Abstract
Glaze is not a new material and human beings have been familiar with it for many years. Glazes contain a wide range of organic and inorganic compounds. This research is about identifying the glazes of Achaemenid glazed bricks in Persepolis. So far, studies have been conducted on these bricks in the field of introduction, but comprehensive technical studies have not been done on identifying the composition of their glazes. The glazes used in Persepolis clay bricks are painted in white, light green, light green, dark brown, gray and fawn yellow. In this study, light green, light green and yellow fawn glazes were investigated. This research, which is of experimental-laboratory type with reference to valid scientific documents, has been carried out with the aim of identifying the constituent elements of glazes in Achaemenid glazed bricks in Persepolis. What are these bricks? In this regard, using XRD, SEM, DTA and TGA methods and more chemical analysis of the body and glazes, it was identified that the body of this type of brick is a siliceous body and very porous. According to the experiments, the results obtained in this study show that iron and magnesium are present in the composition of all glazes, which may have been present in the main composition (base glaze) in addition to color effects as impurities.
Keywords: Takhtejamshid, Glazed Bricks, Chemical Methods, Green Glaze, Yellow Glaze, Lead Glaze.

Introduction
Persepolis is undoubtedly one of the most magnificent monuments of the ancient world. Glazed bricks were found by Schmidt in various parts of the building, some of which are in the Museum of Ancient Iran and some in other museums, including the Persepolis Museum. The examples studied in this study are located in the eastern wall of the Women’s Palace during the reign of Xerxes, which is now used as the administrative building of Marvdasht Cultural Heritage. The glazed bricks discussed in this study include the parts of the eastern wall of the palace where the glazing of the bricks of these parts is siliceous. Are examined and the necessity of conducting this research is the repair and protection of these glazed bricks. In the present research, the following questions have been answered: 1- What are the components and main coloring factors in light green, light green and fawn yellow glazes in these glazed bricks? 2- What are the components of the body in these glazed bricks? There are different methods for identifying materials. In this study, because most of the colors have been identified, more attempts have been made to use the methods used to identify and analyze the composition of materials, because this study aims to identify the constituent elements of glazes in Achaemenid glazed bricks. In Persepolis and is of experimental-laboratory type with reference to valid scientific documents and conducting library studies and visiting the historical site of Persepolis, which in this regard were identified using XRD, SEM, DTA, TGA body and glaze methods and the most important The coloring agents of these glazes were identified.

Introducing Examples
The samples were very small that after sampling were in the form of flakes and to prepare the test in powder form. Tests performed on samples Immersion tests were performed on two small pieces of body: sample volume, bulk density and volume weight. In addition, more chemical analysis was performed on the samples, which in total showed that about 79% of Sio2 (silica) and 16% of Ca2o3 (calcium oxide) in the body. On the body sample, XRD test, DTA test (thermal analysis) and TGA test (weight change) were also performed. 

Green Dye Oxides
 A mixture of copper oxide and lead glaze, compared to the chemical composition of the glaze, can produce a variety of green colors. The sample (bold green) was first subjected to XRD test. Also, light green color was tested by XRD and SEM and the results were obtained. In bright green, it shows the presence of two phases of quartz Sio2 and “hydin bergite” Ca (Fe, Mn) Si2o6 In fact, the main phase of both light green and light green is the same, and the percentage of colorants in the composition is probably different. Green The presence or absence of another element can reduce or increase the color of green. Studies show that copper causes blue in alkaline glazes and green in lead glazes. 

Yellow Glaze Dye Oxides 
In lead-rich acid glazes, the addition of a very small amount of chromium oxide, up to 1% at low temperatures, results in a yellow color. The combination with Cao and Sno2 can also give a pink color. Also, Tio2 titanium oxide makes lead glazes yellow and lead-free glazes white. 
The yellow glaze was subjected to XRD test and also SEM test was performed on the above sample. The results show that the yellow color consists of two phases, one CdPbo3 and one quartz phase with a low crystallization percentage. The presence of Pb (lead) is a clear reason for the yellow lead of the glaze, which is one of the main reasons for the greater transparency of the yellow glaze than other glazes. Titanium oxide makes lead glazes yellow, and here we have a lead glaze containing titanium oxide. Therefore, titanium oxide can be mentioned as a possible yellowing agent in this glaze.

