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Showing 3 results for Neyshabur
Muhammad-Amin Saadatmehr, Hasan Basafa, Hamid-Reza Sanaei, Mohsen Momeni,
year 5, Issue 16 (9-2021)
year 5, Issue 16 (9-2021)
Abstract
Abstract
Khorasan was of great social and economic importance during the Seljuk period and with the rise to power of Sultan Sanjar (511-552 AH), it became the political nucleus of the Seljuk Empire. With the invasion of the Oghuzs (548 AH) and the capture of Sultan Sanjar, the political, social and economic situation of Khorasan became chaotic. The site of the Barzanun “Qahve Khane Sangi” also belongs to the Seljuk period, and with the discovery of gold coins from Sultan Sanjar (minted in Neyshabur in 551 AH) in its surface layers, it is possible. Which has wreaked havoc in the conflict of these attacks. Due to such widespread chaos, historical texts have scattered and different information about this historical event, so by having such a coin, the science of numismatics can rely on the sciences of archeology and history. Provide valuable information to researchers. Therefore, the main basis of this article is the coin discovered from the “Qahve Khane Sangi” and a relatively similar example of it (probably struck in Neyshabur in 551 AH). The main questions of this research are: 1. How can a part of the history of that era be reconstructed using this coin and a similar example? 2. According to the prevailing conditions and influencing factors, by whom and for what purpose were the coins in question minted? In addition to introducing these flag coins, this article intends to reconstruct and determine the causes of some events along with cognitive coin data along with historical texts. As a result, it was determined that the coins studied after the release of Sultan Sanjar from captivity and in his name, by Moayed Ibeh, in order to oppose the alliance of Sultan Mahmoud (the first period of the rule of 551-548 AH) and Atsiz Kharazmshah (551 -521 AH) and gaining the necessary legitimacy for the survival of his power and rule in the position of Amir affiliated to Sultan Sanjar, has been beaten in Neyshabur and even parts of Khorasan.
Keywords: Sultan Sanjar, Neyshabur, Oghuz invasion, Numismatics, Qahve Khane Sangi.
Introduction
In the fall of 2008, the first group of archeology students of Neyshabur University set foot in the “Qahve Khane Sangi” (Barzanun, Neyshabur, Khorasan Razavi) for educational exploration. An examination of the surface data and information from the four trenches in the first chapter of this scientific-educational excavation suggested that the site contained artifacts from the end of the historical period to the Mongol invasion, but the possibility was growing. The main use and peak period of this area was related to the Seljuk period. Thus, a special data, the dinar from the Seljuk period, obtained at the top level of the second trench, could have been a validation of this possibility.
The importance of coin discovery in ancient sites lies in the fact that the problem of their exact and somewhat absolute chronology can be based on coins. In other words, the fact that a coin belongs to a particular period or date means that the area in question also existed at that time. In addition, important features such as the name of the coin owner, the name of the mint, and the date of minting on each coin can provide useful historical information. Further study and observations of the authors about the coin discovered in Barzanun show that this coin was also one of the dinars of the reign of Sanjar and was minted in Neyshabur in 551 AH.
Coins can be considered a valuable document and the best archaeological data, because they belong to the same era and did not appear like historical texts for the purpose of re-reading. So, given that historical texts provide scattered and sometimes contradictory information on events, this shortcoming can be compensated by referring to more reliable documents such as coins. Archaeological data in general, as a relatively reliable reference, confirms, confirms, or completes written source information. In the meantime, completing the information of written sources is doubly important. In other words, these data can reveal dark corners of historical events and currents for historians. This article tries to provide a complete reading of the history of that coin in Neyshabur province from the perspective of archeology and history in addition to the complete introduction of the coin in question, and brings a joint analysis through the two sciences.
