Abstract
Pottery as one of the major handcrafts of human societies plays an important role in rebuilding past culture and civilization. Classification, typology and chronology of pottery are of great importance in archaeological studies. The abundance and variety of pottery in situ has made it possible for the archaeologist to obtain the best cultural evidence for the recognition of ethnicities and communities. Pottery documentation and species identification is one of the technical principles in archaeological studies. One of the less well-known areas in the archaeology of Iran’s historical period, especially in the Sassanid period, is the present-day area of Isfahan Province in the Central Iranian Plateau. Introduction and study of Shirkouh Naein area previously carried out by Alamdar hajiAlian was selected for the research since it was evaluated in terms of statistical population and type of cultural materials of the Sassanian era from both architectural and cultural point of view. 
Keywords: Classification, Typology, Chronology, Sassanian Islamic Pottery, Epistemology, Shirkooh Naein.

Introduction
The research method is descriptive-comparative and the results have been analyzed based on comparative studies. In fact, this article focuses on documentary studies, especially and studying written documents and field studies. Also, using the results of archaeological field survey, the obtained pottery was classified, classified and finally compared with the key archaeological sites of this period, and their results were compared.
 
Describe the Area of Shirkooh Naein
Naein, in Isfahan province, is a town located in the desert margin. Pakooh region is one of the villages of Naein located in the northwest. The ancient site of Shirkooh is in the vicinity of Separo Village located 6 kilometers away from the west of it. Due to its strategic location, this region has always been suitable for human settlements. Among the evidence which represents a Sassanian settlement in Shirkooh, one can mention a fortress, a Čahārṭāq (four arches), and Soffeh (Terrace platform). Before briefly discussing the main topic of the article, each will be briefly mentioned.

Čahārṭāq (Four arches)
The Čahārṭāq of Shirkooh, located in the central part of Naein, can also be placed in this category. In 2002 (1381) the monument was listed as a national property of Iran with the registration No. 7222 and after that, it was restored by Shah-Hosseini. The Čahārṭāq of Shirkooh is a square-shaped structure with approximate dimensions of 10 meters. Its current height is 12/40 meters, dome height is 6/10, and the internal height is 6/59.

Shirkooh Fortress 
The position of this fortress is in such a way that on top of it the Čahārṭāq is visible and on the other hand, the fortress is pretty obvious from the center of Čahārṭāq. Thus, these two structures are not far from each other. The plan of the fortress is almost irregular and a steep slope makes it hard to reach. The materials used in the construction of the fortress are cobblestones for the walls, mud-brick in towers and plaster as the main mortar of the entire building. At the interior of the fortress there is a rectangular structure which its directions are north-east south-west and somehow overlooking the low level of the plain and the village. Due to unauthorized excavations inside the fortress, a piece of plasterwork was found; this piece is 16 cm long and 9.5 cm wide and its surface is engraved.

Terrace Platform of Shirkooh (Soffeh)
Terrace platform is located at 38 7.33 N, 52 59 24 E. It is constructed at the farthest end of the site which connects it to the mountain. The main construction material of this Soffeh consists of cobblestones of the river. Since this terrace platform is flat and elevated, from the top of it the fortress and Čahārṭāq are remarkably visible.

Classification and Typology of Shirkooh Naein Pottery Found
The Sassanian Islamic pottery of the Shirkooh area of Nain County is varied in form Data were obtained from three Čahārṭāq sections, Shirkooh fortress and Soffeh. A total of 760 pieces of pottery (Sassanian and Islamic) were collected in the study of Alamdar haji Alian. Then, during field re-examination by the authors, 80 pieces of pottery (Sassanian and Islamic) were collected from the surface of the site; The present study was classified 63 stratigraphic fragments, typology and finally chronology. From a comparative study of 63 pieces of pottery obtained from surface examination, the number of fragments is as follows: edge 52, body 3 and floor 8; From the above-mentioned pottery, 42 pieces from the Sassanid era and 21 pieces from the Islamic era were identified. The color of the pottery is one of the most prominent features of pottery considered in the classification of pottery. This color is divided into three main groups of brown, pea, and red in the Sassanian Shirkooh pottery.
In addition to the aforementioned cases, the classification of the studied pottery of Shirkooh Naein into its fragments has also been considered. Accordingly, the rim components can be classified into eight distinct groups. Based on the typology of the pottery, five types were identified: Bowls, jars, earthenware, dish and bottles that make up the largest number of bowls and jars in the earthenware collection.

Suggested Chronology of Sassanian Shirkooh Pottery
One common way to identify the presence or absence of communication between cultural communities in neighboring areas is to compare their cultural artifacts with each other. To relate these potteries to relative chronology, to match the samples to Sassanian sites excavated and to have chronologies and sites found from archaeological excavations in Iran: Hajiabad, Mellian, Abou Nasser Fars Palace, Yazdgerd Castle, Oltan Ghalasi Dasht Moghan, Torang Tapeh Gorgan, Defensive Wall, Bandan Darges, Siraf and ete, and out of Iran archaeological excavations of Tal Aboushrifa, Kish and Bergotiat in Iraq, Kusad United Arab Emirates. Accordingly, it was found that the type of pottery studied in Shirkouh was most similar to the set of pottery obtained from surface surveys of Farsan plain, Torang Tapeh excavations in northeast of Iran, Yazdgerd castle and Tall Abusharifah in northwestern Iraq. Given this, Shirkooh is one of the Sassanian sites in the Naein region that has pottery traditions of this period.

Conclusion
Specifications of Shirkooh pottery and their comparison with different Sassanid zones indicate the taste of Sassanian pottery in this region and similar shapes in different periodic zones Sasanian is recognizable. Therefore, Shirkooh pottery is a local and indigenous species that can be seen in other areas. In general, the Shirkooh region is culturally influenced by western evidence such as Yazdgerd castle area and central Iranian plateau, especially east of Isfahan province, Chaharmahal Bakhtiari province and Farsan plain. In fact, based on the typological studies and comparisons of pottery with other Sassanian and Islamic sites, it seems that the settlement is located in Sassanian and early Islamic periods. As we know, the pottery at the end of each period is usually early or even later in the period and does not disappear all at once, such as the area where the Sassanian pottery of the early Islamic Times There has also been a continuing trend and it is difficult to identify.

