Abstract
In the classical society of the Sassanid era, the clerical class was one of the most important pillars of the community. It had influence, credibility and popularity, and represented an important and influential institution from the lowest to the highest levels of society. This important institution is however not well-known and many uncertainties remain about it. One of these ambiguities is the inner structure of this class, which is still almost unknown. Due to the vagueness of the information coming from various sources other than a few titles, there is almost no precise data about its hierachy. Due to the great importance of this class, a proper understanding of the Sassanid era would not be possible without a proper understanding of the clergy class. This is the topic of the present paper, mainly based on literary material. It could notably be proven that the Zoroastrian clergy of the Sassanid period can be divided into two general groups in terms of the presence or absence of governmental professions and official titles. It is not possible to determine the upper ranks of this class, such as Rad, Dastour or Mowbed, while the head of the clergy class (as the Mowbedān-Mowbed) was a member of the class known as the Sassanid privileged ones (Vozorgan).
Keywords: Zoroastrian Clergy, Sassanid Era, Structure and Hierarchy of the Zoroastrian Clergy.

Introduction
It is difficult to reconstruct the internal structure of the institution of Zoroastrianism. It is due to two fundamental factors: first, the length of the Sassanid era and the dynamics of the society that inevitably led to profound changes and transformations in various institutions during these 430-year periods.  and the second the final prophecy What happened during this time was long after the collapse of this dynasty, which was modified by the same institution in accordance with the goals and purposes of this institution and in accordance with the conditions of the time.  Thus the texts further complicate matters rather than the help solving the problems. For example, in the Sad Dar Nasr is written: “In the case of sin, one should try to repent to the Hirbads and the Dasturs and the Rads.” In this phrase, three important cleric titles or positions are mentioned without any precision concerning their precise attribution (Sad Dar Nasr, Dar-e 45). It is probably explained because the main target audience of these books were familiar with these definitions and titles, and that the authors of the texts did feel consequently the need to explain them clearly. So what is the meaning of the titles used by clerics during the Sassanid period? How did this social class evolve? Almost all scholars who worked on the Sassanid period inevitably dealt with Zoroastrianism, and consequently the institution of the clergy (Christensen, 1368. Frye, 1382. Shaked, 1384. Zarinkob, 1388. De Yong, 1390. Daryaee, 1383. Shaki, 2011. Miri. 2013 &...).

Discussion
Daryaee segregated the Sassanid clergy class “in terms of their rank and duty”, including “Mowbeds, Hirbbads, Dasturs, Dadvars, and Rads”, which meant: the senior clergy, the Fire Worshiper clerics, specialist theologians or jurists, judges and scholar clerics “ (Daryaee, 1392B: 144). It is further shown in this study that it is not possible to deal with the internal division of this class clearly. For example, while Manouchehr, the author of the letters of Manouchehr, introduced himself in his letters as the Rad of Pars and Kerman, at the beginning of his third letter to all Behdinān, he called himself the Hirbad-e Khodāy. On the other hand, some of the categories are sometimes mentioned for a specific task, so it becomes very difficult to determine exactly what each of these positions was. In the Ravayat-e Azarfranbag-e Faroxzadan, in response to the question, “If all members of a family are to be Behdin except one woman, can she become the Padehah Zan?” it is said: “Rads, Mowbeds and Dasturan have to choose a guardian for her.” There are many similar cases in Sassanid texts which make it impossible to draw any definitive conclusions in this regard. Unfortunately, seals are not really helpful as Gyselen points out: “It should be noted that glyptic does not offer anything other than a very few titles or whether the lack of findings was because some authorities needed Have they not used the seal? Or the cause of something else is unclear “(Gyselen, 1995: 123). Accordingly, this paper is divided into two parts. The first deals with the official titles and ranks of the Zoroastrian clergy and the second part deals with the informal titles.

Conclusion
- Some clerical titles correspond to official titles, employed in government offices or bureaucracies, while most of clerics were not State employed and devoted themselves solely to religious activities.
- There were clerics who had no position in the clerical hierarchy and were usually referred as clergymen with specific characteristics, such as the title of Zartoshtom, which was probably something like a polar and a disciple.
- Although it is possible to imagine Rads, Dasturs and Mowbeds in the top ranks of the clergy, it is not possible to determine precisely the position of each of these titles in the hierarchy and their priority.
- The clergy class, like other classes of Sassanid society, had a leader whose title varied in different eras. The title Mowbedān-Mowbed is only attested since the middle of this period and probably did not exist in the early Sassanid era. It is still unclear what was the title or name of the head of this class at that time.
- It seems incorrect to distinguish the titles of Mowbed and Mog (Magi), and to place them in two separate degrees in the Zoroastrian hierarchy, at least until the mid-Sassanid era. They have the same linguistic meaning. Of course, in the later periods, and given the dynamics of Sassanid society, a distinction may be drawn between these titles, in which Mowbed took precedence over Magi.

Abstract
One of the main types of rock monuments is hand-carved ritual-religious spaces. These handmade spaces have long been considered, sanctified and respected by religious social groups who were committed to religious practices. From this perspective, it can be stated that Maragheh region has been one of the most important, rich and long-lasting centers of ritual-religious architecture in the history and culture of Iran. In an era, in which ritual manmade spaces have lost their influence in many areas of ritual prosperity and sacred power, some ritual-religious manmade spaces in Maragheh still have an active and prominent presence. Accordingly, the present study, while identifying, introducing and explaining the special features of the ritual-religious hand-carved spaces of this region, has also addressed the formation factor of these ritual spaces; and seeks to answer the following question: to how many types are the ritual-religious hand-carved spaces in Maragheh divided? Therefore, along with the field study method applied for recording and explaining the current situation, library studies were also used to identify the factors influencing the formation of ritual-religious architecture in Maragheh. The results of the studies indicate that 8 religious-religious rock monuments have been identified in the county of Maragheh. Typologically, the above-mentioned rock architecture can be classified into surface and subsurface forms. Also, in terms of typology and classification of the application nature, these works have had different uses, such as: a) mosques, b) monasteries, c) churches, d) Buddhist temples, e) open temples, f) crypts, and h) rock graves. Many of these sites are now ruined, however, some spaces have retained their sacred position and are being used with some modifications.  
Keywords: Maragheh, Rock Architecture, Typology, Ritual-Religious Use.

Introduction
The county of Maragheh is located in the northwestern part of Iran in the province of East Azerbaijan, on the southern slopes of Sahand Mountain. According to national divisions, the county of Maragheh has two districts (central and Sarajo) and six villages. The county of Maragheh consists of two separate parts: the northern areas of the county that are mountainous and the central and southern areas which consist of plains and flatlands (Khamachi, 1991: 459). Sahand mountainous mass is one of the most important topographic features of the county, and the southern slopes of this mountain form the configuration of the main part of the county. The general slope of the land in this county is from north to south and the three rivers of Leylan Chay, Mordagh Chay, and Sufi Chay are the important rivers that supply the water needed by the region (Morvarid, 1981: 12).
In the county of Maragheh, numerous historical monuments are remained from different periods, some of which are used as ritual-religious hand-carved spaces. Ritual-religious hand-carved spaces in Maragheh, in particular and other areas in general, have long been considered, sanctified and respected by social groups, according to the existing evidence; Therefore, in this paper, it has been attempted to explain the formation factor, analyze the use nature of spaces and the period in which they have been applied using the a spatial archeological approach and archeological surveys after introducing the ritual hand-carved spaces. The current research has been conducted in order to answer this fundamental question: to how many types are the ritual-religious hand-carved spaces in Maragheh divided? Moreover, the purpose of this study is to investigate and analyze the typology of the mentioned hand-carved spaces. 
Methods: The present study has been conducted using a descriptive-analytical method and data collection has been performed using library methods and field visits from a large number of hand-carved spaces in different parts of the county of Maragheh.
The Significance and Necessity of Research: The rocky and cave nature of worship places and the study limitations of the ritual-religious hand-carved spaces in Iran have caused any religious hand-carved spaces to be associated with Mithraism; however, little evidence of Mithraism has been identified in these sacred spaces. Accordingly, by conducting studies on the ritual-religious hand-carved architecture in the county of Maragheh, it is possible to provide a comprehensive classification of this type of architecture and determine the general appearance and nature of their spaces in this region. 
Research Question and Hypotheses: The current research has been conducted in order to answer this fundamental question: to how many types are the ritual-religious hand-carved spaces in the county of Maragheh divided? One of the hypotheses that can be proposed in the present study is that the ritual-religious spaces of Maragheh have been formed in two periods: the first period is related to the pre-Islamic period, which was influenced by the Urartian culture. The second period is related to the Islamic period. In the Islamic period, the greatest influence in shaping these spaces has been the influence of beliefs from eastern cultures, especially Buddhists and Christians.

Conclusion 
Hand-carved architecture is a special type of architecture that has been created by humans in order to adapt themselves to their environment. In the extensive territory of Iran, due to climatic, ritual and cultural diversity, remnants of this type of architecture can be seen in its different regions. One of the important reasons for the tendency of human beings in different schools towards the rock architecture was the ritual and religious structure of the society, which required turning to rocks and mountains. In the meantime, the ritual-religious hand-carved spaces of the county of Maragheh have been a manifestation of the spiritual life and cultural knowledge of the residents of this region. These spaces have a special place in the whole beliefs of the residents of the region; this has made the decorative elements, architecture and special location of these spaces to be different from other rock works. Following what has been discussed in the text of the paper, the results of library and field studies of hand-carved spaces have demonstrated the influence of ritual and religious structures of Maragheh society in the formation of some of these spaces. Due to the special geographical location of Maragheh region throughout history, the region has witnessed different ethnic groups and special religious beliefs. According to this view, the ritual-religious spaces of the region in the pre-Islamic ages have been created in the form of hand-carved burial spaces (crypts); and in the Islamic period, these spaces have been mostly carved into rock contexts in the form of hand-carved worship temples. 
In the mid-Islamic eras, especially during the Ilkhanid period, Maragheh was the center of various beliefs and this factor has formed the basis for the formation of ritual-religious spaces of Buddhist, Christian and Islamic followers. From this perspective, the county of Maragheh, especially on the banks of Sufi-Chay River, is one of the lively, active, and rich centers of tradition and ritual hand-carved heritage. Accordingly, most of the investigated worship spaces are concrete, objective and real manifestations of the cultural-religious continuity and spiritual life of the people of this region from the Ilkhanid period, and even today some of these places have retained their sacred and ritual status.
 

Abstract
Among the Turkmen, shamanism is the ape tic method based on ancient ethnic beliefs, which is still a common notion that has gradually been merged with religious beliefs and symbols of shamanism with religious fusion have continued to this day. The main purpose of this study is to investigate the basic concepts of symbols that originated from the beliefs, rituals and rituals of the Turkmen tribes of their primitive religions. Information the findings were collected by field method and direct observation using the main library resources. The main findings of the research are based on the symbols and signs of shamanism, as the ancient beliefs and rituals of the Turkmen tribes. Fairy readers are considered to be the main and last survivors of shamans among the Turkmen tribes each of the fairy readers has an army of goblins at their disposal and command this study tries to answer basic questions such as key elements in shamanism, the place of shamanism in the Turkmen belief system and the historical – cultural origins of shamanism in Turkmen culture.
Keywords: Symbolic Anthropology, Anthropology of Religion, Shamanism, Turkmen.

