Abstract
The troglodytic architecture complex in Arzanfoud (Arzanpoul) is located 30 km southeast of Hamadan, 2 km south of Arzanfoud village. The complex accidentally recovered following mining activities at 2010. There have been four seasons of archaeological activities including excavations, documentation, earthworks, and identifications. According archaeological activities, more than 70 troglodytic spaces revealed that dated to historic and Islamic periods relying on pottery findings. There are questions on variations, forms, techniques, and decorations including 1) what dates are pottery types of troglodytic spaces? 2) What are common techniques and decorations of potteries? Considering descriptive-analytic method, findings, collected of fieldworks and bibliographic studies, qualitatively analyzed. Conclusions indicate that pottery findings date to historic period, Parthian and Sassanid, and middle and late Islamic periods (Seljuq, Ilkhanid, Timurid, and Safavid). Among the most important historic potteries are Clinky wares, grooved rims, and hump-like rims; while the most significant Islamic potteries are stamped wares, painting underglaze, lusterwares, Sgraphiato, enamled wares, and blue and white. Regional soils studies, and nearby Mica and Quartz mines indicate that potteries with Mica and Quartz in temper are, probably, local productions, while the others are probably exotic.
Keywords: Hamadan, Arzanfoud (Arzanpoul), Handmade Troglodytic Architecture, pottery, Historical, Islamic.

Introduction
One of the goals of archaeological research is the study of cultural changes, and in this regard, examining and analyzing the material culture of the past is of particular importance. In the term of archaeologists, these remains are called data. In order to achieve the general goal of archeology - the reconstruction of the past life of mankind, these data must be examined in a specific and logical framework and turned into evidence. In general, pottery is one of the most abundant archaeological data, which is of particular importance in any archaeological analysis. Due to its abundant and continuous production, pottery has always adopted various transformations and innovations in its shape and role, some of which have arisen due to the development and internal growth of cultures over time. Another part of these changes emerges due to cultural and economic links with far and near societies. In fact, pottery is considered the best cultural indicator in order to know societies and it is very important for communication between different units of a regional culture on the one hand and trans-regional cultures on the other hand. Now, according to the above-mentioned materials and referring to the importance of pottery in the process of examining and studying the pottery of different periods in various areas, it is necessary to carefully analyze the typology of pottery and the decorations used in the pottery according to the methods of pottery making and analysis to provide a logical answer to the following questions: 1) what dates are pottery types of troglodytic spaces? 2) What are common techniques and decorations of potteries? Considering descriptive-analytic method, findings, collected of fieldworks and bibliographic studies, qualitatively analyzed.

Discussion
The unique types of this architecture can be set handmade troglodytic underground architectural complex at Arzanfoud in Hamadan noted that was discovered by accident in 2010 as a result of mineral exploration activity. This area is located 30 km South East of Hamadan city (provincial capital) and is situated 2 kilometers south of a village with the same name. The area of the Alvand Mountains, located in the heart of pristine nature and intact. As you explore the collection of handmade troglodytic of Iran was faced with numerous questions, The most important questions were raised about whether this complex of Arzanfoud when created, What time period was used in this series as well as a vast range of different spaces for what purpose and the user was created. According to the first season of archaeological research questions in this category sponsored Ali Khaksar was started in 2010 and the second and third chapters of this research will follow in subsequent years 2011 and 2015. This research programs (identification, documentation, clearing and archeological excavations) in this area were conducted. These results identify more than 70 hand-made underground spaces including rooms and halls with variable depth from 3 to 7 meters. Several hypotheses have been raised in line with spaces this set of user talk ritual, habitat, refuge and exile has been the case so far as the draw of any archaeological activity has been approved. Also according to studies cannot accurately determine the time to create this collection, but this complex be used to set time periods during the middle and late Parthian and Islamic centuries been used on. The underground spaces are connected to the surface via stairs-like entries in the schistose bedrock. This set covers all the spaces are arched, it works well in most areas, this collection strikes a sharp object (possibly pick) clearly observed. It also sets the foundation lamp oil lighting spaces that were in the wall spaces. In some places the walls of adjacent platforms (made from stone-ground or wall stile), water channels and sources are visible. It should be noted that the surface area of architecture can be seen as evidence that more archaeological research is needed to provide comments.
The pottery found in the Arzanfoud area can be divided into two groups of historical periods, including the Parthian and Sasanian periods, as well as the Islamic period. Parthian period pottery includes types: Clinky, Pottery jar with one vertical handle and jar with two vertical handle; Sassanid period pottery includes types; the plate with a simple flat edge turned outwards, the bowl with a Pigeon head rim, Bowls with convex and prominent edges and Pottery with grooved edges (three edges). 
potteries of the Islamic period can be divided into two main types, including unglazed (Decorations removed and added on pottery, bottom image, silver colored mica particles on pottery, Pottery with carvings, . potteries with a pattern of birds in a circle, Stamped pottery from Arzanfoud and comparable samples and Pottery with inlaid decoration) and glazed (Pottery with single-color of lapis lazuli glaze, Potteries with a prominent pattern under monocolor glaze, Sgraffiato pottery, Zarinfam pottery, Pottery with animal motifs, underglaze painting type, Pottery with underglaze painting (Ghalam Meshki), Pottery with underglaze painting and Pottery with blue and white glaze).

Conclusion
The pottery found in the Arzanfoud area can be divided into two groups of historical periods, including the Parthian and Sasanian periods, as well as the Islamic period. Parthian period pottery includes types: Clinky, Pottery jar with one vertical handle and jar with two vertical handle; Sassanid period pottery includes types; the plate with a simple flat edge turned outwards, the bowl with a Pigeon head rim, Bowls with convex and prominent edges and Pottery with grooved edges (three edges). 
The pottery of the Islamic period of this site belongs to the middle and late Islamic centuries (Seljuq, Ilkhanid, Timurid and Safavid), among which the pottery of the Ilkhanid period in Arzanfoud is of considerable importance. According to the archaeological research conducted in Arzanfoud, no evidence of a pottery kiln has been found so far, but surface evidence and findings related to pottery production have been observed in the area. On the other hand, silver and gold mica and quartz particles can be seen in much earthenware, which, due to the location of mica and quartz mines in the area and the vicinity of the area, can probably be the production of some earthenware in the area. One of the interesting points of interest in the historical and Islamic pottery of Arzanfod is the great similarity with the pottery types of other historical and Islamic sites of Hamadan province, including: Hegmataneh Tape, Zainoabad Tape of Bahar, Laodiceh of Nahavand and especially the architecture of the Samen underground handmade troglodytic in Malayer, which has the most similarity with Arzanfod’s pottery findings, which shows extensive cultural connections.

Abstract
Abstract: This essay attempts to do a typological study on one of the most applicable lighting devices -i.e. Oil Lamps- of the early Islamic period from Iran. Although introduction of Iranian ceramic Oil Lamps goes back to the pre Islamic period of Iran, the most remarkable changes in the design process of these products appeared during this period. Therefore, the main goal of this research is to study and follow design process of Iranian ceramic Oil Lamps of early Islamic period. This essay enquires about the most important developments on the history of Oil Lamps design. In order to reach the goal of this study and to do this research I have used descriptive analytical methodology of research and collected a great deal of needed information by desk study methods of data gathering. In addition, in order to delineate as good as possible the changes and developments appeared on various types of Iranian ceramic Oil Lamps from early Islamic period, here in this study I decided to use a specific framework for systematically studying history of objects’ design suggested by an Indian university professor named Kumar Vyas. According to Vyas, in order to be a major landmark a moment in the history of an object should indicate five kinds of changes: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. Therefore, one can categorize the most important developments in designs and types of Iranian ceramic Oil Lamps in three main groups. The first group includes those ceramic Oil Lamps with open, bowl shaped bodies and projected wick holders; Second group have globular enclosed bodies with elongated tubular wick holders. Finally, footed lamps with central stem on a plate shaped stand recognize the last group of our typology of Iranian ceramic Oil Lamps from early Islamic period. 
Keywords: Islamic Pottery, Iranian Pottery, Ceramic Oil Lamps, Lighting Devices. 

Introduction
Oil Lamps or “chiraghs” were one of popular lighting devices of early Islamic period in Iran. They were kind of a container that simply worked with a vegetal wick and animal oil and thus answered their users’ needs. Although introduction and application of Iranian ceramic Oil Lamps goes back to the pre Islamic and especially the early historic period of Iran, but because of the development and improvement of related technologies of pottery in the Islamic period, the most remarkable changes in the design process of these products appeared during this period. It goes without saying that both design and production of ceramic devices were mostly relied on the advanced technology. During early Islamic period, it seems that Iranian has used pre-Islamic and specially Sasanid forms. However, gradually there has occurred considerable progresses in making and decorating potteries, promoting mostly their visual and aesthetic effects along with enhancing their quality of production. While ceramic Oil Lamps were among most popular lighting devices of early Islamic period in Iran, after Mongol invasion in the early thirteenth century their application has been reduced and ceased. 
The main goal of this research is to study and follow design process of Iranian ceramic Oil Lamps of early Islamic period. The question I am going to answer here is how the design of mentioned devices has changed during time and under what conditions. Here, studying the most important developments and changes in design styles of Iranian ceramic Oil Lamps from early Islamic period, I tend to trace and delineate the evolution path passed through by these devices from the beginning of the Islamic period until the end of 12th / 6th century. 
Materials And Method: In order to reach the goal of this study, after reviewing related literature and explaining specific methodology of research, first I have discussed the terminology of Oil Lamps in Persian and tried to describe its function. Then in two parts, I have structured my discussions. In the first part of the body, I have divided forms of ceramic Oil Lamps of Islamic period into three main groups. Then, in the next part, I have tried to explain the major distinctions between these groups by Kumar Vyas’s criteria. These are changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. 

Data
Collecting data for this study has been conducted by desk studies, including materials from books and websites. These data, here, has been analyzed qualitatively.
Data collection techniques refer to methods used to collect and analyze different forms of data. Collecting data for this study has been conducted by desk studies, including materials from books and websites. These data, here, has been analyzed qualitatively. In this study, data are made up of material evidences of ceramic oil lamps from early and middle Islamic periods. These evidences are accessible sometimes directly through museums and collection of Islamic or Persian art all over the world and sometimes indirectly through reproduction of those materials within catalogues of Islamic ceramics available in libraries. First of all it was very important to distinguish between oil lamps and other kind of lamps prevalent in Iranian art of Islamic period. Then one should consider historical order of lamps so it could be possible arranging them into two groups of early and middle Islamic period. Whitin each category, there exist many forms of lamps with multiple ways of decorating them including monochrome glaze or underglaze decorations. Then the researcher has to sort these evidences by their historical period, first, and by their forms and shapes, second. Furthermore they should consider their decoration in order to reach a better understanding of them. In order to delineate as good as possible the changes and developments appeared on various types of Iranian ceramic oil lamps from early Islamic period, here in this study I decided to use a specific framework for systematically studying history of objects’ design suggested by an Indian university professor named Kumar Vyas. According to Vyas, in order to be a major landmark a moment in the history of an object should indicate five kinds of changes: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users.

Discussion
One can categorize the most important developments in designs and types of Iranian ceramic Oil Lamps in the early Islamic period in three main groups. The first group includes those ceramic Oil Lamps with open, bowl shaped bodies and projected wick holders. In these lamps, reservoir and wick holder are closely connected to each other. Second group of Iranian ceramic Oil Lamps from early Islamic period have globular enclosed bodies with elongated tubular wick holders. Here, wick holders earn distinctive characteristic of its own and it somehow separate formally from reservoir. Finally, footed lamps with central stem on a plate shaped stand recognize the last group of our typology of Iranian ceramic Oil Lamps from early Islamic period. The form of main part in lamps of this group is not so different from that of first group. However, having been elevated by a tall cylindrical column has made the function of lamps of this group much more distinctive than those of other groups. 
Drawing upon Kumar Vyas’ approach to systematically studying history of objects’ design, one can analyze the main distinctive aspects of these three types of Iranian ceramic Oil Lamps from five point of view: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. Design and structure of Oil Lamps from these groups are more remarkable that changes in other aspects. However, the most important development during the history of these Oil Lamps is their way they have been seen and thus used by their owners. Certainly, Simple forms of lamps from first group did not need as complicated treatment as it was necessary dealing with lamps of third group. 

Conclusion
Iranian ceramic Oil Lamps in the early Islamic period can be categorized in three main groups. The first group includes those ceramic Oil Lamps with open, bowl shaped bodies and projected wick holders; Second group of Iranian ceramic Oil Lamps from early Islamic period have globular enclosed bodies with elongated tubular wick holders. Finally, footed lamps with central stem on a plate shaped stand recognize the last group of our typology of Iranian ceramic Oil Lamps from early Islamic period. Here, in this essay, distinctive aspects of these groups have been analyzed from five point of view, according to Kumar Vyas’ approach to history of objects design. Design and structure of these three types are distinctive in their form of body and wick holder. Using different kinds of glazes and painting techniques has made the appearances of Oil Lamps somehow unique. Ceramic Oil Lamps of these groups also have been produced by various processes. Furthermore, the way they have been used varied form lamps of one group to the other. Finally, mention has to be made of the relationship between users with every lamps of each group. Based on design and appearance of lamps this relationship has proven to be remarkably discrete.   