Abstract
The ancient site of Natel is located in the village of Natel Kenar-e Olia, a district of the city of Nour, which is 6 kilometers southwest of this city in the west of Mazandaran province. According to historical written sources, this city was considered as one of the important cities in Tabaristan during the Abbasid period and had a military garrison. Due to the importance of this historical site, in addition to archaeological surveys, three excavations have been carried out in this site so far in 2008, 2010, and 2016 under the supervision of Abdolreza Mohajerinejad. The present study focuses on some pottery findings of the first and second seasons of these excavations, during which 2166 pieces of glazed and non-glazed pottery were obtained among other findings. Chronology of the aforementioned samples and consequently more detailed and precise knowledge of the settlement periods, better and greater recognition of the pottery of this site, in particular, and pottery of the Islamic period in the southern margin of the Mazandaran Sea, in general, awareness of the similarity and differences of the pottery obtained from this site with the major pottery centers of the Islamic era required a thorough and in-depth study of these samples in the form of classification, typology, and a typological comparison that was carried out in this research. The results of this study show that most of the studied samples belong to the early (3 and 4 AH) and mid-Islamic (5 and 9 AH) centuries, while the samples of the Ilkhanid and Timurid period in this collection are much lower in number than those of the previous centuries. Also, the results of statistical studies on pottery of the historical town of Natel indicate that these pottery wares have relatively good production quality and strength, but they have a lower level in terms of manufacturing technique and diversity of motifs. 
Keywords: Natel, Islamic Pottery, Classification, Typology, Typological Comparison.

Introduction
The ancient site of Natel is located in the village of Natel Kenar-e Olia, a district of the city of Nour, which is 6 kilometers southwest of this city in the west of Mazandaran province. Given the importance of this site in the Islamic period of Iran, especially the southern margin of the Mazandaran Sea, the first scientific studies to identify and determine the location of this town were carried out by Abdolreza Mohajerinejad in 2006 during a season of a survey (Mohajerinejad et al., 2017: 247) and then these studies were continued under his supervision during three seasons of excavation in 2008, 2010, 2016 (Mohajerinejad, 2008; ibid, 2010; ibid, 2016). During the first and second seasons of the excavation, along with other findings, 2166 pieces of pottery were discovered which were provided to the authors for further investigations. Therefore, during the classification and typology stages, 235 indicative pottery types were selected and excluded from the collection. To advance the research, the authors selected and studied 50 pieces from among the indicative samples selected from among the collection based on the non-repetitive variable. Due to the diversity and multiplicity of the pottery types and for better identification of the pottery of this site in particular and the pottery of the southern coastal areas of the Mazandaran Sea in general, the similarity and differences of pottery obtained from this site with those of the major pottery centers of the Islamic era, and also to gain more accurate knowledge of the settlement periods of the site, it was necessary to study the pottery samples very carefully. Accordingly, the present study seeks to answer the research questions through recording, registering, classifying, typology, and typological comparison of these pottery collections (2149 fragments belonged to the first season and 67 fragments belonged to the second season). The most important questions this research seeks to answer through scientific and systematic studies are: 1: to which period or periods do the pottery samples discovered in the historic town of Natel belong? 2: how is the status of the pottery samples discovered from the historic town of Natel, in terms of production quality and decorations compared to the major pottery centers of Iran during the Islamic era? In answer to the first question, it should be noted that the pottery discovered from the first and second seasons of excavation in the Natel historical site belongs to a time period extending from the early Islamic centuries to the Timurid era. And the answer to the second question is as follows: the production quality of the Natel pottery as well as the decorative quality of Sgraffito pottery are similar to those of the major Iranian pottery centers, but other pottery samples obtained from Natel are in a lower level in terms of their decorative quality, especially in color painting. 

A Summary of the Paper
Initially, the samples were classified according to two variables, i.e. their coating type and being simple or painted, which are divided into four groups: non-glazed simple pottery, non-glazed painted pottery, glazed simple pottery, and glazed painted pottery. Then, at the typology stage within the classification framework, each group of pottery was classified into several types and sub-types according to one or more variables. The investigations were carried out with great sensitivity and accuracy and finally, this resulted in the typology of the pottery in the form of 45 types and sub-types. Statistical studies on the ceramics of this collection indicated that the glazed simple pottery was the most frequent type among all the groups with a frequency of 46.53%. Overall, these ceramics have relatively good production quality and strength, but the glazed painted ceramics are at a lower level in terms of production technique and variety of motifs. The non-glazed painted pottery pieces in this collection have geometric motifs and the dominant motif type in this group is ripple motif in terms of motif design variable. At the typological comparison stage of classification which has been carried out according to the classification and typology of pottery collection, it was attempted to compare a large number of fragments with pottery found in Islamic sites. Therefore, in addition to reviewing various reports of excavations carried out in Islamic sites (generally, the northern sites of the country are considered), we have carefully studied the authentic sources of Islamic pottery prepared and organized by the efforts of foreign and domestic scholars and accordingly the pottery types, which were compared with similar example or examples, were dated and the comparisons are presented in the form of tables in the main text of the paper. From among the regions or sites whose ceramics are comparable to those of the Islamic period of Natel, Bamiyan, Nishabur, Jorjan, Poinak castle of Varamin, Imam Zadeh Ali Lafourak in Savadkouh, Sarqala of Lavasan, Sheikh Safieddin Ardebil’s tomb, Sistan, Golkhandan fortress, Kaseh al-Mout, Gaskar site of Gilan, Haft Daghnan of Gilan, northwest of Iran, Osbou Kola Lofer, and Jahan Nama site can be mentioned. 

Conclusion 
According to the contents of the present study as well as the classification, typology, and typological comparison of the pottery discovered from the historic town of Natel, it can be stated that there are a total of 45 different ceramic types and subtypes in this collection. The results of typological comparisons of the pottery of the Islamic period of Natel showed this collection had the highest rate of similarity and relationship with the pottery obtained from the sites of the Islamic period in the north of the country; this cultural and artistic similarity supports the existence of a wide cultural and connection network between Natel and its neighboring regions and indicates the production and expansion of formal and standard pottery types during different Islamic times that were produced in specific centers and exported to other regions. Their production techniques were imitated in local workshops with a lower quality. In general, the results of this study suggest that most of the studied samples belong to the early (3 and 4 AH) and mid-Islamic (5 and 9 AH) centuries. The results of the statistical studies on the pottery of Natel also indicate that these pottery findings have a relatively good production quality, but they are at a lower level in terms of production technique and diversity of motifs.  

