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Sharareh Farokhnia, Moein Eslami,
year 6, Issue 22 (2-2023)
year 6, Issue 22 (2-2023)
Abstract
Abstract
Grey Ceramic culture in the second millennium B.C. have been the controversial issue in the Iranian Archaeology. Since most of the grey ceramics have been discovered from the burials, it remained some questions regarding the socio-economic conditions of the individuals. Also the rarity of settlement contexts have added some ambiguities as well. For this, material culture and archaeometrical analysis on the grey ceramics might be helpful to clarify some aspects of socio-economic condition such as, ceramic production, standardization and production organization. This paper will attempt to argue about some aspects of ceramic production in Qeytariyeh cemetery at Tehran plain with metric and chemical analysis. Ceramic analysis demonstrated a number of attributes which are including uniformity of decoration and dimensions, homogeneity of ceramic shapes, the variety of resources and preparation processes. The result of the analysis inspired us to draw the ceramic production organization through the standardization indicators. Finally, it can be proposed the scale and intensity of ceramic production in Qetariyeh might be the household industry or workshop industry.
Keywords: Metric Analysis, Chemical Analysis, Standardization, Production Organization, Qeytariyeh.
Introduction
Some sudden changes in cultural materials, the widespread cemeteries and unidentified settlement evidence in the second millennium B.C. encouraged scholars to study and propose some theories to interpret these cultural changes. According to the new researches and reassessment projects, it is needed to review and revise the chronology and older theories in this period.(Danti, 2013; Fazeli Nashali & Coningham, 2007; Hosseinzadeh et al., 2017; Fazeli, 2015; Sarlak, 2011; Farokhnia, 2020)
In fact, the comprehensive studies should be conducted to shed some lights on these ambiguities and restudy projects on some discovered collection would be necessary. Since just a few direct evidence related to the occupation have been found from the cemeteries, multidisciplinary studies such as archaeometrical analysis on the material culture (grey ceramics) might be helpful to study on the indirect evidence related to the ceramic production and production organization. In this paper, we have examined the standardization hypothesis in Qeytariyeh ceramic collection through the metric and chemical variabilities.
Qeytariyeh cemetery is located in the Shemiranat County, northern parts of Tehran and in the south of Qeytariyeh Park which is destroyed by construction of buildings and expanding residential areas in 1960s. The rescue excavation was conducted in 1968 and 1969 by Kambakhshfard (Kambakhsh Fard,1991). The restudy project was conducted in the National Museum of Iran (Farokhnia, 2020). The project provided us the opportunity to work on technological behaviors of the ceramic collection.
Materials and Methods
During the museum fieldwork, 1809 pottery vessels was registered. The ceramics were classified into different types or forms. The vessels present 23 types and 6 subtypes. The largest color category was grey (78.38). Of these 50% have burnished treatment techniques and 70% of the ceramic wares have fine texture bodies.
The methodology combines the metric and chemical analysis to trace technological attributes. Metric indexes have been considered to evaluate the degree of standardization. Seven measurements were made on the pottery vessels: rim diameter, base diameter, wall thicknesses, height, pedestal height, spout height and neck height.
The Potteries also were analyzed with a Portable Energy Dispersive X-Ray Florescence (ED- XRF), to study the compositional data and variability. Among these potteries, one hundred and eighty representative samples belongs to 21 type or forms were analyzed.
Disscusion
Metric indexes demonstrated the homogeneity of some dimensions in different types or forms. Besides that, some distinctive motifs have been used on the specific ceramic forms.
Despite similarities in production techniques, the chemical composition of raw materials demonstrating two distinct type of clay sources. In this regard, availability of raw material, changing in technology, introducing new function, or even change in technical skills might be considered for changing in the raw source. The chemical composition of pottery samples shows that two distinctive geochemical groups does exist within our database. A calcareous clay composition with visible lime peddles whereas another clay is a siliceous deposit rich in Fe, Rb, and Nb.
Among the collection, a large number of shapes associated with drinking function such as tankards, spouted jars, handled pitchers, spouted jugs which might be the most distinctive funeral function, have been identified.
Obviously we don’t have access to the direct evidence of ceramic production in Qeytariyeh. However the recognized ceramic attributes would provide us the evidence of production organization.
Conclusion
Several Factors such as homogeneity in vessel form dimensions, manufacturing technology and chemical composition reflect specialized production in Qeytariyeh collection. In fact, most of the pottery vessels have very close dimensions in the specific form. The specialized production in Qeytarieh can be evidenced by standardized large number of final products, which show a constant formal and technological attribute. The high diversity in ceramic types and the ceramic surface treatment (burnishing surface treatment) brought to light the evidence of proxy of craft specialization and high skills of local producers.
Thus our examination and documentation suggests Qeytariyeh ceramics have been produced by a given specialist workshop which are extremely homogeneous or standardized.
Since both type of clay sources have been used simultaneously in manufacturing process, it can be deduced that probably two active Workshops were involved in production of entire manufacturing process.
Taking in mind, that the calcareous clay has an advantage to form much easier and considering various range of skill level in production specific forms, it can be deduced that beside specialist also trainees were involved in manufacturing of end-product at least in some specific forms. This observation might explain the need for a shift in clay from siliceous to calcareous, as the raw source should also be in adjacent with professional skills.
At the end, the result support the hypothesis household industry or workshop industry model for production organization in Qeytariyeh based upon standardized ceramic production and skilled producers in the ritual context.
Acknowledgements
Special thanks to Dr. Jebraeel Nokandeh Director of National Museum of Iran and his colleagues, Yousef Hassanzadeh, Nina Rezaee and Maryam Panahi. Also we want to thank Dr. Kamoldin Niknami for his comments on the text. We very much to thank Neda Tehrani and Nima Fakoorzadeh for photography of the collection.
Grey Ceramic culture in the second millennium B.C. have been the controversial issue in the Iranian Archaeology. Since most of the grey ceramics have been discovered from the burials, it remained some questions regarding the socio-economic conditions of the individuals. Also the rarity of settlement contexts have added some ambiguities as well. For this, material culture and archaeometrical analysis on the grey ceramics might be helpful to clarify some aspects of socio-economic condition such as, ceramic production, standardization and production organization. This paper will attempt to argue about some aspects of ceramic production in Qeytariyeh cemetery at Tehran plain with metric and chemical analysis. Ceramic analysis demonstrated a number of attributes which are including uniformity of decoration and dimensions, homogeneity of ceramic shapes, the variety of resources and preparation processes. The result of the analysis inspired us to draw the ceramic production organization through the standardization indicators. Finally, it can be proposed the scale and intensity of ceramic production in Qetariyeh might be the household industry or workshop industry.
Keywords: Metric Analysis, Chemical Analysis, Standardization, Production Organization, Qeytariyeh.
Introduction
Some sudden changes in cultural materials, the widespread cemeteries and unidentified settlement evidence in the second millennium B.C. encouraged scholars to study and propose some theories to interpret these cultural changes. According to the new researches and reassessment projects, it is needed to review and revise the chronology and older theories in this period.(Danti, 2013; Fazeli Nashali & Coningham, 2007; Hosseinzadeh et al., 2017; Fazeli, 2015; Sarlak, 2011; Farokhnia, 2020)
In fact, the comprehensive studies should be conducted to shed some lights on these ambiguities and restudy projects on some discovered collection would be necessary. Since just a few direct evidence related to the occupation have been found from the cemeteries, multidisciplinary studies such as archaeometrical analysis on the material culture (grey ceramics) might be helpful to study on the indirect evidence related to the ceramic production and production organization. In this paper, we have examined the standardization hypothesis in Qeytariyeh ceramic collection through the metric and chemical variabilities.
Qeytariyeh cemetery is located in the Shemiranat County, northern parts of Tehran and in the south of Qeytariyeh Park which is destroyed by construction of buildings and expanding residential areas in 1960s. The rescue excavation was conducted in 1968 and 1969 by Kambakhshfard (Kambakhsh Fard,1991). The restudy project was conducted in the National Museum of Iran (Farokhnia, 2020). The project provided us the opportunity to work on technological behaviors of the ceramic collection.
Materials and Methods
During the museum fieldwork, 1809 pottery vessels was registered. The ceramics were classified into different types or forms. The vessels present 23 types and 6 subtypes. The largest color category was grey (78.38). Of these 50% have burnished treatment techniques and 70% of the ceramic wares have fine texture bodies.
The methodology combines the metric and chemical analysis to trace technological attributes. Metric indexes have been considered to evaluate the degree of standardization. Seven measurements were made on the pottery vessels: rim diameter, base diameter, wall thicknesses, height, pedestal height, spout height and neck height.
The Potteries also were analyzed with a Portable Energy Dispersive X-Ray Florescence (ED- XRF), to study the compositional data and variability. Among these potteries, one hundred and eighty representative samples belongs to 21 type or forms were analyzed.
Disscusion
Metric indexes demonstrated the homogeneity of some dimensions in different types or forms. Besides that, some distinctive motifs have been used on the specific ceramic forms.
Despite similarities in production techniques, the chemical composition of raw materials demonstrating two distinct type of clay sources. In this regard, availability of raw material, changing in technology, introducing new function, or even change in technical skills might be considered for changing in the raw source. The chemical composition of pottery samples shows that two distinctive geochemical groups does exist within our database. A calcareous clay composition with visible lime peddles whereas another clay is a siliceous deposit rich in Fe, Rb, and Nb.
Among the collection, a large number of shapes associated with drinking function such as tankards, spouted jars, handled pitchers, spouted jugs which might be the most distinctive funeral function, have been identified.
Obviously we don’t have access to the direct evidence of ceramic production in Qeytariyeh. However the recognized ceramic attributes would provide us the evidence of production organization.
Conclusion
Several Factors such as homogeneity in vessel form dimensions, manufacturing technology and chemical composition reflect specialized production in Qeytariyeh collection. In fact, most of the pottery vessels have very close dimensions in the specific form. The specialized production in Qeytarieh can be evidenced by standardized large number of final products, which show a constant formal and technological attribute. The high diversity in ceramic types and the ceramic surface treatment (burnishing surface treatment) brought to light the evidence of proxy of craft specialization and high skills of local producers.
Thus our examination and documentation suggests Qeytariyeh ceramics have been produced by a given specialist workshop which are extremely homogeneous or standardized.
Since both type of clay sources have been used simultaneously in manufacturing process, it can be deduced that probably two active Workshops were involved in production of entire manufacturing process.
Taking in mind, that the calcareous clay has an advantage to form much easier and considering various range of skill level in production specific forms, it can be deduced that beside specialist also trainees were involved in manufacturing of end-product at least in some specific forms. This observation might explain the need for a shift in clay from siliceous to calcareous, as the raw source should also be in adjacent with professional skills.
At the end, the result support the hypothesis household industry or workshop industry model for production organization in Qeytariyeh based upon standardized ceramic production and skilled producers in the ritual context.
Acknowledgements
Special thanks to Dr. Jebraeel Nokandeh Director of National Museum of Iran and his colleagues, Yousef Hassanzadeh, Nina Rezaee and Maryam Panahi. Also we want to thank Dr. Kamoldin Niknami for his comments on the text. We very much to thank Neda Tehrani and Nima Fakoorzadeh for photography of the collection.
Maryam Dara,
year 6, Issue 22 (2-2023)
year 6, Issue 22 (2-2023)
Abstract
Abstract
The Urartians lived about 9th to 7th centuries B.C around the shores of four Lake Urmia, Lake Sevan, Çildir Lake and Van Lake. The production of the sealed bullae started from Rusa II’s reign about 713 B.C. The stamp and cylinder seal impressions on these pieces of evidence could provide us with the wide range of data about the Urartians. There are some recognized cylinder seal impressions on some bullae and tablets belong to the Urartian official called aṣuli. This official is mentioned in the seal impressions from several Urartian sites including Bastam, Ayanis, Anzaf and Toprakkale. Some studies and contributions have been taken place on who these aṣulis could be the crowned princes or the officials. The question of who were aṣulis and from which sites their seal impressions are discovered aer significant issue as there are several pieces of evidence discovered. Also, there was the question of the possible difference between the seals and their inscriptions and motifs. Also, the difference between their seal impressions and the variety of their seals were significant questions. It is the aim of this paper to put the different seal impressions of aṣulis in different groups and subgroups according to the detail of the illustrated mythical scenes of the griffins or genies in two sides of a sacred tree and the position of the inscription above and below this scene and the difference in the inscriptions. Additionally, the author provides the readers with the reasons she thinks aṣuli is not the crowned prince but a trusted official who had the permission to deliver commands and massages. The research has been fulfilled by both library and field work.
Keywords: Urartu, Bulla, Tablet, Seal Impression, Aṣuli.
Introduction
Bastam or mrusa=i URU.TUR is close to Ghareziaeddin, close to Khoy and Maku, in Western Azerbaijan in Iran and is recognized the most developed Urartian fortification. W. Kleiss and the German archaeologists have excavated Bastam fortification and city from 1968 to 1979, except 1971 and 1976. Then H. Khatib Shahidi continued the studies in the sites. Bastam was founded by Rusa II, son of Argišti, and is the most developed Urartian city of all.
The tablets and bullae discovered in Bastam could bring significant data with their inscriptions and cylinder and stamp seal impressions. The Urartian cylinder seal impressions bore mostly the inscription of king Rusa II, son of Argišti, and other officials. Among the persond whose inscriptions on the seal impressions are recognized are aṣuli officials who seem to be trusted persons of the king.
Urartian sealed tablets and bullae of Bastam have previously been reported by Seidl (1976; 1979; 1988), Zimansky (1979; 1988), Salvini (1979a, 1988; 2012) and the author (2017; 2019).
The question of who aṣulis were and from which sites their seal impressions are discovered is a significant issue as they are couple of pieces of evidence remained from them. Also, the difference between their seal impressions and the variety of the seals was challenging for the scholars.
Accordingly, it was the aim of this paper to study the seal impression by this official in different Urartian sites to find out the difference and variety and groups of seal impressions remained from aṣulis and also to propose who this official could be in regard of their seal impressions. The author suggested they were trusted persons. Some of the seal impressions mentioned in this paper are published for the first time after the excavations. Additionally, the iconography of their seal impressions scenes was to be studied. The research has been fulfilled by both library and field work.
Paper
There are at least seven groups of the cylinder seal impressions mentioned in this paper according to their inscriptions and motifs discovered in several Urartian sites including Bastam, Ayanis, Anzaf and Toprakkale. The slightly different details of the sacred trees, genies and griffins were observed as well. Also, the exact position of each sign of the two-line inscription on the above and below the scene were studied in comparison with the other impressions.
KIŠIB LÚa- ṣu-li is always the key expression to this sort of seal impressions and sometimes the name of the aṣuli rarely along the name of his father was also mentioned in the inscription.
It is possible that a group of aṣuli seal impressions is discovered in different sites and some are only observed in one site. Bastam, Upper anzaf, Ayanis and Karmir-blur are the sites that the seal impressions of aṣulis have been previously discovered in.
As the seal impression of the aṣuli have been observed on the order tablets and with respect to their fathers’ names it is possible that they were the Seal Holders appointed by the king himself and not the crowned princes, princes or ordinary officials.
The scene of the sacred trees with two genies or griffins holding buckets facing the trees was repeated on the seal impressions of the aṣuli therefore it is possible that they were regarded as the guardians of the Urartian king and his kingship. This scene is very much similar to the Assyrian scenes on the reliefs and seal impressions. The scene is nor recognized on the Urartian reliefs.
Additionally, the iconography of the sacred tree, genies and griffins are studied to provide a better perception of the elements illustrated on the seals of the aṣulis.
The author proposed that the trees could be regarded as the eternal kingdom of Urartu to be guarded by the aṣulis. It is also possible that the genies and griffins are symbols of the aṣulis on their cylinder seal impressions.
Conclusion
Seven groups and the sub-groups of the slightly different cylinder seal impressions of aṣulis have been proposed and analyzed in this paper according to the impression inscriptions, details of the motifs and the position of the cuneiform signs in the two-line inscriptions above and below the scenes that are observed on the bullas and tablets discovered from Bastam and other Urartian sites. The suggested categories of the aṣulis’ impressions are presented according to Bastam bullae and tablet impressions in comparison with the impressions of other Urartian sites as Ayanis, Upper anzaf and Karmir-blur that aṣulis’ impressions are discovered over the bullae or tablets.
It is possible that at least seven seals were used in the Urartian states by the aṣulis but of course there could be more that are not discovered or are destroyed. The identical seal impressions discovered in different sites in Urartian reign is challenging. It is possible that the bullae or tablets with exactly the same seal impressions were sent or brought from one site to another in the Urartian era or exactly the same seal was copied in another site which seems less possible.
The name and sometimes the fathers’ names of the aṣulis are observed on some of the bullae or tablet impressions. Accordingly, aṣuli was an official in the Urartian reign who possibly bore the seal of the king or had the power to convey his orders and messages to the Urartian cities, fortifications or garrisons. Perhaps some of them were from the royal family but according to the inscription by the aṣulis there is lack of the piece of evidence they were crowned princes or sons of the Urartian kings. It is possible that the seals of the aṣulis were used in order to officially be sent as the orders by the highest ranks.
It is possible that griffins or genies facing the sacred tree on the aṣulis’ seal impressions were symbols of aṣulis themselves safeguarding the Urartian king and his kingship and the sacred trees were the symbols of the Urartian eternal kingdom to be protected and served by the aṣulis.
Additionally, discovering the same seal impressions of the bullae or tablets from different sites could bring the idea of sending or receiving these objects from other sites in the antiquity.
The Urartians lived about 9th to 7th centuries B.C around the shores of four Lake Urmia, Lake Sevan, Çildir Lake and Van Lake. The production of the sealed bullae started from Rusa II’s reign about 713 B.C. The stamp and cylinder seal impressions on these pieces of evidence could provide us with the wide range of data about the Urartians. There are some recognized cylinder seal impressions on some bullae and tablets belong to the Urartian official called aṣuli. This official is mentioned in the seal impressions from several Urartian sites including Bastam, Ayanis, Anzaf and Toprakkale. Some studies and contributions have been taken place on who these aṣulis could be the crowned princes or the officials. The question of who were aṣulis and from which sites their seal impressions are discovered aer significant issue as there are several pieces of evidence discovered. Also, there was the question of the possible difference between the seals and their inscriptions and motifs. Also, the difference between their seal impressions and the variety of their seals were significant questions. It is the aim of this paper to put the different seal impressions of aṣulis in different groups and subgroups according to the detail of the illustrated mythical scenes of the griffins or genies in two sides of a sacred tree and the position of the inscription above and below this scene and the difference in the inscriptions. Additionally, the author provides the readers with the reasons she thinks aṣuli is not the crowned prince but a trusted official who had the permission to deliver commands and massages. The research has been fulfilled by both library and field work.
Keywords: Urartu, Bulla, Tablet, Seal Impression, Aṣuli.
Introduction
Bastam or mrusa=i URU.TUR is close to Ghareziaeddin, close to Khoy and Maku, in Western Azerbaijan in Iran and is recognized the most developed Urartian fortification. W. Kleiss and the German archaeologists have excavated Bastam fortification and city from 1968 to 1979, except 1971 and 1976. Then H. Khatib Shahidi continued the studies in the sites. Bastam was founded by Rusa II, son of Argišti, and is the most developed Urartian city of all.
The tablets and bullae discovered in Bastam could bring significant data with their inscriptions and cylinder and stamp seal impressions. The Urartian cylinder seal impressions bore mostly the inscription of king Rusa II, son of Argišti, and other officials. Among the persond whose inscriptions on the seal impressions are recognized are aṣuli officials who seem to be trusted persons of the king.
Urartian sealed tablets and bullae of Bastam have previously been reported by Seidl (1976; 1979; 1988), Zimansky (1979; 1988), Salvini (1979a, 1988; 2012) and the author (2017; 2019).
The question of who aṣulis were and from which sites their seal impressions are discovered is a significant issue as they are couple of pieces of evidence remained from them. Also, the difference between their seal impressions and the variety of the seals was challenging for the scholars.
Accordingly, it was the aim of this paper to study the seal impression by this official in different Urartian sites to find out the difference and variety and groups of seal impressions remained from aṣulis and also to propose who this official could be in regard of their seal impressions. The author suggested they were trusted persons. Some of the seal impressions mentioned in this paper are published for the first time after the excavations. Additionally, the iconography of their seal impressions scenes was to be studied. The research has been fulfilled by both library and field work.
Paper
There are at least seven groups of the cylinder seal impressions mentioned in this paper according to their inscriptions and motifs discovered in several Urartian sites including Bastam, Ayanis, Anzaf and Toprakkale. The slightly different details of the sacred trees, genies and griffins were observed as well. Also, the exact position of each sign of the two-line inscription on the above and below the scene were studied in comparison with the other impressions.
KIŠIB LÚa- ṣu-li is always the key expression to this sort of seal impressions and sometimes the name of the aṣuli rarely along the name of his father was also mentioned in the inscription.
It is possible that a group of aṣuli seal impressions is discovered in different sites and some are only observed in one site. Bastam, Upper anzaf, Ayanis and Karmir-blur are the sites that the seal impressions of aṣulis have been previously discovered in.
As the seal impression of the aṣuli have been observed on the order tablets and with respect to their fathers’ names it is possible that they were the Seal Holders appointed by the king himself and not the crowned princes, princes or ordinary officials.
The scene of the sacred trees with two genies or griffins holding buckets facing the trees was repeated on the seal impressions of the aṣuli therefore it is possible that they were regarded as the guardians of the Urartian king and his kingship. This scene is very much similar to the Assyrian scenes on the reliefs and seal impressions. The scene is nor recognized on the Urartian reliefs.
Additionally, the iconography of the sacred tree, genies and griffins are studied to provide a better perception of the elements illustrated on the seals of the aṣulis.
The author proposed that the trees could be regarded as the eternal kingdom of Urartu to be guarded by the aṣulis. It is also possible that the genies and griffins are symbols of the aṣulis on their cylinder seal impressions.
Conclusion
Seven groups and the sub-groups of the slightly different cylinder seal impressions of aṣulis have been proposed and analyzed in this paper according to the impression inscriptions, details of the motifs and the position of the cuneiform signs in the two-line inscriptions above and below the scenes that are observed on the bullas and tablets discovered from Bastam and other Urartian sites. The suggested categories of the aṣulis’ impressions are presented according to Bastam bullae and tablet impressions in comparison with the impressions of other Urartian sites as Ayanis, Upper anzaf and Karmir-blur that aṣulis’ impressions are discovered over the bullae or tablets.
It is possible that at least seven seals were used in the Urartian states by the aṣulis but of course there could be more that are not discovered or are destroyed. The identical seal impressions discovered in different sites in Urartian reign is challenging. It is possible that the bullae or tablets with exactly the same seal impressions were sent or brought from one site to another in the Urartian era or exactly the same seal was copied in another site which seems less possible.
The name and sometimes the fathers’ names of the aṣulis are observed on some of the bullae or tablet impressions. Accordingly, aṣuli was an official in the Urartian reign who possibly bore the seal of the king or had the power to convey his orders and messages to the Urartian cities, fortifications or garrisons. Perhaps some of them were from the royal family but according to the inscription by the aṣulis there is lack of the piece of evidence they were crowned princes or sons of the Urartian kings. It is possible that the seals of the aṣulis were used in order to officially be sent as the orders by the highest ranks.
It is possible that griffins or genies facing the sacred tree on the aṣulis’ seal impressions were symbols of aṣulis themselves safeguarding the Urartian king and his kingship and the sacred trees were the symbols of the Urartian eternal kingdom to be protected and served by the aṣulis.
Additionally, discovering the same seal impressions of the bullae or tablets from different sites could bring the idea of sending or receiving these objects from other sites in the antiquity.
Sayyed Mohsen Hajisayyedjavadi, Samira Karimpanah, Mehdi Mokabrian, Gholamreza Tousian Shandiz,
year 6, Issue 22 (2-2023)
year 6, Issue 22 (2-2023)
Abstract
Abstract
Among the architectural arrays of Imamzadeh Hossein in Qazvin that can provide valuable information to researchers, are the remaining parts of the murals. Considering that Qazvin was the capital during the second period of Safavid rule, the study of Safavid and Qajar period buildings in this city can be of great importance. Compared to the existing historical monuments, few studies have been done on the technical knowledge of the layers of historical murals.In the present study, the identification and recognition of pigments related to the remaining murals of this monument and gilded layers has been considered. Also, in order to complete the technical information of the murals, the mortar of the fine coat (finishing plaster) and scratch coat (levelling coat) under the paint has been studied in terms of structure and chemical composition. To identify the pigments used in the murals as well as the materials used in the mortar of the underlying layers of the mural and the floor mortar, the hydraulic properties and the mineral and chemical composition of the mortar from X-ray diffraction, scanning electron microscopy coupled with energy dispersive spectroscopy and digital microscope have been used. As a result of the studies, it was found that the Pastiglia in the murals is made of a mixture of gypsum and Bole (Armenian Bole, Hormoz Bole). Apply a white Primary layer on the pastiglia on which the gold leaf is applied with low copper impurity. In this murals, three types of gold sheets have been executed. Green: A mixture of arsenic pigment with azure blue and Prussian blue; Green-blue: a mixture of green earth pigment (Celadonite) with white lithopone; Blue: a mixture of azure and Prussian blue pigments with White lead; Red: A mixture of ocher red and orange arsenic; Primary layer filler: a mixture of Huntite and White lead; black: It is a mixture of cobalt black and iron black. The structure and composition of mortars were also identified.
Keywords: Mural, Pigment, Gilding, Structural Study, Mortar, Qazvin.
Introduction
The technical diversity of murals in the Safavid and Qajar periods is one of the important issues of knowing historical murals. To technical understanding historical mural, its different layers are subjected to careful scientific study. The main layer is the color layer which consists of two parts: dye and binder. It should be noted that the array of gilding in the mural and the borders of the mural is also considered as a mural. Imamzadeh Hossein is one of the prominent buildings of Qazvin city. Most of the murals of this building belong to the Qajar period. Evidence shows that traces of the Safavid periodare also left in this building in the lower layers.
The aim of the current research is to obtain technical information about the layers of murals of this historical building. Identifying and recognizing the pigments in historical murals from archeology point of view helps completing the technical information about the use of pigments by artists. Some pigments have a specific starting date, which helps clarify the date of making the murals.
In archeology, studies have been conducted regarding the technical knowledge of different layers of historical murals in Iran, but very few studies have been done considering the volume of murals in Iran in different periods. Therefore, it is necessary to more complete these studies over time which its result is to complete the database in this field. In the upcoming research, in order to know more about the murals, technological studies were done on it. After field studies, the pigments used in the murals were sampled and identified. To complete the information, the lining layers and the substrate and a sample of the floor mortar were also studied. In this regard, the main questions of the current research are: What pigments are used in the murals of Imamzadeh Hossein in Qazvin? What method was used for gilding in these murals? What are the physical and structural characteristics of the lining layers and substrate of the studied murals?
Discussion in the Results and Findings
a. Scanning Electron Microscope: In the sample (2021.Q.IH.1) there is a large accumulation of gypsum crystals and intertwining has been created between them. The empty space between the crystals is little and also the crystals are irregularly placed together at different angles. In 2021.Q.IH.10 sample, needle- shaped gypsum crystals that are intertwined can be seen in many parts. In 2021.Q.IH.11 sample, gypsum crystals in different sizes are placed at different angles. In this sample, there is no long needle crystal and instead, the crystals have grown a lot in the width direction. In 2021.Q.IH.12 sample, the gypsum crystals are slightly different in terms of shape from the samples of the floor and lining layer.
b. Energy-dispersive X-ray spectroscopy (EDX): In 2021.Q.IH.1 sample, there is a small amount of silicon, aluminum and magnesium, which is related to soil. In 2021.Q.IH.2 sample, the amount of sulfur is about 13% which some part of it is related to yellow pigment and some part is related to blue pigment. In 2021.Q.IH.3 sample, elements of potassium, aluminum, iron, magnesium and silicon can be seen next to oxygen. These elements are related to Verona green or green earth pigment. In 2021.Q.IH.5 sample, a high percentage of gold and a relatively low percentage of copper were detected in the sample. In 2021.Q.IH.6 sample, two coloring elements, iron and arsenic, along with sulfur have been detected. In 2021.Q.IH.7 sample, the main filling material is huntite or chalk. On the other hand, a small amount of lead has been detected in this sample. Gold, copper and iron have been detected in 2021.Q.IH.8 sample. In 2021.Q.IH.9 sample, two elements, cobalt and iron, along with sulfur, are significant and influential elements in making black color. In 2021.Q.IH.10 sample, the highest percentage of elements is related to calcium and sulfur. In 2021.Q.IH.11 sample, except the main elements of gypsum, a very small amount of elements of silicon, aluminum and magnesium have also been detected.
c. X-ray diffraction spectroscopy: As a result of the phase analysis of 2021.Q.IH.1 sample which is related to the lay-up under the gold sheet, quartz has been detected. The quartz detected in the lay-up is related to the red flower (Armenian flower) that was added to the plaster during the mortar processing. The next identified phase is gypsum. As a result of the phase analysis of 2021.Q.IH.10 sample which is related to the floor coating mortar, quartz has been detected. The next identified phase is gypsum. As a result of the phase analysis of 2021.Q.IH.11 sample, which is related to the floor coating mortar, anhydrite phase has been detected in the studied sample. The amount of anhydrite in the lining layer is higher than gypsum. As a result of phase analysis of 2021.Q.IH.12 sample, which is related to the substrate layer in the studied mural, quartz has been detected. The granularity of the quartz phase in the substrate was much finer than the previous samples. The next identified phase is gypsum.
