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Peymaneh Pornak, Hamid Reza Bakhshandefard, Ali Asghar Noroozi,
year 8, Issue 28 (8-2024)
year 8, Issue 28 (8-2024)
Abstract
Abstract In excavation of the tepe Zaghe the Dam 4-karun,were found different metal objects from middle-Illam.ln this article four metal earrings was studies experimental and analytical. For this purpose use of electron microscopy (SEM-EDS) to identify alloy combination and also microstructure of manufacturing and use of X-ray radiography and Optical Microscopy (OM) to identify construction method and shaping objects. Chemical analysis result show that they made from brass, pure copper, bronze and silver. Microscopic studies showed that the microstructure of the samples including of metallic matrix with sulfide inclusions and lead cells. Brass earrings mading is in the cycle of cold and annealing work and final step in shaping is also cold method. copper and silver earrings are made in alternating cycles of hammering and molding. In the bronze earrings, the presence of dendrites also indicates made from casting method. Also Energy Dispersive X-ray Spectroscopy (XRD), electron microscope (SEM-EDS) and Optical Microscopy (OM) used to identify layers formed. The phenomenon found in the all samples is oxidation. In The copper corrosion samples Copperite and Malachite.Also in the silver sample corrosionlayer, the amount of chlorine and oxygen was increased that made to silver oxide or acanthite. Keywords: Tepe Zaghe The Dam 4-Karun, Late Bronze /Early Iron Age–Second Millennium BC, Metal Earring, Conservation and Restoration. Introduction According to archaeological findings the use of metals in the plateau of Iran and other neighboring areas expands significantly in the second millennium BC. At the end of the second millennium and the beginning of the first millennium BC, using of the metals such as bronze, iron, gold, and silver was common in Iran to making metal objects with different uses. The catchment area of Karun Dam 4 has been subjected to archeological investigation in 2015 so many hills and sites were discovered belonging to the prehistoric, historical and Islamic eras. One of the important works of the dam lake area is the k4-4 area under the ammunition slum, which was explored during to the 1387 and 1388 in two seasons. numerous bronze objects were discovered, that are mainly ornaments. In this research, she studied the technology and pathology of four earrings, including two small hoop earrings, one wide hoop earring, and one pendant earring. The discovery and study of this collection in terms of belonging to small groups (because the uncovered architectural findings show parts of a small village probably it,s a season that housed a small population of nomadic Elamites) and in the oher words, the normal and very influential society of the Middle Elam period. That have less known to exploreing is important. Considering that no independent research has been done on the knowledge of the technology of the metals explored in this province, and most of the investigations are archaeological research, structural study and identification of the composition of the alloy and elements in the microstructure, technology and identification of the manufacturing and objects forming. Objects, pathology and identification of the layers formed on exposed objects by relying on instrumental and laboratory methods can identify a part of the culture and art of the nomadic tribes of the region for us and multiply the importance of studying and protecting historical-cultural artifacts. On the other hand, graves and the objects inside them can be considered as a living image of special moments in the life of past societies, which provides valuable information in the fields of chronology, ethnography, anthropology, social and economic relations, and social classes (Talaee 2011). In order to reach to the above mentioned goals, two main questions 1 - elemental composition, type of alloy and how to make the four earrings in question 2 - the process of destruction and corrosion in the mentioned objects including two small hoop earrings, a wide hoop earring and a hanging earring are raised and In the process of this research, the effort was to reach an answer for them based on the studies conducted. Identified Traces Most of the studies in the catchment area of Karun Dam4 are limited to archaeological studies. This area was investigated by Aliasghar Noruzi, a member of the faculty of the Research Institute of Archaeology, during which many hills and areas belonging to prehistoric, historical and Islamic eras were discovered in 2015. In this survey of the ancient site of the slum, the most important site identified in the catchment area of Karun Dam 4 was introduced, and based on the additional investigations, this site has been expanded nearly one hectare. The excavations of the first chapter were carried out in 13 workshops and 16 boreholes in 12000 m2 areas, that has very significant results. The width of the area, the value and historical-cultural significance of the unearthed immovable works also made the second chapter of the archaeological excavations of the slum area in 2018, in accordance with the dispersion of the works and in order to further study of the historical-cultural remains in the concentrated parts.Brief