Abstract
Sarakhs plain is located in northeastern Iran and adjacent to Turkmenistan. Regarding Parthian pottery studies in Sarakhs plain, no special components have been considered for it so far. Identification and classification of Parthian pottery in this region can be a good tool to better understand the pottery traditions, study the cultural and economic interactions of the population centers of that period. The research method is based on library and field studies (descriptive and analytical) during a field survey (survey) stage. Based on the surface findings of the field survey, a total of 91 flagship pottery pieces from 14 settlements belonging to the Parthian period were selected for the survey. In fact, this study seeks to answer the question of what were the intra-regional and extra-regional relations of Sarakhs plain during the Parthian period with contemporaries? According to the studies on pottery attributed to the Parthian period in Sarakhs plain, this period can be divided into two periods in the mentioned plain. In the first period (formation of Parthian rule before the reign of Mehrdad I) Sarakhs is influenced by the culture of the Sarakhs oasis of Turkmenistan, and in the second period, until the end of the Parthian period, they are influenced by the well-known cultures of southern Turkmenistan, namely the cultures of Nessa and Merv. The purpose of this study is to identify and introduce Parthian pottery in Sarakhs plain, classification and typology of Parthian pottery in the region. The necessity of the present study is that the pottery cultures of the Parthian settlement of Sarakhs plain are unknown and the present study can provide a better understanding for further research.
Keywords: Archaeology of Northeast Iran, Sarakhs Plain, Parthian Period, Classification of Pottery.

Introduction
Sarakhs plain as a study point due to its natural potentials and optimal environmental conditions such as altitudes, suitable soil and relatively favorable weather conditions, has been a desirable habitat for the formation of various human communities (Ebrahimi, 1384: 2). Scholars in historical texts have stated the origin of the Parthians in northeastern Iran, especially Khorasan (Asak near present-day Quchan) and their primary capital was Nessa in Turkmenistan (Altheim, 2010: 20). Based on the field surface findings, a total of 91 flagship pottery pieces from 14 settlements belonging to the Parthian period were examined. The method of this research is based on library and field studies (descriptive and analytical) during a field survey (survey) chapter. Documentation of human handicrafts is necessary in terms of studying the background and type of community culture at any point in history.      
Research Questions and Hypotheses: In fact, this study seeks to answer the question of what were the intra-regional and extra regional relations of Sarakhs plain during the Parthian period with contemporaneous areas? Therefore, in the present study, surface cultural materials have been interpreted by preparing a statistically citation able and scientific population through archeological study. Analyzes obtained from classification, typology and methodological analysis of this statistical population as well as comparative comparison of pottery species with similar examples of contemporaneous settlements show the formation of sequences of some settlements in the Parthian period and continuous continuity before and after the Parthian period in this Has an area.                                                                                                    
Aims of Research: The purpose of this study is to identify and introduce Parthian pottery in Sarakhs plain, classification and typology of Parthian pottery in the region.                                                       

Materials and Methods
The present research is based on the purpose of basic research and based on the nature and method of descriptive-analytical research. The basis of the research is the study of Parthian pottery along with library studies. Methods and tools of data collection in this research have been done in two ways: documentation and field activities. In the documentary stage, all written sources, images and maps were first collected and analyzed. In field studies, while surveying the plains in the region and identifying the settlements, the required archaeological information and evidence (pottery) were collected from the mentioned areas and recorded in the database. In order to compare the chronology of the settlements and analyze the pottery of the Parthian settlements, the total pottery collected from 14 Parthian sites was examined and compared with other sites of the Parthian period such as Nessa, Merv and Sarakhs oasis of Turkmenistan. It was not possible to identify more Parthian sites through surface surveys. 91 index pottery were selected for photography, design, classification, typology and comparison with other Parthian sites. The index samples were selected as research materials based on classification and typology. In archeology, when classifying, the differences and similarities of the pottery in question must be clearly evident in the various groups that are distinguished; In such a way that no further explanation is needed for easy identification of one group from another. It is logical to expect that no two groups of objects classified in the main and important criteria are common to each other (Azarnoosh 1377: 76). In the present study, first, in a general division, pottery pieces are divided into five general categories, including: 1- edge 2- body 3- floor 4- base 5- handle, and then edge pieces that can be recognized in the form of a container. 

Discussion and Results  
In this study, 91 Parthian pottery pieces were identified from 14 ancient settlements related to the Parthian period, many of which have chronological sequences and in addition to the works of the Parthian period, also have the works of other periods. Settlements were classified based on pottery typology, comparative studies of pottery find, and archaeological excavations in southern Turkmenistan, northeastern Iran, eastern Iran, Pakistan, Afghanistan, and other regions within and outside the region. A total of 26 sites in 11 areas for this study in the order in which it is presented has the most references. Based on this, a table was designed for each cultural region and settlements of each basin in which the amount and percentage of comparison is clearly significant (Table 2).     

Conclusion
Archaeological study of Sarakhs plain and 91 surface pottery pieces from 14 Parthian settlements were considered as the main foundation for relative chronology, classification and typology of the research. In order to obtain a scientific answer to show the cultural interactions, the method of comparative analysis was used and the findings of the archaeological study of Sarakhs plain were compared with the findings of intra-regional and extra-regional contemporaneous areas. These similarities, taxonomy, morphology, typology, and cultural connections were evident and analyzed. What results from the study of Parthian pottery findings obtained from the Sarakhs plain; According to the studies carried out on pottery attributed to the Parthian period in Sarakhs plain, this period can be divided into two periods in the mentioned plain, in the first period (formation of the Parthian government before The accession of Mehrdad I) to the Sarakhs plain is influenced by the Sarakhs oasis culture of Turkmenistan, and in the second period, until the end of the Parthian period, they are influenced by the well-known cultures of southern Turkmenistan, namely the cultures of Nessa and Merv. The presence of these pottery indicates a two-way and dynamic relationship.    