Discussion
After the Qatwan war between Sultan Sanjar and the Qarakhtaeans (536 AH), the Seljuk rule was severely weakened. Many of the emir’s subjects rebelled and claimed independence, and this increased with Sanjar’s aging. . With the invasion of Oghuzs to Khorasan and the capture of Sultan Sanjar (548 AH), widespread chaos spread throughout Khorasan. In addition to the continuous attacks of the Oghuzs, some independent commanders seized power and in addition The Ismailis of Quhistan, Khwarezmshahis and Ghurids conquered large parts of Khorasan. During the captivity of Sanjar (551-548 AH), some of his rulers resisted the attacks of the Oghuzs and put Suleiman Shah, the nephew of Sultan Sanjar, on the throne. Suleimanshah was not enough and after the defeat of his army from Oghuzs and the conquest of Neyshabur (549 AH), he went to the realm of Atsiz Kharazmshah and then fled to Iraq, Mahmud, the nephew of Sultan Sanjar, was elected to the throne. The most important Seljuk emir, Moayed Ibeh, was able to dominate some cities of Khorasan, including Neyshabur, and prevent the domination of Oghuzs by expanding his territory. After that, Ibeh separated from the new sultan, Mahmoud, and led his army to independence. After the defeat of Sultan Mahmud in the battle with Oghuzs, he enlisted the help of Atsiz Kharazmshah and at the same time Ibeh was able to free Sanjar from captivity (551 AH). In fact, with the alliance of Sultan Mahmud and Atsiz Kharazmshah, the power and legitimacy of Ibeh was lost, so the release of Sultan Sanjar could and the minting of new coins in his name could guarantee the survival of Ibeh’s rule.
Conclusion
The discovery of a golden dinar from Sultan Sanjar, minted in Neyshabur in 551 AH, is one of the most superficial layers of the “Qahve Khane Sangi” area, probably abandoned during this period, and a relatively similar specimen (probably struck in Neyshabur, in 551 AH) was able to provide new information to researchers. Coinage is normally used to meet the economic needs of each city and region, but in such cases coinage is merely a manifestation of power and legitimacy. The minting of these coins can be attributed to the liberation of Sultan Sanjar from captivity and Ibeh’s affirmative efforts to gain more power in Neyshabur and even Khorasan. By minting such coins, he was able to secure two of his main demands, namely, to confront Sultan Mahmud and Atsiz Kharazmshah and to gain the necessary legitimacy to continue his rule as Sultan Sanjar. The existence of written differences on the original coin of this study and a similar example, ie the displacement of the central text in two coins and the lack of writing the date of coinage in the same sample, can confirm the urgent need to mint such coins. In addition, the existence of weight differences between the original coin and a similar pattern (3.1 and 2.82 g) can be a sign of insignificance of monetary weights and independence from the economic system of the period. Although the liberation of Sultan Sanjar could be a great help to Ibeh, it could not be considered a cure for the turmoil in Khorasan, and finally, a little later, Sultan Sanjar died in 552 AH without taking any important and effective action.
Khorasan was of great social and economic importance during the Seljuk period and with the rise to power of Sultan Sanjar (511-552 AH), it became the political nucleus of the Seljuk Empire. With the invasion of the Oghuzs (548 AH) and the capture of Sultan Sanjar, the political, social and economic situation of Khorasan became chaotic. The site of the Barzanun “Qahve Khane Sangi” also belongs to the Seljuk period, and with the discovery of gold coins from Sultan Sanjar (minted in Neyshabur in 551 AH) in its surface layers, it is possible. Which has wreaked havoc in the conflict of these attacks. Due to such widespread chaos, historical texts have scattered and different information about this historical event, so by having such a coin, the science of numismatics can rely on the sciences of archeology and history. Provide valuable information to researchers. Therefore, the main basis of this article is the coin discovered from the “Qahve Khane Sangi” and a relatively similar example of it (probably struck in Neyshabur in 551 AH). The main questions of this research are: 1. How can a part of the history of that era be reconstructed using this coin and a similar example? 2. According to the prevailing conditions and influencing factors, by whom and for what purpose were the coins in question minted? In addition to introducing these flag coins, this article intends to reconstruct and determine the causes of some events along with cognitive coin data along with historical texts. As a result, it was determined that the coins studied after the release of Sultan Sanjar from captivity and in his name, by Moayed Ibeh, in order to oppose the alliance of Sultan Mahmoud (the first period of the rule of 551-548 AH) and Atsiz Kharazmshah (551 -521 AH) and gaining the necessary legitimacy for the survival of his power and rule in the position of Amir affiliated to Sultan Sanjar, has been beaten in Neyshabur and even parts of Khorasan.
