure digging in 2017. This discovery provides conditions to understand the function of Khanqahs at Karaj city. Following discovery, through study of local resources, spaces with function of Khanqah and Zawiah was recognized. According to local traditions those spaces were used by some of the sufi elders whose names and lands which were dedicated to their Khanqahs were mentioned by some endowments documents. Documents provide backgrounds to understand the relative location of these Khanqahs then usage of aerial photos and field survey helped to determine two Khanqahs location like Zawiah of Sheihk najm-odin Mahmud. Also Authors’ discussed the status of two elders named Pir Ismail and Pir Agha then tried to clarify the role of them as local elders. 
Questions & Hypothesis: 1. What time is supposed to formation and development of Khanqahs based on written documents and historical evidence? 2. What role documents and archaeological evidence has in coincidence of Karaj place with Astaneh city? 3. What were the location of Khanqahas in spatial structure of Karaj city?
The hypotheses are: 1. Karaj Khanqahs were constructed in middle Islamic period. 2. Available documents, confirm the status of Karaj Abu-Dolaf with current situation of Astaneh city. 3. Some evidence like inscription of Khanqah instruction, Khanqah Sheikh Mahmud Karaji and grave of local elderly shows status dedication in name of Khanqah or Zawiah in special structure of Karaj city.

Identified Traces 
Astaneh town located in 8 Km of Shazand city. Resources, confirm the status of this city with historical Karaj city. What causes the study of Karaj Khanqahs are classified in two group: 1. Archaeological and architectural evidence 2. Historical documents. Archaeological evidence includes “inscription of Khanghah structure” and ruins of architectural spaces in Astaneh city in name of Khanqah and grave of Sheikh Najm-odin Mahmud, Kamal-odin Ismail Khanqah and grave of Pir Ismail as well as Pir Agha.
Inscription of Khanqah instruction, is a turquoise square tile with 5 cm diameter and dimension of 42 cm that letters of inscription are carved in kufic scripts on its bed. The inscription is as following: 

انشاء بناء هذا الخانقاه/ [بید] الفقیر المحتاج/
الـ[ـی رحمـ]ـۀ ربه الخبیر،/بخـ[ـتیا]ر بن ابی‌بکر الدّما
نخـ[ـی]ر، لیکون محض رجال /المتصوّفه المختارین

Khanqah Sheikh Mahmud Karaji in Sheikh District of Astaneh city is known as “Sheikh Grave” the palace he was buried. Three historical documents from Timurid, Safavid and Qajar period are available related to Sheikh Grave that introduce the trustee of endowment as well as dedication of farms. In two older documents the name of Karaj are mentioned. In these three documents there is a list of farms dedicated to these elders’ mausoleums. A general overview of these documents shows that titles of some of these farms are repeated in these documents. These titles are as follows: Savanj (Savaj, Savanj); Seven; Ahangaran; Balman; Azna; Dow Khawharan; Aghran and Sheikh. The location of some of these farms suchas Ahangaran, Balman, Dow Khawaharan; Aghran and Sheikh could be identified at the town of Astanah and its vicinities. There is a safavid documentfor the Kamal-odin Ismail Khanqah that listed the endowment of it but its building had been destroyed. The monument of two local elders (Pir Agha and Pir Ismail) had been destroyed but there is a little evidence related to the monument of Pir Ismail. 

Conclusion
The goal of this research based on three question, time of Khanqah formation, documents and available evidence in locating the Karaj city into today Astaneh town and status of Khanqahs in Karaj city spatial structure. Base on tiles inscription type, form and type of stone grave inscription, we could suggest that Karaj Khanqahs at least were active in 6 to 8 centuries in middle Islamic period. Besides, the Zawiah of Sheikh Najmol-din Mahmud is the most important Khanqah that should to be dated which it need to excavate the Sheikh grave located in Sheihk district square. Documents that have studied gives a considerable information to locating Karaj with the current city of Astaneh. These documents in addition to state the function of Khanqahs and depicting the importance of trustees and maintaining the endowments for the elder’s monuments, mention the name of Karaj as well as other places that their location could be traced in vicinity of Astaneh and Shazand cities. Khanqahas and graves of elders in Astaneh city, were in relation with other spatial structure of this city in its prosperity. 