reasherches have been done to Regarding the anthropology of the mentioned region and the archaeological evidences of the Elam period in the upper Karun basin, which cannot be mentioned due to the limited space (Norouzi, 2007). Different studies done by many domestic and foreign researchers technological and pathological it has been done on metal objects with different methods that has different results. As it was said in spite of that there have been studies about the metal works of different ancient sites, but few studies have been done for the works of this ancient site, that are archeological mainly and for this reason doubles research is necessaly. Conclusion The composition of the metal/alloy used in sample K4-01 brass, sample k4-02 copper, sample k4-03 bronze and sample K4-04 silver was detected. The Sample K4-01 was made in a cycle of cold work and annealing, samples K4-02 and K4-04 were made by hot hammering or cold hammering with turning, and sample K4-03 was made by casting method. Is. Corrosion of cuprite and malachite is well known in the samples K4-01 and K4-03. In sample K4-02 brocanthite in sample k4-04 acanthite and chloraragyrite can be detected. The corrosion layer in the samples includes copper corrosion products along with soil compounds. In sample K4-02, intragranular corrosion and intergranular corrosion were also observed and the surface of the sample was covered with warts. Also, there are cracks on the surface of sample K4-03 due to corrosion and environmental pressure. The phenomenon that happened in all samples is oxidation. In the samples made of copper, the amount of copper in the corrosion layer is less than of the alloy, and elements such as oxygen, chlorine, and elements related to soil have allocated a significant part of the composition of the corrosion layers. In the corrosion layer of the silver object, silver oxide is formed by increasing the amount of chlorine and oxygen.
Ahmadreza Hasani Satehi, Alireza Khosrowzadeh, Ali Asgar Noroozi,
year 9, Issue 32 (8-2025)
year 9, Issue 32 (8-2025)
Abstract
Abstract
The picture of various animals is among the themes we see on bullae in Tape Bardnakoon. During the two seasons of exploration in Tape Bardnakoon, a large number of bullae were found, of which 150 bullae have animal motifs, and only quadruped was studied in this research. Many of the animals are real and many others can be categorized as transcendental, mythical, or unreal animals in general. These animals are embossed on the bullae according to taste or function The aim of the research was to investigate and analyze animal motifs of these bullae. We separate them and investigate the concepts of each of these pictures and find out the various functions of each of these motifs. The general question of the research is the investigation into and analysis of animals’ motifs, whether which animals’ motifs exist on the bullae and which concepts with. The motifs created on them had different functions not to mention the bullae actual function. Aesthetics application or talisman can be considered for example. Many of the motifs have different concepts and foundations. Animals’ motif associated various symbols of goddess of Sasanian period for then people. bullae played a very important role in revision of official and trade ties and the motifs engraved on the bullae had a significant relation to mythical, astronomical, and religious concepts according to the research results. Therefore, they provide important information such as mythical and religious beliefs and thoughts of then people with us.
Keywords: Bllae, Motifs, Tape Bardnakon, Sasanian, Chaharmahal and Bakhtiari.
Introduction
The images engraved on the bullae were used to store and transmit information, many of them are concave and a string trace can be seen in the form of a cross behind them, and this feature was used in the process of administrative management. They were considered to be one of the main lines of Sasanian Iranian art. Seals also served other symbolic purposes and acted as talismans as well as votive objects and suitable objects as burial goods. Recent studies on textual and archeological evidence indicate the widespread use of Sasanian seals in both private and official sectors. bullae, which meant the act of sealing, and the seal itself, indicated executive privileges in the Sasanian bureaucracy. Official seals, which are used in commercial and legal procedures, often show more delicate and complex designs and inscriptions than private seals. Be and considering the animal motifs on the bullae, what function can be imagined for them, and what was the relationship of the quadrupeds on the Sasanian bullae of Tape Bardenkoon with the religious beliefs and mythology of the Sasanian period? The motifs of the bullae of Tape Berdankoon are influenced by the art of the Sassanid period and each pattern contains a meaning. The function of these motifs, in addition to the aesthetic aspect, other aspects such as talismans, religious function, and personalization for each person can be imagined for them. The motifs of the bullae of Tape Berdankon had a religious and religious aspect and were influenced by the beliefs of the Sassanid period. Every god has a symbol and the manifestation of gods in the form of animals, so every animal’s image can be a sign of a religious concept.
