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Mahjobe Amirani Pour, Saeed Amirhajloo, Sara Saghaee,
year 2, Issue 3 (5-2018)
year 2, Issue 3 (5-2018)
Abstract
Abstract
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The pseudo-prehistoric ware is one of the pottery types of Islamic period that is identified in the archaeological surveys in Narmashir. This type, has also reported from South and South-West Iran in previous years, and it has identified recently in other regions of Iran. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins. The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” In this article, pseudo-prehistoric wares are introduced and studied. Then they have compared with other sites. The data have collected in documentary and field methods. The research method in this study is “descriptive-analytical”. Accordingly, in the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the cultural material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.
Keywords: Narmashir, unglazed painted wares, pseudo-prehistoric pottery, the historical sites of Islamic period.
Introduction
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The old city of Narmashir (Choghook Abad site) has been introduced as one of the five main cities of Kerman, the center for agricultural and industrial products, the mediation center of Goods, and the serving location for the caravans, in the Islamic sources. This city was located along the road of India, Oman, and Sistan to the center of Iran. For this reason, it played an important role in the development of southeast Iran in early and middle Islamic era. The pieces of wares from early Islamic period to the 12th AH has identified on the surface of the Islamic sites of Narmashir, in the authors archaeological surveys. One of these wares is the unglazed painted ware (pseudo-prehistoric ware), which was reported by Sumner and Whitcomb for the first time in south and southwest Iran (Sumner & Whitcomb, 1999). But, several sites in Iran were introduced as the sites containing pseudo-prehistoric wares, after recent studies. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins.
Data and analysis
The unglazed painted wares of south and southwest of Iran are very simple. They are painted in dark red or dark brown. The ornaments have appeared on the outer surface, upper part and around of their rims and handle. This motifs include simple, primitive, and careless lines, such as horizontal or vertical bands, curved and wavy lines, and zigzag designs. (Sedighian & Gholami, 2012: 135). They belong to the middle and late Islamic period (Ibid: 134). These wares have found in the old city of Narmashir, Jalal Abad and Rafi Abad. The pseudo-prehistoric wares of Narmashir, are similar to those one from southwest, center, north, and northeast of Iran. They have red or orange clay, buff slip, and mineral temper. Most of them have produced with the wheel. Their ornaments have painted in brown, red or orange. The samples of the old city of Narmashir are similar to the “Mad Abad” wares (see. Sumner & Whitcomb, 1999:320-321). The pieces of Jalal Abad and Rafi Abad are similar to those one from Atigh square of Isfahan and Samiran of Manjil (see. Sedighian & Gholami, 2012: 138). The technique of production of them is similar to the samples have reported from Bishapoor, which have painted by simple and curvy designs in red or black (see. Amiri et all. 2012: 13). Also, the samples of Kompos Bonari in Kohgiluiyeh (see. Qezelbash & Parviz, 2013: 123-124) and Qal’eh Dokhtar and Shahdezh in south Khorasan from 5th -7th AH (see. Sedighian & Gholami, 2012: 137) are similar to Narmashir wares. But, the samples of Narmashir are different from those one of Sistan and Bluchestan. The wares of Sistan and Baluchestan have the orange or red background and dark-brown motifs (see. Mousavi Haji et all. 2013: 127). The pseudo-prehistoric wares of Narmashir belong to the 5th – 8th century AH, based on similar samples found in the south of Khorasan, and center and southwest of Iran. The samples of Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.
Conclusion
In the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, and they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran. Furthermore, the samples of Narmashir are different from pseudo-prehistoric wares in Sistan and Baluchestan, because the Sistan and Bluchestan samples have the red background and dark-brown ornaments.
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The pseudo-prehistoric ware is one of the pottery types of Islamic period that is identified in the archaeological surveys in Narmashir. This type, has also reported from South and South-West Iran in previous years, and it has identified recently in other regions of Iran. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins. The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” In this article, pseudo-prehistoric wares are introduced and studied. Then they have compared with other sites. The data have collected in documentary and field methods. The research method in this study is “descriptive-analytical”. Accordingly, in the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the cultural material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.
Keywords: Narmashir, unglazed painted wares, pseudo-prehistoric pottery, the historical sites of Islamic period.
Introduction
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The old city of Narmashir (Choghook Abad site) has been introduced as one of the five main cities of Kerman, the center for agricultural and industrial products, the mediation center of Goods, and the serving location for the caravans, in the Islamic sources. This city was located along the road of India, Oman, and Sistan to the center of Iran. For this reason, it played an important role in the development of southeast Iran in early and middle Islamic era. The pieces of wares from early Islamic period to the 12th AH has identified on the surface of the Islamic sites of Narmashir, in the authors archaeological surveys. One of these wares is the unglazed painted ware (pseudo-prehistoric ware), which was reported by Sumner and Whitcomb for the first time in south and southwest Iran (Sumner & Whitcomb, 1999). But, several sites in Iran were introduced as the sites containing pseudo-prehistoric wares, after recent studies. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins.
Data and analysis
The unglazed painted wares of south and southwest of Iran are very simple. They are painted in dark red or dark brown. The ornaments have appeared on the outer surface, upper part and around of their rims and handle. This motifs include simple, primitive, and careless lines, such as horizontal or vertical bands, curved and wavy lines, and zigzag designs. (Sedighian & Gholami, 2012: 135). They belong to the middle and late Islamic period (Ibid: 134). These wares have found in the old city of Narmashir, Jalal Abad and Rafi Abad. The pseudo-prehistoric wares of Narmashir, are similar to those one from southwest, center, north, and northeast of Iran. They have red or orange clay, buff slip, and mineral temper. Most of them have produced with the wheel. Their ornaments have painted in brown, red or orange. The samples of the old city of Narmashir are similar to the “Mad Abad” wares (see. Sumner & Whitcomb, 1999:320-321). The pieces of Jalal Abad and Rafi Abad are similar to those one from Atigh square of Isfahan and Samiran of Manjil (see. Sedighian & Gholami, 2012: 138). The technique of production of them is similar to the samples have reported from Bishapoor, which have painted by simple and curvy designs in red or black (see. Amiri et all. 2012: 13). Also, the samples of Kompos Bonari in Kohgiluiyeh (see. Qezelbash & Parviz, 2013: 123-124) and Qal’eh Dokhtar and Shahdezh in south Khorasan from 5th -7th AH (see. Sedighian & Gholami, 2012: 137) are similar to Narmashir wares. But, the samples of Narmashir are different from those one of Sistan and Bluchestan. The wares of Sistan and Baluchestan have the orange or red background and dark-brown motifs (see. Mousavi Haji et all. 2013: 127). The pseudo-prehistoric wares of Narmashir belong to the 5th – 8th century AH, based on similar samples found in the south of Khorasan, and center and southwest of Iran. The samples of Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.
Conclusion
In the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, and they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran. Furthermore, the samples of Narmashir are different from pseudo-prehistoric wares in Sistan and Baluchestan, because the Sistan and Bluchestan samples have the red background and dark-brown ornaments.
Fereshteh Sharifi, - Mohmmad-Ebrahim Zarei,
year 5, Issue 15 (6-2021)
year 5, Issue 15 (6-2021)
Abstract
Abstract
Qorveh county is located in the southeast of Kurdistan province and is considered one of the highlands of Zagros. This plain find better environmental conditions from historical and Islamic times and this had attracted the attention of human groups. Compared to other neighboring areas, archaeological research in this plain has been done very little, especially the Islamic period archeology. In 2018, the plain and the county of Qorveh were surveyed and identified archaeologically that results of this research are part of its findings. The findings will be discussed, including the Islamic period pottery collection which is considered the most important goal of this research. Introducing and classifying these findings and presenting a picture of the situation of pottery and common types of pottery of the Islamic period in this region forms the general structure of this research. The research indicates the similarity and compatibility of the findings of this plain with neighboring areas, especially Hamedan which have almost the same conditions in terms of environmental landscape and cultural context. Questions for this study include: Which types of pottery of the Islamic period can be identified in Qorveh plain? At what time period are the studied pottery findings dated? Do the pottery findings of Qorveh plain show evidence of regional and extra-regional interaction? The results of this study show that 12 pottery types can be identified in the surface surveys of Qorveh plain and they can be dated from the early Islamic centuries to the present. The studied pottery is very close to the neighboring areas in terms of technique and patterns and we can even say that they are quite similar; but in comparison with the cross-regional although the techniques are similar but are clear differences in terms of decorative motifs.
