Abstract
Qalakamandbeg is one of the most important sites accrued to the Neolithic period and without pottery at the Hersin - in the west of Iran – this site has formed in the proximity a silex outcrop (mine) and at the bank of GamasiAov River. Identification of a site accrued to the middle Paleolithic in the recent surveys in the proximity of Qalakamandbeg clearly shows that forming these ancient sites and presence of the humans after Paleolithic period at this part has two reasons: firstly, availability to these silex outcrops to produce the applicable tools, and secondly a permanent water source in the name of GamasiAov River. The large number of dispersed stony manufactures and also numerous collected samples indicate that this site could be called as a camp site accrued to the middle Paleolithic, a site that has been formed to produce the various tools by the silex outcrop at the bank of GamasiAov River. 
Keywords: Hersin, GamasiAov, Middle Paleolithic, Qalakamandbeg, Raw Materials, Tools Stone.

Introduction
GamasiAov River in the Hersin and Bistoon regions has always caused that the east and southeast areas of Kermanshah province to be one of the most important areas in Iran having survey about the Paleolithic period. Stanly Cown’s excavations (1949) in the cave of Shekarchian (hunters) Bistoon are the first surveys in this region and Iran (Cown 1959-60), these surveys paved the way to the next studies. Philip Smith has researches in the Kher Cave and also was completed the past researches made by Cown in the Bistoon Caves (Young and Smith 1966). In 1977, Mortensen and Smith were identified some of the places accrued to middle Paleolithic in the west of Hersin including a big workshop for cutting and producing the tools (Mortensen and Smith 1977, 1980). In the recent decades, the trend of studies has been promoted objectively and the same has led to more identified and excavated sites (Biglari and Taheri 2001, Shidrang2005, Jaubert et.al 2009, Chehri 2009, Biglari 2004, 2007). Recently, a visit to the old Neolithic sites at the peripheral areas of Hersin and Passer village was led to accidentally identification of a range of the tools accrued to the middle Paleolithic at around the Neolithic site of Qalakamandbeg, this subject shows that this site has relics accrued to the Old Neolithic along with the relics from the middle Paleolithic period as well.

Question, Theory and Research Method
The main question in this research is: which elements have been affected the forming of the middle Paleolithic site of Qalakamandbeg and also could attract the humans to come around the GamasiAov River at the Hersin plain, despite there is not any stony cave or shelter to have a permanent habitat here, because this region has a harsh situations during night time and also winter. The different studies have showed this site is an open and outdoor camp; there is a theory that says the most important item to attract the humans here is the same silex outcrops (in north of the site) to produce the applicable tools and also GamasiAov River, since we could not ignore this vital water source and existed aquatic creatures in it to constructe the interim and outdoor habitats here. This research method has concentrated on the surveys to collect the middle Paleolithic tools of this site and finally this research has used the library method to have complete study about the typology and producing the tools and its comparison with the similar discovered samples from the other middle Paleolithic areas in the central Zagros (Kermanshah).

Paleolithic Site of Qalakamandbeg
The Neolithic Tappeh, without the pottery of Qalakamandbeg, has located in a 1329m height of the sea level and also is 1500m away from the west point of Passar Village and about the 15km away of the west point of Hersin town (map.1). This Tappeh has been firstly found by Mortensen and Smith in 1977. Based on various studies and surveys, this site has two types of the relics accrued to the Islamic and Old Neolithic periods (Ibid) and there is not any study about the older relics here. Also other people had various studies such as Abbas Motarjem and Yahghob Mohammadifar (2002), Mohammad Eghbal Chehri (2009) but they pointed out that there is not any relic older than the Neolithic period. The recent visits and surveys on the north part of this tepe were led to find a series of the Levallois tools accrued to the middle Paleolithic, moreover other silex outcrops were also found in the several parts as well – it seems this site could have been used as the raw material to make the applicable tools – this site has located between the old truss over GamasiAov River and silex outcrop of Passar village, therefore Qalakamandbeg site has been possibly as an open and outdoor camp to produce the stony tools in the middle Paleolithic period.

Conclusion
The comprehensive (recently) studies and surveys in the Kermanshah region shows the important of utilization methods accrued to the societies of Paleolithic period from their environment and also displacement models of these societies in particular. It is worthy to note that identification of this Qalakamandbeg site at the bank of GamasiAov River would be seen in the same framework, since it has been formed in proximity of the Hersin’s silex outcrops, therefore the regions (Kermanshah) where having raw materials to produce the applicable tools, should be carefully considered. The results of performed studies in this site point out this site had been taken as a tool-producing camp at the bank of the river due to the numerous Levallois tools accrued to the middle Paleolithic period in this site, finally in fact this site has been as a tool-producing workshop from the Paleolithic to the Neolithic period and after this period on, instead only an important Paleolithic site for the people of the Hersin region – Qalakamandbeg Neolithic Tappeh can confirm this claim.

Abstract
The composition of music and poem has leaded both of them to poetical growth and deep thinking. Sasanid civilization had penetrated in to the pillars of the society in Abbasid period, and music found an important place as one of the symbols of Sasanid civilization. Poets in Abbasid period have  created lovely images by musical instruments. In this way, Abu Nawas was a poet who showed his power in creating poetical images by musical instruments. He was able to mix music with human feeling. He knew music as a doleful tune and delightful melody which rises up of the soul of musician, it did not come from a strict string, or a lifeless wood (stick). In his poems, he mentioned some of the instruments; Lute and Flute and Harp, Tambourine and Tanbur and Mizmar were the most important among them.
Keywords: Iranian Music, Abu Nawas, Sasanian Period.

Introduction
Music of Sassanid and Abbasid era: The history of musical performance in Sassanid Iran is, however, better documented than earlier periods. This is specially more evident in the context of Zoroastrian ritual. By the time of Xusro Parviz, the Sassanid royal court was the host of prominent musicians. In general, the period of Xosro Parviz reign is regarded as an “golden age of Iranian music” and himself is shown in a large relief at Taq-e Bostan among his musicians and himself holding bow and arrows and while standing in a boat amidst a group of harpists. The relief depicts two boats and the whole picture shows these boats at “two successive moments within the same panel”.
 The musical instruments which appeared distinctly on the Sassanid sculptures were the harp, the horn, the Daf, the drum and the flute or pipe. The harp is triangular, and has seven strings; it is held in the lap, and played apparently by both hands. The drum is of small size. The horns and pipes are too crudely represented for their exact character to be apparent. Concerted pieces seem to have been sometimes played by harpers only, of whom as many as ten or twelve joined in the execution. Mixed bands were more numerous. In one instance the number of performers amounts to twenty−six, of whom seven play the harp, an equal number the flute or pipe, three the horn, one the drum, while eight are too slightly rendered for their instruments to be recognized. A portion of the musicians occupy an elevated orchestra, to which there is access by a flight of steps. Music is one of the most important factors in the Sassanian Persian civilization. Unfortunately, there is no note left from that period about their melodies. Thus, we are not able to become familiar with the theory of music in these periods.
Abu Nawas, an innovative poet: Innovative poets in the beginning of Abbasid era changed the contents of Arabic poetry. It is exclamatory that the leadership of this innovativeness belongs to Iranians. Bashaar, Abu Ataaie, Abu Nawas are the initiators of evolution in Abbasid poetry and they are called as the modernists of Abbasid Period.
Musical instruments in the poems of Abu Nawas: The names of musical instruments in Abu Nawas’ poets are mixed with his poetic emotions. For Abu Nawas, these instruments are not a set of strings or woods to be mentioned in the poem, rather he connects his emotions with these instruments. He vitalizes them. He perceives them their sound as human emotions as he blows in them or plays them weather in mood of euphoria or illness.
Lute and Flute: Lute is also called Barbat. It is an old instrument which is called Mezmer by Arabs and it is considered the best and the most joyful instrument. It is said that: they asked Lute, “is there any instrument better than you?” It answered “No”, while he bent his head to the back and stayed that way.
Harp and Daf: Literary, harp means paw and it is the name of a popular instrument or the name of anything which is bent. Harp is made by zinc. Hitting two of them together makes it sing. In Hindi they call it Jahanche. In Persian, Daf is the name of a popular instrument. In Arabic it is called Dof. Daf has a circular shape and it is made by wood, covered by animal skin. In some of its parts, rings are attached to it and this instrument is very precious for Dervishes.
Tanbur: Tanbur is a Persian musical instrument which has entered into Arabs culture. Originally this instrument was called Danbare in the beginning. Its bowl and surface was smaller than the bowl and surface of Shervanian Tanbur and it surface was flat and smooth.
Mizmar: It is said that Mizmar is a reed or it is lute and also it has been referred to as Barbat. It has been called Mezmar by concise which means Trachea. Mazaamir are burnt reeds. Paluarr form of Mizmar means Trachea and in Arabic, it means the puluarar form of singers’ instruments.

Conclusion
Last words: Abu Nawas, a modernist poet of Abbasid period, is an Arab poet (originally Persian) who has created new and beautiful concepts and images based on the culture and civilization of Sasani. This concepts and images include Iranian instruments and melodies of Sasanid period. Reed, Lute, Harp, Daf, Tanbur, Mizmar are mentioned in Abu Nawas’ poetry. Among this instruments, Reed and Lute are two mostly been mentioned together. An important point to mention about these instruments is their vitalization by the poet. These instrument are not only names to be used to describe the event or report the lifestyle of that period, they have been used as symbols to show us the joy of living, by imagination and vitalization of the instruments. Abu Nawas’ proficiency in Arabic language, his knowledge of Iranian culture and Sasanid music, enabled him to create new images and meanings and granted him a special place in Abbasid period.
 

Abstract
In the 5th and 7th centuries A.H., was created great transformation in all arts, industry, and sciences (including pottery art). Seljuk potteries, were restored the glaze technique, so can be attributed lusterware style to them. Kashan at the beginning of the seventh century A.H. was one of the major centers of pottery and for several decades produced wares that they had fine technique. Almost contemporary with Iran, Raqqa in Syria under rule of Ayyubid, was became one of the major centers for the production of pottery and artwork. The traces of Raqqa and Kashan are so similar, so that it is sometimes difficult to distinguish them. The purpose of this article, identify similarities and differences is between two styles of pottery of Kashan and Raqqa, and eventually, identify of interaction is between these two styles. In this regard, in this study, we have tried to answer the following questions: What are the similarities and differences between these two styles of pottery? Which of these two styles of pottery is older? The research method in this article is based on method of descriptive – analytical, and from library resources has been used to explain the subject. By reviewing the traces of lusterware style of Kashan and Raqqa can achieve some kind of fusion style that is influenced by the art of pottery of Iran. So, pottery style of Kashan has been older and potters of Kashan have been able to many of techniques and decorative art themselves transferred to Raqqa.
Keywords: Seljuk, Ayyubid, Lusterware, style of Kashan, style of Raqqa.

Introduction
In Seljuk period (fifth and sixth century A.H.) significant progress in all arts, especially pottery art was happened. In this period, all known pottery techniques were used: engraving, relief-work, latticework, gilding, and enameling. The traces with decoration of luster glaze are one of the innovations of this era. The attractiveness this type of glaze, was creation of golden and metallic polished in potteries without use of the gold. The Ayyubid period in Egypt and the Eastern Mediterranean, not only in the field of conquest and war, but also from the point of culturally was effective. They created new styles in the arts, but their rule was short. The Ayyubid pottery is known more with Raqqa pottery. By studying the traces of pottery this period, we could be identified combination style that has been under the influence of pottery art of Iran and Egypt. Almost contemporary with Iran, Raqqa in Syria under rule of Ayyubid, was became one of the major centers for the production of pottery and artwork. The traces of Raqqa and Kashan are so similar, so that it is sometimes difficult to distinguish them. In this study, we have tried to answer the following questions: What are the similarities and differences between these two styles of pottery? Which of these two styles of pottery is older? The research method in this article is based on method of descriptive – analytical, and from library resources has been used to explain the subject.

Research findings
Kashan at the beginning of thirteenth century A.D. was one of the major centers of pottery. This city for several decades has produced crocks of very delicate. In Kashan was produced group of slip-painted ware that including are types of bowls, trays, and decanters. Second group from Kashan pottery is lusterware that including: bowls, trays, decanters, vases, jars, and wall tiles. On the tiles of Iran in Seljuk period has been used different decorations such as human and animal and foliage, and effect of painting art and book designing can be seen in all of them. In lusterware style of Kashan less than blue color has been used in glaze. All portions of pottery are decorated with painting of women’s pictures, girls, arabesque motifs, and Farsi and Arabic inscriptions. Generally, the pottery of Kashan in Seljuk period can be classified in the following types: bowl, dish, drinking bowls such as jar, decanter, ewer, and also types of dishes with human and animal forms, and Star-shaped tiles.
Raqqa in Seljuk period was only center outside of Iran that created significant amount from pottery and art tiles that in terms of technique were distinctive. In Raqqa has been made pottery with relief decoration (Barbotin), unglazed, muddy relief decoration, and with green and blue glazes. relief decoration, with green and blue glazes. Another technique, painting with Azure and Cyan colors on glazed liners. These crockeries were decorated with lusterware technique. The decorations of Raqqa pottery are divided into two main groups: first group, main designs that are usually human or animal; and second group, decorative motifs that have done in the background. Raqqa pottery is classified into the following types: bowl, dish, jar, and decanter. 

Conclusion
In the Seljuk period beautiful products of Kashan pottery have been exported to throughout the Islamic world and this has led to the expansion of Kashan pottery. On the other hand, pottery of Raqqa style (that as an inseparable art of the Ayyubid period that was formed in the city of Raqqa and on the Euphrates coast) was similar with pottery style of Seljuk period. The traces of Raqqa and Kashan are so similar, so that it is sometimes difficult to distinguish them. However, the construction of lusterware before the Iran in Egypt and Iraq has been common and arrived in Iran through Iraq, but peak of the production of this pottery has been in Seljuk period and in Iran. According to this, the possibility of the migration of Kashan artists to the Raqqa or neighboring countries could be true.

