Despite being the largest archaeological site in the Lower Halil-rud River Basin area, the rich surface materials of the Sasanian period of Tomm-e Kharg remain unpublished. The present article deals with the typo-chronology of the Sasanian ceramic assemblage of this site in the Roudbar-e Jonoub region. Pottery is of the less-developed areas of research in Sasanian Studies. This gap is especially noticeable when considering that the late antique archaeological landscapes of the region are chiefly overlooked. Therefore, the study of this collection is significant in the field. Data were collected through archival and field techniques and analysed via an analytic-descriptive (qualitative) method. Main questions of the article are: How is it possible to determine the regional characteristics of Sasanian pottery in Southern Kerman based on the available materials? And how can one reconstruct the (inter-)regional interactions of the Kharg population during this period? The study assumes that examining the Kharg assemblage improves our understanding of such features, and that its typology and comparison reveal the socio-economic links of the community. To accomplish this, the collection was studied according to the principles of systematic archaeological survey and sampled across the surface of the site in 162 squares, each measuring 100 m² in area, using a simple random sampling method. Next, the shards were classified, typologized, and compared. It is therefore claimed that FOPW represents a local tradition and is one of the main classes of Sasanian pottery at Tomm-e Kharg. Alongside this ware, TURQ and some types of plain ware signify the interregional interactions of the Kharg society during that era. Despite the local traits, the study revealed that the Lower Halil-rud River Basin area was part of an economic network that extended beyond the Kerman region encompassing the shorelands and hinterlands of the Persian Gulf and Oman Sea.

 

Abstract
Despite of studies about acceramic Neolithic period in west of Asia (especially Levant area), little has been done archaeological activities related to this period in Central Zagros. The Central Zagros is one of the important areas of west Asia that in this area has been done sedentary, domestication animals, and cultivation for first time. In Central Zagros, Seimare River is the largest river. The Seimare archeology project was done based on surveys and excavations archaeology in dam basin of Seimare. The Dangjoun from sites was excavated in related to Seimare archeology project in year of 2010. In total, 70 square meters was excavated from this site that led to discovery three phase of settlement. In Dangjoun wasn’t achieved of terra cotta ware, but architectural remains were achieved from all trenches with different quality. The architecture this site has been affected from Central Zagros environment. The materials used in this site are taken from the surrounding environment. This study was done with a fundamental purpose, and method of data amassment in this research is library – field method. In this research, in addition to the introduction and description architecture of Dangjoun, the complete descriptive has been done about architecture of A and B periods of acceramic Neolithic. In this regard have been explained specific architectural features of each period in Anatolia, Syria and Northern Zagros (in Iraq). Main questions of research: Due to the architectural condition of this site as right corner architecture, and …, this site belongs to, which period of acceramic Neolithic period? Due to the permanent architecture in Kapargah (that including of homes four corners, and built of homes on the ground), it seems, this site is belong to period B of acceramic Neolithic period and can’t be attributed it to earlier periods.
Keywords: Acceramic Neolithic Period, Seimare, Central Zagros, Architecture.

Introduction
In the history of human culture, the Neolithic period is of particular importance. The Neolithic period is including from 11000 to 7000 BC. The human societies has been experienced many changes in this period. Some of the most important changes in this period as: Starting and developing agriculture and animal husbandry, permanent establishment, population increase, long distance commerce as obsidian, skill in the production of stone tools, beginning of metallurgy, production of pottery, use of fire in the industry, indication of personal ownership of objects, accumulation of wealth and beginning of social inequalities, construction of public and religious buildings (Hole, 2000: 192; Byrd, 1994). However, the most significant consequence of Neolithic revolution was emergence of a compound economy with emphasis on domestic plants and animals (Hole, 1984). On the other hand, production of pottery in this period is led to cleave Neolithic period into two periods: Acceramic and ceramic Neolithic. According to the hints top, the main concept of Neolithic period is with food production, appearance of village, and architecture. The Central Zagros is one of the important areas of west Asia that in this area has been done sedentary, domestication animals, and cultivation for first time (Zeder, 1999). The Central Zagros because of the strategic position and placing in between areas like Mesopotamia, Khuzestan, Azerbaijan and central parts of Iran, and also Due to the appropriate environmental facilities in this area as: fertile fields, good agricultural lands, abundance of water resources, … has always been a concern for human societies for a long time. Main questions of research: Due to the architectural condition of this site as right corner architecture, and…, this site belongs to, which period of acceramic Neolithic period?