Abstract
Today, architectural heritage management faces many challenges due to the extent of assets, limited financial resources, development threats and change in concepts and social values. Accordingly, comprehensive principles are essential for integrated management and conservation prioritization. Most developed or developing countries in the region have reached a logical framework for the classification of immovable cultural heritage as an instrument for management and conservation, But in Iran, an independent policy and approach in this field has not been presented yet. This study tries to develop theoretical concepts in the field of classification system by reviewing the constitutions, national guidelines and experiences of countries of the common cultural field of Iran in East and Central Asia. The main question is the types of approaches, Classification levels and how to evaluate the assets in the decision-making process in the countries of the region. Due to the subject, the research approach is qualitative and with the method of documentary study, first, policies and actions are reviewed and regulated and then the content analysis done by descriptive-interpretive and comparative. According to the research findings, achieve an appropriate mechanism to prioritize the level of conservation for the implementation of integrated policies in order to raise awareness of local communities and economic participation, respect the rights of private owners and facilitate future decisions, has been the main aims of classification. Architectural heritage classification in case countries is done with a Managerial- Conservative approach in a specific system. In this process, after comprehensive identification and listing, based on criteria of Cultural Significance, Historical and Architecture importance, Outstanding Values, Uniqueness, Authenticity and Integrity, Aesthetic features and at risk, by the advisory committee in the presence of government officials, experts and stakeholders, level of assets is evaluated and determined. Finally, classification is considered as a tools to explain the management approach and level of conservation.
Keywords: Architectural Heritage, Classification, Heritage Management, Conservation, Asia.

Introduction
Architectural heritage, like biology, requires an integrated and centralized organization system and pattern for classification, given the wide and diverse range of assets. Iran has many cultural properties from prehistoric period to modern times that are difficult and intricate to manage and protect based on the current situation. Despite the passage of more than one hundred years of modern cultural thought in Iran, to date, no independent policy and approach for classification of immovable cultural heritage has been presented; while most developed or developing countries in the region have reached a logical framework in this regard.
One of the main challenges that led to the formation of this research is the lack of appropriate tools to create a unified procedure in decisions and conservative measures. This study tries to help develop knowledge in the field of management and conservation by review, survey and analyzing constitutions, guidelines, policies and experiences of countries with a common cultural sphere with Iran in East and Central Asia. Achieving the aims, approaches, evaluation process and criteria for classification of architectural heritage in other countries in the region is the main purpose of this study. The two main questions of this research are: 1-What policies and approaches have the countries of East and Central Asia used in the system of management of assets and classification of architectural heritage? 2-What is the level and process of decision-making in evaluating the classification of the architectural heritage of these countries? This research has a qualitative approach and the method used is descriptive-interpretive. Research data have been collected and organized through documentary studies and have been evaluated by interpreting and analyzing the content.

Identified Traces
Japan is a leader in the classification of heritage among the countries of the East Asian region, and the Republic of Korea has largely followed its policy. Tangible cultural in Japan are first divided into two categories, “national treasures” and “important cultural”, and then national treasures are divided into two groups: “architectural heritage” and “fine arts and crafts”; finally, architectural heritage is classified according to a “Designation System” at three levels: national, regional and local. South Korea first classifies its heritage into three levels: national, provincial, and local, and then categorizes each into different groups. Thus, South Korea’s cultural heritage is classified into five levels based on national, provincial, or local significance, period of construction, and location, with intangible, tangible, movable, and immovable heritage.
China lags behind other countries in the region in terms of classification due to many challenges such as the large number of assets, political conflicts, as well as rapid development. China’s architectural heritage is classified into three levels of protection, including national, provincial and local, and unclassified assets are listed and registered only to inform the Authorities of the location and type of the assets. Hong Kong, in a specific process and according to an administrative system, classifies architectural heritage into three levels, including: Grade 1: Buildings with outstanding features and competencies that must be maintained; Grade 2: Buildings with special qualifications that are protected selectively and on a priority basis; Grade 3: Buildings with relative competencies that will be desirable to protect and if conservation is not possible, other methods and tools can be substituted.
The policy of management and protection of architectural heritage in Turkey and Egypt emphasizes the implementation of laws with international standards and the promotion of world heritage sites as tourist destinations and the use of existing capacities such as local councils, endowments, municipalities and the private sector. In these countries, decisions on classification are made by interdisciplinary advisory committees at the regional and national levels. The Government of India considers classification to be a subset of the categories “economic”, “cultural” and “environmental” and considers this policy to be in the interest of society and the people. Indian architectural heritage is classified into three levels: One: Buildings of national or historical significance. Two: buildings of regional or local importance and Three: Important buildings for the urban landscape that evoke architectural, aesthetic or sociological features.

Conclusion 
The process of architectural heritage conservation includes inclusive activities that the provision of management tools can greatly help to prioritize and facilitate actions by responsible Authorities and the community. Therefore, it would be useful to develop logical principles for classification of architectural heritage by reviewing the experiences of other countries. According to the research findings, achieve an appropriate mechanism to prioritize the level of conservation for the implementation of integrated policies in order to raise awareness of local communities and economic participation, respect the rights of private owners and facilitate future decisions, has been the main aims of classification. Architectural heritage classification in case countries is done with a Managerial- Conservative approach in a specific system. In this process, after comprehensive identification and listing, based on criteria of Cultural Significance, Historical and Architecture importance, Outstanding Values, Uniqueness, Authenticity and Integrity, Aesthetic features and at risk, by the advisory committee in the presence of government officials, experts and stakeholders, level of assets is evaluated and determined. According to the structure of laws and policies in East and Central Asia, architectural heritage works are classified into three levels: National, Provincial (state, city, and region) and Local (municipalities and councils).

Acknowledgment
The authors feel obliged to express their gratitude to the anonymous reviewers of the journal who graciously accepted the task and enriched the content of the article with their constructive suggestions.

Observation Contribution
Equally between authors.

Conflict of Interest
The authors, while adhering to publication ethics, explicitly declare the absence of any conflict of interest in this research.