Conclusion 
The body of the glazed bricks in Persepolis, which has been studied in this study, looks very porous and is milky in color and shiny like flint. The results of the samples are analyzed and the following points can be stated: XRD test on these bricks confirmed that the body was siliceous, and according to the TGA test, it can be said that calcium carbonate was converted to calcium oxide, and weight loss was also the result of this conversion. The green and yellow glazes were lead. The reason for the gloss of these glazes compared to other glazes is that they are lead, and their transparency is still clear. All glazes contained iron and magnesium, which may have been impurities in the main composition of the base glaze, apart from its color effects. XRD test on green glazes shows the presence of two phases Sio2 and Ca (Fe, Mn) Si2o6. The coloring agent in this glaze is Cu, which is almost more noticeable than other elements (except Si and Ca). Therefore, due to the lead content of the glaze, the presence of copper in this lead glaze causes a green color. The presence of Ca in green glazes causes the color of the glaze to become opaque, and it can be said that one of the reasons for being bright or light is the difference in the percentage of Cao. SEM test of yellow glaze detected the presence of Pb elements from Pbo, K from Kcl, Cr from Cr2o3, Ca from Cao Fe from Fe2o3, Al from Al2o3 and Ti from Tio2. The presence of Pb is one of the main reasons why this glaze is more transparent and lead-free than other glazes, and in lead-rich acid glazes, adding a very small amount of Cr2o3 up to one percent at low temperatures, turns yellow. Titanium oxide also makes lead glazes yellow, so titanium oxide can be mentioned as a possible yellowing agent in this glaze, and the presence of iron has made this color tend to be fawn.

Abstract
The beginning of the Iron Age on the Caspian Sea coast and the adjacent areas on the Iranian plateau and the neighboring lands was accompanied by extensive social, political and cultural changes that led to the collapse of urban centers and exchange economics, the formation of scattered and rural communities, which were often followed by livestock or nomadic economics. Changes in the social structures in the Bronze Age and the beginning of the Iron Age, for whatever reason, caused extensive changes in the cultural material of the Iranian plateau and the Caspian Sea and formed settlement patterns from which only the associated cemeteries have often been identified and excavated. However, the residential structures, the spatial organization of the settlements and their relationship with the cemeteries are not well known. Excavation on the Parija Tepe, 3 km from Qaem-Shahr-Kiakola road on the low shores of the Caspian Sea, resulted in the identification of two stages of settlement from the Iron Age and the Early Islamic period. The Iron Age finds include pottery, metal objects, stones, bones, animal remains, and the remnants of architectural structures. According to the obtained evidence, the largest volume of cultural layers in the Parija Tepe is related to the Iron Age. The present study indicates that the Parija Tepe has an important place not only in better understanding of the pottery traditions of the Iron Age in the Caspian lowlands, but also in identifying mud-brick architecture and the pattern of sedentary life in this region. Further archaeological excavations of the site will undoubtedly give a clearer perspective on the social organization and settlement patterns of the Iron Age in the coastal areas of northern Iran.
Keywords: Mazandaran, Tepe Parija, Iron Age, Mud-brick, Pottery.

Introduction
One of the characteristic features of Iron Age sites of Mazandaran is the lack of settlement sites with visible architecture, the abundance of cemeteries, special funeral rituals, as well as a distinguished pottery tradition. During the Iron Age, the majority of dead people were buried in simple pit graves, Mud-brick lined graves or Pithos burials. The dead were often buried in a curved or flexed position, and in limited cases in supine or stretched position. A variety of burial-goods often placed next to the dead, a tradition which was also common in the preceding Bronze Age and that became more prominent during the Iron Age. In addition to the large number of pottery vessels, a good variety of tools such as swords, daggers, knives, spears, and other objects made of bronze and sometimes iron, as well as jewelry such as rings, bracelets, necklaces, plaques, and seals of bronze, silver, iron, bone, faience, stone, and rarely gold have been reported alongside the skeletons. While results of archaeological research in the Iron Age sites of Mazandaran suggests the influence of local Bronze Age cultures on the later Iron Age communities but, it appears from the available evidence that the Iron Age settlements are smaller albeit larger in number compared to the Bronze Age sites. 
The present article introduces the results of excavation in Perija Tepe in the Caspian Sea shores. Results of excavations suggests the important role of Parija Tepe not only for a better understanding of the Iron Age pottery traditions in the coastal lands of the Caspian Sea, but also for the identification of permanent settlements through examination of mud-brick architecture and the pattern of sedentary life in this region. Archaeological excavation at Parija Tepe can provide a clearer perspective of the social organization and settlement patterns of the Iron Age in the coastal areas of northern Iran.

