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

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

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

Abstract
The Neolithic process and the extension of the Neolithic lifestyle have been one of the issues raised in recent decades in archeology, and archaeologists have come up with a variety of approaches to explain why and how this event occurred in human life. The Neolithic period can be considered an important milestone in the history and life of mankind. Archaeological studies show that several regions in the Near East experienced Neolithization, and Azerbaijan was a regional marginal area that expanded and reflected the Neolithic centers. In the late Neolithic stage, for the first, non-indigenous groups settled in the plains around Lake Urmia as the center of the area and then this center became the center spread to the outskirts in over time. Despite extensive research carried out in various parts of northwestern Iran, there is little and disproportionate evidence of the Neolithic period in the eastern part of Azerbaijan, and the settlements of the late Neolithic period in the eastern part of Azerbaijan are far less well known and there is a fundamental questions relation with the archaeological situation, chronology, the nature of culture and regional and trans-regional interactions in the eastern parts of Lake Urmia during this period. Since this area is considered to be the bridge between East and West in the northwest of Iran, it can play an important role in defining the sixth millennium BC. Today, there are new archaeological evidence of the existence of the late Neolithic settlements in the area, which is also in the horizon with Haji-Firuz. In the present article, it is attempted to present a new interpretation of the late Neolithic period in the region based on descriptive-analytical methods based on the archaeological findings obtained from Horand region in comparison with the traces of Haji-Firuz and also by reviewing previous studies.
Keywords: East Azarbaijan, Horand Region, Urmia Lake Area, Neolithic Period.

Introduction
The clarification of the archaeological situation and the sequence of the settlements of different cultural-geographical regions and its introduction into the archaeological community is indispensable. Northwest of Iran has a sequence of prehistoric to Islamic periods due to its proper situation and its specific situation. This area of the Paleolithic period later, even in historical and Islamic periods, has been the only short-lived interruptions in the area. The study of the cultural courses of the region and its comparison with its archaeological area with the neighboring regions with the aim of examining the settlements patterns and examination of bilateral and multilateral regional and trans-regional relations in each period, include the most basic stages of explaining the evolution of past societies in the ancient Prehistoric history. Investigating the role and position of Northwest of Iran during the Neolithic period and its causes, comparing the cultural values of northwest of Iran with adjacent cultural areas and examining regional and trans-regional obstacles and the role of these interactions in shaping the settlement of each period and presenting of the general framework of regional are the goals and necessities of this research which the present research questions have been presented in these frameworks. It seems that Northwest of Iran during this period has been able to establish its strong ties with geographical and natural status. The most important questions and hypotheses related to the Neolithic sites of Horand region include:
1. Is the material culture of this area in the Neolithic period, especially with the emphasis on the pottery has local characteristics? It seems that the tradition of pottery in this area has been affected by the lake Urmia.
2. What are the characteristic of sites of the Neolithic period?  these sites are usually located near or in the same place as the nomads.

Results and Discussion 
Horand region consists of three districts of Chahardangeh, Dodangeh and Dikleh that are located in the east of northwest of Iran and due to geographical conditions and suitable environmental capacities, it has been the basis for creating human settlements in different periods. During the survey of Horand, a large number of prehistory sites were identified, including three sites in the Dikleh that relate to the Neolithic period. The reasons for this - the shortage of settlements in the Neolithic period and before that – whatever, the geographical and environmental conditions of these high valleys, played a fundamental role in this situation. Some people say that the main reason for this is the extreme cold weather and believed that elevations above 1500 meters above sea level have been effective in this process and others have referred to the poor conditions of fertile soil for agriculture. Along with such factors, it should be noted that the eastern part of the Urmia Lake has a wealth of pasture resources that has continued the form of livestock-based livelihood until now. Horand region is one of the most eastern parts of Azerbaijan, which can be considered as one of the intersectional centers in the cultural interactions with the Urmia Lake in the west, the Ardebil plain in the east and the Abharrood region in the south, from the same period of the late Neolithic, it has provided a framework for the formation of its native cultures. Based on the types of pottery of Neolithic period that collected from this region, and the association of these types of pottery with the periphery, we found that the Neolithic pottery of this area is influenced by the culture of Haji Firuz. In fact, residents of the Neolithic period in Horand were people familiar with the cultures around Urmia Lake.

Conclusion
Horand region is one of the most eastern parts of Azerbaijan, which has grown from various periods in the Neolithic period and has formed the basis of the early Iranian villages with a mountainous character. The villages that remain intact and unchanged in terms of land use, housing, tools and agricultural equipment over time. The Neolithic sites in Horand region are located in the valleys and highlands, and have all the morphological features of modern settlement nomads. Although the cultural material studied in this paper is derived from archaeological studies, it can be partly used to clarify the various dimensions of the archaeological of the Neolithic period in Hornad region, although the results are relative. Understanding the pattern of settlement and the impact of environmental and biological factors on the formation of sites have a fundamental role. Horand region due to a combination of economy based on agriculture and animal husbandry and the lifestyle continuum from pre-history to the present is very important. Based on the Neolithic pottery collected from the sites of Horand and the association of these pottery with the periphery, we found that the Neolithic pottery of this area is influenced by the culture of Haji Firuz. Archaeological evidence from the northwest of Iran shows that the Urmia lake is the source of the expansion of the Neolithic to other parts of Azerbaijan. Based on archaeological evidence, the hypothesis of demographic pressure (due to the increasing number of settlements in the Urmia lake) and the cultural spread around Urmia Lake, it is concluded that groups of seasonal nomads in the Urmia lake region are searching for areas susceptible, enter to Horand during the late Neolithic period. the culture of Neolithic in Horand in the east of Azerbaijan is the continuation of the late Neolithic of Urmia lake.

Abstract
The previous studies on the Elamite pottery generally focused on the form and shape of the artifacts. From the perspective of fabric, very few studies have explored the Elamite pottery. The pottery type studied in this paper is orange (ranging from light brown to red) composed of a tempering material, sand and white particles. The core of this no ornamented, wheel-built pottery is black. In an investigation to outline the scope and boundaries of Haft Tapeh ancient city, a number of the Elamite pottery samples were recovered in certain layers dating back to the late ancient Elam (Sukalmah) and the Middle Elamite near the adobe structures of Haft Tapeh. Haft Tapeh refers to a structure belonging to the Elamite Era located in Khuzestan and south of Susa. One major finding in this city is a tomb from the Middle Elamite Era. Since 1965, this building has been investigated by Negahban and later by Mofidi-Nasr abadi. Thus, Haft Tapeh can undoubtedly be considered a city belonging to the Elamite Era. In this light, the pottery type in this geographical scope can be particularly useful for comparison of similar artifacts found in Isfahan and Chaharmahal and Bakhtiari, both of which could be associated with the Elamite Era. This study focused on Asgaran and Saba as two regions in Isfahan and central part of Ardal in Chaharmahal and Bakhtiari. A total of 10 pottery samples were randomly selected from these regions. They were then compared in terms of fabric and composition against 4 counterparts found in archaeological layers of Haft Tapeh belonging to the Elamite Era. It should be noted that the two-color body in the pottery sample is not at all associated with the type of compounds or curing temperature, Since the two parts are identical in terms of composition. Moreover, it seems that the main reason for the two-color body lies in the curing conditions and techniques (oxidation and reduction) inside the furnace, leading to two different colors. Apart from that, there is a kind of orientation in the components of pottery samples, potentially indicating they were built on wheels.
Keywords: Elam, Orange-Red Pottery, Petrography, XRD, Ft-IR.

Introduction
One of the surrounding regions cover the north of present-day provinces Fars and Khuzestan as Elamite centres in the ancient era. The noteworthy point about these regions is their potentially rich metal mines. This has been mentioned in the Mesopotamian inscriptions, mainly explaining the link between the Mesopotamian plain and the highlands of Elam. The present-day provinces, Khuzestan and Fars, have small potentials for metal mines. Hence, they only served as surrounding regions supplying the metals. However, little investigation has been done on the archaeological data from the Elamite Era. It is crucial to carry out a historical study on these regions along with the archaeological data to enlighten the dark spots in the Elamite Era, and ultimately provide a toponymy of the Elamite cities. One instance of such archaeological data involves various types of local pottery in Khuzestan (as a central city of Elam), which was compared through petrography against the samples recovered in Isfahan and Chaharmahal and Bakhtiari (as two dently the era in surrounding regions). Thus, this paper intends to discuss more con which this type of pottery was built and its origin in order to provide a toponymy of the previously mentioned cities based on historical and archaeological data. In Miankooh, Ardal, more than 76% of Elamite sites have been reported to be nomadic. This is highly important alongside the neighborhood of this province and Isfahan with regard to the toponymy of Zabshali and LU.SU. Meanwhile, there are a considerable number of pottery samples from this region comparable to their counterparts across the Elamite centers. 
The surrounding regions of Elamite centers (Susa and Anshan) have so far been rarely explored. One of such surrounding regions stretched across the norther of Elamite centers, covering certain areas of present-day provinces Isfahan and Chaharmahal and Bakhtiari. In addition, there are pottery samples from the Elamite Era found in Khuzestan (as one of the central districts of Elamite), even though they have rarely been explored in studies on the Elamite Era. This can be partly associated with the limited number of such pottery samples against their counterparts from the Elamite Era in Khuzestan. Nonetheless, the noteworthy point about this pottery type is the great similarity (discussed later) in Khuzestan to those recovered in Isfahan and Chaharmahal and Bakhtiari. Therefore, this study attempted to explore these regions from the Elamite Era through an interdisciplinary approach involving archeology, archeometry and history of northern Susa and Anshan. Despite the importance of the regions surrounding Elamite centers (Susa and Anshan) based on the Mesopotamian inscriptions, insufficient effort has so far been made to investigate the Elamite Era in Isfahan and Chaharmahal and Bakhtiari as two surrounding regions. Nevertheless, the pottery type studied in this paper has been frequently found in Isfahan and Chaharmahal and Bakhtiari. In this study, great effort was made to review the geographical locations of the two provinces in Elamite Era according to written sources and archaeological evidence. Moreover, the pottery artifacts were petrographically examined to find out whether or not the samples recovered in Haft Tapeh, as a key central spot in Khuzestan during the Elamite Era, are congruent with the clay artifacts found in Isfahan and Chaharmahal and Bakhtiari from the perspective of appearance and textural characteristics. In fact, the discussion revolves around the possible involvement and predominance of the Elamite in Isfahan and Chaharmahal and Bakhtiari, while providing a toponymy of ancient Elamite regions in those provinces today.

Conclusion
The specific pottery type in this study indicated a remarkable frequency in Isfahan and Chaharmahal and Bakhtiari. Moreover, it proved to be similar to counterparts recovered at Haft Tapeh (Khuzestan) in terms of fabric, production technique and curing temperature. It is essential to point out the pottery types across the northern Elamite centers which have been rarely explored so far. The specific pottery type examined in this paper can definitely be considered an Elamite artifact. It should originate from the Zagros Mountains in the north of Khuzestan (Bakhtiari highlands). That is perhaps why this type of pottery is less abundant in Khuzestan as opposed to Isfahan and Chaharmahal and Bakhtiari. According to the constituent element of pottery samples, this pottery type does not originate from Khuzestan Plain, but it can rather be traced in Zagros Mountains.  Therefore, it can be argued that the Elamite were involved in dominated Isfahan and Chaharmahal and Bakhtiari, while delving into the toponymy of Elamite cities such as Zabshali and Tukrish in certain parts of Isfahan and LU.SU in Chaharmahal and Bakhtiari. The regions never explored from that very perspective can set out a new avenue of Elamite research into these Iranian provinces. Finally, it is recommended that future studies focus on northern regions of Elamite centers including the present-day Isfahan, Yazd and Chaharmahal and Bakhtiariti so as to clarify many of the archaeological ambiguities of Elamite Era. After all, an in-depth investigation of Mesopotamian inscriptions can help scholars realize the importance of these regions, while revealing their archaeological capacities.

