Abstract
The subject of this study is analysis and comparison golden coronet obtained from Khalkhal county in Azerbaijan museum, that from obtained illegal excavation. Because of that hasn’t done research on this object, so, research for specifying function, manufacturing technique, comparison, relative dating, and analysis of symbolic motifs, is seems necessary. This article has done to form of comparative study, and is from type of qualitative research. Also, Information gathering in this research has done to two methods of library and field work (exact observation of trace and providing scheme and photo). This article is to form of analytical – descriptive and comparison of motifs with other artistic findings. In this article has done drawing motifs with computer software. Then, their decoration motifs have been investigated and comparison with other finds. Results of this research indicate that in create this coronet, beliefs and idealogy of artists has had much influence. In fact, these motifs have been to form of rites and sign from the gods, that by artists on the ceramics and sometimes on jewelries have been created; they have been with these works took of gods support. According to studies this coronet in terms of manufacturing technique, decoration technique, and results of analysis comparison of motifs with other similar traces as: golden necklaces and tusks of Zivieh, golden rhyton of Lorestan, golden rhyton of Marlik, and coronet of Hasanlo; golden coronet of Azerbaijan museum has been dating between late second millennium and early first millennium BC. So, two main questions of this research are as follows: How could analyze the decoration technique and comparison this coronet with other simila r traces? And, comparison of typology this coronet with other traces, shows this trace to what is related period? 
Keywords: Coronet, Typical Motifs, Tree of the Life, Antelope.

Introduction
Jewelry and especially golden jewelry has always been regarded as the economic capital of human societies, and special place in economic and cultural exchanges. Undoubtedly, besides creativity of Iranian artists, several factors have been contributed to the formation and construction of jewels, and desired objects have been position for appearance of the beliefs of past tribes. Cultural and economic interactions in inter-regional and trans-regional areas, environmental factors, cultural, economic, and industrial and technological advances, have been from the factors of effective the formation of styles different types of jewelry in past periods. It’s obvious that every nation has collection of legends and myths, that they are indicative their opinions, thoughts and beliefs. Golden coronet obtained from Khalkhal area, isn’t excluded from this general rule, and created motifs on this coronet can help to identify and better understand of ideas, and beliefs of people northwest Iran in late second millennium and early first millennium BC. So, authors in this study have been studied the coronet of Azerbaijan museum and analyzed relationship with the beliefs of people in this period. Therefore, main questions of this research are: 1- What does show the analysis and comparison of motifs with similar samples? 2- According to analysis of similar samples from other areas, what is the period this coronet? Assuming coronet motifs have been ritual; so, these motifs have likely been created by artists on pottery and sometimes on jewelry during the second and first millennium BC. They have been by doing this, supported by the gods. Thus, authors in this research have done analysis, semiotics, and aesthetics of golden coronet of Azerbaijan museum.

Golden coronet of Azerbaijan museum and semiotics of motifs it
Golden coronet of Azerbaijan museum is including decorative jewelry. According to appearance this trace, function it can be decorative coronet, or, it has probably used in ritual and religious ceremonies. This coronet is from made gold, and in form of crescent rectangle. Its length 22 CM and width 5 CM, and at the end of both sides it, two hooks to form of crescent (for hold on head) have been placed. The technique of making this decorative coronet is handmade, that on it has been created motifs with engraving technique. It should be mentioned, no type of inscription or text hasn’t been used on this trace. In center of this decorative coronet, has been painted Tree of the Life, that in both sides this Tree of the Life, 8 numbers of antelope to form of symmetry (head and neck of all them are bent towards down, and all of them are painted in one form) can be seen. At the bottom section in this trace and back of the motif of antelope, are embossed two lines of vertical and parallel, that inside them three equilateral triangles have been raising and embossed to form of tiny.