Discussion
Parija Tepe is located in the central part of Mazandaran plain, some 3 km to the northwest of Ghaemshahr, next to the road from Ghaemshahr to Kiakola (Simorgh) and among the paddy fields of Kolagar village. Recent excavation at Parija Tepe has led to the identification of two phases of settlement belonging to the Iron Age and the early Islamic period. The main settlement phase and the majority of cultural depositions at Parija Tepe dates back to the Iron Age which is divided into Iron Age II and III. 
Typologically, most pottery forms of Prija appears to reflect the characteristics of Iron Age II. In addition to the pottery vessels, significant cultural materials such as a tanged bronze spearhead and a stone stamp seal were also excavated. One of the most remarkable findings of this excavation is the discovery of remains of mud-brick architecture that possibly shows a sedentary lifestyle rather than a nomadic way of life. Bio-archaeological studies on the faunal remains of the site demonstrates that all animal bone remains belong to mammals, and no fish, birds, rodents or reptiles have been identified. Throughout the occupational period, sheep, goats and cattle are the dominant species, followed by boars. Very rare remains of red deer have also been seen. Thus, it seems that the subsistence economy of the inhabitants of Prija has been diverse and based on livestock activities, agriculture and hunting patterns.

Conclusion
The cultural material discovered from excavation of Parija Tepe represents the cultural traditions of the Iron Age and indicates cultural links between this area and other Iron Age sites in the northeastern and north-central regions of Iran. Although some rich cultural materials such as a tanged bronze spearhead and some pottery forms have their roots in the Bronze Age cultures of the Northeast and the Gorgan Plain, the production of these type objects has continued throughout the Iron Age and striking analogies could be seen in large areas of Gilan and Mazandaran and the southern slopes of Alborz. It seems that the main volume of pottery and other cultural materials retrieved from Parija excavation indicates to Iron Age II and II period occupation with the material cultures resembling those from contemporary cultures in the north and northeast of Iran. The results of preliminary studies of Parija Tepe indicates that this area, like many of its contemporaries in Mazandaran, is formed near the river and in a flat and fertile land, and in terms of architecture, similar to other Iron Age sites in Mazandaran, has wooden and mud-brick architecture. Therefore, Parija, along with other Iron Age sites of the region, indicates to the uniformity of the Iron Age material culture in the lowlands of Madandaran, which, while similar to the Iron Age cultures of the southern slopes of Alborz, has particular local features.

Abstract
The Bisotun bridge was built across the Dinavar Ab River, flowing on the eastern outskirts of the present-day town of Bisotun. The construction of the bridge’s substructure was initiated in the late Sasanian period, but the program was abruptly terminated, as is the case with other Sasanian projects in Bisotun. Subsequently, the Ḥasanwayhids, a local Kurdish dynasty in western Iran, completed the construction of the bridge. High traffic and natural hazards such as floods and earthquakes have inflicted damage upon the bridge in subsequent periods, i.e., from the Saljuq era to the first Pahlavi period. Consequently, governments made considerable efforts to restore or reconstruct various parts of the bridge. Workshops were established at a short distance northeast of the bridge to provide construction materials for the restoration and reconstruction of the damaged parts. To the northeast of the bridge, there exists a low mound measuring 50 m in length and 40 m in width. The mound was excavated in 2002 under the direction of the present author, revealing four distinct archaeological strata. The earliest layer (I) includes a seasonal settlement from the Qajar period. Layer II contains a cemetery from the same period. Layer III encompasses several brick and lime kilns, dating back to the Ilkhanid and Qajar periods. Layer IV yielded parts of a stone-cutting workshop from the late Sasanian/ Ḥasanwayhid period. This article aims to provide the first comprehensive description of the findings within each archaeological stratum, using historical and descriptive-analytical research methods. We will also propose a chronological framework for the excavated materials based on archaeological evidence and thermoluminescence dating analysis. Furthermore, the article will delve into the production processes of brick and lime produced in the excavated kilns. Moreover, we will provide insights into the process by which the stone blocks were produced in the stone-cutting workshop.
Keywords: Bisotun Bridge, Stone Workshop, Brick, Lime, Kiln, Cemetery.

Introduction
The Bisotun Bridge is located on the eastern outskirts of the present-day town of Bisotun, on the “Great Khorasan” highway to Baghdad, spanning the Dinavar Ab River (Fig. 1). The bridge is 145 m long and consists of six spans. The bridge piers are constructed of well-dressed stone blocks, while the walls, buttresses, and vaults are made of bricks. Archaeological excavations and architectural studies have revealed that the bridge has been constructed, reconstructed, and repaired in eight distinct stages, occurring at different times ranging from the late Sasanian period to the first Pahlavi era.
On the northeast side of the bridge, there was a low-laying mound measuring 50 m in length and 40 m in width (Figs. 2–3). This mound was covered with a considerable amount of kiln slag, fragments of baked bricks in various sizes, and stone blocks. These findings indicated the presence of workshops related to the production of building materials for the initial construction and/or repair of the bridge. In 2002, the mound was partially excavated under the direction of the present author. The archaeological deposits of the mound had an approximate thickness of 3.50 m. The excavation was carried out with two objectives. First, to identify the potential workshops involved in the production of building materials used in the construction of the bridge. Second, to shed light on the processes by which the building materials were produced in these workshops.
This article aims to first provide a detailed description of the findings from each archaeological stratum, employing historical and descriptive-analytical research methods. Subsequently, by utilizing archaeological evidence and thermoluminescence dating analysis, we will determine the dates of the architectural structures under investigation. Furthermore, we will endeavor to explain the processes and techniques employed in the production of brick and lime production based on the layout and architectural characteristics of each kiln. Moreover, we will discuss the process by which finely cut stone blocks were produced in the stone-cutting workshop. We intend to address  the following questions, drawing on historical documents and archaeological evidence:
1. During which period were the excavated workshops actively in operation?
2. What were the production processes of building materials in these workshops?
3. Can we establish a chronological framework for the excavated cemetery?
4. Are the graves associated with one religious group, or do different groups of graves represent diverse religious affiliations?