Keywords: Qorveh Plain, Islamic Period, Glazed Ware, Plain Ware.
Introduction
Qorveh plain is one of the plains of Kurdistan province, which is rich in terms of climate, water resources, vegetation and animals, fertile land, etc., which has always been considered by human groups according to field surveys. However, the history of settlements in this plain date back to the early Chalcolithic period (Mocheshi, 2011), but the role of Islamic sites is colorful in the meantime and archaeological findings show that the plain is dynamic in the Islamic era (Sharifi and Zainivand, 2019). As we know; One of the most important archaeological findings in surface surveys is pottery which by studying it, interesting information about different aspects can be obtained. Therefore, it is necessary to study them, in order to clarify the culture of the communities and the interactions of the study area with other areas.
Research Questions: This study tries to answer the following questions by studying the pottery collection obtained from the archeological study of Qorveh region:
1) Which types of pottery of the Islamic period can be identified in Qorveh plain?
2) At what time period are the studied pottery findings dated?
3) What are the similarities and differences between the pottery findings of Qorveh plain and regional and cross-regional findings?
Research Method: This is a descriptive-comparative study and its findings have been collected in a survey and visit the Sites and hills of Qorveh region in Kurdistan province. At first, the plain was surveyed and 243 sites were identified and about 118 sites have remnants of the Islamic period. In this research, all types of pottery in the identified sites of the plain were considered which after identifying the sites of the Islamic period and collecting pottery findings, the study was conducted in Library study method, using existing sources and documents. In this section, an attempt was made to measure the findings with similar and contemporary samples to determine their relative age.
Sites of the Islamic Period in Qorveh Plain
In 2018, Qorveh plain was studied archaeologically (Sharifi and Zainivand, 2018). In this plain, 243 sites were identified, of which 118 sites have remains of the Islamic period, of these sites, except for two bridges, two baths, a flume and a canal that had no pottery finds, the rest had pottery finds which was studied in this research and a total of 12 types of the Islamic era were identified. Important Islamic sites in the plain include Tepe Esfandabad, Mashhadi Agha (Shahabuddin), Kheir Veis, Aghkand, Vinsar, Sajan Tepeh, Abdolabad, Tepe Mireh Soleiman Aghasi and Tepe Hosseinabad.
Classification of Qorveh Plain Pottery
From surface surveys of Qorveh plain, 12 types of pottery belonging to the Islamic period were obtained, which are generally divided into two categories: glazed and unglazed. Glazed pottery includes 7 types (Silhouette, Luster Ware, under glaze painting, painting on glaze, Monochrome glaze, Sgraffito, Blue and white Ware) and unglazed pottery of 5 types (plain pottery without decoration, molded pattern, plastic decoration, incised decoration, studded).
Cultural Interactions of Settlements in the Islamic Period of Qorveh Plain
Considering that no archaeological excavations have been carried out in Qorveh Islamic sites and our studies are based only on field studies, as a result, we used pottery findings to identify cultural interactions. As mentioned earlier, most of the pottery techniques in the world are very similar to the studies that have been done on the pottery of the Islamic world. By comparing the pottery of Qorveh plain with the studied pottery of other parts of the country or the world, it can be concluded; Qorveh plain pottery, especially glazed pottery, in terms of technique, shape and color is similar to pottery obtained from Neishabour, Rey, Jirof, Kashan and even Afghanistan, Uzbekistan, Syria and Palestine, etc., but in terms of the type of themes, the designs are different. compared to neighboring areas in every sense; technique, shape, and color of the designs are similar. The meaning of neighboring areas is studied sites in Hamedan province, Kermanshah province, Takht-e Soleiman and other cities of Kurdistan province which is referred to in the comparison section of potteries.
Conclusion
The pottery findings of the Islamic period of Qorveh plain cover the chronological sequence from the early Islamic centuries to the present day. In a general division, the pottery of Qorveh plain is divided into two groups: glazed and unglazed; Glazed pottery includes seven types and unglazed pottery consists of five types. The highest frequency of incised pottery is among unglazed pottery and plain monochrome glazed pottery is among glazed pottery due to the ease of production and the mire incised, which is a special and different style in northwestern Iran. Glazed pottery of recent studies can be dated into three groups: 4th-5th centuries AH, 5th to 9th centuries AH, and 10th to 13th centuries AH. unglazed pottery has been used in the region since the early centuries of Islamic period to the present. Among the collected collections, there is a considerable abundance of low-quality pottery but because they are not discovered in the excavation, they cannot be dated securely. However, given that these types of pottery are mostly obtained in temporary settlements with low accumulations, can be cautiously attributed to the settlements of migrants and nomads. By comparing and matching the pottery of the study area with h cross-regional pottery production sites, this result is obtained which although the pottery of the Islamic period of Qorveh region is technically similar to remote areas, but in terms of designs, differences can be seen in most of them, and these differences reinforce this hypothesis that most of the pottery obtained from the study has been produced in the region itself (neighboring areas) and the similarities are mostly the result of cultural exchanges with neighboring areas. To determine the origin and production of pottery in Qorveh plain, laboratory studies should be done, which also requires time and costs and the authors hope to achieve this in the future by discovering more examples of scientific exploration in these areas. However, so far, no scientific excavations have been carried out in Islamic period sites of region and there is no evidence of a pottery kiln in this plain, but we have to wait for future studies to comment on this with certainty. However, the types of coarse and low quality pottery scattered in many settlements are the result of local pottery production and luxury and rare specimens are classified as exotic pottery
Qorveh county is located in the southeast of Kurdistan province and is considered one of the highlands of Zagros. This plain find better environmental conditions from historical and Islamic times and this had attracted the attention of human groups. Compared to other neighboring areas, archaeological research in this plain has been done very little, especially the Islamic period archeology. In 2018, the plain and the county of Qorveh were surveyed and identified archaeologically that results of this research are part of its findings. The findings will be discussed, including the Islamic period pottery collection which is considered the most important goal of this research. Introducing and classifying these findings and presenting a picture of the situation of pottery and common types of pottery of the Islamic period in this region forms the general structure of this research. The research indicates the similarity and compatibility of the findings of this plain with neighboring areas, especially Hamedan which have almost the same conditions in terms of environmental landscape and cultural context. Questions for this study include: Which types of pottery of the Islamic period can be identified in Qorveh plain? At what time period are the studied pottery findings dated? Do the pottery findings of Qorveh plain show evidence of regional and extra-regional interaction? The results of this study show that 12 pottery types can be identified in the surface surveys of Qorveh plain and they can be dated from the early Islamic centuries to the present. The studied pottery is very close to the neighboring areas in terms of technique and patterns and we can even say that they are quite similar; but in comparison with the cross-regional although the techniques are similar but are clear differences in terms of decorative motifs.
Keywords: Qorveh Plain, Islamic Period, Glazed Ware, Plain Ware.
Introduction
Qorveh plain is one of the plains of Kurdistan province, which is rich in terms of climate, water resources, vegetation and animals, fertile land, etc., which has always been considered by human groups according to field surveys. However, the history of settlements in this plain date back to the early Chalcolithic period (Mocheshi, 2011), but the role of Islamic sites is colorful in the meantime and archaeological findings show that the plain is dynamic in the Islamic era (Sharifi and Zainivand, 2019). As we know; One of the most important archaeological findings in surface surveys is pottery which by studying it, interesting information about different aspects can be obtained. Therefore, it is necessary to study them, in order to clarify the culture of the communities and the interactions of the study area with other areas.
Research Questions: This study tries to answer the following questions by studying the pottery collection obtained from the archeological study of Qorveh region:
1) Which types of pottery of the Islamic period can be identified in Qorveh plain?
2) At what time period are the studied pottery findings dated?
3) What are the similarities and differences between the pottery findings of Qorveh plain and regional and cross-regional findings?