Discussion
The Tape Ber Bardnakoon bullae are a collection of 150 bullae featuring both real and imaginary animals. So far, of these, about 32 real and fake animals have been identified. Next to the animal motifs, inscriptions can be seen in the Sassanid Pahlavi script. The bullae are made of clay and consist of quartz and mica particles. Some of them have been baked, while others have been naturally dried after stamping. The motifs on the bullae are actually the impression of the common flat seal motif in this period. In this article, the motifs of the bulla of Tepe Bardnakoon are sometimes compared with the motifs of the bullae of this period.
The quadruped motifs on the Tape Bardnakoon bullae include a variety of animals, such as lions, cows, goats, rams, tigers, wolves, dogs, deer, bears, rabbits, elephants, and camels. The stamps also feature images of winged horses and winged lions. In many of the Bullae, animal motifs appear in both primary and secondary forms. For example, the lion image is typically the main image on the bullae, but it also appears as a secondary image on several stamps. Some stamps even depict two animals as the main characters together. The bullae found at Tape Bardnakoon are influenced by the art of the Sassanid period and each pattern carries a symbolic meaning. These motifs serve not only an aesthetic purpose, but also function as talismans, religious symbols, and personalized marks. Seals were commonly used during this period across various social levels, both in official administrative settings and in personal contexts.
Conclusion
The images of animals on Sassanid bullae are numerous, depending on their political, social, and religious environment, these motifs are mainly composed of animals and mythological creatures. We can assume that many bullae motifs had a religious function because the role of these animals proves this hypothesis due to their religious meanings and foundations. Some motifs have a clear connection with Sassanid period rituals such as Zoroastrianism and Mithraism. Naturally, symbolism has played a fundamental role in recognizing these features and imagining that they evoke the protection of gods and goddesses. Bahram, who is one of the gods of Mazdaism, can be well seen in his incarnations (horse, cow, camel, male goat, ram...) on the stamps. This is derived from the religious beliefs of the people and the Sasanian government. Several other animals, as they did not have a place in religious matters, were considered purely based on visual or aesthetic issues (for example: elephant, duck, pheasant, peacock). While other animals probably have a meaningful connection with the religious and folklore aspects of the Sasanian period. In a way, it can be said that a bullae has all the functions at the same time. A bullae has three main purposes, including Suhail in exchanges (the owner and the place of production of goods were specified), identifying the owner of the work or his beliefs, and asking for the protection of a god. Tape Bardnakoon is located on the main road of communication between the central plateau and the lowlands of Khuzestan. The location and extent of Tape Bardnakoon probably indicate its important role in the internal communication between the highlands of Bakhtiari and the lowlands of Khuzestan, Isfahan, and Fars in the Sassanid period. This issue can be cited due to the large number of bullae obtained from this area. The reason for this can be considered the great value of Golmehr in the administrative system, in a centralized system with the growth of the Sassanid bureaucracy. With the expansion of cities, the economy of the urban and rural society also underwent changes and transformations, and as a result, the use of bullae in exchanges increased. Animal motifs on the Tape Bardnakoon stamps are influenced by the culture and beliefs of the time. These motifs evoke ideology, which is consistent with its political and social structure.
The picture of various animals is among the themes we see on bullae in Tape Bardnakoon. During the two seasons of exploration in Tape Bardnakoon, a large number of bullae were found, of which 150 bullae have animal motifs, and only quadruped was studied in this research. Many of the animals are real and many others can be categorized as transcendental, mythical, or unreal animals in general. These animals are embossed on the bullae according to taste or function The aim of the research was to investigate and analyze animal motifs of these bullae. We separate them and investigate the concepts of each of these pictures and find out the various functions of each of these motifs. The general question of the research is the investigation into and analysis of animals’ motifs, whether which animals’ motifs exist on the bullae and which concepts with. The motifs created on them had different functions not to mention the bullae actual function. Aesthetics application or talisman can be considered for example. Many of the motifs have different concepts and foundations. Animals’ motif associated various symbols of goddess of Sasanian period for then people. bullae played a very important role in revision of official and trade ties and the motifs engraved on the bullae had a significant relation to mythical, astronomical, and religious concepts according to the research results. Therefore, they provide important information such as mythical and religious beliefs and thoughts of then people with us.
Keywords: Bllae, Motifs, Tape Bardnakon, Sasanian, Chaharmahal and Bakhtiari.