The site
During the excavation of the mound, a stone-cutting workshop from the late Sasanian or Hasanwayhid period was discovered. In this workshop, stone blocks for the construction of the bridge piers were skillfully dressed (Fig. 4). The workshop suffered damage due to the subsequent construction of brick and lime kilns (Figs. 5, 7, and 17). Nonethless, twelve cut stone blocks of varying sizes and shapes were found in the excavated area. Furthermore, the excavation revealed three kilns (Figs. 5-6) engaged in the production of bricks and lime. 

Kiln 1 
This kiln is oriented in a north-south direction, and only its furnace has survived. The furnace represents three construction phases. In Phase I, it had a rectangular plan with external dimensions of 7.50 m in length and 4.80 m in width (Figs. 7–8). The relatively modest size of the furnace indicates that it was likely not intended for extensive brick production but rather for the supply of bricks for the reconstruction and repair of the bridge during the Ilkhanid period. In Phase II, the furnace’s plan turned to a circular shape, with a diameter of 3.30 m and a height of 2.10 m (Figs. 7 and 16). In Phase III, another air flue was built upon the one from Phase II. During Phases II and III, this kiln was used for lime production. Originally functioned as a brick-manufacturing kiln during the Ilkhanid period, it was transformed into a lime kiln in the Qajar period.

Kiln 2
This kiln has an approximately circular plan (Figs. 17–18). The inner diameter of the kiln ranges from 2.50 to 2.60 m, while the remaining height of its walls stands at 3.30 m (Figs. 19–21). Within the kiln, there is a channel oriented in a north-south direction, allowing the inflow of air for the combustion of fire inside the kiln. The presence of substantial quantities of lime inside the kiln strongly suggests its use in the production of lime for the repair of bridge piers.

Kiln 3
This kiln has a circular plan with a varying inner diameter. The kiln’s dimensions include a diameter of 1.80 m from the floor up to a height of 55 cm, a diameter of 2.40 m from there to a height of 1.20 m, and a diameter of 2.70 m from that point to the highest part of the wall (Figs. 24–27). The channel on the floor of the kiln is designed to facilitate air circulation. Three additional channels, sharing similar characteristics, have been built on top of this primary channel. Similar to kiln 2, the presence of substantial quantities of lime inside the kiln indicates that it was used to produce lime for the repair of bridge piers.

Conclusion
The excavation of the mound has yielded four distinct archaeological strata. Layer I represents a seasonal nomadic settlement dating back to the Qajar period. Layer II consists of a graveyard from the Qajar period. Layer III contains three kilns used for brickmaking and lime production, which can be dated back to the Ilkhanid and Qajar periods. Layer IV reveals a stone-cutting workshop, likely dating back to the Sasanian or Ḥasanwayhid period. The proximity of these kilns and the stone-cutting workshop to the bridge indicates that these workshops were established nearby to facilitate the construction process and ensure a readily available supply of building materials.
The brick-manufacturing kiln discovered in the excavation is an extensive open kiln with fixed bricks and a stationary fire. It appears to lack an upper chamber or enclosed walls. In this kiln, the brick-making process involved stacking mud bricks on top of the kiln’s furnace to form cylindrical, square, or polygonal brick towers. These bricks were arranged with gaps between them to allow for the circulation of air, hot gases, and flames. Openings in the lower rows connected to the kiln’s fire vents, facilitating heat transfer. After the initial firing, the baked bricks were removed, and fresh bricks were placed for the next firing. The design and operation of this kiln closely resemble those from the Sasanian period, suggesting little change in brick production technology over time.
The lime kilns are of the pit type with a circular layout. These kilns relied on limestone and a fixed fire, resulting in uneven temperature distribution and variable lime quality. Often, stones remained either uncalcined or partially burned. Lime production involved two methods: arranging limestone around the kiln’s circumference, with heat generated in the central empty space, or stacking alternating layers of charcoal and limestone inside the kiln. The top of the kiln was sealed with mud mortar. These kilns were used during the Qajar period to produce lime for bridge pier repairs.
Within the stone-cutting workshop, stone blocks were meticulously shaped for use in constructing bridge piers. Initially, stone cutters extracted stones from the quarry and cut them into geometric shapes and approximate sizes. Subsequently, the blocks were transported to the workshop, where they underwent further cutting, shaping, and surface polishing. One block bears a stone-cutting mark on its smooth surface, indicating that these stone-cutting marks were made in the workshop.