Research findings
The Kapargah is located in Lorestan and part of Kuhdasht County and Konani region. The nearest city to this site is Badreh city in Ilam Province. The Kapargah is located in Cham Ghoileh valley and for difficult transit this valley, in this area is living of wild animals. In terms of size, the Kapargah is small size and about 2000 square meters. Around this site rarely is obtained stone tools. This site is to form of rectangle and has 70 meters long and 30 meters wide. The Kapargah isn’t located on the floor of the plain, and with the passage of time have been created sediments about 6 meters on the site. The distance of this site to the river is about 50 meters, and surrounding lands are very prone to farming and animal husbandry. It seems, primary village because of located in between mountainous plains has been built on a gentle slope. The architecture this site has been affected from Central Zagros environment. The materials used in this site are taken from the surrounding environment. Workshop 1 was created with 5 m long and wide, and relative to workshop 2 had less architecture. All the walls have been made with rubble from mountain and river and sticking together with mortar. In this site was discovered three phases of architecture that hasn’t been seen structural difference between phases. Workshop 2 first was created with 3 m long and wide and then developed, and extent it was reached to 54 square meters. In this workshop too, discovered three phases of architecture that all the walls have been made with rubble from mountain and river and sticking together with mortar.

Conclusion
Due to the permanent architecture in Kapargah (that including of homes four corners, and built of homes on the ground), it seems, this site is belong to period B of acceramic Neolithic period and can’t be attributed it to earlier periods. The difference in architecture in two trenches this site probably because it is workshop 1 has been created in around of the village and this area has been temporary residential homes. Two warehouses in this workshop show each home has its own warehouse. The climate situation of this area has been influenced the construction of houses. Because of the air temperature above zero in this area, the walls aren’t thickened.

Abstract
Tepe Betaki is one of the most known ancient area in Aleshtar and for the reason there were some studies about it from so yours ago. The primitive studies shows that there is cultural periods from prehistory periods to Islamic periods. In this connection to maintain of Tepe Betaki, the writer had mission to study to determine the limits of it. The surface analyzing was continued in this mound from 29 July to 11 August 2018. In the time, it was studied carefully and 17 trench 1/5×1/5 m were made in different directions during the surface analyzing. The purpose was to record the ancient cultural findings in different areas. For this purpose, the mound was divided to 5 zones North, West, South, east and central and each was studied carefully. The purpose was to separate different zones to record cultural findings and to recognize the different cultural material of the mound. Therefore, the analyzing of bronze era existence in Tepe Betaki and the mound studying to show the spreading cultural material of different zones are the samples of Bronze era were collected and studies typologically. These samples were selected from 330 samples. It means that only 22 tile samples were about Bronze era. Therefore, in spite of wide extent of Tape Betaki and enrichment of culture in the next period the Bronze era is not considerable. 
Keywords: Aleshtar, Tepe Betaki, Bronze Era, Ceramic, Typology.