Abstract
Among the ancient motifs from Iran and Mesopotamia, some pictures showing special shaped beakers can be seen but unfortunately no explicit comment has been made on the nature and function of these forms by researchers. Recently, 7 pottery beakers have been found in a Mannaean cemetery (Mala Mcha) and and Iron Age grave (Kani Koter) in northwestern Iran and authors are believed that their shape and possible function are compatible with some of these ancient motifs dating back from the third millennium B.C. to the Achaemenid period. A glazed beaker from Tepe Hasanlu which belongs to Iron Age II also has the same characteristics as the Mala Mcha and Kani Koter examples. Considering the symbolic meaning of the Lotus flower in ancient cultures, as well as their form and decoration, it seems that the Mala Mcha, Kani Koter and Hasanlu pottery beakers have a special application. Previously some researchers in some cases have interpreted these motifs as a Barsom (Barsam) or flower (often lotus). The authors propose that these objects that can be seen on ancient reliefs or ivories are simple or painted beakers equivalent to the clay beakers unearthed in these sites. Probably this type of beaker was not used as normal container, but it seems to have been utilized by high-level people during special events and banquets perhaps for drinking prized liquids. In addition, it seems that the samples of the Mala Mcha, Kani Koter and Hasanlu in terms of shape and possible there function, are comparable with some of the patterns of the motifs discussed in this paper. The grave of Kani Koter is rich and belonged to a warrior of high status. Also the graves of Mala Mcha which had pottery beakers were richer than other graves, and it seems that the users of them have superior position over others. The glazed beaker of Hasanlu was as well as obtained from a room with local and Mesopotamian specimens in a special room. In ancient motifs, users of these objects have a superior social position than others. In this paper, in addition to comparing the shape of the beakers of Mala Mcha, Kani Koter and Hasanlu with the remaining ancient motifs, Chromatography experiments were carried out which unfortunately, did not receive any laboratory data on its application.
Keywords: Pottery Beaker, Banquet, Mala Mcha, Kani Koter, Hasanlu, Ancient Motifs.

Introduction
Archaeological excavation in 2012 at the Mala Mcha Cemetery near the ancient Mannaean site of Ziwiye in Kurdistan province, a number of very interesting pottery beakers were found which, according to the authors, seems to be the objects depicted in the images of ancient motifs from the third millennium BC until the Achaemenid era in the Middle East and Iran. Examples of these motifs are presented in the papers.
From Mala Mcha cemetery, five pottery beakers were found with a narrow body, and a large mouth that three beakers were identified from grave No. 5. Another two beakers is excavated from grave No. 7. The graves of 5 and 7, those containing these beakers are richer than others. The special shape of these beakers shows that they have probably had a special function. The painted beakers have a petal shape similar to lotus flowers. These potteries are often have a fine temper, well-fired, burnished, wheel-made and are comparable with Ziwiye potteries. The Garve of Kani Koter is located in the near of Mala Mcha and its tomb was destroyed by illegal excavator. The burial goods of it is rescued by Cultural Heritage of Kurdistan province. In Kani Koter grave 2 blue glazed beaker obtained which resemble to plain beakers of Mala Mcha. Different objects were obtained from this grave that indicating its richness that its artifacts is dated to Iron Age III.
In addition to these pottery beakers, a glazed pottery from the Burned Building II of Hasanlu (Iron Age II) also has a form and decorations that are almost identical to the pottery beakers of Mala Mcha and Kani Koter. In addition to these beakers, a number of glazed terracotta jars are also identified in the same layer that depicted them in Assyrian reliefs. Hasanlu’s sample is also one of the few glazed pottery that is of high quality and obtained with ivory and special objects, and it is believed that these objects are derived from the cultic context of Burned Building II of Hasanlu. The shape, motifs and the place of Hasanlu’s glazed beaker are indicative of its importance. The Excavator of Hasanlu believes that this beaker is made in the Solduz region, although it’s very similarity with objects from neighboring areas. 
It should be noted that the similarity between the burial goods of the Mala Mcha’s finds with the Mesopotamia and Iran is not limited to beakers and visible in other objects. A number of Mala Mcha vessels are similar to the Pasargadae and Assyrians potteries and artifacts of Kani Koter is resemble to Urartian, Assyrian and Mannaean samples. In Hasanlu’s excavation, various objects have been compared with the images of neighboring areas, and in particular the Assyrian. 

Ancient Motifs and Interdisciplinary Test 
In the ancient motif of the Mesopotamia and Iran sometimes a picture of a particular object is seen that used by some high-ranking people or gods, which has so far not been accurately detected about its nature and application. This object, often with a narrow body and a wide mouth, has a length of at least one beaker which according to the authors of this article can be a picture of a beaker. This image (beaker) is seen from the third millennium BC to the middle of the first millennium BC but in the first millennium BC is more. In this paper some ancient motifs with resemble picture like a seal impression from Tell Asmar that belong to third millennium BC, an ivory from Nimrud (1000-850 BC), Assyrian wall relief from Tiglath-Pilesar III from Nimrud have been compared. Among the palace reliefs of the Assyrian period; Sargon II (722-705 BC), there are similar motifs. In this motif, there is a banquet subject that is used this beakers, although its beaker is not exactly the same with the samples obtained from western Iranian excavations. Similar discussed beaker is seen in the Esarhaddon stone stele from Zanjirli. Some of the images in the following periods like Persepolis’s plain beakers which is seen in the hands of elite Persian and Median nobles on the East and north side of the Apadana is resemble to pottery beakers. These images are also presented as flowers. The similar picture is also seen in the rock-cut tombs of Qizqapan. To understand the function and the type of material used in the beakers of Mala Mcha, a chromatographic test was performed on them, which unfortunately did not produce the data that indicated their use. 

Conclusion
In some ancient motifs in the Mesopotamia and Iran from the third millennium BC to the Achaemenid period, a picture of a beaker-like object is seen in the hands of the gods and high-ranking people. These objects are depicted in important places or on important objects such as ivory. According to the authors, the similarity of the five pottery beakers from Mala Mcha graveyard and tow similar beakers form the tomb of Kani Koter, as well as a sample of beaker from Tepe Hasanlu IV could be considered as suitable samples for the type of function of these vessels. The motifs are also reminiscent of the role of the Lotus flower, a symbolic flower in the Middle East. The use of painted beakers that is the same can be seen reminder of Lotus flowers.

Abstract
Stones are important and durable material in construction building; objects and make cultural artifact on the prehistory until now. Objects are very important between the entire artifacts that made by stone, Easy stuff catches for artist due to improve making stone object in the different region. One of the most important stone in the prehistoric of Iran that is good material for carving and applies in life was chlorite. A best attribute for decorated due to this metamorphism stone used in all of Iran history so after 5000 years, this time some workshop in Mashhad city is Functioning and must be support these for improve industrials and identity this handicraft in contemporary, Hence in this paper by Analytical and technical approach based on comparative studies to examine the species, extent , methods of making and decorating stone chlorite in ancient times (archeological areas in the South East of Iran) and contemporary (Mashhad  carving stone workshops) will be paid. The result of this research show that we need rehabilitation this industrial decoration by bankroll  of the history background of carving chlorite stone and also try to find a new technology for improve  quantity and quality  making in Kerman province and Mashhad city According to the chlorite stone sources  in contemporary. Meanwhile, Iran’s stone-cutting art with its various uses in buildings and monuments over the thousands of years of flourishing its artists have created remarkable masterpieces of various types of stone. One of the most prominent stones in the pre-history of Iran due to its functional and decorative nature and has been used for thousands of years, is the chlorite which is under the main branches of the Metamorphic rocks. In the ancient world, chlorite stones were used as fillings for necklaces, stamps, religious sculptures, burners, bowls, pots, jars and other kitchen utensils, molds for molding copper and bronze, and in some cases has been used as Pottery fillers. 
Keywords: Comparative Study, Chlorite Stone, Halil Civilization, Technology, Harkareh Mashhad.

Introduction
Generally, the most important reasons that led to the use of these stones from the prehistoric period to the present are as follows: Availability and ease of mining operations, ease of mining, ease of carving (simplicity of decorating, shaping, cutting, engraving, etc.), appropriate heat resistance (phase-shifting properties), porosity and density above is chemically neutral to acids and bases. The purpose of the present study was to identify more and better the pre-historic (Bronze Age) chlorite containers southeast of the Iranian plateau and study the methods of making the above mentioned containers Also, their comparative studies with the works and methods of making chlorite containers of Mashhad in contemporary are. The present study is an effective step in understanding the traditional methods of stone construction in Mashhad which has now fallen out of economic prosperity and production because of advanced machinery and machine mechanization and it will forget and not pass it on to future generations. It is, therefore, hoped that by further knowledge and extensive study of such arts and crafts in the past, it would be prevented from being erased in the mind of the contemporary man. In the present study, it is attempted to address two basic and important questions in the field of techno lithic works of chlorite and its comparison with contemporary lithography in Mashhad. In the first stage, it was attempted to gain a comprehensive understanding of the technology and methods of making prehistoric chlorite works from the southeastern parts of Iran. Therefore, to answer this question, have been referred to reviews of areas such as Yahya, Shahdad, Jiroft and Shahr e sokhteh sites. The second question in the present study was how to construct and methods of stone work in Mashhad. In this regard, it has been attempted to answer this question with comparative field studies existing between the methods of production and the prehistoric works of contemporary times. Considering the importance of lithography and the creation of chlorite art in prehistoric-Iranian to contemporary times and its ability to be revitalized as an art-industry, the present study together with the analysis and description of information and data from archaeological studies followed the various stages of production and decoration of chlorite stones in ancient and contemporary times as well as comparing their subtle and subtle changes in terms of construction technology and their decorative and qualitative differences over time. For this reason, it has been attempted to address the above issues by using library and field studies.

Conclusion
In an overview of today’s state of this art - industry in Iran and especially in Mashhad as the only active producer in the country it can be said that it retains some of the ancient methods that add to its authenticity. But new machinery and marketization, in contrast to its religious and antiquity in antiquity and many other issues, have led to a lack of creators’ sales and cheating in the production of poor quality works. Also, since there has been no attempt by the Cultural Heritage and Crafts Organization to revive traditional designs and not to repeat past poor quality work the industry today has been artificially depleted and its creativity has been lost in most cases, and it is not reproduced at present with the repetition of the past. Therefore, it is recommended that by investing in this industry, it should be positioned among the export basket and dynamic handicrafts of the country. Today, countries such as India, which have had significant stone-making industry in the past, have today advanced the industry by investing and encouraging craftsmen to produce handicrafts from various stones. It has become one of the country’s most important artistic exports. In the contemporary era and state of the art in the country today, the issue of identifying materials and tools used in traditional arts and examining the possibility of producing them while maintaining their authenticity is of great importance. Considering the continuity of the industry - art of lithography of soft rock, and in particular chlorite, for about 5,000 years in the country, Unfortunately, new products have had a remarkable decline in quality given the simplicity of the work and the mechanization of many of the actions. This applied industry is becoming a low-quality decorative industry. In this regard, the stone industry of Mashhad, which is today the only place and the most active center for the production and decoration of chlorite stone objects in Iran, needs serious attention because its products have undergone a severe decline in quality over the past few decades. In addition, with the loss of old masters, efficient young people have not been attracted to it. Therefore, considering the abundant resources of chlorite rock in Khorasan and Kerman province, there is potential for activating and enhancing the quality of its production in these centers by studying its artistic and industrial capabilities as well as trying to The revival of traditional designs and non-repetition of current high-quality work, as well as their up-to-date productivity and new technology can be achieved by artisans and artists.