Keywords: Sultan Sanjar, Neyshabur, Oghuz invasion, Numismatics, Qahve Khane Sangi.
Introduction
In the fall of 2008, the first group of archeology students of Neyshabur University set foot in the “Qahve Khane Sangi” (Barzanun, Neyshabur, Khorasan Razavi) for educational exploration. An examination of the surface data and information from the four trenches in the first chapter of this scientific-educational excavation suggested that the site contained artifacts from the end of the historical period to the Mongol invasion, but the possibility was growing. The main use and peak period of this area was related to the Seljuk period. Thus, a special data, the dinar from the Seljuk period, obtained at the top level of the second trench, could have been a validation of this possibility.
The importance of coin discovery in ancient sites lies in the fact that the problem of their exact and somewhat absolute chronology can be based on coins. In other words, the fact that a coin belongs to a particular period or date means that the area in question also existed at that time. In addition, important features such as the name of the coin owner, the name of the mint, and the date of minting on each coin can provide useful historical information. Further study and observations of the authors about the coin discovered in Barzanun show that this coin was also one of the dinars of the reign of Sanjar and was minted in Neyshabur in 551 AH.
Coins can be considered a valuable document and the best archaeological data, because they belong to the same era and did not appear like historical texts for the purpose of re-reading. So, given that historical texts provide scattered and sometimes contradictory information on events, this shortcoming can be compensated by referring to more reliable documents such as coins. Archaeological data in general, as a relatively reliable reference, confirms, confirms, or completes written source information. In the meantime, completing the information of written sources is doubly important. In other words, these data can reveal dark corners of historical events and currents for historians. This article tries to provide a complete reading of the history of that coin in Neyshabur province from the perspective of archeology and history in addition to the complete introduction of the coin in question, and brings a joint analysis through the two sciences.
Discussion
After the Qatwan war between Sultan Sanjar and the Qarakhtaeans (536 AH), the Seljuk rule was severely weakened. Many of the emir’s subjects rebelled and claimed independence, and this increased with Sanjar’s aging. . With the invasion of Oghuzs to Khorasan and the capture of Sultan Sanjar (548 AH), widespread chaos spread throughout Khorasan. In addition to the continuous attacks of the Oghuzs, some independent commanders seized power and in addition The Ismailis of Quhistan, Khwarezmshahis and Ghurids conquered large parts of Khorasan. During the captivity of Sanjar (551-548 AH), some of his rulers resisted the attacks of the Oghuzs and put Suleiman Shah, the nephew of Sultan Sanjar, on the throne. Suleimanshah was not enough and after the defeat of his army from Oghuzs and the conquest of Neyshabur (549 AH), he went to the realm of Atsiz Kharazmshah and then fled to Iraq, Mahmud, the nephew of Sultan Sanjar, was elected to the throne. The most important Seljuk emir, Moayed Ibeh, was able to dominate some cities of Khorasan, including Neyshabur, and prevent the domination of Oghuzs by expanding his territory. After that, Ibeh separated from the new sultan, Mahmoud, and led his army to independence. After the defeat of Sultan Mahmud in the battle with Oghuzs, he enlisted the help of Atsiz Kharazmshah and at the same time Ibeh was able to free Sanjar from captivity (551 AH). In fact, with the alliance of Sultan Mahmud and Atsiz Kharazmshah, the power and legitimacy of Ibeh was lost, so the release of Sultan Sanjar could and the minting of new coins in his name could guarantee the survival of Ibeh’s rule.