Conclusion
The lay-up used in the murals of this building is made of a mixture of plaster and red flower (Armenian flower, Hormoz flower). Green color is a mixture of arsenic pigment with lapis lazuli and Prussian blue. Blue-green color is a mixture of green earth pigment with lithopone white. The blue color is a mixture of lapis lazuli and Prussian blue pigment along with white lead. The golden color of embossing is gold sheet with a small amount of copper impurity. The layer that is applied on the lay-up is also a gold sheet with a small impurity of copper. In line with the studies on the shiny brown sample, it was concluded that this layer is a gold sheet with copper and iron impurities, which its surface has corroded and darkened over time. In fact, three types of gold sheets have been used in the studied murals that two of them are similar and seem to belong to the same period. A layer that is different in terms of the composition of elements and impurities belongs to later periods. The red color in these murals is a mixture of red ocher and orange arsenic. The white color filling the preparatory layer is a mixture of huntite and white lead. Black color of embossing is a mixture of cobalt black and iron black. Contrary to imagination, the floor mortar is a gypsum mortar with two phases of gypsum and anhydrite to which some sand and soil have been added. Due to proper processing, this mortar has adequate strength, although humidity has caused damage to the work over time. The lining layer and the substrate in the studied murals are made of plaster mortar. There is a difference that the thickness of the lining layer is greater than that of the substrate and it has coarser graining and more impurity. On the other hand, the looser mortar of the substrate is due to the way of processing, and the arrangement of gypsum crystals is different from that of the lining layer.
Among the architectural arrays of Imamzadeh Hossein in Qazvin that can provide valuable information to researchers, are the remaining parts of the murals. Considering that Qazvin was the capital during the second period of Safavid rule, the study of Safavid and Qajar period buildings in this city can be of great importance. Compared to the existing historical monuments, few studies have been done on the technical knowledge of the layers of historical murals.In the present study, the identification and recognition of pigments related to the remaining murals of this monument and gilded layers has been considered. Also, in order to complete the technical information of the murals, the mortar of the fine coat (finishing plaster) and scratch coat (levelling coat) under the paint has been studied in terms of structure and chemical composition. To identify the pigments used in the murals as well as the materials used in the mortar of the underlying layers of the mural and the floor mortar, the hydraulic properties and the mineral and chemical composition of the mortar from X-ray diffraction, scanning electron microscopy coupled with energy dispersive spectroscopy and digital microscope have been used. As a result of the studies, it was found that the Pastiglia in the murals is made of a mixture of gypsum and Bole (Armenian Bole, Hormoz Bole). Apply a white Primary layer on the pastiglia on which the gold leaf is applied with low copper impurity. In this murals, three types of gold sheets have been executed. Green: A mixture of arsenic pigment with azure blue and Prussian blue; Green-blue: a mixture of green earth pigment (Celadonite) with white lithopone; Blue: a mixture of azure and Prussian blue pigments with White lead; Red: A mixture of ocher red and orange arsenic; Primary layer filler: a mixture of Huntite and White lead; black: It is a mixture of cobalt black and iron black. The structure and composition of mortars were also identified.
Keywords: Mural, Pigment, Gilding, Structural Study, Mortar, Qazvin.
Introduction
The technical diversity of murals in the Safavid and Qajar periods is one of the important issues of knowing historical murals. To technical understanding historical mural, its different layers are subjected to careful scientific study. The main layer is the color layer which consists of two parts: dye and binder. It should be noted that the array of gilding in the mural and the borders of the mural is also considered as a mural. Imamzadeh Hossein is one of the prominent buildings of Qazvin city. Most of the murals of this building belong to the Qajar period. Evidence shows that traces of the Safavid periodare also left in this building in the lower layers.
The aim of the current research is to obtain technical information about the layers of murals of this historical building. Identifying and recognizing the pigments in historical murals from archeology point of view helps completing the technical information about the use of pigments by artists. Some pigments have a specific starting date, which helps clarify the date of making the murals.
In archeology, studies have been conducted regarding the technical knowledge of different layers of historical murals in Iran, but very few studies have been done considering the volume of murals in Iran in different periods. Therefore, it is necessary to more complete these studies over time which its result is to complete the database in this field. In the upcoming research, in order to know more about the murals, technological studies were done on it. After field studies, the pigments used in the murals were sampled and identified. To complete the information, the lining layers and the substrate and a sample of the floor mortar were also studied. In this regard, the main questions of the current research are: What pigments are used in the murals of Imamzadeh Hossein in Qazvin? What method was used for gilding in these murals? What are the physical and structural characteristics of the lining layers and substrate of the studied murals?
Discussion in the Results and Findings
a. Scanning Electron Microscope: In the sample (2021.Q.IH.1) there is a large accumulation of gypsum crystals and intertwining has been created between them. The empty space between the crystals is little and also the crystals are irregularly placed together at different angles. In 2021.Q.IH.10 sample, needle- shaped gypsum crystals that are intertwined can be seen in many parts. In 2021.Q.IH.11 sample, gypsum crystals in different sizes are placed at different angles. In this sample, there is no long needle crystal and instead, the crystals have grown a lot in the width direction. In 2021.Q.IH.12 sample, the gypsum crystals are slightly different in terms of shape from the samples of the floor and lining layer.
b. Energy-dispersive X-ray spectroscopy (EDX): In 2021.Q.IH.1 sample, there is a small amount of silicon, aluminum and magnesium, which is related to soil. In 2021.Q.IH.2 sample, the amount of sulfur is about 13% which some part of it is related to yellow pigment and some part is related to blue pigment. In 2021.Q.IH.3 sample, elements of potassium, aluminum, iron, magnesium and silicon can be seen next to oxygen. These elements are related to Verona green or green earth pigment. In 2021.Q.IH.5 sample, a high percentage of gold and a relatively low percentage of copper were detected in the sample. In 2021.Q.IH.6 sample, two coloring elements, iron and arsenic, along with sulfur have been detected. In 2021.Q.IH.7 sample, the main filling material is huntite or chalk. On the other hand, a small amount of lead has been detected in this sample. Gold, copper and iron have been detected in 2021.Q.IH.8 sample. In 2021.Q.IH.9 sample, two elements, cobalt and iron, along with sulfur, are significant and influential elements in making black color. In 2021.Q.IH.10 sample, the highest percentage of elements is related to calcium and sulfur. In 2021.Q.IH.11 sample, except the main elements of gypsum, a very small amount of elements of silicon, aluminum and magnesium have also been detected.
c. X-ray diffraction spectroscopy: As a result of the phase analysis of 2021.Q.IH.1 sample which is related to the lay-up under the gold sheet, quartz has been detected. The quartz detected in the lay-up is related to the red flower (Armenian flower) that was added to the plaster during the mortar processing. The next identified phase is gypsum. As a result of the phase analysis of 2021.Q.IH.10 sample which is related to the floor coating mortar, quartz has been detected. The next identified phase is gypsum. As a result of the phase analysis of 2021.Q.IH.11 sample, which is related to the floor coating mortar, anhydrite phase has been detected in the studied sample. The amount of anhydrite in the lining layer is higher than gypsum. As a result of phase analysis of 2021.Q.IH.12 sample, which is related to the substrate layer in the studied mural, quartz has been detected. The granularity of the quartz phase in the substrate was much finer than the previous samples. The next identified phase is gypsum.
Conclusion
The lay-up used in the murals of this building is made of a mixture of plaster and red flower (Armenian flower, Hormoz flower). Green color is a mixture of arsenic pigment with lapis lazuli and Prussian blue. Blue-green color is a mixture of green earth pigment with lithopone white. The blue color is a mixture of lapis lazuli and Prussian blue pigment along with white lead. The golden color of embossing is gold sheet with a small amount of copper impurity. The layer that is applied on the lay-up is also a gold sheet with a small impurity of copper. In line with the studies on the shiny brown sample, it was concluded that this layer is a gold sheet with copper and iron impurities, which its surface has corroded and darkened over time. In fact, three types of gold sheets have been used in the studied murals that two of them are similar and seem to belong to the same period. A layer that is different in terms of the composition of elements and impurities belongs to later periods. The red color in these murals is a mixture of red ocher and orange arsenic. The white color filling the preparatory layer is a mixture of huntite and white lead. Black color of embossing is a mixture of cobalt black and iron black. Contrary to imagination, the floor mortar is a gypsum mortar with two phases of gypsum and anhydrite to which some sand and soil have been added. Due to proper processing, this mortar has adequate strength, although humidity has caused damage to the work over time. The lining layer and the substrate in the studied murals are made of plaster mortar. There is a difference that the thickness of the lining layer is greater than that of the substrate and it has coarser graining and more impurity. On the other hand, the looser mortar of the substrate is due to the way of processing, and the arrangement of gypsum crystals is different from that of the lining layer.
Jamal Karimnia, Manijeh Sadri, Simin Fasihi, Nozhat Ahmadi,
year 6, Issue 22 (2-2023)
year 6, Issue 22 (2-2023)
Abstract
Abstract
Waqf is one of the oldest and most valuable human heritages that has been widely used among all ethnic groups, religions and civilized nations of the world and in different periods of Iranian history and has had lasting effects on societies. The issue of waqf and its formation and function have had a long history in the city of Ardabil. The city of Ardabil has had strategic and geopolitical value in terms of geographical location. During the Qajar period, although Ardabil did not have the prosperity and glory of the Safavid period, but people, especially Shiites, paid much attention to that city and until the end of the Qajar period, they went to visit the tomb of Sheikh Safi. The religious nature of Ardabil, especially as the origin of the head of the Safavid sect of Sheikh Safi al-Din and the location of his tomb, has had a great impact on the role and function of the waqf tradition in various religious, cultural, social and economic dimensions. The present study was done in a descriptive-analytical manner. To this end, libraries and archival documents and Waqfnameh were studied, reviewed and analyzed in the General Directorate of waqf and Charitable Affairs of Ardabil province. The present study seeks to answer the question: what socio-economic functions did the tradition and institution of waqf have in Ardabil during the Qajar period and what were the amount, types and uses of waqf in Ardabil? The analysis revealed how the socio-economic functions of waqf have been influenced by socio-historical events and intellectual currents of the Qajar period. Due to the religious nature of Ardabil, religious waqfs are the most common items in Waqfnameh. In addition, waqfs have been given to those people who have actually needed them. Also, new intellectual movements and the familiarity of Ardabili waqf doers with new ideas, including constitutionalism, have had a significant impact on the types of waqfs.
Keywords: Institution of Waqf, Ardabil, Function, Qajar, Waqfnameh.
Introduction
The institution of endowment as an institution rooted in the history of Iran dates back to before Islam (Ahmadi, 43:1391). In the ancient period, Iranians paid attention to following their religion and doing good deeds and especially taking care of the poor in the society and to maintain the fire temple. have had offerings and endowments (Salimi Far 1370: 52). Waqf literally means imprisonment. Current charity is usually interpreted as endowment. Waqf is defined in Shari’i terms as confiscation of principle and surrender of benefit (Obeid Al-Kabisi, 1995: 64, Office of Scientific Cooperation and Elite Affairs.... 2015: 39, Qurashi, 1996: 236). What is meant by “confinement of the object” is actually separating the endowment from the property of the waqif and keeping the object from transfer, and the owner will no longer have any rights to that property (Saadat Mostafavi and Sedghi, 1393: 67). The economic definition of endowment can be considered as a change in the use of resources from individual exploitation to social benefit for the present and future generations (Mesbahi Moghadam et al., 2010: 99).
Awqaf played a very important role in the life of the cities and it spread so much that a special court was established for it, which is known as “Diwan of Ihbas” or “Diwan of Awqaf” (Abdul Sattar Osmani, 1376: 83). In the turbulent years between the extinction of the Safavid dynasty and the establishment of the Qajar dynasty, many properties were either taken over by the government or turned into private properties (Lambton, 1363: 128-124). In the traditional Qajar system, most of the civil institutions, even if the people involved in the government were the founders, functioned in the form of endowment and relied on a stable endowment system.
Question and Hypothesis: Considering the importance of endowment documents and the lack of attention to them, the present research seeks to answer this question: What process did the tradition and institution of endowment in Ardabil go through after the establishment of the Qajar period and the religious, social and economic functions of this institution within the scope of What were the developments during the period under investigation and what was the impact of current intellectual currents on endowments?
It seems that the functions of the endowment were influenced by social-historical events and intellectual currents of the Qajar period, especially the constitutionalism movement. With the spread of new knowledge and the intellectual transformation of the society, endowments in a new style were created, and this process was created in the constitutional period by creating endowments such as the endowment of a bath, the endowment of land for the construction ، expenses for the needy patients, and the establishment of schools in a new style and... new dimensions and It is applicable.
Research Documents: In this article, 84 dedication letters have been studied and analyzed The endowment letters were obtained from the document center of the General Department of Endowments and Charitable Affairs in Ardabil province, exclusively in Ardabil city, and their file numbers will be mentioned in the references. In the following, the endowment letters will be discussed and analyzed based on issues such as religious, economic, social functions, the gender of the waqfs, trustees, and the social status of the waqfs.
Analysis of Endowment Documents based on the Gender of the Benefactors
Explaining the role and social status of Ardabil women in the endowments of the Qajar era because it refers to the explanation of the presence of women in various political and social arenas in the Qajar and Pahlavi eras, which is important. Among the studied waqf letters, there are 11 waqf letters related to the waqf by Ardabil women According to Table 4, from the beginning of the Qajar period to the 1960s, we can see the expansion of the presence of women donors among the studied samples. It seems that in the process of the constitutional process, Iranian women also try to achieve their natural and social rights and engage in a wise and wide-ranging struggle in many ways and emphasize the realization of their demands in the social, cultural and political fields (Afari, 1377: 5). The process of describing women in the studied area has a forward tone, in accordance with the general trend of the country, and it indicates that the tradition of women’s endowments is gaining ground under the influence of the prevailing political, cultural and religious currents. Perhaps another reason for favoring and paying attention to endowment among women is related to the new political, social and cultural reasoning of Iranian society in the era of constitutionalism against the tradition and modernity of government and society and citizenship rights, and it has brought individual freedom for women. (Ajdani, 1386:7). In the deed of endowment on May 2, 1346, (file number: 3), a woman gives half of her dowry to her husband and donates the other half to a mosque in Ardabil. Ardabili women have given endowments such as agricultural land, land, house, yard, shop, village and residential building in numerous letters of endowment. The place where these endowments are spent is for building, repairing and spending the mosque, giving prayers, charity, and the expenses of the imam of the congregation, etc. In the deed of endowment on 20 Jumadi al-Thani 1326 AH, Khursheed bequeaths the profits from her endowment from the village of khoshkehRood (with a compromise with her niece) in Ardabil to be spent on charity and charity of Hazrat Seyyed al-Shahada, peace be upon him (file number: 1/ x) The proceeds from the waqf nameh of Jumadi al-Thani 1334 AH, Maryam the daughter of Muhammad Qoli, who owns a shop, should be spent on Imam Hossein’s funeral (case number: 16). In her letter of endowment dated 25 Jumadi al-Awwal 1341 A.H., Ruqiyeh Khanum Dokhtar Marhamat has assigned the income from her shops and residential building to carry her husband’s and daughter’s body to the highest honors (file number: 5/R).
Conclusion
Waqf is good and a valuable heritage with various religious, social and economic aspects, and the remaining waqf nameh are like valuable documents in order to explain the process and social system of their time. The importance of examining the dedication letters of the city of Ardabil, on the one hand, in terms of the social situation (the nature of Ardabil’s relationship with the Caucasus and the role of its market in the commercial relations of the region in the last century) has strategic value and political geography, and on the other hand, in terms of the role of Azerbaijan in the current of thought. Constitutionalism is very important as the center of the most important developments of the Qajar era at the macro level, this article explains the impact of the intellectual currents of an era on the cultural and social manifestations crystallized in the documents, and at the micro level, the results of this research showed that the new intellectual currents and the familiarity of endowments Ardabili with new ideas, including constitutionalism, have an impact on the type of endowments. It has made significant contributions, among them the expansion of endowments among women, the construction of hospitals, baths, and schools are among the clear examples of this issue. In other words, at the threshold of the society’s familiarity with new knowledge and the intellectual developments of the society, endowments in a new style were created, and this process was created in the constitutional period by creating endowments such as: endowment of the bath, endowment of land for the construction of the bath, expenses for the needy patients and the establishment of schools to New style, etc finds a new and practical dimension the impact of new ideas and new health teachings on endowment can be seen by comparing these two timelines In the waqf nameh of 3 Muharram 1286 AH, the type of reception in the ritual ceremony on Thursdays is specified as tea, coffee and hookah (file number: 10/). In case, in the deed of endowment on 8 Dhul-Qaida 1332 lunar year, the donor has bequeathed all the objects and tools, except for the Sarqalians, to be used in ta’ziyeh and benevolence of Hazrat Seyyed al-Shoheda (case number: 5/k). In fact, it can be seen that in the Qajar period, due to the increasing influence of religious beliefs and beliefs in the society, the neediness and poverty of the people of Ardabil due to the occurrence of natural and social events and crises, as well as the new intellectual currents of various people from guilds, owners and From businessmen to ordinary people, social endowments have been placed alongside religious endowments as a priority. Throughout history, religious figures have taken the majority of donors and endowment affairs and had a special place in this matter, but after the beginning of the constitution and the beginning of the new century, family responsibilities and especially trust in the classes and personalities Social has prospered more than before Examining the social status of the donors shows that merchants and tradesmen account for the most frequency. In general, it should be acknowledged that somehow all benefactors were part of the business and market class it is interesting to pay attention to the expansion of the culture of endowment by Ardabil women after the intellectual currents after the constitutionalism, which seems that in the process of the constitutional current, women appear more and more in social arenas to achieve their natural and social in terms of the social status of the benefactors, who were generally from the merchant class, the endowment of commercial buildings is the second most abundant after real estate and farms. It should also be added that in addition to these mentioned cases, endowment in the field of health, treatment, drinking water, as well as in the field of education in the process of time and in terms of social issues, gradually occupies a larger part of endowments.
Waqf is one of the oldest and most valuable human heritages that has been widely used among all ethnic groups, religions and civilized nations of the world and in different periods of Iranian history and has had lasting effects on societies. The issue of waqf and its formation and function have had a long history in the city of Ardabil. The city of Ardabil has had strategic and geopolitical value in terms of geographical location. During the Qajar period, although Ardabil did not have the prosperity and glory of the Safavid period, but people, especially Shiites, paid much attention to that city and until the end of the Qajar period, they went to visit the tomb of Sheikh Safi. The religious nature of Ardabil, especially as the origin of the head of the Safavid sect of Sheikh Safi al-Din and the location of his tomb, has had a great impact on the role and function of the waqf tradition in various religious, cultural, social and economic dimensions. The present study was done in a descriptive-analytical manner. To this end, libraries and archival documents and Waqfnameh were studied, reviewed and analyzed in the General Directorate of waqf and Charitable Affairs of Ardabil province. The present study seeks to answer the question: what socio-economic functions did the tradition and institution of waqf have in Ardabil during the Qajar period and what were the amount, types and uses of waqf in Ardabil? The analysis revealed how the socio-economic functions of waqf have been influenced by socio-historical events and intellectual currents of the Qajar period. Due to the religious nature of Ardabil, religious waqfs are the most common items in Waqfnameh. In addition, waqfs have been given to those people who have actually needed them. Also, new intellectual movements and the familiarity of Ardabili waqf doers with new ideas, including constitutionalism, have had a significant impact on the types of waqfs.
Keywords: Institution of Waqf, Ardabil, Function, Qajar, Waqfnameh.
Introduction
The institution of endowment as an institution rooted in the history of Iran dates back to before Islam (Ahmadi, 43:1391). In the ancient period, Iranians paid attention to following their religion and doing good deeds and especially taking care of the poor in the society and to maintain the fire temple. have had offerings and endowments (Salimi Far 1370: 52). Waqf literally means imprisonment. Current charity is usually interpreted as endowment. Waqf is defined in Shari’i terms as confiscation of principle and surrender of benefit (Obeid Al-Kabisi, 1995: 64, Office of Scientific Cooperation and Elite Affairs.... 2015: 39, Qurashi, 1996: 236). What is meant by “confinement of the object” is actually separating the endowment from the property of the waqif and keeping the object from transfer, and the owner will no longer have any rights to that property (Saadat Mostafavi and Sedghi, 1393: 67). The economic definition of endowment can be considered as a change in the use of resources from individual exploitation to social benefit for the present and future generations (Mesbahi Moghadam et al., 2010: 99).
Awqaf played a very important role in the life of the cities and it spread so much that a special court was established for it, which is known as “Diwan of Ihbas” or “Diwan of Awqaf” (Abdul Sattar Osmani, 1376: 83). In the turbulent years between the extinction of the Safavid dynasty and the establishment of the Qajar dynasty, many properties were either taken over by the government or turned into private properties (Lambton, 1363: 128-124). In the traditional Qajar system, most of the civil institutions, even if the people involved in the government were the founders, functioned in the form of endowment and relied on a stable endowment system.
Question and Hypothesis: Considering the importance of endowment documents and the lack of attention to them, the present research seeks to answer this question: What process did the tradition and institution of endowment in Ardabil go through after the establishment of the Qajar period and the religious, social and economic functions of this institution within the scope of What were the developments during the period under investigation and what was the impact of current intellectual currents on endowments?
It seems that the functions of the endowment were influenced by social-historical events and intellectual currents of the Qajar period, especially the constitutionalism movement. With the spread of new knowledge and the intellectual transformation of the society, endowments in a new style were created, and this process was created in the constitutional period by creating endowments such as the endowment of a bath, the endowment of land for the construction ، expenses for the needy patients, and the establishment of schools in a new style and... new dimensions and It is applicable.
Research Documents: In this article, 84 dedication letters have been studied and analyzed The endowment letters were obtained from the document center of the General Department of Endowments and Charitable Affairs in Ardabil province, exclusively in Ardabil city, and their file numbers will be mentioned in the references. In the following, the endowment letters will be discussed and analyzed based on issues such as religious, economic, social functions, the gender of the waqfs, trustees, and the social status of the waqfs.
Analysis of Endowment Documents based on the Gender of the Benefactors
Explaining the role and social status of Ardabil women in the endowments of the Qajar era because it refers to the explanation of the presence of women in various political and social arenas in the Qajar and Pahlavi eras, which is important. Among the studied waqf letters, there are 11 waqf letters related to the waqf by Ardabil women According to Table 4, from the beginning of the Qajar period to the 1960s, we can see the expansion of the presence of women donors among the studied samples. It seems that in the process of the constitutional process, Iranian women also try to achieve their natural and social rights and engage in a wise and wide-ranging struggle in many ways and emphasize the realization of their demands in the social, cultural and political fields (Afari, 1377: 5). The process of describing women in the studied area has a forward tone, in accordance with the general trend of the country, and it indicates that the tradition of women’s endowments is gaining ground under the influence of the prevailing political, cultural and religious currents. Perhaps another reason for favoring and paying attention to endowment among women is related to the new political, social and cultural reasoning of Iranian society in the era of constitutionalism against the tradition and modernity of government and society and citizenship rights, and it has brought individual freedom for women. (Ajdani, 1386:7). In the deed of endowment on May 2, 1346, (file number: 3), a woman gives half of her dowry to her husband and donates the other half to a mosque in Ardabil. Ardabili women have given endowments such as agricultural land, land, house, yard, shop, village and residential building in numerous letters of endowment. The place where these endowments are spent is for building, repairing and spending the mosque, giving prayers, charity, and the expenses of the imam of the congregation, etc. In the deed of endowment on 20 Jumadi al-Thani 1326 AH, Khursheed bequeaths the profits from her endowment from the village of khoshkehRood (with a compromise with her niece) in Ardabil to be spent on charity and charity of Hazrat Seyyed al-Shahada, peace be upon him (file number: 1/ x) The proceeds from the waqf nameh of Jumadi al-Thani 1334 AH, Maryam the daughter of Muhammad Qoli, who owns a shop, should be spent on Imam Hossein’s funeral (case number: 16). In her letter of endowment dated 25 Jumadi al-Awwal 1341 A.H., Ruqiyeh Khanum Dokhtar Marhamat has assigned the income from her shops and residential building to carry her husband’s and daughter’s body to the highest honors (file number: 5/R).
Conclusion
Waqf is good and a valuable heritage with various religious, social and economic aspects, and the remaining waqf nameh are like valuable documents in order to explain the process and social system of their time. The importance of examining the dedication letters of the city of Ardabil, on the one hand, in terms of the social situation (the nature of Ardabil’s relationship with the Caucasus and the role of its market in the commercial relations of the region in the last century) has strategic value and political geography, and on the other hand, in terms of the role of Azerbaijan in the current of thought. Constitutionalism is very important as the center of the most important developments of the Qajar era at the macro level, this article explains the impact of the intellectual currents of an era on the cultural and social manifestations crystallized in the documents, and at the micro level, the results of this research showed that the new intellectual currents and the familiarity of endowments Ardabili with new ideas, including constitutionalism, have an impact on the type of endowments. It has made significant contributions, among them the expansion of endowments among women, the construction of hospitals, baths, and schools are among the clear examples of this issue. In other words, at the threshold of the society’s familiarity with new knowledge and the intellectual developments of the society, endowments in a new style were created, and this process was created in the constitutional period by creating endowments such as: endowment of the bath, endowment of land for the construction of the bath, expenses for the needy patients and the establishment of schools to New style, etc finds a new and practical dimension the impact of new ideas and new health teachings on endowment can be seen by comparing these two timelines In the waqf nameh of 3 Muharram 1286 AH, the type of reception in the ritual ceremony on Thursdays is specified as tea, coffee and hookah (file number: 10/). In case, in the deed of endowment on 8 Dhul-Qaida 1332 lunar year, the donor has bequeathed all the objects and tools, except for the Sarqalians, to be used in ta’ziyeh and benevolence of Hazrat Seyyed al-Shoheda (case number: 5/k). In fact, it can be seen that in the Qajar period, due to the increasing influence of religious beliefs and beliefs in the society, the neediness and poverty of the people of Ardabil due to the occurrence of natural and social events and crises, as well as the new intellectual currents of various people from guilds, owners and From businessmen to ordinary people, social endowments have been placed alongside religious endowments as a priority. Throughout history, religious figures have taken the majority of donors and endowment affairs and had a special place in this matter, but after the beginning of the constitution and the beginning of the new century, family responsibilities and especially trust in the classes and personalities Social has prospered more than before Examining the social status of the donors shows that merchants and tradesmen account for the most frequency. In general, it should be acknowledged that somehow all benefactors were part of the business and market class it is interesting to pay attention to the expansion of the culture of endowment by Ardabil women after the intellectual currents after the constitutionalism, which seems that in the process of the constitutional current, women appear more and more in social arenas to achieve their natural and social in terms of the social status of the benefactors, who were generally from the merchant class, the endowment of commercial buildings is the second most abundant after real estate and farms. It should also be added that in addition to these mentioned cases, endowment in the field of health, treatment, drinking water, as well as in the field of education in the process of time and in terms of social issues, gradually occupies a larger part of endowments.
Shima Pourmomeni, Seyed Mohamadamin Emami, Kamalodin Niknami,
year 7, Issue 23 (5-2023)
year 7, Issue 23 (5-2023)
Abstract
Abstract
This study aims to recognize and characterize pottery production at the Hormangan site, a Neolithic settlement in the northeast of Fars province, Iran. An examination and analytical study of the potteries on this site was conducted to determine the manufacturing techniques of the Neolithic potteries, understand the raw materials and inclusions, the level of progress and knowledge of the potters from the final products, and the location of the production site. Excavating this site, ceramics and a heated structure, probably an open kiln, were found, belonging to the Mushki phase (6400-6000 BC). Thirty-six ceramic shreds were selected for thin-section petrography analysis according to their macroscopic features. After that, 18 of them were analysed using X-Ray Fluorescence (XRF) and X-Ray Diffraction methods. According to the mineralogical studies and the XRD and XRF analyses, while three different clay types were used to produce these Neolithic ceramics, they were all local productions. These vessels were fired in an open and unsophisticated kiln at an uncontrolled temperature, probably not over 800 degrees. Although the combination of these archaeometrical techniques indicates that there are various sub-angular inclusions in each type of clay, most of the pots are vegetally tempered (chaff-tempered). The existence of the heated structure separately from residential construction, a variety of designs and decorations on the ceramics, and various clay sources all determine that the Neolithic community of the Hormangan site has gone beyond a primitive rural society and as semiprofessional individuals had a surplus of more than their demands.
Keywords: Neolithic Period, Hormangan Site, Ceramic Production, Petrography, XRD, XRF.
Introduction
Hormangan site is a Neolithic site located on the border of the Bavanat River basin, in Jeshnian village, in the northeast of Fars province, Iran. This site was excavated in 2016, revealing two phases dated back to 6373 to 6000 BCE. The earlier phase indicates no traces of architectural structures, and the later phase contributed to the settlements. Moreover, a heated structure was discovered simultaneously with the later phase, surrounded by potteries and divided spaces. Pottery vessels which were discovered from these two phases are similar to the ceramics of Tall-e Mushki, Tall-e Jari B, Kushk-e-Hazar, Tall-e Bashi, and Rahmat Abad. As these types of potteries were first discovered from the Tall-e Mushki, they are known as Mushki phase potteries. The heated structure discovered in the Hormangan site is a unique structure related to producing pottery during the Mushki phase, which was probably an open fire kiln. Since there are no similar structures have been found in the Neolithic sites in the Fars region, this study aims to understand pottery manufacturing technology with multi-analytical approaches. Moreover, considering the two phases of the Hormangan site occupied by different settlers for almost 300 years, it is attempted to differentiate potteries of these two phases from a technological point of view.