Abstract
To balance the needs and actual or potential facilities, mankind has tried along with time. Water, ground, soil, road is from environmental factors forming a living place while one or more factors may play more important role depending on some situations. The culture is created due to people interactions and is progressing longitudinally and affects human activities. Ignoring the environment makes the debate impossible on cultural and behavioral conditions. Culture creates sites and phenomena around the spaces and places. Architecture is one of the main sites of culture in environment. Natural characteristics in the region of Ghahestan made the Ismailia – in the Islamic middle centuries - to establish defensive buildings due to cultural and religious conditions. The results made them to be in accordance with the political and natural conditions of the time. In spite of some environmental limitations, they provided their need in the environment and caused some sort of cultural and environmental accordance in the region. This study introduces the Kouh Zardan castle of Zirkouh city in South Khorasan. This castle has spent two different residence eras. The castle was used as a defensive place at the first era may be known as Saljooghi. Ilkhani’s were the second residents.The main question of the research is, what role has the natural geography of the area played in the castle of Castle Zardan Mountain architecture? The castle of Zardan Mountain has been built with regard to the environmental conditions of the area and the impact of the environment in the castle architecture space is not only in the use of native materials, but other factors such as climate, altitude, distance and proximity to water resources, geological structure and ... has played a key role in the formation of the castle. This paper is descriptive and analytical and its data has been through library resources and field surveys.
Keywords: Kouhzardan Castle, Architecture, Environment, Culture, Vegetation, Water resources.

Introduction
The breadth of the land of Iran, along with the diversity of its posterity, has created a situation in which the inhabitant should think in a special area of thought with creativity and sharpness in order to maintain, maintain and maintain their place of residence (Pazoki Tohruidi , 1376: 101). Environmental conditions, especially the climate, soil type, water resources, etc., can play a crucial role in the formation of a civilization (Wylie, 2007: 11). Among other factors that make use of these conditions in the environment, culture is. Culture is the result of an interpretation that humans themselves and their relationships with each other and nature (Abedi Sarvestani and Shah Vali, 1391: 2). If one looks at one of the applications of culture, then architecture as an outlook for human beings is one of the important aspects of culture that is studied in the geographic area as a perspective (Fayaz et al., 2011: 92). In many parts of Iran, there are works of old castles that have been constructed with the administrative and political conditions of their period and connect with their surroundings and create a solid structure. Quhistan is one of the places that has caused a favorable environment for the construction of the Ismaili dome in the Middle Ages due to its mountainousness due to the desert of central and loot, the plain called Afghanistan and the political and religious conditions. Castle Mountain Zadran One example of this type of castles, in South Khorasan province is located in the city Zirkouh the height of the mountain fortress Zadran on it and mastery of the environment, a perfect opportunity to the mountain’s topography around The fort is composed of mountainous and plain. In this article, the geographic conditions of the area and its impact on the architecture of Castle Zardan Mountain are discussed.

Castle Zardan Mountain
Castle Zardan Mountain is located in South Khorasan province, Zirkouh city and Zardan village, and is based on the point (UTM) at latitude and longitude 747004/3707960 with an average elevation of 1,770 meters above sea level. Castle Zardan Mountain is located above a single mountain (between 50 to 90 degrees) and overlooks the surrounding plains. The length of the castle is 100 meters and its width is 80 meters with an area of 8000 square meters and a height of 92 meters from the surrounding environment. The castle is based on a nearly square shape (Nasrabadi, 1391: 111). The architectural features of the castle include the remains of several towers, parts of the fence, the walls of the castle’s interior spaces, water cabinets, and several chamber-covered rooms. Citadel of the castle is located in the highest castle space. Some of the architectural spaces of the fortress are crafted in the rock form, so that rocks from the bed of this space can be used as building materials for the walls. In view of the architectural space of the castle building, it is seen that most of the residential spaces of the castle are opposite to the cold weather of the winter, so as to see some kind of compatibility with the winds of the area in this castle. For the construction of Ismaili castles, in addition to choosing it geographically, in the harsh areas, the villages near the fortress were chosen according to the Shiite religion, especially the Shiite Ismaili, as well as the environmental facilities including the water they had. Castle Zardan Mountain is located in a relatively blue area and today it is rich in agriculture. In the choice of castle, the environment was also considered vegetation, so that if materials such as bricks and pottery or melting metals were used for molding weapons, it was possible to make furnace with regard to vegetation.

Conclusion
Climatic factors have created buildings and spaces that are consistent with the environment, which is in fact the outlook for warm and dry regions, which expresses the complex relationships of man with its rough environment, so that architecture is the most obvious type of landscape (peasant, 1382: 68-67). Among these architectural views, it is possible to construct an Ismaili dome in most parts of Iran, especially in Qehistan. Castle Zardan Mountain is one of the Ismaili castles in Ghahistan, which is built according to the environmental conditions of the area and is related to some kind of architectural complexes of the castle with surrounding environment. Environmental factors were also very influential in the construction of the Castle Zardan Mountain due to cultural and historical factors, while how to form the fortress in order to adapt to natural conditions is more than anything else related to its surroundings. The influence of the environment in the castle architecture was not limited to the use of indigenous materials, but other factors such as climate, elevation, distance and proximity to water resources, geological structure, etc., also played a key role in the formation of the castle. In general, the most important factor is the formation of a water culture, access to water, and whether these water structures can be seen inside or outside the castle. But from other points of view, the castle landscape architecture is surrounded by the surrounding environment around the castle. The communication route is also seen in the perspective of the castle of Mount Zardan and other Isma’ili castles close by. The Castle Zardan Mountain is located on a single high mountain point with a steep pitch towards the surrounding area, for the sake of ease with the surrounding area and connecting with other Ismaili castles in the landscape.

Abstract
Ujan covers about 90 hectare area, where locates 5 Km away from modern Bostan Abad. Earlier construction of the urban center dates to 4-6 AH centuries that coincides to Seljuqs era. It developed during 7 and 8 AH centuries and reached to summit during middle Ilkhanid to Safavid period. It collapsed and destroyed during Qajar period. Here, there is an attempt to study effective elements in formation of Ujan and its consequent function, using descriptive-analytic view and historic research method, based on archaeological-environmental landscape. Finally, it is involved in reasons of collapse of the city. Bibliographic and field studies indicate that construction of the city was for midway positioning. In addition, present paper presents subjects about political and social history, architectural remains, urbanization, cultural remains, and different districts of the city including cemetery and administrative center. 
Keywords: Ujan, Seljuqid, Ilkhanid, Bostan Abad, Urbanization.

Introduction
Different factors involve and play significant role in formation of urban centers. Emergence and development of Iranian cities followed geographical, social, religious, defensive, administrative, and commercial conditions. Commercial routes and passages were effective and affected factors in formation of urbanization. Investigating such factors is effective in responding to location and reasons of emergence of a given city. Road networks were achievement of development during time, whereas dominated by various political, religious, security, and cultural elements. Reasons of abandonment and collapse of urban centers vary according to strategic and geographical position and function that divide to two natural and human factors. Generally, effective natural factors in abandonment of urban centers include earthquake, shift of rivers’ bed, landslide, drought, and lack of natural defensive barriers. Human factors could accelerate abandonment of an urban center that include remoteness from main routes or even side roads, warfare, disease, administrative policy, lack of enclosures and secure defensive ramparts. Cheap and low quality materials are among other factors that cause collapse of a city. Every urban center have especial function that suggests foundation of the area accordingly; among them are mining cities, ports, industrial cities, administrative-political cities, tourism cities, and etcetera. Understanding factors and elements of formation and development of cities are among the most important discussions since earlier times that attracted scholarships and resulted to different theories and models to analyze urbanization.   

Features of cities during Islamic period
Among features of Islamic urban centers were economic, social, military, and especially religious developments that played effective roles in formation and developments of urban centers even in earlier times. Islamic urbanization related to stability of government too, whereas emergence, development, and collapse of a city related to political circumstances. General studies on maps of Islamic cities indicate that many cities followed similar method and style of urbanization that shows probable common designer and architecture. Scholars also believe that designers and architectures planed maps before construction of buildings and constructed buildings and structures accordingly. In a miniature painting, dated to Babur reign, he points to a map in the hand of a man that designed it (Kiani 1365: 205). Islamic architectural thought in Islamic countries characteristically comprehended principles and generalities of civil programs then involved in details (Othman 1376: 27). In planning cities, there was emphasis on Jami and administrative buildings, where located public buildings in city center for public access. Tendency to privacy and peace in residential areas caused Iranian Islamic cities divide to two public and private parts, similar to pre Islamic urbanization. Bazar complex and extensions was pulses of urban life, where presented public and social activities. Residential area was private part of the city, where rest and peace dominated living atmosphere (Kheir Abadi 1376: 44). One can study urbanization according to different point of view. Scholar such as economists, politicians, historians, geographers, and philosophers investigate the subject from their point of view. There is not certain answer to relations between Islamic view and urbanization and their mutual effect. There are variations in effects on urban spaces and structural characteristics. According to Stern, urban life style followed earlier criteria after Islamic conquests, and it became Islamic in forms and generalities (Razavi 1387: 105-112). Cities are the most genuine center of civilization and cultural treasures, what should be recognized to make possibility to investigate evolutionary history of human life. Therefore, investigating cities that remained from earlier times play significant role in understanding political, social, administrative, economic, and cultural structures of societies that created them (Karimian 1384: 111-121).  Papoli Yazdi, quoting from Hufer, says that city is relation among six aspects: economic structure (variation of activity), social structure (social classes), body structure (public buildings), geographical position, law position, and political life (Papoli Yazdi and Rajabi Sanajerdi 1387: 50).

Ujan, Formation, Flourish and Collapse According to Historic Sources
According to historic sources, Ujan was alive earlier than Ilkhanid period, especially during Seljuq era. It existed as a strategic and important urban center, following different events including earthquakes, and wars; it was only during Ilkhanid period that the city reached to summit and glory. Every given historic city or monument partially imply political, religious, and social conditions that consequently followed political evolution, therefore, emergence cities with architectural nature is among the most important social evolution of Ilkhanid period. Historic city of Ujan was among important Ilkhanid cities (summer residence) at south of modern Bostan Abad, eastern Azerbaijan, where reconstructed during Ghazan reign. Ujan is among the cities that constructed by Ilkhanid rulers, while their Iranian viziers Islamicated new urban centers. Endowed city of Ujan was the summit of flourish in construction of public, martial, and administrative structures, and throne of Ilkhanid princes. 

Investigating Formation, Development and Collapse of Ujan, According to Archaeological Findings
Recognizing location of Ujan was at 1392, according to archaeological surveys at Bostan Abad regions. Historic and geographical descriptions of Ujan, especially Metraghchi’s illustrations remarkably helped to recognize location of the lost city. Site of Qullar, Ashraf Abad village (part of ancient Ujan), at eastern Bank of Ujan Chai River locates at 46-49-25 latitude and 37-35-48 longitude, and 1787 m longitude. Site of Dali Dareh Si locates 1 km away from Qullar (fig. 3). Constructing railway divided the area to two parts, and irrecoverably damaged the site (Velaiati 1385, 1392).  