Conclusion
The discovery of a golden dinar from Sultan Sanjar, minted in Neyshabur in 551 AH, is one of the most superficial layers of the “Qahve Khane Sangi” area, probably abandoned during this period, and a relatively similar specimen (probably struck in Neyshabur, in 551 AH) was able to provide new information to researchers. Coinage is normally used to meet the economic needs of each city and region, but in such cases coinage is merely a manifestation of power and legitimacy. The minting of these coins can be attributed to the liberation of Sultan Sanjar from captivity and Ibeh’s affirmative efforts to gain more power in Neyshabur and even Khorasan. By minting such coins, he was able to secure two of his main demands, namely, to confront Sultan Mahmud and Atsiz Kharazmshah and to gain the necessary legitimacy to continue his rule as Sultan Sanjar. The existence of written differences on the original coin of this study and a similar example, ie the displacement of the central text in two coins and the lack of writing the date of coinage in the same sample, can confirm the urgent need to mint such coins. In addition, the existence of weight differences between the original coin and a similar pattern (3.1 and 2.82 g) can be a sign of insignificance of monetary weights and independence from the economic system of the period. Although the liberation of Sultan Sanjar could be a great help to Ibeh, it could not be considered a cure for the turmoil in Khorasan, and finally, a little later, Sultan Sanjar died in 552 AH without taking any important and effective action.
Hassan Basafa, Farshid Masihnia,
year 6, Issue 20 (9-2022)
year 6, Issue 20 (9-2022)
Abstract
Abstract
The Iron Age in the Middle Asia and an important part of it that called Khorasan is a Transitional period between prehistory and historical period. This period always has many ambiguities and questions; Especially in Khorasan, where the lack of archaeological studies is strongly felt. In this area, the Neyshabur Plain has a special position in terms of archeology and is undoubtedly influential in understanding the cultural components of the Iron Age in the region. In the current study, Milad Tape, which is located almost in the middle of Neyshabur Plain, was sampled as a systematic survey. The purpose of this work is to obtain information that can be used to advance the long-term goals of interpreting the Iron Age in Khorasan, especially Neyshabur. In this regard, the most important question is how Iron Age in the perspective of recent studies of Khorasan cultural field. In Milad Tape, whose surface is flat and smooth, sampling of cultural materials has been carried out in the framework of a systematic survey in order to study the Iron Age in a comparative approach with the typology and classification of pottery. Also, by using the settlement pattern of the area and other settlement components of Milad Tape, it is possible to fully examine and read part of the unknown structures of the Iron Age of the Neyshabur Plain and, accordingly, Khorasan. According to the research results, Milad Tape, which has a settlement sequence in the Iron Age, can be interpreted in the framework of the Early to Late Iron Age of the region. Pottery typology studies, also show similarity with the Central Asia Iron Age, which is known as Yaz I to III based on the material cultural of Yaz Depe area. In general, in the comparative approach, Milad Tape samples are closely related to Yaz pottery tradition.
Keywords: Iron Age Khorasan, Neyshabur Plain, Yaz, Milad Tape.
Introduction
Among the archaeology and cultural periods of Khorasan, there is a lack of studies in the second and first millennia BC. Although the first study of this region that led to the recognition of the Iron Age, dates back to the 1980s (Riccardi, 1980). In recent decades, archaeologists have tried to make the knowledge of this period more complete (Vahdati, 2015, 2018; Basafa, 2021, 2020, 2015, 2016). The most important archaeological investigations consist of Atrak River project in North Khorasan (Dana, 2015 and 2019; Vahdati, 2016), Daregaz Plain (Basafa & Hedayati, 2020), Neyshabur Plain (Basafa, 2017), Roshtkhar Plain (Rezayi, et. al., 2018), Gonabad Plain (Basafa, 2021) and Birjand Plain (Dana, 2014).
From the mentioned researches, it can be understood that neighboring cultures are very important, such as the ancient Dahistan culture in the northeast of the Mazandaran Sea, which can also be seen in the plains of Gorgan and North Khorasan (Lecomte, 2005) and Yaz culture (Kohl, 1984: 193).
In completing the archeological information of Khorasan Iron Age, Neyshabur plain sites are very important because of the location of Neyshabur plain and its environmental potentials (Rezaei & Basafa, 2019). Milad Tape (Fig. 1) is located in this geographical environment, which belongs to the Iron Age. Milad Tape and other sites like Se Tape can show new evidence of local cultures and cultural interactions with Central Asia.
