Abstract
Study of human skeletons are gives researchers very valuable information about ancient people (especially, skeletons that in archeological excavations are obtained). In studies of osteology are considered different aspects of bone morphology after classification and typology. In this type of study, quickly gender determination and estimate of skeletons age is done from the appearance of bones without performing complex experiments in the lab. In the male and female skeletons are clear differences. These differences are based on standard indicators. The human skeletons of Korijan from a historical site was obtained, that after the recovering actions and maintaining the physical structure it in the first situation, necessity of studies of gender determination and estimate of skeleton age was considered. In the first view, maybe questions about gender determination and estimate of skeleton are looked completely clear or very complex. The review this point that human skeleton of Korijan have been related to men or women, or this skeleton is in the age of the elderly or adult; proof or refutation of these hypotheses was needed to use scientific approaches and use of measurable and experimental variables. The sciences of biology, physical anthropology, and osteology are close relationship with each other, and these sciences through this relationship are help great help to answer these questions and hypotheses. In this research, has been used from the combination of the species classification method (typology) and branch classification (that this method more is used biological studies and osteology). In these methods, skeletal data has been evaluated in equal of indices and variables in category of similar species. Use of the library resources, is another part of studies of this research.
Keywords: Gender, Age, Human Skeleton of Korijan, Hegmataneh Museum.

Introduction
After the discovery of ancient grave in Korijan, in the first step, was done identification of bones and tissue fixation them, and the skeleton was moved to the Hegmataneh Museum with scientific methods. After restoration of the skeleton, was done gender determination and estimate of skeletons age. Many archaeologists are refitting the social structure of ancient societies based on traces from the excavation of ancient sites and cemeteries are obtained. In this research, based on bio data with species classification method (typology) has been studied apparent differences of male and female skeletons. The male and female skeletons are a lot of obvious and hidden features that can be categorized. These features are different with each other; and experts from these different features are used to classify human skeletons. Main research questions: What features should be used in the classification of the skeleton under study? And, how should these features assessed? In relation to estimate of skeleton age, in addition to use the species classification method (typology) and branch classification, also evaluation pattern of the skeleton age has been consideration. The purpose of this research, provide of the standard criteria for gender determination and estimate of skeletons age is done from the appearance of bones without performing complex experiments in the lab. In this research, has been used from the combination of the species classification method (typology) and branch classification (that this method more is used biological studies and osteology). In these methods, skeletal data has been evaluated in equal of indices and variables in category of similar species. Use of the library resources, is another part of studies of this research.

Research findings
During the trenching for limitation of Korijan Tepe in South of Kabudarahang in 2002 year was obtained the human skeleton of Korijan, and for further studies to Hegmataneh Museum was moved. The male and female skeletons are a lot of obvious and hidden features that can be categorized. For this purpose, pelvis bones are most important part. The importance of pelvis bone is for distinguish of gender, and this Because of the difference in performance it between men and women. In general, the female pelvis is wider than the male pelvis. Thin pelvis is more suitable for movement. In addition to the pelvic bone, skull bones and then bones of hip, arm, collarbone, shoulder, and wishbone for distinguish of gender are important. Size and general strength of other skeletal areas as a sub-index are noteworthy. 
Furthermore, by reviewing the skeleton, we can be estimate of skeletons age. The various methods that are use usually for estimate of age in the time of death in adult skeletons, as follows: Closure of the skull sutures, shape of ends of the ribs, shape of the articular surfaces, shape of the symphysis pubis, and checking the condition and covering of the teeth. In general, the age of human is determined: to 2 years from the milk tooth, from 2 to 6 years old from bone points, from 6 to 12 years old through permanent teeth, from the age of 12 to 25 from the junction of epiphysis to diaphysis, and from the age of 30 from the skull sutures and condition of the teeth.

Conclusion
Although, today is genetic laboratory methods for recognize the men and women skeletons, but these methods are expensive and time consuming. Adaptive method and typology used in osteology of Korijan skeleton and with knowledge of male and female skeletal differences, the most appropriate approach is to achieve the desired information. Ancient grave of Korijan was includes a squatting burial. In this research, that has been done based on osteology studies, gender of skeleton was detected woman, and its approximate age based on the skull and lower jaw, was adult human.

Abstract
Beginning in 1948, archaeological surveys and excavations in northwest Iran brought to light evidence of cultural developments related to the movements of people who colonized vast parts of the Near East from northeast Anatolia to southern Levant in the late 4th and early 3rd millennium B.C., prompted by environmental changes, population boom or shortage of biological resources in their homeland. The period is best known in the archaeological literature as the Early Trans-Caucasian (ETC) or Kura-Araxes culture, and is distinguished, by a disparate black burnished pottery with incised decorations. Here is published for the time a sample of decorative patterns on the related pottery from Yanik Tepe. The main question of the study was: To what extent did the newcomer potters communicated on this pottery the artistic traditions they had brought with themselves from their homeland? Data gathered through museum and library enquiries were used to carry out a comparative study. Data analysis was of qualitative nature, and the study represented one of culture-historical. 
Keywords: Azarbaijan, Yanik Tepe, Early Bronze Age, Pottery, National Museum of Iran.

Introduction
The question central to this study is: Does the Kura-Araxian pottery tradition at Yanik Tepe reflect traits induced by indigenous experimentations, or it was simply developed via foreign inspirations and cultural interactions? 
As stated, the pottery assemblages from Yanik Tepe had remained intact since their initial movement to National Museum of Iran after the close of excavation. Preparatory work was therefore required before deciding on or attempting any sort of study. Accordingly, the whole collection was recorded and washed before the decorated sherds were singled out and sorted into such groups as geometric motifs, animal motifs, plain, and miscellaneous. This was followed by the documentation process that involved photographing, drawing and registering the entire formal and technical attributes of individual pieces. Attempts were made to exclude from the final sample the patterns that were identical to those already published by Burney in various places. Also to meet the diversity criterion, pieces were selected from as varied excavated exposures as Areas or Trenches H, HX, K, L, M, P and different Levels, viz. YT.HX3, YT161HX, YTHX4, YT.HX1, YTK3, YT.HH1, YTH5, YT.HH1A, YT.C5, YT.P2, YT.LIA, YT.HH10, YT.HX1, YT.L3PRMII, YT.P2, YT.39C, and YT.RH13.