Comparison of coronet motifs with similar samples
Although can’t be seen sample quite similar with this coronet, but motifs this coronet in terms of style of making and decoration with seals, metal traces, and mud traces such as the golden rhytons inside and outside of Iran, is comparable. The objects of Tapeh Marlik related to about 1200 BC, antelope motif and Tree of the Life motif in golden rhyton of Lorestan related to between centuries seven to four, golden necklaces of Zivieh in Iron Age III, bronze coffins of Birmingham museum related to century of seven, and ivory box of tomb of 45 in Assyria, other are traces that golden coronet of Azerbaijan museum is with similar to them.

Conclusion
Findings of this research indicate that in inventing and utilization of antelope motifs, especially in coronet discovered from Khalkhal, beliefs and idealogy of ethnoes that are created them has had much influence. Considering that each of the ancient tribes, they saw the antelope as one of the beneficial elements of nature, horn of this animal has been from signs of the gods in ancient Iran and Mesopotamia. So, between antelope with curved horns and crescent moon has been a relationship. Because, among the ancient tribes have been moon of rain symbol and sun of drought symbol; so it seam, horns of this animal have been symbol of moon and rain. According to the submitted content, it seems, golden coronet of Azerbaijan museum have probably been related to late of second millennium to century of seven BC.

Abstract
Stucco art in Islamic period, in terms of technique and decorative motifs, pattern is taken from decorative art of Sassanids period. Motifs of stuccoes Sassanids period with inspiration from nature, does communicate (communication doesn’t exactly, but close to it), and can be easily identified similar samples it. This shows that unrealistic patterns less used in these motifs, and artist has shown less tendency to this direction. But these elements under the influence Islamic wisdom, have changed their form and meaning. One of the important findings and indicator in Aveh site were decorations stucc, that during the excavation in Imamzadeh Fazl Ibn Soleyman, obtained in the third chapter excavations this historic site in 2009. According to the date mentioned on one of the luster tiles found from this building (684  A.H.), this decoration is belongs to Ilkhanids period. The authors seeking to prove such dating, have done shape and technique used in this motifs and compare them to other historic sites stucco decorations from Ilkhanids period. This research has done to study this question related with Imamzadeh Fazl Ibn Soleyman building that, basically, this building based on stucco decorations, related with which period? And, stuccoes related to which style? In this regard, the present study seeks to prove these assumptions in execution of decoration motifs of stuccoes this building, has been used two styles stucco decorations with high bulge and decoration motifs caved. The decoration motifs are contains foliate, geometric, and inscribed. These motifs and their styles have been modeled from Ilkhanids styles. The method of doing this research is descriptive – analytical – comparative. Data in this study are taken from Library resources and field work. Field works in this study are contains extensive excavations in Aveh plain and in Imamzadeh Fazl Ibn Soleyman. Furthermore, cultural material obtained from excavation, have been drawn.
Keywords: Ilkhanids, Stucco decorations, Decorative motifs, Imamzadeh Fazl Ibn Soleyman of Aveh.

Introduction
The decoration of buildings Islamic period of Iran, usually have been used from brick, plaster, and tile. From of stucco, from early Islamic period to Timurids period as there has been template element in the decoration, and it has been most used in prayer niches and inscriptions of buildings (Pope, 1987: 166). Stucco at first has been more used for cover the rugged surfaces and decorate them; but, in the fifth century  A.H., stucco has been transformed from a simple decorative mode to unique coating of decorative. Traditionally, stucco art has been among of decorative art dependent on architectural of Iran, that after from flourishing in the Sassanid period in middle centuries of Islamic and in Ilkhanids period has reached the peak of flourishing.  In fact, Ilkhanid period is golden age of stucco in Islamic period Iran. This art in Ilkhanid period in vast areas as a decorative element in architecture of this period has used. From this period are remained traces very beautiful and unique. 24 km from Saveh County to Salafchegan is separate road to Qom; this is road of Jafarabad – Qom. The village of Aveh is located about a 6 km from this road. (Hashemi, 2007: 125). Imamzadeh Fazl Ibn Soleyman in Aveh plain, based on obtained indications from field works of authors (discover the luster tile in this building with date 684  A.H.), is one of the architecture monuments in Ilkhanid period with decorations of tile-making and stucco. Stucco decorations this building, although a small number is obtained, but they are represents the pinnacle of stucco art Ilkhanid in middle centuries of Islamic. The main purpose of authors in this study, in first place, have been presented available sample from stucco art Ilkhanids from Aveh area; In second place, have been analysis of their decorative motifs (technique), and type of motifs used (foliate, geometric, and inscription), and comparison them with other similar samples in other historical places.