Abstract
The Polychrome Enobe pottery attributed to Neishabour is one of the unique pottery of the Islamic era, which has many divers and symbolic motifs. According to the role of the ingredients of these pottery, they were created in deep connection with the mythological and religious beliefs of the people of the third and fourth centuries AH; Therefore, the correct interpretation of these pottery designs helps to understand the social, cultural, political and religious conditions of the people of that time. One of the illustrated symbols on these pottery is the symbol of a camel, which is drawn on a Polychrome bowl and is kept in the Reza Abbasi Museum. The camel drawn on this pottery is important because it seems to be indicative of deep concepts regarding the sanctification of “Camel” in Neishabur society. Until now, no purposeful study has been done to interpret the depicted camel on this pottery; Therefore, the authors are trying to study the symbol of the camel depicted on the pottery in this essay with “Iconography” method with the approach of “Erwin Panofsky”. To achieve this goal, the questions; what is the symbolic meaning of the camel depicted on the Polychrome bowl of Neishabur in relation to the jar and the bird? The Polychrome Enobe bowl with the motif of a camel, in combination with other motifs, is derived from the beliefs of which stratum of society is Neishabur? It has been suggested that in order to get the answers to the questions, the research method adopted for the future research is a library with a descriptive-analytical-historical approach, in which the discussed pottery motifs are analyzed first, and then to interpret its symbol with Panofsky’s three-step method. The result of the study of the camel symbol is that the motif of a camel with a jar under its belly and a hoopoe bird seems to be derived from the principles of Zoroastrian purification and also the Gomiz healing properties of camels among the Muslims of 3rd and 4th centuries AH living the north east of Iran. 
Keywords: Iconography, Pottery, Polychrome Enobe, Neishabur, Camel, Gomiz.

Introduction
The Polychrome Enobe pottery attributed to Neishabur is one of the most important and unique pottery produced in northeastern Iran after the arrival of Islam in terms of diverse and symbolic motifs. In addition to visual beauty, the patterns of the above pottery always have a special place in the studies of researchers in the field of art, especially archeology, due to the fact that they have special and symbolic scenes. The importance of studying the reinterpretation and origin of Polychrome Enobe patterns is due to the fact the researchers such as Lin (1948), Wilkinson (1973), Zack Nissen (1973) and Samavaki (2021) believe that the motifs of, the works on these pottery are often in deep connection with the mythological and religious beliefs of the people of the 3rd and 4th centuries AH. The symbolic concept of the camel with the symbols of the evil eye, which destroys demonic forces, finds more expression for the interpretation of the sanctification of Gomiz. A Polychrome Enobe bowl attributed to Neishabur with a camel motif and the symbolic concept of the sacredness of the camel cannot be applied to a specific stratum.  According to this belief, it is derived from the beliefs of the people as a result of the fusion of Zoroastrian religion with Islam as a result of political events parallel to the Abbasid rule in the third and fourth centuries of AH and was deliberately created by Zoroastrians, changed the Gomiz of a camel, a sacred animal in the Muslim belief, to cow Gomiz in order to preserve the tradition of purification, and it seems that they were able to preserve this tradition for themselves. With this reasoning, the mentioned bowl has a double meaning in the belief of Muslims and Zoroastrians; In a way, the special place of “camel “among the common people of the third and fourth centuries AH by drawing a camel and other figure such as a bird, a jar and the symbol of the evil eye, draw a picture. 

The Iconography of the Camel Symbol Depicted on the Polychrome Enobe Pottery Attributed to Neishabur 
In this part of the research, which is also the main body of the research; The symbol role of the camel in connection with other motifs in the Polychrome Enobe bowl of Reza Abbasi Museum is studied with the iconography method in three stages of description, analysis and interpretation. The bowl Polychrome Enobe attributed to Neishabur under the registration number of 1371 is kept in the Reza Abbasi Museum. In the central circle of the bowl, a camel with a single hump can be seen in light brown color with a six- petals flower pattern on the body with an embossed background. On the body of the camel, three curved lines are drawn near the front and back legs. The head and face of this camel is depicted upward and clinging to its hump with a big eye on its face. The camel ‘s tail is black with a few short branches and its hoovers are clearly marked with black inks, and there are two parallel blabk lines on the camel ‘s left hand near the neck, which may be a sign of decoration. To the left of the camel, a bird with a long abstract crown, which is probably a hoopoe can be seen. The head of this bird is light brown and its body is black with wings with a black checkered pattern on the body.  Under the camel ‘s belly, there is an image of a jar with a long base and a wider base compared to the mouth of the jar, in black color. On the body of this jar, there are four flowers and two abstract wings on both sides of the jar. On both sides of the jar, two circles are drawn with a dot in the middle, which seems to be a symbol of the evil eye. It should be mentioned that these circles that look like evil eye are distributed in the entire field of the dish. In front of the camel ‘s neck, there is a flower in the form of a Slimi. Also, in front of the camel ‘s neck and legs, a pseudo-inscription can be seen in back. Around the legs, hands and top of the camel’s head, four and six features’ flowers are drawn in pea color dots in the middle of each flower. A narrow light brown band surrounds the central circle. There is a pea color background with green and black coloured spots, with the symbol of the evil eye (fig 1). 

Conclusion
Research to reread the symbolic meaning hidden in the symbol of the camel depicted on a Polychrome Enobe bowl attributed to Neishabur by posing questions: what is the symbolic meaning of a camel depicted on a Polychrome Enobe bowl of Neishabur in relation to the jar and the bird? And the Polychrome Enobe bowl with the motif of the camel, in combination with other motifs, is derived from the beliefs of which segment of the Neishabur society? The idea of the research in line with the questions posed by Panofsky’s iconography method was that the camel has had a special and mythical place in the opinions and beliefs of people in different periods of history. This scared place of the camel can be traced in the third and fourth centuries of AH with the symbolic motif of the camel in the Polychrome bowl attributed to Neishabur. The symbolic meaning of the camel depicted on this pottery refers to the beliefs of Zoroastrians and Muslims about the cleansing and therapeutic properties of camel Gomiz in the third and fourth centuries AH of the living in the north east of Iran. This opinion takes on more expression by combining the motifs of the jar with two abstract wings, the head (pointing at the camel’s hump) and the symbol of the evil eye; so that the two abstract wings drawn on the body of the jar refer to the sacred aspect of camel’s Gomiz in the belief of the common people. Hoopoe, with the symbolic meaning of the pike, is a manifestation of God Soroush to destroy demonic/ satanic forces. 

Abstract
One of the main aspects in understanding past cultures is the study and analysis of pottery works in ancient sites. The passage of communication routes such as the Khorasan highway during the historical period, especially in the Islamic period, has caused the emergence of many pottery cultures in this part of the country. Considering the influence of Hamedan pottery cultures and consequently the Qoroq site from large pottery areas of the Islamic period, in this research, an attempt is made to answer these questions. In terms of construction style and decoration, the effects of which areas can be seen in the pottery of Qoroq site? What are the most important types of pottery in this area from the 5th to 8th century AH? And which type of pottery has native characteristics? The main purpose of this writing is to identify the types of pottery indicators of the study site, which is done through the study of archaeological data obtained from modern surveys. In the present research, the descriptive-analytical research method and information gathering has been done in the form of library studies and field comparison of the findings of this area with other areas. The results show that the pottery art of this area can be seen in terms of construction and decoration techniques influenced by the art of neighboring areas such as Zolfabad, Aveh, Soltanieh, Takht-e Soleiman, Kangavar and Boroujerd. Also more than 10 types of pottery from the fifth to the eighth century AH have been identified, which include different types of unglazed and glazed pottery, each of which is divided into simple, patterned and multi-colored subsets under the glaze. In the meantime, specimens such as Dishes with multicolored decoration on white glaze probably have local characteristics.
Keywords: Qoroq Site, Hamedan, Typology, Pottery, 5th to 8th Century AH.

Introduction
Qoroq site is located 9 km north of Hamedan city, in the east of Bahar city. In terms of topography and geological features, this area is located in the alluvial, eastern and northern parts of the Alvand mountain valley habitat and in the middle of the vast and fertile plain of Hamedan (Fig 1 & 2). According to historical texts and archaeological evidence, Qoroq site is one of the leading cultural centers of the Islamic period, the peak of its prosperity is related to the seventh and eighth centuries AH (Fig 3). Surface studies on the pottery of the Islamic period of Qoroq site show that in this region, various known pottery styles have been prevalent in different regions of Iran. The Survey and analysis of various types of pottery index during the fifth to eighth centuries AH, The relationship of this area with neighboring areas and also the identification of local samples is one of the objectives of this Research. The most important research questions are: 1- In terms of construction style and decoration, the effects of which areas can be seen in the pottery of Qoroq site? 2- What are the most important types of pottery in this area? And 3- which type of pottery has native characteristics? According to the results of the research, underglaze and overglaze varieties with monochromatic and multicolor motifs are among the most important pottery works of this area. It is probably the multi-colored type on a white glaze background from the local pottery of the western regions of Iran in the 7th and 8th centuries AH. (Table 7 b). In the present article, the data are collected by documentary and field methods and the research approach is “descriptive-analytical”. The pottery pieces were studied by “sampling” method as “simple random” and based on “qualitative characteristics”.
Archaeological studies by faculty members of Bu - Ali Sina University in the region during the years 2006 to 2012 have referred to the pottery data of the Islamic period of this region and its flagship hills, including Qoroq site (Mohammadifar and Motarjem, 2006; Motarjem and Belmaki, 2009; Nazari Arshad, 2012). “Survey and analysis of the typology of pottery from the beginning of the Islamic period to the end of the Safavid period in Hamadan”; (Zarei and Shabani, 2019) is another research that has studied the totality of Islamic pottery in Hamedan province, including the Qoroq site, which has been obtained through excavations and studies.

Data
In this research, the pottery fragments of Qoroq Islamic site are divided into two groups of unglazed and glazed pottery. According to the type of decoration, unglazed pottery can be seen in three groups with molded decoration, incised pattern and added pattern. Glazed parts can be classified into two groups, monochromatic and multicolor. Also, according to the type of motifs and patterning method, it is divided into monochromatic motifs (carved, molded, embossed) and underglaze and overglaze motifs. Glazed pottery is divided into Sultanabad style, esgraffiato, black pen under turquoise glaze, silhouette, blue and white, Azure with gold decorations and several colors on white glaze (Table 1-7).
In the Islamic period, especially from the 3rd to the 8th century AH, historians and geographers have made important references to the routes between Hamadan and the neighboring regions, which can be known to some extent about the main and most important roads of this region and the neighboring regions. These routes are: 1- Hamadan-Holwan route (Istakhri, 1961: 163-162; Ibn Hoqal, 1987: 103-102; Ibn Khordadbeh, 1992: 24; Ibn Rosteh, 1892: 168-167; Maghdasi, 1982: 599-600; Mostofi Qazvini, 1957: 164) which passed through the western regions of the country, including the cities of Asadabad, Kangavar, Bisotun. 2- Hamedan-Qazvin route (Istakhri, 1961: 163), which passed through the cities of Razan and Avaj. 3- The southern road of Hamedan (Demeh road, Raman/Jarfadghan/Isfahan/Khuzestan) which was flowing from the cities of Jokar, Nahavand and Borujerd towards the southern and central regions of the country (Istakhri, ibid.: 163; Natanzi, 2013: 254). 4- The route from Hamedan to Saveh and Ray (Ibn Khordadbeh, 1992: 25; Ibn Rosteh, 1892: 168-167; Hamavi 2001, Vol. 1: 651; Katebe Baghdadi, 1991: 38-37) which passed through the eastern parts of Hamedan, including the villages of Gorgaz and Bozenjerd. 5- Hamadan-Soltanieh route (Mostofi Qazvini, 1957: 164; Hamedani, 2007: 126), the northern road that passed through the cities of Kabudarahang and Shirinsu.
Here, many similarities can be seen between the pottery of the Qoroq Islamic site and the examples found in the significant cultural centers within the region (Bashqortaran, Dargzin and Babakhanjar sites in the north, Arzanfoud and Troglodytic Samen sites in the south, and Qale juq site in the northeast). Also, the ability to compare some of the samples found with pottery from outside the region such as Qorveh, Kangavar, Bisotun, Garos, Aghkand, Soltanieh, Zalfabad, Tahigh, Aveh, Ray, and Borujerd has shown the connections of this site with its western, eastern, northern, and southern neighbors. Among these routes, which had a significant impact on the political, economic and cultural life of the region, is the Great Khorasan road that entered the Hamadan basin from the eastern parts of the plain.

Conclusion
According to the study of pottery left over from this area and the abundance obtained from them - as one of the cultural centers with valuable archaeological data - its peak of brilliance belongs to the Seljuk and Ilkhanid periods. Among the pottery fragments of the area, all kinds of single-color pottery (plain and patterned), underglaze and overglaze patterns typical of the western regions of Iran have been obtained. Among the types of glazed vessels, esgraffiato vessels with linear and simple geometric motifs repeated in the middle of the frame (spiral, zigzag, rhombus and triangular circle motifs) on a light green and cream background, and multi-colored decorated vessels on white glaze with mixed geometric motifs. (horizontal parallel lines, continuous crossed lines) and a simple plant (flowers with several leaves, mesbek and pichan) in the inner part is considered one of the most important types of local pottery of this place. Similar to the samples studied based on the construction technique, decoration method, color and shape in other pottery centers inside and outside the region, especially in the neighboring prominent areas which are on the most important communication routes from Hamedan to Kangavar, Bisotun, Qorveh, Soltanieh, Aghkand, Garos, Zolfabad, Tahigh, Aveh, Ray and Borujerd were placed, it has been popular. The designs used on the pottery have shown the extensive cultural relations of the population centers in the middle Islamic centuries. According to historical and archeological evidence, the main factor influencing the pottery art of this region from neighboring regions in the Islamic period was the trade and pilgrimage routes that entered the Hamedan plain from the east, central plateau, west and northwest. As can be seen, during this period, all exchanges from the most important city of Jebal, i.e. Ray, to the western regions of the country, including the Hamedan Plain, were carried out through the Khorasan road. Therefore, Hamedan is located in the center of one of the four important communication routes between north and south and east and west of Iran, and the similarity of the cultural materials of this region with other regions is due to its location in the chain of political, cultural and commercial communication in the west of the country.