Introdution
One of the main challenges of archaeology researchers always was to description of chronology study is chronology that exist during working in decades. Therefore, in fact the study which was done in this area was a part of a great archaeological project including trench in order to determine of limits. During the actions trench of the mound limitation 17 trench 1/5×1/5 m around the mound was performed. After studies and excavations, 330 tile samples were obtained which only 22 samples were about Bronze era. The collected tiles were categorized typologically. Therefore, the studying of Tepe Betaki in Bronze era in different phases of Godin III and spreading of Bronze era cultural material in different parts of the mound are the 3 km distance between Tepe Betaki and Tepe Gariran (the biggest mound in Aleshtar plain). The central position and surrounding theory is also studies.
In these areas, the archeological studies have been done in past decades. There were less archeological studies in Aleshtar in proportion to Nahavand and Kangavar. Orel Stine studies areas the first archaeological studies in this area (Stine, 1940). Davoud Davoudi had done survey and documentary is Aleshtar archaeological site in two periods in 2006 and 2007 (Davoudi, 2006, 2007). Clare Gaff archaeological excavations in Babajan Tepe are as the first in Norabad (Goff, 1969). He did some wide surveys in Lorestan in addition excavation in Babajan Tepe (Goff, 1971). Abbass Motarjem was excavation in autumn 2017 in Tepe Gariran. 

Geography and Topography of Tepe Betaki
Aleshtar is one of the 11 cities in Lorestan province which is located in North of Lorestan province. The central part includes wide plain called Aleshtar plain. Tepe Betaki is located in North – West of the plain and near a village by point is highest 1603 meter above sea level. The topography of the mound related to the mound high and around lands in North has more gradient and less in other sides. Tepe Betaki was recorded as national monument of Iran in 2 October 2011 (2011/10/2). 

Surface Studies Finding
Before, trenching group did a survey analyzing. It is important in some aspects:
- The study of cultural material dense in different parts of the mound.
- The study of cultural material in Tepe Betaki.
For this purpose, trenching group was divided into 5 groups. They began to study in 5 parts. The 5 parts were: South, East, North, West and center of this mound.

Bronze Era File Findings of Tepe Betaki
As said, 17 trench were done to determine the Tepe Betaki. From these trenches 16 trenches were about bronze era. The findings were obtained respectively one sample of T.T.A trench, one sample of T.T.D trench, two samples of T.T.F trench, five samples of T.T.G trench, five samples of T.T.G1, one sample of T.T.G2 and one sample of T.T.H. Besides tile findings of trench, six samples also were obtained in surface studying. Therefore, from excavated 17 trench and analyzing of 22 samples from survey were about Bronze era.

Conclusion
All the ceramic findings of surface analyzing and excavations were 330 samples which only 22 samples related to Bronze era. Bronze era ceramics of Tepe Betaki show that phases III:4 and III:2 are available. Meanwhile these two phases tiles are a few. In the period in Aleshtar plain, Tepe Gariran with 3 km distance from Tepe Betaki has 13 hectares and all kinds of Bronze era ceramics. Therefore, it seems that Tepe Betaki in Bronze era was surrounding settlement rather than Tepe Gariran. The surface monuments show cultural periods pre-history, history and Islamic periods. 41 samples of typology materials in surface analyzing in Tepe Betaki, 18 samples were related to pre-history period, 11 samples to Islamic and 6 samples to Bronze and 5 samples to Chalcolithic periods. Therefore, most of typology materials were related to history period and mostly Parthian period.

Abstract
Abstract: This essay attempts to do a typological study on one of the most applicable lighting devices -i.e. Oil Lamps- of the early Islamic period from Iran. Although introduction of Iranian ceramic Oil Lamps goes back to the pre Islamic period of Iran, the most remarkable changes in the design process of these products appeared during this period. Therefore, the main goal of this research is to study and follow design process of Iranian ceramic Oil Lamps of early Islamic period. This essay enquires about the most important developments on the history of Oil Lamps design. In order to reach the goal of this study and to do this research I have used descriptive analytical methodology of research and collected a great deal of needed information by desk study methods of data gathering. In addition, in order to delineate as good as possible the changes and developments appeared on various types of Iranian ceramic Oil Lamps from early Islamic period, here in this study I decided to use a specific framework for systematically studying history of objects’ design suggested by an Indian university professor named Kumar Vyas. According to Vyas, in order to be a major landmark a moment in the history of an object should indicate five kinds of changes: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. Therefore, one can categorize the most important developments in designs and types of Iranian ceramic Oil Lamps in three main groups. The first group includes those ceramic Oil Lamps with open, bowl shaped bodies and projected wick holders; Second group have globular enclosed bodies with elongated tubular wick holders. Finally, footed lamps with central stem on a plate shaped stand recognize the last group of our typology of Iranian ceramic Oil Lamps from early Islamic period. 
Keywords: Islamic Pottery, Iranian Pottery, Ceramic Oil Lamps, Lighting Devices. 