Introduction
Undoubtedly, among contemporary thinkers in the field of symbolic anthropology, Clifford Greets is one of the most famous anthropologists in the field, due to his particular approach to culture and his new approach to the humanities and social sciences. Geertz’s position beyond anthropological boundaries as an interdisciplinary figure in the social sciences. His theoretical approach to anthropology is broadly symbolic and combines philosophical, anthropological, and even linguistic theories.
Analysis of religious behaviors and practices is one of the central issues in the field of anthropology of religion. How behaviors and actions can be studied objectively and realistically and as a phenomenon is one of the serious issues in the anthropology of religion. This issue led to extensive developments in the theorizing of the humanities and social sciences in relation to cultural and religious phenomena in the second half of the twentieth century AD.
In general, in the 60s and 70s of the twentieth century, symbolic and interpretive anthropology with its own approach to culture, was confronted with material tendencies, such as materialism or cultural positivism.
In this view, cultural phenomena move from the belief that culture is a set of meanings that are understood and received trough symbols and signs, and to understand it, one must first go to the analysis of these symbols.
It is Clifford Geertz who has emphasized such as model as a method in anthropology. He has been able to bring about extensive changes in the definition of culture with an interpretive methodological approach.
Based on observation and return to the field of social sciences, he created a new model of interpretation and semiotics in the anthropology of religion. (fakoh. 1386: 108).

Shamans Treatment Method 
Shaman and shamanism are among the most important topics in the anthropology of religion. Shamanism is not a new subject, but every research on religion is devoted to it. What distinguishes the shaman from other wizards is that the shamans are not magicians but physicians and sages, but the main feature that distinguishes them from other wizards and priests is the serious attention of the shamans to the semantic space. So all shamans are healing wizards, but not every witch is a shaman. In fact, a semantic space has caused the school of shamanism to enter the field mysticism. The very important point is that the last feature that allows a person to be a shaman is to enter the world of semantic space. Until the shamans reach the strict rituals and succeed in these stages, and after entering the world of semantic space.
Otherwise they will not find the entrance to the world of shamans the importance of semantic space in shamanism lies in the fact that all functions of the shaman are related to semantic space in one sense. In this way the shaman can communicate with the helpers and guardian spirits of the gods for diseases, wander the soul, stealing the soul or conquering it and ask them for help in pact, shamans are also witches, sages and sorcerers.
Like all doctors, he is able to heal ad, like all wizards, he can do extraordinary things. (Eliade, 1382: 129).

Field Findings of the Research
Until about a hundred years ago, before the gathering of the Turkmen tribes, a ceremony fairy readers was held inside the pergola, the mobile residence of the Turkmen tribes. The fire was always lit in the middle of it, and the fairy readers melted his sword or spatulas in it, struck the patient’s feet or body to drive the evil forces or infidel demons out of the patient’s body and soul.
In general, in the ritual of fairy reading sick sword is a symbol of removing or purifying the sick from the forces of evil and impurity. The semantic space and the connection with the spirits can be seen as two continuous stages, just like shamanism in the fairy reading ceremony.
Using musical instruments, performing rhythmic movements and spinning are the most important ways for fairy reading to enter the world of semantic space.
The fairy reading ceremony begins with apart (signer and musician) of Turkmen music playing the strings and singing some pieces of music that is specific to the fairy reading ritual. Perry first begins to shake her shoulders with rhythm and song. Then the rhythm of his movements becomes faster and turns into fast movements of the head and body and jumping.
This instrument immerses the rhythmic movements of the fairy singer in the semantic state of the space, and when this state reaches its speak, sometimes with a rope. Which hangs from the ceiling of the booth or room begins to rotate.
In this case, the somatic space reaches its peak and the fairy redder communicates with the world of Al and ghosts, in other words, he flies. Hunting or traveling in the form of an animal south is another feature of the ritual of fairy reading.
In the ritual f reading the fairy, the ram animal is a symbol in which the fairy singer travels to the world of ghosts and fairies, in other words, mixes with the spirit of the ram animal and goes hunting. Here the ram symbolizes the spirit of the protective spirit of the fairy.
In another stage of the fairy – reading ceremony, the fairy – singer, who is like a ram, pulls her horn and ties the patient’s hand and attacks him like a ram. At this point, Perry juam attacks the room with his head like a ram. He attacks goblins like a ram. According to him, goblins or black goblins attack in the form of ram movements.
Although the fairy does not make himself a ram, he travels and hunts in the form of an animal spirit. In most of the surviving lithographs of shamanism, although images of some animals can be seen, but images of many rams have been found that indicate its importance to shamans.
In Turkmen shamanism beliefs, spirits are divided into two categories, male and female. Female spirits are very powerful and dangerous and cause many ailments and diseases. According to the Turkmens, Al is a female soul, very beautiful and strong, tall and with long hair. Apparently, the male type is considered a benevolent spirit.
In addition to jinn and fairies, fairy readers also communicate with Al. in terms of fairy readers, the genie is a liar. Al does not lie; he tells the truth. The jinn have no sign of themselves but Al has a sign.
This sign is usually placed on the body of a fairy or patient (Nadimi, 1378: 63).

Conclusion
From Peri juan’s point of view, music has two important and special functions for him.
The main function of music, from the fairy reader’s point of view, is to control the forces that harass him. After the shaman stage begins, these pressures continue under normal circumstances and in everyday life to control these forces, the Pari khan go to the Bakhshies and ask the Bakhshies to sing Turkmen music in a friendly a private meeting to relax.
In ancient times, were sung and Khan agars narrated his to rical events. Turkish shamans always treated the sick along with the khanyagars and shamanic ceremonies have probably been accompanied by music performances since ancient times.
In the ritual of fairy reading as a remnant of shamanism, performing music is an important step in entering the world of semantic space fairy reading music brings inner peace to the Pairy, the patient and the audience.
Thus, fairy reading music has two main functions; first, the background of the semantic space and prepares the inner world of the Pairy reader, second, it stimulates the inner feelings of the patient and those present to perform the ceremony, and in general, prepares the space for the performance of the ceremony. 
 

Abstract
Due to the extent of the empire’s territory, the remains of the Achaemenid stone pillars have been registered in different parts of Iran. The remains of this architectural style can be seen in the monumental set of Pasargadae, Persepolis., Naqsh-e Rostam, Lidoma and Tomb-e Bot in Fars Province, the remains of Shush in Khuzestan Province, and stone works of Ecbatana in Hamedan, Rivi Palace in Northern Khorasan Province, and Achaemenid palaces in Borazjan region in Bushehr province. The rock mining of these monuments was recognized as local. However, in Boushehr Province, two ancient mines of Pouzepalangi Rahdar and Tang-e Gir of Borazjan Region have been named. The maximum extraction and application of the crème color stones from the Puze- Palangi mine were registered from the palaces of the Borazjan Region. However, for the geological structure of the black-gray stone of Acamenian palace in Charkhab of Borazjan, samples of this type of stone were extracted from Charkhab palace. These samples were compared with the gray-black samples of the Bardak-e Siah and Sang-e Siah Palaces of Borazjan. With the petrographic studies of thin sections obtained from the palaces and chemical analysis of XRD and XRF, the structural process of the gray-black samples of the Achaemenid palaces of the Borazjan region entered a new stage. The results of the petrography studies indicate that the gray-black stone samples of Charkhab palace corresponded to the sample of Sang-e Siah Palace and Badak-e Siah, considering the microsprite and sprite background, and the few amount micrite as well as the layered structure. Also, the analysis of the analytical samples of XRD and CRF of these stones indicates that the samples of Charkhab Palance and Sang-e Siah are the same. Given that no trace was found in the mining for the gray-black stones in Boushehr Province so far, it can be then claimed that these stones were extracted from a non-local mine. 
Keywords: Borazjan, Charkhab Palace, Bardak-e Siah Palace, Sang-e Siah Palace, Petrography, XRD, XRF.

Introduction
The coasts of the Persian Gulf, especially the ports of Bushehr and Borazjan in the golden age of Elam, i.e., the late 2nd millennium BC, has been one of the important centers of trade and the interface between the sea route of Shush and India. The fertile and tropical areas of Dashtestan were among the areas where the Achaemenid dominated shores and benefited from the proximity to the sea. They provided places for themselves in these areas so that they could spend the winter there. The building of Charkhab Palace in Borazjan is known as the winter palace of Achaemenid Cyrus due to its great similarity with the private palace of Cyrus in Pasargadae.
Research Questions and Hypotheses: The main questions of research are as follows: What is the structure of black-gray stones used in the Achaemenid architecture of Borazjan palaces? What is the structural relationship between black-gray stone in the Achaemenid palaces of Borazjan (Charkhab, Bardak-e Siah and Sang-e Siah)? Based on current studies, what opinion can be expressed about the mines of Borazjan Achaemenid palaces?
Research Method: Petrography and analytical methods of XRF and XRF were used to the geological structure of the gray-black stones of the stone pillars of Charkhab Palace in Borazjan. In the meantime, using the research method thin-walled structure to observe the minerals and adopting the samples were done with the OLYMPUS BX51 polarizing light transmission microscope, made in Japan, with the capability of filtering light in the XPL mode of the analyzer and emitting polarized light. XRD experiments to identify and detect the crystalline phases forming in the study samples and qualitative and semi-quantitative determination of crystals by powder method (with Cu) target radiation lamp with a maximum potential difference of 40 KV and maximum current intensity of 30 mA, fixed sample and Needle detector) was performed on three samples of historical palace stones in Bim Gostar Taban laboratory in Tehran. The results were analyzed by High Score Plus software. XRF experiments were performed to identify and quantify the constituent elements of study samples of Achaemenid palaces by powder method and with the model device: PW1410 Manufactured by PHILIPS Netherlands in Bim Gostar Taban laboratory in Tehran on the same three samples.

Research Background 
Borazjan city is located 67 km from Bushehr and 226 km from Shiraz. Due to the discovery of a piece of a stone pillar base when digging a water canal in Borazjan in 9171, the General Directorate of Archaeological Research of Iran assigned Dr. Ali Akbar Sarfaraz to explore the site in which this work was discovered.  Dr.Ali Akbar Sarafraz was the head of the Iranian Archaeological Board in Bishapour at that time. Therefore, archeological operations began in this ancient area, and at the end of the one season of the excavation, the main form and structure of the columned hall were manifested. In a study entitled “Spatial analysis of the Achaemenid palaces in Borazjan” the appearance, location, and objects obtained from these sites have been discussed.

Petrography Results 
The gray-black stone of all three Achaemenid palaces of Charkhab (CH1, CH2, and CH3), Bardak-e Siah (BS1), and Sang-e Siag of Borazjan (SS1) are calcareous and boiled in contact with 0.1 normal hydrochloric acids. These carbonate rocks have a microsparite texture to sparite, and are micrite to a small amount, and have few quartz grains.