Abstract
The northeastern region of Iran, characterized by a diverse and expansive landscape, has been a significant area for cultural and commercial exchanges throughout history. The geographical features, including parallel mountain ranges, natural valleys, and basins, have facilitated interactions between the peripheral desert plains, the eastern Alborz Mountain, and the Iranian Plateau with Central Asian regions. The Tepe Pahlavan, located in the northern-southern valley of Jajarm in North Khorasan Province, serves as a valuable example for studying inter-regional cultural trends during the Late Neolithic and Transitional Chalcolithic periods. The present research used a descriptive-analytical methodology to investigate the pottery assemblage retrieved from Tepe Pahlavan in Northeastern Iran during the Neolithic and Transitional Chalcolithic periods. The study aims to classify and analyze the pottery within both the local and regional contexts to comprehend the pottery traditions prevalent during the aforementioned periods. The pottery assemblage of the site indicates its association with the Eastern Sange Chakhmaq and other Neolithic sites from the Shahrud Plain. Furthermore, the presence of the cultural tradition of Cheshmeh-Ali in the settlement sequence of sites during the Transitional Chalcolithic period demonstrates regional and inter-regional cultural interactions. The pottery of this period at Tepe Pahlavan shares common technical features with the pottery assemblages of the Central Iranian Plateau and exhibits less diversity in form and decoration. In summary, the Pahlavan site reflects regional cultural interactions during the Neolithic period and inter-regional interactions during the early phase of the Transitional Chalcolithic period in northeastern Iran with the Central Plateau and the northern regions of the Kopet Dag.
Keywords: Northeast Iran, Tepe Pahlavan, Chakhmaq/Jeytun Culture, Cheshmeh-Ali Culture, Typology, Pottery Classification.

Introduction
The northeastern region of Iran boasts a diverse range of ecosystems, from desert and semi-desert mountains to foothill plains and the Caspian Sea coastline. The Jajarm Plain is a strategically located natural corridor, serving as a vital passageway between the Aladagh Mountains, the Atrek Valley, and the northern edge of the Dasht-e Kavir. Geographically, it is divided into two distinct regions - mountainous and desert - and experiences semi-arid conditions with a dry climate. Tepe Pahlavan is a multi-period archaeological site with deposits from the Neolithic, Transitional Chalcolithic, and Islamic Middle Ages. Although previous surveys and documentation by Spooner, Masuda, and Vahdati had been conducted, our 2017 excavation marked the first excavation of the site. Pottery, as a human-made artifact, offers valuable insights into cultural interactions, socio-economic changes, and cultural changes in ancient human societies. Taking a descriptive-analytical approach, our goal is to classify, typologize, and compare the pottery assemblage from Tepe Pahlavan. This study will provide us with a better understanding of the typological and stylistic characteristics of the pottery assemblage, as well as its cultural significance in the Neolithic and Transitional Chalcolithic periods in northeastern Iran.
Refined Research Questions and Hypotheses: 1. What cultural influences have shaped the pottery tradition of Tepe Pahlavan? 2. How does the pottery collection of this site fit into the regional archaeological framework? 3. In what ways has the pottery tradition of Tepe Pahlavan changed over time in response to regional and supra-regional trends?
After examining the ceramic evidence from Tepe Pahlavan during the Neolithic period, it appears that the pottery tradition might have been influenced by the pottery traditions of the Jeitun-chakhmaq and silk I cultures. Additionally, pottery fragments discovered at sites like Cheshmeh Ali, Silk II, Ghaf Khāneh, and Anu similar characteristics to those found at Tepe Pahlavan, suggesting that they could belong to the Transitional Chalcolithic period.

Discussion
During the Tepe Pahlavan excavation, over 2000 pottery sherds were unearthed and meticulously recorded. These fragments can be broadly classified into two distinct chronological groups: late Neolithic and Transitional Chalcolithic, comprising roughly 45% and 55% of the entire assemblage, respectively. These pottery sherds exhibit a range of sizes and unique features.
The archaeological analysis of the pottery discovered at Tepe Pahlavan during the late Neolithic period has revealed significant technical and visual similarities with the late Neolithic pottery of the Shahrud region. These similarities are observed in the forms, paste color, clay quality, surface coating, baking, and motifs. However, there are some minor differences in some of these aspects. One of the notable differences is the tempering agents used in the two regions. The Tepe Pahlavan group mostly used very small pieces of sand and plant inclusions as temper, while in the Shahrud plain, finely crushed plant materials were primarily used. This difference in tempering agents may have been associated with differences in the availability of raw materials or the preferences of the potters. This characteristic makes the pottery of Tepe Pahlavan more similar to the late Jeitun pottery. The surfaces of the pottery at Tepe Pahlavan have been well-executed, but unlike the pottery of the eastern Tepe Chakhmaq and Deh-Kheir, they do not exhibit glossy or burnished surfaces.
The pottery of the Cheshmeh-Ali culture in the central plateau and the northeast region corresponds with the pottery of the Kopet-Dagh region in terms of forms and motifs. The multiplicity and intricacy of motifs in the pottery of the Cheshmeh-Ali horizons in the central plateau are more significant than those in the northeast region. In the northeast region, such as Tepe Pahlavan, Qaleh-Khan, and Aq-Tepe, unlike the central plateau of Iran, examples of pedestal vessels, basket-shaped vessels, and very large jars are absent. Although the motifs in this type mostly consist of geometric, floral, animal, and a few human motifs like central plateau pottery, these are much simpler and less numerous than those found in the central plateau pottery. The motifs in the early Transitional Chalcolithic horizons of Kopet-Dagh are limited to a few geometric designs, such as oblique ladder-like rows, wide bands below the rim, ray-like bands to the vessel base, vertical frames of zigzag bands, and hatched shapes.
The discovery of diverse pottery at Tepe Pahlavan provides valuable information about pottery making in this region during the late Neolithic and Transitional Chalcolithic periods. The observed similarities and differences in the pottery of Tepe Pahlavan with other regions contribute to a better understanding of the cultural relationships and developments during this period.