Acknowledgments
I am indebted to the Iranian Centre for Archaeological Research (ICAR) for generously granting the excavation permits, and to the Bisotun World Heritage Base for its financial support, unfailing administrative cooperation, and logistical assistance.
I would also like to express my sincere appreciation to the following individuals for their invaluable contributions. Zeinab Valizadeh for proofreading the text; Hamed Rezae for producing the architectural plans and cross sections; Sara Mahbobi for redrawing and revising the plans and cross sections; Dariush Afkari for supplying the countor map of the site; and Elham Afkari for her photography of the coin and seal. 

Conflict of Interest
No potential conflict of interest was reported by the Author(s).

Abstract
Excavations at Gird-iAshoan, An Archaeological mound in Piranshahr County in the Lower Zab Basin, provided remarkable insights into cultural traditions characterizing the region in the Late Chalcolithic. Whilst reflecting some indigenous peculiarities, its material culture exhibits broad affinities with Northwest Iran, Caucasia, and Anatolia. This evinces the spread of the Late Chalcolithic (LC) cultures, especially LC2‒3, over vast territories, which could imply either population movements or spread of a certain pastoralist subsistence system. of the total of four architectural phases presently known from the Chalcolithic deposits of Gird-i Ashoan, the two upper phases were recorded in the first season. Phase 1 consisted of dry-laid stone walls in the northern quadrant of the trench,while Phase 2 was represented by perpendicular mudbrick walls beginning from -3.43m and ending at -3.62m. The recovered mudbricks measured 40 × 60 cm. In this paper, an attempt is made to explain the cultural relations of the Zab basin with other regions by presenting a detailed stratigraphy, and an analysis of the recovered architectural remains. To conclude, observations made at Gird-i Ashoan suggest that in the fourth millennium, the Early Chalcolithic III‒II culture reached the Zab region, where it would eventually be replaced by the subsequent Hasanlu VII culture. In this article, we will introduce the Architecture remains and the methods. With its thick deposit of 8.65 m, Gird-i Ashoan in the Zab basin represents a key point in northwestern Iran.
Keywords: North-West Iran, Pisdeli, Late Chalcolithic Period, Mud-brick Architecture, Chaff-Tempered (CFW).