XRD Analysis of Gray-Black Stone Samples of Achaemenid Palaces in Borazjan Region 
The spectrum of gray-black stones of the Achaemenid palaces of the Borazjan region, which includes the samples of Charkhab Borazjan (CH3), Bardak-e-Siah (BS1), and Sang-e-Siah (SS1), the matching of the spectra of the same limestone is observed. However, based on the peak intensity of calcite in the samples of Charkhab Palace (CH3) and Sang-e Siah (SS1), which shows 11000, are placed in one group. Also, the sample (BS1) with a peak intensity of calcite over 14000 is observed separated from the group.

XRF Analysis 
In the analysis of the black-grey stones of the Achaemenid palaces, the sample of grey-black stones of palaces has been compared as only the samples of palaces are available. Also, the possible mine of the black-grey stones has not been reported in Boushher Province so far. Accordingly, the oxide of the main elements, such as SiO2, CaO, P2O5, TiO2, and MgO, represents particular values in the table. These values are approximately close to each other in the sample of the grey-black stones of the Achaemenid palaces. Therefore, they are considered an appropriate indicator of similarity. Graphs of oxide values of SiO2, P2O5, TiO2, CaO, and MgO of the samples are consistent. Also, the accordance of the oxide values of the mentioned elements, the values of the secondary elements (in terms of ppm) of the gray-black stones of Charkhab (CH3), Bardak-e Siah (BS1), and Sang-e Siah (SS1) rocks are observed.

Analysis and Discussion  
Using the laboratory and scientific methods and comparing the results of this paper with the results of the papers on Pasargadae and Persepolis, the relationship between the sources of extraction of gray-black stones of the complex of Achaemenid monuments in Borazjan Region of the Fars province mines, Majdabad mountain mine in particular, around the Perspolis and Sarpaniran and Ahmadbegi Mines in Pasargadae is rejected. The presence of several large pieces carved from this type of stone in the east of the Achaemenid palace of Charkhab Borazjan confirms that Charkhab palace was in the process of construction. However, these stones which have been left on the ground two hundred meters east of the palace, are reasons for the existence of a stone-cutting workshop of Charkhab palace or another building that has not been excavated yet.

Conclusion 
Studies on the gray-black rocks of Achaemenid palaces show that mining traces or mine exposure of this kind of stone have not been seen or reported in the region. Therefore, it seems that these mines were not local, and the stones were supplied from other sources. Also, the hypothesis based on that the grey-black stone mines might have been local depends on the more extensive field studies in the future.

Abstract
The ancient site of Natel is located in the village of Natel Kenar-e Olia, a district of the city of Nour, which is 6 kilometers southwest of this city in the west of Mazandaran province. According to historical written sources, this city was considered as one of the important cities in Tabaristan during the Abbasid period and had a military garrison. Due to the importance of this historical site, in addition to archaeological surveys, three excavations have been carried out in this site so far in 2008, 2010, and 2016 under the supervision of Abdolreza Mohajerinejad. The present study focuses on some pottery findings of the first and second seasons of these excavations, during which 2166 pieces of glazed and non-glazed pottery were obtained among other findings. Chronology of the aforementioned samples and consequently more detailed and precise knowledge of the settlement periods, better and greater recognition of the pottery of this site, in particular, and pottery of the Islamic period in the southern margin of the Mazandaran Sea, in general, awareness of the similarity and differences of the pottery obtained from this site with the major pottery centers of the Islamic era required a thorough and in-depth study of these samples in the form of classification, typology, and a typological comparison that was carried out in this research. The results of this study show that most of the studied samples belong to the early (3 and 4 AH) and mid-Islamic (5 and 9 AH) centuries, while the samples of the Ilkhanid and Timurid period in this collection are much lower in number than those of the previous centuries. Also, the results of statistical studies on pottery of the historical town of Natel indicate that these pottery wares have relatively good production quality and strength, but they have a lower level in terms of manufacturing technique and diversity of motifs. 
Keywords: Natel, Islamic Pottery, Classification, Typology, Typological Comparison.

Introduction
The ancient site of Natel is located in the village of Natel Kenar-e Olia, a district of the city of Nour, which is 6 kilometers southwest of this city in the west of Mazandaran province. Given the importance of this site in the Islamic period of Iran, especially the southern margin of the Mazandaran Sea, the first scientific studies to identify and determine the location of this town were carried out by Abdolreza Mohajerinejad in 2006 during a season of a survey (Mohajerinejad et al., 2017: 247) and then these studies were continued under his supervision during three seasons of excavation in 2008, 2010, 2016 (Mohajerinejad, 2008; ibid, 2010; ibid, 2016). During the first and second seasons of the excavation, along with other findings, 2166 pieces of pottery were discovered which were provided to the authors for further investigations. Therefore, during the classification and typology stages, 235 indicative pottery types were selected and excluded from the collection. To advance the research, the authors selected and studied 50 pieces from among the indicative samples selected from among the collection based on the non-repetitive variable. Due to the diversity and multiplicity of the pottery types and for better identification of the pottery of this site in particular and the pottery of the southern coastal areas of the Mazandaran Sea in general, the similarity and differences of pottery obtained from this site with those of the major pottery centers of the Islamic era, and also to gain more accurate knowledge of the settlement periods of the site, it was necessary to study the pottery samples very carefully. Accordingly, the present study seeks to answer the research questions through recording, registering, classifying, typology, and typological comparison of these pottery collections (2149 fragments belonged to the first season and 67 fragments belonged to the second season). The most important questions this research seeks to answer through scientific and systematic studies are: 1: to which period or periods do the pottery samples discovered in the historic town of Natel belong? 2: how is the status of the pottery samples discovered from the historic town of Natel, in terms of production quality and decorations compared to the major pottery centers of Iran during the Islamic era? In answer to the first question, it should be noted that the pottery discovered from the first and second seasons of excavation in the Natel historical site belongs to a time period extending from the early Islamic centuries to the Timurid era. And the answer to the second question is as follows: the production quality of the Natel pottery as well as the decorative quality of Sgraffito pottery are similar to those of the major Iranian pottery centers, but other pottery samples obtained from Natel are in a lower level in terms of their decorative quality, especially in color painting. 

A Summary of the Paper
Initially, the samples were classified according to two variables, i.e. their coating type and being simple or painted, which are divided into four groups: non-glazed simple pottery, non-glazed painted pottery, glazed simple pottery, and glazed painted pottery. Then, at the typology stage within the classification framework, each group of pottery was classified into several types and sub-types according to one or more variables. The investigations were carried out with great sensitivity and accuracy and finally, this resulted in the typology of the pottery in the form of 45 types and sub-types. Statistical studies on the ceramics of this collection indicated that the glazed simple pottery was the most frequent type among all the groups with a frequency of 46.53%. Overall, these ceramics have relatively good production quality and strength, but the glazed painted ceramics are at a lower level in terms of production technique and variety of motifs. The non-glazed painted pottery pieces in this collection have geometric motifs and the dominant motif type in this group is ripple motif in terms of motif design variable. At the typological comparison stage of classification which has been carried out according to the classification and typology of pottery collection, it was attempted to compare a large number of fragments with pottery found in Islamic sites. Therefore, in addition to reviewing various reports of excavations carried out in Islamic sites (generally, the northern sites of the country are considered), we have carefully studied the authentic sources of Islamic pottery prepared and organized by the efforts of foreign and domestic scholars and accordingly the pottery types, which were compared with similar example or examples, were dated and the comparisons are presented in the form of tables in the main text of the paper. From among the regions or sites whose ceramics are comparable to those of the Islamic period of Natel, Bamiyan, Nishabur, Jorjan, Poinak castle of Varamin, Imam Zadeh Ali Lafourak in Savadkouh, Sarqala of Lavasan, Sheikh Safieddin Ardebil’s tomb, Sistan, Golkhandan fortress, Kaseh al-Mout, Gaskar site of Gilan, Haft Daghnan of Gilan, northwest of Iran, Osbou Kola Lofer, and Jahan Nama site can be mentioned. 

Conclusion 
According to the contents of the present study as well as the classification, typology, and typological comparison of the pottery discovered from the historic town of Natel, it can be stated that there are a total of 45 different ceramic types and subtypes in this collection. The results of typological comparisons of the pottery of the Islamic period of Natel showed this collection had the highest rate of similarity and relationship with the pottery obtained from the sites of the Islamic period in the north of the country; this cultural and artistic similarity supports the existence of a wide cultural and connection network between Natel and its neighboring regions and indicates the production and expansion of formal and standard pottery types during different Islamic times that were produced in specific centers and exported to other regions. Their production techniques were imitated in local workshops with a lower quality. In general, the results of this study suggest that most of the studied samples belong to the early (3 and 4 AH) and mid-Islamic (5 and 9 AH) centuries. The results of the statistical studies on the pottery of Natel also indicate that these pottery findings have a relatively good production quality, but they are at a lower level in terms of production technique and diversity of motifs.  

Abstract
The study of human remains derived from burial and non-burial contexts is one of the subcategories of Archaeometry. According to these studies, archaeological researchers, with the help of physiologists, have quantitative and quantitative aspects of the remnants of past humans, including age, Sex and the use of medical tests, especially pathology, diseases and causes of death. The topic of interdisciplinary studies in the Khorasan area, due to the lack of material evidence until the present decade, lacked any research, although the importance of Khorasan has always been mentioned in this cycle. In the last decade, according to the approach of researchers in this field, the subject of quantitative studies has flourished. In this regard, the human remains of three burials belonging to the late bronze age from the Shahrak-e-Firouzeh site were used to determine the age and gender of the samples, as well as to identify the ethnic race in the study of physical anthropology. In this research, human skeletons of the Shahrak-e-Firouzeh site were first cleaned up. Finally, with the participation of the Medical Society of Isfahan, the determination of age, gender and race was performed on the basis of morphology and anthropology. Then extracted DNA was isolated and dental samples were taken. The results of physical anthropology studies on the samples indicated that, the samples studied belong to the population of Shahrak-e-Firouzeh site, which is of age in both adolescents and adults (2 adolescents and 1 adult) and sexually belonging to two male and female groups. Men and women). In relation to the mortality rate and demographic average of the Shahrak-e-Firouzeh community, due to the low volume of samples, it cannot be clearly summoned, but according to the current samples and the number of burials, it shows the high rate of low-mortality in the Shahrak-e-Firouzeh Site. 
Keywords: Shahrak-e-Firouzeh, Age, Gender, Bronze Age, Environmental Damage.