Introduction
The images engraved on the bullae were used to store and transmit information, many of them are concave and a string trace can be seen in the form of a cross behind them, and this feature was used in the process of administrative management. They were considered to be one of the main lines of Sasanian Iranian art. Seals also served other symbolic purposes and acted as talismans as well as votive objects and suitable objects as burial goods. Recent studies on textual and archeological evidence indicate the widespread use of Sasanian seals in both private and official sectors. bullae, which meant the act of sealing, and the seal itself, indicated executive privileges in the Sasanian bureaucracy. Official seals, which are used in commercial and legal procedures, often show more delicate and complex designs and inscriptions than private seals. Be and considering the animal motifs on the bullae, what function can be imagined for them, and what was the relationship of the quadrupeds on the Sasanian bullae of Tape Bardenkoon with the religious beliefs and mythology of the Sasanian period? The motifs of the bullae of Tape Berdankoon are influenced by the art of the Sassanid period and each pattern contains a meaning. The function of these motifs, in addition to the aesthetic aspect, other aspects such as talismans, religious function, and personalization for each person can be imagined for them. The motifs of the bullae of Tape Berdankon had a religious and religious aspect and were influenced by the beliefs of the Sassanid period. Every god has a symbol and the manifestation of gods in the form of animals, so every animal’s image can be a sign of a religious concept.
Discussion
The Tape Ber Bardnakoon bullae are a collection of 150 bullae featuring both real and imaginary animals. So far, of these, about 32 real and fake animals have been identified. Next to the animal motifs, inscriptions can be seen in the Sassanid Pahlavi script. The bullae are made of clay and consist of quartz and mica particles. Some of them have been baked, while others have been naturally dried after stamping. The motifs on the bullae are actually the impression of the common flat seal motif in this period. In this article, the motifs of the bulla of Tepe Bardnakoon are sometimes compared with the motifs of the bullae of this period.
The quadruped motifs on the Tape Bardnakoon bullae include a variety of animals, such as lions, cows, goats, rams, tigers, wolves, dogs, deer, bears, rabbits, elephants, and camels. The stamps also feature images of winged horses and winged lions. In many of the Bullae, animal motifs appear in both primary and secondary forms. For example, the lion image is typically the main image on the bullae, but it also appears as a secondary image on several stamps. Some stamps even depict two animals as the main characters together. The bullae found at Tape Bardnakoon are influenced by the art of the Sassanid period and each pattern carries a symbolic meaning. These motifs serve not only an aesthetic purpose, but also function as talismans, religious symbols, and personalized marks. Seals were commonly used during this period across various social levels, both in official administrative settings and in personal contexts.
Conclusion
The images of animals on Sassanid bullae are numerous, depending on their political, social, and religious environment, these motifs are mainly composed of animals and mythological creatures. We can assume that many bullae motifs had a religious function because the role of these animals proves this hypothesis due to their religious meanings and foundations. Some motifs have a clear connection with Sassanid period rituals such as Zoroastrianism and Mithraism. Naturally, symbolism has played a fundamental role in recognizing these features and imagining that they evoke the protection of gods and goddesses. Bahram, who is one of the gods of Mazdaism, can be well seen in his incarnations (horse, cow, camel, male goat, ram...) on the stamps. This is derived from the religious beliefs of the people and the Sasanian government. Several other animals, as they did not have a place in religious matters, were considered purely based on visual or aesthetic issues (for example: elephant, duck, pheasant, peacock). While other animals probably have a meaningful connection with the religious and folklore aspects of the Sasanian period. In a way, it can be said that a bullae has all the functions at the same time. A bullae has three main purposes, including Suhail in exchanges (the owner and the place of production of goods were specified), identifying the owner of the work or his beliefs, and asking for the protection of a god. Tape Bardnakoon is located on the main road of communication between the central plateau and the lowlands of Khuzestan. The location and extent of Tape Bardnakoon probably indicate its important role in the internal communication between the highlands of Bakhtiari and the lowlands of Khuzestan, Isfahan, and Fars in the Sassanid period. This issue can be cited due to the large number of bullae obtained from this area. The reason for this can be considered the great value of Golmehr in the administrative system, in a centralized system with the growth of the Sassanid bureaucracy. With the expansion of cities, the economy of the urban and rural society also underwent changes and transformations, and as a result, the use of bullae in exchanges increased. Animal motifs on the Tape Bardnakoon stamps are influenced by the culture and beliefs of the time. These motifs evoke ideology, which is consistent with its political and social structure.
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