Conclusion
Urban centers at the routes of main commercial and connecting networks, while potentially interconnected to other major cities or cities that geographically have abundant water sources, have opportunities to develop and survive. Therefore, location of city at commercial roads was highly signified, because made them capable to meet their needs and export their surplus. Urbanization at main roads highly signified and caused to flourish and wealth. By the circumstances, old cities appropriately coped with commercial activities and caused to raise townships and commercial parks next to carvansarai and small residences at ways. Alternatively, new urban centers emerged; among them was Ujan as an important city during Islamic Middle Ages at northwestern Iran, Azerbijan. 

Abstract
Rayen and Bam citadels, dating back to ancient civilization from the Sassanid period, has a favorable commercial position due to its location at the intersection of the North to the South of Khorasan and Govashir of Kerman to Bandar Abbas and the west to east of Fars to Baluchistan. Its geography and position on the route of the above-mentioned communication way has always been threatened and invaded by various ethnic groups and governments; the Kerman province during the Islamic period has been the base of riot clashes with the government forces, and construction of many of the Kermans’ citadels and castles had a security and defense function. Two citadels of the Rayen and Bam, from the Sassanid to Qajar era, have played an important role in the life of the communities and the preservation of security in the Kerman area. The main question is, what are the similarities and differences of the defense structures of these citadels from a security perspective? The present study want to identify the security defenses of the two Rayen and Bam citadel in Kerman province and achieve structural defensive patterns and ways to connect, share and differentiate them. The information of this paper was collected through library (documentary) methods, visual observation and comparison of the findings and the research was conducted using an adaptive-analytical method. The presence of a fence, ruler, watchdog, as well as crossed stands and machicolation indicate the military and security function of the two citadels. One can hypothesize that structure of the Rayen defense fortifications is influenced by the Bam Citadel. The results of this study indicate that due to the location of these citadels in the communication paths of Khorasan, Sistan, the center of Iran, these citadels and defense fortifications have been formed in these two regions.
Keywords: Comparative Study, Security Fortification, Bam Citadel, Rayen Citadel.

Introduction
There are numerous citadels in Kerman province. The importance of Kerman’s citadels is their value to Kerman local rulers and Rayen and Bam citadels are the most well-known castles. These citadels, dating back to civilization of Sasanian times, have a good commercial position due to their location at the intersection of the north-south of Khorasan and Gavashir of Kerman to Bandar Abbas and the west highway to east of Fars-Baluchistan. Their geographical position and route of the highway has always been threatened and invaded by different ethnic groups and governments; therefore, the main question is, how were the ways of sharing and differentiating the defense structures of these citadels from the point of view of defense and security? The present study sought to identify the security defenses of the two Rayen and Bam citadel in Kerman province and achieve structural defensive patterns and their connection, similarities and differentiations.

Research Methodology
The research data were collected using documentary methods, field observations, visual observation and comparison of the obtained results. Then, by comparative studies, considering the similarities and differences between the defenses used in these two categories is adapted with each other.

Background Research
The most comprehensive research on the defense fortifications of Rayen citadel is an article entitled security factors affecting the architecture of the Rayen-Kerman Citadel in 1394, carried out by the writer and Amir Hajlo at the second Birjand Archeology Conference, which dedicated solely to the fortifications of the Rayen Citadel. (Barsam, Amir Hajlo: 1394). Article titled Recognition of the Defense Forces of Bam citadel by Farah Bakhsh and Safa Mansouri (1394) carried out to recognize and introduce the southern fence of the Bam Citadel and has not referred to other defensive elements (Farah Bakhsh; Safa Mansouri: 1394) . Asadpoor Behzadi, in the book “Pearl of the Ancient Sea”, expressed the similarity review of the tower of the citadel to the Bam citadel (Asadpoor Behzadi, 1381). But emphasis is on Bam’s citadel historical perspective. Therefore, this paper conduct comparative study on the defensive fortifications of Bam citadel and Rayen citadel.

Text
Rayen is part of Kerman city with an area of 2596 square kilometers (Khayam and Rajab Ghaneh, 1393: 58), located in 110 kilometers south of Kerman and 28 kilometers southwest of Kerman to Bam road. Bam city, in north of Kerman, from east to Zahedan and Iranshahr, from south to Jiroft and from west to Bardsir city.
Factors affecting the development of defensive and security structures of Bam and Rayen Citadels
1. Military-defense factors
2. Positioning in the communication-commercial direction
3. Climatic features

A Comparative Study of Defense and Security Structures of Rayen and Bam citadels
The defense and security structures of citadels can be examined from enemies attack point of view from the exterior and the interior.
- External defense structures of the citadel
- being on the high
- Fence
- Tower
- Bowstring or outlets
- Ditch
-  Internal Defense Structures
- Entrance to the citadel
- Narrow alleys
- Ruling citadel
- way to escape
- Comparative analysis of defense and military fortifications of two citadel (similarity and differentiation aspects)
- Exterior structure analysis
- one of the first security and defense measures in the location of the citadel is their placement on a relatively high hill.
- the two citadel has a high and solid fence made of mud and brick
- the towers are built in sensitive areas that are located around the aristocracy or overlooking the entrances of the citadel to control the flow and departure of the people.
- other security measures in the construction of citadels were the presence of openings on the entrance that control the movements of people, the shooting or pouring boiling water or molten materials on the attackers.
- Ditch construction
- internal structures:
- Main entrance:
- Narrow alleys
- Ruler position
- the escape way of the ruler house and the ruler place in the citadel is another strategy in security and defense system.

Conclusion
Field studies and documentation show that the architectural structure of the Rayen and Bam citadel can be compared from three perspectives.
A): Security and Defense: The reason for the existence of these citadels for housing is due to the lack of security in the region, wars and bloodshed occurred in the area, these citadels built to protect the ruler family and his courtroom against local opposition. In fact, it can be said that the maintenance of sovereignty of government under any circumstances was a key point in the political structure of the past societies, since the fall of the ruler was the fall of a city. In designing a ruler house in these citadel, security issues strictly observed so that under siege conditions, escape routes prepared secretly for the ruler. More security provided by the passages of these citadels with a low and twisted screw width.
B): Climatic and communication conditions: citadels located in two completely different regions: the Rayen is in a cold and mountainous region in the foothills of the high mountains of Lalezar, Ramshak, Sarabnah, which is a natural barrier. Bam with tropical rainforest in a vast plain has no natural barrier but high and strong towers.
C) Plan and Materials: The principles of Iran traditional architecture are observed in the design and structure of these citadels. In terms of plan, both designed in rectangular form, but in terms of the dimensions, Bam citadel is larger.

Abstract
the star tile Apart from beauty and eye-catching, is noteworthy for yet another reason, adorning the tiles with poems by high-profile poets that have doubled the beauty of these tiles. Paying attention to these inscriptions can in some cases be a guide to literary scholars, as the tile recordings sometimes differ from literary manuscripts, The difference most often seen in multiple tiles, probably each produced in a different workshop, is the same, and may indicate the prevalence of that recording during tile production. On the other hand, in some cases, because of the tile year on which the tile was written, the attribution of some poems to a particular poet can be ruled out because of the precedence of producing these tiles over the year of the poet’s birth. It should be noted, however, that in some cases there are differences due to individual scribe error, which require careful use of the inscriptions on these tiles. Because the authors of these tiles were also not error free. The main question of this study is: Can golden tile inscriptions be considered as a basic version? And if so, to what extent can these inscriptions be considered important? The main hypothesis can be put forward as follows: Since tiles are manufactured in a wide range and in different centers, in cases where all the tiles indicate a particular form of verse recordings as opposed to literary manuscripts, tile inscriptions may be given more value. And these tiles are used for critical correction, but for poems that only represent one tile, it should be used more cautiously and deductive correction, in which case only tile inscriptions can be considered as a complement to manuscripts. The research method was based on reading the inscriptions on the tiles and then comparing the Rubaiyat and verses inscribed on the tiles with the recorded form in the literary manuscript..
Keywords: Inscriptions, Golden Tile, Literary Texts, Rubaiyat, Literary Copy.

Introduction
Tile art reached its perfection during the Ilkhanid period and was recognized as an ornamental marker in the culture and art of architecture (Lashkari et al., 201440:). During this period, golden tile was used in different shapes and sizes, with different designs, motifs and inscriptions, the study of which is important in the expression of beliefs and cultures of that age. Studying the inscriptions of these tiles can help scholars to correct literary texts. Because in some cases the inscriptions on these tiles are inscribed with a poem that differs from existing literary manuscripts, or because of the precedence of the year of tile production on the poet’s birth, one can reject the attribution of poetry to a particular poet. The main question of this study is: Can golden tile inscriptions be considered as a basic version? And if so, to what extent can these inscriptions be considered important? The main hypothesis can be put forward as follows: Since tiles are manufactured in a wide range and in different centers, in cases where all the tiles indicate a particular form of verse recordings as opposed to literary manuscripts, tile inscriptions may be given more value. And these tiles are used for critical correction, but for poems that only represent one tile, it should be used more cautiously and deductive correction, in which case only tile inscriptions can be considered as a complement to manuscripts. Almost all the tiles inscriptions, except for a few (Tile 3, 8, 9, 13, First Rubai 14, 16, 17) Exactly as mentioned in this article, it is also mentioned in Takht-e-Soliman tiles (see: Quchani, 1992) and Moghadam Museum tiles (see: Quchani, 1986) Due to limitations, the image of these tiles has not been rendered, but it is important for the reader to note that this is a repetition of the recording. Also, regarding the importance of the inscriptions on these tiles, Abdullah Quchani has mentioned this in his works and has even encouraged scholars to use the inscriptions for the purpose of correcting the literary manuscript (Quchani, 1992: 24).
As mentioned earlier, this paper attempts to correct the literary texts by using the inscriptions of the golden tile, therefore, 19 tiles were studied, all of them with poems by prominent Iranian poets, including Ferdowsi, Baba Afzal Kashani, Mahasti Ganjavi and ... have been Inscriptions written. Among these poets, Ferdowsi and afterwards Baba Afzal have been the most sought after tile makers and their poems are more heavily embedded in the tiles under study than other poets. The point discussed in this article is that in all of the tiles introduced, the poems that are inserted on the tile’s margins differ from those recorded in the existing literary manuscript, In most cases this discrepancy has also been recorded in other identified golden tiles (Takht-e-Soliman tiles, or in front of museum tiles, etc.), which suggests that these differences may be due to the prevalence of the face. Recordings have been in the making of the tiles, though one cannot firmly rule out individual errors in making these differences. And it is necessary to use the inscriptions of these tiles with sufficient care to correct the literary texts about the poems of the famous Iranian poet Ferdowsi,It should be noted the recorded form of these tiles, despite the differences with some corrected manuscripts, however, the recorded form of the this tiles is found in some other manuscripts which appear in footnotes It is literally inserted And this shows the importance of these inscriptions. It is also used in cases such as Tile No. 14 Poems on these tiles, which can be used as an important version for correcting controversial Poems. As shown in the illustrations in the article, these tiles have been depicted in the central part with plant, animal and human motifs, and the tile makers have attempted to create these tiles in a naturalistic way.

Conclusion
Golden tile is an art and literary display, on most of these tiles due to the space constrained try to use Persian Rubaiyat for inscriptions, because in a low space it was possible to convey a wide meaning. In some cases these verses are in conflict with the recordings in the existing literary manuscript. In most cases where discrepancies are observed, the golden tiles emphasize a particular case, which may indicate the prevalence of the form in the past. As it was said, these tiles were manufactured in a wide area in Islamic Iran and this can increase the importance of this tile Inscriptions because if we believe that the difference between the manuscript and the tiles was due to the mistake of the tiles maker how is it possible this mistake be made in a wide area and several different workshops have taken place in an Identical form. But there were also cases where there was a discrepancy between the tiles, as was often seen in the tiles that were inscribed with the Shahnameh verses, which may have been because the Shahnameh copies were in large numbers in the past, as can be seen in the description given for tile NO 14. Also, most of the recordings on these tiles are at least in line with one version. On the other hand, as can be seen in tiles 1,7,15,18 Using these tiles can be questioned the assignment of a poem to a particular poet. Note that the creators of these tiles were not The scribe and may have been mistaken in some cases, which is why they should be cautious in the use of the inscriptions of this tile, especially when a poem comes in only one tile, as this difference It could be due to a scribe’s mistake.