Materials and Methods: This research relies on the material cultures that collected from the systematic survey of site. It’s most important cultural materials are potsherds, were first studied in a statistical approach and then analyzed comparatively in comparison with neighboring cultures.
Data
In the sampling conducted in Milad Tape, were obtained various stone tools such as blades and chips, metal melting slags, furnace welds and a significant number of potsherds. A total of 1586 pieces of potsherd have been sampled from the surface of the site, and among the three general categories of rim, body and floor, the most abundant pieces belong to the body. From the total samples that can be dated in Iron Age I, the rim has a frequency of 1%, the body 93% and the bottom 6%. In the Iron Age II and III, the rim and the bottom with an abundance of 3% and the body with 93% of the total have the most parts. Among the examples that can be dated in this site, where a comparative approach was used, three periods can be distinguished from the Early to the Late Iron Age.
Discussion
Looking at the most important cultural material of Milad Tape, we can say that its pottery components are closely related to Central Asia. In the Early Iron Age, in this site, an important phenomenon is low-quality handmade pottery, which is considered one of the main characteristics of Yaz I. In the middle and Late Iron Age, the previous statements also apply, and its morphology also shows that similarities in terms of construction and form can be seen in Milad Tape pottery in these periods as well. In this context, double-lobe pottery, which is defined as the most important characteristic of Yaz II and III cultures, was produced in a wide range with minor changes in the Neyshabur plain.
In completing the studies, environmental factors are very important, and based on this, Milad Tape is located in the range of 900 to 1200 meters above sea level in terms of height, and in terms of the settlement pattern, it is located in the lowlands of the Neyshabur plain (Fig. 7), which has suitable land for population development. The study of Milad Tape water resources, which undoubtedly played an important role in choosing the location of the sites, shows that there is a direct relationship between the water resources and the location of the site, so that its small distance from the water sources has caused it to grow well in terms of dimensions. Milad is located near Kale-Shure in the center of the plain (Fig. 8) where many waterways and streams flow into it, the most important of which flowed a short distance from the site. This satellite has been able to facilitate access to water resources for agriculture and livelihood. The study of land use (Fig. 9) also shows that Milad is in a good agricultural position and probably suitable water sources have caused agriculture to be carried out by hydroponics in this area. Based on this, the location of the settlement surrounded by suitable pastures has provided the conditions for animal husbandry and livestock breeding for the livelihood of the population of the area. Based on the mentioned materials and in the general view, Milad Tape has created suitable conditions and platform for the use of agriculture in the region. On the other hand, the existence of pastures has provided the grounds for subsistence economy based on animal husbandry.
Conclusion
Due to the strategic location of access to water resources and the use of fertile soil, Milad Tape is one of the important sites and settlements in this area, along with other sites, especially Set Tape. By analyzing the cultural materials, a settlement sequence from the Yaz I period and its continuation to Yaz II and III was observed, which shows that it was of special importance in the Neyshabur plain and was efficient in drawing chronological horizons and presenting cultural components along with other sites. The few analyzes of the settlement pattern of Milad Tape also show that suitable water sources were available and the agricultural land was ready. This location selection pattern is also observed in Central Asia. Based on biological patterns, fertile soil, and agricultural use in the effective use of land in the Milad Tape area, it shows that there was a permanent settlement with a livelihood based on agriculture in its settlement area, which may have been three hills. The influence of the cultural characteristics of Central Asia and Yaz culture in Milad Tape, according to the typology of pottery, shows the influence and cultural interactions.
Acknowledgments
We would like to gratitude and appreciation to the respected of the cultural heritage department chief of Neyshabur city, Mr. M. E., Etemadi, for his support in the field activity.