Introduction
Oil Lamps or “chiraghs” were one of popular lighting devices of early Islamic period in Iran. They were kind of a container that simply worked with a vegetal wick and animal oil and thus answered their users’ needs. Although introduction and application of Iranian ceramic Oil Lamps goes back to the pre Islamic and especially the early historic period of Iran, but because of the development and improvement of related technologies of pottery in the Islamic period, the most remarkable changes in the design process of these products appeared during this period. It goes without saying that both design and production of ceramic devices were mostly relied on the advanced technology. During early Islamic period, it seems that Iranian has used pre-Islamic and specially Sasanid forms. However, gradually there has occurred considerable progresses in making and decorating potteries, promoting mostly their visual and aesthetic effects along with enhancing their quality of production. While ceramic Oil Lamps were among most popular lighting devices of early Islamic period in Iran, after Mongol invasion in the early thirteenth century their application has been reduced and ceased. 
The main goal of this research is to study and follow design process of Iranian ceramic Oil Lamps of early Islamic period. The question I am going to answer here is how the design of mentioned devices has changed during time and under what conditions. Here, studying the most important developments and changes in design styles of Iranian ceramic Oil Lamps from early Islamic period, I tend to trace and delineate the evolution path passed through by these devices from the beginning of the Islamic period until the end of 12th / 6th century. 
Materials And Method: In order to reach the goal of this study, after reviewing related literature and explaining specific methodology of research, first I have discussed the terminology of Oil Lamps in Persian and tried to describe its function. Then in two parts, I have structured my discussions. In the first part of the body, I have divided forms of ceramic Oil Lamps of Islamic period into three main groups. Then, in the next part, I have tried to explain the major distinctions between these groups by Kumar Vyas’s criteria. These are changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. 

Data
Collecting data for this study has been conducted by desk studies, including materials from books and websites. These data, here, has been analyzed qualitatively.
Data collection techniques refer to methods used to collect and analyze different forms of data. Collecting data for this study has been conducted by desk studies, including materials from books and websites. These data, here, has been analyzed qualitatively. In this study, data are made up of material evidences of ceramic oil lamps from early and middle Islamic periods. These evidences are accessible sometimes directly through museums and collection of Islamic or Persian art all over the world and sometimes indirectly through reproduction of those materials within catalogues of Islamic ceramics available in libraries. First of all it was very important to distinguish between oil lamps and other kind of lamps prevalent in Iranian art of Islamic period. Then one should consider historical order of lamps so it could be possible arranging them into two groups of early and middle Islamic period. Whitin each category, there exist many forms of lamps with multiple ways of decorating them including monochrome glaze or underglaze decorations. Then the researcher has to sort these evidences by their historical period, first, and by their forms and shapes, second. Furthermore they should consider their decoration in order to reach a better understanding of them. In order to delineate as good as possible the changes and developments appeared on various types of Iranian ceramic oil lamps from early Islamic period, here in this study I decided to use a specific framework for systematically studying history of objects’ design suggested by an Indian university professor named Kumar Vyas. According to Vyas, in order to be a major landmark a moment in the history of an object should indicate five kinds of changes: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users.