Abstract
The first season of archaeological survey in Marivan by a team from University of Bu-Ali sina Hamedan was lead to identify some prehistoric sites from Middle Paleolithic to Chalcolithic period. As a result of in mentioned investigation prehistoric cultural sequence of the area from Middle Paleolithic to Middle Chalcolithic period (except Late Neolithic and Early Chalcolithic) have been identified. So, there was a main question about the absence of Late Neolithic and Early Chalcolithic period sites of Marivan area. Fortunately, during our recent archaeological survey in Marivan, we succeeded in discovering an interesting site (Qala Ziwa) which has traces Late Neolithic and Early Chalcolithic (J ware). In addition to Late Neolithic and Early Chalcolithic (J ware), some typical Dalma related pottery was also sampled from the site. Among mentioned potteries, we believe that most important period can be considered as Early Chalcolithic period. Against other regions of Western Iran particularly Central Zagros that many Early Chalcolithic period sites were identified, this area is really less known and obviously Qala Ziwa is one of the first Early Chalcolithic period site ever reported from Marivan area. This site has typical J ware and compared with similar Early Chalcolithic period sites in Central Zagros. This pottery has been related to the Western parts of Central Zagros like Mahidasht zone and discovering J ware in Marivan can added this area to the distribution zone of this culture also. As mentioned, surface survey of the site showing that Qala Ziwa has a complete sequence from Late Neolithic to Middle Chalcolithic period. So, excavation of the site in order to clarifying stratigraphy of the site would yield valuable information regarding too late six millennium B.C archaeological studies of Western Iran.
Keywords: Qala Ziwa, Late Neolithic, Early Chalcolithic, J Ware, Marivan.

Introduction
Looking to the geographical position of Marivan area, it became clear that this region is placed between 2 of the main archaeological zone of entire Western Iran (Central Zagros in South and Urmia lake basin in North). Prehistoric Archaeologist studies concentrated at those 2 mentioned zone and did not pay attention to the prehistoric sites (particularly Neolithic period) of studied (Marivan and adjacent areas). Fortunately, the situation has changed recently and a few Neolithic period sites have been reported not only in Marivan but at the areas like Bijar region (Motarjem & Sharifi, 2018). For the first time was identified 2 Neolithic sites in 2002 (Mohammadifar & Motarjem, 2003, 2015). Two Marivan Neolithic period sites (Tepe Hamaomin and Hamamorad) dating to early period of Neolithic (Mohammadifar & Motarjem, 2003, 2015) and as mentioned, there was not any information about Late Neolithic and Early Chalcolithic period sites of the area. Noted that as result of first archaeology survey of Marivan by Bu – Ali sina university expedition some sites from Middle Paleolithic to Middle Chalcolithic period (except Late Neolithic and Early Chalcolithic sites) reported. So, there was this important question that what happened after Early Neolithic period in Marivan region and why no Late Neolithic and Early Chalcolithic site was reported? Why there is such long gap time (more than 3 millinume) in this area? Discovering Qala Ziwa which contain cultural deposits from Late Neolithic and Early Chalcolithic is may fill this cultural gap obviously.

Methodology
The research methodology uses in this study is based on primary surface survey. Regarding to the importance of the site for late 6 millennium B.C archaeological studies, the site was surveyed carefully and from each periods typical pottery was sampled. As common in archaeological studies the sampled potteries have been sorted, photographed and analyzed. Our preliminary analyzes showing that this site has 3 different archaeological deposits: Late Neolithic (?), Early Chalcolithic, and early phase of Middle Chalcolithic period (Dalma phase). Any way future studies and even excavation would tell us more about this interesting site. 

Conclusion
Even as result human interference like agricultural activity the surface of the site was damaged, and it is not possible to sample data systematically, but distribution pattern of surface pottery was really interesting. As mentioned, surface pottery showing that the site would contain the deposits of 3 different archaeological periods:  Late Neolithic (?), Early Chalcolithic, and early phase of Middle Chalcolithic period (Dalma phase). The pottery of last period (Dalma phase) scattered at the highest level of Tepe, J ware was sampled in Middle part and   Late Neolithic shreds distributed at the lowest level of the site. Even such surface observation is not so trusted and archaeological excavation may show something different, but this pattern is really similar the stratigraphy of some Central Zagros sites like Seabed and Chogha Maran. In Chogha Maran the Early Chalcolithic deposits characterized by J ware lay on the virgin soil and Middle Chalcolithic is the upper one. In Siabid the most ancient cultural deposits belonging to Late Neolithic period which Early Chalcolithic (J ware) and Middle Chalcolithic are upper layers. But in some other site like recent excavated site like Tepe Qeshlagh in Bijar the situation is completely different. In Tepe Qeshlagh the most ancient layer is Late Neolithic deposit which upper layer is Dalma phase. But as mentioned in Tepe Qala Ziwa and some other Central Zagros sites, J ware would place between Late Neolithic layer and early phase of Middle Chalcolithic period (Dalma period). All mentioned document demonstrated that this new discovered site can be compare with Central Zagros region and particularly Western part like Mahidasht zone. As mentioned there was not any information about Late Neolithic and Early Chalcolithic period of this area of Western Iran and Qala Ziwa is one of the first discovered site of this period. Obviously, future archaeological survey and excavation would yield remarkable information about archaeology of late six millennium B.C of Western Iran. 

Abstract
There are important events in Ebraham’s life in Babylon - Mesopotamia so, his name was familiar to Babylonians. Babylon is one of the civilizations and cities in Southern Mesopotamia the people of Babylon did not know the alone and grand God and worship stony idols. Abraham defeated idols with his presence in this city. For this reason, to Nimrod command throw up him to the mountain of fire. Fire became to “Golestan” for him. He was a pure Muslim except the grand creator he did not prostration anything else. The prophet who was tested many times and proudly came out of it. One of Abraham’s experiments is to kill his son Ismail. After this test, he reached a high ranking and set on the head the crown of Khalilullah. The events of his life are detailed in the holy Quran. The effect of registered stamps, including visual and writing resources, is one of the ways gets acquainted with ancient times and their social transformations. We can by examining the effect of their stamp become familiar with the social life of prehistoric people and all kinds of activities, customs, beliefs traditions and characteristics of their lives. One of the most important findings of the ancient archaeological excavation is “seal impression”. The engraved role on this pieces depicts the story of cutting of a personal head that is comparable to the slaughter of Islam. The main question of this research is, what is the meaningful relationship between the historical event of the slaughter Ismail and the seal impression of Babylon? Considering a semantic relationship in the content of both stories, this article this is the historical event of the most important parts of the Holy Quran and the religious and mystical literary source. The relationship between two events should be presented with one of the most important finding of the picture of Babylon (including the seal impression on the altar scene similar to the slaughter of Ismail).
Keywords: Seal Effect, Babylon, Hazrat Ismail, Slaughter, Hazrat Ebraham.  

Introduction
The commentators on the Quran interpret the verses related to the life of Hazrat Ebraham has descripted the various parts of his life. The Holy Quran has consistently inspired a great deal of spirituality in the hearts of Muslim mystics, so many Quranic patterns have been reflected in our mystical literature. The clay tablets left over from flat and cylindrical seals, including visual and written sources, have narrated the social and cultural developments of various historical eras from the fourth millennium BC to the late Sassanids period. The main question of this research is, what is the meaningful relationship between the historical event of the slaughter Ismail and the seal impression of Babylon? Considering a semantic relationship in the content of both stories, this article this is the historical event of the most important parts of the Holy Quran and the religious and mystical literary source. The relationship between two events should be presented with one of the most important finding of the picture of Babylon (including the seal impression on the altar scene similar to the slaughter of Ismail).

The Seal Impression Under Study
One of these seal effects has obtained from Babylon in Mesopotamia. This stamp by Jeanne Diemer Nijhowne has been studied in his Ph.D. thesis with title: “The study of symbols of political, religion, and the seal of Mesopotamian cylinders in the second millennium BC”. On the clay tab of this seal impression we are see the stamped role of 6 human figures and a scene this is comparable to the historical fact of the slaughter of Hazrat Ismail. This role do not exactly correspond to the historical fact quoted in the Quran, and only the contents of the stories are comparable to each other.

Conclusion
We start the result with “Roger bayside’s” sentence: for a long time, we have found that the art of a simple interval personal is not fruitless but affects the collective life of humans and can transform the fate of human societies. In order to better understand, the nature of thoughts and beliefs and the social status of human societies one can receive through their study of art. Religious designs in different cultures have a status beyond the apparent beauty. Although the beauty and beauty of art work is an important feature of art, but these roles have higher values. Each role is not just beauty color, and shape it also has a meaning the appearance of many roles in different motifs at the start of seeing is an invisible and in word maiming study and research in various aspects of art will deserve the recognition of many of the signs and roles of various arts. Otherwise, you cannot get enough interest from the art work unfortunately, the study of this image of religious and ritual art (various parts, such as the historical event of slaughter Ismail) is located less discussed in comparison with historical dimension. This issue, addressed in this writing, is primarily aimed at introducing a historical event from past documentation in the context of history that in the Quran and historical sources are mentioned. And attempted to drow on the two - sided (decorative and semantic) relationship of an effect (painted muddy bred discovery from Babylon- Iraq) artistic found to this paid historic event that has been neglected in Persiam source. And in no way intends to make a new claim to the events events that occurred in this historical event. The Babylonian muddy bred repeat the impact of the historical event has been one the beliefs of the people of Babylon in their period. In any event the end result is this with all the probabilities and doubts in the story of Babylonian muddy bred only the themed of both stories can have a meaningful relationship with each other.

Abstract
The Marivan Plain is a small elongated alluvial plain which lies at the westernmost extent of the Zagros Mountains in the Iranian province of Kurdistan and c. 80 km west of the provincial capital Sanandaj. The plain is c. 60 km from the Iraqi city of Sulaymaniyah and less than 20 km from the Sharizor Plain in Iraq to the west. The plain is located between two archaeologically important regions of western Iran: the central Zagros to the southeast and the Lake Urmia region to the northeast. Early studies of prehistoric periods were mainly conducted in these two regions, while little attention was paid to the region of Marivan. Prior to the commencement of the 2018 project, an earlier survey in the Marivan region had been carried out by Department of Archaeology at Bu-Ali Sina University in Hamadan (Iran). Research focused on the Palaeolithic and Neolithic periods and, unfortunately, evidence from the Chalcolithic periods is yet to be published. In 2018, we began to re-examine ancient settlement in the Marivan region with a 4 week survey. The survey identified and documented more than 60 sites. Preliminary studies of the material collected during the survey resulted in the identification of about 13 sites dating to the Chalcolithic period; it was possible to differentiate the material sufficiently to allocate occupation at the sites to the Early, Middle and Late Chalcolithic periods. This paper presents the important and new evidence of the development of Late Chalcolithic period settlement and is starting to provide an insight into the impact of the Uruk Expansion in this part of the Zagros Mountains. Even the Late Chalcolithic (LC) period in Marivan area is somewhat overlap to Uruk (early, middle and late) period in Mesopotamia, until LC5 phase (Tepe Rasha), not any Mesopotamian influences is evident in Marivan sites. 
Keywords: Marivan Plain, Late Chalcolithic, Uruk, Mesopotamia, Tape Godin.

Introduction
This paper presents the first results from the Marivan Plain Survey (MPS) in the province of Kurdistan – one of the westernmost regions of Iran and the Zagros Mountains. The project recorded important new evidence of the development of Late Chalcolithic period settlement and is starting to provide an insight into the impact of the Uruk Expansion in this part of the Zagros Mountains. The MPS project began work on the Marivan Plain in the summer of 2018. It is undertaking a review of previous survey work in the region and is directed by Morteza Zamani with the assistance of Sirvan Mohammadi Ghasrian. The Marivan Plain is a small elongated alluvial plain (UTM 38S 603000E, 3930000N) which lies at the westernmost extent of the Zagros Mountains in the Iranian province of Kurdistan and c. 80 km west of the provincial capital Sanandaj. The plain is c. 60 km from the Iraqi city of Sulaymaniyah and less than 20 km from the Sharizor Plain in Iraq to the west. In the past, the plain of Marivan with its picturesque Lake Zerewar an important node in the communication routes between Iraq and Iran. The plain is located between two archaeologically important regions of western Iran: the central Zagros to the southeast and the Lake Urmia region to the northeast. Early studies of prehistoric periods were mainly conducted in these two regions, while little attention was paid to the region of Marivan. In 2018 the MPS began to re-examine ancient settlement in the Marivan region with a 4 week survey. The survey identified and documented more than 60 sites. Preliminary studies of the material collected during the survey resulted in the identification of about 13 sites dating to the Chalcolithic period; it was possible to differentiate the material sufficiently to allocate occupation at the sites to the Early, Middle and Late Chalcolithic periods.

Conclusion
Investigations conducted by the MPS on the Marivan Plain have resulted in the identification of two preliminary trends related to LC period sites:
Firstly, the MPS has recorded several sites dating to the Middle Chalcolithic and the later part of the LC period. Except for a few earlier LC (2) shreds (Godin VII/VI:3 period) identified from the site of Aba Fatol, not any LC 2 sites have yet been confirmed on the Marivan plain. This contrasts with other areas of western Iran and the province of Kurdistan where early LC2 sites are common. At this stage of research on the plain, it seems that there was a lower number of sites in the earlier LC (LC2) compared to both the previous Middle Chalcolithic period (Seh Gabi and Dalma pottery traditions) and the subsequent later part of the Late Chalcolithic –LC 3-5 (Godin VI: 2-1).
Secondly, the MPS recorded Uruk culture related material from a single site (Tepe Rasha) and only in the form of Bevelled Rim Bowl shreds. This is surprising and suggests that cultural interaction with southern Mesopotamia was limited or that what impact there was from cultural interaction was low and did not permeate into the local cultures. Limited evidence of contact with Uruk Mesopotamia is also evident from recent surveys in north-western Iran and in northern parts of the Iraqi foothills of Zagros. In contrast, distinct and substantial evidence of contact with the south is to be found in the central Western Zagros and Central Plateau of Iran and on the plains south of the Greater Zab River in north-eastern Iraq. Iran  and particularly  its western regions is crucial for the understanding of key events in the history of Mesopotamia, one of which is the spread of Uruk culture from southern Mesopotamian into neighbouring regions during the Late Chalcolithic (LC) period (5th-4th millennia B.C.). 