Introduction
The study of human remains from burial and non-burial contexts can be considered in the following subcategories of Archaeometry. For these studies, archaeological researchers, with the help of the physiologists, have quantitative and quantitative aspects of the remnants of past humans, including Age, gender, and using medical tests, diseases and causes of death. The present study is one of the interdisciplinary studies in the field of physical and genetic anthropology in the cultural field of Khorasan. After the accidental discovery of the Shahrak-e-Firouzeh site during construction, in 2009, the first excavation season on this site was run by Hassan Basafa, and so far, four archaeological excavations have been conducted on this site. The ancient site of the Shahrak-e-Firouzeh in the northwest of Neyshabur with 36 ° 12 ‘longitude and 58 ° 47’ longitude, is located in the Firoozeh construction site on the eastern side of the river Farub Ruman. Among the cultural materials discovered on this ancient site (third and fourth seasons) are human burial remains buried in the Late Bronze Age. What this research seeks to answer is determining the age and gender, as well as the impact of the environment on the mortality rate of the Shahrak-e-Firouzeh community on the small scale, as well as the impact of post-sediment processes on samples.
The present study was conducted in two ways: library studies and laboratory studies in a descriptive and analytical manner and using the approaches of physical anthropology. In the style of library studies, information on the history of research on human remains has been gathered, and in analyzes and adoption of study methods. Also, in the section on human anthropometric studies, based on the evidence on the teeth, the suture on the skull, the size and texture of the femur bones, pelvic size and other evidence, it has been attempted that the age group, gender group, Skeleton height, samples of the campus Shahrak-e-Firouzeh site are evaluated. It should be noted that tests on the determination of age and gender on skeletal specimens have been carried out under the supervision of specialists in Isfahan Medical Sciences. Based on physical anthropology studies, the results are divided into two groups of adolescents and adults in terms of age and gender in both males and females, and also indicates the high mortality rate at the young age of the Shahrak-e-Firouzeh community, which can be The most important factors are the unsuitable environment conditions due to the impact of the hydrological effects of the river along the settlement.  

Identified Traces
The study samples of this study include two skulls and a complete skeleton in this section to examine how to determine the age and gender of these remnants. The first one, a skull is roughly average. The thickness of the existing bones, the shape of the lower jaw, the posterior bumps, the rigid bone tissue, the maximum length, width and height of the skull, as well as the shape of the forehead of the sample is steep, which according to these characteristics is the first example of a man’s skull. Considering the formation of the teeth type, especially the third molar, considering the low erosion of the crown of the teeth and the presence of enamel of the teeth, as well as the qualitative aspects of the skull joints, in particular the closure of the crown part of the seam which is characteristic of individuals 25 years and the closure of the section of the seam At the age of 35, the age of this sample can be determined between the ages of 25 and 34. 
The second specimen is a relatively small, medium-sized cranium found in a gravel gorge. The fineness of the skull bones, the shape of the lower jaw, the nasal blade, Peshafi’s flatness, the smooth tissue of the bones, the maximum length, the delicacy of the cavity bumps, the width and height of the skull, as well as the form of the forehead of the sample, directly and without the prominence of the cavity above, Paying attention to these features is the second example of a woman’s skull. Finally, by examining bone tissue, skull volume, elegance, flattening of the skull structure, non-prominence in the post-serous bone, ear hole, root canal examination, and the time of their formation, the last tooth formed in the jaws of the sample, which is the second lower molar, as well Maximum length, width, face width, forehead bone, can be attributed to a teenage girl between the ages of 11 and 16. The third example is the complete human skeleton that is obtained from burial with a hole structure. Examining the height index of the sample, as well as the fineness of the ribs, the destruction of the toes and the hand of the skeleton, as well as the failure to weld the joints of the hip, the age-specific sample belongs to a teenager of 11 to 16, but due to the lack of sufficient evidence for gender identification In this sample, the sex group has not been identified.

Conclusion
As mentioned in the text, the establishment of the Shahrak-e-Firouzeh Site is one-period site belonging to the final phase of the Bronze Age (2100 to 1500 BC), located next to one of the important rivers of Neyshabur Plain, called Farub Ruman, which originates from the Binalud Mountains. The gradual continuation of the accumulation of flood and alluvial layers over several years or decades on the surface of this establishment caused excessive moisture to penetrate the ancient bedding of the studied samples, as well as washing the surface of the surrounding area by flooding, also solving the harmful mineral elements, including salt It is found in Neyshabur Plains and other harmful mineral salts with alluvial layers, which caused the greatest damage after the sedimentation process on the studied specimens. In addition to high humidity, which causes the decay and degradation of most parts of the bone samples studied, the heavy flood layers on the substrate also cause compression of the anterior substrate and fracture of different bone sections. According to physiological anthropological studies, the samples belong to people from the Shahrak-e-Firouzeh community, which are of age in both adolescents and adults (2 adolescents and 1 adult) and sexually belonging to two male and female groups (men and women).

Abstract
Due to its geology, topography and climate, the land of Iran is rough and unstable. Therefore, the historical monuments located on it are always loading and unstable conditions and therefore need continuous maintenance in a scientific and experimental way. Documenting or reading historical monuments is the most important part of studying antiquities, through which the data and information contained in these monuments can be accessed and using the collected data to understand the knowledge hidden in the engineering of this building. Lack of correct knowledge of the works and insufficient attention to the details and laws hidden in the historical works, leads to incorrect analysis and as a result wrong reading of the work. Which leads to misguidance in policies facing the preservation of monuments and as a result damage to cultural and historical heritage.
This article tries to analyze three incorrect readings of three famous historical works. The method of analysis in this paper is the use of analytical engineering and detailed analysis of the parameters of the effect and how to relate to them, which shows how a system was created and how it worked. And through this, it is concluded that a misreading of a historical collection leads to a misunderstanding of the function of that work, which can lead to errors in dealing with and preserving the work. The studied works include Pasargad site, Bostan arch complex and Biston complex. Each of these three historical sites contains elements for which scientists and archaeologists have defined the subject and application so far. Therefore, in this article, citing structural analyzes and causal relationships, it has been proven that the reading of these scientists is wrong and an attempt has been made to open a new perspective and path for exploring and recognizing these works.
Keywords: Totalitarianism and Analytical Engineering, Psargad, Taqbostan, Bistoon.

Introduction
Due to its location on the earth’s crust, the land of Iran has taken on special geological conditions such as youth and permanent activity of the earth’s crust. On the other hand, due to the local materials used in antiquity, most monuments are very heavy. Therefore, protection and nursing of a wide range of buildings that are in different conditions should be based on science and correct knowledge of the principles of structure, architecture and engineering in general. In order to achieve this goal, the correct processes must be mapped in advance.
If we want to pursue engineering reading or engineering documentation, which is the first and most important thing in identifying ancient science, we must have a correct understanding of engineering and its rules, including design and calculation.
Pathology and anthropology determine antiquity policies. This concept refers to the reading of antiquities. Therefore, in the proposed process for correct reading of antiquities, it is drawn on the basis that in the first step, we know what we should study and how to analyze it. So, the basic principles are based on two questions. “What?” and how?” In the following, these two concepts will be explained.
According to the principles of construction, according to the author, each monument can be divided into three basic parts. These include structural engineering, architecture and interior architecture. In each of these sections, pathology is examined and, in this regard, the mechanical properties of materials, load-bearing capacity, ductility and durability of materials are discussed.
The second step is how to analyze what we have found. Depending on the tools and advanced facilities, three types of engineering can be named. These include translation engineering, code engineering and analytical engineering

Discussion
Considering the concepts and scientific principles expressed in the concept of analytical engineering and the idea of a holistic view of antiquities, in the following, inaccurate readings and analyzes of the three prominent historical works in Iran are examined.
According to the hypothesis put forward in the book Pasargad, a number of grooves with holes in their path are referred to as waterways. And based on this hypothesis, it has been stated that the Pasargadae area was a royal garden. Based on the available evidence and considering the materials used in the floor of the canals and the distance between the cavities, which were the so-called comfort ponds, it can be concluded that these canals were in fact a stone foundation that the wall They were insulated with black stone from wood or white stone used on the walls
In Bostan arch, one can look for a missing link in it by examining various factors such as mountains, faults, headwaters, very wide and flat plains that are very prone to agriculture and green gardens, and then by examining the evidence and Evidence found that this area was a water reservoir. Therefore, the theory of the existence of a hunting ground can be criticized and it can be stated about the mentioned volume that there was no place for a hunting ground in the center of agriculture and dense gardens. On the other hand, there is no evidence that this area is a hunting ground. It seems that the only documents presented in this regard are the carvings done on the walls of the Bostan arch, which cannot be a proof of being a hunting ground in the same area.
Farhad Tarash inscription is located next to Kermanshah road and the shape of the stone is cut or blocked and attention to the integrity of the stone and its homogeneity and compaction according to the height of the mountain above it indicates the high quality of building stone and its value.

Conclusion
Documenting, finding knowledge, engineering and awareness in historical monuments. A historical monument cannot be considered as a rigid physics, but a historical monument is a function of time and has a current nature. Documenting a historical work should not be limited to data collection, but information should be created with the text and, more importantly, using the basic sciences, the knowledge contained in it and then its hidden engineering should be clarified. Through this process, which is briefly determined by macroscopy and in other words, the virtual (mathematical) definition of the design), the design and effect are dynamic.
It is analytical engineering that creates the possibility of totalitarianism and totalitarianism, and in this struggle, while identifying the elements, the relations of all human beings are also clarified. Therefore, in addition to eye vision (eye recognition), archeology must also have in-depth identification by another group. To determine the effect in terms of analytical engineering using analytical totalitarianism.
The correspondence between macroscopy and the reality of physics is of great importance. In other words, the macroscopic preparation and knowledge of each correlated set requires, quantitatively, analytical modeling. In modeling, each physical component is simulated with its mathematical equivalent.

Abstract
Cylinder seals usually were used on clay objects, especially tablets, as a symbol of individual’s identity and administrative centers of the ancient East. While, rare potteries sealed by cylinder seal are a new case for archaeologists. Based on the small number of sealed pottery fragments found, archaeologists are dealing with several main questions: Why cylinder seals used on pot-tery? What is the usage of sealed pottery? And whether it is possible to provide an exact chro-nology for these potteries? A sealed pottery fragment from the site of Qal’eh Asrār in South Khorāsān is an example which is also our subject matter in this present study. The area of Qal’eh Asrār is located 1800 meters southeast of Barandood village and 800 meters northwest of Zarbarandood village of Ghohestān section of Darmiān city. This area is currently located on top of a natural hill at a height of about 200 meters above ground level. Analysis of potteries found on the surface of site shows that the occupation of it belongs to Late Iron Age and Achaemenid period, although there are also small numbers of pottery belonging to the late Is-lamic centuries. In this paper we try to study a fragment of a sealed pottery found from surface of site. Firstly, we deal with the issue of sealed pottery with regard to the context and the prob-lems and challenges of its study, then we try to analyze sample pottery of the Qal’eh Asrār in terms of typology, style and its legend. This study shows that the sealed pottery of Qal’eh Asrār is locally produced and its legend is a local style with the common motifs of first half of the first millennium BC. As this site is probably a garrison, this container could be used for bearing commodities to the construction.
Keywords: Qal’eh Asrār, Sealed Pottery, Iron Age, Achaemenid period, Local Style.