Yanik Tepe
A key site in the archaeology of the eastern Urmia Lake Basin, Yanik Tepe is 30 km southwest of Tabriz and 6 km from Khosrowshahr, within the village of Tazeh Kand on the Talkheh Rud. Burney excavated the site in 1960, 1961 and 1962, shortly after its identification in 1958-9. Yanik Tepe consists of a high mound and a low mound, rising 16.5 m and 1.50 m from the surrounding lands, respectively. With an original total area of about 6 hectares, it represents a type-site of the Kura-Araxes culture in Azerbaijan (Burney 1963, 138). Large parts of the site are now destroyed. Typical of the culture that flourished at Yanik Tepe were round and rectilinear houses and a distinct pottery tradition. Most intriguing are those types that resemble the material from the vast cultural horizon of eastern Anatolia and the early Trans-Caucasia of the mid-3rd millennium BC. 
Building on the results of his excavations at Yanik Tepe, Burney divided the whole Kura-Araxes (or the ETC) sequence to the three discrete periods of ETC I, ETC II, and ETC III, where the earliest period marks the birth of the culture in its motherland, the second is associated with round structures and decorated pottery, and the latest sees the predominance of rectilinear architecture and virtual disappearance of decorations on pottery (Summers 2004, 619-620). For a more recent and detailed discussions on the chronology and dates as well as the stratigraphy of Yanik Tepe, the reader is referred to Summers 2013; 2014, 157-159. 
An idiosyncrasy of the Early Bronze Age at Yanik Tepe is the handmade, black or gray burnished pottery with incised patterns. The technique is reminiscent of woodcarving and was presumably inspired by the densely forested landscape of the homeland of bearers of the culture who came to the rather sparsely wooded regions of northwest and west Iran. The technique was widely applied to pottery along with excised patterns, filled with white and occasionally ocher pastes. 
Designs like birds and highly stylized rams or ibexes with curled horns, and bands of geometric motifs were carved on bowls, jars and footed pedestal vessels and small cups, the pottery forms common to the period. 
The Middle Bronze period marks a shift in architectural styles as the related houses were built in a rectilinear plan using mud bricks. The thick walls spoke of two-storied buildings. The use of decorations diminishes, and the so-called graphite burnished technique emerges on a few examples of cups. Vessels are relatively finer, and burnishing is more frequent. Pottery forms show no considerable differences between the two periods (Burney 1962). However, the so-called Nakhichevan lugs, common to the latter period, occur now only in a vestigial form. 

Kura-Araxes Pottery of Yanik Tepe
This section gives a description of the pottery with a special focus on decorations, along with a series of so far unpublished illustrations, which besides enriching the existing literature on the pottery history, are intended to improve the current picture of the evolution of pottery styles through the long Kura-Araxian horizon at Yanik Tepe. It is notable that, as stated earlier, the pieces and decorations published here have not been introduced in any earlier publications and have been selected from various trenches and levels to ensure a representative sample to the possible extent. 
The Kura-Araxian pottery, coming in disparate wares and decorations, represent a new style that newcomer artisans had brought with themselves to northwest Iran. It is characterized by dark gray or shiny black or light brown color; vessels are handmade, contain mineral tempers, and show a burnished surface bearing an assortment of motifs such as spirals, “ram horns” and concentric circles or “eyes” (Burney and Lang 1971). In the Kura-Araxes Period I, rail rims were common, the Nakhichevan lugs were not yet emerged, and some Chalcolithic forms and decorative techniques persisted (Glumac and Anthony 1992). Related material occurs at most sites in Caucasia, the eastern fringes of Anatolia, and Geoy Tepe K1 (Sagona 2000).
The Period II is distinguished by the abundance of elbow handles and advent of semi-circular Nakhichevan lugs; the rail rims are utterly absent (Seyedov 2000). Notable in the assemblages is the ubiquitous concentric circles or “eyes” and incised triangles or chevrons. The pottery with its distinctive incised decorations shows influences from neighboring spheres. Various motifs are discernible. Animals, birds and fish occur in abundance. Birds appear as stylized representations on jars and bowls with decorations always reserved for the base or close to it. Also present are very simple geometric designs, bands raging from plain examples of undulating lines to those of a very intricate combination of nested designs, horizontal grooves or hatches, zigzags and doted patterns, rows of geometric motifs like lozenges with adjoining triangles filled with a various combinations of incised dots in diverse arrangements, swastikas, small lozenges and slanting motifs. Spirals and concentric circles were applied in incised form and evolved into an excised form with the related patterns filled with a white paste or lime. A frequent motif is the sharply angled triangles evoking the mountain motif as is the incised patterns imitating cuneiform signs. They are much finer compared with the ordinary handmade pieces. The Kura-Arax II material from Yanik Tepe find parallels in Geoy K1, Yakhvali, Ravaz (Kohna Shahar), Baruj, Haftavan VII and Godin IV (Burney 1961, 1962; Kleiss and Kroll 1979; Asurov 2000).
Typical to the Kura-Araxes III assemblages are the incised spirals and loop handles attached to the rim. The concentric circles occur in a higher frequency (Burney and Lang 1971, 67; Seyedov 2000, 19). Nakhichevan lugs show a gradual decline. Related pottery is known from Geoy K3, Godin IV, Shengavit IV, Kul Tepe of Nakhichevan, Kvatskhelebi in Georgia and sites in the Koban area of East Anatolia (Burney 1961, 1962; Burney and Lang 1971; Sagona 2000).