Acknowledgment
We are grateful to Ali Jiryaei Sharahi, Hassan Khanabadi Bozchaloei and Abbas Bavarsaei for their sincere cooperation in preparing the maps and plans.

Observation Contribution
The participation of the first author was 60% and the second author was 40%. In this article, the collection of library information and documents was done by the first author and field investigations by the second author. The writing of the article has been done in a combined way and with the consensus of two authors.

Conflict of Interest
The authors of the article have not received any money from a third party (government, commercial, foundation, etc.) for any part of the article, there is no ongoing publication, refereed or registered, related to this work And they have not used any interdisciplinary tests
 

Abstract
In the study of slipware colorful pottery, it has always been the focus of various researchers due to its unique motifs.  During the past few decades, researchers have studied the patterns of the above pottery with different approaches. Despite the researches that have been carried out in the direction of rereading and interpreting the motifs, there are still ambiguities and challenges. One of the challenges in the interpretation of Polychrome decoration under transparent glaze pottery patterns is the illustrated illustration on a plate that is kept in the Nelson Atkins Museum of Art. In their research, according to historical texts, researchers have presented different opinions regarding the role of the above plate, and it is believed that their interpretations have fundamental problems. It seems that the study of historical texts alone is not a solution to the interpretation of the above illustration, and interdisciplinary science studies should be used to investigate the illustration of this container in a separate research using ethno-archaeological studies.  Study and review. In this research, the Authors are of the opinion that by following the archetypes in the geographical context of the production of Polychrome decoration under transparent glaze pottery, the study scope of which includes the Khorasan region; to study the illustration of the plate, in order to achieve this goal, the Authors have used ethnographic studies and historical documents to interpret it. The research method of the upcoming research is a library with a comparative historical-analytical approach. In line with the above goal, questions such as what is the concept of the illustration of the colorful goblet plate? It has been proposed to what extent ethno-archaeological studies can be applied in the interpretation of the illustrated illustration on this dish. The result of the comparative research of ethno-archaeological studies and historical documents is that the theme of the illustration engraved on the plate is the ritual ceremony of asking for rain and water from the goddess Anahita and Tishtar, which is held today in the Khorasan region with changes in the way the ceremony is performed. 
Keywords: Pottery, Neishabur, Polychrome Decoration Under Transparent Glaze, Ethnoarcheaology, Asking for Rain.

Introduction
Polychrome decoration under transparent glaze pottery was produced in the 3rd and 4th centuries AH and parallel to the Samanian rule in northeastern Iran, which are very prolific and diverse in terms of motifs. A samples of these pottery is kept in the Nelson Atkins Museum of Art. By analyzing historical texts, researchers have proposed interpretations for the illustration engraved on this plate. Despite the studies conducted with different approaches by different researchers, there are still uncertainties about the identity of human motifs. Therefore, it is necessary to investigate and analyze the identity of the human motifs depicted on the plate in a separate research using ethno-archaeological studies along with reviewing historical texts. Therefore, the aim of the Authors in this research is to study the illustration of plate by examining historical texts and archetypes in the geography of the production of Polychrome decoration under transparent glaze pottery, the scope of which includes the Khorasan region.
In the background of the plate, there are nested circles in black with oval motifs and blue-green with circular motifs. The central motifs are three human body performing a special ceremony. The two human body have two two-branched wings on their shoulders, which are hanging down, and according to the clothes they are wearing, their gender can be distinguished as male and female. On the left side of the central body, the role of a small human body with a strange face of incomplete creation is depicted. Between the central man and the body on the left, the motif of a bird with its head turned back and a multi- petaled flower, possibly a lotus, can be seen.

The Role of a High-Ranking Lady
One of the motifs of the plate shows the role of a high-ranking lady sitting on a chair. The high-ranking lady is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on her shoulders. It seems that the goddess with the rhyton in her hand is probably one of the gods associated with water.