Discussion
One can categorize the most important developments in designs and types of Iranian ceramic Oil Lamps in the early Islamic period in three main groups. The first group includes those ceramic Oil Lamps with open, bowl shaped bodies and projected wick holders. In these lamps, reservoir and wick holder are closely connected to each other. Second group of Iranian ceramic Oil Lamps from early Islamic period have globular enclosed bodies with elongated tubular wick holders. Here, wick holders earn distinctive characteristic of its own and it somehow separate formally from reservoir. Finally, footed lamps with central stem on a plate shaped stand recognize the last group of our typology of Iranian ceramic Oil Lamps from early Islamic period. The form of main part in lamps of this group is not so different from that of first group. However, having been elevated by a tall cylindrical column has made the function of lamps of this group much more distinctive than those of other groups. 
Drawing upon Kumar Vyas’ approach to systematically studying history of objects’ design, one can analyze the main distinctive aspects of these three types of Iranian ceramic Oil Lamps from five point of view: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. Design and structure of Oil Lamps from these groups are more remarkable that changes in other aspects. However, the most important development during the history of these Oil Lamps is their way they have been seen and thus used by their owners. Certainly, Simple forms of lamps from first group did not need as complicated treatment as it was necessary dealing with lamps of third group. 

Conclusion
Iranian ceramic Oil Lamps in the early Islamic period can be categorized in three main groups. The first group includes those ceramic Oil Lamps with open, bowl shaped bodies and projected wick holders; Second group of Iranian ceramic Oil Lamps from early Islamic period have globular enclosed bodies with elongated tubular wick holders. Finally, footed lamps with central stem on a plate shaped stand recognize the last group of our typology of Iranian ceramic Oil Lamps from early Islamic period. Here, in this essay, distinctive aspects of these groups have been analyzed from five point of view, according to Kumar Vyas’ approach to history of objects design. Design and structure of these three types are distinctive in their form of body and wick holder. Using different kinds of glazes and painting techniques has made the appearances of Oil Lamps somehow unique. Ceramic Oil Lamps of these groups also have been produced by various processes. Furthermore, the way they have been used varied form lamps of one group to the other. Finally, mention has to be made of the relationship between users with every lamps of each group. Based on design and appearance of lamps this relationship has proven to be remarkably discrete.   

Abstract
This study aims to recognize and characterize pottery production at the Hormangan site, a Neolithic settlement in the northeast of Fars province, Iran. An examination and analytical study of the potteries on this site was conducted to determine the manufacturing techniques of the Neolithic potteries, understand the raw materials and inclusions, the level of progress and knowledge of the potters from the final products, and the location of the production site. Excavating this site, ceramics and a heated structure, probably an open kiln, were found, belonging to the Mushki phase (6400-6000 BC). Thirty-six ceramic shreds were selected for thin-section petrography analysis according to their macroscopic features. After that, 18 of them were analysed using X-Ray Fluorescence (XRF) and X-Ray Diffraction methods. According to the mineralogical studies and the XRD and XRF analyses, while three different clay types were used to produce these Neolithic ceramics, they were all local productions. These vessels were fired in an open and unsophisticated kiln at an uncontrolled temperature, probably not over 800 degrees. Although the combination of these archaeometrical techniques indicates that there are various sub-angular inclusions in each type of clay, most of the pots are vegetally tempered (chaff-tempered). The existence of the heated structure separately from residential construction, a variety of designs and decorations on the ceramics, and various clay sources all determine that the Neolithic community of the Hormangan site has gone beyond a primitive rural society and as semiprofessional individuals had a surplus of more than their demands.
Keywords: Neolithic Period, Hormangan Site, Ceramic Production, Petrography, XRD, XRF.