Geological Setting
A portion of the Bavanat plain lies in the Sanandaj-Sirejan zone, as well as the Shahreza-Abade- Hambast orogenic belt, characterised by high-quality clay deposits and Devonian sandstones (Houshmandzadeh and Soheili, 1990). Several types of rocks can be found in the Bavanat region (Emami and Yaghmai, 2008), spanning three tectonic-stratigraphic units: Late Permian and Middle Triassic rocks, Late Triassic and Cretaceous rocks, and Tertiary rocks (Ghazi and Moazzen, 2015; Ghorbani, 2011). From the mineralogical point of view, this area includes kaolinite, illite, quartz, and chlorite, and secondary minerals are goethite, paragonite, and gypsum. Also, sandstones and shales have been eroded in most cases, creating debris slides. There is a large hydrographic network density in Tutat Mountain (formed by internal and metamorphic formation). However, there is a lower density of hydrographic network in the Kitaban, Khaleisht, and Khatban Mountains. The clays in this region are therefore expected to contain high levels of lime and quartz minerals, but it is also likely to contain metamorphic minerals (Khademi and Hashemi Nasab, 2011).
Materials and Methods
Hormangan ceramics were primarily divided into six groups based on surface treatment, colour, and decoration style. In further classification, the Hormangan potteries were categorised based on their form, size, place of motifs and ceramic fashioning techniques. After initial macroscopic studies of these ceramic vessels, 36 pottery sherds were selected for thin-section petrographic analysis. For choosing these samples, not only the former classifications were considered, but also it was attempted to select potteries from different phases and various contexts and trenches. The earlier phase includes 14 samples, the later phase 12 samples, and the heated structure 10 samples were selected for this analysis.
For getting inside into the primary and secondary mineralisation phases, determining firing conditions and maximum temperature, and environmental burial conditions, 18 samples (from those 36 samples) have been selected for the X-Ray Diffraction analysis (XRD) in order to determine the crystalline phase constituents. This methods is necessary as a complementary method to petrography. Moreover, X-Ray Fluorescence analysis as a semi-quantitative analysis has been applied to these 18 samples to detect the chemical characterisation of their main and trace elements and to identify whether the earlier and later phases’ samples become clustered into two different groups or not.
Discussion
The thin-section microscopic analysis indicated a very porous matrix with angular and semi-angular inclusions, which are mainly quartz, and with traces of vegetal tempers. Moreover, the vessels were fired under the oxidation condition. The inclusions were distributed randomly in the matrix, which suggested that they were not homogeneous and consisted of quartz, limestone, calcite, plagioclase (albite and sanidine), and igneous rock fragments, including muscovite, iron oxide, granite, magnetite, hematite, apatite, and feldspars. In most sherds, secondary calcite was formed, resulting in burial in a humid condition. The XRD analysis enabled us to observe some high-temperature minerals, such as gehlenite and diopside, in some samples. These minerals are usually presented in ceramics when fired at more than 800 degrees. On the other hand, the presence of the main elements MgO+CaO, Al2O3, and SiO2, detected by the XRF analysis and diagramed by the Noll system, indicated a very similar final product in terms of raw materials and inclusions. In addition, Cl, MnO, and SrO have been identified in these samples as trace elements, indicating the environmental conditions of the vessels after abandonment.
Conclusion
In light of the microscopical observations and the phase and chemical analyses, it was determined that the Hormangan potteries could be divided into three main groups. The potteries of the earlier and later phases could not be distinguished from one another. These three groups are comparable to the region’s geological map, meaning all potteries are locally made. Except for four samples that were fired above 800 degrees, the others were fired at temperatures around 750 degrees. Samples from the earlier and later phases were distributed randomly among these clusters, comprising the Calcareous, Iron-rich, and Calcium-rich matrixes. The clay minerals were all extracted in the vicinity of the site, despite the fact that there were three different types of clay materials. Therefore, the potter(s) at the Hormangan site have chosen diverse clay sources but employed different techniques each time to produce similar results. It has also been noted that samples obtained from the heated structure have very similar characteristics to the ceramics produced in the later phase. According to the absolute dating results, the heated structure and the later phase are contemporaneous. However, in terms of potters’ technological behaviours, this could point to some standardization of ceramic production during this time.
Another question we have attempted to answer is whether the potter(s) added any aplastic materials, such as quartz, to their clay in order to increase its workability. Based upon an ethnoarchaeological study of the current pottery production in ShahReza (Pincé et al., 2019), approximately 230 kilometers away from the Hormangan site, it has been found that additional tempering does not need to be applied to the clay for the production of ceramics, owing to the rich clay sources in the ShahReza-Abade-Hambast orogenic belt (located in the Sanandaj-Sirjan zone). There is a possibility that the richness of clay sources in this region allowed potters to avoid tempering their raw materials during different periods, which will be investigated in more detail in future studies.
Acknowledgements
Dr Morteza Khanipour has generously allowed access to the Hormangan site’s ceramics for this study, and the authors are very grateful for his generosity.
This study aims to recognize and characterize pottery production at the Hormangan site, a Neolithic settlement in the northeast of Fars province, Iran. An examination and analytical study of the potteries on this site was conducted to determine the manufacturing techniques of the Neolithic potteries, understand the raw materials and inclusions, the level of progress and knowledge of the potters from the final products, and the location of the production site. Excavating this site, ceramics and a heated structure, probably an open kiln, were found, belonging to the Mushki phase (6400-6000 BC). Thirty-six ceramic shreds were selected for thin-section petrography analysis according to their macroscopic features. After that, 18 of them were analysed using X-Ray Fluorescence (XRF) and X-Ray Diffraction methods. According to the mineralogical studies and the XRD and XRF analyses, while three different clay types were used to produce these Neolithic ceramics, they were all local productions. These vessels were fired in an open and unsophisticated kiln at an uncontrolled temperature, probably not over 800 degrees. Although the combination of these archaeometrical techniques indicates that there are various sub-angular inclusions in each type of clay, most of the pots are vegetally tempered (chaff-tempered). The existence of the heated structure separately from residential construction, a variety of designs and decorations on the ceramics, and various clay sources all determine that the Neolithic community of the Hormangan site has gone beyond a primitive rural society and as semiprofessional individuals had a surplus of more than their demands.
Keywords: Neolithic Period, Hormangan Site, Ceramic Production, Petrography, XRD, XRF.
Introduction
Hormangan site is a Neolithic site located on the border of the Bavanat River basin, in Jeshnian village, in the northeast of Fars province, Iran. This site was excavated in 2016, revealing two phases dated back to 6373 to 6000 BCE. The earlier phase indicates no traces of architectural structures, and the later phase contributed to the settlements. Moreover, a heated structure was discovered simultaneously with the later phase, surrounded by potteries and divided spaces. Pottery vessels which were discovered from these two phases are similar to the ceramics of Tall-e Mushki, Tall-e Jari B, Kushk-e-Hazar, Tall-e Bashi, and Rahmat Abad. As these types of potteries were first discovered from the Tall-e Mushki, they are known as Mushki phase potteries. The heated structure discovered in the Hormangan site is a unique structure related to producing pottery during the Mushki phase, which was probably an open fire kiln. Since there are no similar structures have been found in the Neolithic sites in the Fars region, this study aims to understand pottery manufacturing technology with multi-analytical approaches. Moreover, considering the two phases of the Hormangan site occupied by different settlers for almost 300 years, it is attempted to differentiate potteries of these two phases from a technological point of view.
Geological Setting
A portion of the Bavanat plain lies in the Sanandaj-Sirejan zone, as well as the Shahreza-Abade- Hambast orogenic belt, characterised by high-quality clay deposits and Devonian sandstones (Houshmandzadeh and Soheili, 1990). Several types of rocks can be found in the Bavanat region (Emami and Yaghmai, 2008), spanning three tectonic-stratigraphic units: Late Permian and Middle Triassic rocks, Late Triassic and Cretaceous rocks, and Tertiary rocks (Ghazi and Moazzen, 2015; Ghorbani, 2011). From the mineralogical point of view, this area includes kaolinite, illite, quartz, and chlorite, and secondary minerals are goethite, paragonite, and gypsum. Also, sandstones and shales have been eroded in most cases, creating debris slides. There is a large hydrographic network density in Tutat Mountain (formed by internal and metamorphic formation). However, there is a lower density of hydrographic network in the Kitaban, Khaleisht, and Khatban Mountains. The clays in this region are therefore expected to contain high levels of lime and quartz minerals, but it is also likely to contain metamorphic minerals (Khademi and Hashemi Nasab, 2011).
Materials and Methods
Hormangan ceramics were primarily divided into six groups based on surface treatment, colour, and decoration style. In further classification, the Hormangan potteries were categorised based on their form, size, place of motifs and ceramic fashioning techniques. After initial macroscopic studies of these ceramic vessels, 36 pottery sherds were selected for thin-section petrographic analysis. For choosing these samples, not only the former classifications were considered, but also it was attempted to select potteries from different phases and various contexts and trenches. The earlier phase includes 14 samples, the later phase 12 samples, and the heated structure 10 samples were selected for this analysis.
For getting inside into the primary and secondary mineralisation phases, determining firing conditions and maximum temperature, and environmental burial conditions, 18 samples (from those 36 samples) have been selected for the X-Ray Diffraction analysis (XRD) in order to determine the crystalline phase constituents. This methods is necessary as a complementary method to petrography. Moreover, X-Ray Fluorescence analysis as a semi-quantitative analysis has been applied to these 18 samples to detect the chemical characterisation of their main and trace elements and to identify whether the earlier and later phases’ samples become clustered into two different groups or not.
Discussion
The thin-section microscopic analysis indicated a very porous matrix with angular and semi-angular inclusions, which are mainly quartz, and with traces of vegetal tempers. Moreover, the vessels were fired under the oxidation condition. The inclusions were distributed randomly in the matrix, which suggested that they were not homogeneous and consisted of quartz, limestone, calcite, plagioclase (albite and sanidine), and igneous rock fragments, including muscovite, iron oxide, granite, magnetite, hematite, apatite, and feldspars. In most sherds, secondary calcite was formed, resulting in burial in a humid condition. The XRD analysis enabled us to observe some high-temperature minerals, such as gehlenite and diopside, in some samples. These minerals are usually presented in ceramics when fired at more than 800 degrees. On the other hand, the presence of the main elements MgO+CaO, Al2O3, and SiO2, detected by the XRF analysis and diagramed by the Noll system, indicated a very similar final product in terms of raw materials and inclusions. In addition, Cl, MnO, and SrO have been identified in these samples as trace elements, indicating the environmental conditions of the vessels after abandonment.
Conclusion
In light of the microscopical observations and the phase and chemical analyses, it was determined that the Hormangan potteries could be divided into three main groups. The potteries of the earlier and later phases could not be distinguished from one another. These three groups are comparable to the region’s geological map, meaning all potteries are locally made. Except for four samples that were fired above 800 degrees, the others were fired at temperatures around 750 degrees. Samples from the earlier and later phases were distributed randomly among these clusters, comprising the Calcareous, Iron-rich, and Calcium-rich matrixes. The clay minerals were all extracted in the vicinity of the site, despite the fact that there were three different types of clay materials. Therefore, the potter(s) at the Hormangan site have chosen diverse clay sources but employed different techniques each time to produce similar results. It has also been noted that samples obtained from the heated structure have very similar characteristics to the ceramics produced in the later phase. According to the absolute dating results, the heated structure and the later phase are contemporaneous. However, in terms of potters’ technological behaviours, this could point to some standardization of ceramic production during this time.
Another question we have attempted to answer is whether the potter(s) added any aplastic materials, such as quartz, to their clay in order to increase its workability. Based upon an ethnoarchaeological study of the current pottery production in ShahReza (Pincé et al., 2019), approximately 230 kilometers away from the Hormangan site, it has been found that additional tempering does not need to be applied to the clay for the production of ceramics, owing to the rich clay sources in the ShahReza-Abade-Hambast orogenic belt (located in the Sanandaj-Sirjan zone). There is a possibility that the richness of clay sources in this region allowed potters to avoid tempering their raw materials during different periods, which will be investigated in more detail in future studies.
Acknowledgements
Dr Morteza Khanipour has generously allowed access to the Hormangan site’s ceramics for this study, and the authors are very grateful for his generosity.
Javad Abbasi, Roya Bahadori, Federica Cappa, Dubravka Jembrih-Simbuerger, Manfred Schreiner, Seyyed Iraj Beheshti,
year 7, Issue 23 (5-2023)
year 7, Issue 23 (5-2023)
Abstract
Abstract
In this study, the colors used in the Inscription and mural paintings of tomb of Ghadmagah in Neishabour were analyzed by instrumental analytical methods. Ghadmagah is located in the center of the Zabarkhan section, on the Neyshabur-Mashhad Road. Ghadmagah tomb-garden is located in the village of the same name 24 kilometers east of Neyshabur, Iran, and was built in the early seventeenth century. According to historical sources Ghadmagah was built in the early eleventh century AH (ca. 1600 AD), and the origin of this site dates back to Islam. Some believe that the Ghadmagah monument was designed by Sheikh Baha’i. The architectural decoration of this building is most importantly tiling, plastering and mural paintings. Given that the building was built in different periods and originally dates back to the Safavid period. The present study aimed to study the color bedding and pigments in the Inscription and mural paintings of the building to find out what period the mural paintings in the building belong to. Mural painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially mural paint, is the identification of the nature of paintings used to decorate the walls. Identification of pigments is also important not only from the perspective of archeology but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Keywords: Pigment, Neyshabur Ghadmagah, Inscription, Mural Painting, Analytical Methods.
Introduction
The use of physical and chemical analysis methods to identify the constituents of works of art, before any intervention occurs, plays a key role; because the results of such an analysis are very useful for deciding whether to conserve or regenerate these materials. In addition, each of the different pigments can have a different regeneration process. On the other hand, the analysis of ancient paintings may provide information about the artistic techniques and visual materials used in the past and expand the knowledge of the customs and techniques of ancient societies.
In fact, physical and chemical analysis provides useful information about the range of pigments present in an area and knowledge of dye preparation techniques and applications. In addition, the study of the originality and origin of pigments allows the discovery of connections and trade lines. On the other hand, restorers need detailed information about the chemical composition of the materials used in a work before restoration work.
Identifying the materials and pigments used in this building is one of the most important questions of this research, and then by considering the history of using pigments, we can understand the dating of the paintings in this building. Do these paintings belong to the period of construction of the building, ie the Safavid period, or were they added to the building in later historical periods? Depending on the type of painting pigments, the colors can be restored.
Materials and Methods
In this research, empirical and analytical methods have been used to achieve the goals. Data collection is based on information from library studies and instrumental methods. The complete information of the devices used in this research is fully described in the Materials and Methods section.
In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Data
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O) also gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors.
Discussion
The inscription at the top of the building used two colors, blue and gold, the result of the analysis showed that the blue color was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
Green phthalocyanine copper is a new pigment that may have been used to restore painting. This pigment was first used in 1320 AD, but it is not clear on what date this pigment was used to repair or reconstruct this paint. Due to the presence of oil in the FTIR spectrum of this color, it seems that unlike other colors, oil has been used to close this color, and the technique used in this color is different from other colors.
Conclusion
Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period.
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The results of identification of gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
In this study, the colors used in the Inscription and mural paintings of tomb of Ghadmagah in Neishabour were analyzed by instrumental analytical methods. Ghadmagah is located in the center of the Zabarkhan section, on the Neyshabur-Mashhad Road. Ghadmagah tomb-garden is located in the village of the same name 24 kilometers east of Neyshabur, Iran, and was built in the early seventeenth century. According to historical sources Ghadmagah was built in the early eleventh century AH (ca. 1600 AD), and the origin of this site dates back to Islam. Some believe that the Ghadmagah monument was designed by Sheikh Baha’i. The architectural decoration of this building is most importantly tiling, plastering and mural paintings. Given that the building was built in different periods and originally dates back to the Safavid period. The present study aimed to study the color bedding and pigments in the Inscription and mural paintings of the building to find out what period the mural paintings in the building belong to. Mural painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially mural paint, is the identification of the nature of paintings used to decorate the walls. Identification of pigments is also important not only from the perspective of archeology but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Keywords: Pigment, Neyshabur Ghadmagah, Inscription, Mural Painting, Analytical Methods.
Introduction
The use of physical and chemical analysis methods to identify the constituents of works of art, before any intervention occurs, plays a key role; because the results of such an analysis are very useful for deciding whether to conserve or regenerate these materials. In addition, each of the different pigments can have a different regeneration process. On the other hand, the analysis of ancient paintings may provide information about the artistic techniques and visual materials used in the past and expand the knowledge of the customs and techniques of ancient societies.
In fact, physical and chemical analysis provides useful information about the range of pigments present in an area and knowledge of dye preparation techniques and applications. In addition, the study of the originality and origin of pigments allows the discovery of connections and trade lines. On the other hand, restorers need detailed information about the chemical composition of the materials used in a work before restoration work.
Identifying the materials and pigments used in this building is one of the most important questions of this research, and then by considering the history of using pigments, we can understand the dating of the paintings in this building. Do these paintings belong to the period of construction of the building, ie the Safavid period, or were they added to the building in later historical periods? Depending on the type of painting pigments, the colors can be restored.
Materials and Methods
In this research, empirical and analytical methods have been used to achieve the goals. Data collection is based on information from library studies and instrumental methods. The complete information of the devices used in this research is fully described in the Materials and Methods section.
In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Data
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O) also gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors.
Discussion
The inscription at the top of the building used two colors, blue and gold, the result of the analysis showed that the blue color was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
Green phthalocyanine copper is a new pigment that may have been used to restore painting. This pigment was first used in 1320 AD, but it is not clear on what date this pigment was used to repair or reconstruct this paint. Due to the presence of oil in the FTIR spectrum of this color, it seems that unlike other colors, oil has been used to close this color, and the technique used in this color is different from other colors.
Conclusion
Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period.
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The results of identification of gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
Azadeh Ahmadipour, Morteza Hesari, Omid Zehtabvar,
year 7, Issue 23 (5-2023)
year 7, Issue 23 (5-2023)
Abstract
Abstract
In the summer of 2018, the archaeological excavation of Taghiabad Tepe land 2 was carried out in Varamin city. The areas are located in the north of Taghiabad village and in the south of Ajorbast village of Javadabad Varamin. The excavation findings include the Bronze Age and Iron Age cultural periods. Among the valuable findings of this site were animal remains, which are very important to understand the subsistence system of this site. The most important goal of this article is knowing the subsistence economic system among the society living in the Iron Age based on zooarchaeological studies in Tagh. The main question that is raised in this research is, how can the animal species be identified in this area and how can the bone remain of animals be used in the reconstruction of the livelihood of the studied period? On the bone findings of the Iron Age area of Taghiabad (1&2) the traces of burns and cuts can be seen on some bones, which may have been caused by butchering. The basis of this research is based on studies on animal finds that were obtained in the archaeological excavations of Taghiabad Tepe 1 and 2. The findings of the research show the use of sheep, goat, cattle, gazelle, deer, susscrofa, urial, canine and birds’ species in Taghiabad Tepe 2. The study showed that animal husbandry played an important role in the livelihood of the people of that area.
Keywords: Iron Age, Subsistence Economy, Varamin Plain, Zooarchaeological.
Introduction
Depiction of subsistence, environmental and other living conditions of ancient societies is one of the most important approaches in archaeology and anthropology which is considered a multidisciplinary approach that requires archaeologists, biologists and ecologist cooperation.
By using zooarchaeology theories and based on analysis on animal remaining, archaeologists try to understand the different aspects animal’s livings and depict the interaction between the man and animal.
Historically, zoologists only presented the recognizable species but recent studies on the remaining provide a more through insight. (Davis, 1987: 23)
Identifying the species their prevalence and sex could be of immense value in the strategy of selecting the animal for herding and use of their flash.
The main question in this study (Which is based on findings of Taghiabad site under supervision of Dr. Morteza Hessari in 2018 to identify the diet of residents in Taghiabad in Varamin Plain) is to scientifically identify the animal species and their role in meat provision. Moreover, if the residents were using domestic animals’ flesh or hunted animal and their ratio, if they were animal herders or farmers as well.
The most important goal of studying these remains is to reconstruct the animal-human behavior towards animals and his environment.
Based on these introductions, identifying the species and being whether domestic or wild is one of the goals of this study.
With this approach the prevalence and ratio of species in an area is another goal.
The first review revealed the animal species which helped to identify the subsistence strategies such as animal herding and hunting were identified.
Understanding the human-environment relationship, ecologic, specifications of studied society and other conditions such as environmental changes could be achieved by bone analysis. (O’Conner, 2018).
By studying the domestic animal bones, we could understand the herding methods and their goals of animal herding.
Taghiabad Site
This site is located in agriculture zone of Adjorbast village in Pishva town of Varamin district. This site is named as Taghiabad1 and Taghiabad2.
Animal Findings
In this study the animal remaining which were recovered through the first season of excavation in 2018, have been analyzed, which dates back to Iron Age (1&2). First of all, the bones have been prepared by numbering and locus allocation. Then the species and the organs were recognized by using animal bones manual and bank of animal bones.
Number of identified Specimens (NISP) Iron Age of Taghiabad 1
326 pieces of bones had been retrieved from Taghiabad1 related to Iron Age, 225 pieces related to Iron Age1 and 101 pieces related to Iron Age2 and 386 pieces belongs to Taghiabad2 (379 pieces related to Iron Age1 and 7 pieces from Iron Age2).
Species recognized in Taghiabad1 contains: sheep 114 pieces (71 pieces from Iron Age 1 and 43 pieces Iron Age2), goat 9 (6 Iron Age1 and 3 Iron Age2), gazelle 26 (19 pieces Iron Age1 and 7 Iron Age2), cattle 32 ( 19 pieces Iron Age1 and 13 Iron Age2), fox 1 piece related to Iron Age2, 8 pieces of canine from Iron Age1, small carnivorous 2 pieces from Iron Age2, equid 2 pieces from Iron Age2, equus 8 pieces (6 Iron Age1 and 2 pieces Iron Age2), sus scrofa 2pieces from Iron Age1, deer 1 piece from Iron Age1, 3 pieces of avian (1 from Iron Age1 and 2 Iron Age2), 1 piece of urial (Iron Age1) and 118 broken and non-recognizable pieces.
Number of identified Specimens (NISP) Iron Age of Taghiabad 2
63 pieces of sheep bones had been retrieved from Taghiabad2 related to Iron Age, 62 pieces related to Iron Age1 and 1 piece Iron Age2, goat 5 pieces (Iron Age1), gazelle 10 pieces (9 Iron Age1 and 1 Iron Age2), cattle 23 pieces (Iron Age1), canine 10 pieces (9 Iron Age1 and 1 Iron Age2), 1 piece of small carnivorous from Iron Age1, 2 pieces of equid from Iron Age1, 1 piece of equus from Iron Age2, 1 piece of equus asinus from Iron Age1, 11 pieces of sus scrofa from Iron Age1, I piece of deer from Iron Age1, 1 piece of avian from Iron Age1 and 257 broken and non-recognizable.
34%were sheep and 2% goat bones in Taghiabad1, while in Taghiabad2 16% were sheep and 1% were goat bones. The found items were jaw, teeth, scapula, pelvis, ribs and vertebra bones.
On some of the bones cut marks and burns were obvious. Cut marks are probably secondary to peeling and butchery process by a knife-like instrument. Abnormalities and bone reactions were seen on some items, most of them were adult to death.
Injuries which could be found on the bones are mostly manmade such as breaking the bones to have access to bone marrow, marks related to peeling process or cutting meat off the bones, burning marks secondary to cooking process and bite marks (Merritt, Sr 2016).
And the other injuries such as bite marks or signs of alimentation which caused by other animals.
17 pieces (11.8%) out of 144 goat and sheep bones and 3 (23%) out of 13 cattle bones were non adult I Iron Age1.
Most of the sheep and goats were adult at death which means they were exploited not only for primary product (meat) but also secondary products (milk, wool, breeding…). One of the advantages of goats is their reproductivity which makes their milk accessible. Cattles were being exploited not only for primary and secondary products but also for daily labor as transportation and plowing but duo to scarcity of their bones it could not be a precise finding.
Conclusion
By identifying the species from finding of Taghiabad, we could understand the strategies of subsistence such as herding and hunting and interactions among human- animals environment, which shows the important role of herding. The main sources of meat supply in Taghiabad site during Iron Age were sheep, goat and cattle (46.8%), sheep was the most found one then cattle and goat respectively. The reason for prevalence of cattle is its role in secondary products supply and its role in labor and transportation which is reflected in deformities on their bones. Equid, like cattle, were being used for labor and riding as well, most of them were adult at death which amplifies their role as secondary product supply source.
The most hunted animal were gazelles and sus scrofa (8.2% in Taghiabad1 and 5.59% in Taghiabad2). Comparison of findings from other sites of central Iran shows the equal importance of sheep and cattle herding among all of them in all Ages. Sheep was always more than goats. Study of the sus scrofa’s bones showed that except one sample, all the others were wild animals. Finally, we must emphasis that more precise results, require as more precise studies.
In the summer of 2018, the archaeological excavation of Taghiabad Tepe land 2 was carried out in Varamin city. The areas are located in the north of Taghiabad village and in the south of Ajorbast village of Javadabad Varamin. The excavation findings include the Bronze Age and Iron Age cultural periods. Among the valuable findings of this site were animal remains, which are very important to understand the subsistence system of this site. The most important goal of this article is knowing the subsistence economic system among the society living in the Iron Age based on zooarchaeological studies in Tagh. The main question that is raised in this research is, how can the animal species be identified in this area and how can the bone remain of animals be used in the reconstruction of the livelihood of the studied period? On the bone findings of the Iron Age area of Taghiabad (1&2) the traces of burns and cuts can be seen on some bones, which may have been caused by butchering. The basis of this research is based on studies on animal finds that were obtained in the archaeological excavations of Taghiabad Tepe 1 and 2. The findings of the research show the use of sheep, goat, cattle, gazelle, deer, susscrofa, urial, canine and birds’ species in Taghiabad Tepe 2. The study showed that animal husbandry played an important role in the livelihood of the people of that area.
Keywords: Iron Age, Subsistence Economy, Varamin Plain, Zooarchaeological.
Introduction
Depiction of subsistence, environmental and other living conditions of ancient societies is one of the most important approaches in archaeology and anthropology which is considered a multidisciplinary approach that requires archaeologists, biologists and ecologist cooperation.
By using zooarchaeology theories and based on analysis on animal remaining, archaeologists try to understand the different aspects animal’s livings and depict the interaction between the man and animal.
Historically, zoologists only presented the recognizable species but recent studies on the remaining provide a more through insight. (Davis, 1987: 23)
Identifying the species their prevalence and sex could be of immense value in the strategy of selecting the animal for herding and use of their flash.
The main question in this study (Which is based on findings of Taghiabad site under supervision of Dr. Morteza Hessari in 2018 to identify the diet of residents in Taghiabad in Varamin Plain) is to scientifically identify the animal species and their role in meat provision. Moreover, if the residents were using domestic animals’ flesh or hunted animal and their ratio, if they were animal herders or farmers as well.
The most important goal of studying these remains is to reconstruct the animal-human behavior towards animals and his environment.
Based on these introductions, identifying the species and being whether domestic or wild is one of the goals of this study.
With this approach the prevalence and ratio of species in an area is another goal.
The first review revealed the animal species which helped to identify the subsistence strategies such as animal herding and hunting were identified.
Understanding the human-environment relationship, ecologic, specifications of studied society and other conditions such as environmental changes could be achieved by bone analysis. (O’Conner, 2018).
By studying the domestic animal bones, we could understand the herding methods and their goals of animal herding.
Taghiabad Site
This site is located in agriculture zone of Adjorbast village in Pishva town of Varamin district. This site is named as Taghiabad1 and Taghiabad2.
Animal Findings
In this study the animal remaining which were recovered through the first season of excavation in 2018, have been analyzed, which dates back to Iron Age (1&2). First of all, the bones have been prepared by numbering and locus allocation. Then the species and the organs were recognized by using animal bones manual and bank of animal bones.
Number of identified Specimens (NISP) Iron Age of Taghiabad 1
326 pieces of bones had been retrieved from Taghiabad1 related to Iron Age, 225 pieces related to Iron Age1 and 101 pieces related to Iron Age2 and 386 pieces belongs to Taghiabad2 (379 pieces related to Iron Age1 and 7 pieces from Iron Age2).
Species recognized in Taghiabad1 contains: sheep 114 pieces (71 pieces from Iron Age 1 and 43 pieces Iron Age2), goat 9 (6 Iron Age1 and 3 Iron Age2), gazelle 26 (19 pieces Iron Age1 and 7 Iron Age2), cattle 32 ( 19 pieces Iron Age1 and 13 Iron Age2), fox 1 piece related to Iron Age2, 8 pieces of canine from Iron Age1, small carnivorous 2 pieces from Iron Age2, equid 2 pieces from Iron Age2, equus 8 pieces (6 Iron Age1 and 2 pieces Iron Age2), sus scrofa 2pieces from Iron Age1, deer 1 piece from Iron Age1, 3 pieces of avian (1 from Iron Age1 and 2 Iron Age2), 1 piece of urial (Iron Age1) and 118 broken and non-recognizable pieces.