Abstract
The central plateau and southwestern Iran were two pivotal points to begin social and economic developments during the second half of 5th millennium BC, which played an important role in commercial exchanges and cultural interactions between the east and west of the Iranian plateau in the 4th millennium BC. Technology and industry were the main indicators of complexity in the central plateau, while in the southwestern of Iran, agriculture, animal husbandry and water resources were important in this sense. The level of complexity, the appearance of management technique, and pottery production in the key excavated sites in a range from the central plateau to a part of the eastern plains of central Zagros and the and southwest of Iran, was evaluated and studied. The structural analysis of the interactions between the two regions with a cultural ecology approach and based on five paradigms including assimilation, specialization, synchronization and self-organization, condensation of geo-economy, and concentration of power has shown that some societies during the second half of the fifth millennium BC, based on these five principles, they strengthened each other and created complex societies. We have achieved some results in the framework of economic-sociological indicators which include the creation of production and distribution systems, efficient families, pyramids of power and super elites, the destruction of public consensus and expanding elites. 
Keywords: Complexity Indicators, Central Plateau, Southwest of Iran, Pottery, Management Technique.

Introduction
Due to its economic, cultural and geographical capabilities, Iran has always been at the center of transportation routes. Based on the available settlement maps, the dense and compact geographical structure of the southwest Iran caused the integration and unity of settlements and ultimately the formation of early states. On the other hand, the scattered geographical context of the central plateau had caused its social fragmentation. 
The current research is based on the following questions and hypotheses: 1) how can the studies on the indicators of socio-economic complexity in the central plateau and southwestern Iran in the second half of the 5th millennium BC be evaluated? What are these indicators and why and how did they cause complexity? 2) What does the comparative study of the process of socio-economic complications in the central plateau and the southwestern region of Iran indicate?
Technologies such as pottery and metalworking, intra-regional and extra-regional relations are the main reasons, and agriculture, animal husbandry and exploitation of ground water and irrigation are secondary indicators of the complexities in the central plateau. In the southwest, agriculture, animal husbandry, exploitation of ground water and the intensive agricultural system in the western and eastern Shushan plains and the rainfed system in the middle and high plains (Dehlran plain) are the main characteristics. It seems that the residents of these two regions acted based on adaptation of surrounding environment. The theory of Special Evolution of Culture and interaction between humans and the environment can be used to interpret this topic. They used similar indicators in the process of complexity, but followed different paths in terms of quantity, quality and prioritization of the use of the mentioned indicators.
In the current research, the required documents have been collected through library studies. The method of analysis is to use the method of explaining cultural changes and using theories of socio-economic complexity.

Structural analysis of the interactions of two regions
In the second half of the 5th millennium BC and especially in the late 4th millennium BC, each of the five mentioned paradigms, on the part of the more advanced societies, not only did not endanger the old civilizations, but they strengthened each other and important results brought.
A) Standardization (assimilation): Regions such as the central plateau where the industry formed the basis of daily work and activities, needed standardized weight and measure tools. By applying the principle of standardization, many differences were eliminated or regional and local differences were distinguished from other places. An example in this regard is the making and decorating of pottery in regions such as Shushan, Fars and Central Plateau (such as dot motive pottery, plum ware, and Cheshme-Ali); which provides the possibility of rebuilding inter-regional cultural and ultimately political boundaries.
b) Specialization: With the acceleration of the division of labor, the expert, who only specialized in one profession, took the versatile villager place who worked intermittently. In this way, there was an opportunity for some specialist groups to monopolize the relevant knowledge and specialized professions emerged. The evidence of ancient metalworking in Zaghe, Uzbaki, Cheshme-Ali, and Tepe Gabrestan, as well as the similarity of inscribed buff ware from layers II-V of Qara-Tepe Qomrud with Rahmat-Abad, Gap, Chogha-Ahovan, and Geser sites, is a symbol of the level of specialization.
C) Synchronization (self-organization): Sometimes the concentration of power in societies will cause multiple pressures; and self-organization refers to the formation of patterns that were related to the endogenous factors of societies, and finally, this discipline became evident in a factor called management technique that it leads to the emergence of specialization and convergence. The similarities of the management technique of these regions can be found in the similarity of the seals of Qara Tepe Qomroud and Sialk with Giyan V, Shush A and Bakun A.
d) Density of geo-economy factors: When the economic capabilities of states depend on geographic issues, a geo-economy is formed, whose main goal is not to achieve physical power, but trade and commerce. The geo-economic position of the Central Plateau in line with the industrialists and southwest of Iran in line with increasing agricultural production and regular and permanent surplus production (relying on the data of irrigation canals obtained from Mahme, Sabz and Musian) and growth the development indicators.
e) Concentration of power and stability: the construction of buildings with a view and structures with a special spatial arrangement, such as temples and monuments such as the adobe platform of Shush, Farrokh Abad, Chogha Mish, Jafar Abad and the patterned structures of Zaghe are a sign of the concentration of power for supervision. On economic and religious technological activities.

Conclusion
The five principles proposed in the factions of societies that were becoming more complex were used almost identically and strengthened each other; created some of the most powerful administrative organizations in the societies from 4500 BC and then the 3rd millennium BC and left his special stamp on the civilizations of the 4th millennium BC.
Therefore, the results obtained from the five paradigms in line with economic-sociological indicators led to the creation of production and distribution systems. Early societies, based on their needs, started “necessary innovations”; the appearance of tools and development of the accounting and counting systems are some changes that have happened in Qomroud, Geser, Zaghe, Shush and related sites. Creating efficient families is another result. The nuclear family with relatives could have a standard model.
Some nuclear families were superior to others and caused complexities. Tribal territories are clearly visible in the settlement pattern of the southwest Iran. Chogha Mish and Shush 15 hectares expansion shows the preference of some households over another. Following this issue, pyramids of power and super elites were formed. The technologists and experts of power, who were in charge of the leader, were themselves organized in the hierarchy of elites and sub-elites, and in turn, they were integrated by the comprehensive elites, which consisted of people with various specialties; such as the control of central locations such as Zaghe, Qomroud, Shush, Chogha Mish, Farrokhabad, Bayat, and Jafarabad.
On the other hand, the people had similar and basic needs, and the other hand, a factor called public consensus was considered an attainable goal which its collapse discredited the concept of leadership; sometimes there was a possibility of this event which its analysis is very difficult. Most of the sites of this period, after an amazing prosperity suffered a gradual collapse. The expanding elite is another case in this regard. 
An important factor called the burden of decision is always up to the few who can handle it, unless the number of decisions increases and the decision load abilities of the old ruling groups become weaker; then new elites were placed at the head of affairs in recent periods so that they could handle the decision load burden. Therefore, the level of participation in a society can be less depend on culture and political wills and more about the result of decision-making. Frank Hole considers the organization of the late 5th millennium BC of Susa and its administrative positions to belong to religious people or the existence of a state with hereditary classes. It is not unlikely that centralization occurred in these societies.

Acknowledgment
This article is extracted from the thesis of the first Author entitled “Comparative study of the trend of socio-economic complexities in the central plateau and southwest of Iran in the second half of the 5th millennium BC” which is worthy of the material and administrative support University of Mazandaran Research and Technology Vice-Chancellor, Faculty of Arts And the architecture and archeology department are grateful.

Observation Contribution
The Authors declare that according to the extraction of the article from the doctoral dissertation, the writing of the article was done by the first Author with the guidance and supervision of the second Author and the consultation of the third Author.

Conflict of Interest
The Authors, while complying with the publication ethics, declare the absence of conflict of interest and material and administrative support from University of Mazandaran Research and Technology Vice-Chancellor, Faculty of Art and Architecture, and Department of Archeology.

Abstract
Khoy county, as one of the archeological fields of Iran, has been one of the most important centers for the presence of human societies, and the process of formation of ancient societies from prehistoric to historical and Islamic eras is quite obvious and can be explored. One of the landmarks of this city is Shams Tabrizi, which is located in the northwest of Khoy county between Rabat neighborhood and Imamzadeh neighborhood, and on its southern front, there is a monument called Shams Tabrizi minaret. This area was excavated in 2007, in 2018, with the aim of studying the layers and archaeological deposits and being aware of the existence of cultural periods, by creating 3 boreholes in the northern and eastern parts. This research is the result of studying the pottery data of the mentioned area. Accordingly, the main question of this research is posed as follows; Given the diversity of pottery species and their adaptation to other sites, what cultural periods does the site chronology include? Findings of this study; The pottery of this area is classified into two main groups of glazed pottery (monochrome pottery, multicolor painting on glaze and painting under glaze and Esgrafiato) and unglazed (molded and ordinary pottery) based on the typology of pottery. And their adaptation to other areas should be said; Shams Tabrizi Khoy area is a settlement belonging to the Middle Ages to the late Islamic period. The peak of prosperity of this area was related to the Middle Islamic centuries and it should also be noted that the pottery index species show close similarities with other centers in the northwest and west. It indicates the existence of an extensive communication and cultural network in the region, and historical texts and travelogues reinforce this conclusion.
Keywords: Khoy County, Shams Tabrizi Area, Pottery, Chronology.

Introduction
The city of Khoy has been an important gateway and a crossroads for trade in distant and nearby lands. This area, due to its location in communication centers, connects to the Urmia Lake basin on one side, the southern Caucasus region on the other side, and the eastern Anatolia, making it strategically important for prehistoric societies and significant in studies related to the formation of societies. The region’s archaeological explorations indicate that the oldest settlements in the area date back to the late Neolithic period (sixth millennium BCE). The environmental and biological components of the region have created favorable conditions for permanent and temporary settlements in various cultural periods, playing a very important role throughout history. Despite its great importance in Iranian archaeology, this region has received less attention. However, archaeological findings and historical documents attest to the significance of this region in cultural periods. In the field of archaeology, ceramic findings in the stratigraphy of sites and the study of cultural changes are of great importance. Systematic research on the types of ceramics in the Shams Tabrizi Khoy area is no exception to this rule. Given the lack of attention to this site in Iranian archaeology studies, it is necessary to investigate and study these data, as archaeological findings and historical documents indicate the importance of this region in cultural periods. The study of ceramic typology in this region is essential for understanding the prosperity and decline of the city, as well as cultural and trade relations with neighboring regions. Therefore, the main objective of this research is to study the Islamic period ceramics of this site, their typology, and relative stratigraphy. In the study of ceramics resulting from excavation and considering the type of data, the following questions are raised: 1) Which areas have similarities with the incised ceramics in this site? 2) Which regions have similarities with the turquoise-black ink ceramics of this site? 3) Based on the comparative study of ceramic types, what are the fundamental steps in understanding the prosperity and decline of the city and its cultural and trade relations with neighboring regions?

The Text of the Article
The Shams Tabrizi complex is located in the northwest of the city of Khoy, situated between the Rabat and Imamzadeh neighborhoods. Three trenches were created in the north and east fronts of the complex for identifying layers and accessing cultural deposits. Regarding the typology of ceramics in the Shams Tabrizi complex and their similarities with other complexes, it can be said that similar ceramics have been found in regions such as Rey, Sultaniyeh, Saveh, Sultanabad, Kashan, Hamadan, Bojnourd, Aqkand, Yazkand, Sultaniyeh, Sheikh Tappeh in Urmia, and others. Khoy was part of the Seljuk territories, especially under the Seljuk Rum branch, due to its strategic location on the trade route between the East and West. During the reign of Sultan Sanjar Seljuki, he appointed Khoy as a peer to Rey and considered Khoy and Rey as part of his special territories. The similarity of ceramic types with Rey is evidence of this statement. After flourishing during the Seljuk era and suffering damage during the Mongol invasions, especially in 628 AH, Khoy gradually regained its prosperity during the Ilkhanid period. Ceramics from the Ilkhanid period have been found in this complex, comparable to complexes of that time. In the Safavid era, Khoy gained attention from Shah Ismail I, who chose it as his winter capital. Historical sources indicate that Islamic historians attribute Khoy’s prosperity and fame to the middle centuries, particularly the 5th to 8th centuries AH. Ceramics from this period show undeniable similarities with complexes in eastern, western, and central Iran, likely due to cultural, economic, and trade exchanges between Khoy and those centers. Key ceramic types in this complex include multicolored underglaze, simple turquoise glazed ceramics, red and beige ceramics with black, blue, and purple patterns under and over turquoise and white glazes, orange and reddish ceramics with black patterns under yellow, turquoise, white, and aubergine glazes, orange ceramics with black and crackled (sgraffito) patterns under turquoise glazes, and unglazed ceramics.