Archaeological evidence and the study of remains from prehistory to the Islamic era show that astronomy has been prevalent among ancient peoples for thousands of years. Astronomy made a great progress in the Islamic era and was used in both science and astrology. In the middle Islamic Period, the motifs used on pottery varied widely, so that the origins of pottery motifs on the one hand and the interpretation of its concepts on the other challenged scholars and has been caused disagreement and divisions between them, insofar one group refers to pre-Islamic influences especially the Sassanians and the other seeks to interpret it with the ideas of the community context in which these motifs were formed. The necessity of this research, therefore, is due to the vacuum felt by the authors in locating the purports of pottery motifs by an astronomical approach. The forgoing essay is rooted in questions such as "Should the origins of medieval pottery motifs be merely searched in the pre-Islamic era?", "How the constellations were reflected on the pottery motifs of this era?" The methodology of this paper is historical-analytical-comparative and based on and library studies. In the process of researching, we first done to gathering statistical samples from museums, drawing the motifs with CorelDraw software and matching the pottery designs with constellations and in the continuation of the research, library studies have been carried out to trace the semantic themes and meanings of historical documents. The achievement of a comparative study of pottery motifs with constellations showed that astronomy and constellation discussions formed part of the credence and beliefs of the medieval peoples that often incorporated with superstitions and supernatural beings. Therefore, some of the themes of pottery motifs can be attributed to superstitious beliefs of constellations.
Keywords: Pottery, Middle Ages, Constellations, Astronomy, Astrology.
 
Introduction
Astronomy in Islamic times consists of two parts: Astrology (Astrology and Superstition) and Science (Vegetarianism, 2009: 20). Agriculture, prediction of phenomena such as, eclipse and calendar design and timing are the most important reasons to pay attention. Evidence suggests that astronomical rulings were popular during this time, so that the dependence of the affairs of life on the celestial bodies gave rise to a wide range of superstitions. Due to the prohibition on the use of gold, silver and metal utensils in the Islamic era, one of the important sources of this "pottery" era is the beliefs and values ​​of artists and clients in the motifs of Islamic pottery. Pottery has greatly improved in the Middle Ages, with a variety of pottery construction techniques, motifs and ornaments.
The origins of pottery motifs and the interpretation of its concepts have challenged, disagreed and multiplied the researchers. Hence the necessity of research on pottery of the Middle Ages is due to the lack of comprehensive research and void felt by the writers on the astronomical approach of pottery ornamentation.
Questions and Hypotheses: Two questions are asked, "Should the origins of the medieval pottery motifs be searched only in pre-Islamic times?" And "How have the constellations reflected the motifs?" Hypotheses state that "the similarities of the motifs of these two eras cannot be understood solely as the reason for their origin from the pre-Islamic era and must be found in the intellectual context of those who ordered them at that time and in social and political conditions" and "given the progress of astronomy and its influence. It is possible for people to trace the origin of motifs in constellations and astronomical topics. "
Methodology: The method of this research is historical-analytical-comparative based on library studies which initially collected statistical samples from museums, designed drawings with CorelDraw software, and compared pottery designs with constellations.
 
Matching the Pottery Motifs of the Middle Ages with the Constellations
This section of the paper studies the reflection of astronomy on medieval pottery motifs from two scientific and superstitious perspectives on the basis of different and common statistical examples of the time, which have not been studied from an astronomical approach so far. These works include three specimens of ceramics with scientific function and 11 specimens of astrology and superstitions that are further adapted to their motifs and themes by the constellations mentioned in the Suralququebb book.
 
Reflection of the Constellations on Pottery with Scientific Function
The scientific reflections of the constellations on the motifs include three containers held at the Ashmolean, Metropolitan and Boston Museum.
The designs on these three containers include the role of the sun in the center and the six famous planets (Moon, Mercury, Venus, Mars, Jupiter, and Saturn) and the twelve eclipses that collectively exist on earthenware and can be used for special purposes such as education, Clay astrolabe set the calendar and courtyard because astronomy education and learning was in the hands of the rulers, scientists, and scholars at that time, and the limited number of these dishes confirms the public claim of the dishes.
 
Reflection of Constellations on Pottery Using Astrology (superstitions)
This section refers to the constellation symbols of the North Face, the Exterior Area, and the South Face on the pottery.
Deb Akbar: A blue-and-black plate with the role of a bear and 27 stars inside it and eight stars outside it (sixth century AH) is held at the Los Angeles Museum of Art. (Dehkhoda, 1373: below Deb Akbar).
Figures (inflamed): Plate of Zarrinfam (6th and 7th centuries AH) with human role in his hand 11 stars and outside those two stars, made in Kashan, is kept at the Aga Khan Museum in Toronto. (Sufi, 2002: 44).
Essence: Enamel plate (6th and 7th centuries AH) with the role of a woman sitting on a 13-star bed, made in Kashan at the Metrolithin Museum. (Sufi, 2002: 74).
Nasr Ta'air: From the north faces is a bird that is adaptable to the two eagle (5th and 6th century AH at the David Museum) and vulture (6th and 7th century AH at the Metropolitan Museum) there are nine stars inside it and six stars outside it. (Sufi, 2002: 102)
Al-Fars al-Thani: A Seljuk-era gold plate with a winged horse and 20 stars inside it, built in the city of Rey, is kept at the Metropolitan Museum (Sufi, 2002: 109).
Thor: Gross-style green pottery with the role of a cow and 33 stars inside it and 11 stars outside it (5th and 6th centuries AH) is preserved in the Sincinati Museum. (Sufi, 2002: 129).
Cancer: Porcelain clay molded with white monochrome glaze with 9 stars inside it and four stars outside it (5th and 6th centuries AH) probably produced by Kashan or Ray and is kept in the British Museum. (Sufi, 2002: 148).
Assad: The Golden Lion Bowl with the role of a lion inside him of 27 stars and outside of the eight stars (sixth century AH) made by Kashan is held at the Metropolitan Museum of Art. (Sufi, 2002: 152).
Kolb and Arneb: The Albarlow-style Zinfam jar with the role of dog and rabbit (sixth century AH) made by Kashan is kept at the Brooklyn Museum. (Sufi, 2002: 230, 233)
Courageous: The bowl is kept in the Boston Museum by painting it under the snake's glaze inside the 25 stars and outside those two stars, related to the Seljuk era, made by Kashan. (Sufi, 2002: 250)
 
 
Conclusion
The comparative study of medieval pottery motifs with constellations shows that astronomy and its topics were widely popular among the people of this period because of the rulers' support for it in both scientific and superstitious dimensions. Also, the twelve-face facial motifs, with the greatest number of illustrations, are of particular interest to the people of that time. Now the answer to the question, "Should the origins of medieval pottery motifs be searched only in the pre-Islamic era," said the origin and concept of many bizarre animal and human motifs derived from widespread superstitious beliefs about constellations in That is the era. In response to the second question, "How have the constellations reflected on the motifs?" It can be said that the male and female gender constellations come in two groups for special containers and single use, superstitiously derived from people's belief in supernatural powers. However, the illiteracy of the potter in this regard, and only the aesthetic attention, as well as the distortion of astronomy by superstitious beliefs, have made the difference between motifs and constellations.

Abstract  
Sustainable regeneration is an approach whose objective is to improve the economic, social and physical state of the historic environment and it is an approach which is familiar in the field of conservation and heritage protection. Documents and statements of this approach have been restored since the 1990s. Many studies have been done on this topic. Each of them proposes principles for the realization of regeneration but until now, none of them has provided comprehensive view in urban sustainable regeneration. This research aim is Explaining of the conceptual framework for sustainable regeneration of historical fabric. The Methodology of this research is functional on objective and content analysis in method. Analyses, comparison and summation are used in this paper. The conceptual framework is explained by analyses of documents, statements, charter and previous research. The zone of this research is all of the historical fabrics. In this research, regeneration of historical fabric is defined in 4 dimensions: economic, social, management and cultural. Property value, private investment and branding are Economic scales in Sustainable regeneration of historical fabric. Resource supply, Sustainable urban management, Citizen Participation and promoting the level of knowledge and awareness of society from historical fabrics are Sustainable regeneration in the field of management. Social status, social identity, Social capital and Social Security are social scales in Sustainable regeneration. Cultural scales in Sustainable regeneration are creative industries, cultural neighborhoods and Cultural events. So, this research seems necessary because of the attention to the dimensions and criteria of sustainable regeneration of historical fabrics. The aim of the present is to explain a conceptual framework for sustainable regeneration of historical fabric.
Keywords: Historical Fabric, Regeneration, Urban Sustainable Regeneration, Urban Regeneration Documents.

Introduction 
Historical fabrics face a variety of problems today, such as Exiting residents from area, Existence. Low-income people in it, and the imposition of high costs to conservation these areas. Experience shows that applying a single-dimensional model in the urban system in which historical fabrics is located, generally leads to serious problems. Therefore, when making a model, it is vitally important to take various aspects of the issue into consideration including economic, social, cultural, demographic, and management indexes. Accordingly, one of the most recent approaches dealing with historical fabrics in urban planning, is urban regeneration approach. This approach was originally emerged from the principles raised in sustainable development and from the growing importance of the participation of relevant groups in the process of urban planning. One of the salient features of urban regeneration approach is that it simultaneously takes into consideration social, economic, cultural and management indexes in historical fabrics. In similar studies previously done by other researchers, certain factors were suggested to realize sustainable regeneration. However, no integrated model has been so far suggested to comprehensive attention of historical fabrics. In this research, in order to provide a model for the dimension of social sustainability. So, this research seems necessary because of the attention to the dimensions and criteria of sustainable regeneration of historical fabrics. The aim of the present is to explain a conceptual framework for sustainable regeneration of historical fabric.
 
Text of paper
Regeneration approach focuses on improving economic, social, and environmental conditions of the city. It covers a wide range of activities which makes deserted regions, worn-out buildings and those being reconstructed, habitable again. Regeneration, broadly speaking, is meant to improve the general conditions of city and citizens (Hull, 2000: 77). Different definitions of sustainable regeneration indicate that this approach focuses on improving economic, social, cultural, environmental and physical conditions.
Economic in historical fabric’s regeneration: To English Heritage (2008), the main purpose of regeneration historical fabrics is to make the productivity of the place. It provides return of fund for owners or developers. So, it provides income for conservation and preservation of historical buildings and fabrics. 
Management in historical fabric’s regeneration: The preservation of historical contexts does not make without the presence of the people. So, attracting and creating the necessary context for people’s presence requires management tools.
Social in historical fabric’s regeneration:  To Assefa and Frostell (2007), although all principles of sustainable development are involved in regeneration, it is the recently-poised issue of “social sustainability” which is the main topic in sustainable places. While it has been suggested that the final goal of development is social sustainability, economic and environmental sustainability are also two pivotal tools by which sustainable development is reached.
Culture in historical fabric’s regeneration: To pour Ahmad et al (2010), the most important aspects of this approach are the attention to the role of culture, the use of historical and cultural values as resources for development and the leisure time of the people.
Regarding the dimensions of the historical fabrics’ regeneration approach, this study categorized the regeneration variables into four economic, managerial, social and cultural dimensions. To this end, major document and charters released since 1990s, when the idea of urban regeneration started to emerge, and studies related to this subject were examined.

Conclusion
In this study, the criteria for sustainable regeneration of historical fabric were identified with reference to documents, statements and charters and previous researches. The results of the study have introduced criteria in four economic, managerial, social and cultural dimensions for sustainable regeneration of historical fabric. Economic value, private investment, and branding are criteria of the economic dimension of sustainable regeneration of the historical fabric. Criteria for management of historical fabric have been introduced such as resource preparation, sustainable urban management, citizen participation, and the development of knowledge and awareness. Social capital, social security, social status, and social identity were defined as dimensions of social dimension in regeneration. Creative industries, cultural neighborhoods and cultural events are criteria for cultural regeneration of historical fabrics. The table below shows the sustainable regeneration criteria of historical fabrics.

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 two most prominent types of material cultures in eastern Zagros are Bronze Age black burnished pottery (3rd millennium BC) and grey Iron Age pottery (second and first millennium BC) that were dog out during archaeological expeditions are being investigated and reconstructed. The technique of firing these two types of pottery will be analyzed in the present study. The main objective of this research was to reconstruct the similar conditions and techniques of these two pottery class using experimental archaeological methods and practical reconstruction of traditional kilns. Along this route, the technical similarities and differences are discussed, relying on archaeological data and comparing it with reconstructed samples. In this regard, two samples of each of the Bronze Age and Iron Age potteries were reconstructed and samples were produced and refurbished by traditional kiln that utilize modern laboratory facilities and precise temperature-measuring devices and are heated in the firing process. The results of the try and error tests indicated that baking with chemical reduction and emergence of gray color is the most important common feature of difference of gray pottery with other pottery assemblages. The firing technique and the structure of the kilns are the most important factors in distinguishing the two types of bronze age and iron age pottery assemblages. What is certain is that with the evolution of the furnace structure, the heat generated from about 700 ° C in the gray Yanniq period of the Bronze Age has increased to about 1000 ° C in the Iron Age specimens, resulting in a higher firing quality as well as a complete and complete chemical reduction of the vessels. Practical comparison of the reconstructed samples showed complete conformity of their characteristics with the ancient specimens (Pisa Tepe, Tushmalan Tepe and Ahmadabad Tepe) and also revealed the secret of producing these two species of gray pottery.
Keywords: Eastern Zagros Central Regions, Bronze Age Pottery, Iron Age Gray Pottery, Experimental Archeology, Kiln, Firing and Reduction.