Number of identified Specimens (NISP) Iron Age of Taghiabad 2
63 pieces of sheep bones had been retrieved from Taghiabad2 related to Iron Age, 62 pieces related to Iron Age1 and 1 piece Iron Age2, goat 5 pieces (Iron Age1), gazelle 10 pieces (9 Iron Age1 and 1 Iron Age2), cattle 23 pieces (Iron Age1), canine 10 pieces (9 Iron Age1 and 1 Iron Age2), 1 piece of small carnivorous from Iron Age1, 2 pieces of equid from Iron Age1, 1 piece of equus from Iron Age2, 1 piece of equus asinus from Iron Age1, 11 pieces of sus scrofa from Iron Age1, I piece of deer from Iron Age1, 1 piece of avian from Iron Age1 and 257 broken and non-recognizable.
34%were sheep and 2% goat bones in Taghiabad1, while in Taghiabad2 16% were sheep and 1% were goat bones. The found items were jaw, teeth, scapula, pelvis, ribs and vertebra bones.
On some of the bones cut marks and burns were obvious. Cut marks are probably secondary to peeling and butchery process by a knife-like instrument. Abnormalities and bone reactions were seen on some items, most of them were adult to death.
Injuries which could be found on the bones are mostly manmade such as breaking the bones to have access to bone marrow, marks related to peeling process or cutting meat off the bones, burning marks secondary to cooking process and bite marks (Merritt, Sr 2016).
And the other injuries such as bite marks or signs of alimentation which caused by other animals.
17 pieces (11.8%) out of 144 goat and sheep bones and 3 (23%) out of 13 cattle bones were non adult I Iron Age1.
Most of the sheep and goats were adult at death which means they were exploited not only for primary product (meat) but also secondary products (milk, wool, breeding…). One of the advantages of goats is their reproductivity which makes their milk accessible. Cattles were being exploited not only for primary and secondary products but also for daily labor as transportation and plowing but duo to scarcity of their bones it could not be a precise finding.
Conclusion
By identifying the species from finding of Taghiabad, we could understand the strategies of subsistence such as herding and hunting and interactions among human- animals environment, which shows the important role of herding. The main sources of meat supply in Taghiabad site during Iron Age were sheep, goat and cattle (46.8%), sheep was the most found one then cattle and goat respectively. The reason for prevalence of cattle is its role in secondary products supply and its role in labor and transportation which is reflected in deformities on their bones. Equid, like cattle, were being used for labor and riding as well, most of them were adult at death which amplifies their role as secondary product supply source.
The most hunted animal were gazelles and sus scrofa (8.2% in Taghiabad1 and 5.59% in Taghiabad2). Comparison of findings from other sites of central Iran shows the equal importance of sheep and cattle herding among all of them in all Ages. Sheep was always more than goats. Study of the sus scrofa’s bones showed that except one sample, all the others were wild animals. Finally, we must emphasis that more precise results, require as more precise studies.
Marzieh Mehrabani, Zahra Mehrabani, Soudabeh Yousefnezhad, Rouhollah Mohammadi, Hassan Yousefi,
year 7, Issue 23 (5-2023)
year 7, Issue 23 (5-2023)
Abstract
Abstract
Glaze is a prepared mixture of materials ready for application to ceramic wares by dipping or spraying. In Islamic period, decoration using the glaze was widespread. Different methods of glazing have played a major role in the beauty of glazed potteries during this period. Turquoise glazed potteries are one the significant groups of Islamic period. In this article, five turquoise glazed pottery sherds have been studied in order to identify their elements, composition and technology. The mentioned sherds dated back to 14 - 18 A.D (late Ilkhanate, Timurid and Safavid periods) , and identified from a historical house called Moravvej-e Ardabili House, in the historical part of Ardabil city. This site identified in a rescue excavation held by HassanYousefi which regarding to the cultural materials dated back to 11 - 18 A.D. The aim of this article is investigating and understanding the similarities and differences in five glazed sherds. Regarding to the mentioned point, XRD analyze applied for characterizing their phases as well as EDX analyze used for identifying the elements of glaze, and also their quantity. This research has an analytical approach and it’s method is based on analytical studies, textual evidences and comparative analyzes. According to the results obtained from analyzes, four glazes have an alkaline based and one has a lead base. Colorant oxides in glazes represent that copper used as the primary element to make the turquoise color. In general, the main elements in glazes include silica, aluminum, calcium, sodium, potassium and a negligible amount of lead. Statistical analyzes represent that the most similarities exist in sample two and sample five which belongs to the same period (late Ilkhanate and Timurid),and the most differences exist in sample four and sample five which dated back to a different periods.
Keywords: Glaze, Turquoise, Moravvej-e Ardabili, XRD, EDX.
Introduction
In the prehistoric era, slip used as a sort of glaze in order to proof the body of the pottery, increase the aesthetical aspect of the pottery and protect the hand of the pottery maker to steak to the clay. In the historical period, using a transparent and colored glaze became widespread, but in the Islamic period the using of the glaze with various functions expanded. There are three main period in the evolution of the pottery in the Islamic era. 1. Early Islamic potteries 2. Middle Islamic potteies 3. Late Islamic potteries. During the rescue excavation in the Moravvej Historical House in Ardabil province in 2006, a vast number of pottery sherds mostly, belong to Seljuk to Safavid periods identified. This site located in the historical part of the city nearby the Sheikh Safi Al-Din Ardabili’s monument. Turquoise glazed potteries were the remarkable amount of the identified potteries in the above mentioned excavation. The questions of this article is on the subject of the turquoise glaze potteries; the amount and the type of the constructed elements ,and also study the similarities and differences between the glaze from different period. Five pieces (three sherds from 14-15 A.D and two sherds from 16-18 A.D) selected for the analytical studies with the aim of better understanding their constructed elements, technology and composition. In order to achieve to this aim, XRD and EDX analyses provided promising results about the technological aspects of the sherds, and also a comparative study not only was highly beneficial in clarifying the similarities along with differences of the composition of glazes, but also was helpful in better understanding of the turquoise glazes in the larger region. Since there has not been applied any analytical study on the sherd identified from this site, this research would increase our knowledge about it. The pottery sherd divided into three categories, and then two samples from each category selected for the analytical studies. In the next step, technical characteristics of the sherds documented. After that, the pieces delivered to the laboratory for the analytical studies. XRD analyses, was done in Razi Metallurgical Research Center using the Xpert Pro MPD system Panalytical model made in Poland. EDX analyses was done in Kansaran Binaloud Center using Micro Prob Horiba 7200 model made in Japan. Also, Peason Correlation Coefficient used for better understanding the correlation between different elements.
Discussion
Based on the XRD analyses, in the first sample dated back to the 14-15 AD, cristobalite, amorphous, quartz and silica were the main elements. Quartz, cristobalite and silica are the different phases of SiO2. Based on being buried, the amount of silica decrease and the other elements increase which are shown as different picks. Quartz ingredients changed to the cristobalit as a result of increasing the temperature while baking. In the second sample dated back to the 14-15 A.D, calsite, quartz and silica phases reported. Quartz and silica represent SiO2, and calsite indicates the destruction process and release the alkaline ion from the glaze and formation on the surface of the glaze which regarding the date of the pottery and being buried, it seems reasonable. In the third sample from Safavid period , gypsum phase reported. The mentioned phase represent the destruction of the glaze as well as releasing the alkaline ion like calcium as a constructed element of the glaze. In the forth sample from Safavid period in addition to the silica and quartz, cesterite phase represnt SnO2 which functioned as a flatting element in the glaze. In the fifth sample dated back to the 14-15 A.D, in addition to silica and quartz phases, nepheline synenite was reported because of the slip.
Based on the EDX analyses, copper functioned as the primary element for making the turquoise color. The amount of the copper in the samples is respectively 3/19%, 1/15%, 3/53%, 1/39% and 1/36%. The glazes have an alkaline base since sodium, potassium, calsium, mangesium and stroncium was reported in EDX analyses; This means that the samples of this research have an alkaline base unless the sample four. The amount of lead in the samples respectively is 13%, 0/17%, 0/27% and 12/64%; this element was not reported in sample five. Comparing to the other samples, sample four shows a great amount of lead (12/64%), and also have 7/07% amount of tin. Calsium solfate was reported in the samples; the amount of this element is respectively 4/06%, 2/35%, 2/75%, 3/72% and 2/67% which mostly is as a result of the destruction during the decades. The first sample represents the most amount of the calsium solfate comparing to the other samples. The aluminum is respectively 4/06%, 2/25%, 2/75%, 3/72% and 2/67% which indicates the destruction during time. The most amount of destruction belongs to sample one and then sample four and is almost equal in the other samples.
Conclusion
In Iran, the most ancient usage of glaze has been reported from the ancient site of Susa as well as Choghazanbil located in the southwestern part of country in Khuzestan province. In the Achaemenid period application of glaze on mud-brick of royal buildings was one the common architectural decoration methods. In Islamic period, decoration using the glaze was widespread since it can be seen in buildings namely masques, schools along with potteries. In general, the Islamic potteries can be divided into two distinct groups: glazed and unglazed potteries. In this article, five turquoise glazed pottery sherds have been studied in order to identify their elements, composition and technology. The mentioned sherds dated back to 14 - 18 A.D (late Ilkhanate, Timurid and Safavid periods), and identified from a historical house called Moravvej-e Ardabili House, in the historical part of Ardabil city. EDX analyses indicated that the copper is the main element which used for creating the turquoise color. It is respectively from sample one to five, 3/19%, 1/15%, 3/53%, 1/39% and 1/63% in the samples and shows that sample three have the most amount of the copper in the glaze. In addition to this, chromium has been used as a coloring oxide in this sample. chromium in the glazes is a key factor in order to making the different shades of green color and this is why the color of this sample is much more different than the other samples. Based on the analyses, glazes have an alkaline base as a result of high amount of the alkaline elements such as potassium, sodium and calcium in all samples. The amount of lead compare to the alkaline elements is a negligible amount unless sample four which a considerable amount of lead (12/64%) was reported; The amount of lead is respectively from sample one to four, 13%, 0/17%, 0/27% and 12/64%;This element was not reported in sample five. Also, in sample five, nepheline syenite indicates using slip on the pottery. Regarding the statistical analyses, generally there is a signnificant correlation between the samples. The high amount of the correlation is in samples two and five dated back to 14-15 A.D as well as the less correlation is between sample four dated back to the Safavid period and sample five belongs to 14-15 A.D which is seems resonnable.
Acknowledgment
We are thankful of MS Nasim Feizi for her technical point of view in the statistical study in this article and also, Miss Habibeh Abbasi for her beneficial comments.
Glaze is a prepared mixture of materials ready for application to ceramic wares by dipping or spraying. In Islamic period, decoration using the glaze was widespread. Different methods of glazing have played a major role in the beauty of glazed potteries during this period. Turquoise glazed potteries are one the significant groups of Islamic period. In this article, five turquoise glazed pottery sherds have been studied in order to identify their elements, composition and technology. The mentioned sherds dated back to 14 - 18 A.D (late Ilkhanate, Timurid and Safavid periods) , and identified from a historical house called Moravvej-e Ardabili House, in the historical part of Ardabil city. This site identified in a rescue excavation held by HassanYousefi which regarding to the cultural materials dated back to 11 - 18 A.D. The aim of this article is investigating and understanding the similarities and differences in five glazed sherds. Regarding to the mentioned point, XRD analyze applied for characterizing their phases as well as EDX analyze used for identifying the elements of glaze, and also their quantity. This research has an analytical approach and it’s method is based on analytical studies, textual evidences and comparative analyzes. According to the results obtained from analyzes, four glazes have an alkaline based and one has a lead base. Colorant oxides in glazes represent that copper used as the primary element to make the turquoise color. In general, the main elements in glazes include silica, aluminum, calcium, sodium, potassium and a negligible amount of lead. Statistical analyzes represent that the most similarities exist in sample two and sample five which belongs to the same period (late Ilkhanate and Timurid),and the most differences exist in sample four and sample five which dated back to a different periods.
Keywords: Glaze, Turquoise, Moravvej-e Ardabili, XRD, EDX.
Introduction
In the prehistoric era, slip used as a sort of glaze in order to proof the body of the pottery, increase the aesthetical aspect of the pottery and protect the hand of the pottery maker to steak to the clay. In the historical period, using a transparent and colored glaze became widespread, but in the Islamic period the using of the glaze with various functions expanded. There are three main period in the evolution of the pottery in the Islamic era. 1. Early Islamic potteries 2. Middle Islamic potteies 3. Late Islamic potteries. During the rescue excavation in the Moravvej Historical House in Ardabil province in 2006, a vast number of pottery sherds mostly, belong to Seljuk to Safavid periods identified. This site located in the historical part of the city nearby the Sheikh Safi Al-Din Ardabili’s monument. Turquoise glazed potteries were the remarkable amount of the identified potteries in the above mentioned excavation. The questions of this article is on the subject of the turquoise glaze potteries; the amount and the type of the constructed elements ,and also study the similarities and differences between the glaze from different period. Five pieces (three sherds from 14-15 A.D and two sherds from 16-18 A.D) selected for the analytical studies with the aim of better understanding their constructed elements, technology and composition. In order to achieve to this aim, XRD and EDX analyses provided promising results about the technological aspects of the sherds, and also a comparative study not only was highly beneficial in clarifying the similarities along with differences of the composition of glazes, but also was helpful in better understanding of the turquoise glazes in the larger region. Since there has not been applied any analytical study on the sherd identified from this site, this research would increase our knowledge about it. The pottery sherd divided into three categories, and then two samples from each category selected for the analytical studies. In the next step, technical characteristics of the sherds documented. After that, the pieces delivered to the laboratory for the analytical studies. XRD analyses, was done in Razi Metallurgical Research Center using the Xpert Pro MPD system Panalytical model made in Poland. EDX analyses was done in Kansaran Binaloud Center using Micro Prob Horiba 7200 model made in Japan. Also, Peason Correlation Coefficient used for better understanding the correlation between different elements.
Discussion
Based on the XRD analyses, in the first sample dated back to the 14-15 AD, cristobalite, amorphous, quartz and silica were the main elements. Quartz, cristobalite and silica are the different phases of SiO2. Based on being buried, the amount of silica decrease and the other elements increase which are shown as different picks. Quartz ingredients changed to the cristobalit as a result of increasing the temperature while baking. In the second sample dated back to the 14-15 A.D, calsite, quartz and silica phases reported. Quartz and silica represent SiO2, and calsite indicates the destruction process and release the alkaline ion from the glaze and formation on the surface of the glaze which regarding the date of the pottery and being buried, it seems reasonable. In the third sample from Safavid period , gypsum phase reported. The mentioned phase represent the destruction of the glaze as well as releasing the alkaline ion like calcium as a constructed element of the glaze. In the forth sample from Safavid period in addition to the silica and quartz, cesterite phase represnt SnO2 which functioned as a flatting element in the glaze. In the fifth sample dated back to the 14-15 A.D, in addition to silica and quartz phases, nepheline synenite was reported because of the slip.
Based on the EDX analyses, copper functioned as the primary element for making the turquoise color. The amount of the copper in the samples is respectively 3/19%, 1/15%, 3/53%, 1/39% and 1/36%. The glazes have an alkaline base since sodium, potassium, calsium, mangesium and stroncium was reported in EDX analyses; This means that the samples of this research have an alkaline base unless the sample four. The amount of lead in the samples respectively is 13%, 0/17%, 0/27% and 12/64%; this element was not reported in sample five. Comparing to the other samples, sample four shows a great amount of lead (12/64%), and also have 7/07% amount of tin. Calsium solfate was reported in the samples; the amount of this element is respectively 4/06%, 2/35%, 2/75%, 3/72% and 2/67% which mostly is as a result of the destruction during the decades. The first sample represents the most amount of the calsium solfate comparing to the other samples. The aluminum is respectively 4/06%, 2/25%, 2/75%, 3/72% and 2/67% which indicates the destruction during time. The most amount of destruction belongs to sample one and then sample four and is almost equal in the other samples.
Conclusion
In Iran, the most ancient usage of glaze has been reported from the ancient site of Susa as well as Choghazanbil located in the southwestern part of country in Khuzestan province. In the Achaemenid period application of glaze on mud-brick of royal buildings was one the common architectural decoration methods. In Islamic period, decoration using the glaze was widespread since it can be seen in buildings namely masques, schools along with potteries. In general, the Islamic potteries can be divided into two distinct groups: glazed and unglazed potteries. In this article, five turquoise glazed pottery sherds have been studied in order to identify their elements, composition and technology. The mentioned sherds dated back to 14 - 18 A.D (late Ilkhanate, Timurid and Safavid periods), and identified from a historical house called Moravvej-e Ardabili House, in the historical part of Ardabil city. EDX analyses indicated that the copper is the main element which used for creating the turquoise color. It is respectively from sample one to five, 3/19%, 1/15%, 3/53%, 1/39% and 1/63% in the samples and shows that sample three have the most amount of the copper in the glaze. In addition to this, chromium has been used as a coloring oxide in this sample. chromium in the glazes is a key factor in order to making the different shades of green color and this is why the color of this sample is much more different than the other samples. Based on the analyses, glazes have an alkaline base as a result of high amount of the alkaline elements such as potassium, sodium and calcium in all samples. The amount of lead compare to the alkaline elements is a negligible amount unless sample four which a considerable amount of lead (12/64%) was reported; The amount of lead is respectively from sample one to four, 13%, 0/17%, 0/27% and 12/64%;This element was not reported in sample five. Also, in sample five, nepheline syenite indicates using slip on the pottery. Regarding the statistical analyses, generally there is a signnificant correlation between the samples. The high amount of the correlation is in samples two and five dated back to 14-15 A.D as well as the less correlation is between sample four dated back to the Safavid period and sample five belongs to 14-15 A.D which is seems resonnable.
Acknowledgment
We are thankful of MS Nasim Feizi for her technical point of view in the statistical study in this article and also, Miss Habibeh Abbasi for her beneficial comments.
Fereshteh Kiavash,
year 7, Issue 23 (5-2023)
year 7, Issue 23 (5-2023)
Abstract
Abstract
In the age of modernism and women’s efforts to transfer their social position, created different characteristics in the type of women’s clothing. The adaptation of Qajar women’s clothing developments to women’s clothing developments in Europe has received less attention and, in this study, matching with British women clothing especially London has not been done. This research tries to answer the question that how much the social effect changes woman in Tehran and London in a period of time in their clothing style, and created a similar meaning of modern woman? The theory, shows the difference of the nature of social changes of two countries and the older history of modernism changes in Britain that revealed in Iran in the form of modernization. The present research is of qualitative type and descriptive method and its approach is comparative art studies. Findings show that developments in women’s clothing does not correspond to the expected social role of contemporary women in Iran. Developments in women’s clothing in Britain in pursuit of greater civil liberties made clothes easier, freer and more in a variety, but in Iran, the changes in women’s clothing were imitative and was not in proportion with social developments. In a way that most changes occurred in woman’s inner clothing that affected some factors like unregulated imports of different textiles and sometimes costs cheap, sewing machine import and etc. It changed to western style like dress, two pieces and etc. and Qajar woman’s outdoor clothing such as veil, mask, was in accordance with common social custom. In other Words, European Women changed their dress in accordance with social activities, but Qajar women were not able to change their social costume in contrast to the tradition of society.
Keywords: Women’s Clothing, Qajar, The Constitutional Period, World War I.
In the age of modernism and women’s efforts to transfer their social position, created different characteristics in the type of women’s clothing. The adaptation of Qajar women’s clothing developments to women’s clothing developments in Europe has received less attention and, in this study, matching with British women clothing especially London has not been done. This research tries to answer the question that how much the social effect changes woman in Tehran and London in a period of time in their clothing style, and created a similar meaning of modern woman? The theory, shows the difference of the nature of social changes of two countries and the older history of modernism changes in Britain that revealed in Iran in the form of modernization. The present research is of qualitative type and descriptive method and its approach is comparative art studies. Findings show that developments in women’s clothing does not correspond to the expected social role of contemporary women in Iran. Developments in women’s clothing in Britain in pursuit of greater civil liberties made clothes easier, freer and more in a variety, but in Iran, the changes in women’s clothing were imitative and was not in proportion with social developments. In a way that most changes occurred in woman’s inner clothing that affected some factors like unregulated imports of different textiles and sometimes costs cheap, sewing machine import and etc. It changed to western style like dress, two pieces and etc. and Qajar woman’s outdoor clothing such as veil, mask, was in accordance with common social custom. In other Words, European Women changed their dress in accordance with social activities, but Qajar women were not able to change their social costume in contrast to the tradition of society.
Keywords: Women’s Clothing, Qajar, The Constitutional Period, World War I.
Samaneh Sadeghimehri, Zahra Masoudiamin,
year 7, Issue 23 (5-2023)
year 7, Issue 23 (5-2023)
Abstract
Abstract
This research, by examining some paintings of the Tehran school in the contemporary period on the one hand, and reading the thoughts and philosophical views of the poet and mathematician Khayam Neishabouri of the 5th and 6th centuries A.H. on the other hand, aims to understand why and how To examine and research the placement of this poet’s poems and quatrains for the first time by painters of the Tehran school in the contemporary period. The hypothesis of the research in this article is that the artists of the Tehran school adhered to the traditional values and painting of Iran’s past during the modernism era in order to preserve their Iranian and Aryan roots as much as possible by linking to the past. The researched works include 9 paintings by contemporary painters, which belong to the Cultural Institute of Mustazafan Foundation Museums. Based on this, the method of collecting documentary and field information was done and the analysis of the data was also done based on the research, and finally, the conclusion was reached that the artists of the Tehran school, by reviving the traditional style and Iranian painting, returned to the past artistic methods. They stressed against the art of modernism, and by addressing Khayyam’s works and poems, for the first time, they sought to return to their Aryan roots and their past before the era of modernity and modernism.
Keywords: Painting, Tehran School, Khayyam’s Poems, Contemporary Period, Modernism.
Introduction
During the Pahlavi era, which coincided with the rise of modernism and the spread of modernist ideas in Iran, we witness the impact of art and especially contemporary painting on modernism. This period coincides with the emergence of artists who, relying on their individuality, were able to interfere in the tradition, and in such cases, diversity and changes can be identified, especially in the thought, design or topics that were previously known and established. Another effective factor in artistic trends is the identification and application of visual rules of old art, which were not used during a period due to limitations caused by style, and were recognized and used again by the new generation of artists. On the other hand, the influence of art patrons is of particular importance, it can be said that at the beginning of the 20th century, we witnessed the emergence of two groups of art patrons who played a vital role in the development of Iranian art and the dissemination of information about this art. played the first role of the great private collectors, some of whom specialized in painting, and the second category includes the great art dealers, the best of whom were collectors at the same time, and a balance between transactions business and love of art established that in the upcoming research, these two groups played an important role in the tendency of painters to deal with works based on ancient literature and Khayyam’s poems. In the intellectual and political atmosphere of the years leading up to the constitutional revolution, the presence of such supporters and patrons on the one hand, and the rise and intensity of modern ideas on the other hand, and the formation of two poles of modernity and tradition in the thinking of the thinkers of this land, led to the marginalization of the conservative and inferior layers of society or thought became a tradition. Therefore, it can be acknowledged that along with the political and cultural developments of Iran in the field of modernism, art gradually experienced a similar process. With all these interpretations, in that period, in addition to the formation of modern art in Iran, we witness the creation of works that artists, in the traditional way and based on the paintings of the past, but with their own unique look and style, created works with subjects they depict the new both from a literary and a social point of view.
Discussion
On the one hand, the interest of patrons and patrons of works with these oriental themes was noticed in this era, this attention caused a return to the literature of the past and dealing with Khayyam’s poems in the contemporary era. On the other hand, the artists of the Tehran school, by reviving the traditional style and Iranian painting to return to their past artistic methods, emphasized against the art of modernism, and dealing with such issues is an attempt to return to the Aryan roots and the past before the era of modernism and modernism. It was in Iran.
Conclusion
In such a modernist atmosphere and thought, how can one connect the dual thought of modernism or contemporaneity and traditional cultural heritage. Therefore, in this research, an attempt will be made to examine and research the orientalist view of the patrons and commissions of these paintings by examining Khayyam’s thought and philosophy and 9 paintings based on Khayyam’s quatrains. The research method of this research is descriptive-analytical and using the resources available in the library and field study. Finally, it can be pointed out that Khayyam’s archaism and Aryan view and the interest of patrons and commissions of works with these oriental themes, caused a return to the literature of the past and dealing with Khayyam’s poems for the first time during Iranian painting from the beginning to it was today. In the space and modernist thought formed in the contemporary era and despite the dual thought of modernism and traditional cultural heritage and in line with the political and cultural developments in the field of modernism, the art of painting for the first time in the history of Iranian painting, new issues such as attention to He paid attention to Khayyam’s poems, which are of special importance both from a literary and social point of view. In the upcoming research, after introducing the contemporary painting of Iran briefly, especially the Tehran school and the artists who especially paid attention to these issues for the first time, and examining Khayyam’s thoughts and philosophical views, he introduced 9 paintings. And after the research about these poems and the oriental view of the patrons and those who commissioned these paintings, it was finally concluded that Khayyam’s archaic and Aryan perspective and his view of life and death were very important in the creation of these works; As it was said before, there are two negative and positive views in Khayyam’s view of the phenomena around him, which in the negative view is to destroy all illusions in the direction of disillusionment, and in this view, the world is considered like a big furnace, from the soil of the past, new forms are created. It is made in it and these molds are constantly reproduced. The visual signs of this view are such as the world, the KohnehRobat, the desert of nothingness, the urn, the urn, the rotting and scattered human corpses, and the flowerpot, which in the review of these 9 works, the details of the names were presented in 3 Table. In addition, the second point of view, the positive point of view, is trying to find the moment of your presence and show that all phenomena are transitory. In this strange point of view, the end that awaits all human beings is predictable and the pure act of consciousness through drunkenness of wine or a sharp look. Which arises from phenomena, which, of course, was explained that this type of view arose from the literature of the pub and the interpretive view that arose from it. The visual signs of this view include cups, bowls, wine, bartenders, drunk people, young women, candles, flowers, and butterflies, examples of which were presented in table number three. Also, the interest of patrons and patrons of works with these oriental themes, which were of great interest to many patrons and enthusiasts at that time, is also of great importance, and this attention causes a return to the literature of the past and dealing with Khayyam’s poems. Became in contemporary times. On the other hand, the artists of the Tehran school, by reviving the traditional style and Iranian painting, emphasized to return to their past artistic methods against the art of modernism, and dealing with such issues is an attempt to return to their Aryan roots and their past before the era. It was modernity and modernism.
This research, by examining some paintings of the Tehran school in the contemporary period on the one hand, and reading the thoughts and philosophical views of the poet and mathematician Khayam Neishabouri of the 5th and 6th centuries A.H. on the other hand, aims to understand why and how To examine and research the placement of this poet’s poems and quatrains for the first time by painters of the Tehran school in the contemporary period. The hypothesis of the research in this article is that the artists of the Tehran school adhered to the traditional values and painting of Iran’s past during the modernism era in order to preserve their Iranian and Aryan roots as much as possible by linking to the past. The researched works include 9 paintings by contemporary painters, which belong to the Cultural Institute of Mustazafan Foundation Museums. Based on this, the method of collecting documentary and field information was done and the analysis of the data was also done based on the research, and finally, the conclusion was reached that the artists of the Tehran school, by reviving the traditional style and Iranian painting, returned to the past artistic methods. They stressed against the art of modernism, and by addressing Khayyam’s works and poems, for the first time, they sought to return to their Aryan roots and their past before the era of modernity and modernism.
Keywords: Painting, Tehran School, Khayyam’s Poems, Contemporary Period, Modernism.
Introduction
During the Pahlavi era, which coincided with the rise of modernism and the spread of modernist ideas in Iran, we witness the impact of art and especially contemporary painting on modernism. This period coincides with the emergence of artists who, relying on their individuality, were able to interfere in the tradition, and in such cases, diversity and changes can be identified, especially in the thought, design or topics that were previously known and established. Another effective factor in artistic trends is the identification and application of visual rules of old art, which were not used during a period due to limitations caused by style, and were recognized and used again by the new generation of artists. On the other hand, the influence of art patrons is of particular importance, it can be said that at the beginning of the 20th century, we witnessed the emergence of two groups of art patrons who played a vital role in the development of Iranian art and the dissemination of information about this art. played the first role of the great private collectors, some of whom specialized in painting, and the second category includes the great art dealers, the best of whom were collectors at the same time, and a balance between transactions business and love of art established that in the upcoming research, these two groups played an important role in the tendency of painters to deal with works based on ancient literature and Khayyam’s poems. In the intellectual and political atmosphere of the years leading up to the constitutional revolution, the presence of such supporters and patrons on the one hand, and the rise and intensity of modern ideas on the other hand, and the formation of two poles of modernity and tradition in the thinking of the thinkers of this land, led to the marginalization of the conservative and inferior layers of society or thought became a tradition. Therefore, it can be acknowledged that along with the political and cultural developments of Iran in the field of modernism, art gradually experienced a similar process. With all these interpretations, in that period, in addition to the formation of modern art in Iran, we witness the creation of works that artists, in the traditional way and based on the paintings of the past, but with their own unique look and style, created works with subjects they depict the new both from a literary and a social point of view.