Conclusion
The pottery assemblage at Tepe Pahlavan is characterized by two distinct chronological periods. Specifically, the assemblage comprises artifacts from the Late Neolithic period, encompassing Eastern Sang-e Chakhmaq, as well as the Cheshmeh Ali culture which represents the Transitional Chalcolithic period. The findings from this excavation provide invaluable insights into the cultural evolution of the region during these periods. The pottery discovered from the Late Neolithic era within this area exhibits a resemblance to the pottery tradition of the Jeitun/Chakhmaq culture, as well as settlements from the latter part of this culture in the Shahroud and Bastam regions. In addition to the similarities, there are minor differences in certain aspects of pottery-making, such as temper and surface treatment, which indicate local characteristics in the pottery-making tradition of the Late Neolithic at Tepe Pahlavan. These local and regional similarities and distinctions continue into the Transitional Chalcolithic period. Despite the strong resemblance between the pottery of this period and the pottery-making tradition of the Cheshmeh Ali culture in the Central Plateau, there are noticeable local characteristics, such as a reduction in the diversity of patterns and vessel forms.
The available dating samples from Tepe Pahlavan provide evidence of multiple settlements within the time frame of 5800-4800 BCE in the surrounding area. The cultural materials and settlement sequence of this area correspond with the Late Neolithic in northeastern Iran, specifically in Strata 3 to 1 of Eastern Sang-e Chakhmaq within the time frame of 5800-5300 BCE, and the early phase of the Transitional Chalcolithic within the time range of 5200-4800 BCE. This serves as strong evidence of regional similarities between the pottery of Tepe Pahlavan and the surrounding areas and sites of the Central Plateau. There is strong evidence of a correlation between the pottery tradition of this site and the Shahrud region. The cultural materials found at Tepe Pahlavan, along with absolute dating, reveal the emergence and replacement of the Cheshmeh Ali horizon following the Jeitun/Chakhmaq horizon. While Tepe Pahlavan samples have been primarily dated to the 6th and early 5th millennium BCE, there remains uncertainty regarding the replacement of the Cheshmeh Ali culture by the cultural practices of the Transitional Chalcolithic period at a local and regional level. This is largely due to the scarcity of well-preserved layers from the Late Neolithic and early Transitional Chalcolithic periods in the cultural stratigraphy of the area.

Abstract
Gorieh site located in Zarneh section of Ivan Gharb city is one of the important Sassanid and early Islamic sites in archeological studies of the west of the country which has been excavated in 2015. During a season of excavation in this ancient site, a variety of cultural artifacts were found, including pottery, and due to the importance of pottery and its role in archaeological studies, this cultural material was studied in this article. Therefore, for this study, 127 pieces of pottery from the Sassanid era, from 1500 pieces of pottery obtained from excavation, were selected for study. Initially, these pottery were classified typologically based on their technical characteristics and shape or form. This research has a fundamental nature with a descriptive-analytical approach and the method of this research has two parts: library and field studies (pottery). The main purpose of this article is to study the quantity and quality of Sassanid pottery in Gorieh area, then their typology, classification and relative chronology. Chronology has been done comparatively and cultural relations with adjacent areas have been explained based on comparative studies of pottery. The results showed that among the identified forms among the pottery of Gorieh area, including Ewer, jug, bowl, cup and plate and the most common decorative patterns of pottery are carved patterns. Pottery is often suitable for baking and a sign of oven temperature control for baking pottery, and the quality of their construction is generally average. Also, a comparative comparison showed that in terms of relative chronology, Sassanid Gorieh pottery is relatively similar to the areas of the late period. Therefore, while having some local characteristics, the pottery of this area with areas such as, Qasr-e-Bonsar, Hajiabad, Sassanian sites identified in the survey of the Mahneshan of Zanjan, North Khuzestan, Mianab Shushtar, Bushehr, Ras al-Khaimah and Tal-e mahuz sites, Abu Sharifa in Iraq They are comparable and in addition to the influences of regional style, it is most similar to the cultural sphere of southwestern Iran.
Keywords: Typology, Classification, Sasanian Potteries, Gorieh Site, Ilam.

Introduction
Gorieh area is located in geographical coordinates of 38s x: 605380 and Y: 37522210. This site is located 50 km northwest of Ilam, Zarneh district in Ivan city, about 800 meters south and southwest of lower Sartang village. (Khosravi, 1395: 32) Gorieh region drowned in water after impounding of Kangir dam in year of 1394 AH. (Fig. 2) Part of the Zagros Mountains, which overlooks to Mesopotamia and the plains of Khuzestan, is now called Ilam Province. Pottery is the most abundant cultural material in archaeological excavations and studies. Pottery is mostly used for relative dating and to know the cultural and trade relations of the ancient sites. (Khosrozadeh et al., 1399: 119) Therefore, in the present study, the Authors try to introduce and study the pottery findings as one of the cultural materials discovered from the excavation of Gorieh site, which was excavated by one of the Authors of the article, with other sites at the same contemporary.

Discussion 
Masbezan was one of the Sassanian provinces during the rule of Ardeshir Babakan (ruled 244-241 AD) (Rawlinson, 1362: 44); in historical books, this province has been recorded in two forms: ((Masbezan)) and ((Mah, sebzan)). The word Mah or May in the word ((sabzan)) is the changed form of the word ((Mad)) which means city (Qara Chanlu, 1360: 31-32) and the change of the word Mad to Mah and May, which was done during the Parthian and Sassanian eras, was also a common word in the Islamic period for refer to Iraq and non-Arabic places. (Ibid: 32) During the early centuries of Islam, western Iran in the terms of geographical divisions was considered as Jabal province (mountain) in. (Fig. 1) among the cultural findings of the excavation in the Gorieh site, a number of pottery obtained from different spaces. In the present study, from hundreds of Sassanian pottery pieces obtained by screening method, Index pottery was selected from 127 pieces and then categorization, typology and chronology were proposed. Most pottery was made using the wheel-making technique and most of them are sufficiently baked; the pottery s are made entirely of mineral chamotte (sand). In terms of the quality of the pottery s, the earthenware of Gorieh area can be divided into three groups: 1. medium 2. Average 3. Rough. In the present study, the studied samples are pottery s from ancient textures and spaces which cognitively obtained and representative of all classes and species, these potteries were selected accordingly and then discussed and analyzed. Therefore, from a comparative study conducted in a chapter of archeological excavations in Gorieh area, the number of pieces was selected separately: 96 rim, 1 pipe, 4 handles, 18 body and 8 pottery bottom Sassanian unglazed pottery s in terms of color of the dough are divided in three main groups: pea near to green (79 of 127 pieces), pea (20 of 127 pieces), red (19 of 127 pieces), brown (7 from 127 pieces) and gray (3 out of 127 pieces). In addition to the above, for the classification of pottery s which studied in Gorieh, the shape of their rims has also been considered. Accordingly, the rim founded pieces are classified into separate groups: gutters shape, triple, compact, standing and round, round inward or outward, quadruple, and flat .The highest rim diameter among Ceramics is 400 mm and the lowest is 40 mm, in terms of rim type’s number, the highest type of rim is the rounded rim. The pottery bottoms are divided into three groups: flat (Table6, numbers 1 and 3), legged bottom (Table6, number 4 to 7) and upright bottom (Table6, number 2), and handles are in two circular shapes (Table6, number 9 to 11) button shapes, (Table6 number 8) and a container tube (Table6 number 12) are separable Motifs and decorative elements of Gorieh pottery’s can be divided into four categories: 1. Simple patterns (stump) 2. Composite patterns 3. Added patterns and 4. Compression patterns.
The studied potteries, as mentioned before, is placed in common (simple) type in terms of construction and technical characteristics. In the present study dishes, based on the general shape of the earthenware and the type of edge are divided into different shapes of jug, crock, bowls, plates and cups.