Stuccoes of Imamzadeh Fazl Ibn Soleyman Aveh
After reviews on these stuccoes, their technique was studied in two groups: stucco decorations with high bulge, and decoration motifs caved. Techniques of shaping stucco decorations are with high bulge to form of in situ, mold, or combined from both techniques. In technique decoration motifs caved, has used from both techniques in situ, and mold. Furthermore, decoration motifs of stuccoes this building has been studied in tree group foliate, geometric, and inscribed. The foliate motifs of stuccoes is to form of arabesque and cinquefoil motifs (high and stretched), and Rosette flower. The most of foliate samples obtained in decorations of stuccoes Imamzadeh Fazl Ibn Soleyman Aveh, are from of type of foliate motifs six and eight of fimbria, flowers and leaves (several of fimbria) with buds, and arabesque motifs.The geometric motifs used in stuccoes of Imamzadeh Fazl Ibn Soleyman building are most to form of the honeycomb motifs. 
In stuccoes of Imamzadeh Fazl Ibn Soleyman building has been seen inscribed. Unfortunately, inscriptions used in decorations this building, aren’t in good position for recognize the type of script and decorative style. Authors have been results based on speculation and also based on lines used in decoration of tiles luster painted this building (that from of types of Sols and Naskh script).

Conclusion
As was mentioned, decorative motifs of stuccoes in Imamzadeh Fazl Ibn Soleyman building are divided to foliate, geometric, and inscribed, and they have been created to two styles: stucco decorations with high bulge, and decoration motifs caved. With comparison decorative motifs this building with decorations other traces in Ilkhanids period Iran, could be seen significantly specifications of decorative style of Ilkhanids in this building. So, decoration motifs Imamzadeh Fazl Ibn Soleyman building are related to Ilkhanids period. Therefore, date mentioned on the tiles this building and decoration motifs of stuccoes have been contemporaneous. On the other hand, comparison of shaping stuccoes Imamzadeh Fazl Ibn Soleyman with contemporaneous buildings, power of architects Islamic in Ilkhanids period is show.

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

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

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

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

Abstract
The motifs in Iranian art carry the concepts and themes that represent the worldview of human societies; the motifs that embody the seals reflect the legacy in which the context was created. The present study studies and analyzes animal motifs on lattice seals in southeastern Iran; one of the most interesting phenomena of the Bronze Age cultures in Iran is the prevalence of lattice seals in the southeast of Iran. These types of seals are generally made of bronze as well as silver in rare cases, and various alloys made with the missing wax method. The purpose of the present study is to identify their concepts and themes and to identify the factors that were involved in creation of the motifs of this period. It should be noted that these seals are made in the form of squares, circles and triangles and include geometric, plant, human and animal motifs. No substantiated theory has been put forward regarding the importance of substances on metal lattice seals. Obviously, information extracted from specimens used in the lattice seals of the southeast Iran during the Bronze Age can greatly shed lights on many of the ambiguities in this area. From this point on, we attempt to document the various conceptual and content dimensions of the design, based on a descriptive-analytical research method, relying on a library study method and assuming that the design of these designs is based on the surrounding nature and Indicates the importance of animals in the live hood of the people in this area, we discuss and analyze. The findings of the study indicate that these animals depicted on the seals have a significant influence on the lifestyle and status of these animals in the religious and intellectual beliefs that overwhelm in this area.. 
Keywords: Iran, South East, Seal, Compartmented Seal, Animal Motifs.