A High-Ranking Man
The motif of a high-ranking man depicted on a Polychrome decoration under transparent glaze plate attributed to Neyshabur, like the motif of the goddess, is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on the shoulders. The male god is probably related to the water gods because he is next to the water goddess Anahita.

Plant Motifs
The lotus flower is called Abzad flower or the flower of life and creation in Farsi. Since this flower is related to water and in ancient traditions, the lotus flower was considered to be sacred and related to Anahita. Illustrated plant motifs on a Polychrome decoration under transparent glaze plate attributed to Nishapur, the plant pattern of the seat of the female deity, as well as the plant motifs around the body of the male deity and the ten-petaled flower between the male deity and a small human body by comparing the actual sample of the bud and the lotus flower and the obvious similarity with It is probably a symbol of the lotus flower.

Bird
On a Polychrome decoration under transparent glaze plate, the motif of a bird is drawn above the head of the male deity and the motif of a small human with his head turned back. The bird is probably a rooster symbol due to the abstract tail, several feathers on the body and also the crown on the head.

A Small Human Body
A small human body with a strange, imperfectly formed face, with eyes stretched vertically downwards, with open hands around him and a mouth on his cheek. to inspire a symbolic concept of him to the viewer. The small human role cannot be interpreted with the myth of Tishtar and Anahita; because there is no mention of its identity in opposition to the above gods in historical texts. Inevitably, in order to identify the identity of the small human role that can be referred to as the missing link and in the archetypes of the water myth, it was investigated in the geographical context of the production of Polychrome decoration under transparent glaze pottery attributed to Nishapur in the Khorasan region.

Conclusion
The result of the analyzes that were carried out in line with the proposed questions was that the scene of the celebration depicted on the plate was probably the narrator of the ritual ceremony related to water and rain among the people of the 3rd and 4th centuries in Nishapur. This result was obtained by identifying the patterns of the components of the plate with historical evidence and ethno-archaeological studies. Which could be identified with the identification of two human roles using historical texts with two wings and symbols such as lotus flower, rhyton, and cow horn hat. They were the gods Tishtar and Anahita. For the identification of the small human body with an ugly face, which gave the viewer a superhuman personality, the results of ethno-archaeological studies were also used by following its archetype in myths; Because she was assumed to be an ugly doll and also because she was placed next to the beautiful gods Anahita and Tishtar, she was matched with the ugly Qazak Chuli doll or the Opush demon in the Khorasan region with the ritual ceremony of asking for rain. The rooster is also depicted in opposition to the gods Anahita and Tishtar, and the doll symbolizing the demon Opush, a symbol of Sorush, which destroys the demonic forces of Opush. Therefore, according to the identification of motifs and their symbolic interpretation, the theme of the illustrated illustration on a Polychrome decoration under transparent glaze plate is related to the ritual ceremony of asking for rain in the 3rd and 4th centuries during a celebration that was accompanied by music and joy. The living manifestation of this archetype is the ritual ceremony of Choli Qazak among the people of Khorasan region in search of rain. The people of Khorasan in the seasons of drought and lack of rain make dolls that have been passed down from their fathers to them during ritual ceremonies with instruments and drums. And they ask for rain from the water gods with joy and enthusiasm.