Conclusion
Based on the archaeological studies and historical texts such as Ibn Hawqal, Masudi, Hamawi, and Emad al-Din Zakariya, Khoy has been a prosperous city during the Islamic period, especially from the 5th to the 8th centuries AD, due to its location on the East-West trade route. The pottery collection unearthed from the archaeological excavations of the Shams Tabrizi area also indicates that this region had cultural, commercial, and economic interactions with other centers during that time, reaching its peak during the Seljuk and Safavid periods. However, due to political and historical events, especially during the Ilkhanid and Safavid periods, all its cultural achievements were destroyed by invaders such as the Mongols and Ottomans (during the reign of Suleiman, Murad III, and Murad IV). Nevertheless, it has managed to regain its dynamism and greatness.
In this regard, the Shams Tabrizi area in Khoy is one of the prominent Islamic settlements in the region, possessing valuable cultural data, including diverse pottery artifacts. These pottery artifacts, classified based on comparative typology, belong to the Middle to Late Islamic periods and are divided into two main groups: glazed and unglazed pottery. The unglazed pottery consists of molded pottery and ordinary pottery, while the glazed pottery includes single-colored glaze, multi-colored glaze, overglaze painting, underglaze painting, and sgraffito. Due to the diversity of pottery types in terms of form, they mostly consist of various pottery bowls, and in terms of technique and decoration, they include distinctive types such as sgraffito, molded pottery, underglaze painting, and overglaze painting. Therefore, it can be said that pottery known as sgraffito in other regions such as Aqkand, Yazkand, Sultaniyeh, Sheikh Tappeh in Urmia, Hamadan, Kangavar, Taq-e Bostan, and Takht-e Soleiman, has been obtained, and in terms of style and technique, there are similarities between the turquoise pottery of this area and other regions in some cases. Similar turquoise pottery from this area has been obtained in Sultanabad, Kashan, Sultaniyeh, Hamadan, Bojnourd, and other regions, and can be compared to them in this respect. The results of the study of different types of pottery in the Shams Tabrizi area indicate that the pottery of this area mainly belongs to the Middle Islamic periods.

Abstract
The northeastern region of Iran, characterized by a diverse and expansive landscape, has been a significant area for cultural and commercial exchanges throughout history. The geographical features, including parallel mountain ranges, natural valleys, and basins, have facilitated interactions between the peripheral desert plains, the eastern Alborz Mountain, and the Iranian Plateau with Central Asian regions. The Tepe Pahlavan, located in the northern-southern valley of Jajarm in North Khorasan Province, serves as a valuable example for studying inter-regional cultural trends during the Late Neolithic and Transitional Chalcolithic periods. The present research used a descriptive-analytical methodology to investigate the pottery assemblage retrieved from Tepe Pahlavan in Northeastern Iran during the Neolithic and Transitional Chalcolithic periods. The study aims to classify and analyze the pottery within both the local and regional contexts to comprehend the pottery traditions prevalent during the aforementioned periods. The pottery assemblage of the site indicates its association with the Eastern Sange Chakhmaq and other Neolithic sites from the Shahrud Plain. Furthermore, the presence of the cultural tradition of Cheshmeh-Ali in the settlement sequence of sites during the Transitional Chalcolithic period demonstrates regional and inter-regional cultural interactions. The pottery of this period at Tepe Pahlavan shares common technical features with the pottery assemblages of the Central Iranian Plateau and exhibits less diversity in form and decoration. In summary, the Pahlavan site reflects regional cultural interactions during the Neolithic period and inter-regional interactions during the early phase of the Transitional Chalcolithic period in northeastern Iran with the Central Plateau and the northern regions of the Kopet Dag.
Keywords: Northeast Iran, Tepe Pahlavan, Chakhmaq/Jeytun Culture, Cheshmeh-Ali Culture, Typology, Pottery Classification.

Introduction
The northeastern region of Iran boasts a diverse range of ecosystems, from desert and semi-desert mountains to foothill plains and the Caspian Sea coastline. The Jajarm Plain is a strategically located natural corridor, serving as a vital passageway between the Aladagh Mountains, the Atrek Valley, and the northern edge of the Dasht-e Kavir. Geographically, it is divided into two distinct regions - mountainous and desert - and experiences semi-arid conditions with a dry climate. Tepe Pahlavan is a multi-period archaeological site with deposits from the Neolithic, Transitional Chalcolithic, and Islamic Middle Ages. Although previous surveys and documentation by Spooner, Masuda, and Vahdati had been conducted, our 2017 excavation marked the first excavation of the site. Pottery, as a human-made artifact, offers valuable insights into cultural interactions, socio-economic changes, and cultural changes in ancient human societies. Taking a descriptive-analytical approach, our goal is to classify, typologize, and compare the pottery assemblage from Tepe Pahlavan. This study will provide us with a better understanding of the typological and stylistic characteristics of the pottery assemblage, as well as its cultural significance in the Neolithic and Transitional Chalcolithic periods in northeastern Iran.
Refined Research Questions and Hypotheses: 1. What cultural influences have shaped the pottery tradition of Tepe Pahlavan? 2. How does the pottery collection of this site fit into the regional archaeological framework? 3. In what ways has the pottery tradition of Tepe Pahlavan changed over time in response to regional and supra-regional trends?
After examining the ceramic evidence from Tepe Pahlavan during the Neolithic period, it appears that the pottery tradition might have been influenced by the pottery traditions of the Jeitun-chakhmaq and silk I cultures. Additionally, pottery fragments discovered at sites like Cheshmeh Ali, Silk II, Ghaf Khāneh, and Anu similar characteristics to those found at Tepe Pahlavan, suggesting that they could belong to the Transitional Chalcolithic period.

Discussion
During the Tepe Pahlavan excavation, over 2000 pottery sherds were unearthed and meticulously recorded. These fragments can be broadly classified into two distinct chronological groups: late Neolithic and Transitional Chalcolithic, comprising roughly 45% and 55% of the entire assemblage, respectively. These pottery sherds exhibit a range of sizes and unique features.
The archaeological analysis of the pottery discovered at Tepe Pahlavan during the late Neolithic period has revealed significant technical and visual similarities with the late Neolithic pottery of the Shahrud region. These similarities are observed in the forms, paste color, clay quality, surface coating, baking, and motifs. However, there are some minor differences in some of these aspects. One of the notable differences is the tempering agents used in the two regions. The Tepe Pahlavan group mostly used very small pieces of sand and plant inclusions as temper, while in the Shahrud plain, finely crushed plant materials were primarily used. This difference in tempering agents may have been associated with differences in the availability of raw materials or the preferences of the potters. This characteristic makes the pottery of Tepe Pahlavan more similar to the late Jeitun pottery. The surfaces of the pottery at Tepe Pahlavan have been well-executed, but unlike the pottery of the eastern Tepe Chakhmaq and Deh-Kheir, they do not exhibit glossy or burnished surfaces.
The pottery of the Cheshmeh-Ali culture in the central plateau and the northeast region corresponds with the pottery of the Kopet-Dagh region in terms of forms and motifs. The multiplicity and intricacy of motifs in the pottery of the Cheshmeh-Ali horizons in the central plateau are more significant than those in the northeast region. In the northeast region, such as Tepe Pahlavan, Qaleh-Khan, and Aq-Tepe, unlike the central plateau of Iran, examples of pedestal vessels, basket-shaped vessels, and very large jars are absent. Although the motifs in this type mostly consist of geometric, floral, animal, and a few human motifs like central plateau pottery, these are much simpler and less numerous than those found in the central plateau pottery. The motifs in the early Transitional Chalcolithic horizons of Kopet-Dagh are limited to a few geometric designs, such as oblique ladder-like rows, wide bands below the rim, ray-like bands to the vessel base, vertical frames of zigzag bands, and hatched shapes.
The discovery of diverse pottery at Tepe Pahlavan provides valuable information about pottery making in this region during the late Neolithic and Transitional Chalcolithic periods. The observed similarities and differences in the pottery of Tepe Pahlavan with other regions contribute to a better understanding of the cultural relationships and developments during this period.

Conclusion
The pottery assemblage at Tepe Pahlavan is characterized by two distinct chronological periods. Specifically, the assemblage comprises artifacts from the Late Neolithic period, encompassing Eastern Sang-e Chakhmaq, as well as the Cheshmeh Ali culture which represents the Transitional Chalcolithic period. The findings from this excavation provide invaluable insights into the cultural evolution of the region during these periods. The pottery discovered from the Late Neolithic era within this area exhibits a resemblance to the pottery tradition of the Jeitun/Chakhmaq culture, as well as settlements from the latter part of this culture in the Shahroud and Bastam regions. In addition to the similarities, there are minor differences in certain aspects of pottery-making, such as temper and surface treatment, which indicate local characteristics in the pottery-making tradition of the Late Neolithic at Tepe Pahlavan. These local and regional similarities and distinctions continue into the Transitional Chalcolithic period. Despite the strong resemblance between the pottery of this period and the pottery-making tradition of the Cheshmeh Ali culture in the Central Plateau, there are noticeable local characteristics, such as a reduction in the diversity of patterns and vessel forms.
The available dating samples from Tepe Pahlavan provide evidence of multiple settlements within the time frame of 5800-4800 BCE in the surrounding area. The cultural materials and settlement sequence of this area correspond with the Late Neolithic in northeastern Iran, specifically in Strata 3 to 1 of Eastern Sang-e Chakhmaq within the time frame of 5800-5300 BCE, and the early phase of the Transitional Chalcolithic within the time range of 5200-4800 BCE. This serves as strong evidence of regional similarities between the pottery of Tepe Pahlavan and the surrounding areas and sites of the Central Plateau. There is strong evidence of a correlation between the pottery tradition of this site and the Shahrud region. The cultural materials found at Tepe Pahlavan, along with absolute dating, reveal the emergence and replacement of the Cheshmeh Ali horizon following the Jeitun/Chakhmaq horizon. While Tepe Pahlavan samples have been primarily dated to the 6th and early 5th millennium BCE, there remains uncertainty regarding the replacement of the Cheshmeh Ali culture by the cultural practices of the Transitional Chalcolithic period at a local and regional level. This is largely due to the scarcity of well-preserved layers from the Late Neolithic and early Transitional Chalcolithic periods in the cultural stratigraphy of the area.

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

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

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

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

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

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

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

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

Abstract
Recent studies in some archaeological sites of the Central Plateau of Iran and Afghanistan show that a style of decorating potteries known as stamped decoration was favorable to the Sassanid artists. Vigol, an archaeological site located in the northern Isfahan province (Aran and Bidgol), is one of those sites with several examples of Stamped motifs. This paper aims to study the patterns and abundance of stamped motifs and their chronology through comparative studies. Thus, our goal is to answer these questions: What are the patterns of stamped motifs in Vigol and how can we provide statistics on their frequency? What similarities do these motifs have with other common motifs in the art of the Sassanid period? Which of the existing samples can be compared with other motifs from Sassanid sites? The research method is descriptive-analytical which mostly relies on field and desk research. The results show that the motifs on the 49 stamped potsherds can be divided into seven categories, including heart-shaped, vegetal, circular, geometric, abstract, arch-shaped, and paisley patterns (Boteh). The first group of motifs including heart-shaped, vegetal, circular, arch-shaped, paisley, and some geometric motifs, are comparable to some artistic aspects of the Sassanid period like stucco design or reliefs and stamped motifs from other Sassanid sites. Chronologically stamped motifs of Vigol are comparable to some sites like Sassanid sites of southeastern Tehran province, Chal Tarkhan of Ray, Qaleh-Gabri and Langi-rud of Qom; and sites like Qasri-Abu Nasr, Ctesiphon, Qal’eh-i Yazdigird and Mes Aynak outside of the survey area. Several geometric and abstract motifs seem to be local and similar examples cannot be found.
Keywords: Aran and Bidgol, Vigol, Sassanid Art, Sassanid Pottery, Stamped Motifs. 

Introduction
Vigol is located in the southeast of Aran and Bidgol, nowadays surrounded by dunes deserts, and shrubs that cover most of the site. Based on some early and middle Islamic texts, this site was probably one of the villages around Kashan. In Tarikh-i Qum (History of Qom) written by Hassan ibn Mohammad Qomi, Aran, Haraskan, Noush-Abad, and Halil are mentioned. Some scholars believe that Halil is the same as Vigol, although its name is not mentioned as Vigol in Tarikh-i Qum (Mashhadi Noushabadi, 2017: 36). Nevertheless, what attaches importance to Vigol is the presence of two castles in the east and west of the site, mainly referred to as two separate urban structures of the Sassanid period. Also, a Fire temple unearthed in the vicinity of the western site is a unique example of Sassanid art and architecture that emphasizes singlehandedly the position of Vigol among other sites that belong to this period (Javari, 2015: 87). But we can’t escape the fact the existence of this fire-temple caused other studies, including potteries, to be forgotten. So, there is no comprehensive study focusing on Vigol’s potsherds and their importance in understanding the typology, classification, and chronology of the Sassanid pottery. The only paper available that covers Vigol’s pottery is the one that exclusively studies 98 potsherds of the Sassanid period. Results show that Sassanid pottery includes a simple and unglazed type with shapes of all kinds such as bowls, bins, jars, vats, pots, flats, trays, lids, and handles, which are comparable with other Sassanid sites of the west, northeast, south, and the central plateau of Iran.
But this paper’s focus is on Vigol’s stamped pottery of the Sassanid period. Concerning this issue, we have chosen 49 potsherds with stamped motifs and analyzed them based on their piece and patterns. These potsherds mostly belong to the body of earthen wares, but some rims, necks, shoulders, and bases are also examined. Shapes such as necked jars, closed-mouth jars, bowls, and lids are also decorated with stamped patterns. These potsherds have dough in the buff, red and brown colors, they are wheel-made with a decent firing. The temper includes minerals such as fine and coarse gravel, sand, lime, mica, and quartz and plants such as straw. Considering motifs, we have divided potsherds into seven categories: heart-shaped, vegetal, circular, geometric, abstract, arch-shaped, and paisley patterns (Boteh). In general, these motifs form the basis of our current research, thus other measures such as shape have been avoided.