Conclusion 
In each cultural region, the quality and quantity of archaeological data provide the basis for archaeological evaluations. The exploration, typology, and chronology of the potteries of a Guriyeh region were carried out to answer the research questions. The technical characteristics of the pottery show that sand is used in its composition. What is clear is that most of the potteries were fired sufficiently, and some of them were fired insufficiently, which indicates the lack of heat control in the pottery kilns. Most of the potteries studied in the present study were in the medium group, showing the tendency of the residents of Guriyeh to use vessels with medium elegance. The majority of the pottery has been made through wheel throwing, demonstrating the use of the potter’s wheel in making pottery; only a few of them are handmade. Wet hand polishing is also observed on the inner and outer walls of most of the pottery. In addition to the polishing of some earthenware, a thin or thick mud layer was also applied on the inner or outer wall and even both walls. In total, several types of pottery, including jugs, crocks, bowls, cups, and plates, were obtained from the Guriyeh area. The comparison of the kinds of pottery with those of other regions showed that pottery with general use, such as jugs (48.96%), is the primary type used by people living in this region. In terms of decorative diversity, Guriyeh’s pottery includes engraved, embossed, and combined motifs. Among them, the use of fingernail pressure to design the pottery seems to be indigenous to the Western region of Iran, and it has not been observed in other areas. Since there is very little archaeological information about Sassanid pottery in the Western region of Iran, the pottery of the Guriyeh area was compared with other regions. Based on comparisons, it was found that the potteries of the Guriyeh area have relative similarity with those of regions at the end of this period, such as (Abu Nasr Palace in Fars, Abu Sharifah Hill in Iraq, and Bushehr surveys). In general, the Guriyeh area was located on two ancient communication routes from Iran to Mesopotamia, as well as a route to the West and Southwest of Iran. Accordingly, Guriyeh’s pottery is comparable to that of other cultural regions of Iran. It can be concluded that based on the available documents, the area of Guriyeh seems to be culturally influenced by the cultural region of Southwest and South Iran, which can be attributed to its specific regional style.

 Abstract
During the Safavid period, innovations were created in Stucco decorations. the Koshtehbori Stucco decoration is one of the most attractive and unique architectural decorations of the Safavid period, which was implemented with various motifs in some of the buildings of that period and has a special creativity and innovation that is different from the implementation of other types of Stucco decorations. Knowing the methods and implementation steps of Stucco decorations in restoration projects and studying them is considered as one of the essential elements and an inseparable part of the protection of historical Stucco decorations. The purpose of this research is to identify the similarities and differences, the variety of methods and the stages of implementation of Koshtehbori Stucco decoration with other Stucco decorations in the architecture of the Safavid period. The questions of this research are: What are the similarities and differences of Koshtehbori Stucco decoration with other Stucco decorations in Safavid period architecture in terms of the method and stages of construction and execution? What is the appropriate classification for technical types of Stucco decorations in Safavid architecture? The research method is descriptive-analytical and comparative, and the collection of findings is in the form of library studies and field observations. The results of the studies showed that, unlike other Stucco decorations of the Safavid period, in the execution of the Koshtehbori Stucco decoration, Finishing, polishing, Convex or concavity was not done on the surface of the motifs, and only the background of the design or some carving motifs. In terms of the method, stages and sequence of execution, the Koshtehbori Stucco decoration, is the most similar to the Stucco decoration with carved colored layers. These similarities are in terms of the thickness of each layer of one millimeter and the method of cutting at an angle of 90 degrees to the surface of the motifs and polishing and smoothing the carved parts. Is. Also, in terms of the method, steps and sequence of execution, the Koshtehbori Stucco decoration, is the most different from the carved decoration filled with colored gypsum.
Keywords: Koshtehbori, The Technique of Implementing Stucco Decorations, Classification of Stucco Decorations, Safavid Period Architecture.

Introduction
Stucco decorations in Iran’s architecture have been implemented with different techniques and methods, one of which is the Koshtehbori Stucco decoration. The method and technique of execution of the Koshtehbori Stucco decoration in the Safavid period architecture is different from the Stucco decorations before it and required less time and economic cost per unit area than the relief Stucco decorations of the previous periods. This ornament has a special beauty, it has a variety of colors or different motifs. Previous research by experts in Iranian architecture and art history has focused mostly on Stucco decoration motifs and less on stucco types, comparative analysis of construction methods and techniques. A special classification and understanding of the execution method of Safavid period Stucco decorations can draw more attention to documentation and practical aspects in their basic maintenance and restoration. This research aims to identify the similarities and differences, variety of methods and stages, and execution order of the Koshtehbori Stucco decoration in comparison with other Stucco decorations of the Safavid period, as well as classify the Stucco decorations of this period.
The research questions are: What is the appropriate classification for technical implementation types of Stucco decorations of Safavid period architecture? What are the similarities and differences between the Koshtehbori Stucco decoration and other Stucco decorations of the Safavid period in terms of construction methods and stages? Research method: This research used a descriptive-analytical method to investigate some architectural Stucco decorations in Iran through library studies and field observations. The statistical population of this research includes 6 types of common Stucco decorations in Safavid architecture. The common features and differences between the Koshtehbori decoration and other Stucco decorations of the Safavid period were presented in a descriptive-analytical and adaptive-comparative method in terms of execution methods and stages. For this purpose, common Stucco decorations were examined in terms of the order of executive layers, such as support, scratch coat(arriccio) and fine coat (intonaco) layers, type of background, design drawing and stabilization, plastered layer, and finishing steps. The findings of this research were collected through written and documented sources, as well as field investigations by the authors, including pictures of examples of common Stucco decorations of the Safavid period architecture. In addition to proposing a new classification and naming of some decorations, the research analyzed different types of Stucco decorations by comparing samples to identify similarities and differences between Safavid period Stucco decorations.
 