Abstract
Sasanian Silver Bowl at the National Museum of Iran, known as the “dancer-musicians scene”, has been one of the museum’s most archaeological works for the past sixty years. According to Ali Sami, this bowl was purchased in 1334 (1955); it is attributed to the north of Iran (Kelardasht of Mazandaran). The palm-shaped head of this bowl shows four dancer-musician-singers with four different well-known musical instruments as well as a figure of a pheasant in the center. In all previous scholarly works, as well as in the many exhibitions in which this bowl has been displayed, this work has been referred to as the motif of the “female dancers-musicians”. However, doubtful interpretations of musical instruments of the motif can be found in the same scholarly works. Obviously Iranian scholars to the internally held exhibitions have followed previously mentioned works. The author will first challenge the “femininity” of these four dancer-musician-singers and will testify the view that three of them are only masculine. Secondly, I will present a new proposal to the readers with a different interpretation of these Iranian music instruments. Also, the author considers this bowl to probably be a heritage from the Persian Gulf (southern, not northern Iran). Furthermore, I will also focus on the identity of these dancer-musicians in such a musical group scene as “Indian gypsies” or at least inspired by such a musical style. The author will also refer to two other lesser-known similar bowls of the Museum. Meanwhile, the author will present a new perspective on the date of this silver object which is based on its motif details and two more Silver Works at the National Museum of Iran. In this comparative study, I will draw a line between the three motifs (of the bowls, especially two of them) based on the two seasons of “winter and spring (or summer)”!
Keywords: Sasanian Silver Bowl, National Museum of Iran, Musician-dancers Scene, Kelardasht, India Gypsy, Persian Gulf.

Introduction
Much has been said and written about the Persian Gulf. Since more than 500 years ago until now, about cultural landscapes, art, music, clothing, food styles to different harbors and etc. through foreign travelogues and Iranian documents can be attributed to colorful valuable data on the Persian Gulf. Archaeology has also testified a large tangible data about Iranian identity over the Persian Gulf. Pre-historic objects to the valuable inscription of Darius the Great obtained from the Suez Canal to other archeological finds from Bushehr, Siraf, Kharg, Qeshm, Hormoz, etc., are proof of this claim. Zoroastrianism legacy in Saudi Arabia and especially Yemen to recent Sasanian coins from the United Arab Emirates, Sasanian fortresses in Oman (cf. Potts, 2012: online)... can be proof of our historical ownership of the Persian Gulf.
Nevertheless, the article stresses on a review of a Sasanian magnificent artistic relic in the National Museum of Iran. This masterpiece frequently has been referred for at least the lasxty years. This significant object has been displayed in most of exhibitions from the inside to the abroad. This Sasanian heritage has been published in most of the catalogs of the National Museum of Iran and international exhibitions. This very beautiful Sasanian work, “silver bowl” known as the “scene of dancer-musicians” with registry number 1332, weight 575.7, diameter 22.55 cm, and height 7 cm, obtained from Kelardasht (?), Mazandaran.