Introduction
Hormangan site is a Neolithic site located on the border of the Bavanat River basin, in Jeshnian village, in the northeast of Fars province, Iran. This site was excavated in 2016, revealing two phases dated back to 6373 to 6000 BCE. The earlier phase indicates no traces of architectural structures, and the later phase contributed to the settlements. Moreover, a heated structure was discovered simultaneously with the later phase, surrounded by potteries and divided spaces. Pottery vessels which were discovered from these two phases are similar to the ceramics of Tall-e Mushki, Tall-e Jari B, Kushk-e-Hazar, Tall-e Bashi, and Rahmat Abad. As these types of potteries were first discovered from the Tall-e Mushki, they are known as Mushki phase potteries. The heated structure discovered in the Hormangan site is a unique structure related to producing pottery during the Mushki phase, which was probably an open fire kiln. Since there are no similar structures have been found in the Neolithic sites in the Fars region, this study aims to understand pottery manufacturing technology with multi-analytical approaches. Moreover, considering the two phases of the Hormangan site occupied by different settlers for almost 300 years, it is attempted to differentiate potteries of these two phases from a technological point of view.

Geological Setting
A portion of the Bavanat plain lies in the Sanandaj-Sirejan zone, as well as the Shahreza-Abade- Hambast orogenic belt, characterised by high-quality clay deposits and Devonian sandstones (Houshmandzadeh and Soheili, 1990). Several types of rocks can be found in the Bavanat region (Emami and Yaghmai, 2008), spanning three tectonic-stratigraphic units: Late Permian and Middle Triassic rocks, Late Triassic and Cretaceous rocks, and Tertiary rocks (Ghazi and Moazzen, 2015; Ghorbani, 2011). From the mineralogical point of view, this area includes kaolinite, illite, quartz, and chlorite, and secondary minerals are goethite, paragonite, and gypsum. Also, sandstones and shales have been eroded in most cases, creating debris slides. There is a large hydrographic network density in Tutat Mountain (formed by internal and metamorphic formation). However, there is a lower density of hydrographic network in the Kitaban, Khaleisht, and Khatban Mountains. The clays in this region are therefore expected to contain high levels of lime and quartz minerals, but it is also likely to contain metamorphic minerals (Khademi and Hashemi Nasab, 2011).

Materials and Methods
Hormangan ceramics were primarily divided into six groups based on surface treatment, colour, and decoration style. In further classification, the Hormangan potteries were categorised based on their form, size, place of motifs and ceramic fashioning techniques. After initial macroscopic studies of these ceramic vessels, 36 pottery sherds were selected for thin-section petrographic analysis. For choosing these samples, not only the former classifications were considered, but also it was attempted to select potteries from different phases and various contexts and trenches. The earlier phase includes 14 samples, the later phase 12 samples, and the heated structure 10 samples were selected for this analysis. 
For getting inside into the primary and secondary mineralisation phases, determining firing conditions and maximum temperature, and environmental burial conditions, 18 samples (from those 36 samples) have been selected for the X-Ray Diffraction analysis (XRD) in order to determine the crystalline phase constituents. This methods is necessary as a complementary method to petrography. Moreover, X-Ray Fluorescence analysis as a semi-quantitative analysis has been applied to these 18 samples to detect the chemical characterisation of their main and trace elements and to identify whether the earlier and later phases’ samples become clustered into two different groups or not. 

Discussion
The thin-section microscopic analysis indicated a very porous matrix with angular and semi-angular inclusions, which are mainly quartz, and with traces of vegetal tempers. Moreover, the vessels were fired under the oxidation condition. The inclusions were distributed randomly in the matrix, which suggested that they were not homogeneous and consisted of quartz, limestone, calcite, plagioclase (albite and sanidine), and igneous rock fragments, including muscovite, iron oxide, granite, magnetite, hematite, apatite, and feldspars. In most sherds, secondary calcite was formed, resulting in burial in a humid condition. The XRD analysis enabled us to observe some high-temperature minerals, such as gehlenite and diopside, in some samples. These minerals are usually presented in ceramics when fired at more than 800 degrees. On the other hand, the presence of the main elements MgO+CaO, Al2O3, and SiO2, detected by the XRF analysis and diagramed by the Noll system, indicated a very similar final product in terms of raw materials and inclusions. In addition, Cl, MnO, and SrO have been identified in these samples as trace elements, indicating the environmental conditions of the vessels after abandonment. 