Discussion
- Presenting a suitable classification of Stucco decoration of Safavid period architecture
This research proposes a new classification system for Stucco decorations in Safavid period architecture based on seven specific criteria. These criteria include the method of shaping, the kind of materials used in the background, the appearance of the surfaces on the motifs, the size and amount of relief, finishing works, in terms of the background and shape of the motifs. Each criterion has a different category, which allows for a more precise identification and recognition of different Stucco decorations. This classification system is crucial for the conservation and restoration of these decorations, as it helps to avoid unprincipled interferences in restoration interventions.
 
- A comparative study of the Stucco decoration of Koshtehbori with other Stucco decorations in Safavid period architecture
In this regard, six different Stucco decorations that were commonly used and innovative during the Safavid period were selected and compared with the Stucco decoration of Koshtehbori in terms of execution method and order. These are:
A: Stucco decoration of Koshtehbori: This decoration, with different techniques and motifs, has been implemented in some buildings of the Safavid period. These decoration are often prepared, designed and implemented with various geometrical, Khataei and Slimy motifs on a background of plaster mortar, which is different from other plaster ornament methods.
B: Stucco decoration with carved colored layers: Among other Stucco decorations in the architecture of the Safavid period, this decoration is the most similar to the Stucco decoration of Koshtehbori.
C: Stucco decoration on Simgel: This decoration is different from the Stucco decoration of Koshtehbori in terms of grouting with mud in the background (empty space between the motifs), the curvature around the motifs, the relief of the motifs, and the shape of the motifs.
D: Stucco decoration on a flat mirror: In this Stucco decoration, flat mirrors are used as a Stucco substrate. In terms of the mirror background between the patterns, the curvature around the patterns, the relief of the patterns, and the shape of the patterns, this Stucco is different from the Stucco decoration of Koshtehbori.
E: Stucco decoration on the Koj mirror (Kopbori): This Stucco decoration is made using the combination of Koj mirror and Stucco parts. This decoration, in an additional stage of initial drawing and transfer of the design, adhesive plaster mortar behind the mirror, in terms of the mirror background of Koj between the motifs, the curvature around the motifs, the relief of the motifs and in the shape of the motifs with the Stucco decoration of Koshtehbori is different.
F: The Naghri Stucco decoration filled with colored gypsum mortar: the Koshtehbori Stucco decoration is the most different from the carved Stucco decoration filled with colored gypsum mortar compared to other Stucco decorations in Safavid period architecture
In the end, the six Stucco decorations of the Safavid period are compared with their sub-groups in the seven classifications in the architecture of the Safavid period. Based on this comparison, we can observe their similarities and differences in the subgroups. For example, the shaping technique of the six types is done in situ, and the type of material used in the background of the Koshtehbori Stucco decoration, the Stucco decoration with carved colored layers, and the Naghri decoration filled with colored plaster is gypsum. However, in the other three decorations with different materials, it is Simgel, flat mirror, and koj mirror.

Conclusion
Through the study and research conducted, a more comprehensive classification and suitable division for Stucco decorations in Iranian architecture has been presented. In this research, Safavid period gypsum decorations are classified based on a specific seven criterion, which includes shaping technique, material used in the background, surface appearance of patterns, size and amount of relief, and complementary works, in terms of both background and pattern shape. Each of these criteria has its own subgroups. 
Stucco decorations in Safavid architecture have similarities and differences in terms of their technical aspects and design. In the execution of the Koshtehbori Stucco decoration, unlike other Safavid Stucco decorations, carving, polishing, convex or concaving on the surface of patterns was not performed, and only the background or some parts of the pattern were carved and polished. In terms of the method, stages and sequence of execution, the Koshtehbori Stucco decoration, is the most similar to the Stucco decoration with carved colored layers. These similarities are in terms of the thickness of each layer of one millimeter and the method of cutting at an angle of 90 degrees to the surface of the motifs and polishing and smoothing the carved parts. Is. Also, in terms of the method, steps and sequence of execution, the Koshtehbori Stucco decoration, is the most different from the carved decoration filled with colored gypsum. Stucco decorations on Simgel, on flat mirrors, on Koj mirrors, in terms of the surface of the motifs, which may be Koj or a combination of Koj and Kav, and also, the type and appearance of the motifs, are different from the Koshtehbori Stucco decoration.

Among the finest artistic productions of the Safavid period is lusterware, which continued the tradition that flourished during the Middle Islamic era. Despite brief references in some sources to the distinctive nature and form of Safavid lusterware, no independent and focused study has been conducted to date. Therefore, given the formal characteristics of existing lusterware, this study aims to classify them in detail to achieve a more comprehensive understanding of their forms and then to conduct a comparative analysis with blue-and-white ceramics. To achieve this goal, the following questions have been raised: “Into what formal categories can the lusterware of the Safavid period be classified?” and “In terms of form, how do Safavid lusterware correspond to, or compare with, their contemporary blue-and-white counterparts?” In this research, data collection has been carried out through library and field methods, and the study has proceeded with a descriptive-comparative-analytical approach. The statistical population comprises 69 Safavid lusterware pieces and 40 blue-and-white vessels, which, in turn, represent 486 lusterwares and 106 blue-and-white ceramics selected as representative samples of each type based on their formal characteristics. The results of the typological study of these vessels indicate that the lusterware comprises 17 groups, which fall into two main categories: Open forms, such as dishes, bowls, and cups (Piyaleh); and closed forms, such as ewers, bottles, and pitchers. Moreover, although the two pottery types exhibit considerable typological similarity, the lusterware demonstrates greater formal diversity, whereas the blue-and-white ceramics are relatively finer in execution and somewhat larger in scale.