Abstract
Earthquakes have always been considered a threat to human settlements. According to the results of archeological studies, one of the behavioral patterns of humans in the face of earthquakes has been to permanently change their place of residence. The fact that the major part of Iran’s plateau is located in one of the earthquake-prone areas of the planet makes the research and investigation about the impact of these natural events on the human way of life, especially in the prehistoric era, to be studied more. In this direction and with the aim of assessing the impact of this natural phenomenon in Central Zagros and in order to know how humans react to this phenomenon, it has been studied. Our main question in this research revolved around how ancient earthquakes can be identified in archaeological contexts, and based on what evidence? What were the effects of this destructive phenomenon on the change in people’s biological patterns in the period after the incident? The information of this research has been collected from the archaeological excavations of Godin Tepe, Kangavar and Baba Kamal Tepe Tuiserkan from the Bronze Age to the end of the Iron Age III BC. In the following, based on the evidence of the severity of the destruction caused by the earthquake, an attempt has been made to reconstruct the intensity scale of the earthquakes based on the Mercalli scale. As a result, it was determined that the occurrence of destructive earthquakes with an intensity of more than 6 degrees on the Richter scale in the area of the investigation, especially in the Bronze and Iron Age, was not unrelated to the impact of climate change caused by the intensity of melting glaciers and the change in the hydrological conditions of the earth. After the Late Bronze Age, the events caused by this event caused the relative collapse of many settlements until the Iron III period, and practically at this time, the population of the region was reduced to the minimum possible.
Keywords: Ancient Earthquakes, Archeology of Eastern Central Zagros, Godin Tepe, Baba Kamal Tepe, Bronze & Iron Age.

Introduction
Throughout history, villages and cities have always been threatened by cultural or natural disasters such as war, fire, earthquakes, floods, and storms. Earthquakes are natural events that have been important causes of damage and destruction for humanity. The land of Iran, due to its location in the middle part of the Alpine-Himalayan orogenic belt, is always exposed to high-intensity earthquakes and is known as one of the centers of destructive earthquakes.
Studying and researching the remaining signs of ancient earthquakes in Iran according to archaeological data can provide information on long-term seismicity in different parts of this land for researchers. By using archaeological data and matching their information with specific regional geological conditions, it tries to recognize the occurrence of earthquakes that occurred in prehistoric times and their effects on the formation of settlement patterns. 
In this regard, the Kangavar Plain and the eastern region of Central Zagros have been studied and researched, focusing on the archaeological information of Godin Tepe and Baba Kamal Tepe. This research aims to investigate and identify the archaeological studies carried out in Godin Tepe and East Central Zagros to study and investigate the events that are suspected to be natural earthquake hazards in Godin Tepe and Baba Kamal. Also, the role and effect of these earthquakes in the distribution of settlements after the earthquake will be studied in the region, seeking to answer questions such as: How can the earthquake during the settlement of Tepe Godin and Tepe Baba Kamal be recognized? In what period of the settlements of Tepe Godin and Baba Kamal and with what approximate magnitude did these earthquakes occur? How can the role and effect of these earthquakes be explained by the change and distribution of settlement patterns in the post-earthquake era of the region? In the investigations and field studies, the evidence and signs of earthquakes in the Bronze Age of Godin Tepe Kangavar and the Iron Age of Baba Kamal Tepe Tuysarkan have been observed, which can be the hypothesis proposed in this regard.

Discussion
The investigation of different cultural layers showed that the Godin site experienced at least three important events that changed the lives of the people at that time. Evidence of these events can be seen in layers III5, III4, and III2 in the Bronze Age in different years between 2400 and 1650 BC. Yang, the explorer of Godin Tepe, believes that the earthquake in these phases caused destruction and destruction in the buildings, which caused the settlement to leave and the site to be abandoned at the end of phase III2. Among the damages caused by the earthquake in Godin Tepe and Baba Kamal, the following can be mentioned:- Collapse of ceilings and walls;
• Collapse of ceilings and walls;
• Debris left on the floor of the rooms;
• Crushing of healthy pottery under the debris;
• Humans being buried under the rubble and being killed by falling bricks;
• Cracks in the walls
• Abandonment of the site after the earthquake
Using the empirical relationships and the Mercalli intensity scale (MMI), we can attribute an average magnitude of 6 to Godin III2 and Iron III Baba Kamal events, and an average of 7 to Godin III4 and III5 events. 
 According to the archaeological surveys conducted in the studied area, it can be seen that the region has experienced a decrease in human settlements and population collapse in the periods after the Godin earthquakes. The reduction of settlement areas during different phases of the Middle and New Bronze Age compared to the previous layers is observed in the plains of Kangavar, Nahavand, Asadabad, Tuysarkan, Malair, Sanghar, Sahne and Borujerd. In layer III2, the number of sites with artifacts from this period increases in the region. Young and Henrikson believe Godin III2 pottery at the same time as this phase, or probably at the end of this phase, we see an increase in the nomadic process, and it is likely that this issue has influenced the increase in the number of ancient sites. 
During the Iron Age, the central Zagros region underwent changes that led to the reduction of human settlements in Iron Age I. Archaeological data show that there was no population density in Iron Age I/II in areas like Kangavar Plain. Several abrupt climate changes occurred during the Holocene epoch. This change in weather conditions, along with the earthquakes in the region, could have been a factor that affected the settlement of human populations and settlements in the region in prehistoric times and caused a change in the settlement pattern and a decrease in human populations.