Introduction
In modern archeology, the scientific question is not what we know, but how we know it. This point of view is one of the most important and at the same time the simplest modern archeological approach to past phenomena (Alizadeh, 2004: 91). Therefore, the idea of reconstructing the conditions and the environment in analogy with what was reported in the reports and data was presented. In response to such ambiguities, it can be said that using more modern methods in research such as “experimental archeology” will increase the accuracy of the premises. Early sections of this study have followed up on existing data and library studies of past sources and reports; therefore, in the next section, reconstructing the conditions and environment consistent with the information provided, has been the author’s main goal. In this section, the “kiln making” and the experience of firing the pottery in these kilns were practically achieved, leading to new information on the evolution of the gray pottery production; Proved the assumptions to be true, so that by producing products that were quite similar to ancient data, the key role of the resuscitation process in the firing process and the important role of kiln design and structure in the specific type of firing were demonstrated However, in some sources (Majidzadeh, 1370: 9-7), general references to the reasons for the pottery being grayed out as interfering with elements such as oxygen, iron, and carbon, and in other research, the reduction process was the main reason ( Kambakhshfard, 2010: 296). Finally, it can be added that according to the comparisons and studies of the samples, the firing of the Iron Age gray pottery somehow evolved into conscious firing methods during the first millennium BC. Although in the early Bronze Age achieved to somehow the technique of reduction firing, but only in Iron Age pottery assembladges, the correct pottery reduction firing can be clearly seen.

Discussion 
After the pottery kiln reconstruction operation and the success of the production of the specimens, only by a very simple comparison, the accuracy of the existing probabilities, which were the unknowns of the equation, can be easily ascertained; however, accurate and scientific recordings of the work confirmed these results. Based on these empirical findings for the Bronze Age gray pottery, although previous findings indicate that the potter accessed the firing process may be regenerated, it is due to the amount of carbon accumulated in the samples (carbonization) that is due to its proximity to heavy smoke and firewood. It can be said it was still not possible to control precisely the firing conditions by the potters.
According to existing reports and objective observations of the Bronze Age pottery assemblages, such pottery has much thicker bodies than the gray Iron Age pottery, and empirical indications indicate lower firing temperatures; There are some other features that have been ignored because of their relevance to the subject of this study, that is, firing techniques. As for its firing technique, most of the existing documents refer to the possibility of a ditched type kilns, which is not far-fetched from the evidence.
Reconstruction of the firing conditions of the Bronze Age pottery indicated that the kiln was probably a small-size oven shaped hole that provided a relatively primitive chamber for controlling fire and firing in the vicinity of heavy smoke from firewood and fuel. Reconstructed furnace firing sector were able to provide similar conditions for oven-kilns. In this oven shape kiln, pottery was quite similar to the Bronze Age specimens, especially the Yaniqe or Godin IV pottery, but due to physical limitations and initial quality and reduction facilities, they were never comparable to those found in the Iron Age.
In fact, despite efforts to create optimum conditions, these types of kilns are not capable of achieving a higher quality product such as gray ceramics of the Iron Age, even though due to the excessive energy loss of the maximum heat produced in the oven by about 700 Centigrade did not exceed that production of higher quality pottery in these conditions is almost unlikely.
As the kiln construction techniques expands and evolves, the reconstituted kiln will eventually move closer to the plan of the kilns in the Iron Age, and after a complete overhaul, the result also confirms this claim. In this kiln, reasons such as the separation of the firing chamber, the dominance of proper flame allocation to the vessels, the closure of the pipes and the non-collision of the pipes with the air, made it easier to obtain the appropriate chemical reduction conditions.
In fact, the gray color of the potteries reconstituted with the conditions of the Iron Age kilns are mostly due to the correct reduction and dependence of the carbon chemical interactions and the consumption and replacement of the oxygen present in the composite iron oxide in the ceramic body soil. The technical differences in these two species, which are mainly due to differences in the structure of the kiln structure, are evident in the firing quality of the bodies and the difference in the intensity of carbon accumulation and the color difference between the surface and the body depth.

Conclusion 
After examining the documentation available in the time and location of interested research subject, it can be said that the gray pottery has two major variations, both of which have significant differences in terms of time of occurrence, originating culture, and specific production and reduction techniques. In terms of firing technique characteristics, it can be said that the only similarity between these two cultural products is the presence of a “different gray color” in the body of both types of pottery, which has brought them closer together because of the differences in the characteristics of the other species.
The characteristics of the Early Bronze Age gray pottery that distinguishes it from the Iron Age gray pottery lie in the presence of two main factors, namely the type of kilns and the pottery body features. According to the comparison and examination of samples, firing gray pottery assembladges of the Iron Age somehow evolves conscious firing methods and only in the examples of the Iron Age pottery can a complete and correct chemical reduction of a pottery be clearly seen.
In fact, both of these types of potteries are common in creating an atmosphere of chemical reduction in firing, both of which are interesting in their quality and type of performance, which can be attributed to the progressive evolution of the kiln structure and the facilities and knowledge necessary for its construction and observance for centuries.

Abstract
Spindle Whorls are among the main cultural materials and needs of animal husbandry and semi-”frozen” societies and are among the works that are directly related to the pattern of livelihood and production in the clothing family and fibers of early societies. to be. Which are interpreted in the analysis of the findings of ancient sites. The area behind Malayer Plain Poshteh-Forodgah Tepe is no exception to this feature, and the number of 123 Spindle Whorls found among its archaeological excavation findings has a significant presence in terms of type and f. The main stones of this area can be divided into two groups: convex and conical, each of which is divided into two sub-branches: painted and simple, and in terms of quality of construction, they can be divided into two groups: medium and Roughly divided. All Spindle Whorls are made of baked clay with a mixture of herbs and in different sizes. The purpose of this research is in the first stage, typology and study of saddles and in the second stage, analysis of livelihood model related to the production of textiles in the hills posht forodgah. A significant number of Poshteh-Forodgah Tepe and its application in the production of yarn by analyzing it on the produced fibers and how to organize this production can help a lot. The method of the present research, based on comparative studies and with a descriptive-analytical approach, seeks to answer these questions: What kind and forms of hymns discovered Poshteh-Forodgah Tepe and what threads are used in its production? Given the Semi-Unilateral of the Tepe communities Poshteh-Forodgah Tepe and the abundance of Sardok, the production of textiles in this area has been for local and domestic use and trans-regional trade? Considering the Semi-Unilateral and nomadic settlement and the method of economic production based on animal husbandry in the early communities of the Central Zagros and the hills Poshteh-Forodgah Tepe, it seems that based on the variety of mounds in type of material, quality of species, shape and size, these wool fibers They are mainly used for local use and trade outside the region to meet basic needs.
Keywords: Late Neolithic, Chalcolithic, Poshteh-Forodgah Tepe, Typology, Spindle Whorl.

Introduction
Spindle Whorl is a cultural object and cultural material that is mainly made of stone, bone, wood, etc., which provides the first manifestations and old evidence from different stages of fabric production.
Analysis and typology of Spindle Whorls provide good information on how ancient tissues rotate, but it is necessary to establish a methodological typology of this type of ancient cultural finds. Type and packaging in type, shape and size provide an effective way to determine how yarns work. The shape, type and appearance of each yarn is directly related to the type of production, spinning. Therefore, the appearance and functional typologies of saddles are other ways of knowing the type of spinning and other stages of textile production. For example, the typology, shape and function of a highly effective method of the characteristics of the fibers produced and used and the final product produced from yarn or fibers (such as: wool, silk, fabric, etc.) are presented through rotation in the production of clothing. Gives. Among these, the “weight” of Spindle Whorls is considered as one of the most important factors determining the properties of production fibers. Among these, the “weight” of Spindle Whorls is considered as one of the most important factors determining the properties of production fibers. Finally, sawdust should be placed in significant categories that determine spinning and textile production, and these categories are based on the characteristics that determine the use of sawdust. Spindle Whorls discovered from the Poshteh-Forodgah Tepe The most abundant cultural finds in the hills behind the Poshteh-Forodgah Tepe after pottery are all kinds of Spindle Whorls. These chestnuts come in a variety of shapes and sizes, from circular and semi-circular to conical, all made of fine-grained clay and then heated. The Spindle Whorls of the hills behind the polished Poshteh-Forodgah Tepe, in terms of simple appearance, is less decorated and less decorated. Alone and on some of them, a linear and crescent-shaped dimple (or a kind of sign and symbol) can be seen, which is apparently created with nails. The Spindle Whorl have a hole in the middle for the passage and the wooden handle to rotate. The central hole of the Spindle Whorl is usually made in such a way that it is narrower at one end to prevent the movement of the wooden rod that was placed in this hole. And the thread was twisted around it; However, some cases of Spindle Whorls have been obtained from this area that did not have holes. It seems that the process of making these Spindle Whorls is incomplete and due to the similarity of Spindle Whorls, they can not be classified as Token or counting objects. It should be noted that no stones were found on the slopes of the Poshteh-Forodgah Tepe From all the new Neolithic stages to the Old Copper Age and the Stone Age of the Poshteh-Forodgah Tepe, three main types of oval, pyramidal and conical shapes have been obtained. These Spindle Whorls do not have the desired construction quality in the lower layers (new Neolithic of phase c). Because it is deformed and rough in appearance, and in terms of cooking, it gets a little hot and a kind of raw hand can be seen in making them. With the development of higher stages and the age of copper and old stone, Spindle Whorls have advanced in terms of variety and quality in terms of construction and have gained high resistance.
These heads vary in weight. The lightest Spindle Whorls weigh about 5 grams and the heaviest Spindle Whorls discovered from this hill weigh about 160 grams. From this point of view, it can be said that the production of yarn and the use of fibers in this region also have a diameter. Produced from the thinnest yarn to the thickest. As mentioned, the weight and diameter of the saddle circle is the most important determining factor in the process of spinning and yarn production, which is one of the important features among Poshteh-Forodgah Tepe saddles. What can be said about the diameter and size of Spindle Whorls in this area? In order to increase the diameter of the rotating shaft with the light weight of the saddle, the hollow feature of the saddle has been used so that the weight of the saddle does not increase. This feature (in the emptiness of the saddles) is one of the examples of the ridges of Qalangap hill (Abdollahi and Sardari Zarchi Figure 14, 130: 1392) and Chaghamish... and Tal Bakun (Alizadeh 1382: 349, (Figure 9) is also considered and large and hollow Spindle Whorls are produced to produce the weight of thin fibers with high flexibility and elasticity.
Poshteh-Forodgah Tepe headboards are made in the simplest possible way in terms of decoration, and the least amount of decoration is seen in terms of design compared to other areas, and only a few examples of designs are created compactly (Figure 7). The simple-edged conical saddle, which is also one of the most common types of saddles, is similar to the conical specimens of the Tel Bakun, which in some cases have compact linear or circular shapes (Alizadeh 2004: 146 and 349)

Conclusion
Using a comprehensive comparative method, 123 Spindle Whorls obtained from a season of excavation at the Malayer Plain Poshteh-Forodgah Tepe were discussed in response to questions:
In response to the first question, in addition to a coherent typology, this type of cultural findings (based on compatibility with Spindle Whorl of Charo, Chaghamish, Tal Bakun and Qalagap regions) were identified in 6 species.
The heads of this region are divided into two main groups: convex (oval and two-sided pyramid) and conical (one-sided and cylindrical pyramid).
Each group is divided into two subgroups, carved and simple, and in terms of construction quality, they are in two groups, medium and rough.
All chests are made of clay with vegetable chamotte and in different sizes (2 to 5 cm and weighing 5 to 160 grams). Some heads have pressure patterns created by a sharp tool. Depending on the type of semi-resident settlement and the method of economic production based on herding (sheep and goats) in the early communities of Central Zagros and also the Poshteh-Forodgah Tepe area due to the high volume of goat bones (due to jaws and horns) based on the variety of Spindle Whorls in this area In terms of shape, size and weight of the species, these Spindle Whorls are mostly used in fleece fibers.
Accordingly, heavy and long Spindle Whorls with high rotation axis are used to twist thick and long fibers (goat hair) and small short Spindle Whorls with low rotation axis are used to twist thin and short fibers (fleece) with different thicknesses. In this study, Spindle Whorls weight was considered as test variables on yarn diameter, yarn rupture and elasticity and yarn warp.
In response to the second question, considering the semi-monolithic location of the Poshteh-Forodgah Tepe based on various ash deposits to a depth of about 160 cm and the vertical migration approach of the communities present in it, it seems that most textile products are for endogenous use and sometimes for trade. It has been trans-regional in meeting basic needs.

Abstract
The 4th millennium BC is one of the most important periods of the history. During the 4th millennium BC, the first urban societies were established in southern Mesopotamia and south-western Iran. Even southern Mesopotamia and southwestern Iran are among central regions of urbanization, but adjacent areas, particularly Central Zagros in western Iran, have played the main role in this process. Godin Tepe is one of the most important archaeological sites during the 4th millennium BC in western Iran which has main role in the urbanization studies. The excavation of this site and Seh Gabi in Kangavar shaped the cultural sequence of Central Zagros until now.  Even this site has close cultural interaction with northern region such as Urmia basin during 5th millennium BC, but later in the 4th millennium BC, this interaction has changed from north to east and to the Central Plateau. The most significant characteristics of the interactions between Godin and the Central Plateau, is some fair painted buff pottery (Godin VI painted pottery) which is reported from the late chalcolithic period sites of the Central plateau (Sialk III6-7b). Regarding the existence  of this painted pottery throughout chalcolithic period ( not only late chalcolithic) in the Central plateau and the absence of this ware in preceding  period(Godin VII) in Godin sequence, it should be noted that the Godin VI painted buff ware is not local in Kangavar area. It has a foreign provenance that should be looked after in Central Plateau. Our methodology in this paper is comparison of this fine painted buff pottery from Godin VI period with the previous coarse ware of Godin VII, and with same ware of late chalcolithic period sites of the Central plateau.  We do not believe in immigration hypothesis about this intrusive ware in Godin sequence. Obviously future studies will be needed.
Keywords: Prehistory of Central Zagros, Late Chalcolithic, Godin VI Pottery, Sialk III Pottery.