Introduction
The opening of the 5th millennium BC coincided with the arrival of the Dalma cultural tradition, which extended over vast territories (Hamlin 1975; Henrickson 1983; Henrickson and Vitali 1987). It was to be superseded in the mid-5th millennium or somehow later by the Pisdeli tradition (Dyson 1968; Dyson and Young, 1960: 20). The Pisdeli horizon, designated as Hasanlu Period VIII, was dated between 4300‒ 4500 BC (Voigt and Dyson 1992), which is also corroborated by radiocarbon dates (Danti et al., 2004). It was eventually replaced by the cultural tradition of the Late Chalcolithic in the region. An outstanding question about the period in northwest Iran concerns the little-known phases of Late Chalcolithic III‒II. The time-span is of particular import for the regional archaeology as it has a bearing on the phenomenon of social complexity and the beginning of the urbanization. Unfortunately, ambiguities remain about the chronology of the period due to the lack of regular excavations. Although recent discoveries have provided new information in this regard, the absence of serious excavations of the Chalcolithic deposits deprives us of the attributes of the coeval culture. Mellaart regards the Ubaid as a Late Chalcolithic culture (1966). Helwing splits it into three sub-periods, with the earliest being the Pisdeli (LCh I) (Helwing, 2012: 204) and the Chaff-Faced Ware (CFW) typifying the subsequent LCh III ‒II (Helwing, 2005). In Iran, related material is currently known from Gird-i Ashoan and Kul Tepe, while beyond the Iranian borders they occur at several sites, among them being Çadır Höyük, Kenan Tepe, Arslantepe, Barcın Höyük and Höyük in Anatolia and Leyla Tepe, Beyuk Kesik, Mentesh Tepe, and Alchan tepe in Caucasia (Baxşeliyev, 2010).
Following preliminary inspections, Gird-i Ashoan was selected for excavation in 2019 as the key Late Chalcolithic site. Among the main objectives of the present study were gaining an insight into the settlement sequence, examining the Hasanlu VIII cultural tradition of the Zab basin in light of recent archaeological finds, and investigating the cultural interactions of the local populations with the neighboring regions. Attempts were made to obtain a better understanding of the Late Chalcolithic cultural horizon. The excavation at Gird-i Ashoan yielded a assemblage of Pisdeli painted ware (LCh I), while the LCh III ‒II ceramics, the so-called Chaff-Face Ware native to northern Mesopotamia, were attested in abundance. In the period that immediately followed the Ubaid, North and South Mesopotamia each began to proceed along different directions culturally. Hence, the southern sphere witnessed the spread of the Uruk tradition, while the northern one would be overwhelmed by the Chaff-Faced Ware culture (Kepinski, 2011:65). This ware type occurs over vast territories, which also includes northwest Iran, where the related material culture and chronology share wide affinities with the sites of North Mesopotamia, Syria and East Anatolia, in particular by the latter half of the 4th millennium (Helwing, 2004:16). The location of Gird-i Ashoan close to northern Mesopotamia and eastern Anatolia significantly contributed to the materialization of the shared traditions. 
  East Anatolia, South Caucasia and Northwest Iran served as the milieus for the genesis and further development of the Chaff-Faced Ware tradition and later the Kura-Araxes culture. The regions have always been the crossroads of various peoples with diverse ethnic and cultural affiliations, and most of the migrant or invading groups would cross them in their east-west movements over the centuries. 
Geographic Location of Gird-i Ashoan 
The mound lies at UTM X.520062 Y.4057880 at an altitude of 1415 m, at the eastern fringes of the Piranshahr plain, on the east bank of the Lavin River. The northern and western flanks of the mound are about 330m and 450m off the riverbed, respectively. The site is within the boundaries of the modern village, flanked by its buildings. It is a mound with a circular base of about 55 m in diameter. Measuring about 55m north-south and 50m east-west, it occupies a total area of ca. 2750 sq. m. The east and south slopes gently descend against the walls of the villagers’ houses. 

Pottery
Pottery represents the most abundant category in the artefactual assemblage. The pieces are plain, with a profusion of chaff and fine grit added as temper to their fabric, leaving them with a pockmarked appearance, thus the designation “chaff-faced pottery.
The sherds from Gird-i Ashoan have brown, orange, and grey surfaces, are poorly fired, and bear a thick slip, though rare examples of thin slip are also attested. The applied ornamental elements include carved motifs and incised grooves. The ceramics of the Late Chalcolithic III and II are invariably chaff-tempered and handmade.
The pottery falls into three categories: plain, incised and painted. The last is represented by three sherds of Pisdeli type bearing black motifs on a buff ground. As regards morphology, the excavated pieces can be divided into several groups: 1. Open pithoi with everted rim, which are the most common form at Gird-I Ashoan and exhibit the closest ties with different regions of Anatolia, the Caucasus and Mesopotamia. 2. Open bowls. 3. Shallow trays, albeit in extremely limited numbers. 4. Closed jars. 

Architectural Remains
Mudbrick wall: Part of a brick wall (F.1017) was exposed along the southern section of the trench. It began from -2.35 m and continued to the depth of 3.19m. The individual grit and sand tempered mudbricks variously measured 60×40× 9cm, 56×39× 9 cm and 56×32× 9 cm, and ranged from brown-buff to red-brown in color. Both the bricks and the wall oriented north-south. The surfaces of the wall was lined with a clay coating that contained the same grit and sand particles. The small segment uncovered at the center of the trench near the southern section represented the corner of two perpendicular walls: the north-south wall of F. 1017a and the east-west wall of F. 1017b . The associated floor surface was recorded at -3.19m. It consisted of a compacted silt-clay deposit mixed with sand, charcoal particles and ash. In is notable that the floor surface sealed a layer of debris that was accumulated over time. 
At a depth of 3.62 m near the western section, a pottery vessel was found to be intentionally included into a 55×55 cm mudbrick. This poorly fired vessel was made of a chaff-tempered fabric with a black core. Quite interestingly, the embedded vessel was meant to serve as reinforcement.
Mudbrick floor: Near the western section, the mudbrick floor (F. 1021) was encountered at -3.5m. The structure was formed by laying down brown mudbricks of varying dimensions. Recorded were square (55×55cm) and rectangular examples as well as fragmentary bricks set, rather irregularly, into a red -brown clay mortar. In two cases, the mudbricks were reinforced by embedding insufficiently fired pottery vessels of a paste with black core. The exposed part of this flooring extended 0.7m north-south and about 0.4m east-west. A very small part of a second flooring (F.1022) was cleared in the southeast quadrant of the operation at the depth of 3.95m.
With its thick deposit of 8.65m, Gird-i Ashoan sited in the Zab basin represents a key point in northwestern Iran. 