Conclusion
In this study, in order to investigate the seismicity of the eastern central Zagros region and the earthquakes that occurred in the Bronze and Iron Ages of the region, the collection of evidence and documentation of the earthquakes of the mentioned periods, obtained from archaeological excavations, was collected. Earthquake evidence in Baba Kamal Tuiserkan Tepe was obtained in the form of disturbed layers with cracks in the Iron Age III clay structure. Also, these signs have been observed in the form of ruins and human remains found under the debris, scattered artifacts and pottery on the floors of residential houses, and cracks on the walls in the Bronze Age of Godin Kangavar Tepe. Godin Tepe has witnessed three destructive earthquakes in phases III5, III4, and III2, which, in addition to the destruction that followed, caused the area to be abandoned for a long time. The abandonment of the area can also be seen on Baba Kamal hill, which was without settlement until the Parthian period.
After the Godin III period until the end of the Iron Age I and II, the reduction of settlement areas is observed not only in the Kangavar plain but also in most of the surrounding areas of the Kangavar plain in the east of central Zagros. However, some researchers have pointed out the change in weather conditions as another reason for the decrease in the number of settlements in the region, and climatological research has proven that during this period, climatic dry events occurred in Southwest Asia. According to the seismicity of the central Zagros region and the evidence of earthquakes from Godin Tepe and Baba Kamal, these climate changes, along with the occurrence of earthquakes in this region, are both factors that have provided unfavorable conditions for life in the region at the same time. Based on the data obtained from the Godin and Baba Kamal sites, a magnitude of 7 was estimated for the Godin earthquakes of layers III5 and III4 and a magnitude of 6 for the earthquakes of Godin layer III2 and Iron Age III of Baba Kamal.

Abstract
The city of Damavand, the center of county, is located on a hill in the middle of a fertile valley. It has a historical texture that is located as the downtown in its central part and has four main neighborhoods. The research problem is that there is no accurate understanding of the concept of city and county for the name of Damavand, as well as the core of the damavand region. The published brief writings considered Shlenbeh or Vimeh and Shlenbeh as the center of Damavand region which is not consistent with the sources.  The purpose of this study is to clarify the concept of city and county for Damavand, as well as to better understand the city of Damavand and identify the center of Damavand region and its possible structures. This study has been done in a historical and analytical method based on research and identification by collecting library information and field survey. Questions: 1- What was the concept of city and county for the name Damavand? 2- What is the name of the center of Damavand region and how is it different from Shlenbeh? 3- What is the history of this center and what were its possible structures? Result:  The name of Damavand in the Sassanid period was as a region and on the other hand it represents the city. Although it has a mythical foundation, it is older than the Sassanid and the center of region   the was in the Sassanid period. The important spaces of Kohandej were the middle town   with   bazaars, squares, neighborhoods, and outer town. Kohandej was located in the place of Sar Qaleh. The acceptance of Islam, and the restoration of security, which lasted until the construction of the mosque in the place of Sar Qala, had preserved the structures of the city. 
Keywords: Damavand, Damavand City, Sassanian City, Kohandej, Shlenbeh.