Research Method: This is a descriptive-comparative study and its findings have been collected in a survey and visit the Sites and hills of Qorveh region in Kurdistan province. At first, the plain was surveyed and 243 sites were identified and about 118 sites have remnants of the Islamic period. In this research, all types of pottery in the identified sites of the plain were considered which after identifying the sites of the Islamic period and collecting pottery findings, the study was conducted in Library study method, using existing sources and documents. In this section, an attempt was made to measure the findings with similar and contemporary samples to determine their relative age.
Sites of the Islamic Period in Qorveh Plain
In 2018, Qorveh plain was studied archaeologically (Sharifi and Zainivand, 2018). In this plain, 243 sites were identified, of which 118 sites have remains of the Islamic period, of these sites, except for two bridges, two baths, a flume and a canal that had no pottery finds, the rest had pottery finds which was studied in this research and a total of 12 types of the Islamic era were identified. Important Islamic sites in the plain include Tepe Esfandabad, Mashhadi Agha (Shahabuddin), Kheir Veis, Aghkand, Vinsar, Sajan Tepeh, Abdolabad, Tepe Mireh Soleiman Aghasi and Tepe Hosseinabad.
Classification of Qorveh Plain Pottery
From surface surveys of Qorveh plain, 12 types of pottery belonging to the Islamic period were obtained, which are generally divided into two categories: glazed and unglazed. Glazed pottery includes 7 types (Silhouette, Luster Ware, under glaze painting, painting on glaze, Monochrome glaze, Sgraffito, Blue and white Ware) and unglazed pottery of 5 types (plain pottery without decoration, molded pattern, plastic decoration, incised decoration, studded).
Cultural Interactions of Settlements in the Islamic Period of Qorveh Plain
Considering that no archaeological excavations have been carried out in Qorveh Islamic sites and our studies are based only on field studies, as a result, we used pottery findings to identify cultural interactions. As mentioned earlier, most of the pottery techniques in the world are very similar to the studies that have been done on the pottery of the Islamic world. By comparing the pottery of Qorveh plain with the studied pottery of other parts of the country or the world, it can be concluded; Qorveh plain pottery, especially glazed pottery, in terms of technique, shape and color is similar to pottery obtained from Neishabour, Rey, Jirof, Kashan and even Afghanistan, Uzbekistan, Syria and Palestine, etc., but in terms of the type of themes, the designs are different. compared to neighboring areas in every sense; technique, shape, and color of the designs are similar. The meaning of neighboring areas is studied sites in Hamedan province, Kermanshah province, Takht-e Soleiman and other cities of Kurdistan province which is referred to in the comparison section of potteries.
Conclusion
The pottery findings of the Islamic period of Qorveh plain cover the chronological sequence from the early Islamic centuries to the present day. In a general division, the pottery of Qorveh plain is divided into two groups: glazed and unglazed; Glazed pottery includes seven types and unglazed pottery consists of five types. The highest frequency of incised pottery is among unglazed pottery and plain monochrome glazed pottery is among glazed pottery due to the ease of production and the mire incised, which is a special and different style in northwestern Iran. Glazed pottery of recent studies can be dated into three groups: 4th-5th centuries AH, 5th to 9th centuries AH, and 10th to 13th centuries AH. unglazed pottery has been used in the region since the early centuries of Islamic period to the present. Among the collected collections, there is a considerable abundance of low-quality pottery but because they are not discovered in the excavation, they cannot be dated securely. However, given that these types of pottery are mostly obtained in temporary settlements with low accumulations, can be cautiously attributed to the settlements of migrants and nomads. By comparing and matching the pottery of the study area with h cross-regional pottery production sites, this result is obtained which although the pottery of the Islamic period of Qorveh region is technically similar to remote areas, but in terms of designs, differences can be seen in most of them, and these differences reinforce this hypothesis that most of the pottery obtained from the study has been produced in the region itself (neighboring areas) and the similarities are mostly the result of cultural exchanges with neighboring areas. To determine the origin and production of pottery in Qorveh plain, laboratory studies should be done, which also requires time and costs and the authors hope to achieve this in the future by discovering more examples of scientific exploration in these areas. However, so far, no scientific excavations have been carried out in Islamic period sites of region and there is no evidence of a pottery kiln in this plain, but we have to wait for future studies to comment on this with certainty. However, the types of coarse and low quality pottery scattered in many settlements are the result of local pottery production and luxury and rare specimens are classified as exotic pottery
Sasan Samanian, Sareh Bahmani, Amin Bahmani,
year 5, Issue 15 (6-2021)
year 5, Issue 15 (6-2021)
Abstract
Abstract
Glaze is not a new material and human beings have been familiar with it for many years. Glazes contain a wide range of organic and inorganic compounds. This research is about identifying the glazes of Achaemenid glazed bricks in Persepolis. So far, studies have been conducted on these bricks in the field of introduction, but comprehensive technical studies have not been done on identifying the composition of their glazes. The glazes used in Persepolis clay bricks are painted in white, light green, light green, dark brown, gray and fawn yellow. In this study, light green, light green and yellow fawn glazes were investigated. This research, which is of experimental-laboratory type with reference to valid scientific documents, has been carried out with the aim of identifying the constituent elements of glazes in Achaemenid glazed bricks in Persepolis. What are these bricks? In this regard, using XRD, SEM, DTA and TGA methods and more chemical analysis of the body and glazes, it was identified that the body of this type of brick is a siliceous body and very porous. According to the experiments, the results obtained in this study show that iron and magnesium are present in the composition of all glazes, which may have been present in the main composition (base glaze) in addition to color effects as impurities.
Keywords: Takhtejamshid, Glazed Bricks, Chemical Methods, Green Glaze, Yellow Glaze, Lead Glaze.
Introduction
Persepolis is undoubtedly one of the most magnificent monuments of the ancient world. Glazed bricks were found by Schmidt in various parts of the building, some of which are in the Museum of Ancient Iran and some in other museums, including the Persepolis Museum. The examples studied in this study are located in the eastern wall of the Women’s Palace during the reign of Xerxes, which is now used as the administrative building of Marvdasht Cultural Heritage. The glazed bricks discussed in this study include the parts of the eastern wall of the palace where the glazing of the bricks of these parts is siliceous. Are examined and the necessity of conducting this research is the repair and protection of these glazed bricks. In the present research, the following questions have been answered: 1- What are the components and main coloring factors in light green, light green and fawn yellow glazes in these glazed bricks? 2- What are the components of the body in these glazed bricks? There are different methods for identifying materials. In this study, because most of the colors have been identified, more attempts have been made to use the methods used to identify and analyze the composition of materials, because this study aims to identify the constituent elements of glazes in Achaemenid glazed bricks. In Persepolis and is of experimental-laboratory type with reference to valid scientific documents and conducting library studies and visiting the historical site of Persepolis, which in this regard were identified using XRD, SEM, DTA, TGA body and glaze methods and the most important The coloring agents of these glazes were identified.
Introducing Examples
The samples were very small that after sampling were in the form of flakes and to prepare the test in powder form. Tests performed on samples Immersion tests were performed on two small pieces of body: sample volume, bulk density and volume weight. In addition, more chemical analysis was performed on the samples, which in total showed that about 79% of Sio2 (silica) and 16% of Ca2o3 (calcium oxide) in the body. On the body sample, XRD test, DTA test (thermal analysis) and TGA test (weight change) were also performed.
Green Dye Oxides
A mixture of copper oxide and lead glaze, compared to the chemical composition of the glaze, can produce a variety of green colors. The sample (bold green) was first subjected to XRD test. Also, light green color was tested by XRD and SEM and the results were obtained. In bright green, it shows the presence of two phases of quartz Sio2 and “hydin bergite” Ca (Fe, Mn) Si2o6 In fact, the main phase of both light green and light green is the same, and the percentage of colorants in the composition is probably different. Green The presence or absence of another element can reduce or increase the color of green. Studies show that copper causes blue in alkaline glazes and green in lead glazes.
Yellow Glaze Dye Oxides
In lead-rich acid glazes, the addition of a very small amount of chromium oxide, up to 1% at low temperatures, results in a yellow color. The combination with Cao and Sno2 can also give a pink color. Also, Tio2 titanium oxide makes lead glazes yellow and lead-free glazes white.