Introduction
In ancient near East, the stamp and cylinder seals have been used on diverse clay objects such as bullae and tablets to sealed administrative documents, but use of seals on pottery is rare. Since 3rd millennium B.C Fragments of sealed pottery have been found in sites from north Iraq and Syria (Collon, 1987: 13; Oates, 2001), Levant (Amiet, 1975: 425-426), west and south western of Iran (Caldwell, 1976), Shahr-e Sukhta in south east of Iran (Baghestani, 1997: 34- 43; Hakemi & Sajjadi, 1989: 145) and central Asia (Sariandi, 1986; Heibert, 1994a). Several fragments back to the Iron Age I and II were found from Bahrain in Persian Gulf (Olijdam, 2008) and Central Plateau of Iran in Tepe Sialk (Malekshahmirzadi 1381: 25) and Gholi Dar-vish in Qom (Sarlak 1386: 193- 194). Most of these sealed potteries are small fragments that have been found mainly as single fragment on the surface of sites. A small number, such as the Gonur Depe fragment in Turkmenistan (Sariandi, 1986: fig.123) or the Tell Brak in Syria (Oates, 1985: 257), have been found from archaeological excavation. 
In archaeological survey of Qal’eh Asrār in South Khorasan, Iran, one fragment of sealed pot-tery with a cylinder seal impression was found in archaeological survey. There are several questions raised here. Is it possible to provide an accurate chronology for the sealed pottery of Qal’eh Asrār? Why the pottery sealed, specifically with cylinder seal? Are these sealed pottery have an administrative function and were used as a kind of administrative-economic object or tool? Or here seals just used as decoration? In this paper, which is a descriptive-comparative and analytical approach, firstly we examine the challenges related to chronology and recogniz-ing the function of sealed potteries in archaeological studies, then we focus on study Qal’eh Asrār fragment and its seal impression.

Chronology and Usage of Sealed Pottery
Archaeologists have two different approaches for chronology of sealed potteries. If these frag-ments are found from excavation, they propose site stratigraphy to date it. But, most of the sealed pottery has been found on surface of sites, so dating will be complicated. In fact, archae-ologists use two methods to date sealed potteries, such as Qal’eh Asrār case; they propose the chronology based on typology of pottery or the style and image of seal impression. 
Function of sealed pottery is under debate too; there is no consensus on why sealed potteries are made and how it has been used. In general, the proposed suggestions can be divided into three groups, although, there are many doubts about each of these three views. 
1- The image of seal on pottery was for decoration.
2- The seals are the sign or signature of the potters who identifies the ownership and identity of his handicrafts.
3- Sealed pottery has an administrative function and has been used for storing or moving com-modities.
The style and image of the cylinder seal impression of Qal’eh Asrār sealed pottery
The image of Qal’eh Asrār seal does not show a unified theme and its upper part is broken. In part of the image a human is standing, bending one hand from the elbow and holding a cane, his other hand is not clear, it had stretched body with broad shoulders and arms, the proportion be-tween the upper body and the legs is not observed and the upper body is taller than the legs. It seems he have a dagger in his waist. On both sides of the human image are two birds. On the left side is design of the quadruped (donkey?) and in front of it is a horse, both are upside down. Of course, the horse’s head is broken. Between the two images are a small bird at the top and probably a sitting human at the bottom. The style of Qal’eh Asrār seal is a local style which focusing on the outer lines, not paying attention to the details. 

Conclusion
Studies on sealed potteries in diverse sites, despite different time and cultural periods, shows the following common features can be observed:
1- All fragments of sealed pottery are locally produced.
2- The seals that are used on these potteries also have a local and indigenous style, and this in-dicates the locality of their production.
3- Sealed pottery fragments indicate they should mainly belong to medium and large jars.
 4- In most of fragments seal was mainly used at the area between the neck and body of the ware. 
Given the common features mentioned, it can be argued that these potteries had an administra-tive aspect. However, they used locally which both the pottery type and the seal originate from the local culture of the same region, and there are no examples that show their displacements or dispersion in a wider cultural context.
A comparative study of Qal’eh Asrār sealed pottery shows that this pottery is locally produced and cylinder seal used on it also has local style of the 1st millennium B.C. Due to pottery type and the presence of architectural remains, this area is suggested to be a garrison to protect the road in the late Iron Age - early Achaemenid period, and the style and image of the seal on the pottery also confirms the proposed chronology. 

Abstract
The northeast Iran has been the context of some of the most important events of the Parthian Period, in a way that one can restrict the geography of the Parthians to Pathawa and Hyrcania until before gradual expansion of the territory during Mehrdad the First (138-171 BC).One of the least-known aspects of the Parthian in the northeast region is the potteries assemblages. Pottery is the most abundant of the archaeological finds and is the most important one to understand the cultural specifics of the historical periods. The Parthian pottery is not the same throughout the whole empire and it can be grouped into several categories based on geographic regions. The pottery assemblage under study in this paper, collected from two seasons of excavations at ShahrTappeh in Dargaz, represents part of the Parthian pottery corpus of the northeast region. In current research, the pottery aasemblage of ShahrTappeh has been studied from the typological perspective and it has been tried to put forward specifics of the pottery of Parthian period of the northeast region by comparative studies of the similar assemblages.The most frequent forms amongst the pottery assemblage of ShahrTappeh are jar, pithos, handled jar, pot, caldron, trough, bowl and cup. These forms, which are seen from the early to late phase of the Parthian period, are comparable with specimens from Marv, Nisa, Qumes, Chasada, Shamshir Ghar, Ai Khanom, HasaniMahale, Tol Espid, Tappeh Yahya, Bardsir cemetery, Gowri Kohneh, Nadali, south of Baluchestan, Khorheh, Sang-e Shir cemetery, QalehEzhdahak and Bisotun. In addition, finding of some kiln waste in the second season of excavation at ShahrTappeh suggest that this site was a center for pottery production in the northeast during the Parthian period. Lack of glazed ware, rarity of the painted ware and the prevalence of the plain ware are the most characteristics of the ShahrTappeh pottery assemblage. The latter was used as common ordinary ware during the Parthian period and based on comparative studies they were parts of the pottery tradition of the Parthians. 
Keywords: The Northeast Region of Iran, Dargaz, ShahrTappeh, Pottery, Parthian Period.

Introduction
The site of ShahrTappeh is located near the town of Chapeshlow in the northeast Iran. From several aspects this site has important in archaeology of the Parthian Period: with more than 70 ha, the site of ShahrTappeh is one of the largest sites of this period in the northeast Iran; 2. The site is just 100 km, as crow flies, from the first capital of the Parthians; 3. Archaeological data, including fortifications, acropolis, sharestan (lower town), industrial quarter and cultural materials recovered from the excavations comparable with those from Nisa, suggest that the site was a city in the Parthian period; 4. Based on materials recovered from the surface and excavations, ShahrTappeh was a single-period site of the Parthian period in the northeast region. These items suggest that ShahrTappeh was one of the most important Parthian centers of the northeast region. Regarding the importance of the site of ShahrTappeh in the northeast region we try in this paper to discuss the main pottery characteristics of the site to some extent. In this line, first we have studied the pottery forms of the site and then we have chosen 89 sherd fragments and whole vessels for in-depth studies. We have tried to choose the pottery sample so that it is the representative of the whole assemblage. In the following the pottery assemblage has been divided into two classes: open forms and closed forms, and then each class has been discussed. Finally, we tried to discuss, in a separate part, the common features of the Parthian pottery of the region from this study and at the end we propose a pattern for identification and characterization of the Parthian pottery in the northeast region. 

Typology and General Characteristics of the Study Sample
From the pottery collection recovered from two seasons of excavations at ShahrTappeh, 89 pottery fragments and whole vessels were chosen for study here. At the first stage, these potteries are divided into two classes: open forms and closed forms. The closed forms of the ShahrTappeh assemblage include necked jars and simple jars, pithoi, stoups, caldrons, troughs, a vessel type known as Misagh and base fragments of the vessels. The open forms include bowls and cups. Without considering the various types of forms, the ware has some general characteristics. The pottery collection under study is all plain. No glazed ware is found in ShahrTappeh yet. Some of the sherds have incised, applique or burnished decorations. The sherds usually have mean thickness, but both thick and thin variants are also seen. The color paste covers a spectrum: buff, light orange, orange, red and gray. The color of slip ranges from buff, light buff, dark buff, greenish buff, orange buff, reddish buff, buff orange, light orange, dark orange, reddish orange, red, greenish red, buff brown, gray to greenish gray. All samples are wheel made and the temper agent used is mineral, including sand, silt and white particles. The kiln temperature was enough and all sherds were exposed to proper heat. 

Conclusion
With more than 70 ha in area, ShahrTappeh is one the largest Parthian sites of the northeast region. The important point about this site is that it is a single-period site and discussing about its finds can be pursued from this perspective. One of the most important finds of ShahrTappeh is pottery. Except typological and technical grounds, the Parthian potteries of ShahrTappeh can be assessed from the viewpoints of chronology, comparable specimens, imported potteries and local production. The potteries assemblage of ShahrTappeh is datable to the early to late Parthian period. This conclusion is based on comparative grounds. On this basis, the ShahrTappeh specimens are comparable with those of eastern Parthian Empire. The early Parthian potteries of the site are comparable with those of Nisa, Marv and Qumes. Some of the specimens are comparable with pottery from Charseda, Shamshir Ghar and Ai Khanomwhich are categorized in the Seleucid-Parthian context. Although the site established in the early Parthian period, it lasted to the end of the era. Among the potteries assemblage of ShahrTappeh there are specimens that are comparable with those from Tol Spid, Tappeh Yahya, Bardsir cemetery, Gowri Kohneh, Nadali, south of Baluchestan, Khorheh, Sang-e Shir cemetery, QalehEzhdahak and Bisotun. The pottery types of ShahrTappeh can be assessed from the import and local production viewpoints. Amongst the potteries of ShahrTappeh a burnished vessel dated to the 1st to 3rd centuries AD has been found. Existence of this specimen indicates the importation of such vessels from the southeast region to the northeast region including ShahrTappeh. On the other hand, discovery of large amounts of kiln waste suggest that the site was a manufacturing center for pottery vessels. It should be noted that as no deformed specimens were found, we cannot make comments about the local variants. In general, potteries of ShahrTappeh which are comparable with assemblages from the eastern Iran can be dated from the early to the late Parthian period. These pottery types that in which imported specimens and local production can be seen, are representatives of some of the Parthian pottery types of the northeast region. 

Abstract
Since the formation of the Silk Road, the route has been the main route between East and West Asia. With the beginning of the age of colonialism, the process of globalization began and so direction-function of communication evolved greatly, which reached its peak in the nineteenth century and the close relationship of Iran-Japan became possible. the question of the present article is which areas or ports of Japan and Iran in the nineteenth century were used foreign trade, did the designated areas had a history and what factors affected trade. answer is that the products of the Sassanid and Safavid types reflect the political position of Japan and the trade role of other nations rather than a demonstration of the Iran-Japan relationship but in 19th century because of Imperialist pressure and needs of global trade this drastically changed .A historic review of this relationship reveals areas in Japan that were the main centers of state trade, such as the ports of Osaka and Kobe to Kyoto and Nara plains, the port of Nagasaki, and the ports of Kanagawa Bay specially Yokohama, which all of them played a similar & synchronized role in the 19th century to make trade possible from the ports of Bushehr, Lenge and Abbasi in Iran and even because of Opium trade it expanded to Taipei too. So before nineteenth century the trade in question was always influenced by the culture of closeness in Japan, but in the new era due to the pressure of imperialism and the trend of modernism gates were opened and strategic goods such as Opium exported from Iran to Imperial Japan. In order to achieve the above, artifacts and written sources along with the analysis of geographical data by using a socio-historical approach have been used.
Keywords: Japan, Iran, Globalization, Qajar Era, Meiji Era.