ConclusionUndoubtedly, the Sasanian silver bowl at the National Museum of Iran can be studied from a new perspective. This view can challenge all previous scholarly works from two different aspects.
First, the musical instruments portrayed on this work can testify to its interrelationship with the shores of the Persian Gulf. For example, Castanet or Sinj is a typical instrument. There is a golden shipwreck’s photo (with eight musicians-singers), has some similarities with the silver bowls of the National Museum of Iran, on the website of Asian Civilizations Museum in Singapore.6 According to the website, the work has been discovered from a Persian Gulf bound ship drowned near Indonesia. However, the author has doubts about authenticity of this report! 
Although there are few written archaic texts but these instruments have been valid from generation to generation in Iran as endorsed by sources in Sasanian, Post-Sasanian, oral history as well as archeological documents until they have reached our time. 
Most Post-Sasanian sources have preserved valuable information about Arghanun, sorena, lute (barbat) and even chime.7 Although Zoroastrian texts do not help on such a topic but the story of Khusraw ī kawādān ud rēdak (Oryan, 2004: 58) mentioned some of the best musicians: “harp-players, lute-players, wan players,8 tambour players, and reed players.” 
Chime (cf. Ibn Sina)9 is one of the oldest musical instruments in southern Iran. The Haft-Joush (seven parts) chime was also one of the most common of these musical instruments; the Indian type of which (made of bronze) had a special reputation in Bushehr (Darvishi, 2004: 540,32). Type of the short handled and tied to the fingers have been (and still are) the most common chimes in southern Iran (for the same instrument, see: Gunter and Jett, 1992: 191).
Another important fact is that the production and control of the melody with these four instruments were very difficult for females (women); three of them (bowl) still considered male instruments. In Taq Bostan too, sorena and a kind of arghanun (or bagpipe, maybe nay-e anban) are played by men where females are depicted as tambourine and harp players (farmer, 1964: 96). Both of these latter instruments have always been depicted and described in this way (female).
So, the gender of the musicians will be the second key point of this object. It is as if the previous works did not pay attention to the connection between the “type of instrument and the type of gender” which, according to the tradition, they were at least skilled players. 
The story of “ Khusraw ī kawādān ud rēdak “ (Oryan, 2004: 96) describes “a sweet-singing-dancer and a beauty with big breasts, wasp waist, black and long hair ...”. Here are two questions:
1. Whether the female musician-dancer figures on the Sasanian silver legacy, with big breasts, slim waist and charming disheveled hair (National Museum of Iran, cf. fig. 6) cannot be a seal of endorsing the above-mentioned Pahlavi text? If that is the case, which I believe it is:
2. Isn’t this (description) contrary to the motif of the musicians of the silver bowl at the National Museum?
This issue of course according to the type of make-up and body shape confirms that three of them are males. Therefore, in the dance-music scene of other objects, the shawl on the breast (or part of it such as Bishapur mosaic), from behind (such as the silver decanter at the National Museum) or above the head like a sunshade (fig. 9) can be seen. Here, the shawl is skillfully placed on privy parts (low body) by the craftsman in order to have observed Iranian ethics (of course with partial rotation of the body). If in other objects, the shawl plays a role in covering the breasts of women, here it covers probably their low bodies.  This is not very compatible with Roman art!
In the Sasanian silver decanter at the National Museum, despite a kind of decorated forehead, the hair of the musician is hung from both sides towards the shoulders but here typical long-braided hair can remind us of Indian style which impacted the Persian Gulf coasts. However, no trace of the hair of the above mentioned musicians can be seen here, and they wear a head-gear (with two different logos on the forehead in pairs) that is fastened with a bandage under the throat (it is unlikely to be a hair strand). On this bowl, the whole body (with details) is portrayed in front and the head is turned to another side (profile), something that does not occur much with other works. The highly balanced and professional limbs of these dancer-musician-singers indicate their affiliation with a professional group. The beautiful and balanced body as well as the “hairless face” of these three male musicians plus one female, is thought to be one of the reasons for calling these four dancers females.
Furthermore, a theme rarely seen in Sasanian art is a “harmonious music group”  (male and female) scene. Even in the royal hunting scene of Taq Bostan, less resemblance (coordinated group) can be found to this bowl.  The musicians of Taq Bostan cannot be called a scene of a group performance.
Another similar silver bowl (fig. 10) with the same motif (four dancer-musicians from Kelardasht) at the National Museum of Iran published by S. Ayazi (2005: 92-93) already. These two bowls differentiate each other by some significant details which have never been studied. In the second bowl, the relatively “thick cover” of the musicians along with the figures of the “birds” is very significant. It seems, to me, that the first one reflects summer or spring season but the second one clearly recalls the winter season. Figures of different birds (which can be discovered in the spring season) is a part of the claim (the second one). There is also a third bowl with the same scene, in the National Museum, which I will write about in more detail in the future.
The author believes that the motifs of these three bowls are merely radiant of a “simple secular feast” (cf. Boyce and Farmer, 1990: 55; also: Gunter and Jett, 1992: 200). Obviously, the Sasanian heritages can never have been recorded without religious traces, which subconsciously ruled the artist’s mind. Hence, the meaningful name of the owner of the first bowl  (Farrokh-hormozd not windad-hormozd) to the design of the black “ten” leaves of the palm branch, the pearl ring around the pheasant in the middle of the object, the number of pearls of the pearl ring, two ribbons and also the three branches in the beak (Glory, triple social casts  or the doctrine of the Zoroastrianism) are part of this claim.
 Although the existence of motif of birds and animals in Sasanian art (rock, art, bullae, etc...) is a normal subject, but the figure of a pheasant (center of the bowl) can remind us of the “Khorasan Art School” that goes as far as China (Akbarzadeh, 2020: 267). 
The author believes that there is no connection between this scene and the one from Roman legacy of Dionysian or the goddess Anahita (Catalog of Wien, 2003: 233; Gunter and Jett, 1992: 27), as mentioned in all previous works. The following reasons can support me to challenge the previous works: “the typical oriental type of dance of these dancer-musicians, which is evident from their body shape, the pheasant figure most unrelated to the Zoroastrian goddess, the partial nudity dancers, which is not compatible with the officially known Sasanian art (but they are covered on the second bowl), their instruments, the absence of any bold religious symbols etc... supposedly for their body shape (type of dance), type of head-bands, shawl pattern, typical southern chime (with base, like pliers), dancer-musicians in group scene ...” Also, the author points the finger at India, not the Roman heritage for such a coordinated group performance that Sasanian art lacked (cf. Boyce and Farmer, 1990: 60). 
The Indians have always been known as female-males dancer-musicians in group form (unlike individual Sasanian dancer-singers). Also, the figure of the peacock (bowls 2-3) can support this claim. Moreover, the presence of Indian musicians-dancers in the Sasanian period is a well-known issue. It is obvious that Bahram V (Gur), after treating the mental condition of the Iranian society, ordered many musicians from India to come to Iran and play in public. These musicians are known as “gypsies” in the history of Iran.10 In fact, the author evaluates this group of naked (and partly-covered) dancer-musicians (with a completely different body shape) on these Sasanian bowls as Indian gypsies. Their half-nakedness cannot be an Iranian tradition in dance. In a work, about such instruments, attributed to Ibn Khordadbeh (Mallah, 1963: 28; Sami, 1970: 49) narrates that: “Iranians usually played the lute with the flute and the tambourine and the sorna with the dohol (drum) and mastaj (chime) and the senj.” 
The author also believes that due to the to the accuracy in construction and high technic of these valuable bowls and the processing of artistic symbols, especially such a dancer-musicians in group scene, its attribution to the eighth century AD., Post-Sasanian period (given the socio-political situation of Iran), is questionable. If this bowl(s) was made in the geographical boundary of Sasanian Fars province (including parts from Khuzestan to Fars and the whole of present-day Bushehr province) (which is strongly believed to be the case), the eighth century AD. was the most difficult period of this part of the Persian Gulf. Furthermore, the artistic details of these objects are never less, if not more beautiful than the objects of the sixth century AD. (cf. Lawergren, 2009: online). The skill in the inscribed needle-shaped of the owner’s religious name, the exact size of the body of the musicians, the branches of the grape, colored lace and other details indicate that the creation of this work can be even brighter than the eighth century AD. 
Despite this, a fundamental problem will remain and that is the type of cover of the dancers on these three bowls. This coverage can mean a “seasonal difference”, that is likely to be the case. Based on this one, we should focus on the eighth century AD. The author suggests that the second bowl (covered dancers) can be a reminder of Mihragan Festival at the beginning of winter and the first one (naked) can be reminiscent of Nowruz Festival (or a summer fest). This six-month gap (between two seasons) is the least reason why the two group of the two objects can be considered the same. If we cannot opine about the time of Mihragan Festival, but the time of Nowruz Fest was not fixed at the beginning of spring in the Sasanian calendar. This event is related to the early Islamic periods and this one does not contradict the eighth century. In short, that discovery of this bowl (for whatever reason) from northern Iran will never be an excuse to consider its origin as northern, and of course this is not surprising in archeology.

The correct position and the determining role of the second and first millennium BC cultures in the Fars region (Marvdasht plain) which we know as the Shoqa/Timuran cultures and the importance of this culture in the transition from the prehistoric to the historical period (Achaemenid) are still not well known. Despite of extensive archaeological research that has been done in the Marvdasht plain and the presence of significant sites of this period, due to the limited and generally very old excavations in these sites, it is still difficult to understand these developments. During that time, huge developments were taking place in Khuzestan and Fars regions; Changes usually created many conflicts between native cultures and southwestern cultures origin (Elamite).Some archaological findings, such as weapons, are signs of the height of such conflicts in the past. This paper will study and introduce the collection of weapons of Toll-e Shoqa, which were obtained from the excavations of Mahmoud Rad in 1942 and Vandenberg in 1950 in that site, those are now kept in the National Museum of Iran. These collections have been studied recently in the inventory project in the National Museum of Iran archives. So far, few cultural materials from Toll-e Shoqa have been published and more emphasis has been placed on its pottery; the pottery is the basis of the relative chronology of this period in the Fars region. Unfortunately, the results of the archaeological excavations in Shoqa were never fully published and all its cultural materials were not introduced. In the organizing project of the National Museum of Iran which will be described and analyzed in this paper.