Discussion 
Studying Vigol’s potsherds shows that potters were particularly interested in this type of decoration and used it in all kinds of shapes. Many of the stamp motifs of this site have traces of the Sassanid period and are reminiscent of the religious-ritual beliefs and artistic interests that dominated this historical period. Motifs include heart-shaped, vegetal, circular, geometric, abstract, arch-shaped, and paisley patterns (Boteh), among which the usage and variety of abstract motifs and geometric motifs are more visible. Abstract motifs were used as decorative borders on the lower part of the rim or the body of the vessels. Geometric motifs are also usually borders with incised motifs in horizontal or vertical rows and are even scattered all over a potsherd. Also used in horizontal or vertical rows as a decorative border, are circulars which are among the other diverse motifs. In some cases, these motifs have been used in the frames of incised motifs in the body of an earthenware. Due to the similarity of these motifs to the sun or the lotus flower, they cannot be separated from the religious-ritual beliefs ruling the Sassanid period.
Motifs in small numbers such as heart-shaped, vegetal, arch-shaped, and Boteh, are important considering their content and similarity to other artistic and ritual aspects of the Sassanid period. Despite the common usage of heart-shaped motifs in other forms of art in the Sassanid period such as stucco design, reliefs, and garments, these motifs are among the diverse items of Vigol’s potsherds, and unique when we compare them with other Sassanid sites. These motifs also decorate pots in vertical and horizontal rows and share a similarity of designs with the stucco of well-known Sassanid sites of Barz-Qavale and Ctesiphon. Compared to other motifs, heart-shaped motifs are the only case that evokes the arts of the Sassanid period in such diversity. 
It must be admitted that most of the stamped motifs of Vigol are similar to the potsherds surveyed at other Sassanid sites. Thus, for a more reliable chronology, we have divided Sassanid sites into two categories: Sassanid sites of southeastern Tehran province, Chal Tarkhan of Ray, Qaleh-Gabri and Langi-rud of Qom located inside the area of survey; and sites like Qasri-Abu Nasr, Ctesiphon, Qal’eh-i Yazdigird and Mes-Aynak which are located in the outside. 
Some stamped motifs such as circular, vegetal, and several geometric motifs, are comparable to other motifs obtained from known Sassanid. But some other geometric motifs, vertical or horizontal rows of abstract motifs used in the decoration of earthenware, seem to have a local nature. Because a similar example of them has not been found among other common arts of the Sassanid period and sites with stamped motifs.

Conclusion
The Sassanid art is known to be overwhelmed with luxurious aspects and motifs that are represented in Stucco design, Reliefs, metalwork, and, textiles. However, looking into other artistic features of this period indicates a new and unique medium. To comprehend this topic, we need to study the pottery created during the Sassanid period. We should consider its artistic value and how it is affected by the religious and ritual practices of that time. Vigol is one of the Sassanid sites with a fire temple that is a representation of their influence and power. Potsherds related to this period show the importance of pottery and its decoration. Examining these samples shows that most of them are simple and unglazed with stamped decorations, the variety and abundance of which is remarkable. Also, stamped sherds of vigol pottery is inspired by other artistic motifs of this period, such as heart-shaped motifs. According to the available documents and studies, it can be said that pottery has been a more appropriate cultural material for performing roles than other decorative arts. The comparison of motifs found on Stamped samples shows that this type of decoration was not only in Vigol but also in other important Sassanid sites in Mesopotamia, Iran, and Afghanistan. However, in some cases, the decoration of Stamped in Vigol shows a special variety that distinguishes it from other examples in the Sassanid period. Further studies consisting of archaeological surveys and excavations will add to our knowledge regarding the production and variety of motifs of Stamped potteries.

Abstract
Belqeis site or Old Esfarayen is considered one of the important urban centers in the Islamic era and in the North Khorasan province. Based on historical sources and archaeological excavations, this city has been inhabited since the early Islamic centuries until the Safavid period. So far, many books and articles have been published about this city and some of its archaeological evidence; But parts of its findings have not been published yet. Pottery from the 11th to the 14th century is among the archeological findings of this site, which have not been introduced and investigated in any independent research. These works include various decorative groups, some of which are less known. These factors show the necessity of conducting independent research in this field. The current research was based on two essential and main questions, which are as follows: How many groups were the pottery from the 11th to 14th centuries, what decorative features do they have, and which regions are they comparable to? What are the production centers of this pottery? According to these questions, the main goal of the current research is to investigate, analyze, and compare the pottery of the 11th to 14th centuries in the vicinity of the Belqeis site and to identify their possible production center or centers. The descriptive-analytical method was used to conduct the present research and the method of collecting information is based on field and library studies. As a result of the present research, various types of unglazed and glazed pottery from the 11th to 14th centuries of the area were investigated, described, and compared. In the meantime, some decorative techniques such as drop-drop glazing were also presented in the research for the first time. Much of the studied pottery was probably produced on the site itself, whose production evidence was also shown in the article. Still, some pottery, such as lusterware and celadon, was probably exported to this city from other centers such as Jurjan, Jiroft, Kashan and China.
Keywords: Pottery, Esfarayen, Belqeis Site, 11th to 14th Century, Islamic Era.

Introduction
Esfarayen is one of the ancient cities of North Khorasan province, which has been subject to calamities, looting, and attacks many times throughout history. Historians have called Esfarayen the border of Nishapur or Jurjan. Most of the transformations of this city are related to the 9 to 11 centuries; However, in the period of 12th and 13th centuries, it faced decline and was attacked twice by the Ghoz and then by the Mongols. In the 14 century and with the establishment of Sarbedars rule in the region, the city became relatively prosperous for a while, and this process continued until the Safavid period. According to these cases, it is clear that the life of the ancient city of Esfarayen continued continuously from the beginning of Islam to the Safavid period; This is despite the fact that our awareness regarding the archaeological findings of this city, especially its pottery, includes most of the early Islamic centuries. On the other hand, our knowledge about the pottery of the Islamic era of Greater Khorasan also includes the periods before the Mongol attack and after the Timurids came to power; While our knowledge about the pottery of the 13-14 centuries in the region is relatively small. Considering that the social life of the city of Esfarayen spanned the entire 11th to 14th centuries, it was necessary to investigate the pottery of this period in independent research. A subject that has not been independently addressed in any research so far. According to these cases, the current research is based on two essential and main questions, which are as follows: How many groups were the pottery from the 11th to 14th centuries, what decorative features do they have and which regions are they comparable to? What are the production centers of this pottery? According to these questions, the main goal of the current research is to investigate, analyze, and compare the pottery of the 11th to 14th centuries at the Belqeis site and identify their possible production center or centers.
Descriptive-analytical method was used to conduct the present research and the method of collecting information is based on field and library studies. Based on this, the pottery studied in this article is related to the archaeological excavations of the third and fourth seasons of the Belqeis site. After the initial documentation and description of these pottery, they have been classified and their comparative study with other sites has been done.

Discussion
In the present study, only the pottery was examined and studied, which included the 11th to 14th centuries according to the comparative dates. These potteries were divided into two groups, unglazed and glazed, and each group was examined separately. The unglazed pottery of the area has a clay paste in the color range of pea, red, green, and black, and various motifs are used on some pieces. Some unglazed pottery from the area, such as red paste samples, probably from Jurjan or Jiroft, were exported to this area. But other decorative pottery, such as molded and stamped samples, were produced in the area itself.
The glazed pottery of the area also has various clay pastes, frit-ware, and porcelain. The single-colored glazed examples of the area generally have a frit paste, and most of them are turquoise-green in color. Most of these production pieces were probably from the Belqis site. Among the single-colored glazed pottery of the area, scattered pieces of Celadon pottery were also identified, which imported from China in the 14th century. Pottery with the underglaze painting technique has a lot of variety and is generally frit-ware. Some of this pottery, such as the blue and white samples, was probably the production of the area itself, but the pottery, such as the Silhouette and Sultanabad samples, was exported to this area from other centers such as Jurjan, Nishapur, and Kashan. have been Lusterware pottery, which all belong to the 13th century, are exported from other regions such as Jurjan or Kashan.
It should be noted that in the excavations of the site, in addition to the pottery kiln, many slags were also found inside the kiln and its surrounding areas. Among the evidence of pottery production in the area, we can mention the following: scattered pieces of clay molds, three, four, or multi-faceted clay stamps, and many pieces of clay balls that sometimes have glazes on them. It can be seen, many pieces of pottery tripods, clay chines, unglazed or glazed pottery, deformed or stuck together, crudely carved pottery, and objects Cone-shaped pottery that was obtained along with other findings related to pottery production.
According to the existence of this solid evidence as well as petrographic studies conducted on some terracotta pieces, it can be assumed that many of the studied terracotta pieces were produced in the area itself; But some pieces, such as examples of lusterware, Celadon, Sultanabad, and some painted red paste pottery, were imported from other centers such as Jurjan, Nishapur, Jiroft, Kashan, and China.

Conclusion
The present research was carried out with the aim of examining, comparing, and dating the pottery of the 11th to 14th centuries of the Belqeis site and also identifying the possible centers or centers of their production. As a result of the present research, various types of unglazed pottery of this period were investigated, analyzed, and compared. As an example, pottery with drop glaze decoration was introduced and it was checked that this decorative method was used in combination with other motifs on the unglazed pottery of the area. Due to the fact that in addition to unglazed pottery, evidence of pottery production was also obtained in the excavations of the area, it can be said that most of the unglazed samples were probably produced in the area itself; But pottery such as unglazed embossed red paste with stumpy decoration and sphero-conical vessel pieces were probably exported to this area from the two centers of Jurjan and Jiroft. Because the production evidence of this pottery was obtained in these two centers and the form and patterns of the pottery in the area are somewhat similar to the production samples of these two centers.
Many of the glazed pottery of the middle Islamic ages of the area, despite the great variety, were probably produced in the area itself; As an example, we can refer to the single-color turquoise glazed pottery of ferritic paste, the examples of single-color oil-lamps of frit-ware, and the blue and white pottery with a striped pattern. Apart from these cases, in the excavations of the area, scattered fragments of other pottery groups of this time period were found, which were probably imported from other centers due to less dispersion and lack of identification of proof of their production in the area. are as an example, we can mention the obtained luster-ware, Sultan-Abad, Celadon, and Silhouette pottery, which may have been imported from centers such as Kashan, Jurjan, and Nishapur.

Abstract
Analyzing why and how food collecting and production has been occurred in past societies has always been one of the main archaeological and anthropological research question. This work is done using archaeological finds, especially pottery. In this research, we tried through study of Yaqut Tepeh pottery usage to understand the socio-livelihood situation of East Mazandaran from the 4th to the 2nd millennium BC. In terms of use, potteries were divided into three categories: kitchen wares, food storage containers, and daily uses containers. Various variables such as clay, construction stages, decoration and form have been considered. Chi-Square and Kruskal-Wallis tests were used to analyze the relationship between the mentioned variables and the relationship between the use of pottery and each of the locus consequently. The socio-economic situation is the specific question of eastern Mazandaran communities from 4th to 2nd millennium BC. Probably this event took place in the east of Mazandaran, which is the intersection point of different cultures and the gateway to the Gorgan Plain and Central Asia on the one hand, and the southern slopes of Central Alborz and the Shahrood, Damghan, and Semnan plains through the mountainous plains, has happened. There is a significant relationship between kitchen pottery and food storage containers with some locus; but this relationship is very weak on daily uses containers. In the middle of the settlement and lifetime in this site, more and more diverse pottery was produced and a certain standard and legality was observed in the production of pottery. The variety of uses of containers as a sign of increasing the diversity of the diet can be one of the reasons for the social and subsistence life of Yaqut Tepeh community to become more complicated from the third millennium BC onwards.
Keywords: Social Life and Livelihood, East of Mazandaran, Yaqut Tapepeh, 4th to 2nd Millennium BC, Pottery Usage.

Introduction
Since pottery is the most abundant and perdurable archaeological data, it is necessary and useful to study it in various dimensions and aspects. Recording, description, classification, typology, seriation, and analysis of pottery are very important. In fact, the detailed study of pottery, as well as posing questions and hypotheses, creates a strong analytical foundation for explaining cultural changes, and archaeological interpretations and explanations. If at this stage, archaeologist doesn’t succeed obtaining a relative scientific understanding of the pottery collection, the subsequent studies, including the technical and laboratory investigation methods, will not produce reliable scientific results. Therefore, understandings the function of pottery for social, economic and religious-ritual (cognitive) reconstructions are based on this stage, and basically, the laboratory study of pottery, which itself leads to the material culture knowledge, produce quantitative and technical data for confirmation and support of the mentioned reconstructions. The high abundance of pottery in ancient contexts provide the opportunity to learn about why and how this material became important and even the sanctity of this material among generations and the study of lifestyle changes, regional and extra-regional communications, the socio-economic status, beliefs, customs, rituals, symbols, and familiarity with the perceptions of the ancients the archaeologist (Shepard, 1974; Orton et al., 1993; Costin, 2007; Roux, 2019; Criado-Boado et al., 2023; Shortland & Degryse, 2019). 
From the 4th millennium BC, fundamental changes took place in the West Asia; large settlements using the irrigation-based agricultural system emerged; the level of knowledge and specialties had reached its maximum growth; innovations such as rapid pottery wheel and the production of more diverse stone tools and implements emerged; early governments tried to expand their political and economic influence in wider geographical areas; and communities in different regions were trying to participate in these social and economic developments.
The Gorgan plain and eastern Mazandaran plains played their role in the cycle of social and economic activities of the 4th millennium BC (Cleuziou, 1986; Deshayes, 1968). Pottery and its related technologies are important data that are useful to explain the aforementioned developments in this region.
The present article main aim is the studying the usage of pottery on reconstruction of the social and livelihood situation in eastern Mazandaran plains from the 4th millennium to the beginning of the 2nd millennium BC based on the unearthed pottery from Yaqut Tepeh excavation.