Introduction
The 4th millennium BC is one of the most important periods of the history? During the 4th millennium BC, the first urban societies were established in southern Mesopotamia and south-western Iran. Even southern Mesopotamia and southwestern Iran are among central regions of urbanization, but adjacent areas, particularly Central Zagros in western Iran, have played the main role in this process. Godin Tepe is one of the most important archaeological sites during the 4th millennium BC in western Iran which has main role in the urbanization studies. The excavation of this site and Seh Gabi in Kangavar shaped the cultural sequence of Central Zagros until now. The focus of our studies is on Godin VII-VI strata which overlapped somewhat with Uruk period in Mesopotamia.  About this period and particularly those well-known Godin V rounded building, many papers were published. Our goal is to study the buff painted pottery of period VI (VI1).  Comparing to the previous period (Godin VII) characterized by coarse and plain chaff tempered pottery, the fine wheel made pottery of period VI is an intrusive one. Noted that the same painted buff pottery was reported from the late chalcolithic period sites of Central plateau, Sialk III6-7b and Ghabristan IV (Fazeli et al 2013, Majidzadeh 1978, 1981). In contrast to Central Zagros where this buff painted pottery was introduced in period VI abruptly, in Central Plateau this pained ware was reported from the previous period (Sialk II-III). Also the Central plateau wares have more divers shape and motif comparing to the Central Zagros so our evidence showing that the original provenance of this painted pottery is in the Central plateau and not in Central Zagros. Noted that east of central Zagros and Central Plateau of Iran during the fourth millennium BC had a great interaction with each other that as a result such painted pottery was developed from the Central plateau to Kangavar.  
Question, Research Method: As mentioned, the focus of this paper is on the fourth millennium BC and on the chalcolithic period strata of Tepe Godin and particularly Godin VI painted buff pottery (Levine and Young 1987, Young 2004, Rothman and Badler 2011, Moghaddam and Javanmardzadeh 2012, Wiess and Young 1975, Young 1969, Young and Levine 1974, Badler 1995, Mattews 2006). Godin tepe reached its maximum level of social complexity in the fourth millennium BC and has great interaction with neighboring areas and particularly the Central plateau of Iran.
 This painted buff pottery is reported from the late chalcolithic period sites of the Central plateau of Iran. Our methodology in this paper is comparison of this fine painted buff pottery from Godin VI period with the previous coarse ware of Godin VII,and with same ware of late chalcolithic period sites of the Central plateau. Introducing this painted pottery in the Godin sequence abruptly, the occurrence of this ware not only in late chalcolithic period sites of Central Plateau but throughout the chalcolithic period and diverse shape and decoration of this ware in chalcolithic period sites of Central Plateau, demonstrated that this ware is related to the  Central Plateau. It was considered as an intrusive ware in the eastern Central Zagros area such as Godin Tepe. Godin Tepe has solid cultural interaction with neighboring areas during the prehistory. During the middle chalcolithic period, this interaction was toward the north and particularly the lake Urmia basin. But in 4th Millennium BC this interaction was changed from north to east and to the Central Plateau.(Roustaie and Azadi 2017). This painted buff pottery is considered as a main evidence of this interaction. Future studies will tell us more about the eastern Central Zagros- Central Plateau interaction.

Conclusion
Introducing this painted pottery in the Godin sequence abruptly, the occurrence of this ware not only in late chalcolithic period sites of Central Plateau but throughout the chalcolithic period and diverse shape and decoration of this ware in chalcolithic period sites of Central Plateau, demonstrated that this ware is related to the  Central Plateau. It was considered as an intrusive ware in the eastern Central Zagros area such as Godin Tepe. The main question regarding this fine painted pottery is about the sudden emergence of this pottery in the sequence of Godin and how it developed from the central Plateau and reached the eastern Central Zagros in the west of Iran?    
 We do not believe in immigration hypothesis about this intrusive ware in Godin sequence as those theory explained for Godin VII Plume ware at Central plateau. As noted at fourth millennium BC, Godin tepe at west of Iran reached its maximum level of social complexity and is one of the most important trade centers which has great contact and interaction with neighboring areas and particularly the Central plateau of Iran. This trend was started at Godin VII period and those plume wares of Zagros were reported from the Central plateau of Iran. noted that before Godin VII period and during the fifth and sixth millennium BC, west of Iran had great interactions and contact with the northwest of Iran. With the beginning of Godin VII period and specially Godin VI period, the direction of communication was changed from north to the east and the areas like the Central plateau become the main commercial partner of the western Iran at fourth millennium BC. Consequently, this fine painted ceramic was evidence of this interactions and communications.  Obviously future studies and excavations will tell more about this fine painted ware in western Iran.

Abstract
Qal’eh Ganj is situated on the south of Kerman province, on the border of Sistan & Baluchistan and Hormozgan provinces. The first season of archaeological survey of this area has been carried out in 2016. This survey resulted in discovery of 66 archaeological localities dating from Palaeolithic to Islamic periods. In the present article, we try to determine cultural connection of study area with surrounding regions and it is the reason that we can present a relative dating for the prehistoric sites (Chalcolithic and Bronze Age sites). Based on the comparative dating, chalcolithic sites encompass two periods of fifth and fourth millennium BC that introduce cultural periods of southeastern Iran, respectively, Yahya VA, Mahtoutabad I and Aliabad. The Study of surface data from Bronze Age sites indicate a cultural connection between southern Jazmurian to areas of Halilrud Basin (Konar Sandal south), Soghun valley (Tepe Yahya) and Eastern Jazmurian (Bampur Tepe) and include a time range from late fourth millennium to early second millennium BC. There were found various stone structures in Bronze Age sites which suggests different functions including graves, residential spaces and water management systems. Based on dispersal of the Bronze Age sites and their strategic location as a connection between Bampur area and Persian Gulf, It assumes that the seasonal rivers and straits have had a role in bridging the two mentioned areas. The results of this research introduce the study area as an intermediate area for cultural linking between the eastern regions of Jazmourian and Halilrud Basin at Bronze Age and Chalcolithic period.
Keywords: Jazmurian Basin, Qaleh Ganj, Chalcolithic and Bronze Age, Southeastern Iran.

Introduction
Qal’eh Ganj is located on the most southern part of Kerman province. Chāh-e Khodādād is one of two districts of the present Qal’eh Ganj county, on the border of Sistan & Balouchestan and Hormozgan.
In 2016, the first season of archaeological survey and reconnaissance of county of Qal’eh Ganj has been carried out as a part of the Iranian National Archaeological Map Project in which the authors tried to clarify the cultural status of the region in different periods.
In addition to these purposes, the present research attempts to analyze the results of this research in order to identify regional and trans-regional connections and interactions with the neighboring areas. 
Geographically, this region has a strategic situation because it appears to link three significant cultural zones of southeast of Iran (Mokrān, Persian Gulf and Halīlrūd basin).
This survey resulted in the discovery of 66 archaeological localities dating from Palaeolithic to Islamic periods. The sites are morphologically influenced by the geographical factors of their places that can be categorized into two different types: plain areas and highlands (foothill and mountainous areas). 
Based on the surface data, 39 sites can be assigned to prehistoric times (Bronze Age and Chalcolithic period) matching the cultural sequence of southeastern Iran. Here, we aimed to answer two following questions: 1) what were the patterns of prehistoric settlements in this area? 2) How this area interacted with the other regions of southeastern Iran?   

Data and Materials
In southeastern Iran, our information about the prehistoric times is limited to the old excavations of Iblis and Yahya. Recent excavations in Jiroft (Konar Sandal sites and Varamin), Tepe Vakil Abad in Orzouiyeh, Tepe Dehno in Shahdad have revised our knowledge about the chronology of the region which made us able to form a chronological frame for relative dating of the study area materials.      
Based on this comparative dating, Chalcolithic sites include two periods of fifth and fourth millennium BC including three cultural periods of southeastern Iran. 
In spite of chalcolithic site locating on both of plain and highlands, no Bronze Age site was found in the plain. Bronze Age sites only dispersed on highlands and seasonal river beaches expanding from the southern Jazmurian to northern Persian Gulf shores.
The stone fences and platforms, graves and remains of great stone architectural complexes are the shared elements of all the Bronze Age sites. We can suggest different functions for theses structure including graves, residential spaces and water management systems.
Chronologically, Bronze Age in this area coincides to cultural periods of Yahya IVB and Bampur I-VI in south eastern Iran. Unlike the chalcolithic sites which are located on both plain and highlands, we found no Bronze Age site in the plain, they all were scattered in the highlands.
 
Conclusion 
Based on the relative dating, it is realized that the Chalcolithic settlements date back to fifth and fourth millennium BC presenting three cultural periods of southeastern Iran, respectively Yahya VA, Mahtoutabad I and Aliabad.
Bronze Age sites are dispersed on highlands and seasonal river beaches expanding from the southern Jazmourian to northern Persian Gulf hinterlands.
 Regarding to dispersion of the Bronze Age sites and their strategic locations, the straits and seasonal rivers are considered as the natural corridors to link Jazmurian to the northern bank of Persian Gulf.
Based on the pottery evidence, a cultural continuation is evident from Bronze Age to early second millennium BC. 

Abstract
The development of interdisciplinary sciences and the need for researchers to review scientific topics have led to the issue of “reuse of data” in archeology. Before any discussion, it is necessary to examine the challenges and theoretical foundations in this field, because uninformed use and without considering the indigenous needs of the country’s archaeological knowledge in these discussions will lead to opposite results and create consumerism and orientation in producing scientific results. This research has been done by the descriptive-analytical method and in this field from documents and library resources as well as observing the results of invalid scientific databases in the field of archaeological data studies from Digital Science Direct database, and a review of Open Context and CdocRM databases. Also, the results have been published on the T-Dar website. After reviewing and studying effective methods to identify effective strategies for reusing information and using digital tools in this field, finally, three main areas in data re-reading have been identified including standardization, metadata design, and texture documentation by digital tools. These strategies can be effective by combining their capabilities in the process of data reuse and have an intrinsic value according to the standardization frameworks of the obtained information and do not depend on factors such as information provision tools or the foundation itself. For this purpose, in the stages of field studies, classification, laboratory studies, and storing information in databases, scientific principles in this field must be carefully applied so that the information can be reused; Therefore, two main questions are raised in this research. 1) What key issues should be considered in the discussion of data reuse? 2) How can digital tools be useful in meeting the challenge of data reuse? We explored key areas in the reuse of archaeologists’ data and the role of large institutions in this area and introduced digital capabilities to address these challenges.
Keywords: Digital Archeology, Standardization, Metadata, Texture, Digital Documentation.

Introduction
One of the main purposes of designing and using databases in archeology is to reuse data. One of the essential fields in the standardization of topics in our country is the integration of words and terms. For example, in many sources, words such as coarse, rough pottery, as well as red and orange peas, etc. are used, and many researchers use different words instead of each other. Many other basic concepts such as laboratory studies, theoretical studies, and conclusions, etc. also need to use the relevant standard frameworks so that this information can be used and evaluated in other studies.
Proper management and study of digital methods that can be used in archeology is also an important and fundamental issue. There are different study methods and the information obtained from them are reusable provided that the implementation of the standards in different stages is obtained. The rules of regulatory bodies governing archeology are also changing, with many countries now banning the exchange of antiquities and other finds, even for research purposes. Therefore, the use of digital documentation for archaeological research will be important because not only the destroyed sites must be documented, but also the “archaeological data” in their remaining countries of origin should be analyzed accordingly.

Standardization
The information obtained from theoretical and practical research will be monolingual by executive standards that can be understood by researchers at different times and places and can be reused and shared. CIADCC Aram (International Committee for the Conceptual Reference Model of Documentation) has presented the most famous and well-known model of the formal theoretical foundations of archeology. The CID DocC Aram conceptual reference model is a theoretical and practical tool for sharing information on cultural heritage. This model can help researchers, professionals, and the public to answer complex archaeological questions in a diverse and scattered data set. Also, some groups have created vocabulary, controlled, and revised vocabulary (readable by computers), complementing descriptive topics, and their properties are quietly defined by CIADCC. The terms reviewed and controlled have also recently been published by the British Museum as open information and facilitate large-scale access to information from archaeological data classification and typology systems.

Texture
The first question that arises for re-users of this information is the method of collecting archaeological data. In some cases, different methods in a particular research field based on the objectives of the research are understandable. The characteristics of a research field, such as the period of study or the nature of an area, affect the research design, data collection methods, and research strategies. Due to field activities in caves and urban areas, each requires a specific method of drilling, but in many cases, this change of method depends on the excavator, and this makes it difficult for researchers to re-read the data in museums or repositories. Objects, on the other hand, are meaningless on their own, regardless of the texture from which they are derived. The nature of archaeological studies is such that after collecting and studying the data, they lose the interpretation of their original meaning, either by returning to the site or keeping them in museums or reservoirs and they have no original value and cannot be “existent” alone. Without the context in which the archaeological data was located, it is impossible to analyze and study them, and they are only describable in terms of similarities and structure.

Metadata
Another feature of databases is the inclusion of metadata next to the original information. Providing information that details the subject matter of an object or concept and helps to understand data, object or concept, metadata supports and explains the main information. 
Archaeologists use the research data of others in different ways: 1) the method of sharing person to person 2) sharing through the museum archives and more recently 3) digital databases and it depends on factors such as the scientific ability of the person who obtained the information, the area from which the information was obtained, and whether the information was the result of scientific work or unauthorized excavations.
Digital archaeologists use different technologies in their work. These technologies fall into four main categories: 1) information databases and the Internet, which is known as the main platform for digital activities, and the results of other sections are uploaded to publish and reuse data. 2) Software, which plays an important role in analysis and archaeological information and their results are transmittable to databases. 3) Digital documents that provide researchers with the ability to store virtually and objectively transfer information. 4) Physical and chemical studies and analyzes. To share and reuse data, our most important tool will be the database. Also, to preserve the texture and insert appropriate metadata, we need digital documentation as well as software. Also, to insert appropriate metadata, we need to use chemical and physical analysis.