The yellow glaze was subjected to XRD test and also SEM test was performed on the above sample. The results show that the yellow color consists of two phases, one CdPbo3 and one quartz phase with a low crystallization percentage. The presence of Pb (lead) is a clear reason for the yellow lead of the glaze, which is one of the main reasons for the greater transparency of the yellow glaze than other glazes. Titanium oxide makes lead glazes yellow, and here we have a lead glaze containing titanium oxide. Therefore, titanium oxide can be mentioned as a possible yellowing agent in this glaze.
Conclusion
The body of the glazed bricks in Persepolis, which has been studied in this study, looks very porous and is milky in color and shiny like flint. The results of the samples are analyzed and the following points can be stated: XRD test on these bricks confirmed that the body was siliceous, and according to the TGA test, it can be said that calcium carbonate was converted to calcium oxide, and weight loss was also the result of this conversion. The green and yellow glazes were lead. The reason for the gloss of these glazes compared to other glazes is that they are lead, and their transparency is still clear. All glazes contained iron and magnesium, which may have been impurities in the main composition of the base glaze, apart from its color effects. XRD test on green glazes shows the presence of two phases Sio2 and Ca (Fe, Mn) Si2o6. The coloring agent in this glaze is Cu, which is almost more noticeable than other elements (except Si and Ca). Therefore, due to the lead content of the glaze, the presence of copper in this lead glaze causes a green color. The presence of Ca in green glazes causes the color of the glaze to become opaque, and it can be said that one of the reasons for being bright or light is the difference in the percentage of Cao. SEM test of yellow glaze detected the presence of Pb elements from Pbo, K from Kcl, Cr from Cr2o3, Ca from Cao Fe from Fe2o3, Al from Al2o3 and Ti from Tio2. The presence of Pb is one of the main reasons why this glaze is more transparent and lead-free than other glazes, and in lead-rich acid glazes, adding a very small amount of Cr2o3 up to one percent at low temperatures, turns yellow. Titanium oxide also makes lead glazes yellow, so titanium oxide can be mentioned as a possible yellowing agent in this glaze, and the presence of iron has made this color tend to be fawn.
Glaze is not a new material and human beings have been familiar with it for many years. Glazes contain a wide range of organic and inorganic compounds. This research is about identifying the glazes of Achaemenid glazed bricks in Persepolis. So far, studies have been conducted on these bricks in the field of introduction, but comprehensive technical studies have not been done on identifying the composition of their glazes. The glazes used in Persepolis clay bricks are painted in white, light green, light green, dark brown, gray and fawn yellow. In this study, light green, light green and yellow fawn glazes were investigated. This research, which is of experimental-laboratory type with reference to valid scientific documents, has been carried out with the aim of identifying the constituent elements of glazes in Achaemenid glazed bricks in Persepolis. What are these bricks? In this regard, using XRD, SEM, DTA and TGA methods and more chemical analysis of the body and glazes, it was identified that the body of this type of brick is a siliceous body and very porous. According to the experiments, the results obtained in this study show that iron and magnesium are present in the composition of all glazes, which may have been present in the main composition (base glaze) in addition to color effects as impurities.
Keywords: Takhtejamshid, Glazed Bricks, Chemical Methods, Green Glaze, Yellow Glaze, Lead Glaze.
Introduction
Persepolis is undoubtedly one of the most magnificent monuments of the ancient world. Glazed bricks were found by Schmidt in various parts of the building, some of which are in the Museum of Ancient Iran and some in other museums, including the Persepolis Museum. The examples studied in this study are located in the eastern wall of the Women’s Palace during the reign of Xerxes, which is now used as the administrative building of Marvdasht Cultural Heritage. The glazed bricks discussed in this study include the parts of the eastern wall of the palace where the glazing of the bricks of these parts is siliceous. Are examined and the necessity of conducting this research is the repair and protection of these glazed bricks. In the present research, the following questions have been answered: 1- What are the components and main coloring factors in light green, light green and fawn yellow glazes in these glazed bricks? 2- What are the components of the body in these glazed bricks? There are different methods for identifying materials. In this study, because most of the colors have been identified, more attempts have been made to use the methods used to identify and analyze the composition of materials, because this study aims to identify the constituent elements of glazes in Achaemenid glazed bricks. In Persepolis and is of experimental-laboratory type with reference to valid scientific documents and conducting library studies and visiting the historical site of Persepolis, which in this regard were identified using XRD, SEM, DTA, TGA body and glaze methods and the most important The coloring agents of these glazes were identified.
Introducing Examples
The samples were very small that after sampling were in the form of flakes and to prepare the test in powder form. Tests performed on samples Immersion tests were performed on two small pieces of body: sample volume, bulk density and volume weight. In addition, more chemical analysis was performed on the samples, which in total showed that about 79% of Sio2 (silica) and 16% of Ca2o3 (calcium oxide) in the body. On the body sample, XRD test, DTA test (thermal analysis) and TGA test (weight change) were also performed.
Green Dye Oxides
A mixture of copper oxide and lead glaze, compared to the chemical composition of the glaze, can produce a variety of green colors. The sample (bold green) was first subjected to XRD test. Also, light green color was tested by XRD and SEM and the results were obtained. In bright green, it shows the presence of two phases of quartz Sio2 and “hydin bergite” Ca (Fe, Mn) Si2o6 In fact, the main phase of both light green and light green is the same, and the percentage of colorants in the composition is probably different. Green The presence or absence of another element can reduce or increase the color of green. Studies show that copper causes blue in alkaline glazes and green in lead glazes.
Yellow Glaze Dye Oxides
In lead-rich acid glazes, the addition of a very small amount of chromium oxide, up to 1% at low temperatures, results in a yellow color. The combination with Cao and Sno2 can also give a pink color. Also, Tio2 titanium oxide makes lead glazes yellow and lead-free glazes white.
The yellow glaze was subjected to XRD test and also SEM test was performed on the above sample. The results show that the yellow color consists of two phases, one CdPbo3 and one quartz phase with a low crystallization percentage. The presence of Pb (lead) is a clear reason for the yellow lead of the glaze, which is one of the main reasons for the greater transparency of the yellow glaze than other glazes. Titanium oxide makes lead glazes yellow, and here we have a lead glaze containing titanium oxide. Therefore, titanium oxide can be mentioned as a possible yellowing agent in this glaze.
Conclusion
The body of the glazed bricks in Persepolis, which has been studied in this study, looks very porous and is milky in color and shiny like flint. The results of the samples are analyzed and the following points can be stated: XRD test on these bricks confirmed that the body was siliceous, and according to the TGA test, it can be said that calcium carbonate was converted to calcium oxide, and weight loss was also the result of this conversion. The green and yellow glazes were lead. The reason for the gloss of these glazes compared to other glazes is that they are lead, and their transparency is still clear. All glazes contained iron and magnesium, which may have been impurities in the main composition of the base glaze, apart from its color effects. XRD test on green glazes shows the presence of two phases Sio2 and Ca (Fe, Mn) Si2o6. The coloring agent in this glaze is Cu, which is almost more noticeable than other elements (except Si and Ca). Therefore, due to the lead content of the glaze, the presence of copper in this lead glaze causes a green color. The presence of Ca in green glazes causes the color of the glaze to become opaque, and it can be said that one of the reasons for being bright or light is the difference in the percentage of Cao. SEM test of yellow glaze detected the presence of Pb elements from Pbo, K from Kcl, Cr from Cr2o3, Ca from Cao Fe from Fe2o3, Al from Al2o3 and Ti from Tio2. The presence of Pb is one of the main reasons why this glaze is more transparent and lead-free than other glazes, and in lead-rich acid glazes, adding a very small amount of Cr2o3 up to one percent at low temperatures, turns yellow. Titanium oxide also makes lead glazes yellow, so titanium oxide can be mentioned as a possible yellowing agent in this glaze, and the presence of iron has made this color tend to be fawn.