Abstract
Art works and objects in museums are valuable cultural and civilizational treasures that are usually less prone to research and have been neglected by researchers to spawn new approaches to scientific study and introduction to the audience. Accordingly, the collection of works of art and particularly the rugs available in the Textile Treasury of the Cultural Complex (Museum) of the Oppressed and War Veterans Foundation are valuable examples of magnificent museum works and an exquisite treasure of the carpets of the Qajar period with great capacity and capabilities for research and introduction. These rugs have been collected from different weaving centers of Iran with various designs and patterns. A total of 51 rugs are stored in this museum, 8 ones of which have been woven in Farahan-Sarouk region, one of the major centers of carpet production for global export during the Qajar period. With this in mind, the current study sought to analyze and introduce these rugs from technical and artistic perspectives. The research question is, “What are the technical, aesthetic aspects (design, pattern and color) and, if any, the semantic concepts of the texture of Farahan-Sarouk rugs?” The findings of the study include the following: the designs and patterns of these rugs include Corner-Medallion, Vase-like Altar-shaped, Overall Flower with Corner, and Paisley with Medallion in various forms and colors. Additionally, the background color of these samples includes lacquer, ivory, copper, blue and navy blue, and the background color of the margins, except for two lacquer cases, is all navy blue - a feature that is a mostly fixed characteristic of Sarouk and Farahan’s rugs. This is a qualitative developmental study conducted using the descriptive-analytical research method with data collected through the desk-based method.
Keywords: Museum, Oppressed and War Veterans Foundation, Farahan, Sarouk, Carpet, Design, Color.

Introduction
The Cultural Complex of the Oppressed and War Veterans Foundation, including various complexes, museums and treasures of artistic, historical and archaeological works and objects, is one of the richest Iranian museums extending and developing its cultural and museum subsidiaries over the past years and decades to such an extent that it currently has various museums such as anthropology and museum gardens in many cities of Iran. In fact, this foundation initiated its cultural activities by setting up and operating museums under the title of “The General Administration of the Foundation’s Museums” from 1995 with a specialized and scientific approach to museum management and with the aim of collecting, preserving and documenting museum objects and works and making exhibitive, research and educational uses of them in order to improve the general and specialized knowledge and attract more audiences, enhance the scientific and cultural potential of the society by providing museum services, and familiarize the future generations with the cultural, civilizational, historical and national identity by using the facilities, works and economic and cultural resources available in the Foundation.
As a part of art and national identity, hand-knotted carpets are among the most precious and valuable works in the Islamic Art Museums and Textile Treasury, which makes this cultural complex more attractive. Particularly, Farahan and Sarouk carpets, as part of Iran’s weaving system and the art of carpet weaving available with 8 antique carpets, are among the outstanding hand-woven carpets in this country. The vast area of Farahan in Markazi Province, with more than two hundred villages including Sarouk and Jirya, as one of the most prominent high-quality weaving centers of Iran, could introduce itself to the world community in the mid-19th century during the Qajar era and the era of the revival of all kinds of local and national arts by producing various kinds of unique carpets and rugs, especially carpets that were produced and exported under the auspices of a foreign company such as Ziegler. Some of the exquisite carpets surviving from Farahan, Sarouk and Soltanabad are currently kept in many world-famous complexes and museums, such as the famous Claremont Complex and the Carpet Museum of Iran (as the most specialized carpet museum in the world). This study aimed to review, analyze and introduce the Farahan-Sarouk rugs in the Textile Treasury of the Museum of Islamic Arts affiliated to the Oppressed and War Veterans Foundation. Therefore, the research question is, “What are the aesthetic aspects (design, pattern and color) and technical aspects (linage, knotting, dyeing), and if any, the semantic concepts of the texture of Farahan-Sarouk carpets?” 
This is a qualitative-developmental study carried out using the descriptive-analytical research method with the data collected through the desk-based method. 

Textile Treasury
The Textile Treasury, affiliated to the Islamic Art Museums, has 1,187 coded and labeled museum works, including various objects related to the antique textiles woven in Iran. These works include carpets and rugs, historical clothes (coats, vests, Turkmen scarves, veils, hats, military uniforms and their accessories), military insignia, machine-made carpets, Termeh, needlework textiles, Termeh frocks, needlework Termeh tablecloths. Sermeh embroidery, Termeh cushion, arch-shaped shawl, prayer mat, velvet, carpet tableau, embroidery tableau, fardel, exquisite pates, Indian sari, wicker, Kalamkari (a type of hand-painted cotton textile), tapestry, fabric tent in the form of Naser al-Din Shah’s tent, Kaaba curtain, Qashqai horse belt, Turkmen back, Jabbeh (a hand-woven pile rug of coarse quality and medium size), Paravan (room divider), wardrobe, sofa and chair with tapestry cover, prayer rug, double-waft shroud fabrics, saddlebag, wicker fan, pen-case, Quran holder, coin holder, hand-woven Giveh (light cotton summer shoes),Jajim (coarse and loosely-woven woolen cloth) and Kilim (a flat tapestry-woven carpet or rug). The oldest and most prominent work of this treasury is the double-waft collection of the Buyid dynasty period, known as Buyid dynasty shrouds.

Rugs and their technical and aesthetic aspects
All the carpets available in the Textile Treasury (former Dafineh Museum) are of the rug type and are considered among the most exquisite rugs in this treasury. Dating back to sixty years to two centuries ago, they are the most unique Persian carpets produced with beautiful, original, harmonious vegetable-based colors with a variety of designs, colors and patterns. These rugs have been woven in important weaving areas and centers of Iran, including Kashan, Farahan and Sarouk, Kerman and Ravar, Isfahan, Bidabad (a neighborhood of Isfahan), Najaf-Abad, Tabriz, Haris, Shiraz (Qashqai -Kashkuli), Arab tribes of Fars, Ghonghori tribe of Fars, Bakhtiari, Malayer, Sanandaj, Bijar, Yazd and Tehran. In general, as many as 51 rugs are kept in this treasury, which date back to the Qajar or early Pahlavi periods (based on the approximate dates mentioned by the museum). The designs and patterns of the rugs include Prayer-nichee, Corner-Medallion, Paisley, Fish, Hunting, Overall Flower, Rhombus Frame and Nazem pattern. All the designs are listed in Table 3. It is important to note that the design of the Vase Prayer-nichee and Corner-Medallion designs are among the most frequently used designs. Among these rugs, 8 rugs belong to Farahan (Sarouk) region in Markazi Province. Figure 2 shows samples of the carpets available in the Textile Treasury.
 