Introduction
Since earliest times humans had trade relations to each other and so created trade routes which by developing and increasing of social complexity these routes became longer and connect more and larger societies, one of ancient and maybe first truly international routes known as Silk Road and so colonial powers (such as at first Dutch & USA) same naval routes. In result western countries connected Iran to Japan & those two as a process of modernization opened their doors to globe and started their embassies. our question is which areas/ports of Japan and Iran in the nineteenth century were used for trade with each other, did the designated areas had a history and what factors affected trade relations. Hypothesis is the same marine areas of Japan, Omura, Osaka & Kanagawa bays along different eras, Same with Bandar Abbas and Bushehr in Iran. Answering to this non-studied socio-historical title matter is very important. plus at least in Iran, because of social situation study of Qajar period always been hard and easily can effected by non-academic believes.

Main
Japan is an archipelago at the east end of Asia which as Nihongi say, made of eight main islands. Such geographic setting makes a special cultural which before anything is barred from outside and there is a self-aware hierarchy which despite shatter nature of geography, make centralize system possible. because of this cultural, Japan closed its borders to foreign relation many times such as in Heian, Kamakura and Edo periods. so despite creation of Silk Road in 119B.C Japan did not benefit it until Jingu invasion of Korea in 3th century, exactly when Sassanid artifacts alongside Korean ones found northern Kyushu & central Honshu. which most of them made in Korea not Iran. The only sources in advent of Islam are Geographer’s mention of Japan as Vaq. In early Colonial era everything changed when Portuguese and Dutch traders came to Safavid Iran and Japan at war. We do know Safavid cloth, salt, rug and even maybe marble exported to Japan by all of it foreign traders to Nagasaki and Osaka ports. By beginning of Sakoku or closed door policy of Edo period almost everything came back to first step. In 19C because of economic pressure of modernization Iran began it global trade, at first by silk and then Opium which make Iran close to eastern Asia and particularly Qing China. At the same time, Japan ended Sakoku and enters Meiji era so by the will of Nasereddin shah two countries began their relation which strengthen by Japanese conquest of Taiwan, where most of Iranian opium exported from ports of southern Iran like Bushehr and it follows by oil and Japanese exports from main ports like Yokohama and Osaka which were used during history because of their fine geography that make grow and trade easier.

Conclusion
With establishment of the Silk Road a great opportunity created for meeting of both civilizations of Japan & Iran but China & specially Korea had their monopoly in trade & relation. So least of acknowledgment and indirect relation was possible for Japan and Iran. In fact, the artifacts are more show of Japanese power & prestige than it economics. Another reason was closeness in Japanese cultural. In early colonial era were another lords of monopoly in foreign trade at least for Japan. Despite these trade happened in the same route and trade areas through history until 19C which because of Imperialist pressures new order began and so both countries began their globalization process and so for the first time direct political, cultural and economic relations were possible. The area of Omura bay and mainly Nagasaki alongside of northern parts of Kyushu to the Shimonoseki since early centuries of AD was main place for trade, the reason other than great gulfs is it nearness to main body of Asia. eastern Osaka area (or Osaka and Kobe) is a great place for establishment of a megapolis trade port and always was in use because of its route to Kyoto and other ancient capitals. We can see the same situation for Bushehr which is very close to Shiraz and other places of power to Tehran. But Kanagawa and Hormozgan areas have way better situation for making cities and ports specially their situation is more attractive for foreign traders. Because of that by modernization those ports roused immensely. Another port which grow because of 19C modernization is Taipei which used for importation of Iranian goods and have physical geography as good as Nagasaki.

Abstract
One of the most critical found objects from the site of Shahr-i Sokhta are lapis lazuli stones and beads, which were used as stone jewelry and ornaments. One of the site’s most significant archaeological and archaeometry topics is the way of manufacturing and types of stone structures into these objects. The Shahr-i Sokhta’s lapis lazuli beads manufactured with flint borers are in the forms of lens, lozenge, circle, etc., and were used as jewelry and ornaments such as bracelets, anklets, necklaces, etc. The main discussion in this research is recognizing the structure and studying the mineralogy of lapis lazuli beads discovered from Shahr-i Sokhta. Hence, by using laboratory-device methods such as petrography of thin sections, X-ray energy diffraction microanalysis, Raman Spectroscopy analysis, and gemology methods, this research studies the structures of three samples of lapis lazuli beads and stones of Shahr-i Sokhta. The results of laboratory studies show that Shahr-i Sokhta’s structure of lapis lazuli stone consists of lazurite minerals with a high percentage of calcite mineral impurities, which causes a reduction of transparency and purity of the lapis lazuli stones; also, elemental studies represent the presence of lazurite minerals. Raman structural and gemological studies show the structure, the amount of absorption coefficient, and its specific weight in the main structure of lapis lazuli stone. Chemical and structural studies indicate that the stones are similar in terms of composition.
Keywords: Stone Jewelries, Lapis Lazuli, Archeaometry,  Shahr-i Sokhta in Sistan, South-east of the Iranian Plateau.

Introduction
Shahr-i Sokhta is one of the most important and key sites among Bronz-age sites in southeast Iran’s archaeology (Biscione et al., 1974; Tosi, 1968, 1969, 1973; 1976; Tosi and Piperno, 1975; Savatori & Vidale, 1997; Piperno & Salvatori, 2007). Through excavations during different years up to now, a vast majority of semiprecious Stones and jewelry have been discovered; some of them are healthy beads in the form of necklaces, bracelets, and anklets, while others are half-worked beads as well as raw stone and blocks (Foglini, 1998). The jewelry is lapis lazuli, agate, chlorite, turquoise, limestone, flint, jasper, marble (calcite and aragonite), quartz, green tuff, and chert; that one of the most significant of them is lapis lazuli which was brought to Shahr-i Sokhta as a result of the trade from other regions. lapis lazuli stone in various forms and shapes is the most discovered abundant cultural material in Shahr-i Sokhta (Sajjadi, 2005, 2007). The discovered lapis lazuli are healthy and semi-worked, as well as raw and discarded material. The archaeological studies have demonstrated that the raw lapis lazuli blocks were imported into Shahr-i Sokhta, and then they were changed into various artifacts by artisans (Farzin et al., 2019). Hence, recognizing the structure and method of manufacturing the discovered lapis lazuli beads from Shahr-i Sokhta could be one of the most important topics for archaeologists. The archaeo-gemological study is a field of archaeometry that investigates and recognizes the structure and method of manufacturing and polishing these semiprecious Stone ornaments and jewelry. Archaeo-gemological studies examine minerals, gem materials, and jewelry, which were used as ornaments, decorative objects, jewelry materials, etc., in particular eras and places of the ancient world (Hatipoglu & Guney, 2013; Rapp, 2009; Dominguez-Bella, 2012). Therefore, this research based on Archaeo-gemological studies investigates the preliminary lapis lazuli stone jewelry produced in Shahr-i Sokhta.

Material and Methods (Samples)
The selected samples in this research include three pieces of lapis lazuli discovered from the archaeological survey of Shahr-i Sokhta. One of the samples is a raw material with a small incision that had been discarded as waste (SH-L1). The other one is a rectangular object with grooves in its width, which was broken during use (SH-L2), and the last one is a tiny bead; all three are studied in this research (SH-L3).

Methods
Microscopic thin section petrography (OPM) is administered to examine the samples under a polarizing microscope. The device model used in this research is James Swift, made in England.
The elemental Micro-analysis EDX method is applied to recognize samples chemical combinations. This examination is conducted through EDX devise coupled with a field emission electron microscope (FESEM) manufactured by Tasken company, model MIRA3TESCAN-XMU.
For structural investigation of the samples, this research uses Raman spectroscopy examination through (Takram) P50C0R10 model device, Taskan company in Raman laboratory. This device has a laser wavelength of 532nm (Nd: YAG Laser), and the range of Raman shift RS is 100-4600.
Moreover, this study uses gemological methods such as specific weight and refractive index to identify the samples.

Results
Petrography
According to the petrographic studies of the lapis lazuli samples under a polarizing microscope, blue lazurite minerals are seen with white calcite.
 
Raman Spectroscopy
The obtained spectra from this chart are compared with the reference spectrum at http://www.rruff.info This comparison indicates the existing lazurite in the stone structure of Na3Ca(Si3Al3)O12S. There is a Raman spectrum in the range of 546 cm-1, 1092 cm-1, and 254 cm-1, and the intensified spectrum is high in the range of 546 cm-1, considered the main spectrum.

EDX
Micro-analysis (EDX) Obtained spectra in the formula of these stones represent the amount of silicon (19/61 and 19/11), aluminum (7/14 and 7/21), magnesium (7/98 and 6/73), calcium (4/98 and 4/94), and sodium (3/46 and 3/13) elements with the highest abundance.

Gemological Analysis
This part investigates these lapis lazuli’s mineralogical features through two refractometer methods and the determination of specific weight. 

Refractometer
Among Shahr-i Sokhta’s studied samples, this research has selected three lapis lazuli samples to study. For investigating, first, one drop of special liquid (REFRACTOMETER LIQUID-Nd 1.81) is poured into the location of the samples; second, the flat sides of the gems locates on the oil. Then, by turning on the device lamp and closing the deflectometer cap, one could obtain each sample’s refractive coefficient measure by reading the refractive coefficient. The type of the studied sample has been identified by measuring the refractive coefficient of the samples and comparing obtained numbers with the standard table of gems (GIA- GEM PROPERTY CHART). The refractive coefficient of 1.50 is related to lapis lazuli stone.

Determination of Specific Weight
One of the quick identifying ways of the gems is the determination of their specific weight, which causes no damage to the gems. To obtain the particular weight of each mineral or gem, first, they are weighted in the air and then in the water. Next, by using a formula, the amount of specific weight is calculated. The particular weight of the discovered lapis lazuli samples of Shahr-i Sokhta is 2.1-3.3. 

Conclusion
Microscopic investigations based on the thin section petrography show that the structure of studied lapis lazuli is lazurite mineral type with calcite minerals. In microscopic images, Lazurite minerals clearly are blue, calcite minerals in the stone texture are white, and pyrite minerals rarely can be seen in the studied stone texture. Identifying the existence of a significant amount of calcite and a poor amount of pyrite in the lapis lazuli structure represents the amount of impurities in these stones. Furthermore, elemental analysis of the three lapis lazuli indicates that there are other elements with the highest frequency; these elements are silicon (20/95 and 20/67), aluminum (7/80 and 7/63), magnesium (7/28 and 8/52), calcium (4/94 and 5/33), sodium (3/34 and 3/74) and sulfur (0/66 and 1/09). In fact, lapis lazurite is a blue stone whose chemical composition is variable, and its basic composition is mineral lazurite consisting of aluminum, calcium, and sodium silicates. Lapis lazuli consists of several different minerals, such as sodalite, hauynolith, calcite, pyrite, and lazurite, which are lapis lazuli’s main components. Fewer white calcite spots and more yellow pyrite in the lapis lazuli indicate the best quality of the lapis lazuli. In table 3, silicon element (29.87%) and calcium element (12.26%) are the most amounts of compounds in the Shahr-i Sokhta lapis lazuli structures. The identified chemical compositions of the lapis lazuli in Shahr-i Sokhta are a high amount of calcium and a low amount of iron, which indicates the lapis lazuli structure of this site has a high calcium impurity and low pyrite impurity; this issue could be confirmed through petrography studies. Finally, this analysis represents the correct recognition of the composition and type of used stones in manufacturing ornament objects of Shahr-i Sokhta.
The element percentage of obtained spectra is clearly determined, indicating the main composition of lapis lazuli. The elements represent the chemical structure of a lapis lazuli, a lazulite mineral type with a high calcite impurity percentage. In addition, this study examines the three pieces of lapis lazuli samples through Raman spectroscopy; two samples represent almost similar peaks in the range of 546 cm-1 and 1092 cm-1, and only one sample shows a peak in the range of 546 cm-1. The investigations represent that based on the lapis lazuli studies using the Raman, the lapis lazuli in the mentioned ranges shows an almost significant peak. The number of elements and obtained spectra in these two spectra are almost similar.