Conclusion
The application of new archaeological perspectives to previous studies or the reuse of data is a challenge that enable archaeologist to review and share information in the field of interdisciplinary studies. In this regard, the three main areas of standardization, metadata, and context should be considered and planned. Proper use of standards in the study, analysis, and uploading processes and compliance with contractual criteria, make the impact of the person, tools and other issues less. Be confident and valuable. To understand the relationship between the three tools introduced with the steps of the practical study process in archeology, Model 1 is presented. This model shows which steps the tools should be used. It should also be noted that each of these components is associated with other options (Model 2).
 The need to use standardization as an executive framework in the field of metadata is part of the information integration process, and the documentation of its context is part of the metadata. Digital archeology and its tools can solve this challenge based on guidelines, criteria and standards, and theoretical foundations as a procedure in preparing metadata to solve the problem of backup information. Datasets with theoretical foundations based on local needs as well as vocabulary control should go through this path as well. Using three main contexts in re-reading information as complementary concepts can facilitate the study process. There is a practical example of this relationship in the approach of some large organizations in the field of data management. The British Archaeological Information Service (ADS) has launched major plans to develop theoretical foundations and standardize basic information such as dating and metadata (which includes contextual information) to provide free access to standardize information and metadata. Researchers can check the accuracy and validity of information in a database based on their knowledge. The free Orchid Database has been created to identify researchers, using the Orchid Web API to display biographical information and publish information about participants in data collection. The Free Database provides new data on the expertise and credibility of data-gathering archaeologists. This organization presents these metadata in the form of a specific standard framework. Another manifestation of the interaction of these fields in databases is due to their functional nature, include standardization and use of metadata.

Abstract
The settlements of human societies have always undergone cultural changes in their place over time. One of the reasons for this alteration is the change in livelihood strategies as a result of climate change, in the social organization seeks change in production, technology and.... Among these, the most important factor should be considered livelihood and a kind of biogeography-dependent determinism in meeting basic needs, in the structure of the pattern of human settlements, so economic, social and environmental frameworks complement each other to analyze why change. Or lack of it in the biological patterns of humans throughout their historical life. Kabudrahang plain has been one of the northern plains of Hamedan province and one of the most important ways of communication between the cultures of the Central Plateau, the northwest and the Central Zagros during different periods. This plain in the summer of 2007, under the title: “Study and identification of the ancient sites of Gol Tappeh and the central part of Kabudrahang” has been studied in a survey by collecting cultural materials from the area, in two seasons. The result of field studies includes 140 sites from different periods of Chalcolithic Period to late Islam, which shows environmental and cultural changes in the settlement patterns from the period of Chalcolithic Period to the Qajar era. One of the main topics addressed in archeology is the study of changes in ancient sites and, finally, the attempt to analyze the changes and developments of habitat patterns and their causes over time. In this regard, to examine the trend of changes in settlement patterns, hypotheses based on the influence of factors such as: “space”, “time” and “place” in the process of these changes are presented. However, the main question of this research is that what were the influential factors in the cultural changes of the settlements of Kabudrahang plain from the Chalcolithic Period to the Qajar era? The method selected in the present study will be the use of “Kennethe F. Watt” theory strategies based on GIS analysis with a historical-analytical approach. The results of the study of Kabudrahang plain settlements from the Chalcolithic Period to the Qajar era, show a change in the adaptive strategies of human groups present in it, based on livelihood patterns in location with the impact of the geography of the study area on the needs of human communities..
Keywords: Kabudrahang Plain, Archaeological Study, Settlement Pattern, Location, Geography.

Introduction
Human settlements have always undergone various changes in location over time. Among the reasons for that are changes in livelihood strategies as a result of climate change, changes in social organization following cultural changes, technology, and so on. In addition to socio-economic reasons, cultural issues and a kind of determinism related to environmental geography could also affect the structure of human settlement patterns; Thus, economic, cultural, social, and environmental frameworks complement each other to explain why human life patterns have changed, throughout their historical life. Kabudrahang plain with the length of 50 km northwest-southeast and north, including the northern plains of Hamadan province and has been one of the most important communication routes between the inhabitants of the Central Plateau, northwest and central Zagros. Kabudrahang, with its diverse geography including mountainous areas, high slopes, lagoon (Shirinsoo) and mid-mountain plain on the northeastern slopes of Alvand Mountains, has experienced various biological and climatic changes over time. In the summer of 2007, Kaboudrahang plain was intensively surveyed by collecting cultural materials from the region during two seasons, with a field project entitled “Study and identification of the ancient sites of Gol- Tappeh and the central part of Kabudrahang”, which resulted in 140 sites being identified. Different types of Chalcolithic Period have been identified from the period to the end of the Islamic period, which includes different types: hills, caves, castles, cemeteries, stone paintings, baths, bridges, etc. In this research, the location changes of settlements, cultural effects and developments of archaeological findings in this cultural field will be studied, which is one of the main objectives of this research.

Settlements and Sites of Kabudrahang Plain
As mentioned in the introduction, Kabudrahang plain was studied for the first time in two stages with the research project “Study and identification of the ancient sites of Gol Tappeh and the central part of Kabudrahang” (NazariArshad, 2007). in the first stage (Summer 2007) 60 works and in the second stage (Autumn 2007) 80 ancient works were identified. Accordingly, in the study of the area in the first Season, for each area, a location code number after the letter “KA”, which is derived from the name “Kabudrahang” was considered; So that after the investigation in the first Season 60 codes and in the second Season, 80 codes (140 codes in total in two Seasons) were allocated for all identified works. The identified ancient sites include: caves, stone carvings, baths, bridges, cemeteries, mountain castles with stone and brick materials for residential and governmental use, and other items in the form of ancient hills from the Chalcolithic period to the Qajar period. In the following, information about the typology of different places and ancient hills of Kaboudrahang based on known archeological periods and cultures will be provided.
Chalcolithic Period: The oldest artifacts and common cultures identified from Kabudrahang plain belong to the Chalcolithic periods, among which, from 13 sites, the artifacts of the period have been identified.
Bronze Age: Bronze Age artifacts of Kabudrahang plain have been identified in 16 settlements.
Iron Age: Iron Age artifacts in Kabudrahang plain are limited and have been identified from only 5 settlements.
Parthian and Sassanid Period: The settlements of the historical period of Kaboudrahang plain have been identified from 106 sites, which can be considered more related to the Parthian and Sassanid eras.
Islamic Period: Remains of the Islamic era of Kaboudrahang plain were identified from 125 sites. These sites belong to different periods of the early, middle and late Islamic centuries and include different types of monuments such as baths, castles, bridges, cemeteries and ancient hills.

Conclusion 
The ideas and analysis of the settlement patterns of Kabudrahang plain can be discussed from two perspectives; First: livelihood economy, which has caused spatial changes in order to benefit and adapt its different communities to the environment, which sometimes includes livestock with a semi-integrated approach and sometimes agriculture and permanent settlement in different areas of the plain. These environmental compromises have been manifested in all prehistoric periods (Chalcolithic Period) to the late Islamic period (Qajar) in Kaboudar plain. Second: Roads and communication spaces and the location of the region have been political, cultural and commercial borders. In different historical periods, roads, trade and economic prosperity have always been considered as a component of the durability and stability of governments. Road surveillance, awareness and prevention of possible movements of military attacks, required important infrastructure such as: military bases along the way, proper access roads and most importantly security. Therefore, the construction of castles has always been considered important and serious by the rulers and the city government, which in the Kabudrahang plain has shown the most in the Parthian and Qajar periods based on the type of settlements (Fortifications Castle). Existence of surface waters such as seasonal and permanent wetlands and rivers and being located in communication roads and borders of different cultures in the northwest, central plateau and central Zagros has made Kaboudrahang plain more important in different periods (from prehistoric to Islamic period). Finally, it can be said that the main areas of this plain are occupied by settlements of less than half a hectare and a limited area of one to three hectares, which indicates the existence of small and large villages to supply their core in prehistoric times and central governments in the emerging historical period. Feudalism (especially in the Parthian and Qajar periods) has been with the approach of master and servant using geography, ecology and environmental capabilities of the region.

Abstract
Varamin-Pishva plain is one of the most important cultural areas of the southeastern part of Tehran plateau in different historical periods. Taghabad Tepe with two western and eastern elevations and consisting of different rich layers of Iron and Bronze Age is located in this plain. This site has been studied and archeological research in 1397. In this study, it was found that this area has different deposits from the Iron Age one and two in the upper layers and traces of late bronze in the lower layers along the horizon with the common western traditions on the plateau. The aim of this study was to analyze the mentioned findings and compare it with the findings of other areas of Varamin plain and other neighboring areas. The questions of this research are as follows: based on the archaeological findings of the cultural developments of Taghiabad Tepe, what kind of cultural traditions dose the Iron Age have? What is the influence of regional and trans-regional cultures of the common Iron Age cultures of Varamin plain due to the Taghabad findings in the type of pottery and architecture? Accordingly, the Iron Age 1and2 of Varamin plain and especially Taghiabad Tepe to some extent shows the regional actions in Varamin plain and the proximity and convergence of the trans-cultural region with neighboring areas. 
Keywords: Iron Age, Varamin-Pishva Plain, Iron Age Settlements, Taghiabad Tepe, Architecture, Pottery.

Introduction
Varamin-Pishva plain, having a suitable geographical position in the slopes of Alborz mountain range and Damavand peak and having a suitable height, has provided suitable ecological conditions for the presence of human communities for a long time. This plain is one of the areas prone to the formation of Iton Age settlements in the north-central part of Iranian plateau. During the archaeological study of this area in 1391-1392 AH. Has identified 27 sites belonging to the Iron Age (Figure1), as a result of studding the findings of this study, only a few sites have been introduced and identified. In this research to analyze and study the pattern of establishment and distribution of sites as well as cultural stages of the Iron Age of Varamin plain by analyzing cultural findings identified from  Iron Age sites based on archaeological studies and cultural traditions of this plain by case study, especially pottery, and the architecture identified from workshop A in the eastern ridge of Taghiabad area as well as the surface findings obtained, classified and then the location of this area in Varamin-Pishva plain next to the Iron Age settlements in the center of Iranian plateau, in a general view, reviewed, evaluation and analysis are included. In this review, understanding the Iron Age communities, especially the Varamin plain will be accompanied by re-reading various theories.

Research Method
The present research is structurally one of the basic researches with a comparative-analytical approach, the method of finding is to exploit the findings of an archaeological excavation chapter based on historical analysis of the findings of Taghibad Tepe. According to the research topic and the variables studied in it, the method of collecting information in the field and data collection tool in this research will be based on archaeological excavations and related reports and articles. 

Taghiabad Tepe
Taghiabad area is located in Javadabad rural district and between Taghiabad villages, Khajoo Qaleh and Ajorbast counties in the agricultural lands of Taghiabad village in Varamin city. This site was considered in the framework of joint cooperation between the Institute and the University of Berlin in 1397 AH to collect samples of ancient climate studies from ancient deposits and according to the surface findings of the Iron Age and Bronze Age and according to the situation. The demolition of the site was speculated. The site is located in the west and near the Ali Kharat River. Cultural and settelement findings of this research have been identified in Taghiabad Tepe from workshop A in the ridge No1 of Taghiabad Tepe (eastern ridge) and in the northern side of this Tepe in the area that was excavated with an area of 1/5×2 meters (Figure5). From this Tepe, seven settlement phases with two historical periods from Locus have been identified, which include artifacts from the Iron Age 2 and 1 to the late Bronze Age. The cultural materials of this Tepe are all kind of pottery covered with red, cream and brown mud, gray, architecture (walls and thermal structures) plaster, pounded floor, stone tools such as pounding stone, abrasive stone , burnt plant seeds (in terms of appearance similar to wheat or barley) it has formed a bony specimen, goat horn and clay tokens, etc., which will be described below

Conclusion
The results of the study of Varamin plain settlements from its archaeological of Iron Age communities, based on Taghiabad Tepe excavation, this area and site as an important area and indicators in the study of Iron Age cultures and chronology of the Iranian plateau. One of the most important topics in the archeology of the Iranian plateau is how the tradition from the Bronze Age to the Iron Age and its sequence, one of the important features of Taghiabad Tepe is the presence of communities from the Iron Age and their cultural connection with the Bronze Age which is of great importance in the studies of the tradition from the Bronze Age to Iron (Age)., an area where settlement began in the Iron Age and continued until the Bronze Age . Accordingly, in this study, questions were raised that can be evaluated in this way. The first question was asked about archaeological findings, cultural developments of Taghiabad Tepe and how the cultural traditions of the Iron Age. The urban complex and evolution of later cultures with cultural establishment has been one of the actions of the neighboring horizon in the type of architecture and pottery, especially Gholi Darvish. The second question was asked about the interactions and influence of regional and supra-regional cultures of the common cultures of the Iron Age of Varamin plain due to Taghiabad findings in the type of pottery and architecture, which according to the surface findings of 27 sites recorded in studies, archaeological as well as various excavations in Sofalin Tepe, Chalnasian and other areas, this plain to some extent shows intra-regional activities with the center of Taghiabad Tepe, with cultural trans-regional affinity and convergence with adjacent areas in the southern and northern parts of the central plateau of Iran. Therefore, it can be considered that the Iron Age sites of Varamin-Pishva plain, especially Taghiabad Tepe, are the product of an advanced society with a cultural establishment of adjacent horizon actions in the type of “architecture” and “pottery”. Based on the types of pottery and the type of architecture the cultural sequence of Taghiabad Tepe can be introduced with 7 phases of establishment in two historical monuments. Finally, it can be said that based on the relative and comparative dating of Taghiabad Tepe, it can be dated to the late bronze period of the transition period and the Iron Age of one and two.
pe. 

Abstract
Troglodytic Architecture like other branches of architecture has strong relationship with the culture of the people and their daily lives, which, although at first glance, seems simple and primitive, but in fact were built by people who have used all their intelligence and ability to build them.In Troglodyte part of Ab-Ask village, the people of the past have tried to create various architectural elements in this place to meet their daily needs, each of which plays an important role in the architecture of this part in a specific shape and image. Some of these elements were created inside the Troglodyte (rooms) and some outside the rooms.Indicative environmental elements that affect the plasticity of the village are geography,security,immortality and religion,which geography has the most impact on the form of Troglodyte compared to other factors. However, the influence of other factors cannot be ignored. What has been the present research in order to answer the question of the elements related to the lifestyle of people in these Troglodyte? Using field and descriptive case study method, in Troglodyte section of Ab-Ask village, to introduce and analyze architectural elements and details in these Troglodyte including: porch, stone bench, door, window, ledge and niche, stove, manger, and etc. At the end of this study, it will show that the past people of this region with high skills in interacting with nature have been able to create more than 170 Troglodyte in this place, which were studied in 5 groups. The orientation of the facade in this complex has been done from the south to the northeast, which has been a calculated choice in relation to the winds of the region and the direction of the sun and the chronology of the collection, according to the pottery and historical texts, is probable to the historical-Islamic period. 
Keywords: Troglodyte Architecture, Ab-e-Ask, Architectural Elements and Details, Immortality, Akhyeh.