Marzieh Mehrabani, Zahra Mehrabani, Soudabeh Yousefnezhad, Rouhollah Mohammadi, Hassan Yousefi,
year 7, Issue 23 (5-2023)
year 7, Issue 23 (5-2023)
Abstract
Abstract
Glaze is a prepared mixture of materials ready for application to ceramic wares by dipping or spraying. In Islamic period, decoration using the glaze was widespread. Different methods of glazing have played a major role in the beauty of glazed potteries during this period. Turquoise glazed potteries are one the significant groups of Islamic period. In this article, five turquoise glazed pottery sherds have been studied in order to identify their elements, composition and technology. The mentioned sherds dated back to 14 - 18 A.D (late Ilkhanate, Timurid and Safavid periods) , and identified from a historical house called Moravvej-e Ardabili House, in the historical part of Ardabil city. This site identified in a rescue excavation held by HassanYousefi which regarding to the cultural materials dated back to 11 - 18 A.D. The aim of this article is investigating and understanding the similarities and differences in five glazed sherds. Regarding to the mentioned point, XRD analyze applied for characterizing their phases as well as EDX analyze used for identifying the elements of glaze, and also their quantity. This research has an analytical approach and it’s method is based on analytical studies, textual evidences and comparative analyzes. According to the results obtained from analyzes, four glazes have an alkaline based and one has a lead base. Colorant oxides in glazes represent that copper used as the primary element to make the turquoise color. In general, the main elements in glazes include silica, aluminum, calcium, sodium, potassium and a negligible amount of lead. Statistical analyzes represent that the most similarities exist in sample two and sample five which belongs to the same period (late Ilkhanate and Timurid),and the most differences exist in sample four and sample five which dated back to a different periods.
Keywords: Glaze, Turquoise, Moravvej-e Ardabili, XRD, EDX.
Introduction
In the prehistoric era, slip used as a sort of glaze in order to proof the body of the pottery, increase the aesthetical aspect of the pottery and protect the hand of the pottery maker to steak to the clay. In the historical period, using a transparent and colored glaze became widespread, but in the Islamic period the using of the glaze with various functions expanded. There are three main period in the evolution of the pottery in the Islamic era. 1. Early Islamic potteries 2. Middle Islamic potteies 3. Late Islamic potteries. During the rescue excavation in the Moravvej Historical House in Ardabil province in 2006, a vast number of pottery sherds mostly, belong to Seljuk to Safavid periods identified. This site located in the historical part of the city nearby the Sheikh Safi Al-Din Ardabili’s monument. Turquoise glazed potteries were the remarkable amount of the identified potteries in the above mentioned excavation. The questions of this article is on the subject of the turquoise glaze potteries; the amount and the type of the constructed elements ,and also study the similarities and differences between the glaze from different period. Five pieces (three sherds from 14-15 A.D and two sherds from 16-18 A.D) selected for the analytical studies with the aim of better understanding their constructed elements, technology and composition. In order to achieve to this aim, XRD and EDX analyses provided promising results about the technological aspects of the sherds, and also a comparative study not only was highly beneficial in clarifying the similarities along with differences of the composition of glazes, but also was helpful in better understanding of the turquoise glazes in the larger region. Since there has not been applied any analytical study on the sherd identified from this site, this research would increase our knowledge about it. The pottery sherd divided into three categories, and then two samples from each category selected for the analytical studies. In the next step, technical characteristics of the sherds documented. After that, the pieces delivered to the laboratory for the analytical studies. XRD analyses, was done in Razi Metallurgical Research Center using the Xpert Pro MPD system Panalytical model made in Poland. EDX analyses was done in Kansaran Binaloud Center using Micro Prob Horiba 7200 model made in Japan. Also, Peason Correlation Coefficient used for better understanding the correlation between different elements.
Discussion
Based on the XRD analyses, in the first sample dated back to the 14-15 AD, cristobalite, amorphous, quartz and silica were the main elements. Quartz, cristobalite and silica are the different phases of SiO2. Based on being buried, the amount of silica decrease and the other elements increase which are shown as different picks. Quartz ingredients changed to the cristobalit as a result of increasing the temperature while baking. In the second sample dated back to the 14-15 A.D, calsite, quartz and silica phases reported. Quartz and silica represent SiO2, and calsite indicates the destruction process and release the alkaline ion from the glaze and formation on the surface of the glaze which regarding the date of the pottery and being buried, it seems reasonable. In the third sample from Safavid period , gypsum phase reported. The mentioned phase represent the destruction of the glaze as well as releasing the alkaline ion like calcium as a constructed element of the glaze. In the forth sample from Safavid period in addition to the silica and quartz, cesterite phase represnt SnO2 which functioned as a flatting element in the glaze. In the fifth sample dated back to the 14-15 A.D, in addition to silica and quartz phases, nepheline synenite was reported because of the slip.
Based on the EDX analyses, copper functioned as the primary element for making the turquoise color. The amount of the copper in the samples is respectively 3/19%, 1/15%, 3/53%, 1/39% and 1/36%. The glazes have an alkaline base since sodium, potassium, calsium, mangesium and stroncium was reported in EDX analyses; This means that the samples of this research have an alkaline base unless the sample four. The amount of lead in the samples respectively is 13%, 0/17%, 0/27% and 12/64%; this element was not reported in sample five. Comparing to the other samples, sample four shows a great amount of lead (12/64%), and also have 7/07% amount of tin. Calsium solfate was reported in the samples; the amount of this element is respectively 4/06%, 2/35%, 2/75%, 3/72% and 2/67% which mostly is as a result of the destruction during the decades. The first sample represents the most amount of the calsium solfate comparing to the other samples. The aluminum is respectively 4/06%, 2/25%, 2/75%, 3/72% and 2/67% which indicates the destruction during time. The most amount of destruction belongs to sample one and then sample four and is almost equal in the other samples.
Conclusion
In Iran, the most ancient usage of glaze has been reported from the ancient site of Susa as well as Choghazanbil located in the southwestern part of country in Khuzestan province. In the Achaemenid period application of glaze on mud-brick of royal buildings was one the common architectural decoration methods. In Islamic period, decoration using the glaze was widespread since it can be seen in buildings namely masques, schools along with potteries. In general, the Islamic potteries can be divided into two distinct groups: glazed and unglazed potteries. In this article, five turquoise glazed pottery sherds have been studied in order to identify their elements, composition and technology. The mentioned sherds dated back to 14 - 18 A.D (late Ilkhanate, Timurid and Safavid periods), and identified from a historical house called Moravvej-e Ardabili House, in the historical part of Ardabil city. EDX analyses indicated that the copper is the main element which used for creating the turquoise color. It is respectively from sample one to five, 3/19%, 1/15%, 3/53%, 1/39% and 1/63% in the samples and shows that sample three have the most amount of the copper in the glaze. In addition to this, chromium has been used as a coloring oxide in this sample. chromium in the glazes is a key factor in order to making the different shades of green color and this is why the color of this sample is much more different than the other samples. Based on the analyses, glazes have an alkaline base as a result of high amount of the alkaline elements such as potassium, sodium and calcium in all samples. The amount of lead compare to the alkaline elements is a negligible amount unless sample four which a considerable amount of lead (12/64%) was reported; The amount of lead is respectively from sample one to four, 13%, 0/17%, 0/27% and 12/64%;This element was not reported in sample five. Also, in sample five, nepheline syenite indicates using slip on the pottery. Regarding the statistical analyses, generally there is a signnificant correlation between the samples. The high amount of the correlation is in samples two and five dated back to 14-15 A.D as well as the less correlation is between sample four dated back to the Safavid period and sample five belongs to 14-15 A.D which is seems resonnable.
Acknowledgment
We are thankful of MS Nasim Feizi for her technical point of view in the statistical study in this article and also, Miss Habibeh Abbasi for her beneficial comments.
Glaze is a prepared mixture of materials ready for application to ceramic wares by dipping or spraying. In Islamic period, decoration using the glaze was widespread. Different methods of glazing have played a major role in the beauty of glazed potteries during this period. Turquoise glazed potteries are one the significant groups of Islamic period. In this article, five turquoise glazed pottery sherds have been studied in order to identify their elements, composition and technology. The mentioned sherds dated back to 14 - 18 A.D (late Ilkhanate, Timurid and Safavid periods) , and identified from a historical house called Moravvej-e Ardabili House, in the historical part of Ardabil city. This site identified in a rescue excavation held by HassanYousefi which regarding to the cultural materials dated back to 11 - 18 A.D. The aim of this article is investigating and understanding the similarities and differences in five glazed sherds. Regarding to the mentioned point, XRD analyze applied for characterizing their phases as well as EDX analyze used for identifying the elements of glaze, and also their quantity. This research has an analytical approach and it’s method is based on analytical studies, textual evidences and comparative analyzes. According to the results obtained from analyzes, four glazes have an alkaline based and one has a lead base. Colorant oxides in glazes represent that copper used as the primary element to make the turquoise color. In general, the main elements in glazes include silica, aluminum, calcium, sodium, potassium and a negligible amount of lead. Statistical analyzes represent that the most similarities exist in sample two and sample five which belongs to the same period (late Ilkhanate and Timurid),and the most differences exist in sample four and sample five which dated back to a different periods.