The Iron Age in the Middle Asia and an important part of it that called Khorasan is a Transitional period between prehistory and historical period. This period always has many ambiguities and questions; Especially in Khorasan, where the lack of archaeological studies is strongly felt. In this area, the Neyshabur Plain has a special position in terms of archeology and is undoubtedly influential in understanding the cultural components of the Iron Age in the region. In the current study, Milad Tape, which is located almost in the middle of Neyshabur Plain, was sampled as a systematic survey. The purpose of this work is to obtain information that can be used to advance the long-term goals of interpreting the Iron Age in Khorasan, especially Neyshabur. In this regard, the most important question is how Iron Age in the perspective of recent studies of Khorasan cultural field. In Milad Tape, whose surface is flat and smooth, sampling of cultural materials has been carried out in the framework of a systematic survey in order to study the Iron Age in a comparative approach with the typology and classification of pottery. Also, by using the settlement pattern of the area and other settlement components of Milad Tape, it is possible to fully examine and read part of the unknown structures of the Iron Age of the Neyshabur Plain and, accordingly, Khorasan. According to the research results, Milad Tape, which has a settlement sequence in the Iron Age, can be interpreted in the framework of the Early to Late Iron Age of the region. Pottery typology studies, also show similarity with the Central Asia Iron Age, which is known as Yaz I to III based on the material cultural of Yaz Depe area. In general, in the comparative approach, Milad Tape samples are closely related to Yaz pottery tradition.
Keywords: Iron Age Khorasan, Neyshabur Plain, Yaz, Milad Tape.
Introduction
Among the archaeology and cultural periods of Khorasan, there is a lack of studies in the second and first millennia BC. Although the first study of this region that led to the recognition of the Iron Age, dates back to the 1980s (Riccardi, 1980). In recent decades, archaeologists have tried to make the knowledge of this period more complete (Vahdati, 2015, 2018; Basafa, 2021, 2020, 2015, 2016). The most important archaeological investigations consist of Atrak River project in North Khorasan (Dana, 2015 and 2019; Vahdati, 2016), Daregaz Plain (Basafa & Hedayati, 2020), Neyshabur Plain (Basafa, 2017), Roshtkhar Plain (Rezayi, et. al., 2018), Gonabad Plain (Basafa, 2021) and Birjand Plain (Dana, 2014).
From the mentioned researches, it can be understood that neighboring cultures are very important, such as the ancient Dahistan culture in the northeast of the Mazandaran Sea, which can also be seen in the plains of Gorgan and North Khorasan (Lecomte, 2005) and Yaz culture (Kohl, 1984: 193).
In completing the archeological information of Khorasan Iron Age, Neyshabur plain sites are very important because of the location of Neyshabur plain and its environmental potentials (Rezaei & Basafa, 2019). Milad Tape (Fig. 1) is located in this geographical environment, which belongs to the Iron Age. Milad Tape and other sites like Se Tape can show new evidence of local cultures and cultural interactions with Central Asia.
Materials and Methods: This research relies on the material cultures that collected from the systematic survey of site. It’s most important cultural materials are potsherds, were first studied in a statistical approach and then analyzed comparatively in comparison with neighboring cultures.
Data
In the sampling conducted in Milad Tape, were obtained various stone tools such as blades and chips, metal melting slags, furnace welds and a significant number of potsherds. A total of 1586 pieces of potsherd have been sampled from the surface of the site, and among the three general categories of rim, body and floor, the most abundant pieces belong to the body. From the total samples that can be dated in Iron Age I, the rim has a frequency of 1%, the body 93% and the bottom 6%. In the Iron Age II and III, the rim and the bottom with an abundance of 3% and the body with 93% of the total have the most parts. Among the examples that can be dated in this site, where a comparative approach was used, three periods can be distinguished from the Early to the Late Iron Age.
Discussion
Looking at the most important cultural material of Milad Tape, we can say that its pottery components are closely related to Central Asia. In the Early Iron Age, in this site, an important phenomenon is low-quality handmade pottery, which is considered one of the main characteristics of Yaz I. In the middle and Late Iron Age, the previous statements also apply, and its morphology also shows that similarities in terms of construction and form can be seen in Milad Tape pottery in these periods as well. In this context, double-lobe pottery, which is defined as the most important characteristic of Yaz II and III cultures, was produced in a wide range with minor changes in the Neyshabur plain.