Discussion
On the one hand, the interest of patrons and patrons of works with these oriental themes was noticed in this era, this attention caused a return to the literature of the past and dealing with Khayyam’s poems in the contemporary era. On the other hand, the artists of the Tehran school, by reviving the traditional style and Iranian painting to return to their past artistic methods, emphasized against the art of modernism, and dealing with such issues is an attempt to return to the Aryan roots and the past before the era of modernism and modernism. It was in Iran.
Conclusion
In such a modernist atmosphere and thought, how can one connect the dual thought of modernism or contemporaneity and traditional cultural heritage. Therefore, in this research, an attempt will be made to examine and research the orientalist view of the patrons and commissions of these paintings by examining Khayyam’s thought and philosophy and 9 paintings based on Khayyam’s quatrains. The research method of this research is descriptive-analytical and using the resources available in the library and field study. Finally, it can be pointed out that Khayyam’s archaism and Aryan view and the interest of patrons and commissions of works with these oriental themes, caused a return to the literature of the past and dealing with Khayyam’s poems for the first time during Iranian painting from the beginning to it was today. In the space and modernist thought formed in the contemporary era and despite the dual thought of modernism and traditional cultural heritage and in line with the political and cultural developments in the field of modernism, the art of painting for the first time in the history of Iranian painting, new issues such as attention to He paid attention to Khayyam’s poems, which are of special importance both from a literary and social point of view. In the upcoming research, after introducing the contemporary painting of Iran briefly, especially the Tehran school and the artists who especially paid attention to these issues for the first time, and examining Khayyam’s thoughts and philosophical views, he introduced 9 paintings. And after the research about these poems and the oriental view of the patrons and those who commissioned these paintings, it was finally concluded that Khayyam’s archaic and Aryan perspective and his view of life and death were very important in the creation of these works; As it was said before, there are two negative and positive views in Khayyam’s view of the phenomena around him, which in the negative view is to destroy all illusions in the direction of disillusionment, and in this view, the world is considered like a big furnace, from the soil of the past, new forms are created. It is made in it and these molds are constantly reproduced. The visual signs of this view are such as the world, the KohnehRobat, the desert of nothingness, the urn, the urn, the rotting and scattered human corpses, and the flowerpot, which in the review of these 9 works, the details of the names were presented in 3 Table. In addition, the second point of view, the positive point of view, is trying to find the moment of your presence and show that all phenomena are transitory. In this strange point of view, the end that awaits all human beings is predictable and the pure act of consciousness through drunkenness of wine or a sharp look. Which arises from phenomena, which, of course, was explained that this type of view arose from the literature of the pub and the interpretive view that arose from it. The visual signs of this view include cups, bowls, wine, bartenders, drunk people, young women, candles, flowers, and butterflies, examples of which were presented in table number three. Also, the interest of patrons and patrons of works with these oriental themes, which were of great interest to many patrons and enthusiasts at that time, is also of great importance, and this attention causes a return to the literature of the past and dealing with Khayyam’s poems. Became in contemporary times. On the other hand, the artists of the Tehran school, by reviving the traditional style and Iranian painting, emphasized to return to their past artistic methods against the art of modernism, and dealing with such issues is an attempt to return to their Aryan roots and their past before the era. It was modernity and modernism.
hamid-Reza Bakhshandehfard, Soraya Mohammadi, Hooman Bakhshandehfard,
year 7, Issue 24 (8-2023)
year 7, Issue 24 (8-2023)
Abstract
The artifact studied in this paper is a bimetallic sword made of bronze handle and an iron blade, which was excavated from the Tol ancient cemetery, located in Talash city, Gilan province, in 2001 by Mohammad Reza Khaltabari. This research aims to study the technology and pathology of the mentioned object by conducting comparative and archeological studies using the library method, conducting technological studies using the laboratory methods of radiography, metallography, and microstructural observations using a scanning electron microscope (SEM-EDS). The phase analysis of corrosion products was done by X-ray diffraction (XRD), as well as knowing the manufacturing method and identifying the types of damage and corrosion. The result shows that this work belongs to the Iron Age. Also, the tests performed on the two parts of the handle and the blade showed that the material of the iron blade is iron-carbon alloy. The amount of carbon in different parts of the body of blade is not the same and the handle is made of bronze alloy with casting and hammering techniques. It also has a galvanic corrosion effect.
Hosein Raie, Mohsen Biglari,
year 7, Issue 25 (12-2023)
year 7, Issue 25 (12-2023)
Abstract
Abstract
Nusratabad Farmstead was built in 1264 AH by Aqamirza Nasrullah Sadr al-Mamalik around Qom and was dedicated to his two male children. This farmstead was active until the Pahlavi period and after that, the remains of the farmstead called Sadri castle were registered in the list of national monuments of Iran in 2001 with the number 4868. there are written documents such as historical maps and endowments related to the year 1270 AH about this farmstead. The mentioned documents provide useful information about the characteristics of the farmstead and qualities such as why it is made, the formation process, various physical elements and agricultural products. The research problem is the low familiarity of the communities with the subject of “farmsteads architecture” and also the possibility of reviving Nusratabad and Sadri Castle in the future. The aim of this study is to introduce a Qajar farmstrad and to achieve them two questions are asked: 1. What are the physical and functional characteristics of Nusratabad Farmstead? 2. What was the role of these characteristics in the survival of Nusratabad farmstead? this study tries to approach the subject with an interpretive approach and historical interpretive strategy and uses the three main formats of document research, interviews and field studies. Studies show that Nusratabad farmstead has two physical and functional characteristics and their subsystems. Positioning, formation of physical elements and farmsteads monitoring methods are related to its physical characteristics and the functional characteristics of Nusratabad farmstead also refer to the type of crops, social pyramid and related cultural issues. The architecture of Nusratabad Farmstead have been the product of a combination of physical and functional characteristics over time and Sadr al-Mamalik was able to protect the farmstead with these measures and hand it over to the current supervisors.
Keywords: Nusratabad Farmstead, Sadri Castle, Agricultural Heritage, Qom.
Introduction
Historical farmsteads have been seen in two forms so far; the first form is called “Agriculture castles” in which the castle is the axis of the farmstead and the residence of the farmstead dwellers and usually Agriculture lands and gardens were gradually formed outside the castle.
But the second form is “Agriculture complexes” in which the elements of the farmsteads are seen as a small village and a concentrated fabric in cooperation with each other and the farmsteads dwellers lived in a place other than the castle.
Nusratabad farmsteads was built with the model of Agriculture castle and centered on Sadri Castle in 1264 AH by Aqamirza Nasrullah Sadr al-Malik and the date of its endowment dates back to 1270 AH. The mentioned properties is now located at the end of Hazrat Masoumeh Boulevard, at the old road from Qom to Saveh and Sadri Street. From this farmstead and the Agriculture castle related to those two maps have been seen so far: a); The main and first map is made of fabric and has dimensions of 216 × 88 cm, in which the qanat and four mills of Nusratabad farmstead in the old plain and the western and eastern fronts of Qom river are also shown. This map is currently available to heirs and is not available. B); The second or monitoring plan is made of fabric with dimensions of 70 × 257 cm, which was prepared during the construction of the castle in 1264 AH. (Mohseni, 2014:203) This map is mentioned in Madame Dieulafoy ‘s travelogue and will be discussed in this article. The research problem is the low familiarity of the communities with the subject of “farmsteads architecture” and also the possibility of reviving Nusratabad and Sadri Castle in the future. The aim of this study is to introduce a Qajar farmstead. Rereading these documents can acquaint the scientific community with the architectural pattern and social and cultural characteristics of a Qajar farmsteads. For this reason, it is tried based on three formats; Document research, interviews and field studies to answer research questions. this research approaches the issue with its interpretive approach and historical interpretive strategy.
Identified Sites
The available documents show that the owner of the farmstead, Sadr al-Malik, was originally from Taleqan but her ancestors had migrated to Ardabil. During the reign of Mohammad Shah Qajar, Sadr al-Malik was in a good position in terms of relations with the court as well as religious relations with the people and he had built this farmstead for the development of property and qanat as well as economic exploitation. After building the castle, he selected people from the Zandieh tribe and settled as slaves in the Sadri Farmstead Castle (Arbab, n.d.: 51). According to the calculation of Afzal-ol-Molk, their number reached 40 to 50 families and between 200 to 250 people (Afzal Al-Molk, 2017: 88). The tribe was responsible for maintaining and producing on the farmstead and cultivating summer and winter crops. There are currently two historical maps of this farmstead: a; Main and first map b; Second map and monitoring. In the historical map, the two elements of the castle and the refrigerator can be clearly seen. According to the plan, Sadri Castle had a fort and twelve main and secondary towers, qanats, buildings and interior spaces. In addition, the remains of a historic bath can now be seen in the castle, which were not drawn on the castle monitoring map and may have been added to the complex later. This map describes other spaces under construction such as mills, baths, caravanserai, mosques and qanats. These features with the details stated in Tables 1 and 2 are the result of reviewing the documents studied in different sections of the research and it can be considered as physical and functional characteristics of Nusratabad farmstead. The contents of these tables show that the architecture of the farmstead was a function of social, economic, cultural, security, environmental and climatic issues that manifested themselves in different ways in historical periods.
Conclusion
This study has concluded that Nusratabad farmstead has two physical and functional characteristics and their subsystems. Positioning, formation of physical elements and field monitoring methods are related to its physical characteristics. Based on this, Nusratabad farmstead was built in the Qajar period with a short distance from Qom and Water resources and security have played a role in its location. Sadr al-Malik was able to build a large farmstead with elements such as an Agriculture castle, caravanserai, mosque, mill, qanat, bath and refrigerator and settle some of the Zandieh tribe. The functional characteristics of Nusratabad Farmstead also refer to crops, social pyramid and related cultural issues. Accordingly, the formation of Nusratabad farmstead started with good intentions and then economic exploitation has been given priority. Sadr al-Malik was able to achieve a monitoring program in by designing architecture, monitoring plan, determining the type of endowment operation and setting up the endowment letter. In a way that has been continued by his supervisors until now. Therefore, the architecture and composition of Nusratabad Farmstead have been the product of a combination of physical and functional characteristics over time.
Acknowledgment
We would like to thank the managers of the Sadri Castle(Ghal-eh Sadri) complex, especially Mr. Hamed Sadri and Younes Sadri.
Observation Contribution
The authors have contributed equally to the compilation of the paper.
Conflict of Interest
There is no conflict of interest.
Nusratabad Farmstead was built in 1264 AH by Aqamirza Nasrullah Sadr al-Mamalik around Qom and was dedicated to his two male children. This farmstead was active until the Pahlavi period and after that, the remains of the farmstead called Sadri castle were registered in the list of national monuments of Iran in 2001 with the number 4868. there are written documents such as historical maps and endowments related to the year 1270 AH about this farmstead. The mentioned documents provide useful information about the characteristics of the farmstead and qualities such as why it is made, the formation process, various physical elements and agricultural products. The research problem is the low familiarity of the communities with the subject of “farmsteads architecture” and also the possibility of reviving Nusratabad and Sadri Castle in the future. The aim of this study is to introduce a Qajar farmstrad and to achieve them two questions are asked: 1. What are the physical and functional characteristics of Nusratabad Farmstead? 2. What was the role of these characteristics in the survival of Nusratabad farmstead? this study tries to approach the subject with an interpretive approach and historical interpretive strategy and uses the three main formats of document research, interviews and field studies. Studies show that Nusratabad farmstead has two physical and functional characteristics and their subsystems. Positioning, formation of physical elements and farmsteads monitoring methods are related to its physical characteristics and the functional characteristics of Nusratabad farmstead also refer to the type of crops, social pyramid and related cultural issues. The architecture of Nusratabad Farmstead have been the product of a combination of physical and functional characteristics over time and Sadr al-Mamalik was able to protect the farmstead with these measures and hand it over to the current supervisors.
Keywords: Nusratabad Farmstead, Sadri Castle, Agricultural Heritage, Qom.
Introduction
Historical farmsteads have been seen in two forms so far; the first form is called “Agriculture castles” in which the castle is the axis of the farmstead and the residence of the farmstead dwellers and usually Agriculture lands and gardens were gradually formed outside the castle.
But the second form is “Agriculture complexes” in which the elements of the farmsteads are seen as a small village and a concentrated fabric in cooperation with each other and the farmsteads dwellers lived in a place other than the castle.
Nusratabad farmsteads was built with the model of Agriculture castle and centered on Sadri Castle in 1264 AH by Aqamirza Nasrullah Sadr al-Malik and the date of its endowment dates back to 1270 AH. The mentioned properties is now located at the end of Hazrat Masoumeh Boulevard, at the old road from Qom to Saveh and Sadri Street. From this farmstead and the Agriculture castle related to those two maps have been seen so far: a); The main and first map is made of fabric and has dimensions of 216 × 88 cm, in which the qanat and four mills of Nusratabad farmstead in the old plain and the western and eastern fronts of Qom river are also shown. This map is currently available to heirs and is not available. B); The second or monitoring plan is made of fabric with dimensions of 70 × 257 cm, which was prepared during the construction of the castle in 1264 AH. (Mohseni, 2014:203) This map is mentioned in Madame Dieulafoy ‘s travelogue and will be discussed in this article. The research problem is the low familiarity of the communities with the subject of “farmsteads architecture” and also the possibility of reviving Nusratabad and Sadri Castle in the future. The aim of this study is to introduce a Qajar farmstead. Rereading these documents can acquaint the scientific community with the architectural pattern and social and cultural characteristics of a Qajar farmsteads. For this reason, it is tried based on three formats; Document research, interviews and field studies to answer research questions. this research approaches the issue with its interpretive approach and historical interpretive strategy.
Identified Sites
The available documents show that the owner of the farmstead, Sadr al-Malik, was originally from Taleqan but her ancestors had migrated to Ardabil. During the reign of Mohammad Shah Qajar, Sadr al-Malik was in a good position in terms of relations with the court as well as religious relations with the people and he had built this farmstead for the development of property and qanat as well as economic exploitation. After building the castle, he selected people from the Zandieh tribe and settled as slaves in the Sadri Farmstead Castle (Arbab, n.d.: 51). According to the calculation of Afzal-ol-Molk, their number reached 40 to 50 families and between 200 to 250 people (Afzal Al-Molk, 2017: 88). The tribe was responsible for maintaining and producing on the farmstead and cultivating summer and winter crops. There are currently two historical maps of this farmstead: a; Main and first map b; Second map and monitoring. In the historical map, the two elements of the castle and the refrigerator can be clearly seen. According to the plan, Sadri Castle had a fort and twelve main and secondary towers, qanats, buildings and interior spaces. In addition, the remains of a historic bath can now be seen in the castle, which were not drawn on the castle monitoring map and may have been added to the complex later. This map describes other spaces under construction such as mills, baths, caravanserai, mosques and qanats. These features with the details stated in Tables 1 and 2 are the result of reviewing the documents studied in different sections of the research and it can be considered as physical and functional characteristics of Nusratabad farmstead. The contents of these tables show that the architecture of the farmstead was a function of social, economic, cultural, security, environmental and climatic issues that manifested themselves in different ways in historical periods.
Conclusion
This study has concluded that Nusratabad farmstead has two physical and functional characteristics and their subsystems. Positioning, formation of physical elements and field monitoring methods are related to its physical characteristics. Based on this, Nusratabad farmstead was built in the Qajar period with a short distance from Qom and Water resources and security have played a role in its location. Sadr al-Malik was able to build a large farmstead with elements such as an Agriculture castle, caravanserai, mosque, mill, qanat, bath and refrigerator and settle some of the Zandieh tribe. The functional characteristics of Nusratabad Farmstead also refer to crops, social pyramid and related cultural issues. Accordingly, the formation of Nusratabad farmstead started with good intentions and then economic exploitation has been given priority. Sadr al-Malik was able to achieve a monitoring program in by designing architecture, monitoring plan, determining the type of endowment operation and setting up the endowment letter. In a way that has been continued by his supervisors until now. Therefore, the architecture and composition of Nusratabad Farmstead have been the product of a combination of physical and functional characteristics over time.
Acknowledgment
We would like to thank the managers of the Sadri Castle(Ghal-eh Sadri) complex, especially Mr. Hamed Sadri and Younes Sadri.
Observation Contribution
The authors have contributed equally to the compilation of the paper.
Conflict of Interest
There is no conflict of interest.
Davoud Mirzaei,
year 7, Issue 25 (12-2023)
year 7, Issue 25 (12-2023)
Abstract
Abstract
Persian literature, either in its oral or written forms, is full of pure myths which arise from the depth of human nature. And in order to understand human civilization better it is required that Iranian myths which have gained universal form today. Therefore, Jamšid’s myth (including Freydun’s era) has been considered as Iranian paradigm-myth In Persian literature domain and has been compared to its Egyptian and Indian equivalents. Narrative style of Jamšid’s myth is significantly similar to that os Osiris’s myth. Also its narrative Equivalent could be fragmentarily found in the fight between Indra and Veritra and also between Trita Aptya and višurpe. In this study, instead of a mere narrative comparison, it has been tried to consider the formation aspect of these myths regarding the centrality of the Iranian myths and based on the nature-mythology Approach. So, these myths have been studied in three parts, namely water, the sun, and water and light with regard to elements of nature, in particular the natural phenomena so that their common formation aspects could be properly cleared.
Keywords: Jamšid, Freydun, Osiris, Indra, Nature-Mythology, Water, The Sun, Light.
Introduction
The myth of the fight between Jamšid, Freydun and Garshāsp with Zahhāk and the story of Kāve Āhangar’s lawsuit that led to Kāve’s uprising can rightly be considered as the paradigm-myth of Iran. In other words, this myth is the only myth that contains the essence of Iranian thought, including: the conflict between the two forces of good and evil, chaos, light and darkness in nature, history, and human life, to Iranian mythological optimism, which means the victory of goodness at the end of the world with the killing of Zahhāk by the brave Garshāsp, as well as the character of individualization and personification of single concepts and corporeality to the extent that it is difficult to distinguish a myth from a legendary or historical character. This myth includes the history of Iranian thought from the Indo-European era and the independence of the Iranian branch to the present time. Therefore, it is not possible to reconstruct the history of this thought only by knowing the ancient Aryan texts, because this myth is still dynamic and alive due to the richness of thought and the ancient pattern of anti-tyranny, and it can be traced to the present time.
On the other hand, looking at the current state of the science of mythology and also looking at the latest theories related to the explanation of the nature of myths and legends, folk tales and legends, perhaps regarding the origin and origin of these narratives, the school of “nature-mythology” considered one of the most important schools of opinion in this field. This is the approach based on which this research will discuss the components of the myth of Jamšid, Osiris (as an Egyptian paradigm-myth) and Indra (as an Indian paradigm-myth). This school has basically flourished in Germany and the scientists who follow this school claim that primitive people paid a lot of attention to natural phenomena and the nature of this attention and interest is theoretical, contemplative and poetic. Based on this, primitive men weave poetic imaginations by interpreting and explaining the houses of the moon or the regular but changing movement of the sun in the sky. According to the followers of this school, the center of every myth or the reality that the myth deals with is a phenomenon of nature that has permeated the body and soul of the story.
Some of the followers of this school have this eclectic view that primitive man created his myths by mixing celestial objects and natural objects. This approach seems much more reasonable than the other approaches of this school and provides the freedom of action of the mythologist or researcher in a better way, and based on it, even the intensity and weakness of primitive man’s attention to natural elements can be justified.
Discussion
Our view in this article is more in line with this approach. Of course, one should be aware that the naturalist theory may neglect the cultural function and move in a direction that ignores many other components. In fact, it should be noted that before human imagination is idle, myth is a very important cultural force whose influence is well evident. Regarding this point, although this is not the opportunity to deal with cultural influences, but based on this, human culture can be divided into two parts, moon culture and sun culture (and of course, a combination of the two) based on its manifestations. In the ancient symbols: Maghrib (left), moon, femininity, [cow, earth,] night and rain on the one hand, and Mashriq (right), sun, day, masculinity [lion, snake] and summer are mixed together on the other hand. In this research, it has been tried to examine these two cultures with the focus on their most central element (in three sections with the theme of water, sun, and water and lighting; in addition to the sub-sections related to each section) and analyze them in the discussed mythology. Based on this, in the culture of the moon, water and rain should be considered the most vital element, but in the culture of the sun, the sun itself is the most vital element, and in the body of the article, we will deal with each of them in a systematic way.
Conclusion
In this research, the discussed myths have been examined in four sub-branches from the approach of nature-mythology, i.e. from the point of view of moon-thinkers, sun-thinkers, atmosphere-thinkers and eclecticisms, focusing on the latter sub-field. What we learned from this research about the origin of the mentioned myths, clarifies the point that they should not be definitively attributed to one of the origins and consider it sufficient to explain and understand the researched myths, but the common images that appear in all they can be seen and should be the basis of work in reviews. Based on this, although we cannot show the original origin with certainty, the image that is the common product of all of them, i.e. the cause of all the mentioned myths, can be shown, and that common image is nothing but the cycle of nature and, as a consequence, the cycle of life. , such as the cycle of sunrise and sunset, spring and autumn, the cycle of the moon in its homes, the cycle of water and drought, the cycle of light and darkness, the cycle of life and death, etc., which are prominently expressed in these myths: Osiris was killed by Set and in Horus is born, defeats the enemy and becomes another Osiris; Jamšid is killed by Zahhāk and is reborn in Freydun, he defeats Zahhāk and becomes another Jamšid himself; The same is said in the Indian equivalent. Also, the most important finding of this research, which was obtained with the focus of Iranian mythology, was to show the remarkable similarity of the mythological thinking of primitive people with poetic thinking, with examples of Iranian poets, the main reason of which should be found in their common source of inspiration, which is nature.
Acknowledgment
Special thanks to the good opinion of the respected referees and the publication who took the trouble to judge the article.
Conflict of Interest
The author declares that there is no conflict of interest in this research.
Persian literature, either in its oral or written forms, is full of pure myths which arise from the depth of human nature. And in order to understand human civilization better it is required that Iranian myths which have gained universal form today. Therefore, Jamšid’s myth (including Freydun’s era) has been considered as Iranian paradigm-myth In Persian literature domain and has been compared to its Egyptian and Indian equivalents. Narrative style of Jamšid’s myth is significantly similar to that os Osiris’s myth. Also its narrative Equivalent could be fragmentarily found in the fight between Indra and Veritra and also between Trita Aptya and višurpe. In this study, instead of a mere narrative comparison, it has been tried to consider the formation aspect of these myths regarding the centrality of the Iranian myths and based on the nature-mythology Approach. So, these myths have been studied in three parts, namely water, the sun, and water and light with regard to elements of nature, in particular the natural phenomena so that their common formation aspects could be properly cleared.
Keywords: Jamšid, Freydun, Osiris, Indra, Nature-Mythology, Water, The Sun, Light.
Introduction
The myth of the fight between Jamšid, Freydun and Garshāsp with Zahhāk and the story of Kāve Āhangar’s lawsuit that led to Kāve’s uprising can rightly be considered as the paradigm-myth of Iran. In other words, this myth is the only myth that contains the essence of Iranian thought, including: the conflict between the two forces of good and evil, chaos, light and darkness in nature, history, and human life, to Iranian mythological optimism, which means the victory of goodness at the end of the world with the killing of Zahhāk by the brave Garshāsp, as well as the character of individualization and personification of single concepts and corporeality to the extent that it is difficult to distinguish a myth from a legendary or historical character. This myth includes the history of Iranian thought from the Indo-European era and the independence of the Iranian branch to the present time. Therefore, it is not possible to reconstruct the history of this thought only by knowing the ancient Aryan texts, because this myth is still dynamic and alive due to the richness of thought and the ancient pattern of anti-tyranny, and it can be traced to the present time.
On the other hand, looking at the current state of the science of mythology and also looking at the latest theories related to the explanation of the nature of myths and legends, folk tales and legends, perhaps regarding the origin and origin of these narratives, the school of “nature-mythology” considered one of the most important schools of opinion in this field. This is the approach based on which this research will discuss the components of the myth of Jamšid, Osiris (as an Egyptian paradigm-myth) and Indra (as an Indian paradigm-myth). This school has basically flourished in Germany and the scientists who follow this school claim that primitive people paid a lot of attention to natural phenomena and the nature of this attention and interest is theoretical, contemplative and poetic. Based on this, primitive men weave poetic imaginations by interpreting and explaining the houses of the moon or the regular but changing movement of the sun in the sky. According to the followers of this school, the center of every myth or the reality that the myth deals with is a phenomenon of nature that has permeated the body and soul of the story.
Some of the followers of this school have this eclectic view that primitive man created his myths by mixing celestial objects and natural objects. This approach seems much more reasonable than the other approaches of this school and provides the freedom of action of the mythologist or researcher in a better way, and based on it, even the intensity and weakness of primitive man’s attention to natural elements can be justified.
Discussion
Our view in this article is more in line with this approach. Of course, one should be aware that the naturalist theory may neglect the cultural function and move in a direction that ignores many other components. In fact, it should be noted that before human imagination is idle, myth is a very important cultural force whose influence is well evident. Regarding this point, although this is not the opportunity to deal with cultural influences, but based on this, human culture can be divided into two parts, moon culture and sun culture (and of course, a combination of the two) based on its manifestations. In the ancient symbols: Maghrib (left), moon, femininity, [cow, earth,] night and rain on the one hand, and Mashriq (right), sun, day, masculinity [lion, snake] and summer are mixed together on the other hand. In this research, it has been tried to examine these two cultures with the focus on their most central element (in three sections with the theme of water, sun, and water and lighting; in addition to the sub-sections related to each section) and analyze them in the discussed mythology. Based on this, in the culture of the moon, water and rain should be considered the most vital element, but in the culture of the sun, the sun itself is the most vital element, and in the body of the article, we will deal with each of them in a systematic way.
Conclusion
In this research, the discussed myths have been examined in four sub-branches from the approach of nature-mythology, i.e. from the point of view of moon-thinkers, sun-thinkers, atmosphere-thinkers and eclecticisms, focusing on the latter sub-field. What we learned from this research about the origin of the mentioned myths, clarifies the point that they should not be definitively attributed to one of the origins and consider it sufficient to explain and understand the researched myths, but the common images that appear in all they can be seen and should be the basis of work in reviews. Based on this, although we cannot show the original origin with certainty, the image that is the common product of all of them, i.e. the cause of all the mentioned myths, can be shown, and that common image is nothing but the cycle of nature and, as a consequence, the cycle of life. , such as the cycle of sunrise and sunset, spring and autumn, the cycle of the moon in its homes, the cycle of water and drought, the cycle of light and darkness, the cycle of life and death, etc., which are prominently expressed in these myths: Osiris was killed by Set and in Horus is born, defeats the enemy and becomes another Osiris; Jamšid is killed by Zahhāk and is reborn in Freydun, he defeats Zahhāk and becomes another Jamšid himself; The same is said in the Indian equivalent. Also, the most important finding of this research, which was obtained with the focus of Iranian mythology, was to show the remarkable similarity of the mythological thinking of primitive people with poetic thinking, with examples of Iranian poets, the main reason of which should be found in their common source of inspiration, which is nature.
Acknowledgment
Special thanks to the good opinion of the respected referees and the publication who took the trouble to judge the article.
Conflict of Interest
The author declares that there is no conflict of interest in this research.
Sasha Riahi Moghadam, Mohammad Hasan Talebian, Asghar Mohammad Moradi,
year 7, Issue 25 (12-2023)
year 7, Issue 25 (12-2023)
Abstract
Abstract
Today, architectural heritage management faces many challenges due to the extent of assets, limited financial resources, development threats and change in concepts and social values. Accordingly, comprehensive principles are essential for integrated management and conservation prioritization. Most developed or developing countries in the region have reached a logical framework for the classification of immovable cultural heritage as an instrument for management and conservation, But in Iran, an independent policy and approach in this field has not been presented yet. This study tries to develop theoretical concepts in the field of classification system by reviewing the constitutions, national guidelines and experiences of countries of the common cultural field of Iran in East and Central Asia. The main question is the types of approaches, Classification levels and how to evaluate the assets in the decision-making process in the countries of the region. Due to the subject, the research approach is qualitative and with the method of documentary study, first, policies and actions are reviewed and regulated and then the content analysis done by descriptive-interpretive and comparative. According to the research findings, achieve an appropriate mechanism to prioritize the level of conservation for the implementation of integrated policies in order to raise awareness of local communities and economic participation, respect the rights of private owners and facilitate future decisions, has been the main aims of classification. Architectural heritage classification in case countries is done with a Managerial- Conservative approach in a specific system. In this process, after comprehensive identification and listing, based on criteria of Cultural Significance, Historical and Architecture importance, Outstanding Values, Uniqueness, Authenticity and Integrity, Aesthetic features and at risk, by the advisory committee in the presence of government officials, experts and stakeholders, level of assets is evaluated and determined. Finally, classification is considered as a tools to explain the management approach and level of conservation.
Keywords: Architectural Heritage, Classification, Heritage Management, Conservation, Asia.
Introduction
Architectural heritage, like biology, requires an integrated and centralized organization system and pattern for classification, given the wide and diverse range of assets. Iran has many cultural properties from prehistoric period to modern times that are difficult and intricate to manage and protect based on the current situation. Despite the passage of more than one hundred years of modern cultural thought in Iran, to date, no independent policy and approach for classification of immovable cultural heritage has been presented; while most developed or developing countries in the region have reached a logical framework in this regard.