Discussion
In order to study the socio-livelihood situation of Yaqut Tepeh, it is necessary to determine the usage of pottery, and therefore, the technology of pottery making must be studied first. The study of pottery clay (texture and amount of temper), the stages of making pottery (external and internal surface of pottery), decoration and its relationship with the form of pottery can determine the usage of wares. In this article, the relationship between these variables has been measured using the Chi-Square and Kruskal-Wallis tests. Based on the results of this tests, there is a significant relationship between them. Therefore, Yaqut Tepeh pottery is divided into three categories in terms of usage, which include: kitchen wares, food storage containers, and daily uses containers. Kitchen wares have temper and has a rough texture. These potteries are resistant and shockable due to temperature change and sudden impact. Another feature of these containers is the faster heat transfer. The form of these potteries is cauldron, drainage and cauldron cap (?). Cauldrons are of several types; two colors, single color and big cauldrons. Daily uses containers are in many different forms and have more decorations.
Food storage containers are in the form of bulgy jars and open mouth jars, each of which is divided into different categories. Each of these pots had a different use. Some were used for short-term food storage and others for long-term food storage. The relative chronology of the pottery, which was done by comparing them with the pottery of the neighboring areas, shows that the oldest settlement in Yaqut Tepeh appeared in the Middle Chalcolithic; Locus 15 of trench 9 potteries are comparable to Hesar II pottery in terms of manufacturing technique, design, and form. Settlement in this site continued until the Iron Age. Yaqut Tepeh have had trans-regional connections since the beginning. The red and gray pottery of the Gorgan plain has also been seen in this site.

Conclusion
Based on the relative chronology resulting from potteries and the arrangement of locus, the settlement in Yaqut Tepeh started almost from the Middle Chalcolithic and continued until the Iron Age. Due to its location in eastern Mazandaran, it has the possibility of more communication with the Gorgan plain and the central plateau of Iran. We said before that recognition the usage of potteries plays an important role of understanding the aspects of social life and livelihood of the ancient communities. This issue has been addressed by using the technical studies and Chi-square and Kruskal-Wallis tests. 
The potteries were divided into three categories including kitchen wares, food storage containers, and daily uses containers. Pottery paste (texture and temper), manufacturing techniques, decorations and forms were the basis of this classification. All potteries with a rough and sandy texture because of their resistant to temperature changes and sudden shocks has been used for cooking. Therefore, in addition to the cauldron, there have been other wares among the kitchen wares, including drainage, open-mouthed jars, and cauldron cap. Due to the large size of food storage pots, a little temper is used in them; because temper prevents the pottery from cracking during drying. These potteries are undecorated. Pottery with daily use is very diverse and often delicate and decorated. 
The relationship between these wares and locus was measured in order to study social and livelihood developments; a relatively strong relationship has been identified between the form of kitchen wares, food storage containers and locus. But there is not much connection with food storage pots. The aforementioned tests and pottery technology have shown that certain rules and standards have been common for production of pottery in Yaqut Tepeh. The variety of pottery from the Middle Bronze Age shows the dynamism of this community. The hypothesis of the site inhabitants diet diversity also shows their social and livelihood complexities. 
The current research is an initial step recognizing and defining the concept of society from Middle Chalcolithic to Iron Age in eastern Mazandaran, where there isn’t much knowledge in this field. Naturally, a foundation has been created for future research.

Abstract
Archaeological excavations in Yelsuie Germi Castle, very rich findings and valuable documents such as pottery, architecture and other handicrafts were identified and excavated from under a mound of soil that can play an important role in the detailed analysis of this area. One of these landmarks is an unknown structure with complex architecture and building elements located on the hills of the castle near the Sambur Chay River. This building has sections and spaces of four corners that the presence of water conduction paths into the building on the walls and water outlet channels in the floor, has increased the importance of the building and has made it more difficult to identify and evaluate the main function of the building. In this regard, the present research is descriptive-analytical and based on field studies and review of library documents, while identifying and introducing the mentioned building, seeks to find a logical answer to the following questions: What is the usage of the unknown building of Yelsuie Castle and how did it work? What era does the unknown building of Yelsuie Castle belong to? Studies were carried out show that the unknown building is due to the presence of ponds and inlets and outlets water conduction paths was in association with water usage, which is probably used for the preparation and processing of clay, and accordingly by the authors, The name of the building is called “clay processing building”. On the other hand, the study of pottery obtained from different spaces of this building and its comparison with other areas, confirms that this building belongs to the Islamic Middle Ages and the Seljuk period.
Keywords: Germi, Yelsuie Castle, Clay Processing Building, Pottery, Medieval Islam.

Introduction
The current research method is based on a descriptive-analytical and historical approach and its data collection is in the form of library and field studies and archaeological excavations in the area. According to this, at first, the whole building and its various spaces have been drawn, designed and three-dimensional with the help of various software; Also, in order to achieve the most accurate information and general analysis of the building, the obtained pottery from inside the brick building has been compared and matched with the pottery works of other areas of the Islamic era. The ancient place of Yelsuie Castle in the Ingot section of Germi city consists of a small castle on top of a high natural hill and a residential area located in its southwestern part. Yelsuie Castle is located in the watercourse of Sambur Chay River. Easy access to river water resources as well as the precipice situation in the southern and eastern part of the hill on which the castle was built, is one of the most important strategic features that has been influential in choosing this place to form such an area. In general, this area can be considered as one of the most key Islamic area in northwestern Iran. The brick building is located on the eastern side of the castle and on the watercourse of the Sambur Chay River. In this regard, in order to identify this brick building, a workshop called Workshop No. 4 was created in this part of the area by the excavation team. While continuing the excavation process, a brick building with special architecture and unknown usage was discovered. The mentioned building has an almost rectangular plan that includes several spaces inside. The main materials used in the structure of this building are bricks with gypsum and lime mortar, and in some parts, especially in the outer parts of the building, river rubble has been used. The walls of the brick building are completely smooth and flat and are made with an average width of 50 cm and the height of all of them is the same and is about 70 cm.

Discussion
In general, according to the general structure of the brick building, the most reasonable usage for this architecture is being a pottery workshop and processing and preparing clay in it. One of the most important steps before making pottery is to find the right clay or grinding clay, without clods and other materials. Therefore, for this purpose, it is necessary for the pottery clay to be well shaped, sifted, cleaned and prepared. It seems that small ponds that are embedded lengthwise in different parts of the brick building; Along with water inlet and outlet channels, they are made for just such a use.  In fact, in this building, water is directed into these ponds and collected in them through small canals that are embedded on the walls. After filling them, in the next stage, the clay, which was suitable for pottery, was mixed with water inside these basins and became a slurry. While mixing the clay with water, the water flow is redirected into these ponds again, and during this operation, the excess material inside of the soil as well as other additional materials are poured out of the ponds along with the excess water into large side spaces. And was led out  of the building by floor channels. Also, the grains of sand that may have been inside the clay, due to the weight of the bottom of the ponds and the parts that are embedded in the bottom of the floor, were deposited. After doing this, the water flow was cut off and the produced clay was deposited in the ponds for a few days and remained there until it was soft and smooth and so-called settled. After a few days, the prepared clay was collected and transferred to pottery workshops and then to pottery kilns. 

Conclusion
In fact, it should be added that the existence of various pottery in various forms, styles and techniques in Yelsuie Castle indicates the possible presence of pottery kilns in this site, which also confirms the fact that the brick building is a workshop for producing high quality clay. On the surface of Yelsuie Castle, there are limited traces of pottery balls that indicate the presence of pottery kilns in the area, so that with the help of these balls, the temperature of the kilns was regulated. In this article, 3 maps and 13 images including the castle itself, its geographical location, as well as the brick building and its various parts are given. Also, in two tables, the types of obtained pottery from the brick building are displayed, and in another table, similar samples of obtained pottery from other sites of the Islamic period in other parts of Iran have been compared and matched. According to potteries and other artifacts, the date and time of construction of this building should be belong to the Middle Ages of Islam and the Seljuk era.

Abstract
The Zagros region and its hilly flanks, particularly its central parts in the provinces such as Kermanshah, Lorestan and Ilam have provided most evidences related to the Neolithic period and the transition from hunting and gathering to farming and herding. However, our understanding of the Neolithization process in the southern part of the Zagros mountains remains limited and poorly understood to this day. The excavation of Tap-e Bibizolaikhaei is the first Neolithic excavated site in the Kohgilouyeh region, providing new archaeological data. The primary objective of our research was to explore various aspects of the Neolithic way of life at the site, including recovering animal and plant remains to reconstruct economic practices and ancient ecology in the early Holocene period. Another important aim was to obtain samples for C14 dating to establish a reliable chronology for the site. To address these goals, we sought answers to significant research questions include: is the settlement of Bibizolikhaei exclusively a pre-pottery Neolithic settlement? What is the type of the settlement and how long did it last?? To what extent was the economic practices of Bibizolaikhaei people based on hunting and gathering and how much was it based on farming and herding? Based on the stone tools assemblage and the absence of contemporaneous pottery, we infer that the site belongs to the pre- pottery Neolithic period. Regarding the ecological features of the site, we documented that the subsistence practices of its settlers involved a combination of gathering plant seeds and wild grains, as well as hunting small mammals and engaging in small-scale fishing. This article employs a descriptive-analytical research method wherein we describe and analyze the excavated findings within their context. Additionally, the C14 results confirm that the site was occupied during the first half of 8th millennium BC.  
Keywords: Tap-e Bibizolaikhaei, Pre-Pottery Neolithic, Neolithization, Kohgilouyeh.

Introduction
In the Iranian plateau, the most important evidence regarding transition from hunting and gathering to farming and herding comes from the Central Zagros and its hilly flanks, i.e.in the regions such as Kermanshah, Lorestan and Ilam provinces (e.g. Braidwood et al., 1961; Smith 1976; 1990; Mortensen, 1972; Meldegaard et al., 1963; Matthews et al., 2013; Riehl et al., 2015; Darabi et al., 2011). Our understanding of the Neolithic period in the southwestern parts of the Zagros region has been significantly enhanced through excavations at various sites, including of Ali Kosh (Hole et al., 1969), Choghsefied (Hole, 1977) and Chogha Bonout (Alizadeh, 2003). Except for few sites with possible finding from this period, excavations at Seyedeh Khtoun Cave in Arsanjan (Tsuneki and Mirzaye, 2012) and joint Iranian/Japanese project in framework of Tang-e Bolaghi recue excavations, have reveled evidence of this period in the southern Zagros. Moreover, excavations at Tap-e Rahmatabad (Azizi et al., 2014), Ghasre Ahmad (Kamjan et al., 2018) and Tol-e Sangi (Alizadeh, 2021: 4) are recent research in the region. Several reported sites from Chehar Mohal and Bakhtyari (Zagarell, 1982; Daujat et al., 2016) including Ghale Rostam provide information about this period. In addition to sites of other periods, archaeological survey of the Kohgilouyeh region led to identification of a number of Neolithic period sites that shows the importance of the region for the studies on the Neolithic. The primary objective of our research was to explore various aspects of the Neolithic way of life at the site, including recovering animal and plant remains to reconstruct economic practices and ancient ecology in the early Holocene period. Another important aim was to obtain samples for C14 dating to establish a reliable chronology for the site. To address these goals, we sought answers to significant research questions include: is the settlement of Bibizolikhaei exclusively a pre-pottery Neolithic settlement? What is the type of the settlement and how long did it last? To what extent was the economic practices of Bibizolaikhaei people based on hunting and gathering and how much was it based on farming and herding? Based on the stone tools assemblage and the absence of contemporaneous pottery, we infer that the site belongs to the pre- pottery Neolithic period. Regarding the ecological features of the site, we documented that the subsistence practices of its settlers involved a combination of gathering plant seeds and wild grains, as well as hunting small mammals and engaging in small-scale fishing. This article employs a descriptive-analytical research method wherein we describe and analyze the excavated findings within their context. Additionally, the C14 results confirm that the site was occupied during the first half of 8th millennium BC. Considering the geological landscape features of the region and its ecological potentials, it is plausible to hypothesize that the occupation of the site at Tap-e Bibizolaikhaei may have been seasonal in nature. 

Discussion
The excavation of Bibizolaikhaei revealed three layers and a number of features. Although we could not reach to the virgin soil, remains of pebble floor, stone oven, a possible wall, animal and botanical remains and lithics were the important finds of our excavation. Among them, remains of a pebble floor is the most significant. Apparently, the use of pebble floors was common in the mountainous landscape of Zagros during the Neolithic period (e.g., Darabi et al., 2011: 256; Braidwood et al., 1983: fig 66). Lithics recovered from the excavation are based on production of bladelets which are the same Zagros Mlefatian tradition. All deposits were floated, however, there is no clear evidence of domesticated plants; this might be due to the revealed space and small scale of the excavation. However, the presence of stone mortars, pestles, grinding slabs and pounders that were recovered during the excavation and on the surface of the site shows that processing of plant seeds had an important role for the subsistence of the settlers of the site. Remains of animal bones such as domesticated goats and wild sheep indicates the presence of these animals in the diet of the settlers of the site. Due to the absence of Neolithic pottery in the excavation and on surface of the site, it is possible to infer that the site belongs to the pre- pottery Neolithic period. According to the results of C14 samples, it is certain that the site has been inhabited during the first half of the 8th millennium BC. For environmental reasons, Kohgilouyeh was the region where, until two decades ago, a significant portion of its residents relied on a semi-sedentary lifestyle. Therefore, until further studies are conducted, we can presume that this subsistence strategy has a longstanding history and should be taken into account when considering the Neolithic settlers of Bibizolaikhaei.