Conclusion 
Excavations of Gird-i Ashoan revealed an LCA deposit, which extended from the depth of 1.00 m down to a depth of -9.65 m. Results from the excavations of the site are indicative of the interactions and cultural similitudes of the occupants of Gird-i Ashoan with northwest Iran, north Mesopotamia, Anatolia and Caucasia. The period is marked by the spread of the technological horizon of Chaff-Faced ware, a widespread cultural phenomenon covering vast territories, (Palumbi, 2011: 211; Helwing , 2012:  204) which displays fairly consistent cultural attributes (Helwing 2012:  207).
The material culture from the site exhibits close relationships with those of the coetaneous centers of the Lake Urmia region, on the one hand, and Anatolia, Caucasia and Mesopotamia, on the other. In effect, given the geographic location of the Zab basin as a cross-regional crossing, we may conjecture that Gird-i Ashoan might have served a transitional role in this communication network. The hypothesis seems to be confirmed by the discovery of the obsidian pieces. To conclude with, observations made at Gird-i Ashoan suggest that in the 4th millennium the Early Chalcolithic III‒II culture reached the Zab region, where it would be eventually replaced by the subsequent Hasanlu VII culture. 

Abstract
In the traditional architecture of Shushtar, as one of the architectural types of Iran, there are examples of architectural regionalism approach. Houses decorated with motifs, designs and decorations, which have given a special glory to the architecture of this city with a combination of three materials, stone, plaster and brick. A small part of the patterns and decorations of these houses is in the entrance area of the main door, but most of the decorations and arrays are in the interior of the houses of this city. Most of these houses are known by the name of the owner or owner. One of these houses is “GhasabNejad” house. This house is a dominant example of Shushtar decorated houses. This research is done with the aim of getting to know better about the decorative elements and motifs of Shushtar city as an example of warm and dry regional architecture and at the end of the article, the question of what and why are the three decorative motifs and elements of Shushtar Butcher House, based on the critical regionalism approach The answer is given. The information of this article was collected in the field using visual and library evidence and presented in a descriptive and analytical way.
Keywords: Shushtar Traditional Architecture, Ghasabnejad House, Critical Regionalism, Anthology Networks, Brick and Stone Decorations.

Introduction
Shushtar is one of the old cities of Iran, where there are monuments from different historical periods. This city was prominent as the center of Khuzestan during the Qajar period and most of the existing works of residential architecture with decorative elements are attributed to this period. Among the important buildings of this city, we can mention the “Afzal” complex, the houses of “Marashi”, “Mustafi”, “Bakal-Sadat”, “Gazer”, “Qasabnejad” and the like. In addition to the specific and functional architecture, the mentioned buildings are decorated with arrays that stand out like a beautiful painting on the walls. Harmonious proportions, various visual elements including line, surface, volume and texture in combination with light and shadow, appropriate combination of components such as lungs, frames and borders, headers and the quiet whisper of change from pattern to frame and from frame to surface of some of these buildings. The city built something that the concept of well-formed calligraphy tradition can be applied to parts of these buildings. In the area surrounded by the two branches of the Karun River in Shushtar, the building studied in this research is GhasabNejad’s house. This building located in “Dol Dol (Moghi)” neighborhood is located in the vicinity of Gazer’s house and belongs to the Qajar period, which was renovated in 2016 under national registration number 29157 and at the end of 2016. This house consists of four floors, ground floor, first floor, Shabestan, and Shawadan. Due to its area, this house is one of the historical, large and highly decorated houses of Shushtar and has triple motifs of stone, plaster and brick. According to what has been said, the purpose of the current research is to study the types of motifs used in GhasabNejad’s house in order to better identify the historical houses of Iran, and finally to the question of what and why are the motifs and three decorative elements of Shushtar’s Butcher’s house, based on the approach of critical regionalism The answer is given. The discussion about the architectural and structural elements of this house, such as arches, columns and the like, is out of the scope of this research.

Theoretical foundations
Since this research focuses on architectural decorations, the three decorative elements of butcher houses are analyzed as an example of Shushtar houses, based on the approach of regional architects. Critical regionalism is a middle ground between the two, with regional preferences that are not identical to native architecture. From Frampton’s point of view, local cultures should be viewed in a way that is modern and has the ability to become modern. Achieving critical regionalism is the exploitation of local characteristics inside and outside the modern building form and does not mean returning to traditional building. Frampton calls this type of architecture, which resists the trend of homogenization of world architecture, as critical regionalism (Tadjdee and Islami 2018: 22, quoted by Frampton). In Table 1, the features of regionalist architecture are stated in terms of Islamic and modernism.