Conclusion
In light of the microscopical observations and the phase and chemical analyses, it was determined that the Hormangan potteries could be divided into three main groups. The potteries of the earlier and later phases could not be distinguished from one another. These three groups are comparable to the region’s geological map, meaning all potteries are locally made. Except for four samples that were fired above 800 degrees, the others were fired at temperatures around 750 degrees. Samples from the earlier and later phases were distributed randomly among these clusters, comprising the Calcareous, Iron-rich, and Calcium-rich matrixes. The clay minerals were all extracted in the vicinity of the site, despite the fact that there were three different types of clay materials. Therefore, the potter(s) at the Hormangan site have chosen diverse clay sources but employed different techniques each time to produce similar results. It has also been noted that samples obtained from the heated structure have very similar characteristics to the ceramics produced in the later phase. According to the absolute dating results, the heated structure and the later phase are contemporaneous. However, in terms of potters’ technological behaviours, this could point to some standardization of ceramic production during this time.
Another question we have attempted to answer is whether the potter(s) added any aplastic materials, such as quartz, to their clay in order to increase its workability. Based upon an ethnoarchaeological study of the current pottery production in ShahReza (Pincé et al., 2019), approximately 230 kilometers away from the Hormangan site, it has been found that additional tempering does not need to be applied to the clay for the production of ceramics, owing to the rich clay sources in the ShahReza-Abade-Hambast orogenic belt (located in the Sanandaj-Sirjan zone). There is a possibility that the richness of clay sources in this region allowed potters to avoid tempering their raw materials during different periods, which will be investigated in more detail in future studies.   

Acknowledgements
Dr Morteza Khanipour has generously allowed access to the Hormangan site’s ceramics for this study, and the authors are very grateful for his generosity.

The transition from the late 4th millennium BCE to the Bronze and Iron Ages along the northern and southern slopes of the Alborz Mountains is a major topic in archaeology, closely linked to the emergence of urbanism. Archaeological research indicates that with the end of Sialk III, many settlements, including those on the Qazvin Plain, collapsed. Similar processes occurred during the early 3rd millennium BCE in regions such as Kashan and Tehran. Although new settlements appeared in the Qazvin Plain during the later 3rd millennium BCE, the areas of Tehran, Qomrud, and Kashan were reoccupied only after a significant gap. In contrast, the northern flank of the Alborz displays a settlement history distinct from that of the southern side. While evidence for the influence of Sialk III in the north is limited, substantial occupation during the 3rd millennium BCE suggests divergent cultural developments on the two sides of the Alborz. This study draws on archaeological data from excavations and surveys in the northern and southern Alborz Mountains to examine Bronze Age (3rd millennium BCE) cultural developments. It highlights interaction networks linking the Gorgan Plain, southern Turkmenistan, Mazandaran, northeastern Iran, and the Central Plateau through exchanges of raw materials, technologies, and pottery traditions. Evidence from sites such as Tepe Hissar, Tureng Tepe, Ghal e-Ben, Ghal e-Kash, Tepe Kalar, and Qoli Darvish demonstrates cultural diversity, overlapping ceramic traditions, and continuous or discontinuous occupational sequences. The article emphasizes a contrast between the cultural hiatus of the Iranian Central Plateau and the flourishing development of the northern Alborz, particularly eastern Mazandaran and the Gorgan Plain, where regional interaction networks expanded. By contrast, the southern Alborz reflects migration, settlement disintegration, and environmental adaptation. Overall, the study identifies the Central Alborz as a key corridor for cultural interaction and interregional networks during the Bronze Age.