Abstract
In the Islamic era, the mosque is known as an architectural index and is considered a sacred and blessed place for the Muslims and has a special status and importance. The architecture of the mosque was gradually embellished with decorations, and over the time, it was filled with special concepts that are full of semantic and decorative elements in Islamic architecture that have extremely benefited from the teachings of Qur’an the Muslim Bible. This diamond engraving has been executed with various Quran, prayer, historical and divine names, and sometimes with the techniques of tiling, brickwork and craftsmanship. The analysis of the contents of the inscriptions used in Goharshad and Hakim mosque and also the exploration of the differences and similarities of the inscriptions of the two mosques are the purposes of this article. Which is in response to the following questions: What are the implications in the Qur’an inscriptions of the Hakim Mosque of Isfahan and Goharshad of Mashhad? What is the difference and similarities between the two mosque inscriptions? The study shows that in the inscriptions of Goharshad mosque, Thuluth script is most used among other scripts, and the Cathay bearings, Scrollwork arabesque bearings motifs coincided with the decoration of the building. In Hakim Mosque of Isfahan, the index script in the inscription is Cufic, Sotto script), and most of the inscriptions are on the same script, and also Thuluth script as well as Nasta’liq script are used in the inscription of this collection. Tobeh, Asra ,Jom ‘eh, Dahr  are among the common chapters between these two collections. Although in the Goharshad Mosque of Mashhad and Hakim mosque of Isfahan share similarities in the structure and content of the inscriptions, the decorative enrichment and Quran inscriptions of Goharshad Mosque are more than Hakim Mosque. The research method in this study is descriptive content analysis and collecting the necessary information was through library studies, observation of collected works and fieldwork.
Keywords: The Art of Teimouri, Safavid Art of Goharshad Mosque of Mashhad, Hakim Isfahan Mosque, Quran Inscriptions.

Introduction
After the emergence of Islam, Mosque was considered as main and holy element of Islamic architecture for representing different arts like inscription writing. The Great Mosque of Goharshad was established in Teimouri age to the request of Gohar Shad Aqa, the wife of Shahrokh Teimouri. Hakim Mosque is also a permanent monument form Safavid age adorned with different inscriptions and considerable decorations. In this research two mosques of Goharshad in Mashhad and Hakim in Isfahan about Quran inscriptions will be studied.

Objectives and Necessity
The objective of this research is presenting a fundamental analysis about concepts and meanings of Quran inscriptions in two mosques of Goharshad and Hakim and examining this concepts wit thought and religious backgrounds. The necessity of this research related to content analysis of these works and relationship between them. 

Research questions and hypotheses 
Research questions are: what concepts are presented in Quran inscriptions in two mosques of Goharshad in Mashhad and Hakim in Isfahan in terms of political and religious contexts of two periods? What are the common and different points of inscriptions? Hypotheses are: as the two mentioned monuments are established and inscription writing in two different periods in terms of time and place and ideology and religion in different thinking contexts, probably choosing verses and sayings will have considerable common and different points coming from thinking  and religious orientations of rules of those periods. 

Research Methodology
In this research, it has been attempted to gather information by library studies and field observation, then the data are analyzed by descriptive-analytical method.

Research Background
Goharshad mosque in Mashhad is considered as one of the main monuments of period of Shahrokh Teimouri. It was built by the command of his wife, Goharshad Aqa in vicinity of Holy Shrine of Imam Reza. Its architect was Qavm Al-din Shirazi, famous architect in Teimouri Period has not only the responsibility of designing and building, but tile working and mosque decorations. The dome of Goharshad Mosque has been decorated with turquoise color with the glory expression “There is just one God, He is Allah”. Hakim mosque in Isfahan is one of the Iran’s architecture masterpieces in Safavid age, having various Banaee (geometric Kofi) scripts. This mosques architecture, tile working and especially Banaee script in this mosque can be considered among the great works of Safavid period and the age after this period. This Mosque was established in period of Second Shah Abbas by “Hakim Mohammad David” (his doctor).
 This mosque is located in an old neighborhood called “Bab Al-Dasht”. The biggest and most beautiful altar in Hakim Mosque is altar under dome having special decorations. Ekhlas chapter has been used in some locations of Hakim mosque. Hakim mosque and Goharshad mosque have been studied in many articles by researchers individually or comparing with other complexes in other terms. Quran verses are the most important themes used in architecture inscriptions especially in holy monuments. 
 
Analytical examination of inscriptions
In Teimouri period these themes was affected by Sunny religion in the country and emergence of Sufi and Shia Movements and Sufi social circles. In religion inscriptions of Goharshad mosque, verse18 of Toubeh Chapter has been scripted. Verse18 of Toubeh Chapter mentions five features for builders of center of worship: faith in God, faith in doomsday, saying prayers, giving alimony, being modesty in front of Glorious God. 

Conclusion
Examinations of decoration and adornment of the two mentioned monuments indicates this point that in both complex Quran katibehs, divine names, Persian poems and also Kufi manucripts have been used. The theme of these verses is about purity, uniqueness and glory of God. In these verses it has been emphasized on worshipping God, saying prayers, biulding mosques, being honest and faith in Doosday. By studying these katibehs it becomes evident that  for Teymoori Empirs these works have been a device for expressing kingdom styles, but Safavi rulers used it as concepts and religious slogans supporting Imams and their revelation. Among the different points of Katibes of the two metioned monuments, we can point to this matter that in Great Goharshad mosque the Thoulth manuscript in inscription writing of this monument is among the top of other manuscripts, but in Hakim mosque, Banaee script is evident in its inscriotion writing and also in inscriptions of Gorarshad mosque names of Holy Imams was not evident-except the name of Imam Ali (P.B.U.H). While in Hakim mosque- in south gate and north façade- there are inscriptions adoned by His names. Nastaliq script in these mosques has been used for writing inscriotions of Persian poems that this case is among the common aspects of inscription writing in these two mosques.
 Among the other inscription differences between these two mosques is using Mohaghegh script in the form of a mother and child in edge of Maqsoureh gate. About our hypothesis it can be said that most of the inscriptions in Hakim moaque (Quran and Haith) has fouced on the issue of province as one of the most findamental principles of Sia, but in Goharshad mosque the focus has been on uniqueness of God and His instructions.   

Abstract
Rocky sanctuaries are the most valuable works of Iranian architecture, that have been formed over a long period of time, and due to the continuity of traditions or slowness of the transformation process, their exact date is difficult. Among them “Kohulu Mechid” is the rocky sanctuary in the city of Maragheh, East Azarbaijan, which, no coherent studies have been conducted around it yet. This research seeks to provide dates and more acceptable practices for this sanctuary, through a comparative study and a review of some of the details, though deep and accurate research needs archaeological speculation and science. However, according to available evidence and based on the present research, this rocky structure was created during the Ilkhanid period and the nature of its usage, religious sanctuary , is proposed for non-Islamic religions, including Buddhists and Christianity, that is called mosque with religious reforms in later periods and its user modification. 
Keywords: Maragheh County, Gheshlagh Village, Rocky Sanctuary, Kohulu Mechid, Gahengari.

Introduction
The emergence of rocky architectural studies in Maragheh county is considered, one of the most important factor of the non-identification, registration and introduction of rocky cliffs in the Sufichai river basin. The identification of these cliffs was carried out in the solar year of 1393 with the aim of studying and archaeologically investigating of the handcrafted architecture of the city of Discussion and analysis According to the studies, the best period of the time formation of this sanctuary is related to the Islamic era and the capital of the city of Maragheh at the during of the reign of Holakukhan. In the Ilkhani period, the city of Maragheh was the bedrock of religious developments, and followers of religions such as Christianity (Rashidawe, 1368, 190) and Buddhists, they have had sanctuary and ritual sites for themselves. In this period, Christians and followers of Buddhas had a majority, and Muslims were a minority. Also, during this period, a group of Mongols tended to be Buddhist, and Buddhist temples were scattered throughout Iran. (Eshpouler 1368, 187) Therefore, measuring the location of this sanctuary with mosques indicates the essential difference of this handcraft space with mosques. also The presence of the altar on the western wall, which is very similar to the altar of the Buddhist temple of sinless Imam Zadeh, it is a testimony to the non-Islamic nature of this sanctuary. Maragheh in the form of a master’s degree thesis in the field of archeology (Sattar Nejad, 1395). In this article, we have tried to describe the nature of its user and Gahengari by using of archaeological approaches after the introduction of the rocky sanctuary of the village of Gheshlagh. With these interpretations, this study seeks to answer two fundamental questions about the rocky handcrafts cliffs of Kohulu Mechid. 
1) What was the relative Gahengari and the time of the formation of the handcrafts cliffs? 
2) the nature of the handcraft sanctuary belonging to which religious groups? 
The hypotheses considered in relation to the above questions are: User as one of the ritualistic sites of the followers non-Islamic religions residing in Maragheh, at the illkhani period, especially the Buddhists, and the time of its creation done in a comparative way on the basis of analogical Gahengari principles, which is relates to the period of Illkhani. There is evidence of this claim at the rocky handcraft sanctuary of Kooholo Mached, which has been investigated in order to do research. 
 
Conclusion
The creation of a altar, a dome cover, decorative niches, and the delineation of the rocky structure of the Kooholo Mechid, all of which are associated with the ritualistic user of the rocky effect. This rocky structure is comparable to non-Muslim religions and sanctuaries religions, espasially Buddhist, in terms of its location, its landscape, its altar, and the appearance of niches. Accordingly, the aforementioned rocky sanctuary was established as one of the ritualistic sites of the Christian or Buddhist period of the Ilkhanid, in which the space pagoda hypothesis is more evident. Thus, during the period of the Ilkhanis of the Maragheh capital and the formation of a scientific observatory collection , peaceful policy and support of the Illkhani’s authorities from Christians and Buddhists, it created worship places for these religions in the rocks of the city of Maragheh. But the reform of the Ghazan Khan period, which was based on the destruction of Buddhist and Christian temples, caused the burning of this sanctuary and its user modification as a mosque. 

Abstract
Beginning in 1948, archaeological surveys and excavations in northwest Iran brought to light evidence of cultural developments related to the movements of people who colonized vast parts of the Near East from northeast Anatolia to southern Levant in the late 4th and early 3rd millennium B.C., prompted by environmental changes, population boom or shortage of biological resources in their homeland. The period is best known in the archaeological literature as the Early Trans-Caucasian (ETC) or Kura-Araxes culture, and is distinguished, by a disparate black burnished pottery with incised decorations. Here is published for the time a sample of decorative patterns on the related pottery from Yanik Tepe. The main question of the study was: To what extent did the newcomer potters communicated on this pottery the artistic traditions they had brought with themselves from their homeland? Data gathered through museum and library enquiries were used to carry out a comparative study. Data analysis was of qualitative nature, and the study represented one of culture-historical. 
Keywords: Azarbaijan, Yanik Tepe, Early Bronze Age, Pottery, National Museum of Iran.