One of the main challenges that led to the formation of this research is the lack of appropriate tools to create a unified procedure in decisions and conservative measures. This study tries to help develop knowledge in the field of management and conservation by review, survey and analyzing constitutions, guidelines, policies and experiences of countries with a common cultural sphere with Iran in East and Central Asia. Achieving the aims, approaches, evaluation process and criteria for classification of architectural heritage in other countries in the region is the main purpose of this study. The two main questions of this research are: 1-What policies and approaches have the countries of East and Central Asia used in the system of management of assets and classification of architectural heritage? 2-What is the level and process of decision-making in evaluating the classification of the architectural heritage of these countries? This research has a qualitative approach and the method used is descriptive-interpretive. Research data have been collected and organized through documentary studies and have been evaluated by interpreting and analyzing the content.
Identified Traces
Japan is a leader in the classification of heritage among the countries of the East Asian region, and the Republic of Korea has largely followed its policy. Tangible cultural in Japan are first divided into two categories, “national treasures” and “important cultural”, and then national treasures are divided into two groups: “architectural heritage” and “fine arts and crafts”; finally, architectural heritage is classified according to a “Designation System” at three levels: national, regional and local. South Korea first classifies its heritage into three levels: national, provincial, and local, and then categorizes each into different groups. Thus, South Korea’s cultural heritage is classified into five levels based on national, provincial, or local significance, period of construction, and location, with intangible, tangible, movable, and immovable heritage.
China lags behind other countries in the region in terms of classification due to many challenges such as the large number of assets, political conflicts, as well as rapid development. China’s architectural heritage is classified into three levels of protection, including national, provincial and local, and unclassified assets are listed and registered only to inform the Authorities of the location and type of the assets. Hong Kong, in a specific process and according to an administrative system, classifies architectural heritage into three levels, including: Grade 1: Buildings with outstanding features and competencies that must be maintained; Grade 2: Buildings with special qualifications that are protected selectively and on a priority basis; Grade 3: Buildings with relative competencies that will be desirable to protect and if conservation is not possible, other methods and tools can be substituted.
The policy of management and protection of architectural heritage in Turkey and Egypt emphasizes the implementation of laws with international standards and the promotion of world heritage sites as tourist destinations and the use of existing capacities such as local councils, endowments, municipalities and the private sector. In these countries, decisions on classification are made by interdisciplinary advisory committees at the regional and national levels. The Government of India considers classification to be a subset of the categories “economic”, “cultural” and “environmental” and considers this policy to be in the interest of society and the people. Indian architectural heritage is classified into three levels: One: Buildings of national or historical significance. Two: buildings of regional or local importance and Three: Important buildings for the urban landscape that evoke architectural, aesthetic or sociological features.
Conclusion
The process of architectural heritage conservation includes inclusive activities that the provision of management tools can greatly help to prioritize and facilitate actions by responsible Authorities and the community. Therefore, it would be useful to develop logical principles for classification of architectural heritage by reviewing the experiences of other countries. According to the research findings, achieve an appropriate mechanism to prioritize the level of conservation for the implementation of integrated policies in order to raise awareness of local communities and economic participation, respect the rights of private owners and facilitate future decisions, has been the main aims of classification. Architectural heritage classification in case countries is done with a Managerial- Conservative approach in a specific system. In this process, after comprehensive identification and listing, based on criteria of Cultural Significance, Historical and Architecture importance, Outstanding Values, Uniqueness, Authenticity and Integrity, Aesthetic features and at risk, by the advisory committee in the presence of government officials, experts and stakeholders, level of assets is evaluated and determined. According to the structure of laws and policies in East and Central Asia, architectural heritage works are classified into three levels: National, Provincial (state, city, and region) and Local (municipalities and councils).
Acknowledgment
The authors feel obliged to express their gratitude to the anonymous reviewers of the journal who graciously accepted the task and enriched the content of the article with their constructive suggestions.
Observation Contribution
Equally between authors.
Conflict of Interest
The authors, while adhering to publication ethics, explicitly declare the absence of any conflict of interest in this research.
Today, architectural heritage management faces many challenges due to the extent of assets, limited financial resources, development threats and change in concepts and social values. Accordingly, comprehensive principles are essential for integrated management and conservation prioritization. Most developed or developing countries in the region have reached a logical framework for the classification of immovable cultural heritage as an instrument for management and conservation, But in Iran, an independent policy and approach in this field has not been presented yet. This study tries to develop theoretical concepts in the field of classification system by reviewing the constitutions, national guidelines and experiences of countries of the common cultural field of Iran in East and Central Asia. The main question is the types of approaches, Classification levels and how to evaluate the assets in the decision-making process in the countries of the region. Due to the subject, the research approach is qualitative and with the method of documentary study, first, policies and actions are reviewed and regulated and then the content analysis done by descriptive-interpretive and comparative. According to the research findings, achieve an appropriate mechanism to prioritize the level of conservation for the implementation of integrated policies in order to raise awareness of local communities and economic participation, respect the rights of private owners and facilitate future decisions, has been the main aims of classification. Architectural heritage classification in case countries is done with a Managerial- Conservative approach in a specific system. In this process, after comprehensive identification and listing, based on criteria of Cultural Significance, Historical and Architecture importance, Outstanding Values, Uniqueness, Authenticity and Integrity, Aesthetic features and at risk, by the advisory committee in the presence of government officials, experts and stakeholders, level of assets is evaluated and determined. Finally, classification is considered as a tools to explain the management approach and level of conservation.
Keywords: Architectural Heritage, Classification, Heritage Management, Conservation, Asia.
Introduction
Architectural heritage, like biology, requires an integrated and centralized organization system and pattern for classification, given the wide and diverse range of assets. Iran has many cultural properties from prehistoric period to modern times that are difficult and intricate to manage and protect based on the current situation. Despite the passage of more than one hundred years of modern cultural thought in Iran, to date, no independent policy and approach for classification of immovable cultural heritage has been presented; while most developed or developing countries in the region have reached a logical framework in this regard.
One of the main challenges that led to the formation of this research is the lack of appropriate tools to create a unified procedure in decisions and conservative measures. This study tries to help develop knowledge in the field of management and conservation by review, survey and analyzing constitutions, guidelines, policies and experiences of countries with a common cultural sphere with Iran in East and Central Asia. Achieving the aims, approaches, evaluation process and criteria for classification of architectural heritage in other countries in the region is the main purpose of this study. The two main questions of this research are: 1-What policies and approaches have the countries of East and Central Asia used in the system of management of assets and classification of architectural heritage? 2-What is the level and process of decision-making in evaluating the classification of the architectural heritage of these countries? This research has a qualitative approach and the method used is descriptive-interpretive. Research data have been collected and organized through documentary studies and have been evaluated by interpreting and analyzing the content.
Identified Traces
Japan is a leader in the classification of heritage among the countries of the East Asian region, and the Republic of Korea has largely followed its policy. Tangible cultural in Japan are first divided into two categories, “national treasures” and “important cultural”, and then national treasures are divided into two groups: “architectural heritage” and “fine arts and crafts”; finally, architectural heritage is classified according to a “Designation System” at three levels: national, regional and local. South Korea first classifies its heritage into three levels: national, provincial, and local, and then categorizes each into different groups. Thus, South Korea’s cultural heritage is classified into five levels based on national, provincial, or local significance, period of construction, and location, with intangible, tangible, movable, and immovable heritage.
China lags behind other countries in the region in terms of classification due to many challenges such as the large number of assets, political conflicts, as well as rapid development. China’s architectural heritage is classified into three levels of protection, including national, provincial and local, and unclassified assets are listed and registered only to inform the Authorities of the location and type of the assets. Hong Kong, in a specific process and according to an administrative system, classifies architectural heritage into three levels, including: Grade 1: Buildings with outstanding features and competencies that must be maintained; Grade 2: Buildings with special qualifications that are protected selectively and on a priority basis; Grade 3: Buildings with relative competencies that will be desirable to protect and if conservation is not possible, other methods and tools can be substituted.
The policy of management and protection of architectural heritage in Turkey and Egypt emphasizes the implementation of laws with international standards and the promotion of world heritage sites as tourist destinations and the use of existing capacities such as local councils, endowments, municipalities and the private sector. In these countries, decisions on classification are made by interdisciplinary advisory committees at the regional and national levels. The Government of India considers classification to be a subset of the categories “economic”, “cultural” and “environmental” and considers this policy to be in the interest of society and the people. Indian architectural heritage is classified into three levels: One: Buildings of national or historical significance. Two: buildings of regional or local importance and Three: Important buildings for the urban landscape that evoke architectural, aesthetic or sociological features.
Conclusion
The process of architectural heritage conservation includes inclusive activities that the provision of management tools can greatly help to prioritize and facilitate actions by responsible Authorities and the community. Therefore, it would be useful to develop logical principles for classification of architectural heritage by reviewing the experiences of other countries. According to the research findings, achieve an appropriate mechanism to prioritize the level of conservation for the implementation of integrated policies in order to raise awareness of local communities and economic participation, respect the rights of private owners and facilitate future decisions, has been the main aims of classification. Architectural heritage classification in case countries is done with a Managerial- Conservative approach in a specific system. In this process, after comprehensive identification and listing, based on criteria of Cultural Significance, Historical and Architecture importance, Outstanding Values, Uniqueness, Authenticity and Integrity, Aesthetic features and at risk, by the advisory committee in the presence of government officials, experts and stakeholders, level of assets is evaluated and determined. According to the structure of laws and policies in East and Central Asia, architectural heritage works are classified into three levels: National, Provincial (state, city, and region) and Local (municipalities and councils).
Acknowledgment
The authors feel obliged to express their gratitude to the anonymous reviewers of the journal who graciously accepted the task and enriched the content of the article with their constructive suggestions.
Observation Contribution
Equally between authors.
Conflict of Interest
The authors, while adhering to publication ethics, explicitly declare the absence of any conflict of interest in this research.
Sara Dadpour, Sajede Kharabati, Mozhdeh Rahimi,
year 7, Issue 25 (12-2023)
year 7, Issue 25 (12-2023)
Abstract
Abstract
The risk of deterioration and destruction threatens valuable traditional housing in the historical texture of villages. Identifying the architectural types of historical houses and analyzing their sustainability are necessary to protect traditional architectural values and use them in contemporary housing designs. While there are many studies on the typology of traditional houses and the sustainability of rural housing, the analysis of architectural types of houses has been less considered. Also, the architectural types of the valuable houses in the historical texture of Yase Chai Village have not been still extracted and analyzed. Therefore, the main research questions are, what are the architectural types of historical houses in Yase Chai Village? And what is the priority of the architectural types of historical houses in Yase Chai village regarding sustainability? This study also aims to identify the architectural types of houses in the historical texture of Yase Chai Village, Chaharmahal, and Bakhtiari Province and to prioritize them based on sustainability. The rural housing sustainability indicators were extracted to achieve the purpose of the research, first by reviewing research and using the qualitative content analysis method. Then, the similarities and differences of the houses in terms of macro-, meso-, and micro-scale characteristics were examined and based on them, six types were identified. In the next step, the identified housing types were compared and ranked based on sustainability using the analytical network process (ANP) method. The dominant architectural type of the village’s historical texture with the highest frequency has the third-highest rank for sustainability. According to the results, the greater frequency of a particular architectural type in a historical context does not necessarily indicate a preference for using that type in the construction of contemporary houses. In addition, the form and manner of establishing the living spaces and their porches on the first floor, and the number and length of the yards were the most important architectural features that distinguished the types from each other. To improve the sustainability of types and use them in contemporary housing designs, suggestions have been presented, such as granting financial facilities to create living spaces in historical houses and checking the compatibility of the rules of the village guidance [Hadi] plan with the architectural types of housing.
Keywords: Architectural Type, Valuable Historical Texture, Sustainability of Rural Housing, Qajar Era, ANP.
Introduction
Although the historical texture of Yase Chai village is registered in the list of national monuments, the architectural types of the houses have not been extracted and analyzed. Meanwhile, the new houses in the village are built without considering the architectural values of its historical texture. Also, the protection and use of sustainable architectural types of historical houses can bring about a tourism boom. This study aims to identify and prioritize architectural housing types in the historical texture of Yase Chai Village based on sustainability.
Research questions: What are the architectural types of historical houses in Yase Chai Village? And what is the priority of the architectural types of historical houses in Yase Chai village regarding sustainability?
Research method: The statistical society included all the houses in the historical texture of Yase Chai. Purposeful sampling was used and 10 prominent houses were selected as representatives of the existing valuable houses of historical texture. Identifying the architectural characteristics of each house was done in three dimensions. Then, the partial types of each characteristic were extracted by comparing and examining the similarities and differences between the samples. Six final types were obtained in the next step based on partial types. In the third step, the types were ranked based on the sustainability of rural houses through the analytic network process (ANP).
Rural Housing Sustainability Components
The components of rural housing sustainability and their criteria include physical-environmental (environmental cleanliness, harmony with nature, and climatic comfort), physical-functional (flexibility, safety, and inclusiveness), physical-aesthetic (visual proportion and vernacular identity, and sensory richness), economic (livelihood and economic costs) and socio-cultural (lifestyle and privacy).
Architectural Characteristics of Houses
Living spaces had southwest and southeast lighting. The average ratio of mass to the land area of houses is 0.8. The dominant type of the mass shape is the central courtyard. The average ratio of length to width of the main courtyards is 1.79. The average percentage ratio of open, semi-open, and closed spaces to total spaces is 18, 19, and 63%, respectively. Most of the houses (70%) had direct access from the living room to the kitchen. On the main facades, the ratio of the area of the openings to the total area of the facade on the first floor was more than twice that of the ground floor. The average minimum width of the porches in the houses was 1.8 meters, which shows the flexibility of the porches.
Final Types of Historical Houses
Six final types were extracted. Type 1, with a frequency of 50%, is the dominant type. The first floor is L-shaped and receives southwest and southeast light. In type 2, the first floor receives light from the southwest, southeast, and northeast directions and has a U shape. In type three, the first floor gets southwest and northwest light; in type four, it gets southwest and northeast light. In type 4, the forms of the first floor are two opposite rectangles. In type 5, the form of the first floor is an incomplete U, and its light is from the southwest, southeast, and northwest. Type 6 is physically a combination of types 1 and 4.
Analysis and Ranking of Types
The most sustainable types and their scores are four (0.195), six (0.176), one (0.171), five (0.164), two (0.159), and three (0.134). Therefore, the fourth type is the most appropriate type to use in the contemporary housing designs of Yase Chai. In types four, five, and six, where a part of the first floor is separate from other parts of the first floor, there is a potential to use the separate part of the first floor as a living space for tourists and increase the level of livelihood. The types one and five have fewer facades with openings than other types, increasing climate comfort. The type one is also preferable to others in terms of view control from the entrance to the courtyard. There are two courtyards separated from each other in type six, which helps to provide more privacy.
Conclusion
In this research in the first step, houses of the historical texture of Yase Chai village were investigated in terms of macro (orientation and lighting, characteristics of mass and form, characteristics of courtyards and structures, and materials), meso (system of open, semi-open, and closed spaces, functions, interior spaces, and facades), and micro-architectural characteristics (entrance, porch, and portico, and details of the building) and their partial types were extracted. In the second step, based on the partial types, six final types were obtained. Sun exposure, the form and manner of establishing the living spaces and their porches, and the features of the yards were the most important factors that distinguished the types from each other. In the third step, the types were ranked based on the physical-environmental, physical-functional, physical-aesthetic, economic, and social-cultural components and their subset criteria and indicators using the analytical network process method.
It is suggested to grant financial facilities to strengthen the structure and create living spaces in historical houses. It is also suggested to revise the rules of the village guidance plan and check their compatibility with the architectural types of the historical housing. For example, with the condition of providing proper lighting and ventilation of the interior spaces and coordinating the new designs with sustainable types, the maximum occupancy level should be increased from 60% to 80%. In addition, it is suggested to allocate financial facilities to implement new housing projects with the condition of coordination with the architectural types of the village. The results of the current study demonstrated that the greater frequency of a particular architectural type in a historical context does not necessarily indicate a preference for using that type in the construction of contemporary houses.
Acknowledgment
We are grateful to the kind residents who allowed us to visit and document their houses. This research did not receive any specific grant.
Observation Contribution
Sara Dadpour designed the concept and wrote the draft of the article, except for the research background and theoretical foundations. Sajede Kharabati wrote the research background and theoretical foundations and contributed to writing the introduction. Mozhdeh Rahimi conducted field visits and documented the houses. Mozhdeh Rahimi prepared the houses’ plans and 3D visualizations and contributed to the analysis of the architectural features of the houses. The authors’ contributions percentage is Sara Dadpour at 45%, Sajede Kharabati at 25%, and Mozhdeh Rahimi at 30%. All authors read and approved the final manuscript.
Conflict of Interest
The authors declare no conflict of interest.
The risk of deterioration and destruction threatens valuable traditional housing in the historical texture of villages. Identifying the architectural types of historical houses and analyzing their sustainability are necessary to protect traditional architectural values and use them in contemporary housing designs. While there are many studies on the typology of traditional houses and the sustainability of rural housing, the analysis of architectural types of houses has been less considered. Also, the architectural types of the valuable houses in the historical texture of Yase Chai Village have not been still extracted and analyzed. Therefore, the main research questions are, what are the architectural types of historical houses in Yase Chai Village? And what is the priority of the architectural types of historical houses in Yase Chai village regarding sustainability? This study also aims to identify the architectural types of houses in the historical texture of Yase Chai Village, Chaharmahal, and Bakhtiari Province and to prioritize them based on sustainability. The rural housing sustainability indicators were extracted to achieve the purpose of the research, first by reviewing research and using the qualitative content analysis method. Then, the similarities and differences of the houses in terms of macro-, meso-, and micro-scale characteristics were examined and based on them, six types were identified. In the next step, the identified housing types were compared and ranked based on sustainability using the analytical network process (ANP) method. The dominant architectural type of the village’s historical texture with the highest frequency has the third-highest rank for sustainability. According to the results, the greater frequency of a particular architectural type in a historical context does not necessarily indicate a preference for using that type in the construction of contemporary houses. In addition, the form and manner of establishing the living spaces and their porches on the first floor, and the number and length of the yards were the most important architectural features that distinguished the types from each other. To improve the sustainability of types and use them in contemporary housing designs, suggestions have been presented, such as granting financial facilities to create living spaces in historical houses and checking the compatibility of the rules of the village guidance [Hadi] plan with the architectural types of housing.
Keywords: Architectural Type, Valuable Historical Texture, Sustainability of Rural Housing, Qajar Era, ANP.
Introduction
Although the historical texture of Yase Chai village is registered in the list of national monuments, the architectural types of the houses have not been extracted and analyzed. Meanwhile, the new houses in the village are built without considering the architectural values of its historical texture. Also, the protection and use of sustainable architectural types of historical houses can bring about a tourism boom. This study aims to identify and prioritize architectural housing types in the historical texture of Yase Chai Village based on sustainability.
Research questions: What are the architectural types of historical houses in Yase Chai Village? And what is the priority of the architectural types of historical houses in Yase Chai village regarding sustainability?
Research method: The statistical society included all the houses in the historical texture of Yase Chai. Purposeful sampling was used and 10 prominent houses were selected as representatives of the existing valuable houses of historical texture. Identifying the architectural characteristics of each house was done in three dimensions. Then, the partial types of each characteristic were extracted by comparing and examining the similarities and differences between the samples. Six final types were obtained in the next step based on partial types. In the third step, the types were ranked based on the sustainability of rural houses through the analytic network process (ANP).
Rural Housing Sustainability Components
The components of rural housing sustainability and their criteria include physical-environmental (environmental cleanliness, harmony with nature, and climatic comfort), physical-functional (flexibility, safety, and inclusiveness), physical-aesthetic (visual proportion and vernacular identity, and sensory richness), economic (livelihood and economic costs) and socio-cultural (lifestyle and privacy).
Architectural Characteristics of Houses
Living spaces had southwest and southeast lighting. The average ratio of mass to the land area of houses is 0.8. The dominant type of the mass shape is the central courtyard. The average ratio of length to width of the main courtyards is 1.79. The average percentage ratio of open, semi-open, and closed spaces to total spaces is 18, 19, and 63%, respectively. Most of the houses (70%) had direct access from the living room to the kitchen. On the main facades, the ratio of the area of the openings to the total area of the facade on the first floor was more than twice that of the ground floor. The average minimum width of the porches in the houses was 1.8 meters, which shows the flexibility of the porches.
Final Types of Historical Houses
Six final types were extracted. Type 1, with a frequency of 50%, is the dominant type. The first floor is L-shaped and receives southwest and southeast light. In type 2, the first floor receives light from the southwest, southeast, and northeast directions and has a U shape. In type three, the first floor gets southwest and northwest light; in type four, it gets southwest and northeast light. In type 4, the forms of the first floor are two opposite rectangles. In type 5, the form of the first floor is an incomplete U, and its light is from the southwest, southeast, and northwest. Type 6 is physically a combination of types 1 and 4.
Analysis and Ranking of Types
The most sustainable types and their scores are four (0.195), six (0.176), one (0.171), five (0.164), two (0.159), and three (0.134). Therefore, the fourth type is the most appropriate type to use in the contemporary housing designs of Yase Chai. In types four, five, and six, where a part of the first floor is separate from other parts of the first floor, there is a potential to use the separate part of the first floor as a living space for tourists and increase the level of livelihood. The types one and five have fewer facades with openings than other types, increasing climate comfort. The type one is also preferable to others in terms of view control from the entrance to the courtyard. There are two courtyards separated from each other in type six, which helps to provide more privacy.
Conclusion
In this research in the first step, houses of the historical texture of Yase Chai village were investigated in terms of macro (orientation and lighting, characteristics of mass and form, characteristics of courtyards and structures, and materials), meso (system of open, semi-open, and closed spaces, functions, interior spaces, and facades), and micro-architectural characteristics (entrance, porch, and portico, and details of the building) and their partial types were extracted. In the second step, based on the partial types, six final types were obtained. Sun exposure, the form and manner of establishing the living spaces and their porches, and the features of the yards were the most important factors that distinguished the types from each other. In the third step, the types were ranked based on the physical-environmental, physical-functional, physical-aesthetic, economic, and social-cultural components and their subset criteria and indicators using the analytical network process method.
It is suggested to grant financial facilities to strengthen the structure and create living spaces in historical houses. It is also suggested to revise the rules of the village guidance plan and check their compatibility with the architectural types of the historical housing. For example, with the condition of providing proper lighting and ventilation of the interior spaces and coordinating the new designs with sustainable types, the maximum occupancy level should be increased from 60% to 80%. In addition, it is suggested to allocate financial facilities to implement new housing projects with the condition of coordination with the architectural types of the village. The results of the current study demonstrated that the greater frequency of a particular architectural type in a historical context does not necessarily indicate a preference for using that type in the construction of contemporary houses.
Acknowledgment
We are grateful to the kind residents who allowed us to visit and document their houses. This research did not receive any specific grant.
Observation Contribution
Sara Dadpour designed the concept and wrote the draft of the article, except for the research background and theoretical foundations. Sajede Kharabati wrote the research background and theoretical foundations and contributed to writing the introduction. Mozhdeh Rahimi conducted field visits and documented the houses. Mozhdeh Rahimi prepared the houses’ plans and 3D visualizations and contributed to the analysis of the architectural features of the houses. The authors’ contributions percentage is Sara Dadpour at 45%, Sajede Kharabati at 25%, and Mozhdeh Rahimi at 30%. All authors read and approved the final manuscript.
Conflict of Interest
The authors declare no conflict of interest.
Azita Balali Oskoyi, Mohammad Sheikhol Hokamaei,
year 7, Issue 26 (2-2024)
year 7, Issue 26 (2-2024)
Abstract
Abstract
From the Achaemenid era to the Qajar era, mid-way residences were built to serve various military, trade and residential purposes. In central Iranian regions, residences were formed around a courtyard, with the central courtyard serving as the pivotal link. Some mid-way residences not only had central courtyards but also contained other yards, serving in relation to the main courtyard. Considering the significance of side yards in meeting residents’ needs, it is increasingly important to examine these spaces in Robat and caravanserais. The goal of this study was to investigate the role and function of elements around side yards in Robats and caravanserais. This study raises the questions: “Which factors have formed multiple courtyards in these buildings?” “What are the reasons behind the similarities and differences of side yards in Robats and caravanserais?” This study used library sources such as books, articles and documents to explore space patterns using theoretical foundations and descriptive-analytical methods. Findings revealed that four factors of climate, privacy, intimacy (residence-related) and services contributed to establishing side yards, with each involving some subspaces. Robats and caravanserais feature different characters and are nearly identical from a functional point of view. A comparison of side yards’ functions indicates similar spaces and functions, which differ from each other structurally and spatially. Results have demonstrated that Robats have followed no pre-determined plans in their construction plans, with their yards sequentially formed along each other based on different periods; caravanserais, however, had predetermined plans and had their spaces constructed based on implementation designs.
Keywords: Robats, Caravanserais, Side Yards, Recognition, Space Patterns.
Introduction
Mid-way residences, constructed under various names in the past, helped facilitate routes for traders, military personnel and travelers. The majority of people used to call mid-way residences as caravanserais, disregard of their special uses. In Iran, Robats and caravanserais were constructed based on the climate of each region, with central regions experiencing structures with courtyard designs. Central courtyards in these buildings served as a core element and organized Robats and caravanserai components. Siro (1974) asserts that Tughrul, the Seljuk ruler, used the Robats for launching military campaigns, while most changes made to the Robats were made in this era. These changes included the establishment of multiple courtyards in Robats. With the establishment of the Safavid dynasty, rulers decided to expand their trade and consequently strengthen their routes; in this period, caravanserais were trade-oriented and had different functions with previous caravanserais.
Previous research tended to focus on understanding caravanserais from historical and technical perspectives, while little examining the formation of central courtyards and surrounding uses. However, the process of forming yards around the main courtyard and spatial uses around a second yard were less focused.
A survey of Robats and caravanserais in central Iranian plateau indicates that mid-way buildings do not just involve a courtyard; rather, they may include several courtyards, depending on the building situation. This study commences with two questions: “How was a side yard formed in Robats and caravanserais?” and “What are the reasons for the similarities and differences of side yards in Robats and caravanserais?” The military, trade and welfare policies of ruling governments in this region left a considerable amount of impact on forming the facilities of Robats and caravanserais, such as side yards. This issue can be examined by investigating the surviving geometric patterns and the positioning of uses, access to side yards and other uses around the buildings. This is evidenced by the fact that governments were themselves responsible for constructing these buildings and setting out policies in the central plateau.
Discussion
Initially, Robats were simple fortifications used on borders to defend Islamic land. In central Iranian plateau, Robats were built in specific situations to monitor transit. These Robats were characterized by simple and small cores and mainly pertained to the Sassanians. In subsequent eras, Robats witnessed an expansion of main courtyards, followed by the completion of side yards, along with necessary means, as well as accommodation for soldiers, weapon and provision storages, defense towers, commanders’ specific posts, stables and baths.
In peace times, the Robats transformed their military uses into trade uses, though they could still be used as military bastions. In this era, especially in the Safavid era, caravanserais flourished and served trade and religious purposes. Changes made to the corners of the caravanserais began from the Seljuk era, which later caused those corners to expand even more. In the Safavid era, some of the corners turned into second yards, with some uses such as chambers, kitchens, toilets and guard rooms formed around them. Second yards were also created to independently provide services such as bathes and animal care. Besides, the presence of a yard in the caravanserai created a micro climate that protected people from desert winds and provided convenience for them.
Viewing the construction of side yards in Robats and caravanserais as based on human needs reveals that the social perspective becomes noticeable. A second yard provided a space where the king and companions could enjoy safety and security; for this, the designs of second yards had envisaged a room before entry to the yard to protect the residents, while making it a private area for the king, commanders and companions. Another factor in designing side yards was a private space in the caravanserais where ladies or families could rest. This construction, which showed an introvert space and created mental security for the families, was quite compatible with the Islamic thinking and could establish the boundary of intimacy in the caravanserais or Robats. Furthermore, some yards or uses were separated due to some welfare services offered to residents. In sum, the factors affecting the formation of a second yard in Robats and caravanserais can be summarized by the privacy, intimacy, services and climate.
Conclusion
The factors of climate, privacy, intimacy and service are said to affect the formation of Robats and caravanserais. Here, through a macro-level approach, two military and trade perspectives by rulers can also affect these factors. The access system of the three studied patterns in caravanserais features diversity and order, as entry into a space leads to another space; in other words, there is no repeated space in going through from an outer space into an inner space. In addition, more uses are directly or indirectly related to side yards than to Robats. Meanwhile, in Robats, accessibility patterns lack order or regularity and space can be repeated sequentially and repetitively. Meanwhile, Robat patterns cover fewer spatial uses than caravanserais. Also, Robats have lacked a coherent relationship between the vestibule, the alcove and the stable or the side yard. In general, the main difference in Robats arises from the simpler use of the elements than the caravanserais, as Robats follow no previous map because of their hastened construction.
On the other hand, this inconsistency is not existing in caravanserais, with all elements enjoying spatial regularity and unique designs. In their designs, caravanserais feature outlined plans because all constructed spaces are regular and alongside each other without any interference.
In this study, the most important factor of similarity between Robats and caravanserais was compliance with a three-fold pattern, including a yard side in the corners of the central courtyard, a side yard in the middle and a side yard near the main courtyard, which are found in the two buildings. The two types of buildings are commonly characterized by specific uses around a side central space, separated from the main courtyard, while mainly involving residence uses for the accommodation of rulers, commanders, and local people, as well as ladies.