In completing the studies, environmental factors are very important, and based on this, Milad Tape is located in the range of 900 to 1200 meters above sea level in terms of height, and in terms of the settlement pattern, it is located in the lowlands of the Neyshabur plain (Fig. 7), which has suitable land for population development. The study of Milad Tape water resources, which undoubtedly played an important role in choosing the location of the sites, shows that there is a direct relationship between the water resources and the location of the site, so that its small distance from the water sources has caused it to grow well in terms of dimensions. Milad is located near Kale-Shure in the center of the plain (Fig. 8) where many waterways and streams flow into it, the most important of which flowed a short distance from the site. This satellite has been able to facilitate access to water resources for agriculture and livelihood. The study of land use (Fig. 9) also shows that Milad is in a good agricultural position and probably suitable water sources have caused agriculture to be carried out by hydroponics in this area. Based on this, the location of the settlement surrounded by suitable pastures has provided the conditions for animal husbandry and livestock breeding for the livelihood of the population of the area. Based on the mentioned materials and in the general view, Milad Tape has created suitable conditions and platform for the use of agriculture in the region. On the other hand, the existence of pastures has provided the grounds for subsistence economy based on animal husbandry.
Conclusion
Due to the strategic location of access to water resources and the use of fertile soil, Milad Tape is one of the important sites and settlements in this area, along with other sites, especially Set Tape. By analyzing the cultural materials, a settlement sequence from the Yaz I period and its continuation to Yaz II and III was observed, which shows that it was of special importance in the Neyshabur plain and was efficient in drawing chronological horizons and presenting cultural components along with other sites. The few analyzes of the settlement pattern of Milad Tape also show that suitable water sources were available and the agricultural land was ready. This location selection pattern is also observed in Central Asia. Based on biological patterns, fertile soil, and agricultural use in the effective use of land in the Milad Tape area, it shows that there was a permanent settlement with a livelihood based on agriculture in its settlement area, which may have been three hills. The influence of the cultural characteristics of Central Asia and Yaz culture in Milad Tape, according to the typology of pottery, shows the influence and cultural interactions.
Acknowledgments
We would like to gratitude and appreciation to the respected of the cultural heritage department chief of Neyshabur city, Mr. M. E., Etemadi, for his support in the field activity.
Javad Abbasi, Roya Bahadori, Federica Cappa, Dubravka Jembrih-Simbuerger, Manfred Schreiner, Seyyed Iraj Beheshti,
year 7, Issue 23 (5-2023)
year 7, Issue 23 (5-2023)
Abstract
Abstract
In this study, the colors used in the Inscription and mural paintings of tomb of Ghadmagah in Neishabour were analyzed by instrumental analytical methods. Ghadmagah is located in the center of the Zabarkhan section, on the Neyshabur-Mashhad Road. Ghadmagah tomb-garden is located in the village of the same name 24 kilometers east of Neyshabur, Iran, and was built in the early seventeenth century. According to historical sources Ghadmagah was built in the early eleventh century AH (ca. 1600 AD), and the origin of this site dates back to Islam. Some believe that the Ghadmagah monument was designed by Sheikh Baha’i. The architectural decoration of this building is most importantly tiling, plastering and mural paintings. Given that the building was built in different periods and originally dates back to the Safavid period. The present study aimed to study the color bedding and pigments in the Inscription and mural paintings of the building to find out what period the mural paintings in the building belong to. Mural painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially mural paint, is the identification of the nature of paintings used to decorate the walls. Identification of pigments is also important not only from the perspective of archeology but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Keywords: Pigment, Neyshabur Ghadmagah, Inscription, Mural Painting, Analytical Methods.
Introduction
The use of physical and chemical analysis methods to identify the constituents of works of art, before any intervention occurs, plays a key role; because the results of such an analysis are very useful for deciding whether to conserve or regenerate these materials. In addition, each of the different pigments can have a different regeneration process. On the other hand, the analysis of ancient paintings may provide information about the artistic techniques and visual materials used in the past and expand the knowledge of the customs and techniques of ancient societies.