Introduction
The question central to this study is: Does the Kura-Araxian pottery tradition at Yanik Tepe reflect traits induced by indigenous experimentations, or it was simply developed via foreign inspirations and cultural interactions? 
As stated, the pottery assemblages from Yanik Tepe had remained intact since their initial movement to National Museum of Iran after the close of excavation. Preparatory work was therefore required before deciding on or attempting any sort of study. Accordingly, the whole collection was recorded and washed before the decorated sherds were singled out and sorted into such groups as geometric motifs, animal motifs, plain, and miscellaneous. This was followed by the documentation process that involved photographing, drawing and registering the entire formal and technical attributes of individual pieces. Attempts were made to exclude from the final sample the patterns that were identical to those already published by Burney in various places. Also to meet the diversity criterion, pieces were selected from as varied excavated exposures as Areas or Trenches H, HX, K, L, M, P and different Levels, viz. YT.HX3, YT161HX, YTHX4, YT.HX1, YTK3, YT.HH1, YTH5, YT.HH1A, YT.C5, YT.P2, YT.LIA, YT.HH10, YT.HX1, YT.L3PRMII, YT.P2, YT.39C, and YT.RH13.

Yanik Tepe
A key site in the archaeology of the eastern Urmia Lake Basin, Yanik Tepe is 30 km southwest of Tabriz and 6 km from Khosrowshahr, within the village of Tazeh Kand on the Talkheh Rud. Burney excavated the site in 1960, 1961 and 1962, shortly after its identification in 1958-9. Yanik Tepe consists of a high mound and a low mound, rising 16.5 m and 1.50 m from the surrounding lands, respectively. With an original total area of about 6 hectares, it represents a type-site of the Kura-Araxes culture in Azerbaijan (Burney 1963, 138). Large parts of the site are now destroyed. Typical of the culture that flourished at Yanik Tepe were round and rectilinear houses and a distinct pottery tradition. Most intriguing are those types that resemble the material from the vast cultural horizon of eastern Anatolia and the early Trans-Caucasia of the mid-3rd millennium BC. 
Building on the results of his excavations at Yanik Tepe, Burney divided the whole Kura-Araxes (or the ETC) sequence to the three discrete periods of ETC I, ETC II, and ETC III, where the earliest period marks the birth of the culture in its motherland, the second is associated with round structures and decorated pottery, and the latest sees the predominance of rectilinear architecture and virtual disappearance of decorations on pottery (Summers 2004, 619-620). For a more recent and detailed discussions on the chronology and dates as well as the stratigraphy of Yanik Tepe, the reader is referred to Summers 2013; 2014, 157-159. 
An idiosyncrasy of the Early Bronze Age at Yanik Tepe is the handmade, black or gray burnished pottery with incised patterns. The technique is reminiscent of woodcarving and was presumably inspired by the densely forested landscape of the homeland of bearers of the culture who came to the rather sparsely wooded regions of northwest and west Iran. The technique was widely applied to pottery along with excised patterns, filled with white and occasionally ocher pastes. 
Designs like birds and highly stylized rams or ibexes with curled horns, and bands of geometric motifs were carved on bowls, jars and footed pedestal vessels and small cups, the pottery forms common to the period. 
The Middle Bronze period marks a shift in architectural styles as the related houses were built in a rectilinear plan using mud bricks. The thick walls spoke of two-storied buildings. The use of decorations diminishes, and the so-called graphite burnished technique emerges on a few examples of cups. Vessels are relatively finer, and burnishing is more frequent. Pottery forms show no considerable differences between the two periods (Burney 1962). However, the so-called Nakhichevan lugs, common to the latter period, occur now only in a vestigial form. 

Kura-Araxes Pottery of Yanik Tepe
This section gives a description of the pottery with a special focus on decorations, along with a series of so far unpublished illustrations, which besides enriching the existing literature on the pottery history, are intended to improve the current picture of the evolution of pottery styles through the long Kura-Araxian horizon at Yanik Tepe. It is notable that, as stated earlier, the pieces and decorations published here have not been introduced in any earlier publications and have been selected from various trenches and levels to ensure a representative sample to the possible extent. 
The Kura-Araxian pottery, coming in disparate wares and decorations, represent a new style that newcomer artisans had brought with themselves to northwest Iran. It is characterized by dark gray or shiny black or light brown color; vessels are handmade, contain mineral tempers, and show a burnished surface bearing an assortment of motifs such as spirals, “ram horns” and concentric circles or “eyes” (Burney and Lang 1971). In the Kura-Araxes Period I, rail rims were common, the Nakhichevan lugs were not yet emerged, and some Chalcolithic forms and decorative techniques persisted (Glumac and Anthony 1992). Related material occurs at most sites in Caucasia, the eastern fringes of Anatolia, and Geoy Tepe K1 (Sagona 2000).
The Period II is distinguished by the abundance of elbow handles and advent of semi-circular Nakhichevan lugs; the rail rims are utterly absent (Seyedov 2000). Notable in the assemblages is the ubiquitous concentric circles or “eyes” and incised triangles or chevrons. The pottery with its distinctive incised decorations shows influences from neighboring spheres. Various motifs are discernible. Animals, birds and fish occur in abundance. Birds appear as stylized representations on jars and bowls with decorations always reserved for the base or close to it. Also present are very simple geometric designs, bands raging from plain examples of undulating lines to those of a very intricate combination of nested designs, horizontal grooves or hatches, zigzags and doted patterns, rows of geometric motifs like lozenges with adjoining triangles filled with a various combinations of incised dots in diverse arrangements, swastikas, small lozenges and slanting motifs. Spirals and concentric circles were applied in incised form and evolved into an excised form with the related patterns filled with a white paste or lime. A frequent motif is the sharply angled triangles evoking the mountain motif as is the incised patterns imitating cuneiform signs. They are much finer compared with the ordinary handmade pieces. The Kura-Arax II material from Yanik Tepe find parallels in Geoy K1, Yakhvali, Ravaz (Kohna Shahar), Baruj, Haftavan VII and Godin IV (Burney 1961, 1962; Kleiss and Kroll 1979; Asurov 2000).
Typical to the Kura-Araxes III assemblages are the incised spirals and loop handles attached to the rim. The concentric circles occur in a higher frequency (Burney and Lang 1971, 67; Seyedov 2000, 19). Nakhichevan lugs show a gradual decline. Related pottery is known from Geoy K3, Godin IV, Shengavit IV, Kul Tepe of Nakhichevan, Kvatskhelebi in Georgia and sites in the Koban area of East Anatolia (Burney 1961, 1962; Burney and Lang 1971; Sagona 2000).

Abstract
Evidences found from Archaeological explorations, rock reliefs and rock inscriptions, express immemorial connections between music art and Iranian societies and cultures in the historical age. The music of Mythic era (Pishdadians and Kayanids) and Historical era (Medians, Achaemenids, Parthians and Sassanians) is the most general division of music history of pre Islam. The flourish of Elamid music, before the Achaemids, can be noted as well. This research is a descriptive – analysis type, conducted to survey the position of music art in the societies and cultures of Iran at the Historical age. The research findings are gathered by documentary and field studies and analyzed in qualitative manner. The results of this research state that the upper and lower classes of the society had an important role in formation, transition and evolution of this art at the aforementioned time. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. in orisons, sacrifice, wedding and mourning ceremonies, indicating the association of this art with social life of people and closed connection between music and cultural, religious, social, economical and political characteristics of societies in ancient Iran. 
Keywords: Music, Historical Age, Dominant Class, Iranian Societies and Cultures.

Introduction
Music, art phenomena of human society from ancient times had an enormous impact on human life and the instruments used in each of the shapes and forms found. Some researchers, regardless of the place of music in ancient societies, conflicting views about the history and musical instruments proposed. Melody of emotions and human-induced internal interactions and represents sadness and joy, excitement and peace of mind of human beings. Clearly, music is a twin phenomenon and the essence of every nation in the world and part of the national identity and the culture of each society. Is that every nation and culture with its own music and is presented well and every nation has a special music from the distant past, a feature that the nation remained culturally distinct from the rest of the United Nations. Evidences found from Archaeological explorations, rock reliefs and rock inscriptions, express immemorial connections between music art and Iranian societies and cultures in the historical age. The music of Historical era (Elamites, Medians, Achaemenids, Parthians and Sassanians) is the most general division of music history of pre Islam. The flourish of Elamid music, before the Achaemids, can be noted as well. 

Discussion
This research is a descriptive – analysis type, conducted to survey the position of music art in the societies and cultures of Iran at the Historical age. The research findings are gathered by documentary and field studies and analyzed in qualitative manner.
Elamite period, the religious aspect is more art (probably due to lack of awareness of the use of this type of art, not a fact issue) of music and musicians in different events such as prayer to God (s) and sacrifice is used, although in that evening treated to music for celebrations. Choghamish seals in pre-historic and close to the Elamite era boom in the art show. Another important point in this era, there are three types of instruments (wind, percussion and string) in relief Kul-farah, Nineveh and Choghamish is obvious. The Medes also continued the tradition of singing the prayer ceremony. The art of this period are still among the lower class of society was not room for growth. Apparently the enthronement ceremony of the kings of the Medes, and continued playing music with ancient traditional shows. Another important point is that in this era, more music and religious aspects of the court official. In the Achaemenid era, a variety of martial music, festive and popular religious and because they Achaemenid Empire, many ethnic groups and was brought under the umbrella of its sovereignty, it is natural that people and communities benefit from these experiences. For example, the relative effects of Elamite and Achaemenid Persians in Mesopotamia the art of music is evident. There are a variety of instruments such as bass drum, horn, trumpet, harp, and trumpet and so does the variety of music in the evening. Although most economic activity in the state and was Clergymen and music is also closely associated with the court and Clergymen, but the bards and minstrels in ceremonies such as weddings and parties, it is reported that the ceremony might have the class and the ruling of is. Women who are part of every society, at court, continuing a long tradition, at least since Elam shows. Of military music show which direction the signal should not ignore the start and end of the war was used. In the Seleucid era by combining the theory of joint Iranian Persian music and Greek - Greek arose that its effects can be seen in the Western and Arabic music communities. The Parthian era, social security and qualitative progress in the industry, the development of the art of music. At this time a singer by the name of the party “gossan” was formed and it was probably the kind of song street market quotes were chest to chest. The importance of music in the Sassanid era, forced the king to appoint a minister for relations such art. Rank them in court Bahram Gur was promoted to second grade classes of the community court. Due to the rising value of the musicians in the court, there are special procedures for the ceremony music. In Sassanid period like the past, different types of music can be seen. Including a festive and happy, when hunting was hunting that deception, as well as the religious ceremony of singing used to comply with previous periods. In the course of the past continued to use some of the instruments. Also at this time the instruments were invented, how notation arose and skilled musicians and great musicians like Barbad, Bamshad, rebellious, Nakisa and others emerged and certain sounds like Ravshn or “way” was coined during this era. Poetry and music together in this land, and poet and musician is often a people. The music of this era is also quite popular among ordinary people and continued to Islamic periods.

Conclusions
The results of this research state that the music, as a general, was a special art for dominant ruler in the society which professional artists used to gather in their courts. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. in orisons, sacrifice, wedding and mourning ceremonies, indicating the association of this art with social life of people and closed connection between music and cultural, religious, social, economical and political characteristics of societies in ancient Iran.