Conclusion
This article was an attempt to study, review and analyze the carpets of Farahan and Sarouk region while introducing the cultural collection and museums of the Oppressed and War Veterans Foundation and its carpet treasury. The vast area of Farahan, with a wide range of carpet weaving areas and centers such as the famous village of Sarouk, has been one of the oldest carpet-weaving areas of high-quality and exported carpet production in Iran since the Qajar era and the mid-19th century. Eight rugs woven in Farahan-Sarouk are kept in the Textile Treasury, a subsidiary of the Oppressed and War Veterans Foundation. These rugs are 113 to 130 cm wide and 190 to 203 cm long. Additionally, the background colors of the rugs includes lacquer, ivory, copper, blue and navy blue, and the background color of the margins, except for one lacquer (red) case, is all navy blue. The knot used in these rugs and other rugs of Farahan and Arak regions is (Persian) asymmetrical. The type of dyeing and colors used in these samples are natural and vegetable-based. One of the other characteristic features of these samples, which is rarely seen in the past and even contemporary carpets, is their linage. The linage in these carpets is 40, 50 and 60, which makes it a unique rug of that era. Furthermore, the raw materials used in the rugs are mostly wool, and to a lesser extent, cotton and silk. The designs and patterns used in the rugs include the common designs of Corner-Medallion and Tree-shaped and Vase-shaped Prayer-niche designs in different types as well as Paisley design. Among the rugs, Rug No. 4 is a unique product displaying symbolic concepts in the background texture of which elements and concepts specifically related to Mithraism, such as the (Holy) Life Tree, Birds, Cypress Tree, Animal’s Combat and Crow motifs have been designed and patterned. Although these antique rugs are considered part of the artistic identity, they can be modeled, redesigned, represented, modified and rewoven in the Persian carpet design system.

Abstract
Many important materials throughout the world are composed of a variety of textiles, which are stored and presented in museum collections, galleries, and libraries. These textiles are one of the most important elements of cultural heritage and interpret essential objects that document the past human life, artistic creations, international trade, agricultural development, technological developments, and their cultural and social values.  As a result, it is necessary to study and apply suitable methods to protect and conserve these kinds of unique heritage textiles for our future generations. The method of conservation of these cultural-historical textiles is one of the most versatile branches of conservation and depends on various parameters. A number of bio-deterioration of cultural-historical textiles and also the disadvantages of conservation methods on these objects, human health and the environment, show the need for evaluating the bio-degradation mechanism of different microorganisms on these kinds of textiles and the use of latest methods for their conservation. In this way, the present work aims to investigate how cultural-historical textiles have been degraded, as well as the latest conservation methods. To achieve the purpose of the research, the qualitative content analysis method was used. The main research questions are what is the mechanism of biodegradability process of textiles? What is the importance of nano technologies in the protection of historical textiles? The results showed that one of the newest and most effective methods of protecting cultural-historical textiles against erosion caused by biological factors is the use of nanomaterials. These panicles have been intensively studied for various textile applications and demonstrated to provide multi-functional performance such as self-cleaning, release of dirty, protection against ultraviolet rays, antimicrobial properties, long-lasting, and multi-functional performance without compromising the intrinsic properties of the textile, which can be utilized to protect the cultural-historical textiles and slow down their degradation processes.
Keywords: Museum, Cultural-Historical Textiles, Conservation, Microorganisms, Nanomaterials.

Introduction
Since prehistoric times and in all cultures, textiles have played an important role in the traditions and life. They have been considered one of the most important elements of cultural heritage that in different periods of a country history have usually been a number of antique textiles, such as decorative and artistic fabrics, clothing, carpets, tapestries, ecclesiastical vestments, woman’s belts, bags, and paintings. They are mainly obtained from tombs, archaeological excavations, mansions, crypts, sunken ships, and churches. Although, these valuable textile artefacts interpret essential objects that document the past human life, artistic creations, international trade, agricultural development, technological developments, and their cultural and social values but they are considered to be degradable materials due to a combination of various pollutions, biological, physical, environmental, and chemical parameters. The challenge has been to develop effective strategies for the conservation of these cultural-historical textiles, considering the strategies depend on several factors such as storage conditions, textile ages, the chemical types of their fibers and also their history period of use. There are different chemical and physical methods to protect from the historical textiles (Gutarowska 2017: 2388-2406; Karbowska 2011: 223; Sequeira 2012:  67; Valentin 1999: 85; Wirtanen 2003: 293). Nowadays, nanomaterials and technologies are becoming more important than the physical and chemical methods due to their multi-functional performance such as self-cleaning, release of dirty, protection against ultraviolet rays, antimicrobial properties, long-lasting, and also due to their multi-functional performance without compromising the intrinsic properties of the textile, which improves the conservation process of cultural- historical textiles and slow down their degradation processes (Lite et al., 2022: 610; Gutarowska 2014: 277; Lite et al., 2022: 609; Zambrano et al., 2020: 9817; Syafiuddin 2019: 794).
Following this tendency, there are several worldwide studies available on this regard but very limited studies have been done in Iran. These studies have been mainly investigated the effects of optimal environmental conditions, the atmospheric pollutants, and ultraviolet rays on the conservation process of textiles (Kianoush 2008; Samanian and Bahmani 2018; Hamzovi 2019). This is in while; the majority of Iranian studies have various drawbacks in terms of evaluating the bio-degradation mechanism of different microorganisms on the historical textiles and the use of latest methods for their conservation. In this regard, the present study attempts to disclose how cultural-historical textiles have been degraded, as well as the latest conservation methods by using descriptive and analytical method and also based on library information. 