Conclusion 
Bibizolaikhaei is a pre-pottery Neolithic site and representative of the Neolithic sites of the Kohgilouyeh region. The C14 results indicate that the site was inhabited at least since the first half of 8th millennium BC. Considering the importance of the Neolithic period in the evolution process of the human societies, the need of continuing research at Bibizolaikhaei to find out various aspects of probably the oldest settlement of this part of Zagros appear obvious. By continuing investigations at this site, we expect to be able to understand the evolutionary trajectories of this part of Zagros is relation to the other parts of this mountainous range. 
Now with increased awareness from central Zagros (i.e. the site of Shaikhiabad), southern Zagros (including the sites of Tange Bolaghi and Rahmatabad) and western borders of the Zagros (i.e. the site of Choghagolan), it is necessary to explore and understand the Neolithic societies and human adaptations that existed in the regions such as Kohgilouyeh with its diverse landscape during the Holocene period. Bibizolaikhaei provides relevant information regarding this less understood region.  

Abstract
The historical city of Esfarayen is one of the most important and glorious cities of the Islamic period, which was one of the important provinces of Neishapur until the Mongol invasion, and shortly after the Mongol invasion and the destruction of Neishapur, it was revived and flourished more than before when the Ilkhanids came to power. At the beginning of Timur’s rule, this city was severely destroyed, and from the end of Timur’s period to the end of Shah Abbas Safaviy’s rule, it grew relatively slowly with political ups and downs, and it was abandoned due to the attack of Afghans and population changes. One of the most important valuable goods that was exported from China to other regions from the third to the twelfth century A.H. is Celadon pottery and the other is blue-white pottery. According to the 9 seasons of archaeological exploration in Shahr-e Belqays, 5 pieces of celadon and 2 pieces of blue-white pottery have been found, which have not been studied so far, and for this reason, research was necessary. The main questions of this research are, first of all, what period do these celadons and blue-and-white porcelain belong to? Secondly, according to the technical structure and typological comparison, are the pottery produced locally or extra-regionally, and how did it enter the city of Esfarayen? The third question is the reason for the presence of this type of pottery in the historical city of Esfarayen based on the archaeological context and historical documents. The descriptive-analytical research method and data collection method is based on field and library studies. The results showed that the celadons belong to the 2nd to the 8th century A.H. and the blue-and-white pottery are dated to the beginning of the 8th to the 11th century. The celadons and blue-whites studied are completely non-native and entered the city of Esfarayen by sea and land. Due to the quality and rarity, the type of motifs and the type of lines and writing themes are related to the noble and wealthy classes of the city.
Keywords: Shahr-e Belqays, Esfarayen, Islamic Period, Chinese Pottery, Ming Dynasty.

Introduction
Due to the strategic position of the land of Iran, which has always been on the path of important East-West communication routes from the past to the present, with a branch of the Silk Road passing through its soil as an intermediary between the civilizations of the Far East, especially China and Its western neighbors were like Iraq and Syria. Among the goods exported from China are the famous Celadon pottery and blue-and-white pottery. Due to the importance of Celadon and blue-and-white pottery, many countries were competing with each other based on their geographical region at that time to take over the market for the products of this art and industry. China was the main manufacturer of this product and Iran was the main highway for the commercial connection of this product to Europe and Africa. The city of Esfarayen is one of the important cities of the Islamic period, which was located on the commercial route of the Silk Road (Moghdisi, 1982: 566); (Ibn-e Howqal, 1986: 188; Jihani, 1988: 149); (Ibn-e Khurdazbah, 1991: 222). Due to the presence of powerful rulers and politicians such as Abu al-Abbas Esfarayeni in the Samanid and Ghaznavid periods, in the Seljuq and Ilkhanid periods such as Saeed Malik Bahauddin Juvini and in the Safavid period, Abu Muslim Khan enjoyed special growth and development and is one of the most prosperous and prosperous cities. Khorasan was considered that the commercial highways passed through this city (Aubin, 1971:121). In addition to crossing the trade route, the existence of thriving markets (Idrisi, 1409 AH, Vol. 2: 690-693)، (Hamiri, 1984: 56), and the production of important goods such as: cloth, metal containers, pottery, makes merchants and In addition to supplying goods imported from far away to this city, merchants should distribute the goods produced in this city to nearby cities and distant places, especially the Iranian plateau, Shamat, Anatolian Peninsula, North Africa, etc. One of the most important imported goods and popular among the governors and residents of this city is the dishes known as Celadon and Blue White, of which 5 pieces of such dishes have been discovered in archaeological excavations (Nikgoftar, 2014). Considering the discovery of this pottery from the archaeological context and the lack of introduction and study of it, and from the mention of writing marks on their surface, the upcoming article tries to analyze them in the context of history and archeology in addition to introducing and reading the lines.
. 
Discussion and reasoning
 In the archaeological excavations of the city of Esfarayen, a total of 4 pieces of celadon pottery were found, one of which is of the Yue type (3rd-4th century) and the rest is of the Lank Chuan type (6th and 7th century). By examining and comparing these types of pottery, it can be said that in addition to neighboring areas and extra-regional areas, there has been direct or indirect trade with China since the 3rd century, considering the increase in the number of Lankchuan pottery related to the 6th century. And seventhly, from the reference of historical documents about the rule of the Jovini family over this city, their good relations with the Genghis family and the handing over of the government of the western part of Khorasan to this family (Jovini, 2012, vol.2, 222) and the political-economic journey of this family to Mongolia (ibid.: 222) and from the discovery of coins from this period in neighboring regions (Nikgoftar & Behnamfar, 2008) and extra-regional (ТЮНИБЕКЯАН, 2003) it can be said that in this period, Lank Chuan pottery came through the trade route of the Silk Road. That Esfarayen was located in one of these important commercial branches (Maghdisi, 1982: 566); (Ibn-e Howqal, 1986: 188; Jihani, 1988: 149); (Ibn-e Khurdazbah, 1991: 222) entered this city. Among other pottery that can be seen in China and Islamic lands in a significant way after Celadon is blue-and-white pottery, the production of these vessels became common in the states of Jijiang, Jianshui, Yusi and Jiangshan from the Yuan Dynasty, but the best type In the Jindjin states in the city of Chin Khwa (Chin-Hwa), which was related to the imperial furnaces (Bahranipour, 2022: 8). In the archaeological excavations in Shahr-e Belqays, 2 pieces of blue-and-white  pottery were identified, which according to the decorations and technical structure belong to the late Timurid and Safavid periods and the Ming period in China. It has been stated that according to the reference of historical documents and archaeological data mentioned above about the importance, value and use of these vessels and from the motifs and lines used and the examination of the technical structure of the vessels which proves that they are non-native, in general, it can be He said that these dishes were made for the order or use of the rich class and nobles in this city.

Conclusion 
By studying the piece of Chinese pottery in the city of Esfarayen, so far, two prominent pottery types of Celadan and blue-and-white  have been obtained, the first group of Celadan; that by comparative comparison of this species in terms of technical structure such as; The type of paste, glaze and construction form with examples of ceramics obtained from the sites of the Islamic period such as; Siraf, Mehruban, Kish, Neishapur, and Bandar Najiram, it can be said that this type of celadan is imported and non-native, and in terms of chronology, it is similar to the Yue and Lank Chuan types at the same time as the Samanian period until the end of the Ilkhanate period. The increase in the number of Lankchuan type of celadan along with other archaeological evidence and historical documents prove the prosperity and prosperity of this city in the Ilkhanid period and a transregional and global trade connection. Among the other types of pottery that were mentioned are blue-and-white  pottery, according to the comparative studies and examination of their technical structure, this type is also imported, according to the references in the historical documents about the destruction of this city in the attack of Timur and its lack of prosperity. It can be said that the presence of this type of pottery in this city dates back to the late Timurid period and the early Safavid period, during which time this city prospered again. According to the taxonomic examination and comparison of the pottery, which is completely similar to the pottery discovered in Hormuz, Taiwan, and the samples obtained from North Africa, it can be said that probably these pottery were indirectly and transregionally and globally from China to the port of Hormuz. And through the south-north highway and through the Jerjan-Tos commercial road, which was restored and reconstructed by Amir Ali Shir Navai in this period, he entered the city of Safrayan. Due to the rarity, quality of construction, themes and motifs, and on the one hand, historical documents indicate that these dishes were used in royal banquets or royal tombs, and from the discovery of these pieces from the citadel and noble houses, it can be said that these dishes are unique to The privileged and prosperous classes belonged to the historical city of Esfarayen. In general, the Chinese writings in the blue-and-white earthenware of Esfarayen city are as follows: the text of container number 9, the writing on the bottom of the container is incomplete and illegible, and the text on the bottom of the container contains the Chinese word called (peace, comfort), (longevity), (happiness) and (health). The text of container number 13 is written with the comparison and typology of the Chinese word du-ming-nlen-zuo, meaning the construction of the Ming period.

Abstract
An archaeological survey was carried out in 2019 with the aim of identifying and investigating the Ilkhanate period on the banks of the Aras River in East Azerbaijan province. The present study focused on the study of the large, wide, mountainous and impassable gates called “Sham Valley”, which was formed by the confluence of two major rivers of the Aras with Aqchay, which extends near the city of Khoy and was important in the field of trade relations and culture. The strategic and geopolitical position of the region with the surrounding regions such as the Caucasus, Turkey and Central Asia, as well as its geoeconomic position as a corridor of communication corridors led to many cultures and civilizations from the second millennium BC to later epochs. Alternating in this area. In other words, the main factor for the emergence of these ancient settlements is the location of the trade routes, the easy inter-regional and supra-regional communication, especially during the Mongolian Ilkhanate period, which played an important role in the development of cultures in the Sham valley. On the other hand, due to the religious importance of this region during the Mongolian Ilkhanate period, based on its foreign policy and the existence of important churches such as the church of Saint Stepanos Monastery, the Qarah Church and Zur Zur Church, which are known in the world and in whose case there are no reports or documents, there is no archaeological activity; therefore, a careful study of this area, as well as the study of the ceramics obtained from these areas, has provided useful information about pottery technology and the social structure of the area in different cultural periods, especially the Ilkhanate period.
Keywords: Northwest Iran, Jolfa, Sham Valley, Ilkhanid Pottery, Petrography.

Introduction
As a result of the study, 53 ancient sites from prehistory to Islamic times have been identified and recorded; areas such as the Naneh Maryam Cemetery and the Chupan Church are the most important. In these areas a significant number of Middle Islamic centuries ceramic pieces were carved in simple glazed form. It is important to identify the constituents of each pottery, to determine the difference in composition and constituents between the samples, to determine the percentage of each constituent, to determine the baking temperature of the pottery based on the available minerals, and finally to archaeologically study its origin and understand the social structure of the area. Knowledge of the pottery’s components can provide us with useful information about the geographical origin of pottery in the region and its consumers.

Materials and Methods
Thin-section petrography is one of the common and widely used methods in geology and archaeology. This method is employed to examine a broad range of materials such as rocks, minerals, ceramics, slag, bricks, and plaster (a mixture of lime and gypsum). In this technique, an extremely thin section of the rock or ceramic object under study is prepared. This section is thin enough to allow light to pass through it. Then, by placing it under a polarizing microscope, the minerals present can be analyzed. Since minerals exhibit different properties and colors under polarized light, petrography specialists can distinguish them from one another; thus, it is possible to identify the types of minerals, their characteristics, shapes, and sizes in rock or ceramic samples (Ellis, 2000). Moreover, ceramic petrography provides valuable information regarding the technical characteristics of ceramics, such as whether the vessels are wheel-thrown or handmade, and the additives incorporated into the ceramic paste (temper). These tempering materials typically include fragments of igneous rocks, siliceous particles, and silt and clay components. All plant-based and organic materials in ceramics are eliminated at temperatures of approximately 200 to 250 degrees Celsius, leaving only their voids behind (Mousavi-Faghih, 2018).
For the microscopic studies of ceramics obtained from the Sham valley survey, a James Swift model polarizing binocular microscope was used. The magnification applied in this study was 4X. To facilitate the presentation and analysis of results, the petrographic data were organized in a table. The first row of the table lists the components constituting the ceramics, and the first column provides the name and number of each ceramic sample separately. The presence of each component or mineral in the sample is indicated by an asterisk (*), while its absence is marked by a dash (–). If the abundance is minor or trace, it is denoted by (tr). The selected samples for this study come from two sites: the Naneh Maryam cemetery area (code C.042) and the Chopan Church area (code C.053). Ceramics consist of two main parts: the paste (matrix) and the tempering materials. In ceramic petrography studies, a significant focus is given to the additives mixed into the paste. Archaeologists typically consider components larger than 0.1 millimeters as temper or inclusions. In the study of ceramic samples from the Darreh Sham sites, the petrographic method was employed to identify the components and compositions present in the ceramic paste.

Conclusion
Since the Sham Valley in northwestern Iran has been considered on the basis of texts and travelogues since the early Ilkhanate period, there is a need to inform the patriarchs about the use of pottery from the Middle Islamic period and its production. Accordingly, petrographic studies were carried out on 12 pieces of pottery from the two sites of the Neneh Maryam cemetery and the Chupan church to determine the place of production of these ceramics. On the basis of the available samples and on the basis of the analyses carried out, it was found that the composition of all the pottery studied was related to the Jolfa area and the river sediments and alluvial deposits of the Aras river, as well as seasonal and local rivers. With regard to the baking temperature of the pottery, with the exception of the site of the Shepherd Church, where all the potteries studied had no calcite and tolerated temperatures above 800 degrees Celsius, potteries from other areas tolerated temperatures below or close to 800 degrees Celsius. Two categories of inclusion or temper are observed in the composition of the paste. One technique was used in the production of all glazed ceramics. In this way, a layer of glaze can be seen on the outer surface of the sample and, depending on the desired color, a layer of metal oxide can be found underneath. Underneath the glaze layer is a porcelain layer (a mixture of fine-grained quartz and white clay), which lies directly on the clay body. Furthermore, based on the composition and petro fabric of the examined ceramic samples from this area, it can be concluded that the ceramics are almost identical and similar in composition and origin. 