Introduction
This type of architecture has been created by hand, with the help of tools, in the heart of the soil or in the heart of rocks between dams and precipices. Residents in man-made cave architecture, like living in modern architecture, require the use of elements to meet their needs. They have created the elements of this architecture in the same way in the heart of the rocks and according to their needs, which is diverse. Certainly, the past residents of man-made cave architecture of Ab-Ask village, in order to meet their needs by creating and organizing the available space in the heart of the rock, have created elements and details along with the residential space; that knowing these elements, as indicators related to lifestyle, will lead to familiarity with the pattern and lifestyle of the inhabitants of this man-made cave village.
Man-made cave part of the village, which also has a significant area, has taken on new uses today due to new needs, and due to new uses, new elements have been added to the previous samples.
Objectives and necessity of research: Due to the evidence of many rock architecture in Larijan section of Amol city (due to geographical conditions) and the lack of sufficient research in relation to these works, therefore study of the rock formations of Ab-Ask Village can be used as a prelude to a better understanding of this type of architecture and also, the role of rock architecture in rural tourism planning in Larijan section is very important
Research questions and hypotheses: What were the elements related to the lifestyle of the people in these man-made caves? It seems that the wind direction of the region and the direction of sunlight have had a significant effect on the direction of the entrance of this man-made cave.

Context
Areas of villages in Larijan district in Mazandaran province, among dams and precipices with a length of approximately 45 km, from the summer village of Plour to the village of Punjab, along the Haraz transportation road, have a variety of man-made cave architecture (Mohammadi Nashli and Rostamnejad Nashli , 2013: 2) which in this article we are researching man-made caves of Ab-e-Ask village.
Adjacent to the Haraz River, which has permanent water, at the foot of Damavand Mountain, next to numerous mineral springs and travertine makers, and near the coal mine, more than 170 units of man-made cavities inside hardened volcanic sediments (harder than soil and softer than stone) but dominated the plains and adjacent lands created by the peoples of the past.
These man-made caves are made on the walls of valleys with a height of 30 to 100 meters, all of which have a special door and hole due to the slope and climatic and perhaps religious reasons, which usually warm in winter and cool in summer in choosing the side. In these settlements, the number of openings is generally small and often only one entrance is enough, although in some, man-made caves, in addition to the opening, a hole is installed in the east direction.
Various elements have been used in man-made section of Ab-e-Ask village inside and outside the living space, and here we have tried to introduce and their possible function. Porch, parf, shelter or shelter of wind and cairn from external elements, hall, skylight window, niche, recess, jug, mortar, stove, manger and drinking fountain, room and stake including internal and at the entrance elements, stairs and platform are elements that are seen both outside and inside the space of these man-made caves, are mentioned in this article.

Conclusion
This collection includes more than 170 units of man-made cave that have been studied in five groups: residential structures, livestock-residential structures, guard structures, possibly ritual-burial structures and structures with unknown use. Chronology of the collection According to the evidence in the historical-Islamic period up to the present century, it is possible that during this period, this collection has also expanded. However, 90% of the units in this collection are still used in fodder ponds and warehouses. Pointing out that about 50% of the collection is related to the present century that people have naturally built existing structures to store fodder and keep their livestock and according to the type of rock.
7 units out of total 170 units identified in the collection were debris-removed that the different feature of these 7 units is the presence of a pounded floor with plaster, which has probably been seen in the side walls in addition to the floor. A number of units in this collection are associated with artificial architecture, which is clearly related to the surviving artificial architecture of the contemporary century and some recent years.
Existence of different architectural elements inside and outside the spaces has been a necessity in order to meet the daily needs of the residents, that in this article, a brief introduction to the elements and interior design, which were eventually created simply by working on stone and natural bedding, was obtained.
In this collection, the existing architectural elements as inextricably intertwined with other elements, such as walls, floors, ceilings are parts of the space. Each of these elements is embedded in different sizes and dimensions depending on the location and available space; due to this, we see a great variety in the architectural elements of this collection that the elements of each space are specific to that space. The presence of a natural substrate has made it possible to add new elements to the collection over time. These elements are created in the desired space due to the necessity of daily life, and that is why there is not much multiplicity about these elements.

Abstract
Qal’eh Dokhtar, as one of the important historical sites on the eastern outskirts of Kerman, has been described in historical texts with different names such as Qal’eh Kooh and Qal’eh Kohan, as a place of political and social events. One of the important features of this castle is its special location in Kerman plain, as well as the extent of its architectural structures and type of materials. The purpose of this study is to analyze the nature, function, and chronology of Qal’eh Dokhtar. This study was done based on the results of an archaeological survey, sounding, and archaeological excavation in 2019 in this site. This study can explain the role and position of Qal’eh Dokhtar in the social and political developments of Kerman during the Islamic era. Data collection was done by documentary and field methods and the research method is descriptive-analytical. The questions are: When were the foundations and renovations of Qal’eh Dokhtar made and what were the functions of this complex? For this purpose, the data of previous archaeological research and recent field activities of the authors were studied and reviewed, and while studying the historical geography of the region, a correct idea of the nature, formation, and function of this building in relation to cultural developments, Political and social of this area in the different period were presented. The study of cultural materials along with the study of historical sources shows that this site is probably almost continuously inhabited from the pre-Islamic period and certainly from the first centuries of Islam to the tenth century AH. The results show that this structure has played a decisive role in the political and social developments in the region. It seems that Qal’eh Dokhtar was probably constructed and reconstructed from the pre-Islamic period and certainly from the first centuries of Islam to the Safavid era for establishing a military and defense base, as a place to hold political prisoners, a treasury, a safe haven for sit-ins and the rulers and their families.
Keywords: Qal’eh Dokhtar in Kerman, Qal’eh Kooh, Qal’eh Kohan, Historical Castles, Islamic Architecture.

Introduction
Based on historical evidence, Kerman city was founded due to an economic-military necessity. The necessity that required the important branch of the Khorasan arterial road, that is, the spice route of India and the coasts of the Oman Sea, passes through the deserts of Kerman and Baluchistan and connects to the Khorasan arterial road. The Kerman region was located in the center of the intersection of the mentioned roads (Zarei and Heydari, 2013: 202). Because of this special situation, Kerman was also subject to internal and external attacks since historical times (Bastani Parizi, 2016: 40). Therefore, large castles were built for military and defensive purposes to prevent damage and protect lives and property from enemy attacks. Qal’eh Dokhtar is one of the important castles that was founded in response to such needs. In its ups and downs history, this castle has been one of the most famous and eventful castles, especially during the Islamic era, compared to other historical castles in the southeast. Based on the historical sources, political events in the history of Kerman in different periods are connected with this castle (see: Afzal al-Din Kermani, 2016: 124; Vaziri, 2016: 102; Monshi Kermani, 2018: 62; Sykes, 2016: 80).
Despite this, none of the above studies gives a detailed understanding of the nature, function, and chronology of this monument in connection with the social and political developments of Kerman. Historical sources also show a number of contradictions about the date of construction and function of Qal’eh Dokhtar. Most of these contradictions have been caused by the lack of detailed and comprehensive investigation or the ignorance of historians. Considering that the previous researches related to Qal’eh Dokhtar were only descriptive, the importance of the research is that it studied the nature and use of this castle with an analytical approach.
Materials and Method: In this research, by studying historical texts and architectural structures and cultural data (including the remains of pottery from the archaeological excavation and survey in Qal’eh Dokhtar), an attempt was made to create a clear understanding of the history of construction, the process, and stages of renovations, its functions based on the developments. Data collection in this research has been done by field and documentary methods. Based on this, the study and analysis of the findings of the authors’ excavation and survey in Qal’eh Dokhtar has been done to explain the construction chronology, the process and stages of renovations, and the functions of the castle. Also, the historical texts related to this work have been analyzed in the “content analysis” method, and by matching the data from these documents with the archaeological findings, new analyzes have been tried to be presented about this work.

Data
Qal’eh Dokhtar is built on a high rock overlooking the landscape of Kerman plain. This high rock is stretched lengthwise from east to west and its length is more than 720 meters. The architecture of Qal’eh Dokhtar follows the topography of this rock. Some of the architectural spaces of Qal’eh Dokhtar were formed on large stone slabs, and in some others, space was provided for construction by carving the mountain rocks, and buildings were formed with mud-brick, crushed stone, Sarooj, plaster, and lime. In the eastern part of the complex, architectural evidence of two and three stories has been left. In the northernmost part of the middle section, the architectural structures of this section were probably the ruling buildings. In the northwest of the middle part of Qal’eh Dokhtar, there is a wide and half-ruined gate, a small pedestrian gate, and a high and solid tower. In the south of the middle part of Qal’eh Dokhtar, there are remains of a brick water basin.

Discussion
Analyzing the content of historical sources provides information about the functions of Qal’eh Dokhtar during the Islamic era. For example, the first function of Qal’eh Dokhtar as a “place for opponents of the government” can be mentioned (Monshi Kermani, 1328: 23; Hafez Abro, 1375: 53-52). The second function of Qal’eh Dokhtar was based on the analysis of the content of historical texts, “a place to store government treasures” (Katabi, 1985: 100; Hafez Abro, 1996: 157). The third function of Qal’eh Dokhtar can also be considered as “the residence of rulers and their families” in some periods (Afzal al-Din Kermani, 1977: 124). The last function of Qal’eh Dokhtar can be seen as a shelter for besiegers (Khabisi, 1994: 187). In addition to these, we can also mention the role of Qal’eh Dokhtar in keeping political prisoners, which is hidden in historical sources (Monshi Kermani, 1949: 15; Hafez Abro, 1996: 20). Based on this, Qal’eh Dokhtar has had different functions in different eras and as a part of the spatial organization of Kerman city, it has played a special role in the political and social developments of this city in the Islamic era.

Conclusion
Qal’eh Dokhtar in the east of Kerman city was one of the important castles that was founded in the pre-Islamic and early Islamic period due to the need to deal with the threat of invading tribes on the south and southeast highway of the country, and it became the throne of the rulers of Kerman in different periods. For two reasons, Qal’eh Dokhtar played a role as a military and defense structure along with other castles in Kerman in providing security to the east of Kerman and the highways of the region. The First reason is “its location on top of the natural elevation and dominates the Kerman plain”, and the Second is “the important position of the city of Kerman from a military point of view during the Sassanid era”. However, the analysis of the content of Islamic written sources and the study of archaeological evidence, including pottery and architectural structures, show a basic reconstruction phase in the 4th century AH, a deliberate destruction phase in the late 6th century AH, two phases of reconstruction in the early and at the end of the 7th century A.H. and a stage of reconstruction took place in the second half of the 8th century A.H. in Qal’eh Dokhtar. Along with these developments and renovations, other functions were added to the security and defense functions of Qal’eh Dokhtar. As it has functioned as a place to keep political prisoners, in other times as a place to keep government treasures, sometimes as a safe haven for the opposition and in other periods as a residence of rulers and their families.

Acknowledgments
The authors are grateful to Dr. Asadullah Jodaki Azizi for his advice.

Abstract
Coin minting is basically a symbol of the formation and confirmation of a political sovereignty. The Shiite rulers of al-Boyeh were among the local and regional governments of the geographical area of Iran, that  after the establishment of a political government in the year 322 AH and in imitation of the previous governments, according to the usual practice, coins were minted after the formation and stability of the political government. It seems that in the early days of the rule, the Al-Buyeh family used some of the symbols of the Abbasid dynasty and before it in their coins to validate and legitimize their political rule. that with the passage of time and the entry of this Shia political rule into the middle and final period; All the symbols of other local and regional governments have been removed from the front and back of the coins and replaced by symbols that show Shiite vision and thinking, and gradually with the passage of time, these symbols have reached a stage of maturity and complete guidance . It is one of the very important topics that the current research has aimed at, in addition to searching and analysing historical sources and new researches, to explain the reasons, motivations, and existing platforms for this change and transformation in the coins of Al Boyeh. to do and the nature of using these symbols and why not using another symbol as well as their growth and excellence from 322 to 454 Hijri, a period of 123 years with this question; What are the indicators of the minting of the coins of the Shiite Albuyeh rulers in Iran? How to challenge its adaptations, innovations and differences to other coins? Preliminary studies show that the Albuyeh ruling family, like other ruling families of their time, had to first legitimize the newly established system. They use the symbols of Bani-Abbas and before that in their coins and with the passage of time and the establishment of political rule, they tried to include Shia and Iranian symbols on their coins and their rule by minting dinar coins. (gold) and dirhams (silver) to everyone.
Keywords: Coin, Al-Buyeh Coins, Symbols of Shiite Coins, Symbols of Al-Buyeh Coins, Abbasid Coins.