Discussion 
The term biodegradation is defined as an irreversible process leading to a significant change of the material properties by the action of vital activities of microorganisms (through enzymatic or metabolic action)، (Zambrano et al., 2020: 9789). This biodegradation of organic compounds frequently causes the conversion of many of oxygen, carbon, nitrogen, phosphorus, sulfur components in the primary molecules to the inorganic products and also creates of new cell material. In general, stages of biodegradability of materials can be expressed in the following (Fig. 1)، (Nofal 2022: 5-6):
A) Primary stage: Substance chemical structure alteration resulting in substance removal of a definite property.
B) Environmentally acceptable stage: The biodegrading process to the extent of elimination of specific unacceptable compounds properties. This process is similar to the primary biodegradation approach, and it depends on the environmental conditions.
C) Ultimate is full compound decomposition or breakdown into simple molecules fully reduced or oxidized (such as CO2/methane, nitrate/NH4+, and H2O). 
The textile biodegradation process depends on the composition of the findings and the storage conditions and can occur slowly or quickly in the three following stages: 1) bio-deterioration and bio-fragmentation, 2) assimilation, and 3) Mineralization. (Lite et al., 2022: 608). Microorganisms digest the organic products of plastic degradation under aerobic or anaerobic conditions (Zambrano et al., 2020: 9790). The process of decomposing organic matter in the existence of oxygen is called aerobic bio-degradation. Anaerobic respiration is the practice of decomposing compounds by the action of microorganisms in oxygen absence and bacteria and fungi use the acceptor of an electron other than O2 as a chemical entitle (Nofal 2022: 7). 
Nanotechnology is revolutionizing materials science in a pervasive way, in a manner similar to polymer chemistry’s revolution of materials science over the preceding century. The continuous development of novel nanoparticle-based materials and the study of physicochemical phenomena at the nanoscale are creating new approaches to conservation science, leading to new methodologies that can “revert” the degradation processes of the works of art, in most cases “restoring” them to their original magnificent appearance (Giorgi et al., 2010: 695). The most intensely studied nano-structures for textile artefact conservation are metal nano-particles (AgNPs), metal oxides (zinc oxide, magnesium oxide, and titanium dioxide), hydroxide nanoparticles (calcium hydroxide and barium hydroxide) and modified nano-clays due to their remarkable antimicrobial properties, UV-absorbers, water-repellents, and dirt repellents (Lite et al., 2022: 609; Giorgi et al., 2010: 702-703; Palladino et al., 2020: 3). 

Conclusion
Our country, with its ancient history, is one of the most important centers with rich cultural-historical works in the world. A large part of these works are textiles which can be degraded using microorganisms due to their chemical structure. More and more studies are necessary for the field of historical textile conservation to preserve the memory of our predecessors, maintain up-to-date knowledge regarding new methods, and for future generations. Most of the studies conducted in Iran, have been investigated the effects of optimal environmental conditions, atmospheric pollutants, and ultraviolet rays on the conservation process of textiles. This is in while; the majority of Iranian studies have various drawbacks in terms of evaluating the bio-degradation mechanism of different microorganisms on the historical textiles and the use of latest methods for their conservation. In this way, the present work attempts to take a step towards the existing gaps. According to the results of this research, it can be concluded that the term biodegradation is defined as an irreversible process leading to a significant change of the material properties by the action of vital activities of microorganisms. This process occurs in the three stages i. e. bio-deterioration and bio-fragmentation, assimilation, and mineralization. The mineralization catabolic pathway depends on the environment where the microorganisms can grow and they digest the organic products of plastic degradation under aerobic or anaerobic conditions. During both processes, aerobic or anaerobic, microorganisms need a carbon source for growth and reproduction. 
In order to reduce the biodegradability of textiles, several physical and chemical conservation methods have been reported in the literature. The main method of preservation is maintaining the findings a microclimate to limit degradation by adjusting the brightness, humidity, and temperature of the area in which they are stored or exposed. Recently, special attention has been given to nanomaterials. Nanotechnology is revolutionizing materials science in a pervasive way, in a manner similar to polymer chemistry’s revolution of materials science over the preceding century. The continuous development of novel nanoparticle-based materials and the study of physicochemical phenomena at the nanoscale are creating new approaches to conservation science, leading to new methodologies that can “revert” the degradation processes of the works of art, in most cases “restoring” them to their original magnificent appearance. The most intensely studied nano-structures for textile conservation are metals, metal oxides, hydroxide nanoparticles, and modified nano-clays due to their remarkable antimicrobial properties, UV-absorbers, water-repellents, and dirt repellents.

Abstract
Damage to cultural artifacts after discovery occurs due to various factors. One of these harmful cases is moisture originating from underground water, which appears as soil moisture, and over time, due to the oxidation process and the salts and ions in the water, as well as the incompatible pH of the environment with the texture and construction of the artifacts, it aggravates the process of destruction. In line with the mission of archaeometry as a bridge between archeology and other sciences, hydrogeology is used in this study in order to protect ancient artifacts. Iron Age Museum of Tabriz is located in the central area of the city and among the young Quaternary sediments that form the free aquifer of Tabriz. Underground water is one of the main factors causing corrosion and decay in the bones in this museum site. There are various solutions for lowering the water table locally, which according to the location coordinates and technical requirements of the site, the best method is to use underground water pumping. In this study, by using the available data in the study zone which is taken from the Tabriz urban train project and the data obtained from the Regional Water Company of East Azarbaijan, by using computer methods, the appropriate amounts of water pumping have been simulated according to the optimal water level drop and We define the placement of bones in a dry position. The use of new sciences for archeometric purposes is the main goal of this study and an attempt is made to solve the problem of destruction of ancient bones by establishing this connection.
Keywords: Conservation, Groundwater, Pumping Well, Soil Moisture, Tabriz Iron Age Museum.