The novelty of this study lies with the rulers’ military and trade approaches in constructing the apparently similar buildings to show that they feature different spaces, while being similar at the same time. Since the functions of side yards and main courtyards determine military and trade strategies in the central plateau, future research is required to compare side yards in various areas and study how they were formed in different eras. Also, it is required to conduct studies on the function of side yard facilities in buildings with no side yards.
Malihah Mehdi Abadi, Ali Zamani Fard, Sayed Abdul Azim Amir Shakermi,
year 7, Issue 26 (2-2024)
year 7, Issue 26 (2-2024)
Abstract
Abstract
One of the important criteria of registration in the World Heritage List is the cultural landscape, which deals with the preservation and restoration of natural, tangible and intangible cultural elements of historical sites with a holistic and pragmatic approach. The arcs of Taq Bostan have been registered as a national site in the temporary world heritage list, but unfortunately, in recent years, we have seen physical changes in its historical and natural elements. The dissociation between the works and nature causes loss of the original nature of the site and leads to its further destruction. Considering that the cultural landscape is tantamount to interaction between humans and the nature, the historical works of Taq Bostan have turned the site into an element capable of creating cultural landscape. This study has been conducted through the archive, text studies and survey on the site, Taq Bostan. This research has tried to highlight the necessity of a comprehensive look at the protection and restoration of this historical work and seeks to prove the hypothesis that the arches of Taq Bostan are only one work. It is not historical and archeological, but a cultural landscape. The method of this descriptive-analytical research is based on data collected from documentary, library, survey and experience working in the site. Among the questions that are answered in this research; mention can be made of the following: 1. What are the criteria of cultural landscape? 2. What are the elements of Taq Bostan cultural landscape? The result of the research shows; based on the global elements, Taq Bostan has the criteria of a cultural landscape with natural and human components in tangible and intangible forms and has all the effective objective and subjective factors in the formation of the cultural landscape; and contrary to popular belief, Sasanian reliefs are not the only factor in creating this cultural landscape; rather, the components of Taq Bostan’s cultural; s cultural landscape are a combination of natural and cultural modules that are intertwined and inseparable throughout history.
Keywords: Cultural Landscape, Component, Taq Bostan, Tangible, Intangible.
Introduction
The rock art of Taq Bostan is one of the most important works of the Sassanid era and has been nominated for registration in the world heritage (WHC UNESCO, 2021). The importance of the Sassanid sculptures of the Bostan Arch, especially its large arch, in terms of the elegance in the execution of relief motifs, their narrative style, the depiction of artificial and sacred hunting grounds, are cited by researchers such as Pope in the 1920s, Hertzfeld 1940, Vandenberg 1956, Girshman 1962, Godar 1965 and Kristen Sen 1384 and Tanabe 1983. The deer hunting panel of this arch is unique and there is no equivalent in Sasanian art (Compareti, 2016: 5). Also, due to the uniqueness of these motifs, it is always used in identification of fabrics (Hertsfeld, 1940; Raami, 2012; Herman, 2008; Harper 1999) and musical instruments of the Sassanid period (Farmer, 2017; Christine Sen, 1935) have been effective. These works have a deep connection with literature and popular culture, including Nezami’s "Khosrow & Shirin (Khamse Nizami, 6th century p. 30) and & quot; Shirin & amp; Farhad in Kurdish &q uot.
Considering the unbreakable link between history and nature and the opinions and beliefs of the people about Taq Bostan, it is assumed that the arches in Taq Bostan are not just a historical and archeological site and it is necessary to maintain strong relationship between the nature and ancient works; moreover social interactions that govern them should be taken into account. In other words this area is a cultural landscape and interference in each of these components should be done according to its impacts on the other component. For example, it may be effective to intervene in the seams and cracks of the rocks of the arches, to prevent infiltrating water from decreasing or increasing or even drying up the springs. The springs have played an essential role (naturally and culturally) in creating reliefs that if removed, part of the historical and natural values of this area will be lost. This research aims to know the criteria for determining the natural and historical components of Taq Bostan based on the theories presented in the field of cultural landscape in order to remind the necessity of a comprehensive view, as it is proposed in cultural landscapes, in the protection and restoration of this historical work. It is hoped that this research will lead to reconsideration of some JOZINEGARANEH decisions and attitudes that govern this area. In the meantime this research only emphasizes on proving the cultural landscape of Taq Bostan site.
Based on global standards archaeological and historical evidence (Canepa, 2018; Ghobadi, et al 2014; Hojabri and Mir Qadri, 2016; Kambakhshfard 1348; Rahbar, 2010) is a historical and natural environment that human interaction with the environment covers from the Middle Paleolithic period to the present day. This area was formed in different periods based on more or less different cultural mindsets (Parthian, Sassanid, Islamic ideas). Knowing the cultural and historical components of Taq Bostan is a research necessity that has not been addressed so far; because the documents (Ministry of Housing and Urban Development, 2002, Schmidt, 2016) show that this area is undergoing physical and intangible changes that have threatened some of its natural, historical and cultural values; therefore, it is necessary to recognize this collection as a cultural landscape. This research, with descriptive-analytical method and based on data collection from documentary sources, library and field observations, tries to answer the following questions: What are the criteria of cultural landscape? What are the elements or components of Taq Bostan cultural landscape? What is the cultural landscape?
Cultural landscape is the outcome of interaction between human and the environment. (Sauer, 1925). According to Tyler, since cultural landscapes are a document of past and present actions, they are an embodiment of physical changes, which in turn reflect the evolving attitudes towards the landscape. They represent our material and social history, with the help of which we can easily relate inherited values (Taylor, 2011:3).
According to the initial theories, natural conditions have had a major impact on the creation of cultural landscapes; so that people have changed the natural conditions of their environment based on their material and spiritual needs and under the influence of their culture.
Newer theories have discussed the interaction between humans and the environment and have come to the conclusion that humans choose and change the environment according to their mental thoughts, and every changed environment is not necessarily a cultural landscape.
Therefore, the cultural landscape of every society is formed based on its nature and culture. According to Canepa, the cultural landscape of Iran was created based on the relationship between the conceptual world and the physical world that exists in some Iranian religions (Canepa, 2018:1), so choosing a place to create works (current historical works), including campuses and hunting grounds and the rock art has a deep connection between the religion, beliefs and mentality of Iranians about the world and its nature, and the choice of natural places to create art is not accidental.
Natural and cultural components of Taq Bostan Mountains, topography of the earth, water in the form of springs and rivers, plains, and plants and animals in whose creation humans did not have a part are considered natural components. In Taq Bostan, the elements of mountain, water and plain are considered the most important natural factors. These components, along with works created by people who lived in different historical periods, have formed the historical and cultural components of Taq Bostan. These historical and cultural components include: prehistoric sites of Taq Bostan, Parti cemetery and village, Khosrow’s hunting ground, Sasanian rock artefacts of Taq Bostan. In each of these components, he observed the mutual influence of nature and human interaction with concrete examples. For instance, topography, as a natural component, plays a significant role in the formation of the historical and cultural components of the pre-history of Taq Bostan Western Park (Hojabri and Mir Qadri, 2016: 22). The homogeneity of the mountain and the spring has been effective in the creation of relief motifs and the arches of Taq Bostan, because it had the characteristics of the sacred mountain in the eyes of the Sasanians. There should be a bubbling spring next to it, and the light cleanses the body of water and the mountain from the contamination of the devil (Qureshi, 1380: 174). Intangible components derived from people's mentality and including activities, historical and symbolic functions, cultural customs, traditions, monuments, folk stories and cultural references such as the story of Shirin & Farhad, the story of the old tree of the Bostan Arch and healing from the horse statue inside the large arch and the bust of Khosrow II (Naseruddin Shah, 1287: 69; Khadi 1385, July)
Conclusion
Archaeological evidences show that the interaction between man and nature in Taq Bostan is a multi-thousand-year interaction (from the Middle Paleolithic until now). The favorable environment provided by nature to humans, such as mountains, springs, and plant and animal filled plains as well as the strategic location of the region in terms of history (on the way to Babylon and close to the well-known inscription of Darius in Bistoon) created this long-term interaction.
But what is popular among people now as the identity and historical character of Taq Bostan is related to the Sassanid and Qajar periods. The relationship between the conceptual world and the objective world of the Iranian cultural landscape; and the choice of the workplace is in connection between religion, beliefs and mentality of Iranians about the world and nature. The investigations carried out in this research showed (tables 3 and 4) that based on global standards in the field of cultural landscape, Taq Bostan has the characteristics of a cultural landscape with natural and human components in tangible and intangible forms, and all the effective factors in its formation are objective and there is an existing mentality, such as the use of the natural potential and topography of the region, including permanent springs and rivers, which caused the existence and instead of the material elements of prehistoric humans in the West Park and Murad Hill areas, it shows the evolution of the society from the criteria of the cultural landscape.
The remaining cities and cemeteries and the Parthian and later periods also depict the course of historical development and society, as well as the beliefs and attitudes of the material and non-material world in accordance with the objective and subjective criteria of the cultural landscape.
The reliefs and Khosrow’s hunting ground also indicate the ideas of the Sassanid period. According to Sasanian religious beliefs, the Sasanian king was of the opinion that every action in the Minoan world is done by Ahura Mazda, in the non-Minoan world it is done by the king. Ahuramazda’s goal was to return the world to the light and prosperity before the demonic attack. For this reason, the Sassanid king also tried to create a heavenly paradise in a dry and barren land (a symbol of Ahriman’s wrath). Make the land fertile with the help of natural elements of water and soil. According to the Sasanians, a good king was a good gardener; Therefore, gardens and campuses like Taq Bostan are political announcements that confirmed the legitimacy of the Shah’s government.
Therefore, the components of Taq Bostan cultural landscape are a combination of natural, cultural and social components that are linked and inseparable over time. These components are based on the theories and criteria of the cultural landscape, the interaction between man and nature, and the collective historical results that have ecological and geographical characteristics. According to the mentality of the people living in them, they have found identity and personality and have aesthetic and cultural values. A symbolic place is one of the basic elements of heritage and has a common relationship between identity, memory, and heritage. At the same time, they represent the evolution of human societies. Natural and social environment and economy This landscape is effective on the process of human evolution and has emotional and spiritual meanings.
Taq Bostan has the objective and subjective criteria of a cultural landscape, and these criteria should be taken into account in all actions taken or in the future plans of the site, and any interference and possession should be applied with regard to preserving the entirety of this cultural landscape; Otherwise, the destruction of these works will be imagined in the not-too-distant future.
One of the important criteria of registration in the World Heritage List is the cultural landscape, which deals with the preservation and restoration of natural, tangible and intangible cultural elements of historical sites with a holistic and pragmatic approach. The arcs of Taq Bostan have been registered as a national site in the temporary world heritage list, but unfortunately, in recent years, we have seen physical changes in its historical and natural elements. The dissociation between the works and nature causes loss of the original nature of the site and leads to its further destruction. Considering that the cultural landscape is tantamount to interaction between humans and the nature, the historical works of Taq Bostan have turned the site into an element capable of creating cultural landscape. This study has been conducted through the archive, text studies and survey on the site, Taq Bostan. This research has tried to highlight the necessity of a comprehensive look at the protection and restoration of this historical work and seeks to prove the hypothesis that the arches of Taq Bostan are only one work. It is not historical and archeological, but a cultural landscape. The method of this descriptive-analytical research is based on data collected from documentary, library, survey and experience working in the site. Among the questions that are answered in this research; mention can be made of the following: 1. What are the criteria of cultural landscape? 2. What are the elements of Taq Bostan cultural landscape? The result of the research shows; based on the global elements, Taq Bostan has the criteria of a cultural landscape with natural and human components in tangible and intangible forms and has all the effective objective and subjective factors in the formation of the cultural landscape; and contrary to popular belief, Sasanian reliefs are not the only factor in creating this cultural landscape; rather, the components of Taq Bostan’s cultural; s cultural landscape are a combination of natural and cultural modules that are intertwined and inseparable throughout history.
Keywords: Cultural Landscape, Component, Taq Bostan, Tangible, Intangible.
Introduction
The rock art of Taq Bostan is one of the most important works of the Sassanid era and has been nominated for registration in the world heritage (WHC UNESCO, 2021). The importance of the Sassanid sculptures of the Bostan Arch, especially its large arch, in terms of the elegance in the execution of relief motifs, their narrative style, the depiction of artificial and sacred hunting grounds, are cited by researchers such as Pope in the 1920s, Hertzfeld 1940, Vandenberg 1956, Girshman 1962, Godar 1965 and Kristen Sen 1384 and Tanabe 1983. The deer hunting panel of this arch is unique and there is no equivalent in Sasanian art (Compareti, 2016: 5). Also, due to the uniqueness of these motifs, it is always used in identification of fabrics (Hertsfeld, 1940; Raami, 2012; Herman, 2008; Harper 1999) and musical instruments of the Sassanid period (Farmer, 2017; Christine Sen, 1935) have been effective. These works have a deep connection with literature and popular culture, including Nezami’s "Khosrow & Shirin (Khamse Nizami, 6th century p. 30) and & quot; Shirin & amp; Farhad in Kurdish &q uot.
Considering the unbreakable link between history and nature and the opinions and beliefs of the people about Taq Bostan, it is assumed that the arches in Taq Bostan are not just a historical and archeological site and it is necessary to maintain strong relationship between the nature and ancient works; moreover social interactions that govern them should be taken into account. In other words this area is a cultural landscape and interference in each of these components should be done according to its impacts on the other component. For example, it may be effective to intervene in the seams and cracks of the rocks of the arches, to prevent infiltrating water from decreasing or increasing or even drying up the springs. The springs have played an essential role (naturally and culturally) in creating reliefs that if removed, part of the historical and natural values of this area will be lost. This research aims to know the criteria for determining the natural and historical components of Taq Bostan based on the theories presented in the field of cultural landscape in order to remind the necessity of a comprehensive view, as it is proposed in cultural landscapes, in the protection and restoration of this historical work. It is hoped that this research will lead to reconsideration of some JOZINEGARANEH decisions and attitudes that govern this area. In the meantime this research only emphasizes on proving the cultural landscape of Taq Bostan site.
Based on global standards archaeological and historical evidence (Canepa, 2018; Ghobadi, et al 2014; Hojabri and Mir Qadri, 2016; Kambakhshfard 1348; Rahbar, 2010) is a historical and natural environment that human interaction with the environment covers from the Middle Paleolithic period to the present day. This area was formed in different periods based on more or less different cultural mindsets (Parthian, Sassanid, Islamic ideas). Knowing the cultural and historical components of Taq Bostan is a research necessity that has not been addressed so far; because the documents (Ministry of Housing and Urban Development, 2002, Schmidt, 2016) show that this area is undergoing physical and intangible changes that have threatened some of its natural, historical and cultural values; therefore, it is necessary to recognize this collection as a cultural landscape. This research, with descriptive-analytical method and based on data collection from documentary sources, library and field observations, tries to answer the following questions: What are the criteria of cultural landscape? What are the elements or components of Taq Bostan cultural landscape? What is the cultural landscape?
Cultural landscape is the outcome of interaction between human and the environment. (Sauer, 1925). According to Tyler, since cultural landscapes are a document of past and present actions, they are an embodiment of physical changes, which in turn reflect the evolving attitudes towards the landscape. They represent our material and social history, with the help of which we can easily relate inherited values (Taylor, 2011:3).
According to the initial theories, natural conditions have had a major impact on the creation of cultural landscapes; so that people have changed the natural conditions of their environment based on their material and spiritual needs and under the influence of their culture.
Newer theories have discussed the interaction between humans and the environment and have come to the conclusion that humans choose and change the environment according to their mental thoughts, and every changed environment is not necessarily a cultural landscape.
Therefore, the cultural landscape of every society is formed based on its nature and culture. According to Canepa, the cultural landscape of Iran was created based on the relationship between the conceptual world and the physical world that exists in some Iranian religions (Canepa, 2018:1), so choosing a place to create works (current historical works), including campuses and hunting grounds and the rock art has a deep connection between the religion, beliefs and mentality of Iranians about the world and its nature, and the choice of natural places to create art is not accidental.
Natural and cultural components of Taq Bostan Mountains, topography of the earth, water in the form of springs and rivers, plains, and plants and animals in whose creation humans did not have a part are considered natural components. In Taq Bostan, the elements of mountain, water and plain are considered the most important natural factors. These components, along with works created by people who lived in different historical periods, have formed the historical and cultural components of Taq Bostan. These historical and cultural components include: prehistoric sites of Taq Bostan, Parti cemetery and village, Khosrow’s hunting ground, Sasanian rock artefacts of Taq Bostan. In each of these components, he observed the mutual influence of nature and human interaction with concrete examples. For instance, topography, as a natural component, plays a significant role in the formation of the historical and cultural components of the pre-history of Taq Bostan Western Park (Hojabri and Mir Qadri, 2016: 22). The homogeneity of the mountain and the spring has been effective in the creation of relief motifs and the arches of Taq Bostan, because it had the characteristics of the sacred mountain in the eyes of the Sasanians. There should be a bubbling spring next to it, and the light cleanses the body of water and the mountain from the contamination of the devil (Qureshi, 1380: 174). Intangible components derived from people's mentality and including activities, historical and symbolic functions, cultural customs, traditions, monuments, folk stories and cultural references such as the story of Shirin & Farhad, the story of the old tree of the Bostan Arch and healing from the horse statue inside the large arch and the bust of Khosrow II (Naseruddin Shah, 1287: 69; Khadi 1385, July)
Conclusion
Archaeological evidences show that the interaction between man and nature in Taq Bostan is a multi-thousand-year interaction (from the Middle Paleolithic until now). The favorable environment provided by nature to humans, such as mountains, springs, and plant and animal filled plains as well as the strategic location of the region in terms of history (on the way to Babylon and close to the well-known inscription of Darius in Bistoon) created this long-term interaction.
But what is popular among people now as the identity and historical character of Taq Bostan is related to the Sassanid and Qajar periods. The relationship between the conceptual world and the objective world of the Iranian cultural landscape; and the choice of the workplace is in connection between religion, beliefs and mentality of Iranians about the world and nature. The investigations carried out in this research showed (tables 3 and 4) that based on global standards in the field of cultural landscape, Taq Bostan has the characteristics of a cultural landscape with natural and human components in tangible and intangible forms, and all the effective factors in its formation are objective and there is an existing mentality, such as the use of the natural potential and topography of the region, including permanent springs and rivers, which caused the existence and instead of the material elements of prehistoric humans in the West Park and Murad Hill areas, it shows the evolution of the society from the criteria of the cultural landscape.
The remaining cities and cemeteries and the Parthian and later periods also depict the course of historical development and society, as well as the beliefs and attitudes of the material and non-material world in accordance with the objective and subjective criteria of the cultural landscape.
The reliefs and Khosrow’s hunting ground also indicate the ideas of the Sassanid period. According to Sasanian religious beliefs, the Sasanian king was of the opinion that every action in the Minoan world is done by Ahura Mazda, in the non-Minoan world it is done by the king. Ahuramazda’s goal was to return the world to the light and prosperity before the demonic attack. For this reason, the Sassanid king also tried to create a heavenly paradise in a dry and barren land (a symbol of Ahriman’s wrath). Make the land fertile with the help of natural elements of water and soil. According to the Sasanians, a good king was a good gardener; Therefore, gardens and campuses like Taq Bostan are political announcements that confirmed the legitimacy of the Shah’s government.
Therefore, the components of Taq Bostan cultural landscape are a combination of natural, cultural and social components that are linked and inseparable over time. These components are based on the theories and criteria of the cultural landscape, the interaction between man and nature, and the collective historical results that have ecological and geographical characteristics. According to the mentality of the people living in them, they have found identity and personality and have aesthetic and cultural values. A symbolic place is one of the basic elements of heritage and has a common relationship between identity, memory, and heritage. At the same time, they represent the evolution of human societies. Natural and social environment and economy This landscape is effective on the process of human evolution and has emotional and spiritual meanings.
Taq Bostan has the objective and subjective criteria of a cultural landscape, and these criteria should be taken into account in all actions taken or in the future plans of the site, and any interference and possession should be applied with regard to preserving the entirety of this cultural landscape; Otherwise, the destruction of these works will be imagined in the not-too-distant future.
Sanaz Arian,
year 7, Issue 26 (2-2024)
year 7, Issue 26 (2-2024)
Abstract
Abstract
Mohammad Saleh Esfahani was one of the prominent calligraphers and inscription writers of the Safavid period, under the rule of Shah Suleiman and Shah Sultan Hussein. According to the findings, a significant number of Nastaliq inscriptions in the buildings of Isfahan belong to him. In addition, there are several Chalipas by Mohammad Saleh. Based on this, it is important to explore his works in the field of calligraphy studies for finding methods of analysis of other works in this field. The purpose of this research is to investigate the differences between the pieces of Chalipa and the inscriptions of Mohammad Saleh Esfahani in three systems of baseline, composition and the visual weight. The question is, what are the differences between the Chalipa pieces and the inscriptions of Mohammad Saleh Esfahani according to the principles (which was mentioned)? And what are their reasons? The hypothesis of this research indicates that there are differences between the Chalipa and inscriptions of Mohammad Saleh, which can be recognized and investigated by three mentioned calligraphy systems. This descriptive-analytical research is done by use of library resources in order to analyses some of Mohammad Saleh Isfahani’s works, including the inscriptions were found in three buildings in the city of Isfahan (Chaharbagh School, Imamzadeh Ismail, and the tombstone of Saeb Tabrizi Tomb) and some Chalipa pieces (available in museums and libraris). The results of the research show that there are differences in the application of calligraphy principles in the three systems of baseline, composition and the visual weight in pieces of Chalipa and inscriptions because of various reasons such as: text content, limitations of design , pen Dang. , the appropriate level of the works and etc. based on these reasons, it can be found that Mohammad Saleh Esfahani has adopted different methods and principles for the calligraphy of Chelipa and inscriptions.
Keywords: Principle of Calligraphy, Mohammad Saleh Isfahani, Chalipa, Inscription, Nastaliq Script, Safavid Period.
Introduction
Understanding the rules, discerning the structure, and grasping the principles that govern the Nastaliq script are essential aspects for a comprehensive comprehension of the development and evolution of this script. The Nastaliq script is employed in various formats tailored to its specific applications and purposes. Among the noteworthy calligraphers and epigraphers during the Safavid era, particularly under the reigns of King Suleiman and King Sultan Hossein, Mohammad Saleh Esfahani stands out. He has been associated with a considerable number of Nastaliq inscriptions adorning buildings in Isfahan, alongside his contributions to the creation of Chalipa pieces. Thus, it is imperative to closely examine his artistic works in the realm of calligraphy studies and adopt suitable methods of analysis. The primary objective of this research endeavor is to investigate the distinctions between Chalipa pieces and Mohammad Saleh Esfahani’s inscriptions across three key systems: Baseline, Combination, and Visual Weight.
This research endeavors to explore the dissimilarities between Chalipa’s pieces and Mohammad Saleh Esfahani’s inscriptions within the context of calligraphic principles, specifically in the three systems of Baseline, Combination, and Visual Weight. The underlying inquiry revolves around identifying the reasons behind these disparities. The working hypothesis of this study postulates that distinct variations exist between Chalipa’s pieces and Mohammad Saleh’s inscriptions, and such distinctions can be examined through the application of the principles governing the calligraphy above systems.
Research Method: This research is structured into three main parts, preceded by examining the research background and collecting relevant library information. The initial two parts entail a comprehensive study and scrutiny of the principles above, as evidenced in the works of Mashakhi and Mohammad Saleh Esfahani’s inscriptions, respectively. The third part aims to analyze the gathered information to address the research questions. The descriptive-analytical research method has been employed in this article to achieve a precise and thorough response. The data is primarily derived from an exploration of Mohammad Saleh Isfahani’s works, including inscriptions discovered in various buildings within Isfahan City (such as Chaharbagh School, Emamzadeh Ismaeil, and the tombstone of Saeb Tabrizi) and certain handwritten pieces sourced from museums and libraries. Ultimately, a qualitative analysis has been performed to interpret the findings.
Discussion and Analysis
This research delves into the investigation of the principles governing Mohammad Saleh Esfahani’s works, focusing on the three systems of Baseline, Combination, and Visual Weight. The study involves a separate examination of these systems in both Chalipa’s pieces and his own inscriptions. The research findings reveal that Mohammad Saleh employed distinct techniques to achieve the desired outcomes in each of the three systems. Specifically, in Chalipas, the consistent slope contributes to proportion, balance, and overall aesthetic harmony. To achieve these effects, Mohammad Saleh employed a subtle curve at the beginning and end of each line while carefully observing the ratio between them.
Additionally, the presence of identical rhymes played a significant role in harmonizing the Baseline curvature of the calligraphic pieces. In cases where identical rhymes were absent, Mohammad Saleh achieved proportional and balanced combinations by adjusting the positioning of letters and altering the degree of inclination of the stanzas. The meticulous selection and utilization of strokes emerged as another vital factor in the combination system, which Mohammad Saleh adeptly employed in conjunctive writing to achieve this artistic aim. As observed in Mohammad Saleh’s works, creating a hypothetical perpendicular line stands out as another pivotal factor in forming the Combination system. This hypothetical line becomes apparent through the careful selection of words and the establishment of rhythm, achieved by employing isomorphism in Chalipa’s pieces.
Moreover, the strategic utilization of dots, in accordance with the principle of ownership, as well as the positioning and direction of punctuation on letters and words, play influential roles in creating positive and negative spaces, ultimately achieving a balanced visual weight - techniques skillfully employed by Mohammad Saleh. When examining the three governing systems in calligraphic inscriptions, it becomes crucial to consider several principles. The initial principle revolves around the proportionality of inscriptions, focusing on the relationship between the width of the pen and the dimensions of the inscription’s length and width. Calligraphers ensure that the text is written so that its length and width exhibit uniformity and consistency from the beginning to the end. Another significant aspect involves acknowledging the distinction between forms of exercises and books, which are typically written by calligraphers themselves, and the execution of calligraphic pieces for inscriptions by various artisans such as tilers, plasterers, and stonemasons. This disparity can lead to unregulated variations in implementing letters and words.
Furthermore, in examining and analyzing inscriptions, considering three factors, namely color, light, and pattern, holds significant importance. Incorporating color alongside light as a contributing element plays a pivotal role in establishing the Visual Weight of the inscription. The color contrast achieved through distinct implementation techniques exerts a considerable influence on the visual arrangement for the audience and enhances the inscription’s legibility. For instance, in the sculpting technique applied to the inscriptions on Saeb’s tombstone, the monochromatic and uniform lighting choice relegates the inscription’s visual priority to the audience. Another aspect to consider is the motifs strategically placed around or between the lines of each inscription, which often serve as decorative elements. These motifs are among the various influential factors impacting the readability of inscriptions and the principles of combination, encompassing elements like Calligraphic Strokes and Lacuna, punctuation, and so forth.
Conclusion
The investigation aimed to address the research question concerning the disparities between Chalipa’s works and Mohammad-Saleh Esfahani’s calligraphy in terms of the principles of calligraphy, specifically focusing on the three systems of Baseline, Combination, and Visual Weight. The study also sought to understand the underlying reasons behind their respective utilization. The findings demonstrate that the calligrapher employed these principles in both Chalipa’s pieces and his inscriptions. However, distinctions in the form of Chalipa and inscriptions led to variations in how these principles were applied in their respective works. Notably, the choice of surface played a significant role, with paper being the preferred medium for Chalipa pieces, while materials like stone, tile, or wood were used for inscriptions.
Additionally, the constraints imposed by the customer, including limited space and frame for inscriptions, exerted a noteworthy influence, restricting the calligrapher’s application of the principles governing Baseline, Combination, and Visual Weight compared to the more flexible format of Chalipa. For instance, regardless of word count, the uniform size frame for all stanzas limited the calligrapher’s ability to achieve optimal combinations, baselines, and visual weight, a limitation not present in Chalipa pieces. Other factors contributing to these differences included adjustments in surface size for Chalipa or inscriptions and the limitations inherent in inscription implementation, such as using a dang pen. Taking into account the reasons identified in the research, Mohammad Saleh employed distinct methods and principles in applying the Baseline, Combination, and Visual Weight systems in his works.
Mohammad Saleh Esfahani was one of the prominent calligraphers and inscription writers of the Safavid period, under the rule of Shah Suleiman and Shah Sultan Hussein. According to the findings, a significant number of Nastaliq inscriptions in the buildings of Isfahan belong to him. In addition, there are several Chalipas by Mohammad Saleh. Based on this, it is important to explore his works in the field of calligraphy studies for finding methods of analysis of other works in this field. The purpose of this research is to investigate the differences between the pieces of Chalipa and the inscriptions of Mohammad Saleh Esfahani in three systems of baseline, composition and the visual weight. The question is, what are the differences between the Chalipa pieces and the inscriptions of Mohammad Saleh Esfahani according to the principles (which was mentioned)? And what are their reasons? The hypothesis of this research indicates that there are differences between the Chalipa and inscriptions of Mohammad Saleh, which can be recognized and investigated by three mentioned calligraphy systems. This descriptive-analytical research is done by use of library resources in order to analyses some of Mohammad Saleh Isfahani’s works, including the inscriptions were found in three buildings in the city of Isfahan (Chaharbagh School, Imamzadeh Ismail, and the tombstone of Saeb Tabrizi Tomb) and some Chalipa pieces (available in museums and libraris). The results of the research show that there are differences in the application of calligraphy principles in the three systems of baseline, composition and the visual weight in pieces of Chalipa and inscriptions because of various reasons such as: text content, limitations of design , pen Dang. , the appropriate level of the works and etc. based on these reasons, it can be found that Mohammad Saleh Esfahani has adopted different methods and principles for the calligraphy of Chelipa and inscriptions.