GhasabNejad’s house 
GhasabNejad’s house is one of the historical houses of Shushtar city, which is located in “Doldol (Moghi)” neighborhood, adjacent to “Gazer” house. This house, like most of the remaining traditional houses in this city, belongs to the Qajar period, which, in addition to the traditional architecture, has different decorative arrays. About the history of ownership of this house (Fig.  1) (Fig.  2) shows the plan of these two complexes. Currently, both parts of this historical house have been registered in the national register. The architect of this house is “Mohammed Taghi Mimarbashi Shushtri” according to the inscription that is located near the porch of its outer part (Gazar House) and the date of completion of the building is 1277 AH (photos 3).

Decorations of GhasabNejad house
GhasabNejad house has triple decorations of stone, plaster and brick. Brick patterns are like (Fig. 4). Another part of the decorations of the old houses of Shushtar is the butcher house of Setonah, which is built with materials such as stone and brick, and their decorations include the motifs of “Kartele”, “Baik” and “Congress” (Fig. 5). Plaster grids are among other motifs used in Shushtar houses, which are placed on the facade of the building and usually between the arches and above the windows. In addition to decorative use, these elements were used to ventilate the air and let light in. (Fig.  6). Fig. 7, shows the three decorations of GhasabNejad’s house. The stone decorations include animal and plant motifs, each of which has different meanings. (10) The location of the plaster grids is also shown. Also, pictures (11 and 12) show other brick motifs in the butcher’s house building.

Conclusion
Three elements, brick, stone and plaster, are the main materials of Shushtar architecture and its decorative arrays, which were used in GhasabNejad’s house with refinement and merit in the structure and decorations of the building. The materials, motifs, form and decorations are common in most Shushtar houses, with the difference that each architect has made changes in them according to the personal taste and interest or the opinion of the owner of that building. The stone carvings of the butcher’s house include animal motifs such as peacocks, parrots and plant motifs such as lotus flowers. The roles of these animals and plants are sometimes mythical and probably liked by the architect or owner of the building and according to the cultural conditions of that time and the owner’s financial ability. The motifs of Golchin Gachi networks are a combination of Islamic geometric Chinese knot motifs and its famous shamsehs, and one case is a combination of Chinese knot and cedar tree. The decorative brick motifs of this house are arranged on the top of the porch and the edges around it. There are three motifs, Serzi Sarbala (in the local language), on the top of the porches, and complex key armband motifs, and one, two, and three plains, are engraved on their margins. The technique of performing brick patterns above the porch is flat and their edges are highlighted. The pattern of the columns was from the Moqrans design shared by the houses of Shushtar, such as the pattern of Kartele, Congress and Beyk. Some roles have been named according to their resemblance to something else. Like the pattern of the head below the head, which is similar to the pattern of the mat.
The reason for the use of these decorations is to align with Shushtar’s traditional architecture and this feature is consistent with the regional preferences side of the critical regionalists’ approach in architecture. Following this tradition, there are brick patterns on the front of the porches and on the outside of the houses, stone patterns are on some of the gates, considering the structural function of the stone, and plaster grids are also implemented in the upper part of the building. Among the three elements used in GhasabNejad’s house, the patterns of the front bricks of the porches were functional, mostly decorative, and the stone carvings and plastered grids had both decorative and practical functions. In this building, in addition to the decorative function, these three elements have been used to express the spiritual, material or traditional interests of the owner of the property. Among the three mentioned elements, according to the long-standing media tradition, stones have always been the representation of the personal feelings of the architect or the owner of the building.
Relying on the approach of critical regionalism, it can be said that the stone element is a special functional and decorative element in the architectural structure of Shushtar city as well as GhasabNejad’s house, which makes the architecture of this city different even compared to its neighbor, Dezful. It originates from the stone bed of the city and the presence of stone mines near the city of Shushtar. It seems that the architects of Shushtar have taken advantage of their unique native and regional element in building in the right place. Also, perhaps the use of stone for personal expression reminds us that the oldest means of expressing human emotions in a space other than its original place, i.e. mountains and deserts in the man-made environment, is still capable of expressing human emotions. The tradition that started from the heart of the mountains, rocks and caves continued in the cemeteries and the like, and in public and private places, it has a dual function of structure and media.
  The adaptation of architectural elements, especially the triple arrays of GhasabNejad house as a relatively complete example of Shushtar’s traditional houses, showed that the architecture of this house is compatible with most of the features of the critical regionalism approach, despite the time difference and the youth of the critical regionalist architecture discussion with ups and downs. The use of stone in the building as a special local element and the presence of a parrot in the stone bearer inscriptions as a non-regional bird in this building are two important features of the critical regionalism approach that has been digested in Shushtar’s architecture.