Introduction
The discovery of ancient bones belonging to the Iron Age of the first and second millennium BC in the area of Tabriz Blue Mosque in 1997 is an important event in the field of archeology and ancient anthropology in Azarbaijan. When this ancient area has been discovered, studies have been carried out in the fields of dating about these bones and studies related to the origin and the migration (Kasiri, 2019) and the conservation and restoration of the graves in the Iron Age Museum area in 2016 was carried out by Majidi and Razani. In recent years, the effect of humidity on buried organisms in the soil has been the subject of many researchers’ studies. Soil moisture can play an important role in decomposition (Swift et al, 1979). Fluctuations of groundwater in the soil is one of the most important factors affecting microbial activity in the field conditions (Lund and Goksoyr, 1980). Iron Age Museum of Tabriz is located in the central area of this city and among the young Quaternary sediments that form the unconfined groundwater aquifer of Tabriz. Tabriz aquifer has an alluvial nature, which has expanded as a result of the Mehran Rood River flowing in its ancient path and creating numerous meanders during geological time. Hydrogeology as a new branch of earth sciences and engineering studies the condition, behavior and hydrological characteristics of the layers of the earth. As a porous environment, the basement contains soil grains, and the empty space between these grains can be saturated with water and provide a path for the flow of groundwater. The voracity of water movement in the basement compared to the surface currents is very low and varies from a few centimeters per year to several meters per day. Due to passing through various minerals and rocks, groundwater often has a significant amount of different solutes and has relatively high electrical conductivity (E.C). These solutes can cause a lot of damage to cultural works by sedimentation or crystallization in case of evaporation of groundwater. The climatic conditions of each region are different in the occurrence of damaging moisture factors and their effects in different seasons of the year (Nawai, 2016). The amount of humidity in the environment, which can cause destruction due to freezing with the participation of the temperature change parameter, will cause serious damage due to the transport of new solutes and sedimentation at each stage and the recrystallization of previous sediments. In addition to the above, the penetration of moisture through underground water can change the pH of the environment, and this change causes the destruction of cultural works by increasing the acidity.

Discussion
Iron Age Museum of Tabriz, as a result of its archaeological excavations, 108 graves were identified, based on the typology of pottery and metal artefacts and the method of burial and comparing them with the collections discovered from the excavations of Hassanlou Hill and Dinkhah Tepe, dating from around 1200 to 800 BC and the period of Iron Age I and II have been estimated for them, which of course is relatively consistent with the results of carbon 14 dating of these sites (Hojbari Nubri, 1381 and 1383). Its cultural, historical, social and economic nature, along with the aesthetic quality and historical and cultural importance of that area; The type of constituent materials and the composition and method of construction of the works found in it, the value, validity and information and messages hidden in those findings and how they are used are valuable documents of its cultural heritage collection. These works, mainly from archaeological excavations, have been obtained over several years, and their preservation in relatively inappropriate conditions has led to the progress of damage caused by the burial of these objects in the ground, and after a rather long period of time, they will disappear (Bagherzadeh Kasiri, 2016, 8). Based on the studies of Tabriz Urban Railway line 1, water level data is available near the study area of Asr Ahan Museum site, and according to the principle that the groundwater level almost follows the topography, it is possible to estimate the groundwater level in The location of the museum was found. For this purpose, the water level data was collected in the study boreholes near the study area (Table 8) and the map of the ISO lines of ground water in the study area was drawn (Fig. 10). It is necessary to explain that ISO lines or equipotential lines of groundwater are curves on each of these curves, the level of ground water has the same values and the map of parallel lines shows the changes of the level of ground water in the study area. It is possible to draw this type of map both manually and by using software that allows for interpolation and drawing. Next, modeling of groundwater drawdown due to pumping from the extraction well was done using GMS software version 16.4. For archeological stratification, before installing the drilling machine, a manual well should be dug to the desired diameter and to the depth of the ground water, and after reaching the depth of the underground water, the drilling machine will continue drilling from inside this well until it hits The stone should be foamed.

Conclusion
The Iron Age Museum site of Tabriz is one of the prominent sites in the northwest of the Iran, which is facing major problems due to the groundwater infiltration. This research uses information and data of the studies of the aquifer of this region with taking account to the problem of how to intervene in the ancient sites. It has provided a solution to deal with the problem of groundwater in order to reduce its flow, and in this regard, by introducing the place of preliminary evaluations using speculation and Finally suggests a piezometric well to start working in this area and control the groundwater level. Noting that the change of seasons and amount of rainfall can affect the condition of groundwater to some extent; Therefore, by changing the flow rate and duration of pumping, other values of drawdown can be achieved. For this reason, it is suggested that if the plan is implemented, a piezometer well should be drill as close as possible to the museum site so that the condition of the groundwater as well as the amount of its draw done due to pumping from the extraction well can be under immediate control. To prevent the water used in the green space and other uses of the museum site from returning to the area of ancient graves, drainage channels should be used between the area and the main space of the museum.

The coins of the local rulers of Pars (the Fratarakā) are among the most significant archaeological sources for reconstructing the political, religious, and cultural conditions of the region during the Seleucid period. Beyond their economic value, these coins contain visual and symbolic elements that reflect the continuation of Achaemenid traditions and the formation of the political identity of the local rulers. One of the most prominent iconographic elements is the depiction of a building on the reverse of some of these coins, a motif that has long attracted scholarly attention. Despite previous studies, the architectural nature and function of this structure remain subjects of debate in Iranian numismatic and archaeological research. This study aims to examine and clarify the architectural identity and function of the structure depicted on the coins of the first and second groups of the Fratarakā rulers. To this end, the study introduces the relevant coin groups and analyzes their visual features in order to resolve existing ambiguities regarding the nature of the structure. The central research question asks what type of building is represented on these coins and to what extent it can be compared with known examples of ancient Iranian ritual architecture. The methodology is descriptive-analytical and based on a comparative approach. Data were collected through museum-based study of the coin collections housed in the Sepah Bank Museum and the Tamashagah-e Pol, in addition to library research and previous scholarly works. These data were then compared with known architectural examples from the Achaemenid and post-Achaemenid periods. The findings indicate that the depicted structure has a ritual and religious character and, in certain structural and symbolic aspects, is comparable to the Kaaba-ye Zarthosht monument at Naqsh-e Rostam. Furthermore, the study shows that over time, due to technical changes in minting methods, the artistic quality and architectural detail of the motif gradually diminished. These results suggest that the depiction of this structure not only reflects ancient Iranian religious and architectural traditions but may also signify the continuity of religious and political legitimacy among the local rulers of Pars in the post-Achaemenid period.