Abstract
The most important way of understanding human being in the past is to study their relics and among the works that have made a significant contribution to identifying culture and civilization and many other issues of ancient Iran, the motif are seals. Studies of this kind of data have been the focus of archeologists and historians for many years and many articles and books have been published on this endless subject. Because the seal and sealing in answering some questions, the correct orientation of a number of questions and new questions about social, economic and people perceptions of the past have been raised. In some motives the artist describes his/her world and this kind of description is actually the optimal use of symbols. In the Persepolis museum, there is a black seal that differ substantially from other Achaemenid seals. This bilateral seal is a lesser-known role in the art of molding and is unique in Achaemenid molding. This seal is first published and revised based on various criteria such as art style and symbol interpretation. The main purpose of this article is to document and introduce the symbols of this seal; the author will also answer a few questions about this seal by using descriptive-analytic methods and by using authentic library resources after fully describing this seal. First, what are some of the concepts used on the engraving on the seal? How these symbols originated and whether these forms were the result of Achaemenid thought or a legacy of a very ancient culture?
Keywords: Seal, Achaemenid, Persepolis, Symbol.

Introduction
On the occasion of the plan of organizing the repositories of the Persepolis museum in the summer of 2015, I had a black seal on a meeting in august of that year. This seal had differences A double-sided stamp seal that is unique in the Achaemenid period. On the other hand, the seals have a special place among the represent the customs, habit and believes of a people and also showcase history, religion, philosophy and art alongside administrative. Social management for centuries, these motives are rooted in ancient Iranian civilization and sometimes influenced by neighboring nations. This portable data has also spread art and culture to other lands due to its use in commercial exchanges, office letters and political relationships. The main purpose of this article is to document this seal and to interpret the emblems that have reached the Achaemenid from the distant past. Recorded in the Persepolis museum of bilateral seal No. 1267. It has a diameter of 15 mm and a thickness of 9 mm. It is made of stone and its location is Persepolis. There are three distinct roles on the seal. First the man sitting and holding a bowl in his hand and a flower in his other hand. The second is the cedar tree behind the man, and the third is censer in front of the man. The man is Probably a king with a short crown, the hemisphere is like the Achaemenid image.

Identified Traces
Three separate images can be seen on the seal, first is the man sitting and holding the wine cup in one hand and the flower in the other the second is the cedar tree behind the man and the third the udsuz in front of the man.
The man is probably a king with a short crown with several congresses, it is depicted from the half- face like the other Achaemenid image, the crown is similar to the Ahura Mazda round Cap. On the king’s seal has the original image and the role of cendar and is quite marginal.
Beneath the crown of hair, curly like all the motifs of persepolis the forehead and back, the king’s face wide and his eyebrows reached the ears, the nose is delicate, long and straight, lips are up and drinking and beard shorter than persepolis motifs but curly, the king’s eyes look great. The king’s neck was proportioned to the body, part of which was nuder the dress, the king’s hands are long and stretched and he looks thin. The king has a lotus flower in his left hand with a bud in his right hand corner, like Darius in the Naghshe Baram. The branch of the flower is tall and its end protrudes from the king’s hands. The king has a large wine cup in his right hand that lifts it up or closes it. The king’s waist is slender and its curvature is quite evident, and the belt is wrapped in two rows around the king’s waist. The king’s feet are on the ground and parallel to the base of the chair. The king’s Boot is a long boot with twisted straps that are not simple in the designs attributed to king Boots, but a simple shoe. Behind the king is a small triangular cedar, there are ten rows of branches on the left and eleven branches on the right of the cedar tree. The branches have all gone upwards and look like praying hands.
It is noteworthy that most tree motifs are on the palm tre seal and less than the cedar tree. Lion painted on a young and very angry seal seems to be a characteristic of most of the lions imprinted in the Achaemenid period. The body of lion is soft and agile, his head turned back. The hands and feet are in a relaxed gait so that the lion triumphantly moves forward the bird on the seal is Dorna that wing has been opened it seems that the artist insisted on drawing the head and neck of the Dorna so as not to induce the role of the Farrah.

Conclusion
Prehistoric believes of Iranian ethnicity have had such a broad role in shaping Iranian art that it is still visible in many works of art, an example is the seal studies. At a time when most of the seals built during the Achaemenid period are cylindrical, a bilateral seal imprinted on Persepolis is the most famous and important Achaemenid city, all the carved motives on it reflect the millennial believes of the Iranian people, some of which still have the same implicatins for contemporary people. None of the motives were devised by the Achaemenid artist, rather, old concepts in a new way with new technology and sophistication are on the seal.

Abstract
Up to now, 35 rock reliefs have been identified from the Sassanid period, one of them is located outside the political borders of Iran, at the site known as the Rag-e Bibi in Afghanistan. 34 other rock reliefs have been discovered inside Iran’s political borders in various regions such as: Rey city, Taq-e Bustan, Salmas, Barm-e Delak, Goyum, Tang-e chogan of Bishapour, Naqsh-e Rostam, Naqsh-e Rajab, Sarab-e Bahram, Tangab-e Firouzabad, Darabgerd, Tang-e Qandil and Sar Mashhad. Although all of these rock reliefs were studied by archaeologists and domestic and foreign researchers repeatedly, but most studies have focused on identifying the main character of the rock reliefs -the Sassanid king. And there is no serious and diligent attempt at identifying other characters on the scene. Of course, some scholars tried to clarify the true identity of some of the characters in the Sasanian rock reliefs. But most of them did not succeed. Because most of these identities are based on speculation. However, identifying individuals in the Sasanian rock reliefs should be based on historical evidence or face recognition or semiotic studies. For example, some researchers said that the character discussed in this article should be the servant of the king. Some also said that he should be the representative of the Karin family. In this research, which is based on the purpose of basic research and based on the nature and method of historical research, was attempted to clarify the true identity of one of the characters in the rock reliefs of Ardashir Babakan with the help of historical evidence, face recognition and semiotic studies. The results of the studies show that the person present in the rock reliefs of Ardashir Babakan should be Tansar. An influential clergyman who has been tried to spread Zoroastrianism and to regulate the texts of Avesta, and helped Ardashir Babakan to reach power and also helped him stabilize his power. 
Keywords: Sasanian Rock Reliefs, Ardashir Babakan, Tansar, Historicl Approach, Face Recognition, Semiotic.

Introduction
Personology of Sassanid reliefs raised debates among researchers, because of same thematic models of Sassanid kings and lack of inscriptions. Present paper discusses Ardashir’s relief of investiture and crowned by Ahuramazda. 
The research is based on the purpose of basic research and based on the nature and method of historical research, whereas collected data bibliographically, identification and thorough study of different written historical sources, and fieldwork, visiting Ardashir’s reliefs at Tanganb Firuzabad, Naqsh-i-Rajab and Naqsh-i-Rostam. Comparative study of historical sources and analytical approach at archaeological evidences and using historical approache are the methods to analyze and interpret data. 

Visual Evidence and Semiotics
Sassanid martial activities initiated years earlier that Ardashir to overcome Persia. Different factors caused clergymen raised to power and became influential through Sassanid rule (Hosseini 1392). Ardashir Babakan was a priest of Anahita temple at Istakhr, Fars (Christensen 1367: 134) enjoyed and joined dissatisfied clergymen to his government and endowed them high positions; it was his philosophy because his new ruling based on religious power and aristocracy that concluded to unification of religion and ruling (Hosseini 1392). As conclusion, one can say Ardashir needed clergymen confirm him to legitimize his ruling. Direct relation and superiority on people, doubled acceptance and support of clergymen. Following study of historic and written sources on presence of a cleric figure alongside Ardashir, firstly there is need to involve in similar visual parameters of the relief, which is identified earlier, for personological studies of the figure. In order to conclude, figure of Kartir is the best option, among options, because of the similarities to target figure, on the other hand, we know Kartir for the badge on his hat (Moosavi Haji 13996: 166); powerful face with shaved face, a badged hat, and his hair that came out of his hat on neck (fig. 5). His official custom is a long robe to his knee and a belt with a sheath (fig. 6). All explanation about his appearance is comparable to our target figure, so one could suggest that the appearance characteristic of Sassanid clergymen relied on the same pattern and tradition. However, every clergyman has common characteristic in every given religion. 

Conclusion 
Accordingly, one could conclude:
- It is not logical that a neutral person, a servant, would be carved on a public media such as a royal relief, let alone in a scene of investiture ceremony and crowning of Ardashir as the representative of Ahuramazda on earth. 
- No servant allowed to hold sword.
- Accordingly, Ardashir always needed general legitimation and acceptance that could be facilitated by a chosen religious figure at people. 
- Considering Sassanid and further written and historical sources, presence of Tansar as great supporter and evangelist is undeniable. His appearance in the relief matches to the discussion of present paper. 
- Visual composition and evidences of the figure, garment, shaven face, hat, and hairs are completely similar to great clergyman Kartir of later Sassanid period, so one could probably suggest it as general homogeny of the clothing of clerics during Sassanid period. 
- Badge of the figure, is completely similar to Kartir’s badge, on the other hand, adaptable to fire altar of reverse of coins of Persid period. Persids ruled Fars province during Seleucid and Parthian eras, who were eager to religious issues, so some scholars name them “fire servants”. 
- The target figure is present at Sassanid sources and religious events of Ardashir reign, but according written sources, Kartir replaced him after this period with no further trace on reliefs. 

Abstract
Tuyserkan plain is one of the middy mountain and highland plains in Alvand Range, strategically one of the most important connector plains of western Iran and throughout history, especially the Islamic period, the path of the great Khorasan has been of considerable importance. This plain has been studied and identified during the winter of 2012. This study has been studied at random by collecting cultural material from the area of the site in order to identify and record ancient sites and monuments. The results of the study include 44 sites from the copper and stone Age to the late Islamic period, and according to the identified surface artifacts 14 of these sites have artifacts from different Islamic times, this area has shown importance in the Islamic era but so far the plain has not been explored in terms of the cultural developments of the Islamic settlements. The question now is, what are the characteristics of Islamic period in Tuyserkan plain and what is their pattern of distribution and expansion, and in what periods has it grown and expanded? The main purpose of the research is to study the archaeology of the Tuyserkan plain with the typology of cultural changes in the works and settlements of the Islamic periods and it is an appropriate pattern of distribution in the Tuyserkan plain. The research method utilizes spatial analysis and field and library, analysis of cultural works and materials collected from archaeological survey and study of Islamic settlements of Tuyserkan plain, it will be based on current theories of settlement patterns and archaeological landscape. The results show that the settlements of Islamic period of this plain are distributed in all parts of the plain, consisting of large enclosures as the main dwelling cores and small enclosures formed as small bases dependent on roads and arable land, in the Safavid period, the Tuyserkan plain also witnessed a growing number of settlements with the Carvansara and Bridge Farasfaj  being one of the most significant monuments of that period, and finally in the Zandieh and Qajar period expanding population and settlement. 
Keywords: Archaeology Study, Tuyserkan, Islamic Period, Archaeology Aspect.

Introduction
One of the most fundamental archaeological studies (archaeology surveys) to identify and deter mine the location of archaeological sites and settlement characteristics. Archaeological surveys are carried out to find out general information about settlement developments in different areas. This is a forerunner to archaeological excavation, which in fact means reconstructing and accurately identifying communities and their cultural achievements, archaeological studies are an important step in the analytical programs of the historical evolution of human societies and the selection of index sites for exploration. Based on the above, the Tuyserkan plain has been investigated and identified during the winter 2012. This study was conducted in a randomized manner by collecting cultural material from the enclosures at random to identify and record ancient sites and monuments stone age and copper period, and identified by surface artifacts, there are 14 sites from various Islamic periods that indicate the importance of this area in this period. Prior to this research, the Islamic period sites of Tuyserkan plain were not explored and it was necessary to study them. The lack of studies of Islamic settlements in the Tuysrkan plain provides the motivation for studying and comparing population- based settlements as well as their relevance to ancient habitats.