In fact, physical and chemical analysis provides useful information about the range of pigments present in an area and knowledge of dye preparation techniques and applications. In addition, the study of the originality and origin of pigments allows the discovery of connections and trade lines. On the other hand, restorers need detailed information about the chemical composition of the materials used in a work before restoration work.
Identifying the materials and pigments used in this building is one of the most important questions of this research, and then by considering the history of using pigments, we can understand the dating of the paintings in this building. Do these paintings belong to the period of construction of the building, ie the Safavid period, or were they added to the building in later historical periods? Depending on the type of painting pigments, the colors can be restored.
Materials and Methods
In this research, empirical and analytical methods have been used to achieve the goals. Data collection is based on information from library studies and instrumental methods. The complete information of the devices used in this research is fully described in the Materials and Methods section.
In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Data
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O) also gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors.
Discussion
The inscription at the top of the building used two colors, blue and gold, the result of the analysis showed that the blue color was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
Green phthalocyanine copper is a new pigment that may have been used to restore painting. This pigment was first used in 1320 AD, but it is not clear on what date this pigment was used to repair or reconstruct this paint. Due to the presence of oil in the FTIR spectrum of this color, it seems that unlike other colors, oil has been used to close this color, and the technique used in this color is different from other colors.
Conclusion
Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period.
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The results of identification of gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
In this study, the colors used in the Inscription and mural paintings of tomb of Ghadmagah in Neishabour were analyzed by instrumental analytical methods. Ghadmagah is located in the center of the Zabarkhan section, on the Neyshabur-Mashhad Road. Ghadmagah tomb-garden is located in the village of the same name 24 kilometers east of Neyshabur, Iran, and was built in the early seventeenth century. According to historical sources Ghadmagah was built in the early eleventh century AH (ca. 1600 AD), and the origin of this site dates back to Islam. Some believe that the Ghadmagah monument was designed by Sheikh Baha’i. The architectural decoration of this building is most importantly tiling, plastering and mural paintings. Given that the building was built in different periods and originally dates back to the Safavid period. The present study aimed to study the color bedding and pigments in the Inscription and mural paintings of the building to find out what period the mural paintings in the building belong to. Mural painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially mural paint, is the identification of the nature of paintings used to decorate the walls. Identification of pigments is also important not only from the perspective of archeology but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Keywords: Pigment, Neyshabur Ghadmagah, Inscription, Mural Painting, Analytical Methods.
Introduction
The use of physical and chemical analysis methods to identify the constituents of works of art, before any intervention occurs, plays a key role; because the results of such an analysis are very useful for deciding whether to conserve or regenerate these materials. In addition, each of the different pigments can have a different regeneration process. On the other hand, the analysis of ancient paintings may provide information about the artistic techniques and visual materials used in the past and expand the knowledge of the customs and techniques of ancient societies.
In fact, physical and chemical analysis provides useful information about the range of pigments present in an area and knowledge of dye preparation techniques and applications. In addition, the study of the originality and origin of pigments allows the discovery of connections and trade lines. On the other hand, restorers need detailed information about the chemical composition of the materials used in a work before restoration work.
Identifying the materials and pigments used in this building is one of the most important questions of this research, and then by considering the history of using pigments, we can understand the dating of the paintings in this building. Do these paintings belong to the period of construction of the building, ie the Safavid period, or were they added to the building in later historical periods? Depending on the type of painting pigments, the colors can be restored.
Materials and Methods
In this research, empirical and analytical methods have been used to achieve the goals. Data collection is based on information from library studies and instrumental methods. The complete information of the devices used in this research is fully described in the Materials and Methods section.
In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples.
Data
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O) also gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors.
Discussion
The inscription at the top of the building used two colors, blue and gold, the result of the analysis showed that the blue color was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
Green phthalocyanine copper is a new pigment that may have been used to restore painting. This pigment was first used in 1320 AD, but it is not clear on what date this pigment was used to repair or reconstruct this paint. Due to the presence of oil in the FTIR spectrum of this color, it seems that unlike other colors, oil has been used to close this color, and the technique used in this color is different from other colors.
Conclusion
Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period.
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The results of identification of gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.
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