Introduction
The city of Damavand, which has a historical texture, has four neighborhoods. The main issue of the research is that there is no accurate understanding of the concept of city and city for the name of Damavand, as well as of the city. The published writings have considered the city of Damavand as Shlenbeh or Vimeh, and also the city of Shlenbeh as the center of Damavand district, which is not consistent with the sources. Therefore, the purpose of this research is to clarify the concept of city and city of the Sassanid period for the name of Damavand and to identify the center of Damavand district and its possible structures. It is also different or similar to the Shlenbeh and the knowledge of the foundation and antiquity of the city of Damavand.
First, what was the concept of the city and city of the Sassanid period for the name Damavand? Assumptions: First, it seems that the name of Damavand is in the position of the district and also represents the city of Damavand as the center of the district. Second, Shlenbeh and Damavand were two independent cities and the city was located in the center of the city with structures from this period, the most important of which is Kohandej
First, what was the concept of the city and city of the Sassanid period for the name Damavand? Assumptions: First, it seems that the name of Damavand is in the position of the district and also represents the city of Damavand as the center of the district. Second, Shlenbeh and Damavand were two independent cities and the city was located in the center of the city with structures from this period, the most important of which is Kohandej
The research method is historical-analytical and has been analyzed through library studies and the collection of the necessary historical information, and then with the data obtained from the field study and matching with the historical data.
So far, no detailed studies have been done about the city of Damavand and the published articles about the city of Damavand have been briefly mentioned, so this article tries to provide a more accurate understanding from this perspective.

Discussion
In the Pahlavi geography, the city was used to mean land, territory, province and city. In the sources, the names of Damavand province and Damavand city are mentioned. The sources of the foundation of the city of Damavand have been attributed to Ermail and kiumars. Whenever the Sassanid kings founded or developed a city, they gave it their name. The city of Damavand as the center represents Kohandej in the center of the city. The artifacts obtained from the city of Damavand as well as the history of Damavand have shed light on the history of Damavand. Damavand consists mostly of the two cities of Vimeh and Shlenbeh and the center of Damavand is considered as Shlenbeh and the current city of Damavand is the same as the old Shlenbeh or Vimeh. In the sources, the name of Damavand is first in the position of “district” and then represents “Damavand city” as the title of the center of the district. 
The city of Damavand has had the following spaces: Kohandej, middle and outer flow. Kohandej was the most prominent feature of the natural features of the land, at the highest point on the edge of the natural terrace of the earth, and the texture of the city was formed based on this central core of the government. Four neighborhoods in the vicinity of this center, it started with the Upper Farama neighborhood in the south, and ended with the Lower Farama neighborhood in the east, and the Jewish and Darvish neighborhood in the north, and then with the bazaar in the northwest. The main entrance of the city, which was the entrance to the bazaar, reached Kohandej and Meydan. Aerial map of 1956 In that place, the castle and its boundaries are independent and separate from the internal flux. The irregular wall of the mosque, which has changed the shape of the map, and the qibla of this mosque is the error of the mihrab in the direction of the south towards Mecca, not the west. But the first Muslims of Iran were inclined بwere built in the west, so the justification for the fact that the wall of the mosque was built on the remains that had a different function.1 The use of the word “Dokhtar Castle” and the name “Sar Qaleh is one of the terminology of the Sassanid period, may be another evidence. 

Conclusion
The name of Damavand in the Sassanid period, on the one hand, as a province, included numerous cities and villages, and on the other hand, it represented the city as the center of the Damavand region. Although this city has a mythical foundation and its creator is not known, it has an older foundation than the Sassanid one.
The historical and geographical sources that mentioned Stoneavand and Mandan as the center of the rule of the Mamoghans, have no correspondence with the city of Damavand. According to the sources and also according to the structures, this city as the center of the district started at least from the Sassanid period and was managed with important spaces until 141AH during the time of the Abbasid Caliph Mansur. It continued as the center in the Islamic period and is still the center of the city to this day, and of course this city was different from Shlnebeh and the two cities were separate. Therefore, the city was called the center of the city. It is not correct to consider Damavand or the current city of Damavand as the same as Shlenbeh or Vimeh, or to consider the Damavand region to include only the villages or only the two cities of Shlenbeh and Vimeh. Now a village called Shlenbeh is located outside the core of the city in the southern part, whether this Shlenbeh is the same as the old Shlenbeh or not, needs to be investigated. The structures of the city of Damavand in the Sassanid period included the important spaces of Kohandej, then the inner flux with the bazaar, the square, and the neighborhoods, and then the outer flux included the villages in the northern and southern parts. The most important part of it was the Kohandej, which was located in the center and the highest point overlooking the city in the place of Sar Qaleh and Dokhtar Castle in the current location of the Jameh Mosque. The complete acceptance of the religion of Islam, and the return of security and tranquility that lasted until the construction of the mosque of the third century AH in the place of Sar Qala, had preserved the structures of the city. 