Introduction
Al Boyeh rulers are the first Shiite rulers who were able to make a name for themselves in the history of Iran for 132 years from 322 to 454 AH and devote some pages of historical texts to their history. Investigating the historical developments of this period of Iran’s history requires knowing and knowing the sources that explain the historical developments of this period of Iran’s history (Faqihi, 1378: 16-17- Boseh, 1363: 220-221- Bahmanyar Kermani, Beta: 18- Ibn Athir 1373/11: 4825). Coins are one of the many important sources that can provide valuable information in all political-military-economic-social-cultural-artistic-literary-religious fields. Coins are actually the most truthful narrators of history, who have left valuable information in their hearts, which cannot be found in any of the historical texts or other surviving works of the past ages with complete accuracy and certainty. From the study of numismatic data of a historical period such as gender, metal, weight, carat, lines and motifs and slogans contained in the coins as well as the place of their minting from the intellectual, religious, cultural, political and social approach of each of the dynasties. Historically obtained useful information. From the study of the numismatic works of the Al-Buyeh period from the beginning to the year 322 (A.H.) until the fall of this government in the year 454 (A.H.) it can be seen that the coins of this period underwent many changes and many ups and downs, has gone through. So that these changes can be clearly seen in all political, social, administrative, economic, religious and cultural fields and even in architecture and coins. Research shows that the rulers and founders of the first new Al-Buyeh rule at the beginning of their work to formalize and legitimize their power structure in their efforts to benefit and adapt the civilizational, administrative, political, military and economic stages from others such as the Umayyads. They are the Abbasids, After adapting this index, they maintained it until the middle period of their 132-year rule, and after the changes and developments in the civilized, administrative, political, military, and economic fields, they replaced it with new indices, so this process continued until the fall of the rule. Albuyeh’s politics is quite tangible. In works such as Sarafraz: Avrzamani (2010); Pakzadian: 1380, Rezaee Baghabidi, (1393), Quchani, (1374); Eshraq, (1389), Quchani, (1383), Tridville (2001), George Miles (1938) The ups and downs of Al Boyeh coins developments from 322 AH to 454 AH, the end of the political rule of Al Boyeh Iran in metal, Weight, carat, lines, motifs, slogans... can be seen. Al Boyeh Shiite rulers in the very beginning of their work from the symbols of the Umayyad and Abbasid governments such as; The image of the Sassanid king (Khosro II or Yazdgerd III) was inserted on the coin (Ishraq, 1385: 3) The appearance of the name of the caliph or ruler in Pahlavi script - The appearance of inscriptions with Pahlavi script on the coin - The face of the Sassanid kings, half-faced and full-faced, appeared Appearance in the coins (Ishraq, 2015: 2) - the entry of the Islamic slogan into the Kufic script in the margin - the presence of Zoroastrian fire pits on the back of the coins - the presence of two fire guardians on the back of the coins - the appearance of inscriptions on the sides of the coins - Entering the date and place of production in Pahlavi or Kufi script- The appearance of inscriptions on the back of the coins usually used Pahlavi or Kufic script (Miles, 1363: 318-319- Sasanian Arab coins before Bani Umayyad 1-2). From the evidence and historical documents, it appears that the rulers of Buya, like the Umayyads and the Abbasids, minted gold (dinar), silver (dirham), scales or copper coins. It seems like this, when the rulers were in a good political, economic, and military situation, they minted gold or silver coins, and basically, gold and silver coins were minted in the main center of government. Later, with the gradual disappearance of the political, economic, and military influence, as well as the political rule of Al-Buyeh approaching the end of their rule, gold (dinar) and silver (dirham) coins were gradually replaced by gold coins Due to the distance from the centre of government - the reduction of central power - the lack of concentration and supervision over other states - the coins became popular in the political sphere of Al-Buyeh. From the historical and archaeological evidence and documents, it appears that the Shia rulers of Buyeh used to mint coins in many canters, and many titles and titles were used in their coins - from different styles, such as the Iraqi-Jabal-North-Shirazi style They used- Unlike the coins of the contemporary periods (Abbasians, Samanids, Ghaznavids, Seljuqs), they use the inscription script - the names of local emirs appear on the coins - they imitated the Sassanid coins and put the name of the emperor on the coin - from poems Shiites have not used it in the minting of coins - at first the grade and purity of the coins was at a high level (98%) - with the passage of time, the grade and purity of the coins gradually decreased and decreased to 50% - the name of Caliph Abbasi is on the back of the coin It was minted continuously - words such as Muhammad Rasulullah, La ilaha ila Allah, Wahadh Lashrik Leh, etc. are seen in most of the coins. So that these indicators and characteristics can be seen from the coins obtained in fifty mint centers of Al-Buye such as Qoms, Bastam, Damghan, Semnan, Gorgan, Estrabad, Amol, Sari, Frame, Hossam, Isfahan, Helwan, Dinur, Shapurkhashat, Saveh, Sinjabad, Qarmisin, Qazvin, Mah Al Kufa, Mohammadiyeh, Nayin, Hamadan, Armenia, Bardsir, Bam, Jiraft, Sijan, Arjan, Ardashir, Khoh, Janaba, Darabgerd, Shapur, Siraf , Shiraz, Fasa, Kazeroon, Kordfana Khosrow, Ibadan, Ahvaz, Izhaj, Shushtar, Jundishapur, Ramhormoz, Souq Al Ahvaz, Askar Makram, Baghdad (an overview of the distribution of minting centers in the political territory of Al Boyeh (cf. Miles, 1363: 326- Mitchiner, 1977: 121-126).

Conclusion
Al-Buye’s numismatic studies show that the coins of the political rulers of this Shiite family have experienced many ups and downs over time based on their geographical location, distance and proximity to the canters of power, followed by political, economic, cultural and social issues. In order to formalize their political rule, the Shiite rulers of al-Buyeh first followed the plan of their predecessors and after the political, economic and military changes and developments; they separated their administrative structure from the previous rule and announced the coinage of their independence to others. The minting of dinar (gold) and dirham (silver) coins is a sign of this approach, following the emergence of signs of weakness and weakness as well as the reduction of political and economic power; Coins were gradually reduced from gold to silver and with the passage of time to copper coins, and numerous changes in color, shape, inscriptions and distinguishing signs were evident in them. According to the practice of their predecessors, the first rulers of the Boyeh ruling dynasty have taken models from the coins of others, and like other contemporary ruling families, by imitating the Abbasid coins, they gradually removed their symbols and replaced them with Islamic and Shia symbols, and by adapting some of the initial coins of the regime. With the coins of the middle and final period of this dynasty, it can be seen that there are fundamental differences in the coins of this period (Baha al-Dawlah Deilmi coin - cf. http: // malekmuseum.org). This symbol has fundamental differences compared to other coins of the previous era due to the approach of the Al-Boyeh family in assigning it to the family of innocence and purity and on the other hand to Iranian’s. Although the essence of the work of the coins of this period is exactly imitation and adaptation of the Abbasid coins; But in some aspects such as color, shape, inscriptions and recognition marks, it is associated with a new approach that separates it from other coins, which can be seen in the use of many titles and titles; and also the use of styles such as Iraqi, Jabal and North, and Shirazi; It made them more distinct compared to their contemporary coins. The coins of the first period of Al-Buyeh are used with the names of local rulers and the names of Sassanid kings appear on the early coins of the rulers of Buyeh. They had a mind. In addition to this issue, to confirm their political sovereignty, the Buya emirs had to include the name of their contemporary Abbasid caliph in their coins. This symbol is less visible in the early coins of Al-Buyeh and more in the middle and final period of their rule, and later this symbol was added to it along with the symbol of nationalism and Shia rituals, so that the emirs of Al-Buyeh appointed themselves to the Zaidi and Shiite family show. In addition to this issue, except for the initial period, the Shiite ruler . in their coins. Al-Buyeh rulers dominated parts of Iran and Iraq from 322 to 454 (AH) for 132 years and made great efforts to expand their political rule over other cities in the region; But like other governments, after a period of ups and downs and the decline of their political, military, economic-social power, as well as the emergence of new powers and the court of Al-Buye being caught up in internal conflicts and family rivalries - political-economic similarities - caused it to decline in front of other powerful and coherent powers of the region such as the Seljuqs, and with the decrease of their power, the material, metal, weight, carat, lines, motifs, slogans, etc., of the final coins of this period changed A lot appeared.

Abstract
Since there are few works of painting from the Seljuk period, and on the other hand, most of them were written without data and place, so there are no common opinion about most of the painting works of this period. On the other hand, because most researchers, do not use the correct scientific method in their research, it adds to the existing problems in this field. One of the painting works of this period, which is the subject of this research and has a writing data, is the Al-Tariaq book attributed to Galen, which has written in 595 AH/1199 AD, written and kept in the National Library of Paris. Due to the fact that the place of its writing is not included in this manuscript, there is a difference of opinion about where the said version was written and illustrated. This version has been attributed by different people to different places such as Iran, Jazireh, Dyarbakr, Mousel and Baghdad. Therefore, the basis of the main problem of the current research is the location of the place of writing and illustration of this manuscript, which is analyzed and criticized by descriptive-analytical and comparative methods based on library studies, and the views of researchers will be examined with comparison, it will be shown that the version of Al-Tariaq cannot be attributed to any other country than Iran. By examining and comparing the illustrations of this book and other Iranian works of arts, especially pottery and metalwork, it can be said that the view of most researchers of the illustrations of Al-Tariaq book is more similar to the way of recording Iranian art than to Iraq, so, it can be said that the origin of this manuscript is Iran and other views are incorrect. 
Keywords: Al-Tariaq, , Iran, Jazireh, Baghdad Method, Mosul.

Introduction
Since there are few works left about book painting and illustration in Seljuk period Iran, and on the other hand, most of them are without date and place of writing, so most of the works of painting of this period are discussed and disputed. Apart from these problems, the failure to apply the correct scientific method and also the involvement of some prejudices, which of course are not worthy of a scientific research, have caused the existing problems in the field of painting in this period to be added, one of the works of this periods, which fortunately has a writing date, is a copy of the Al-Tariaq book attributed to Galen, which was written in 595 AH and is kept in the National library of Paris. Due to the fact that the place of writing is not mentioned in this manuscript, most of the researchers, if it is found in the text in its entirety, argued with very weak reasons and without scientific basis that this version was written in the Jazireh or Mosul and has nothing to do with Iranian art, so the purpose of this the research is a complete review of the writing and illustration of the Al-Tariaq book.
Research question and hypothesis: The main proposition of the research is to locate the place where the manuscript of Al-Tariaq was written and illustrated in Paris, and by examining the artistic style and the role of the materials used in the illustrations of the Al-Tariaq book, the question is raised, which one of the most similar styles and materials of this book are there art school? By assuming the connection and compatibility of the motifs illustrated in the mentioned book with various works of art, including the paintings of Iran’s enameled and gold-colored pottery, as well as the motifs used on the metal works of the Seljuk and Khwarazmshahi periods, it is possible to determine the place of its writing and illustration, attributed to Iran. 
Research Method: The research method in this research is a descriptive-analytical and comparative method based on library studies in criticizing the views of the researchers about the Al-Tariaq manuscript, which is related to the enameled and golden pottery and also the role of the materials used on the metal works of this period in Iran. The research problem has been discussed. 

Inroduction of the Manuscript of Al-Tariaq
The book of Al-Tariaq is a translation from the book of Galen, a Greek physician and pharmacist who lived in the second century AD. This book was translated from Greek to Arabic by Ibn-Ishaq in the 9th century AD. The subject of the book is written about toxicology and antidotes, which the author narrates with legendary stories. There are two illustrated versions of this book. The first version was written in 595 AH and is kept in the National library of Paris. The second version is undated and it is attributed to the middle of the 13th century. This manuscript is kept in the Vienna National Library. In this research, the dated version of the National library of Paris will be examined. This version has 12 images, the first of which begins with an image that is repeated twice. In the middle of the painting, a woman is sitting holding a moon crescent and two people are standing on either side of her. This page is surrounded by a frame made of intertwined dragons. 4-winged people can be seen on the four sides of this frame (Fig 1). After that, nine doctors of the period, including Galen himself, have been settled along with their names and biographies (Fig 2).

Conclusion
Based on the investigations and the comparison made between the pictures of Al-Tariaq book with the paintings of Zarinfam enamel pottery and Iranian metal vessels, it was found that there is a complete similarity in terms of stylistics, the way the pictures are drawn and the composition between the Al-Tariaq book and these works. Therefore, attributing this manuscript to the Jazireh is incorrect. The only reasons mentioned by some researchers are human monographs and other interwined dragons, however, if it is mentioned in full, similar to it has been seen in other regions, the image of two interwined dragons, a completely similar example of which is depicted in Mianrodan, but on the golden bowl from Kashan, so based on what has been described, this manuscript is Iranian and has the characteristics of Iranian art of Seljuk and Khwarazmshahi periods. The titles of the book are also written in Kufic script, which all researchers agree that it is Iranian. It is appropriate to attribute ir to Iran rather than to the Jazireh. It is necessary to remember that based on the available evidence, it has sometimes been seen that a copy has the artistic characteristics of one region but was illustrated for ruler another land. In such examples, the issue is not out of two situations, or that the copy in question was made outside the territory of the said ruler and was given to him or written on his order. There are many examples of this type. Like Ferdowsi’s Shahnameh, which was written in Tus and sent to Sultan Masoud’s court in Qazneh. Or, an artist migrated from one place to another and painted there, in which case he followed the style of his origin and his art shoud be attributed to his origin, to the place where the art is performed. Apart from all of these, the examples of paintings that are attributed to the Mousel or the Jazireh, were mostly influenced by the style of Baghdad, although the influence of Seljuk painting can also be seen in some of them, like the ways of drawing clothes, there are two ways of working in the paintings of this area, one is Baghdad style and the other is a combination of Baghdad style and Iranian painting. This method is mostly seen after the Mongol attack on Iran. In this method, some clothes are made in the style of Baghdad, which are pleated and shaded and others are drawn in the Iranian way. In Iranian paintings, the clothes are mostly simple or geometric and plant designs can be seen on them, however, in some examples the influence of Baghdad style pleated clothes can be seen. The faces are also influenced by Iranian art, but they are drawn a little more formally and seriously. As mentioned earlier, among the examples of mixed works illustrated in Mosul, we can mention the copy of Al-Aghani’s book, in which the clothes of the clothes of the courtiers are painted in the style of Iran. The expression of the faces is also influenced by Seljuk art, but it has differences from it, which can be clearly seen by comparing them with the Al-Tariaq version. Therefore, if this version was painted in Mosul or on the Jazireh, these clothes or a part of them should be pleated in the style of Baghdad, if such a thing is not visible in them. (Fig 28). But where was this version written and painted, finally, it can be said that it was during the Seljuk and Khwarazmshahi periods, according to the illustrations in the Al-Tariaq book and the examples compared with Iranian pottery and metal vessels. It is believed that this version was mostly likely painted by an artist in the Isfahan region, especially Kashan, less likely elsewhere in Iran.