Acknowledgments
This work has been supported by the “Investigation and study of Shahr-i Sokhta semi-precious stones” project funded by the Research Center for Conservation of Cultural Relics (RCCCR). The authors are thankful to Center for Conservation of Cultural Relics. The authors want to National Museum of Iran, Southeast Regional Museum of Zahedan, and Shahr-i Sokhta World Heritage Site for their supporting.

Abstract
The reign of the Qajar dynasty is one of the most important eras of the evolution of Iranian art, especially in the form of murals. In the geographical area of Iranian cities, the connection between religion and art according to the Shiite religion of the society of this era is obvious. In the present article, an attempt has been made to identify the effective factors of geographical territory in the way of reflecting Shiite themes in the mentioned works in the important Shiite cities of the Qajar era. The authors seek to answer these questions: What are the influential factors of the geographical territory in the way of reflecting Shiite themes in the murals of religious Monuments of the Qajar era? Which cities of the Qajar era had the greatest influence in the way of reflecting Shiite themes in the murals of religious buildings of the Qajar era? The present research is developmental in terms of purpose and descriptive-analytical in terms of nature and method. The method of collecting information was library and field and the method of qualitative analysis. Findings indicate that the effective factors of geographical territory in how these murals are reflected are included in these sections: the refuge of the Prophet’s family in mountainous areas, the rule of the Zaidi Alawites, the rule of Sadat Marashi, the formalization of the Shiite religion in the Safavid era, religious architecture Iran, the support of princes for Shiite art, pilgrimage to places on pilgrimage. The results of the research show that the geographical territory of each religious building is a link between indigenous architecture and the religious view of Islam to the Shiite religion.
Keywords: Qajar, Religious Monuments, Murals, Qajar Politics, Shiite Themes.

Introduction
Statement of the problem: The historical investigation of the developments of the Qajar period is very important due to the scope and intellectual, cultural, religious and political diversity and due to the continuity of its results until the present day. Religious buildings are one of the most basic structural and formative elements of cities. The continuity of the presence of religious buildings in the shape of the city has been known since the dawn of the first cities and has been intertwined with the life of the cities until today. In the historical context of Iranian cities, religious buildings as an important use with various functions have played a basic role in shaping urban spaces and hierarchies, and the link between religion, culture and politics with art is found in different spaces in Islamic cities. Examining these relationships with works of art is a topic that provides a wide field for research. Islam in general and Shia religion in particular are the creators of unique works of art in the field of architecture, such as takayas and saqanfars. Religious mural painting in connection with the formalization of Shi’ism in the beginning of the Safavid period and in the Qajar era, because the Qajar rule is one of the most important periods in the evolution of Iranian art, especially in the form of mural painting. In this era, due to developments after the constitution, religious painting was mainly limited to folk paintings. This particular type of mural painting is aimed at popular artists. These artists have acquired the themes of their works from popular beliefs and beliefs.
Objectives and Necessity of the Research: The research was carried out with the aim of knowing the effective factors of the geographical territory in the way of reflecting the themes in the murals of the religious buildings of Qajar cities. In this research, the wall paintings of the religious buildings of the mosque, the saqanfars and the tekke of the important Qajar cities are examined with an emphasis on the Shia themes of folk art, as well as the study of the role of the Shia religion and its development in mural painting under the influence of historical and geographical conditions in the Qajar period, which is a necessity in the study. The valuable effects of its wall paintings are noted.

Methods
The current research is developmental in terms of purpose and descriptive-analytical in terms of nature and method. The method of collecting information is library and field. The most important tool for collecting information is the preparation of an ID card, the use of tables and forms made by researchers, observation cards and visual documents. The research community, among dozens of murals in numerous religious buildings, 14 murals from among 6 historical and religious monuments of Qajar era Iran from the provinces of Mazandaran (2 murals from Babylon and 4 murals from Babolsar), Kermanshah (6 murals) and Fars (2 murals). It is purposefully selected. The authors have examined the most representative samples in a selective manner (non-probability sampling) based on the factor of Shia religion and geographical location using the qualitative data analysis method.
First, the themes and factors of the emergence of numerous themes in the murals of religious buildings of the Qajar era are discussed. Then, the effective factors of the geographical territory in the way the themes are reflected in the murals of the religious buildings of this era are evaluated and read. In this essay, an attempt is made to study the wall paintings of Qajar era religious buildings, which represent a relationship between art and geographical location, with a methodical scientific and structural approach.

Discussion  
Factors have caused the emergence of numerous religious and non-religious themes in the murals of religious buildings of the Qajar era. Among these factors can be mentioned: the shock of the rule of the rulers, the tendency to ancient Iran, relations with Europe, the constitutional movement, the need for spiritual space, the need for a religious hero, alignment with the function of religious buildings, belief in propaganda and dissemination Shiite religion, messaging based on Quranic stories and narrations, instruction and lessons from the life events of the Imams.
Shiism as one of the Islamic religions was created almost at the same time with the advent of Islam. The main claim of this religion was the legitimacy of the succession of Imam Ali (AS) after Prophet Muhammad (PBUH), which according to the followers of Shiism, the Prophet had publicly announced this issue in the event of Ghadir Khumm in the last year of his life. This religion has always been in the minority in terms of the number of followers and this issue has undergone serious changes in its continuation until today. (Kowsari, 1390: 9 and 35) One of the influential factors in the emergence of various themes in the murals of religious buildings of the Qajar era is the geographical territory; This factor also has factors that have been effective in the way of reflecting the Shiite (religious) and non-religious themes in the murals of religious buildings of the Qajar era (Table 1). Factors such as attention and importance as the origins of ancient Iranian art and the increase of trade and cultural exchanges and correspondence with other nations by placing some cities on the trade route are factors that have been effective in reflecting non-religious themes, but in this article the most important themes. Shiites are being explored.

Conclusion 
The geographical territory of every religious building is the connection of native architecture with the ritual attitude of Islam to Shiism, so the wall paintings of religious buildings of the Qajar era were created from the ritual transformations of Shiism and influenced by the culture and political developments of the society of their time. According to the findings of the research, the answers to the questions can be stated as follows:
What are the effective factors of geographical territory in the way themes are reflected in the murals of religious buildings of the Qajar era? One of the influential factors in the appearance of numerous themes in the murals of religious buildings of the Qajar era is geographical territory, this factor also has factors that have been effective in the way of reflecting the themes of the murals of religious buildings of the Qajar era. The most important factors include the following: decisive historical events (refuge of the Prophet’s family to the mountainous areas from the evil of the Caliphs of Baghdad, the presence of the Zaydi Alawites and the establishment of their government in 250 AH, the rule of Sadat Marashi of the Shiite religion in the 8th and 9th centuries AH ., the formalization of the Shiite religion in the Safavid era, Islamic-Shiite religious architecture in Iran), princes’ support of Shiite art in prominent cities, pilgrimages to religious places with some cities being on the pilgrimage route, the manifestation of folk beliefs of different cities on murals. s, attention and importance as the origins of ancient Iranian art, the influence of lithographic books and the increase of commercial and cultural exchanges and correspondence with other nations with the location of some cities on the trade route (Table 1).
What was the way of reflecting Shiite themes in the murals of religious buildings in different cities of the Qajar era? The manifestation of Shia themes and topics in all the murals of different cities was not the same, according to the nature and climatic characteristics of that city, they were a more suitable source and platform for the manifestation of such themes. For example, the cities of Mazandaran, Gilan and Kermanshah have been effective in reflecting Shiite themes in Qajar era wall paintings, considering the conditions of their geographical territory.
Wall paintings are the borrowers of Shia spiritual heritage among the common people and have high values of Shia anthropology and sociology. All the murals are like a valuable treasure that shows the life and livelihood of the native people and contains their culture, habits, customs and beliefs. It is hoped that by identifying and introducing these works, they will respect their roots and gems more and respect themselves and their origin. Let’s come back.

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

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

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

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

Abstract
Tomb buildings are one of the most important types of Islamic architecture. Studying such a building in a geographical context gives us a meaningful understanding of these works. The vast region of Tabas, despite having a rich capacity of magnificent historical and cultural monuments, has been neglected by officials and archaeologists due to its desolation and difficult geographical conditions. In the archaeological study of the Jokhah section of Tabas, which was carried out in 2015, several buildings were identified, including a single tomb. So far, this building has not been the subject of detailed and methodical research on how the structure of architecture and dating is based on comparison with other mausoleum buildings, so the need for this research was provided. In this research, the construction method of the building has been considered according to the dome, the execution of the dome and the type of materials and the type of decorations used. The present research is based on a descriptive-analytical purpose and its nature is based on historical approaches. The methodology of accumulations is based on field studies and citation of library resources. This article tries to analyze the identity and date of construction of the tomb of Jokhah Tabas, based on archaeological findings, comparative studies and also citing written sources of the Islamic period. The results of studies show that the construction pattern of this tomb is derived from the square design of tomb buildings in Greater Khorasan in the early centuries of the Islamic period. However, by comparing material culture data and building elements with other similar works, the date of its construction can be attributed to the late sixth-early seventh century AH.
Keywords: Tomb, Architecture, Historical Identity, Middle Islamic Period, Jokhah Tabas.

Introduction
The tomb as a type of ritual-cultural architecture is the result of two-way interaction between man and nature throughout history. Hence, the study of these religious buildings in the geographical context, provides us with a meaningful understanding and recognition of them. In Islamic period of Iran, tomb buildings are considered one of the most important and numerous types of architecture after mosques. »The scope of construction of tombs with the emergence of different local governments in the early centuries of Hijri, simultaneously with the weakening of the Abbasid caliphate, became popular in the east and north of Iran« and it developed with a significant speed in all of Iran and found an important role in the social atmosphere of cities and villages. In such a way that it was considered the most important pillar of every city and village after the comprehensive mosques. Therefore, “cemeteries and their construction methods are very important from the point of view of architecture and the use of arched structures” and they require careful investigation and research in various fields. There are several individual tombs in Tabas, which according to historical sources belong to chieftains or clerics, after the domination of the eastern regions of Iran in the early centuries AH. As; Mohammad Jafar Tayar’s tomb in Azmighan, Tabas, Mir Omar’s tomb in Korit Tabas. One of these tombs, which is known in Islamic sources as the tomb of one of the Arab generals, is a tomb located in the historical site of Jokhah village. So far, this building has not been the subject of a detailed and methodical research regarding the architectural structure and dating based on comparison with other tomb buildings, hence the necessity of conducting this research. The brief research activities that have been carried out have mostly described the architecture of this tomb. In this research, the architectural style, decorations and functional materials of this building have been compared with the tombs of the middle Islamic period in the geographical area of Khorasan, which is more related in terms of time and place. Since the building does not have a building inscription, the name of the founder or the owner of the tomb, it is not possible to propose its date with certainty. Therefore, one of the goals of this research is the proposed dating of Jokhah tomb using comparative studies of other tomb buildings and referring to Islamic sources and texts.