From the perspective of pottery production during the Chalcolithic period at Tepe Ghabrestan (ca. 4200–3100 BCE), the Qazvin Plain constitutes one of the most important archaeological sites in the north central Iranian Plateau. This study was conducted with the aim of identifying the technology of pottery manufacture and the mineral compositions present in the ceramics. The research is significant for sourcing the provenance of Ghabrestan pottery and assessing the level of craftsmanship among its producers. The central research question concerns the quality of production and whether the pottery was locally made or imported. In this study, twenty pottery sherds from excavations at Tepe Ghabrestan selected from the ceramic repository of the Institute of Archaeology, University of Tehran were analyzed using physical tests (porosity measurement, water absorption, and density), petrography, X ray diffraction (XRD), and X ray fluorescence spectrometry (XRF), to perform elemental analysis and investigate the technological processes of pottery manufacture in the Qazvin Plain during the fourth millennium BCE. The results indicate the use of advanced and specialized production technology, reflecting the potters’ skill in controlling the firing process and selecting high quality raw materials. Petrographic examination of thin sections confirmed the presence of minerals characteristic of the region, including quartz, biotite, calcite, and augite. A major finding was evidence of the use of high speed potter’s wheels in producing Ghabrestan pottery, as shown by the uniform wall thickness and smooth surface finishes. Microscopic analysis confirmed the presence of inorganic tempers (mineral additives) incorporated to enhance mechanical properties and reduce cracking during firing. The clay used matches the geological composition of the Qazvin Plain, indicating local production of the pottery.
 

Pottery has long been one of the key mediums for expressing cultural elements in Iran. The decorative motifs used in this art form are deeply rooted in Iranian culture, literature, religion, and political contexts, immortalized through the innovative creativity of Iranian artists. Among these motifs, the “Waq Tree” or “Talking Tree” stands out as one of the most prominent decorative elements, particularly gaining attention during the Ilkhanid period. This motif, which combines natural, imaginative, and mythical elements, was employed in the luster tiles of Takht-e Soleyman and reflects a profound connection between humans, nature, and animals. This study aims to address why this motif was prominently featured and executed by artists during the early Ilkhanid rule at Abaqa Khan’s palace in Takht-e Soleyman. It seeks to explore both visual representations of the examples and their associated cultural foundations. Using a descriptive, analytical, and historical approach, supported by imaging of historical samples, this research concludes that the painters of Takht-e Soleyman’s luster tiles depicted wild animals such as deer, gazelles, and rabbits instead of humans—who are typically central to illustrations of the Talking Tree. The choice of wild animals over human figures may reflect the nature-oriented tendencies of the Seljuks and Mongols. This selection also highlights the influence of Mongol culture on Iranian art—a culture that introduced animal anthropomorphism as a prominent element in literature and art. The Waq Tree, rooted in Iranian and global folklore, symbolizes a deep connection between humans, nature, and living beings. This mythological concept is intertwined with ideas such as the sanctity of nature and the bond between the human world and the natural world. The depiction of this motif on Takht-e Soleyman’s luster tiles demonstrates the artists’ efforts to convey these concepts, which were innovatively reimagined during the Ilkhanid era.

The city of Sahneh, located 54 kilometers northeast of Kermanshah in the central Zagros passage, plays a crucial role as a strategic crossroads, linking the Iranian central plateau to Mesopotamia and connecting the internal plains of Kermanshah to Hamadan. Archaeological surveys in Sahneh County, conducted in 2003, employed the site survey method, whereby all ancient sites were studied in terms of their geographical location and settlement sequence. This approach provides the necessary data for interpreting the settlement history of the region. As a result of this field research, for the first time, two archaeological sites containing cultural materials from the Middle Elamite period were identified in this area. This discovery significantly extends the cultural domain of the Middle Elamite period in the Zagros toward the east and northeast, indicating that the influence of this civilization extended beyond its known centers in the southwestern provinces of Iran (such as Khuzestan, Kohgiluyeh and Boyer-Ahmad, Fars, and Bushehr) as far as Kermanshah Province. Given the importance of these findings, further surveys were carried out in 2024 and 2025 to identify Middle Elamite sites in Sahneh. Following this research, two additional sites with Middle Elamite cultural materials were discovered. These findings not only confirm the existence of an active cultural-commercial corridor in this region but also highlight the necessity of revising cultural-geographical maps and historical developments of the Middle Elamite period in the central Zagros. Continued studies and targeted excavations at these sites can clarify the role of this region in the network of cultural interactions between the Iranian Plateau and Mesopotamia and are expected to lead to a fundamental reassessment of current perspectives on the history of this era.

Abstract
The Upper Gotvand Dam, with a 90-kilometer-long lake, is one of the largest dams in the country, and its impoundment caused the flooding of a large number of ancient sites, ancient and modern migration routes, villages, and nomadic settlements in the northeastern region of Khuzestan. Before the dam was completed, a team of archaeologists surveyed its basin in 2007. After that, in 2008, a team of archaeologists from ICHTO of Khuzestan Province excavated the Kalantar site and the Kalantar cemetery, and then in April and May 2010, salvage excavations were carried out at Kalantar 4 & 5 sites to obtain as much information as possible, which yielded significant results. Following the excavation of the Kalantar 5 site, traces of residential stone architecture, plain buff and red pottery, and turquoise blue and green glazed pottery, as well as some ground stones such as grinding stones, mortars, and pounding stones, were found. According to typological comparisons on the potteries, it was determined that they belonged to the Middle Islamic period (fifth and sixth centuries AH), and the site was inhabited during the Seljuk period. In addition, it was determined that there is a great similarity between the stone architecture of the Kalantar 4 (a Neo-Elamite site), and the Kalantar 5, and with the local architecture of the region in the present time, both in villages and in nomadic settlements. In other words, the continuity of cultural traditions over several millennia is observed in this area.
Keywords: Kalantar 5, Gotvand Dam Basin, Middle Islamic Period, Stone Architecture, Islamic Glazed Pottery.

Introduction
The Upper Gotvand Dam was built on the Karun River near the small town of Gotvand to generate electricity and irrigate downstream agricultural lands, and a wide range of intermountain valleys, numerous ancient sites, ancient and modern migration routes, villages, and nomadic settlements were submerged in the 90-kilometer-long lake behind the dam. Before the dam was impounded, two teams led by Shahram Zare and Hossein Azizi Kharanghi, respectively, surveyed the area (Azizi Kharanghi et al., 2007). Salvage excavations were conducted by Hamidreza Valipour on two sites, Kalantar 4 and 5, which were found during the surveys in the spring of 2010 (Valipour, 2010a & b). The preliminary results of the excavation of Kalantar 5 will be presented here.
The first goal of the excavation, like all salvage excavations, was to access as much information as possible. Due to the proximity of Kalantar 5 to Kalantar 4 and the similarity of its surface architectural structure with the architecture of Kalantar 4, the excavation team was faced with some questions, the most important of which were: 1- Is Kalantar 5 an extension of the Kalantar 4 settlement and can we consider them as one site? 2- Was the settlement in Kalantar 5 established after the abandonment of Kalantar 4 and as a result of the displacement of its residents? 3- Does Kalantar 5 belong to a different time than Kalantar 4? Of course, given the presence of Islamic pottery on the surface of Kalantar 5, it was assumed that this area, in addition to the Elamite period, would also contain evidence of settlement from this period. 4- Function and type of settlement in Kalantar5.

Kalantar 5
Kalantar 5 is located on a natural hill south of Kalantar village (Ab Zālu Arab) in Lali County, at N: 32˚ 13΄ 42/6˝ latitude and E: 049˚ 04΄ 55/4˝ longitude, 160 meters north of Kalantar 4 and 13 kilometers east of the Gotvand Dam. The highest point of the site is 278 meters above sea level. The Karun River, the closest major water source to the site, flows 4.5 kilometers northeast of the site; a water stream also passes through the valley to the northwest.
During the excavation, one trench was opened at the highest part of the site, measuring 10×10 meters, where the regular stone pieces and traces of walls indicated the existence of architectural spaces in this part of the site. Given the depth of the natural bedrock, it was clear before the excavation began that not much height of the walls remained.

Architecture
A total of six architectural spaces were revealed during the excavation in Trench I. Stone and mud mortar were used in all the architectural structures. The stones used in the construction of the different parts of the complex are soft limestone in small to large sizes. All the stones lack cutting polish but have an almost regular shape. Many of the stones used in the architectural structures are cubed. The walls are rectangular. The walls lack any covering, and even during the excavation in the rubble layers, no samples of mud, plaster, or lime were found. The six aforementioned spaces seem to belong to the same building because they all share walls. It is possible that the natural bedrock of the hill was used as a floor for the spaces. Stone supports were used in addition to all the main and internal load-bearing walls. The entrances were mainly created by not connecting two walls or by cutting off part of the length of a wall. Next to some walls, there are smaller annexed spaces as storage places, which were probably used to store daily necessities or food or fuel, and they lacked any entrance and were accessed from above. A pyrotechnical structure was found inside one of the spaces, about one-fifth of which remains. Since a very small part of it remains, it is difficult to distinguish its function as an oven or else. No evidence of a roof or debris was found during the excavation. Given the relatively small width of the spaces and the absence of columns, the roofs of the spaces were most likely created using parallel wooden poles and covered with mats or tree branches and mud. This reconstruction was carried out in comparison with the current situation in the village adjacent to the site. The reason for this comparison is the great similarity of the architecture obtained from the settlement spaces of the site with the architecture of the adjacent village.

Pottery
The 319 potsherds recovered from the excavation are divided into two major groups: plain and glazed. 265 sherds (83%) of the total are unglazed. Unglazed pottery can be divided into two groups: buff and red. The technology of pottery production is completely similar in terms of form, manufacturing technique, inclusion, firing, and decoration. Most of the sherds are wheel-made (96%). The inner and outer surfaces of the pottery are unpolished, and both sides of the vessels are smoothed by the wet hand method. Rarely, red wash was used to cover a handful of buff wares. The texture of buff ware is much more cohesive than that of red ware. Mineral materials such as fine to coarse sand were used as an inclusion in unglazed pottery; in one of the red potteries, the inclusion is a combination of organic and mineral materials. In general, the quality of buff-colored pottery is better than that of reds, and the number of buff sherds is much greater than that of reds. 236 sherds (74% of all pottery and 89% of unglazed pottery) are buff, and 29 sherds (9% of all pottery and 11% of unglazed pottery) are red. There are 10 sherds of pottery with incised decoration in the unglazed buff group.
54 pieces (17%) of the pottery are glazed. Except for two pieces with green glaze, the rest are turquoise blue. The pottery of this group is in the category of pottery with monochromatic glaze. Five pieces are also of the sgraffiato type with turquoise blue glaze. In terms of form, manufacturing technique, inclusion, firing, and color, these sherds are completely similar to the unglazed buff wares. The inclusion of all samples is mineral.
The reconstructed forms are the jar (44.5%), bowl (37%), and bowl (18.5%), respectively. The sherds date back to the 5th and 6th centuries AH and are dated to the Seljuk period (Karimi & Kiani, 1985; Towhidi, 2000; Kambakhshfard, 2001; Grube, 1994; Treptow, 2007).

Other Cultural Materials
In addition to pottery, other cultural materials recovered included animal remains, pounding stones, stone mortars, pivots, iron nails, iron knife, the bottom, rim, and body of transparent or opaque glass vessels in blue, yellow, and milky colors, as well as a few broken shells.

Conclusion
Kalantar 5 is a rural settlement site from the Middle Islamic period because considering the landscape of the region, the location of the site, the extent of the architectural remains, and the dispersion of cultural materials, it is unlikely that the settlement was urban. There is no connection between the sites of Kalantar 4 and 5 from a cultural and temporal perspective. An interesting point to note is the similarity of the architectural structures of this site with the architecture of Kalantar 4 and the modern village of Ab Zālū Arab and other nomadic villages and settlements in the region. With an ethnoarchaeological approach, this similarity can be considered a kind of cultural continuity in architecture. Perhaps the same environmental and subsistence conditions can be considered the reason for the construction of similar architecture over a long period.
The buildings were constructed using completely local materials, such as stone and mud. All the stones are limestone, ranging in size from small to large, and are uncut and unpolished but have a fairly regular shape, and many of the stones have been broken using chisels and hammers. It seems that the six identified spaces had both roofed and open sections. The three spaces 1, 3, and 4 were associated with activities that required separation from the residential areas; the three spaces 2, 5, and 6, which are part of the main residential complex, were probably places for resting and performing other daily activities. These three spaces are connected by some entrances.
All finds, from functional examples such as pottery, glass vessels, pounding stones, and mortars to decorative shells, indicate a normal settlement, and all of them are related to daily life activities.
The pottery of the Kalantar 5 bears no resemblance to the Kalantar 4 site. Many of them are Islamic glazed pottery, including monochrome green and turquoise blue glazes and some with incised patterns under the turquoise blue glaze. The pottery is not very diverse in terms of color, glaze, type, and theme of the patterns. These potteries date back to the fifth and sixth centuries AH and are dated to the Seljuk period. During this period, the glass industry in Iran was very prosperous (Shishehgar, 2003: 24), and glass fragments recovered from a rural settlement site confirm this.