Identified Traces 
There are various definitions for the concept of landscape but all of these definitions are in common sense, and they include the structures created by humans between their own space and their natural structure. Obviously, human tissues in different societies are made in accordance with their environment. Many of today’s concepts and meanings of landscape come from the writings of German geographer otto schuler written in the early 20th century. He believes that geographical studies should be dedicated to the visible landscape. Human societies and natural geography are the two major factors that make up the Archaeological landscape structure. Since two- thirds of the world’s vegetation is made up of fields, pastures and artificial forests, one can understand the crucial role of humans in creating landscapes. Human societies are constantly changing and experiencing space throughout their lives, and the place is always confronted with the effects of human behavior. Tuserkan is a subsidiary city of Hamedan province with one area of about 1480 sq. K. M. Which covers 7.7.7. Of the area of Hamedan province. As we know in the year 21AH when the war of Nahavand occurred and led to the defeat of the Iranians against the Arabs, all areas of Hamedan including Tuserkan were captured. On the urban situation and the situation of the people in the Tuy and Serkan from the seventh to the tenth century AH there is no precise information, but since the tenth century, the rise of the Safavid dynasty, your village is known as Tuserkan while the Serkan remained with its old name.
Of course, there are no credible sources to show exactly what date Tuy name was converted to Tuserkan and the reason that the possibility of renaming this name whit the Safavid period should be known is that there are books related to this period that their authors have the reputation of Tyserkan while none of the works before the Safavid era have the reputation of Tuserkan. The few people in this place who are mentioned in some of the Safavid works are known as Tuyi and this shows that at first this village was famous under the same name as Tuyi.

Conclusion
 By studying Tuyserkan plain, 14 sites have been identified from different periods of the early Islamic to the later ages. Environmental factors have played an important role in the process of formation and expansion of these sites, factors such as height, suitable soil, access to communication, access to water resources and access to range lands. Most of this sites in this period were formed in lowland and mid- mountain and fertile lands in susceptible grassland areas. The impact of cultural and human factors on the pattern of settlement in Tuyserkan plain has not been affected. The peak of the flourishing and growing of settlements dates back to the early and middle centuries of Islam and its decline in later Islamic times. In recent centuries the number of sites has diminished and never reaches the boom of the early and middle ages. The reason for this was the growth of population in the main sites and surrounding areas, which have become large cities and villages today, and their lives continue. The results show that the settlements of the Islamic period of Tuyserkan plain are distributed in all parts of plain, consisting of large sites as the main center of settlement and small sites as bases of roads and arable land.

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

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

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

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

Abstract
he results of experiments on the materials of this building revealed that most of the material was composed of very small amounts of rock, lime, sand and gypsum, the brick baking temperature is below 800 c and some gypsum is used inside the bricks. The bricks used in Semnan game Mosque are different in terms of construction and baking technology in many parts of the building we are witnessing the wear and tear of the brick layers, that have been imbalanced either in terms of increased vulnerability or aesthetically impaired. Some of the 200- meter- high bricks on the side of the city entrance were used by Russian occupation forces to build a swimming pool in the midst of world war II. With the current state of the building, we needed to put them in our context for a complete understanding of the data and to achieve a reasonable result by adapting to the context. All the data in this building were partial and incomplete parts that we had to put together in order to build a unit, understanding them will help us achieve the best possible results. The lack of historical documents about the building, the construction in the words of the local people    about the building and the belief that the Mosque was destroyed in the flood of 1346 AH, (some past floods have been blamed for the devastation). While there were no traces of belongings except this porch and the two hogreh, and the lack of architectural work around the building reinforced this hypothesis, from the beginning there was no trace of the building or residential area that was destroyed and before that, gardens and farmlands surrounded the building needless to say, small finds were scattered around the building in a small area and as we move away from this set, the number of findings is also greatly diminished.
Keywords: Safavid Era, Gate, Jomeh Mosque, Zavaghan.

Introduction
Many efforts have been made to introduce and identify Irans multi- thousand- year- old architecture many researchers have in recent decades erased dust from the face of historical monuments and reappeared them, in the meantime, a number of buildings remain unknown and even a number of them that have been in traduced are in doubt, also keep in mind that some popular buildings have different uses. The building dedicated to the mosque of Zavaghan in similar to this, this building is in the middle of the narrow gardens of Zavaghan region and when we reach it we face the high door, inside this alley, the gardens look unexpected. Because it is not visible around the building except for garden and fields and some water engine, of this building, only the entrance and the two surrounding Hojreh are left, and only a few remnants have suffered natural and human damage in the past decade. The people of Zavaghan call Zavaghan Jame Mosque and they believe that Imam Reza door prayed in the mosque while heading to Marv, but besides the above the mentioned there is no other work to deter mine the use of this mansion. According to archaeological findings and data, what period does this building belong to? What is the use of this building based on the appearance and evidence found? 
The main purpose of the authors was to describe this particular monument in general, archaeological findings conclude that it probably belongs to the Timurid period, which was abandoned in the late Safavid period. The building belonging to the Zavaghan Jame Mosque is located in the north of Zavaghan and Imam Hossein street and among the green gardens on the western edge of Semnan, Zavaghan region is one of the old areas of Semnan and it is common that in Zavaghan area some of the innocents are buried that the burial of some of them is unclear. 
No traces of inscriptions were found around the building, which heightens our suspicions that the mosque was not. The surrounding land is all agricultural and horticultural, and there is no new about the old texture of the Zavaghan Alleyways of gardens and water ways pass all around the texture.

Findings Gone Bacheh
This type of pottery is found in this area with delicate, white and porous paste that is usually clean and free of additives. Green glaze and dark green, brown and black paint under the transparent glaze adorn the dishes. Containers are small and medium sized bowls and bowls with a short concave base. The motifs include the role of geometrical and plant motifs and are difficult to identify because of the small number of other diagnostic parts. The oldest of these pottery is attributed to the late 9 th century and is known as Mashhad, Neyshabur, Ray, Varamin and Alamut Castle.
Blue and white type: This kind of clay is cooked with every delicate and pure white paste without good additives made with solid, firm paste, the thin wall and translucent white glaze make it easily distinguishable from other types.
Blue and white ornamented pottery was produced in the early centuries of Islamic urbanization in major Islamic urban centers and probably the earliest method of making this type of pottery started in China in the eighth century B.C.E, but the type found in this area was later. The earliest date of its construction in Neyshabur goes back to 6 AH. This type of pottery was manufactured in several production centers in Iran until the year 6 AH. Because of their fracture potteries are not detectable by the finer parts of the dishes, but only by the shape of bowl.

Conclusion
Conclusions about the building are now early and more studies are needed on the building. Undoubtedly extensive archaeological research and finding authentic historical documents can open many unknown angles. However, due to the impact of environmental and climatic factors and human intervention many of the impacts have been lost perhaps having a tall verandah will create the remains of a mosque, but merely placing it in the alley of the garden and not having the inscription will cast another vote.

Abstract
Islamic potteries have been studied since about 100 years ago, which concluded to whole bunch of disseminated literature, including books and articles. However, new findings from archaeological excavations and surveys light ambiguities and develop modern knowledge of potteries. Archaeological excavation project of troglodytic structure of Tahigh revealed glazed and unglazed potsherds that have been left unstudied. Accordingly, present research aims to classify findings from Tahigh to define cultural interactions with neighboring areas, further than relative chronology. Two main problems raise here as period of potteries of Tahigh and relevant manufacturing center(s). collecting data follow bibliographic and field work studies that is based on analytic-descriptive method. Considering comparative studies, the findings probably date to Islamic medieval centuries; and regarding available data, exotic items mostly imported from sudden neighboring areas or close regions of Central Iranian Plateau, including Zolf Abad of Farahan, Moshkoyeh Zarandieh, Aveh, Rey, and Kashan, however, there have not been identified any items from further regions of Kurdistan, Zanjan, and Kirman or other countries of China and India. 
Keywords: Underground Hand Making, Tahigh Khomein, Pottery, Investigation of Medieval Islamic.

Introduction
Present paper comes from a season of archaeological excavation and unearthing troglodytic structure of Tahigh, Khomein, which concluded to many pieces of potsherd (Sherahi 1393). It is necessary to involve in the excavation and pottery findings in a monogram, because of lack of relevant literature and diversities of findings. Accordingly, present paper intends to classify and define cultural interactions, in addition to relative chronology, that is responding to problems facing chronology, manufacturing centers, defining local, regional, and intraregional cultural and commercial relations of residents of Tahigh to the other areas. Descriptively and analytically present paper investigates data that collected according field works and bibliographic methods; findings resulted of archaeological basic activities and excavations that studied bibliographically. The authors, firstly, present introductions on Tahigh site, then investigate different types of revealed potsherds. 

Discussion
Some 10,000 pieces of glazed and unglazed potsherds revealed following the 1st season of excavations of troglodytic structure of Tahigh. Around 60% of total amount of potsherds are unglazed ones, as the most amount of findings. One could categorize potsherds to different types, considering technical and decorative characteristics, as follows: Plain or decorated kitchen wares with grey or black temper; Plain or decorated kitchen wares with reddish buff temper or smoky dark brown, similar to some findings from Rey; Plain or decorated wares with reddish buff temper; Decorated or plain wares with buff temper; Wares with reddish buff temper and inlaid to patches of turquoise glaze, or with dark brown temper and inlaying of patches of bronze similar to samples from Moshkuyeh and Rey;Wares with buff or reddish buff and typical stamped Seljuq decoration, and wares with light buff temper and orange painted decoration.
Glazed wares from the site mainly are frit wares that vary to many types including different types of glazed monochrome ones and underglaze incised or stamped decorations, types of underglaze paintings on white or turquoise background for example blue and striped white, wares with silhouette turquoise underglaze decoration, and few samples are painted luster or enameled wares. The potteries are very similar to medieval potteries from Zolf-Abad, Moshkuyeh, Kashan and Rey. Furthermore, there were found four unique miniature frit wares with painted underglaze decorations from Tahigh; there have not been recovered similar comparative samples from the other sites. There were recovered many glazed and unglazed tallow burners that formally categorized to four groups of plain cup-like, couple handled cup-likes, plain piped, and bisection piped.   

Conclusion
There have been recovered different types of unglazed potteries, with clay, sand or grit temper, whereas glazed findings are generally frit wares, and few clay wares. The unglazed wares show stamped decorations that typically manufactured during medieval Islamic centuries, however, decorations of unglazed painted samples characteristically revealed during 11 to 13th centuries, which have not been reported from other archaeological sites. Considering comparative chronologies, the unglazed potteries of Tahigh probably manufactured during Islamic medieval centuries especially 11-13th centuries; they were probably manufactured in workshop(s) close to the site or peripheral settlements. However, the other unglazed potteries, including stamped ones, probably imported from other areas such as Moshkuyeh Zarandieh or Rey. The glazed wares revealed abundance and diversities of burnishing and productions, generally frit wares, however, there were identified few clay ware samples. Regarding comparative chronologies, the potteries manufactured between 12-13th centuries. No samples were regional production, while they were probably imported from other regions including Zolf-Abad, Moshkuyeh, Aveh, kashan, and even Rey. Furthermore, tallow burners, generally frit wares, probably manufactured during 11-13th centuries. According to comparative studies of Islamic potteries of Tahigh, one could suggest that residents had local and regional cultural and commercial relations. Accordingly, pottery findings generally are reveal similarities to settlements at Iranian Central Plateau including Moshkuyeh, Kashan, and Rey, rather than other sites such as Jiroft, Aqkand of zanjan, and Garoos of Bijar. It may be troglodytic construction, structure, and small area with little population of Tahigh that never permitted it to raise as a metropolis with intraregional or even international commercial relations.