Discussion
Jokhah village is located 24 km from Tabas city. A tomb building is located 500 meters southwest of Jokhah village, between the agricultural land and the village cemetery. The name of Jokhah was applied to this village in the contemporary period, and before that it was known as Chardeh. The name of this building goes back to the name of Jokhah village and before that it was known as the Tomb of Sephesalar or two commanders.
Jokhah Tomb is a type of domed square buildings. According to the remains of the building, the outer space consists of three parts, the body platform and the dome. The geometry of the plan and the form of Jokhah tomb reflects the design of Sassanid fire temples. The geometry of the building is square. The current height is about 23 feet and its foundation has been done on a platform. The materials used in the foundations of Jokhah tomb are made of clay, mud and plaster. Bricks are used only for cornering and doming of the building. The three doors of this building are in the front porch and have the same dimensions. This repetition on three fronts has given the building a special rhythm. There are three holes on the three sides of the building above each door. Due to the distinct shape of the entrance space, this building consists of four parts: the platform, the body, the entrance porch and the domed room.
The cover of the brick dome of Jokhah tomb has collapsed. This is comparable to the domes of the Twelve Imams of Yazd (5th century AH) and the tomb of Khosroabad Tabas (5th century AH). Based on the available visual sources, there are evidences of plastering in the throat of the dome and the formalization of the arches, which are considered as design ornaments in the Jokhah building. Two fine strips under the throat of the dome in the shape of the letter (kک/) are painted continuously and chainwise in black on a white chalk background. Another decoration includes a plaster strip in the shape of a seven-eighth or a congress in relief, and these two are among the most important arrays of this building. From around the building, unglazed pottery pieces with a simple linear and comb pattern, pottery types with turquoise and gilt underglaze were obtained (12-6 AH/12-18 M).

Conclusion 
The tomb is located as a single building outside the old rural context of Jokhah. The architectural features of this tomb, in terms of design and plan form, are in the group of tombs without towers, quadrangle with domes, and functionally, it is included in the category of non-religious tombs. The architectural structure of this building is very similar to the tombs of Amir Arslan Jazeb and Chalaqd in the 5th and 6th century AH. On the other hand, it has some features, especially the doming style, with the 7th AH buildings such as the Haruniyeh building and some 8th century AH buildings such as the Jame Mosque in Varamin and Jabaliyeh in Kerman. Through field investigations and analysis of the building map, it is possible to understand that the main design of the building is taken from the map of the domed square tombs of the Seljuk period, and the additional space outside the main door of the building belongs to later periods. The design of the Jokhah tomb built by Chalaqd was more impressive than the buildings of the Seljuk period in Khorasan. Also, the common features of the building such as functional elements and its materials with the Seljuk period and plaster painting decorations have shown more compatibility with the Ilkhanid period. Referring to Islamic sources and texts also does not provide accurate information about the construction time of this building. As mentioned earlier, 5th century AH, Tabas and its surrounding areas were the refuge of Ismaili claimants, and relative peace reigned in this region. In the middle of the 6th century Hijri, most of the buildings in this area and around it were destroyed by the attack of the Seljuks. Therefore, it seems that the tomb of Jokhah was formed after the aforementioned attacks. On the other hand, due to the absence of an inscription in the Jokhah building, the identity of the owner of the tomb, based on the generalization of reliable written sources of the Islamic period, goes back to a person named Malik, one of the Arab generals in the first century of Hijri. Since this building has not been scientifically explored and excavated so far, the dating of the building has been done by studying the organs, elements and comparing other tomb buildings. Therefore, the chronology of the Jokhah tomb is suggested to the end of the 6th century to the beginning of the 7th century AH.

Acknowledgment
Mr. Dr. Bahram Anani is grateful for providing information on the area of Montaziereh, Tabas.

Observation Contribution
In this article, the first author contributed 100% and the second and third authors contributed 90% and 80%.

Conflict of Interest
In writing this article, the authors are committed to scientific and research ethics and there is no conflict of interest between them.

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

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

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

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

Abstract
Iranian art has consistently been shaped by various external influences throughout its history. However, a crucial aspect of these influences is the enduring preservation of character and structure-specifically, the narrative pattern inherent in Iranian art. Historically, Iranian artists have assimilated structural, technical, thematic, and content-related experiences from other cultures while maintaining their unique Iranian identity. This research aims to conduct a comparative study of the narrative pattern, a concept derived from structuralist narratology, in two significant historical periods of Iranian visual art: the reign of Shah Abbas I in Isfahan and the subsequent Pahlavi era. The significance of this study stems from the fact that Iranian painting during these two periods experienced substantial influences from European art, which in turn impacted subsequent artistic movements. Thus, we seek to address the fundamental question: What changes and transformations occurred in the narrative pattern of the Isfahan school of painting compared to that of the second Pahlavi period? Preliminary observations suggest that the modernism evident in the Isfahan school shares greater affinities with the pictorial traditions of Iran’s past, whereas the painting of the second Pahlavi period is characterized by confusion and distress. Employing a descriptive-analytical methodology alongside a comparative approach, this research utilizes documentary and library sources to develop a narrative model for the periods in question. The findings indicate that the narrative pattern in the works of modernist painters from the Isfahan school, when compared to their counterparts in the second Pahlavi period, exhibits a novel style and structure that aligns more harmoniously with the continuity of Iran’s pictorial traditions. 
Keywords: Structuralism, Narrative Pattern, Narratology, Isfahan School, Second Pahlavi Period.

Introduction
When examining the identity of Iranian art, one encounters a cohesive whole, despite the numerous changes and developments it has undergone throughout history. The ability to preserve originality while embracing desired changes is a hallmark of the resilience of Iranian culture and art since ancient times. Notably, the tumultuous era of the Mongols paradoxically gave rise to one of the most illustrious periods in Iran’s cultural and artistic history, namely the Timurid and Safavid eras. The incorporation of Chinese and Byzantine painting traditions ultimately led Iranian painting to evolve with distinct coordinates that diverged from its sources in both structure and narrative pattern. During the Safavid period, particularly within the Isfahan school, and continuing into the second Pahlavi era, the influence of European art reached its zenith. This exchange facilitated the transmission of Western culture and customs to the East, resulting in both intentional and unintentional effects. It was within this context that Iranian painting experienced significant European influences (Pakbaz, 2007: 132).
In the early 1920s, a shift in Iran’s political landscape prompted corresponding changes in the cultural atmosphere. The translation and publication of works aimed at familiarizing the Iranian intellectual community with modern European literature and philosophy became a focal point in the search for new avenues of expression. In this regard, the “Art Academy of Fine Arts,” established based on the educational standards of Paris, was inaugurated in 1941.
Artworks can be interpreted through the lens of their source text (Europe) while remaining cognizant of their destination text (Iran). These developments have led, on one hand, to a rupture with traditional narrative patterns and, on the other, to the introduction of new narrative modalities in the history of contemporary Iranian painting. The objective of this research is to investigate the evolution of narrative patterns in the painting of these two pivotal periods. By examining these developments, we can identify the underlying reasons and factors that influenced the creation and transformation of artistic conditions. Drawing on practical analyses of complex situations that have occurred in other times, strategies and plans can be formulated. Historically, Iranian art has prided itself on the influence of foreign artistic traditions. Thus, we seek to address the question: What were the changes and transformations in the narrative pattern of the Isfahan school and the second Pahlavi period? Undoubtedly, these changes encompass both positive and negative aspects, and this research aims to provide a clear depiction of their nature. On one hand, these influences have propelled Iranian painting toward development and evolution; on the other, they have led to the rejection and dissolution of certain pictorial traditions from Iran’s past.

Materials and Methods
This research is descriptive and analytical, employing a comparative approach to address the research problem. Data and works have been qualitatively analyzed based on the narrative model in structuralist narratology, particularly drawing from the theories of Vladimir Propp, a pioneering theorist in this field. Propp’s approach seeks to identify common and recurring elements across different texts to uncover deep structures. Consequently, due to the intertextual borrowing in Iranian painting from literary texts, four common elements topic, theme, motif, and tone have been selected as criteria for analyzing changes. Following the collection of data from specialized books, articles, and electronic databases, the data has been sorted and analyzed until saturation was achieved. From each period, four works that align with the theoretical framework have been selected for analysis.

Discussion and Analysis 
The findings of this research can be articulated both generally and in detail. In the comparative study of the narrative patterns in the paintings of the Isfahan school and the second Pahlavi period, there are notable similarities in terms of modernity. In both periods, artists sought to achieve a new and distinct tone, creating works that diverged from past traditions. This aspect of modernism was significantly influenced by European painting traditions prevalent during these historical periods. Another point of similarity between the two eras is the support and promotion of modernism by both the government and patrons within the context of Iranian painting. Additionally, the human figure emerges as a common and recurring theme in both periods. To gain a clearer understanding of the changes and transformations in the narrative patterns during these two periods, we can elaborate on these changes as follows: From the perspective of subject matter, the narrative patterns in the Isfahan school (as seen in the works of Reza Abbasi, Moin, and Aliquli Jabbadar) and in the second Pahlavi period (represented by Ziapour, Javadipur, and Esfandiyari) are grounded in common local themes and realistic, documented human figures. The narrative patterns in the Isfahan school, particularly in the works of Mohammad Zaman (depictions from the Shahnameh and others), reflect a return to the literary and pictorial traditions of Iran’s past, as illustrated in the works of Hossein Kazemi (depicting minors of the Safavid period).
The themes employed in the narrative models of Isfahan school painters are diverse, encompassing various themes such as lyrical and poetic elements, documentary aspects, and a blend of Iranian and Western influences. In contrast, painters of the second Pahlavi period opted for a more uniform approach, drawing primarily from local and modern Iranian themes in their works. Regarding motifs, the works of Isfahan school painters predominantly utilize defined lines and a limited color palette. Conversely, the motifs in the works of second Pahlavi period painters often feature abstract forms and innovative techniques. In terms of narrative tone, the works of Isfahan school painters, particularly those of Reza Abbasi and Moin Moser, are characterized by a calm and distinctly Iranian structure and style. In contrast, the works of Mohammad Zaman and Aliquli Jabbadar tend toward European naturalism. During the second Pahlavi period, the narrative tone in the works of Ziapour, Javadipur, and Esfandiyari is heavily influenced by European painting styles, including Cubism and Expressionism.

Conclusion
In summary, the narrative pattern in the Isfahan school of painting, influenced by European artistic traditions, shows greater alignment with Iran’s past visual traditions. Conversely, the narrative pattern in the painting of the second Pahlavi period is associated with confusion and distress regarding Iranian structure and identity.

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

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

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

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

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

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

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.