Keywords: Principle of Calligraphy, Mohammad Saleh Isfahani, Chalipa, Inscription, Nastaliq Script, Safavid Period.
Introduction
Understanding the rules, discerning the structure, and grasping the principles that govern the Nastaliq script are essential aspects for a comprehensive comprehension of the development and evolution of this script. The Nastaliq script is employed in various formats tailored to its specific applications and purposes. Among the noteworthy calligraphers and epigraphers during the Safavid era, particularly under the reigns of King Suleiman and King Sultan Hossein, Mohammad Saleh Esfahani stands out. He has been associated with a considerable number of Nastaliq inscriptions adorning buildings in Isfahan, alongside his contributions to the creation of Chalipa pieces. Thus, it is imperative to closely examine his artistic works in the realm of calligraphy studies and adopt suitable methods of analysis. The primary objective of this research endeavor is to investigate the distinctions between Chalipa pieces and Mohammad Saleh Esfahani’s inscriptions across three key systems: Baseline, Combination, and Visual Weight.
This research endeavors to explore the dissimilarities between Chalipa’s pieces and Mohammad Saleh Esfahani’s inscriptions within the context of calligraphic principles, specifically in the three systems of Baseline, Combination, and Visual Weight. The underlying inquiry revolves around identifying the reasons behind these disparities. The working hypothesis of this study postulates that distinct variations exist between Chalipa’s pieces and Mohammad Saleh’s inscriptions, and such distinctions can be examined through the application of the principles governing the calligraphy above systems.
Research Method: This research is structured into three main parts, preceded by examining the research background and collecting relevant library information. The initial two parts entail a comprehensive study and scrutiny of the principles above, as evidenced in the works of Mashakhi and Mohammad Saleh Esfahani’s inscriptions, respectively. The third part aims to analyze the gathered information to address the research questions. The descriptive-analytical research method has been employed in this article to achieve a precise and thorough response. The data is primarily derived from an exploration of Mohammad Saleh Isfahani’s works, including inscriptions discovered in various buildings within Isfahan City (such as Chaharbagh School, Emamzadeh Ismaeil, and the tombstone of Saeb Tabrizi) and certain handwritten pieces sourced from museums and libraries. Ultimately, a qualitative analysis has been performed to interpret the findings.
Discussion and Analysis
This research delves into the investigation of the principles governing Mohammad Saleh Esfahani’s works, focusing on the three systems of Baseline, Combination, and Visual Weight. The study involves a separate examination of these systems in both Chalipa’s pieces and his own inscriptions. The research findings reveal that Mohammad Saleh employed distinct techniques to achieve the desired outcomes in each of the three systems. Specifically, in Chalipas, the consistent slope contributes to proportion, balance, and overall aesthetic harmony. To achieve these effects, Mohammad Saleh employed a subtle curve at the beginning and end of each line while carefully observing the ratio between them.
Additionally, the presence of identical rhymes played a significant role in harmonizing the Baseline curvature of the calligraphic pieces. In cases where identical rhymes were absent, Mohammad Saleh achieved proportional and balanced combinations by adjusting the positioning of letters and altering the degree of inclination of the stanzas. The meticulous selection and utilization of strokes emerged as another vital factor in the combination system, which Mohammad Saleh adeptly employed in conjunctive writing to achieve this artistic aim. As observed in Mohammad Saleh’s works, creating a hypothetical perpendicular line stands out as another pivotal factor in forming the Combination system. This hypothetical line becomes apparent through the careful selection of words and the establishment of rhythm, achieved by employing isomorphism in Chalipa’s pieces.
Moreover, the strategic utilization of dots, in accordance with the principle of ownership, as well as the positioning and direction of punctuation on letters and words, play influential roles in creating positive and negative spaces, ultimately achieving a balanced visual weight - techniques skillfully employed by Mohammad Saleh. When examining the three governing systems in calligraphic inscriptions, it becomes crucial to consider several principles. The initial principle revolves around the proportionality of inscriptions, focusing on the relationship between the width of the pen and the dimensions of the inscription’s length and width. Calligraphers ensure that the text is written so that its length and width exhibit uniformity and consistency from the beginning to the end. Another significant aspect involves acknowledging the distinction between forms of exercises and books, which are typically written by calligraphers themselves, and the execution of calligraphic pieces for inscriptions by various artisans such as tilers, plasterers, and stonemasons. This disparity can lead to unregulated variations in implementing letters and words.
Furthermore, in examining and analyzing inscriptions, considering three factors, namely color, light, and pattern, holds significant importance. Incorporating color alongside light as a contributing element plays a pivotal role in establishing the Visual Weight of the inscription. The color contrast achieved through distinct implementation techniques exerts a considerable influence on the visual arrangement for the audience and enhances the inscription’s legibility. For instance, in the sculpting technique applied to the inscriptions on Saeb’s tombstone, the monochromatic and uniform lighting choice relegates the inscription’s visual priority to the audience. Another aspect to consider is the motifs strategically placed around or between the lines of each inscription, which often serve as decorative elements. These motifs are among the various influential factors impacting the readability of inscriptions and the principles of combination, encompassing elements like Calligraphic Strokes and Lacuna, punctuation, and so forth.
Conclusion
The investigation aimed to address the research question concerning the disparities between Chalipa’s works and Mohammad-Saleh Esfahani’s calligraphy in terms of the principles of calligraphy, specifically focusing on the three systems of Baseline, Combination, and Visual Weight. The study also sought to understand the underlying reasons behind their respective utilization. The findings demonstrate that the calligrapher employed these principles in both Chalipa’s pieces and his inscriptions. However, distinctions in the form of Chalipa and inscriptions led to variations in how these principles were applied in their respective works. Notably, the choice of surface played a significant role, with paper being the preferred medium for Chalipa pieces, while materials like stone, tile, or wood were used for inscriptions.
Additionally, the constraints imposed by the customer, including limited space and frame for inscriptions, exerted a noteworthy influence, restricting the calligrapher’s application of the principles governing Baseline, Combination, and Visual Weight compared to the more flexible format of Chalipa. For instance, regardless of word count, the uniform size frame for all stanzas limited the calligrapher’s ability to achieve optimal combinations, baselines, and visual weight, a limitation not present in Chalipa pieces. Other factors contributing to these differences included adjustments in surface size for Chalipa or inscriptions and the limitations inherent in inscription implementation, such as using a dang pen. Taking into account the reasons identified in the research, Mohammad Saleh employed distinct methods and principles in applying the Baseline, Combination, and Visual Weight systems in his works.
Reza Daneshzadeh, Reza Oladi, Kambiz Pourtahmasi, Gholamreza Rahmani,
year 7, Issue 26 (2-2024)
year 7, Issue 26 (2-2024)
Abstract
Abstract
Saqanefars are kinds of wooden ritual monuments with religious functionality, found only in Mazandaran province, north of Iran, and date back to the Qajar era. In these buildings, the mourning of Muharram and other mourning rituals are held every year. Despite the cultural importance of Mazandaran’s Saqanefars, the type of wood used in these buildings has not yet been identified and researches have been focused on their architecture and paintings. In this research, the wood used in different structural members of five Saqanefars in different areas of Qaemshahr including Ghadikola Nokandehka (GN), Seyed Abosaleh (SA), Reykandeka (RK), Ahangarkola Bishesar (AB), and Vostakola (VK) were examined macro- and microscopically. After extracting a list of wood anatomical features from the stained microscopic sections, each specimen was identified. All studied specimens were of ring-porous hardwoods. Except for GN, other wood samples turned the water golden after immersion. The wood species used in the Saqanefars of SA, RK, AB, and VK were identified as Zelkova (Zelkova carpinifolia) while the Saqanefar of GN were made of Persian oak (Quercus macranthera). Both kinds of wood are durable, have little moisture uptake, and do not require much repair and maintenance work. Oaks and other tree species with high-quality constructional timber were as widespread as Zelkova in the forests near studied Saqanefars. Hence, the preference for Zelkova could not solely be related to its availability and technical quality. Considering that from the 16th century onwards, Zelkova wood became one of the most popular types of timber for the construction of historical and religious buildings in the Far East (especially in Korea and Japan), and the similarity of the architecture and painting of wooden Saqanefars to the temples in these countries, choosing this wood could partly be influenced by cultural exchanges.
Keywords: Wooden Structure, Cultural Heritage, Sacred Building, Wood Identification, Iran.
Introduction
A Saqanefar is a kind of ritual monument in Mazandaran province, north of Iran. Some older Saqanefars are completely wooden and were built in the late Safavid and early Qajar periods, and due to cultural exchanges between the local people and Chinese merchants, they are partially influenced by the architecture of Buddhist temples. Despite the cultural importance of Mazandaran Saqanefars, the type and age of the timbers used in them has not been investigated so far, and researches have been limited to their architecture and surface paintings. However, knowing the type of constructional timbers used in ancient wooden structures and objects can provide many unknown facts about the history, culture and trades in a region. Moreover, for the maintenance and renovation of ancient buildings, it is essential to know the type of wood used in them. In this research, the types of used timbers in the historical Saqanefars of Qaemshahr city were identified and discussed. The main hypothesis of the research was that due to the sacredness of Saqanefar s, lumbers from a certain tree species was used in their construction.
Materials and Methods
Five Saqanefars were identified in different areas of Qaemshahr city, located in the villages of Ghadikola Nokandehka (GN), Seyed Abosaleh (SA), Reykandeka (RK), Ahangarkola Bishesar (AB), and Vostakola (VK). Small wooden samples were extracted from different parts of each monument, using a handsaw or an increment borer. The transverse surface of the samples was sanded and first examined macroscopically. Then, thin sections were cut, stained, and analyzed, microscopically. The anatomical features of the wood of each sample were extracted based on the IAWA list of microscopic features for hardwood identification (Wheeler et al., 1989) and finally, each sample was identified.
Results and Discussion
With the macroscopic and microscopic examination of the samples, it was found that all samples extracted from different structural members of a Saqanefar are made of the same wood species. The wood used in the four Sqanefars of SA, RK, AB, and VK were all from zelkova trees (Zelkova carpinifolia), while the Sqanefar GN was made of Persian oak (Quercus macranthera). This distinction was evident in the golden color of the water after immersing the wood of the first four Saqanefar and the absence of such a state in the last one. Zelkova is a high-quality wood and is known as one of the best construction timbers. Zelkova wood has a low moisture uptake, and in addition to wooden structures, it was also used to make the door and window frames of mosques in Iran (Browicz, 1982). This wood was widely used for construction of historic timber structures (Hwang et al., 2009) and places of worship in the Far East, and is considered the most important hardwood in building of old temples in South Korea (Kim & Choi, 2016). In Japan, Zelkova wood has been used to build temples since the 16th century. In fact, it was the Chinese carpenters who taught the Japanese how to work with this tough wood and suggested its use in the 15th century (Mertz, 2016). Oak has been one of the most popular type of wood for building timber for centuries due to its high durability and the little need for maintenance and repair.
Conclusion
Most of the old, timber-structured Saqanefars in the villages of north Iran were made of zelkova, and only one of the five investigated structures was from oak wood. Considering that these two woods are of good and comparable quality, and almost the similar abundance of these two species in the forests around the location of Saqanfears, the preference for using Zelkova is not only due to technical and economic issues, and could be related to cultural reasons. Zelkova wood is mostly used for the construction of shrines and religious sites in the Far East and especially in Korea, and due to the similarity of the architecture and painting of Saqanefars to the temples in these countries, the choice of Zelkova timber for the construction of these places can be partly influenced by cultural exchanges.
Saqanefars are kinds of wooden ritual monuments with religious functionality, found only in Mazandaran province, north of Iran, and date back to the Qajar era. In these buildings, the mourning of Muharram and other mourning rituals are held every year. Despite the cultural importance of Mazandaran’s Saqanefars, the type of wood used in these buildings has not yet been identified and researches have been focused on their architecture and paintings. In this research, the wood used in different structural members of five Saqanefars in different areas of Qaemshahr including Ghadikola Nokandehka (GN), Seyed Abosaleh (SA), Reykandeka (RK), Ahangarkola Bishesar (AB), and Vostakola (VK) were examined macro- and microscopically. After extracting a list of wood anatomical features from the stained microscopic sections, each specimen was identified. All studied specimens were of ring-porous hardwoods. Except for GN, other wood samples turned the water golden after immersion. The wood species used in the Saqanefars of SA, RK, AB, and VK were identified as Zelkova (Zelkova carpinifolia) while the Saqanefar of GN were made of Persian oak (Quercus macranthera). Both kinds of wood are durable, have little moisture uptake, and do not require much repair and maintenance work. Oaks and other tree species with high-quality constructional timber were as widespread as Zelkova in the forests near studied Saqanefars. Hence, the preference for Zelkova could not solely be related to its availability and technical quality. Considering that from the 16th century onwards, Zelkova wood became one of the most popular types of timber for the construction of historical and religious buildings in the Far East (especially in Korea and Japan), and the similarity of the architecture and painting of wooden Saqanefars to the temples in these countries, choosing this wood could partly be influenced by cultural exchanges.
Keywords: Wooden Structure, Cultural Heritage, Sacred Building, Wood Identification, Iran.
Introduction
A Saqanefar is a kind of ritual monument in Mazandaran province, north of Iran. Some older Saqanefars are completely wooden and were built in the late Safavid and early Qajar periods, and due to cultural exchanges between the local people and Chinese merchants, they are partially influenced by the architecture of Buddhist temples. Despite the cultural importance of Mazandaran Saqanefars, the type and age of the timbers used in them has not been investigated so far, and researches have been limited to their architecture and surface paintings. However, knowing the type of constructional timbers used in ancient wooden structures and objects can provide many unknown facts about the history, culture and trades in a region. Moreover, for the maintenance and renovation of ancient buildings, it is essential to know the type of wood used in them. In this research, the types of used timbers in the historical Saqanefars of Qaemshahr city were identified and discussed. The main hypothesis of the research was that due to the sacredness of Saqanefar s, lumbers from a certain tree species was used in their construction.
Materials and Methods
Five Saqanefars were identified in different areas of Qaemshahr city, located in the villages of Ghadikola Nokandehka (GN), Seyed Abosaleh (SA), Reykandeka (RK), Ahangarkola Bishesar (AB), and Vostakola (VK). Small wooden samples were extracted from different parts of each monument, using a handsaw or an increment borer. The transverse surface of the samples was sanded and first examined macroscopically. Then, thin sections were cut, stained, and analyzed, microscopically. The anatomical features of the wood of each sample were extracted based on the IAWA list of microscopic features for hardwood identification (Wheeler et al., 1989) and finally, each sample was identified.
Results and Discussion
With the macroscopic and microscopic examination of the samples, it was found that all samples extracted from different structural members of a Saqanefar are made of the same wood species. The wood used in the four Sqanefars of SA, RK, AB, and VK were all from zelkova trees (Zelkova carpinifolia), while the Sqanefar GN was made of Persian oak (Quercus macranthera). This distinction was evident in the golden color of the water after immersing the wood of the first four Saqanefar and the absence of such a state in the last one. Zelkova is a high-quality wood and is known as one of the best construction timbers. Zelkova wood has a low moisture uptake, and in addition to wooden structures, it was also used to make the door and window frames of mosques in Iran (Browicz, 1982). This wood was widely used for construction of historic timber structures (Hwang et al., 2009) and places of worship in the Far East, and is considered the most important hardwood in building of old temples in South Korea (Kim & Choi, 2016). In Japan, Zelkova wood has been used to build temples since the 16th century. In fact, it was the Chinese carpenters who taught the Japanese how to work with this tough wood and suggested its use in the 15th century (Mertz, 2016). Oak has been one of the most popular type of wood for building timber for centuries due to its high durability and the little need for maintenance and repair.
Conclusion
Most of the old, timber-structured Saqanefars in the villages of north Iran were made of zelkova, and only one of the five investigated structures was from oak wood. Considering that these two woods are of good and comparable quality, and almost the similar abundance of these two species in the forests around the location of Saqanfears, the preference for using Zelkova is not only due to technical and economic issues, and could be related to cultural reasons. Zelkova wood is mostly used for the construction of shrines and religious sites in the Far East and especially in Korea, and due to the similarity of the architecture and painting of Saqanefars to the temples in these countries, the choice of Zelkova timber for the construction of these places can be partly influenced by cultural exchanges.
Alireza Vaezi, Morteza Djamali, Nasir Skandari, Vahid Tavakoli, Abdolmajid Naderi Beni,
year 8, Issue 27 (5-2024)
year 8, Issue 27 (5-2024)
Abstract
Abstract
The potential vulnerability of primitive societies to natural disasters, such as droughts, floods, and famines caused by climate change, is an important issue that requires careful study. The main aim of this research is to investigate the possible effects of ancient environmental and climatic changes on Bronze Age settlements in southeastern Iran, as well as the main dynasties that ruled Iran based on archaeological and historical evidence of territorial boundaries, economic and political prosperity. Adaptation of climatic and cultural changes in the southeast of Iran can provide valuable information for researchers. In this regard, this article aims to answer the question of whether climate change has affected the ancient societies of Jiroft, and to what extent climate change has affected the economic prosperity and political influence of the ruling dynasties that have affected Iran. In the present study, using a combination of geochemical and pollinological indicators, we examine paleoclimatic changes of the southeastern plateau of Iran during the past 4000 years. Significant agricultural activities existed between 3900 and 3700 years ago in the southeast of Iran during moderate climatic conditions. Dry conditions with increased dust prevailed over the region from 3300 to 2900 years ago. Wet conditions from about 2900 to 2300 years ago facilitated extensive agriculture and coincided with the flourishing of regional governments such as the Medes, Urartos, and Mannas in the western Iran, and after that the Achaemenid Empire throughout Greater Iran. The decline of the Achaemenid Empire coincided with the beginning of a dry period that made agriculture less prosperous in Jiroft for nearly 200 years. Southeast Iran experienced humid conditions between 1550 and 1300 years ago, which coincided with the economic prosperity of the middle to late Sassanid Empire.
Keywords: Climate change, Sassanid, Bronze Age, Sediment core, Achaemenids.
Introduction
This study aims to reconstruct the paleoclimate history in southeastern Iran by tracing the landscape changes and climate fluctuations since the Late Bronze Age and their impacts on human societies based on palaeo-environmental analysis of a wetland system. It will further evaluate the possible impacts of climate change on major ruling dynasties of Iran since the Late Bronze Age. An example of the latter would be following the territorial extent of major ruling dynasties from historical records, which would have been quintessential to society’s prosperity and growth coeval to favorable climatic conditions for agriculture and trade, and the development of city-states. The study involves a multi-proxy palaeo-environmental reconstruction using geochemical, and paleoecological proxies in a 250-cm long peat sequence near the archaeological complex at Konar Sandal near Jiroft, covering the last 4000 cal yr BP. The different proxies suggest changes in elemental concentrations, stable isotopes, and pollen records.
Materials and methods
Palynological analysis were done in Thirty-five subsamples at intervals of 1-10 cm at the Institut Méditerranéen de Biodiversité et d’Ecologie, Aix-en-Provence, France by procedure described by Gurjazkaite et al. (2018).
Geographical setting
Konar Sandal (25 km south of Jiroft in southeast Iran) is the main excavation site in the Jiroft Valley. Several high mountain chains surround it, some of them rising to 3700 m asl (Fig. 1). The Halil Rud stretches from north to southeast for almost 400 km through fertile agricultural land before draining into the Jazmurian playa south of Konar Sandal. The water level in the river fluctuates throughout the year.
Results
The sediment core was divided into six major units based on the sedimentological, geochemical, and palynological characteristics (Fig 2 and Fig. 3). The elemental ratios (Si/Al, Ti/Al, and Fe/Al) had relatively low values in Unit 1 (U 1; 250-189 cm; 4011-3548 cal yr BP). The first significant appearance of Cerealia-type pollen occurred in this unit extending from 3880-3700 cal yr BP (230-207 cm). The δ13COM showed a distinct increase in Unit 2 (U 2; 189-164 cm; 3548-3293 cal yr BP). Unit 3 (U 3; 164-134 cm; 3293-2897 cal yr BP) was characterized by high elemental ratios (Si/Al, Ti/Al, and Fe/Al). The K/Ti ratio had the highest values in the entire core in Unit 4 (U 4; 134-106 cm; 2897-2302 cal yr BP). δ13COM values were more negative in Unit 5 (U 5; 106-61 cm; 2302-1540 cal yr BP). Unit 6 (U 6; 61-10 cm; 1540-854 cal yr BP) was characterized by moderate values of different elemental ratios.
Discussion
Around 3950 cal yr BP a wet period prevailed based on elemental ratios, stable C isotope, and pollen (Fig. 3). Between 3900 and 3300 cal yr BP, mild climate conditions developed. significant appearance of Cerealia-type pollen and agricultural activities existed between 3900 and 3700 cal yr BP. Dry and windy conditions followed from ca. 3300-2900 cal yr BP with the driest conditions around 3200 cal yr BP coinciding with the regional Late Bronze Age cultural collapse. The driest conditions in this dry period occurred around 3200 cal yr BP, coinciding with the decline of the Jiraft Bronze Age civilization at the end of the Bronze Age. The long wet period extending from 2900 to 2300 cal yr BP with a high presence of Sparganium-type and intensive agricultural practices. Wet conditions in the Jiroft valley from about during this period, simultaneously with the flourishing of the powerful Medes and Achaemenid empires, facilitated extensive agriculture. The decline of the Achaemenid Empire coincided with the beginning of a dry period that made agriculture less prosperous in Jiroft Valley for nearly 200 years. The highest Ti/Al values coeval with the lowest δ13COM values suggest an increase in Aeolian activity and dry conditions between 2100 and 1650 cal yr BP. The Jiroft Valley once again experienced humid conditions between 1550 and 1300 cal yr BP, which coincides with the economic prosperity of the mid to late Sassanid Empire (Fig. 4).
Conclusion
In the present study, using a combination of geochemical and pollinological indicators, we examine the paleo-environmental changes of the ancient Jiroft valley in the southeast of Iran during the past 4000 years and their possible effects on the settlements of the Bronze Age and the main dynasties that ruled Iran based on records.
The Jiroft Valley experienced wet conditions between 1550 and 1300 cal yr BP, which overlapped with one of the most extensive territorial boundaries in Iran’s imperial history (the Sassanid Empire in the early 7th century C.E.). Although mild conditions prevailed between 1315 and 854 cal yr BP, agricultural activities declined, probably due to weak succession and political instability. We evaluate the archeology and history of territorial borders, economic and political prosperity. Paleo-environmental reconstruction shows that the wet periods and increased agriculture in the Jiroft Valley coincided with the peak of political influence and economic wealth of the Achaemenid and Sassanid empires. Therefore, more detailed paleoclimatic records would be helpful for investigating the interplay of political and climatic factors in the development and decline of ancient settlements and imperial powers in Eurasian history.
The potential vulnerability of primitive societies to natural disasters, such as droughts, floods, and famines caused by climate change, is an important issue that requires careful study. The main aim of this research is to investigate the possible effects of ancient environmental and climatic changes on Bronze Age settlements in southeastern Iran, as well as the main dynasties that ruled Iran based on archaeological and historical evidence of territorial boundaries, economic and political prosperity. Adaptation of climatic and cultural changes in the southeast of Iran can provide valuable information for researchers. In this regard, this article aims to answer the question of whether climate change has affected the ancient societies of Jiroft, and to what extent climate change has affected the economic prosperity and political influence of the ruling dynasties that have affected Iran. In the present study, using a combination of geochemical and pollinological indicators, we examine paleoclimatic changes of the southeastern plateau of Iran during the past 4000 years. Significant agricultural activities existed between 3900 and 3700 years ago in the southeast of Iran during moderate climatic conditions. Dry conditions with increased dust prevailed over the region from 3300 to 2900 years ago. Wet conditions from about 2900 to 2300 years ago facilitated extensive agriculture and coincided with the flourishing of regional governments such as the Medes, Urartos, and Mannas in the western Iran, and after that the Achaemenid Empire throughout Greater Iran. The decline of the Achaemenid Empire coincided with the beginning of a dry period that made agriculture less prosperous in Jiroft for nearly 200 years. Southeast Iran experienced humid conditions between 1550 and 1300 years ago, which coincided with the economic prosperity of the middle to late Sassanid Empire.
Keywords: Climate change, Sassanid, Bronze Age, Sediment core, Achaemenids.
Introduction
This study aims to reconstruct the paleoclimate history in southeastern Iran by tracing the landscape changes and climate fluctuations since the Late Bronze Age and their impacts on human societies based on palaeo-environmental analysis of a wetland system. It will further evaluate the possible impacts of climate change on major ruling dynasties of Iran since the Late Bronze Age. An example of the latter would be following the territorial extent of major ruling dynasties from historical records, which would have been quintessential to society’s prosperity and growth coeval to favorable climatic conditions for agriculture and trade, and the development of city-states. The study involves a multi-proxy palaeo-environmental reconstruction using geochemical, and paleoecological proxies in a 250-cm long peat sequence near the archaeological complex at Konar Sandal near Jiroft, covering the last 4000 cal yr BP. The different proxies suggest changes in elemental concentrations, stable isotopes, and pollen records.
Materials and methods
Palynological analysis were done in Thirty-five subsamples at intervals of 1-10 cm at the Institut Méditerranéen de Biodiversité et d’Ecologie, Aix-en-Provence, France by procedure described by Gurjazkaite et al. (2018).
Geographical setting
Konar Sandal (25 km south of Jiroft in southeast Iran) is the main excavation site in the Jiroft Valley. Several high mountain chains surround it, some of them rising to 3700 m asl (Fig. 1). The Halil Rud stretches from north to southeast for almost 400 km through fertile agricultural land before draining into the Jazmurian playa south of Konar Sandal. The water level in the river fluctuates throughout the year.
Results
The sediment core was divided into six major units based on the sedimentological, geochemical, and palynological characteristics (Fig 2 and Fig. 3). The elemental ratios (Si/Al, Ti/Al, and Fe/Al) had relatively low values in Unit 1 (U 1; 250-189 cm; 4011-3548 cal yr BP). The first significant appearance of Cerealia-type pollen occurred in this unit extending from 3880-3700 cal yr BP (230-207 cm). The δ13COM showed a distinct increase in Unit 2 (U 2; 189-164 cm; 3548-3293 cal yr BP). Unit 3 (U 3; 164-134 cm; 3293-2897 cal yr BP) was characterized by high elemental ratios (Si/Al, Ti/Al, and Fe/Al). The K/Ti ratio had the highest values in the entire core in Unit 4 (U 4; 134-106 cm; 2897-2302 cal yr BP). δ13COM values were more negative in Unit 5 (U 5; 106-61 cm; 2302-1540 cal yr BP). Unit 6 (U 6; 61-10 cm; 1540-854 cal yr BP) was characterized by moderate values of different elemental ratios.
Discussion
Around 3950 cal yr BP a wet period prevailed based on elemental ratios, stable C isotope, and pollen (Fig. 3). Between 3900 and 3300 cal yr BP, mild climate conditions developed. significant appearance of Cerealia-type pollen and agricultural activities existed between 3900 and 3700 cal yr BP. Dry and windy conditions followed from ca. 3300-2900 cal yr BP with the driest conditions around 3200 cal yr BP coinciding with the regional Late Bronze Age cultural collapse. The driest conditions in this dry period occurred around 3200 cal yr BP, coinciding with the decline of the Jiraft Bronze Age civilization at the end of the Bronze Age. The long wet period extending from 2900 to 2300 cal yr BP with a high presence of Sparganium-type and intensive agricultural practices. Wet conditions in the Jiroft valley from about during this period, simultaneously with the flourishing of the powerful Medes and Achaemenid empires, facilitated extensive agriculture. The decline of the Achaemenid Empire coincided with the beginning of a dry period that made agriculture less prosperous in Jiroft Valley for nearly 200 years. The highest Ti/Al values coeval with the lowest δ13COM values suggest an increase in Aeolian activity and dry conditions between 2100 and 1650 cal yr BP. The Jiroft Valley once again experienced humid conditions between 1550 and 1300 cal yr BP, which coincides with the economic prosperity of the mid to late Sassanid Empire (Fig. 4).
Conclusion
In the present study, using a combination of geochemical and pollinological indicators, we examine the paleo-environmental changes of the ancient Jiroft valley in the southeast of Iran during the past 4000 years and their possible effects on the settlements of the Bronze Age and the main dynasties that ruled Iran based on records.
The Jiroft Valley experienced wet conditions between 1550 and 1300 cal yr BP, which overlapped with one of the most extensive territorial boundaries in Iran’s imperial history (the Sassanid Empire in the early 7th century C.E.). Although mild conditions prevailed between 1315 and 854 cal yr BP, agricultural activities declined, probably due to weak succession and political instability. We evaluate the archeology and history of territorial borders, economic and political prosperity. Paleo-environmental reconstruction shows that the wet periods and increased agriculture in the Jiroft Valley coincided with the peak of political influence and economic wealth of the Achaemenid and Sassanid empires. Therefore, more detailed paleoclimatic records would be helpful for investigating the interplay of political and climatic factors in the development and decline of ancient settlements and imperial powers in Eurasian history.