Keywords: Glaze, Turquoise, Moravvej-e Ardabili, XRD, EDX.
Introduction
In the prehistoric era, slip used as a sort of glaze in order to proof the body of the pottery, increase the aesthetical aspect of the pottery and protect the hand of the pottery maker to steak to the clay. In the historical period, using a transparent and colored glaze became widespread, but in the Islamic period the using of the glaze with various functions expanded. There are three main period in the evolution of the pottery in the Islamic era. 1. Early Islamic potteries 2. Middle Islamic potteies 3. Late Islamic potteries. During the rescue excavation in the Moravvej Historical House in Ardabil province in 2006, a vast number of pottery sherds mostly, belong to Seljuk to Safavid periods identified. This site located in the historical part of the city nearby the Sheikh Safi Al-Din Ardabili’s monument. Turquoise glazed potteries were the remarkable amount of the identified potteries in the above mentioned excavation. The questions of this article is on the subject of the turquoise glaze potteries; the amount and the type of the constructed elements ,and also study the similarities and differences between the glaze from different period. Five pieces (three sherds from 14-15 A.D and two sherds from 16-18 A.D) selected for the analytical studies with the aim of better understanding their constructed elements, technology and composition. In order to achieve to this aim, XRD and EDX analyses provided promising results about the technological aspects of the sherds, and also a comparative study not only was highly beneficial in clarifying the similarities along with differences of the composition of glazes, but also was helpful in better understanding of the turquoise glazes in the larger region. Since there has not been applied any analytical study on the sherd identified from this site, this research would increase our knowledge about it. The pottery sherd divided into three categories, and then two samples from each category selected for the analytical studies. In the next step, technical characteristics of the sherds documented. After that, the pieces delivered to the laboratory for the analytical studies. XRD analyses, was done in Razi Metallurgical Research Center using the Xpert Pro MPD system Panalytical model made in Poland. EDX analyses was done in Kansaran Binaloud Center using Micro Prob Horiba 7200 model made in Japan. Also, Peason Correlation Coefficient used for better understanding the correlation between different elements.
Discussion
Based on the XRD analyses, in the first sample dated back to the 14-15 AD, cristobalite, amorphous, quartz and silica were the main elements. Quartz, cristobalite and silica are the different phases of SiO2. Based on being buried, the amount of silica decrease and the other elements increase which are shown as different picks. Quartz ingredients changed to the cristobalit as a result of increasing the temperature while baking. In the second sample dated back to the 14-15 A.D, calsite, quartz and silica phases reported. Quartz and silica represent SiO2, and calsite indicates the destruction process and release the alkaline ion from the glaze and formation on the surface of the glaze which regarding the date of the pottery and being buried, it seems reasonable. In the third sample from Safavid period , gypsum phase reported. The mentioned phase represent the destruction of the glaze as well as releasing the alkaline ion like calcium as a constructed element of the glaze. In the forth sample from Safavid period in addition to the silica and quartz, cesterite phase represnt SnO2 which functioned as a flatting element in the glaze. In the fifth sample dated back to the 14-15 A.D, in addition to silica and quartz phases, nepheline synenite was reported because of the slip.
Based on the EDX analyses, copper functioned as the primary element for making the turquoise color. The amount of the copper in the samples is respectively 3/19%, 1/15%, 3/53%, 1/39% and 1/36%. The glazes have an alkaline base since sodium, potassium, calsium, mangesium and stroncium was reported in EDX analyses; This means that the samples of this research have an alkaline base unless the sample four. The amount of lead in the samples respectively is 13%, 0/17%, 0/27% and 12/64%; this element was not reported in sample five. Comparing to the other samples, sample four shows a great amount of lead (12/64%), and also have 7/07% amount of tin. Calsium solfate was reported in the samples; the amount of this element is respectively 4/06%, 2/35%, 2/75%, 3/72% and 2/67% which mostly is as a result of the destruction during the decades. The first sample represents the most amount of the calsium solfate comparing to the other samples. The aluminum is respectively 4/06%, 2/25%, 2/75%, 3/72% and 2/67% which indicates the destruction during time. The most amount of destruction belongs to sample one and then sample four and is almost equal in the other samples.
Conclusion
In Iran, the most ancient usage of glaze has been reported from the ancient site of Susa as well as Choghazanbil located in the southwestern part of country in Khuzestan province. In the Achaemenid period application of glaze on mud-brick of royal buildings was one the common architectural decoration methods. In Islamic period, decoration using the glaze was widespread since it can be seen in buildings namely masques, schools along with potteries. In general, the Islamic potteries can be divided into two distinct groups: glazed and unglazed potteries. In this article, five turquoise glazed pottery sherds have been studied in order to identify their elements, composition and technology. The mentioned sherds dated back to 14 - 18 A.D (late Ilkhanate, Timurid and Safavid periods), and identified from a historical house called Moravvej-e Ardabili House, in the historical part of Ardabil city. EDX analyses indicated that the copper is the main element which used for creating the turquoise color. It is respectively from sample one to five, 3/19%, 1/15%, 3/53%, 1/39% and 1/63% in the samples and shows that sample three have the most amount of the copper in the glaze. In addition to this, chromium has been used as a coloring oxide in this sample. chromium in the glazes is a key factor in order to making the different shades of green color and this is why the color of this sample is much more different than the other samples. Based on the analyses, glazes have an alkaline base as a result of high amount of the alkaline elements such as potassium, sodium and calcium in all samples. The amount of lead compare to the alkaline elements is a negligible amount unless sample four which a considerable amount of lead (12/64%) was reported; The amount of lead is respectively from sample one to four, 13%, 0/17%, 0/27% and 12/64%;This element was not reported in sample five. Also, in sample five, nepheline syenite indicates using slip on the pottery. Regarding the statistical analyses, generally there is a signnificant correlation between the samples. The high amount of the correlation is in samples two and five dated back to 14-15 A.D as well as the less correlation is between sample four dated back to the Safavid period and sample five belongs to 14-15 A.D which is seems resonnable.
Acknowledgment
We are thankful of MS Nasim Feizi for her technical point of view in the statistical study in this article and also, Miss Habibeh Abbasi for her beneficial comments.
Hamid Reza Valipour, Iman Mostafapour, Hamzeh Karimi,
year 9, Issue 34 (3-2026)
year 9, Issue 34 (3-2026)
Abstract
Abstract
The Upper Gotvand Dam, with a 90-kilometer-long lake, is one of the largest dams in the country, and its impoundment caused the flooding of a large number of ancient sites, ancient and modern migration routes, villages, and nomadic settlements in the northeastern region of Khuzestan. Before the dam was completed, a team of archaeologists surveyed its basin in 2007. After that, in 2008, a team of archaeologists from ICHTO of Khuzestan Province excavated the Kalantar site and the Kalantar cemetery, and then in April and May 2010, salvage excavations were carried out at Kalantar 4 & 5 sites to obtain as much information as possible, which yielded significant results. Following the excavation of the Kalantar 5 site, traces of residential stone architecture, plain buff and red pottery, and turquoise blue and green glazed pottery, as well as some ground stones such as grinding stones, mortars, and pounding stones, were found. According to typological comparisons on the potteries, it was determined that they belonged to the Middle Islamic period (fifth and sixth centuries AH), and the site was inhabited during the Seljuk period. In addition, it was determined that there is a great similarity between the stone architecture of the Kalantar 4 (a Neo-Elamite site), and the Kalantar 5, and with the local architecture of the region in the present time, both in villages and in nomadic settlements. In other words, the continuity of cultural traditions over several millennia is observed in this area.