Introduction
Since the emergence of man on the scene, his attention has been focused on animals. animals have become an integral part of his life. This attention in the Paleolithic times was in the form of paintings on the caves wall, which somehow created a sense of power and superiority over these creatures, and somehow reflected his mastery over hunting. In this way, archaic man, without writing, only made the future known to his imagination and beliefs, instead of just visual arts. However, today’s human beings cannot experience their ancient culture and discover their mystery. Because some of the elements that today seem trivial and are part of human biological practices were once sacred and divine to them. Scientists and anthropologists have different views on the emergence, evolution, transformation, and diversity of the gods. But we can still draw a weak line from this. It may be somewhat plausible that it has a direct relationship with the production system and the environmental characteristics of humans in the emergence and development of gods. From the logic of practical philosophy, man has created gods at the shepherd stage that are different from the gods at the agricultural stage (Darwish, 65: 1355). During the Neolithic period, this dependence was inseparable from the extent to which humans were interested in domesticating animals and using them in their daily life (agriculture and animal husbandry). He also designed and used animal bones on his artifacts, including pottery. And it has benefited from agriculture and commerce. During the Bronze Age, the interest in animals was not only diminished, but also had a special place in the way that the role of animals was performed on reticular seals specific to southeastern Iran. Important questions that are addressed in this study are: What is the role of the applied seals and for what purpose? The purpose of this study is to determine the status and importance of these animals in the life cycle of these populations, and the hypothesis is that the function of animals is essential in the economic and livelihoods of these populations.

Animal Motifs
Thousands of years have passed, and humans have continued to ambush, trap, or hunt for their own livelihoods and for the survival of their generation. The hunter-gatherer thus established a long, intimate, unbroken bond with the animals through hunting, and owed his long life to them. It is not clear to us what kind of animal that human was feeding at that time, or what beliefs, beliefs, and beliefs they had. Our scant information only includes the remains of bones and the kind of tools that come from ancient sites and give a very clear picture of those communities. However, this little information suggests that from a Paleolithic perspective, everything was sacred. “Everything that human beings have used, felt, seen and loved, has become a holiness magazine,” says Mircha Eliade. Therefore, even the animal, which was all human, could not be sacred (Eliad, 32: 1372). The first evidence that we can find in the hunter-gatherer beliefs and ideas is the paintings they left in the dark caves. And. Perhaps these paintings “were a means of human control of the animal and of the animal being called to the hunt. In this way, the man was supposed to first capture the prey in the depths of the cave and to take his carcass out of the cave easily” (Asadian Khorramabadi, 58: 1358). Animals such as eagles, scorpions, cows, goats and fish are found in the lattice of southeastern Iran. It seems that due to the presence of such animals in this region, they have been engraved on the seals.

Conclusion
Thousands of years have passed and humans have been lurking for animals to feed themselves and their offspring, trapping them or hunting them with very simple and basic hand tools. The most important manifestation is the role of animals in their beliefs. Totem and totem worship. According to them, their great soul has become an animal or a bird after death, as a result of which all of them have been created from an animal or a bird. Therefore, this animal or bird was sanctified by them, and in all aspects of their lives, such as religion, magic, ordinary and everyday currents, especially artistic creations, it was manifested and found a significant presence. By examining the animal motifs used on the south-eastern lattice seals, their importance in the life of the people of this period can be achieved. This importance has been so highlighted and valuable that they have illustrated their artifacts. It is also possible to understand the existence of this type of animal in its bed and environment and its functional role in providing livelihood and subsistence economy of the people of this period. Animals whose importance and position are rooted in the thoughts, ideas, beliefs of these people.

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

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

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

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

Abstract
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.