The vast territorial expanse and unique geographical position of Sasanian Iran necessitated that major inter-civilizational trade and communication routes between East and West either traverse the Sasanian heartland or skirt its peripheries. This strategic geography played a pivotal role in advancing the Sasanian policy of expansionism and economic monopolization, as well as in facilitating commercial, cultural, and political interactions with regional and trans-regional polities. Within this context, examining the political-cultural relations between the Sasanians and ancient Yemen is of particular significance, given both territories’ possession of maritime fronts and their associated trade networks. Consequently, this research aims to investigate the nature and depth of the political and cultural relations between the Sasanians and Yemen, to identify the factors influencing the formation and evolution of these relations, and to assess the reciprocal impact of these relations on the historical developments of both lands. Furthermore, the role of archaeology in elucidating various dimensions of these relations will be considered. Through an analysis of historical and archaeological evidence, this study seeks to answer the following question: What factors led to the formation and perpetuation of political and cultural relations between the Sasanians and Yemen from the 4th to the 7th centuries CE? The findings indicate that hegemony over maritime trade routes played a central role in the interactions between Iran and Yemen during the Sasanian period. Moreover, the results of an examination of the artistic characteristics of specific archaeological finds from Yemen—namely, the Knight relief (from Dhofar), a female figure relief (from Dhofar), a fragment of a decorated textile depicting a Sasanian battle scene with Ethiopians (from Antinoë), and a carved four-faced capital (from the Qalʿa of Ḥasan al-ʿUr in Yemen)—reveal shared features with Sasanian art and corroborate the cultural-artistic influence of the Sasanians in the land of Yemen.

Abstract
Khuzestan, a primary center of mudbrick and fired-brick architecture in ancient Iran, witnessed the evolution of vaulted construction from the Elamite to the Late Sasanian periods. Among these, arched vaults served not only as structural elements but also as a demonstration of systematic engineering practices tailored to the region’s warm and semi-humid climate. Despite the abundance of surviving monuments, no comprehensive study has analyzed their technical and structural features to uncover the underlying stability principles. This study aims to examine the structural performance and recurring patterns of stability in arched vaults of Khuzestan. Field surveys, documentation of accessible structures, analysis of 111 identified vaulted buildings, and detailed examination of 21 selected representative examples were conducted. The study focused on the interaction of materials, geometric proportions, construction technology, and human craftsmanship in achieving long-term stability. Results indicate that vault stability depended on: 1) the type and geometry of bricks, consistent mortar thickness, and interlocking strategies; 2) diverse construction techniques, including corbeling, radial arrangements, and combination methods; 3) geometric proportions such as span, rise, and vault thickness; 4) adaptation to climatic conditions; and 5) the skill and experience of the builders. This research highlights the presence of a systematic engineering logic in pre-Islamic vault construction and provides a framework for restoration, conservation, and potential adaptation in contemporary architectural practice. The findings demonstrate that these vaults were not merely empirical or accidental in design but reflect deliberate, replicable, and coherent structural strategies.
Keywords: Structural Stability, Vaulted Architecture, Arched Vaults, Pre-Islamic Iran, Khuzestan.