Keywords: Kalantar 5, Gotvand Dam Basin, Middle Islamic Period, Stone Architecture, Islamic Glazed Pottery.
Introduction
The Upper Gotvand Dam was built on the Karun River near the small town of Gotvand to generate electricity and irrigate downstream agricultural lands, and a wide range of intermountain valleys, numerous ancient sites, ancient and modern migration routes, villages, and nomadic settlements were submerged in the 90-kilometer-long lake behind the dam. Before the dam was impounded, two teams led by Shahram Zare and Hossein Azizi Kharanghi, respectively, surveyed the area (Azizi Kharanghi et al., 2007). Salvage excavations were conducted by Hamidreza Valipour on two sites, Kalantar 4 and 5, which were found during the surveys in the spring of 2010 (Valipour, 2010a & b). The preliminary results of the excavation of Kalantar 5 will be presented here.
The first goal of the excavation, like all salvage excavations, was to access as much information as possible. Due to the proximity of Kalantar 5 to Kalantar 4 and the similarity of its surface architectural structure with the architecture of Kalantar 4, the excavation team was faced with some questions, the most important of which were: 1- Is Kalantar 5 an extension of the Kalantar 4 settlement and can we consider them as one site? 2- Was the settlement in Kalantar 5 established after the abandonment of Kalantar 4 and as a result of the displacement of its residents? 3- Does Kalantar 5 belong to a different time than Kalantar 4? Of course, given the presence of Islamic pottery on the surface of Kalantar 5, it was assumed that this area, in addition to the Elamite period, would also contain evidence of settlement from this period. 4- Function and type of settlement in Kalantar5.
Kalantar 5
Kalantar 5 is located on a natural hill south of Kalantar village (Ab Zālu Arab) in Lali County, at N: 32˚ 13΄ 42/6˝ latitude and E: 049˚ 04΄ 55/4˝ longitude, 160 meters north of Kalantar 4 and 13 kilometers east of the Gotvand Dam. The highest point of the site is 278 meters above sea level. The Karun River, the closest major water source to the site, flows 4.5 kilometers northeast of the site; a water stream also passes through the valley to the northwest.
During the excavation, one trench was opened at the highest part of the site, measuring 10×10 meters, where the regular stone pieces and traces of walls indicated the existence of architectural spaces in this part of the site. Given the depth of the natural bedrock, it was clear before the excavation began that not much height of the walls remained.
Architecture
A total of six architectural spaces were revealed during the excavation in Trench I. Stone and mud mortar were used in all the architectural structures. The stones used in the construction of the different parts of the complex are soft limestone in small to large sizes. All the stones lack cutting polish but have an almost regular shape. Many of the stones used in the architectural structures are cubed. The walls are rectangular. The walls lack any covering, and even during the excavation in the rubble layers, no samples of mud, plaster, or lime were found. The six aforementioned spaces seem to belong to the same building because they all share walls. It is possible that the natural bedrock of the hill was used as a floor for the spaces. Stone supports were used in addition to all the main and internal load-bearing walls. The entrances were mainly created by not connecting two walls or by cutting off part of the length of a wall. Next to some walls, there are smaller annexed spaces as storage places, which were probably used to store daily necessities or food or fuel, and they lacked any entrance and were accessed from above. A pyrotechnical structure was found inside one of the spaces, about one-fifth of which remains. Since a very small part of it remains, it is difficult to distinguish its function as an oven or else. No evidence of a roof or debris was found during the excavation. Given the relatively small width of the spaces and the absence of columns, the roofs of the spaces were most likely created using parallel wooden poles and covered with mats or tree branches and mud. This reconstruction was carried out in comparison with the current situation in the village adjacent to the site. The reason for this comparison is the great similarity of the architecture obtained from the settlement spaces of the site with the architecture of the adjacent village.
Pottery
The 319 potsherds recovered from the excavation are divided into two major groups: plain and glazed. 265 sherds (83%) of the total are unglazed. Unglazed pottery can be divided into two groups: buff and red. The technology of pottery production is completely similar in terms of form, manufacturing technique, inclusion, firing, and decoration. Most of the sherds are wheel-made (96%). The inner and outer surfaces of the pottery are unpolished, and both sides of the vessels are smoothed by the wet hand method. Rarely, red wash was used to cover a handful of buff wares. The texture of buff ware is much more cohesive than that of red ware. Mineral materials such as fine to coarse sand were used as an inclusion in unglazed pottery; in one of the red potteries, the inclusion is a combination of organic and mineral materials. In general, the quality of buff-colored pottery is better than that of reds, and the number of buff sherds is much greater than that of reds. 236 sherds (74% of all pottery and 89% of unglazed pottery) are buff, and 29 sherds (9% of all pottery and 11% of unglazed pottery) are red. There are 10 sherds of pottery with incised decoration in the unglazed buff group.
54 pieces (17%) of the pottery are glazed. Except for two pieces with green glaze, the rest are turquoise blue. The pottery of this group is in the category of pottery with monochromatic glaze. Five pieces are also of the sgraffiato type with turquoise blue glaze. In terms of form, manufacturing technique, inclusion, firing, and color, these sherds are completely similar to the unglazed buff wares. The inclusion of all samples is mineral.
The reconstructed forms are the jar (44.5%), bowl (37%), and bowl (18.5%), respectively. The sherds date back to the 5th and 6th centuries AH and are dated to the Seljuk period (Karimi & Kiani, 1985; Towhidi, 2000; Kambakhshfard, 2001; Grube, 1994; Treptow, 2007).
Other Cultural Materials
In addition to pottery, other cultural materials recovered included animal remains, pounding stones, stone mortars, pivots, iron nails, iron knife, the bottom, rim, and body of transparent or opaque glass vessels in blue, yellow, and milky colors, as well as a few broken shells.
Conclusion
Kalantar 5 is a rural settlement site from the Middle Islamic period because considering the landscape of the region, the location of the site, the extent of the architectural remains, and the dispersion of cultural materials, it is unlikely that the settlement was urban. There is no connection between the sites of Kalantar 4 and 5 from a cultural and temporal perspective. An interesting point to note is the similarity of the architectural structures of this site with the architecture of Kalantar 4 and the modern village of Ab Zālū Arab and other nomadic villages and settlements in the region. With an ethnoarchaeological approach, this similarity can be considered a kind of cultural continuity in architecture. Perhaps the same environmental and subsistence conditions can be considered the reason for the construction of similar architecture over a long period.
The buildings were constructed using completely local materials, such as stone and mud. All the stones are limestone, ranging in size from small to large, and are uncut and unpolished but have a fairly regular shape, and many of the stones have been broken using chisels and hammers. It seems that the six identified spaces had both roofed and open sections. The three spaces 1, 3, and 4 were associated with activities that required separation from the residential areas; the three spaces 2, 5, and 6, which are part of the main residential complex, were probably places for resting and performing other daily activities. These three spaces are connected by some entrances.
All finds, from functional examples such as pottery, glass vessels, pounding stones, and mortars to decorative shells, indicate a normal settlement, and all of them are related to daily life activities.
The pottery of the Kalantar 5 bears no resemblance to the Kalantar 4 site. Many of them are Islamic glazed pottery, including monochrome green and turquoise blue glazes and some with incised patterns under the turquoise blue glaze. The pottery is not very diverse in terms of color, glaze, type, and theme of the patterns. These potteries date back to the fifth and sixth centuries AH and are dated to the Seljuk period. During this period, the glass industry in Iran was very prosperous (Shishehgar, 2003: 24), and glass fragments recovered from a rural settlement site confirm this.