Introduction
Khuzestan has historically played a pivotal role in the development of vaulted architecture within ancient Iranian civilizations. Vaults represent one of the most sophisticated elements of traditional construction, combining technical mastery, material understanding, and adaptation to environmental conditions. From the Elamite through Late Sasanian periods, vaulted buildings in Khuzestan reveal an evolution in construction techniques, reflecting the accumulation of knowledge and local innovation. Arched vaults, in particular, served as primary structural and functional components in ritual, funerary, administrative, and sometimes military architecture.
The study of these vaults provides insight into the strategies employed by ancient builders to achieve stability over centuries. Stability in traditional architecture encompasses not only physical durability but also cultural, climatic, and technical resilience. Builders utilized local materials, precise geometric proportions, and structured load distribution to respond to environmental and functional challenges. Despite extensive archaeological documentation, there has been limited focus on the technical principles underpinning vault stability, particularly in arched vaults.
This research addresses this gap by systematically analyzing recurring structural features, material properties, construction technology, and geometric patterns that contributed to vault durability. The study examines both historical continuity and the adaptation of techniques over time, demonstrating that pre-Islamic vaulting practices in Khuzestan were informed by deliberate engineering logic rather than trial-and-error. Understanding these principles is critical for bridging knowledge gaps in architectural conservation, informing restoration efforts, and inspiring contemporary applications of traditional construction methods.

Discussion 
Analysis of arched vaults in Khuzestan indicates that their long-term stability resulted from a combination of material selection, construction technology, geometric design, and human skill. Key aspects include:
Materials and Mortar: Builders employed trapezoidal, square, and rectangular bricks, wider and thicker at structural bases to distribute loads effectively. Mortars, including clay, gypsum, and bitumen, were chosen according to moisture conditions, ensuring cohesion and stability.
Construction Techniques: Techniques included inclined corbeling, radial arrangements, and hybrid approaches. Temporary wooden or reed supports facilitated precise execution, while multi-layer vaults with controlled thickness enhanced overall strength. Adjacent vaults were often coordinated to reduce lateral stresses.
Geometric Proportions: Ratios between span, rise, and thickness were carefully maintained across periods. Numerical proportional systems guided vault dimensions, while precise interlocking of bricks ensured efficient load transfer.
Human Skill: Mastery in aligning bricks, controlling mortar thickness, integrating vaults with walls, and designing stress-relief features such as recesses and buttresses reflected high craftsmanship.
The historical evolution from Elamite to Sasanian periods shows gradual refinement. Early Elamite vaults utilized simple rectangular cross-sections and limited brick types, while Late Sasanian vaults displayed sophisticated high-rise arches, modular brick use, and multi-layer arrangements. These developments indicate a cumulative knowledge system that informed construction practices and responded to functional and climatic challenges.
The study highlights that stability was never accidental; rather, it emerged from repeated, rationalized engineering practices. Such findings provide an empirical basis for restoration and reconstruction, enabling the preservation of architectural integrity and informing contemporary design strategies that draw upon historical methods.

Conclusion 
This research demonstrates that arched vaults in Khuzestan were underpinned by systematic engineering principles rather than empirical trial-and-error. Stability resulted from the integrated interaction of materials, construction technology, geometric design, environmental adaptation, and craftsmanship. The study identifies: 
- Strategic use of brick types and mortar selection to optimize structural cohesion.
- Refined construction techniques, including corbeling, radial arrangements, multi-layer vaulting, and controlled thickness.
- Geometric proportionality ensuring balanced distribution of forces.
- Adaptation to climate and environmental constraints.
- High-level craftsmanship in aligning elements and controlling structural behavior.
Historical analysis reveals a continuous technological development, culminating in Late Sasanian vaults that exemplify peak structural refinement. Documenting these features provides a foundation for preservation, restoration, and potential adaptation in modern architectural practice. Future studies may compare these vaults with contemporary structures in neighboring regions or explore the influence on early Islamic architecture in southwestern Iran.
The study confirms that pre-Islamic vault construction in Khuzestan represents a coherent, replicable, and sophisticated engineering tradition, offering valuable lessons for both conservation and contemporary design.