The Upper Gotvand Dam, with a 90-kilometer-long lake, is one of the largest dams in the country, and its impoundment caused the flooding of a large number of ancient sites, ancient and modern migration routes, villages, and nomadic settlements in the northeastern region of Khuzestan. Before the dam was completed, a team of archaeologists surveyed its basin in 2007. After that, in 2008, a team of archaeologists from ICHTO of Khuzestan Province excavated the Kalantar site and the Kalantar cemetery, and then in April and May 2010, salvage excavations were carried out at Kalantar 4 & 5 sites to obtain as much information as possible, which yielded significant results. Following the excavation of the Kalantar 5 site, traces of residential stone architecture, plain buff and red pottery, and turquoise blue and green glazed pottery, as well as some ground stones such as grinding stones, mortars, and pounding stones, were found. According to typological comparisons on the potteries, it was determined that they belonged to the Middle Islamic period (fifth and sixth centuries AH), and the site was inhabited during the Seljuk period. In addition, it was determined that there is a great similarity between the stone architecture of the Kalantar 4 (a Neo-Elamite site), and the Kalantar 5, and with the local architecture of the region in the present time, both in villages and in nomadic settlements. In other words, the continuity of cultural traditions over several millennia is observed in this area.
Keywords: Kalantar 5, Gotvand Dam Basin, Middle Islamic Period, Stone Architecture, Islamic Glazed Pottery.
Introduction
The Upper Gotvand Dam was built on the Karun River near the small town of Gotvand to generate electricity and irrigate downstream agricultural lands, and a wide range of intermountain valleys, numerous ancient sites, ancient and modern migration routes, villages, and nomadic settlements were submerged in the 90-kilometer-long lake behind the dam. Before the dam was impounded, two teams led by Shahram Zare and Hossein Azizi Kharanghi, respectively, surveyed the area (Azizi Kharanghi et al., 2007). Salvage excavations were conducted by Hamidreza Valipour on two sites, Kalantar 4 and 5, which were found during the surveys in the spring of 2010 (Valipour, 2010a & b). The preliminary results of the excavation of Kalantar 5 will be presented here.
The first goal of the excavation, like all salvage excavations, was to access as much information as possible. Due to the proximity of Kalantar 5 to Kalantar 4 and the similarity of its surface architectural structure with the architecture of Kalantar 4, the excavation team was faced with some questions, the most important of which were: 1- Is Kalantar 5 an extension of the Kalantar 4 settlement and can we consider them as one site? 2- Was the settlement in Kalantar 5 established after the abandonment of Kalantar 4 and as a result of the displacement of its residents? 3- Does Kalantar 5 belong to a different time than Kalantar 4? Of course, given the presence of Islamic pottery on the surface of Kalantar 5, it was assumed that this area, in addition to the Elamite period, would also contain evidence of settlement from this period. 4- Function and type of settlement in Kalantar5.
Kalantar 5
Kalantar 5 is located on a natural hill south of Kalantar village (Ab Zālu Arab) in Lali County, at N: 32˚ 13΄ 42/6˝ latitude and E: 049˚ 04΄ 55/4˝ longitude, 160 meters north of Kalantar 4 and 13 kilometers east of the Gotvand Dam. The highest point of the site is 278 meters above sea level. The Karun River, the closest major water source to the site, flows 4.5 kilometers northeast of the site; a water stream also passes through the valley to the northwest.
During the excavation, one trench was opened at the highest part of the site, measuring 10×10 meters, where the regular stone pieces and traces of walls indicated the existence of architectural spaces in this part of the site. Given the depth of the natural bedrock, it was clear before the excavation began that not much height of the walls remained.
Architecture
A total of six architectural spaces were revealed during the excavation in Trench I. Stone and mud mortar were used in all the architectural structures. The stones used in the construction of the different parts of the complex are soft limestone in small to large sizes. All the stones lack cutting polish but have an almost regular shape. Many of the stones used in the architectural structures are cubed. The walls are rectangular. The walls lack any covering, and even during the excavation in the rubble layers, no samples of mud, plaster, or lime were found. The six aforementioned spaces seem to belong to the same building because they all share walls. It is possible that the natural bedrock of the hill was used as a floor for the spaces. Stone supports were used in addition to all the main and internal load-bearing walls. The entrances were mainly created by not connecting two walls or by cutting off part of the length of a wall. Next to some walls, there are smaller annexed spaces as storage places, which were probably used to store daily necessities or food or fuel, and they lacked any entrance and were accessed from above. A pyrotechnical structure was found inside one of the spaces, about one-fifth of which remains. Since a very small part of it remains, it is difficult to distinguish its function as an oven or else. No evidence of a roof or debris was found during the excavation. Given the relatively small width of the spaces and the absence of columns, the roofs of the spaces were most likely created using parallel wooden poles and covered with mats or tree branches and mud. This reconstruction was carried out in comparison with the current situation in the village adjacent to the site. The reason for this comparison is the great similarity of the architecture obtained from the settlement spaces of the site with the architecture of the adjacent village.
Pottery
The 319 potsherds recovered from the excavation are divided into two major groups: plain and glazed. 265 sherds (83%) of the total are unglazed. Unglazed pottery can be divided into two groups: buff and red. The technology of pottery production is completely similar in terms of form, manufacturing technique, inclusion, firing, and decoration. Most of the sherds are wheel-made (96%). The inner and outer surfaces of the pottery are unpolished, and both sides of the vessels are smoothed by the wet hand method. Rarely, red wash was used to cover a handful of buff wares. The texture of buff ware is much more cohesive than that of red ware. Mineral materials such as fine to coarse sand were used as an inclusion in unglazed pottery; in one of the red potteries, the inclusion is a combination of organic and mineral materials. In general, the quality of buff-colored pottery is better than that of reds, and the number of buff sherds is much greater than that of reds. 236 sherds (74% of all pottery and 89% of unglazed pottery) are buff, and 29 sherds (9% of all pottery and 11% of unglazed pottery) are red. There are 10 sherds of pottery with incised decoration in the unglazed buff group.
54 pieces (17%) of the pottery are glazed. Except for two pieces with green glaze, the rest are turquoise blue. The pottery of this group is in the category of pottery with monochromatic glaze. Five pieces are also of the sgraffiato type with turquoise blue glaze. In terms of form, manufacturing technique, inclusion, firing, and color, these sherds are completely similar to the unglazed buff wares. The inclusion of all samples is mineral.
The reconstructed forms are the jar (44.5%), bowl (37%), and bowl (18.5%), respectively. The sherds date back to the 5th and 6th centuries AH and are dated to the Seljuk period (Karimi & Kiani, 1985; Towhidi, 2000; Kambakhshfard, 2001; Grube, 1994; Treptow, 2007).
Other Cultural Materials
In addition to pottery, other cultural materials recovered included animal remains, pounding stones, stone mortars, pivots, iron nails, iron knife, the bottom, rim, and body of transparent or opaque glass vessels in blue, yellow, and milky colors, as well as a few broken shells.
Conclusion
Kalantar 5 is a rural settlement site from the Middle Islamic period because considering the landscape of the region, the location of the site, the extent of the architectural remains, and the dispersion of cultural materials, it is unlikely that the settlement was urban. There is no connection between the sites of Kalantar 4 and 5 from a cultural and temporal perspective. An interesting point to note is the similarity of the architectural structures of this site with the architecture of Kalantar 4 and the modern village of Ab Zālū Arab and other nomadic villages and settlements in the region. With an ethnoarchaeological approach, this similarity can be considered a kind of cultural continuity in architecture. Perhaps the same environmental and subsistence conditions can be considered the reason for the construction of similar architecture over a long period.
The buildings were constructed using completely local materials, such as stone and mud. All the stones are limestone, ranging in size from small to large, and are uncut and unpolished but have a fairly regular shape, and many of the stones have been broken using chisels and hammers. It seems that the six identified spaces had both roofed and open sections. The three spaces 1, 3, and 4 were associated with activities that required separation from the residential areas; the three spaces 2, 5, and 6, which are part of the main residential complex, were probably places for resting and performing other daily activities. These three spaces are connected by some entrances.
All finds, from functional examples such as pottery, glass vessels, pounding stones, and mortars to decorative shells, indicate a normal settlement, and all of them are related to daily life activities.
The pottery of the Kalantar 5 bears no resemblance to the Kalantar 4 site. Many of them are Islamic glazed pottery, including monochrome green and turquoise blue glazes and some with incised patterns under the turquoise blue glaze. The pottery is not very diverse in terms of color, glaze, type, and theme of the patterns. These potteries date back to the fifth and sixth centuries AH and are dated to the Seljuk period. During this period, the glass industry in Iran was very prosperous (Shishehgar, 2003: 24), and glass fragments recovered from a rural settlement site confirm this.
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