Abstract
There are important events in Ebraham’s life in Babylon - Mesopotamia so, his name was familiar to Babylonians. Babylon is one of the civilizations and cities in Southern Mesopotamia the people of Babylon did not know the alone and grand God and worship stony idols. Abraham defeated idols with his presence in this city. For this reason, to Nimrod command throw up him to the mountain of fire. Fire became to “Golestan” for him. He was a pure Muslim except the grand creator he did not prostration anything else. The prophet who was tested many times and proudly came out of it. One of Abraham’s experiments is to kill his son Ismail. After this test, he reached a high ranking and set on the head the crown of Khalilullah. The events of his life are detailed in the holy Quran. The effect of registered stamps, including visual and writing resources, is one of the ways gets acquainted with ancient times and their social transformations. We can by examining the effect of their stamp become familiar with the social life of prehistoric people and all kinds of activities, customs, beliefs traditions and characteristics of their lives. One of the most important findings of the ancient archaeological excavation is “seal impression”. The engraved role on this pieces depicts the story of cutting of a personal head that is comparable to the slaughter of Islam. The main question of this research is, what is the meaningful relationship between the historical event of the slaughter Ismail and the seal impression of Babylon? Considering a semantic relationship in the content of both stories, this article this is the historical event of the most important parts of the Holy Quran and the religious and mystical literary source. The relationship between two events should be presented with one of the most important finding of the picture of Babylon (including the seal impression on the altar scene similar to the slaughter of Ismail).
Keywords: Seal Effect, Babylon, Hazrat Ismail, Slaughter, Hazrat Ebraham.  

Introduction
The commentators on the Quran interpret the verses related to the life of Hazrat Ebraham has descripted the various parts of his life. The Holy Quran has consistently inspired a great deal of spirituality in the hearts of Muslim mystics, so many Quranic patterns have been reflected in our mystical literature. The clay tablets left over from flat and cylindrical seals, including visual and written sources, have narrated the social and cultural developments of various historical eras from the fourth millennium BC to the late Sassanids period. The main question of this research is, what is the meaningful relationship between the historical event of the slaughter Ismail and the seal impression of Babylon? Considering a semantic relationship in the content of both stories, this article this is the historical event of the most important parts of the Holy Quran and the religious and mystical literary source. The relationship between two events should be presented with one of the most important finding of the picture of Babylon (including the seal impression on the altar scene similar to the slaughter of Ismail).

The Seal Impression Under Study
One of these seal effects has obtained from Babylon in Mesopotamia. This stamp by Jeanne Diemer Nijhowne has been studied in his Ph.D. thesis with title: “The study of symbols of political, religion, and the seal of Mesopotamian cylinders in the second millennium BC”. On the clay tab of this seal impression we are see the stamped role of 6 human figures and a scene this is comparable to the historical fact of the slaughter of Hazrat Ismail. This role do not exactly correspond to the historical fact quoted in the Quran, and only the contents of the stories are comparable to each other.

Conclusion
We start the result with “Roger bayside’s” sentence: for a long time, we have found that the art of a simple interval personal is not fruitless but affects the collective life of humans and can transform the fate of human societies. In order to better understand, the nature of thoughts and beliefs and the social status of human societies one can receive through their study of art. Religious designs in different cultures have a status beyond the apparent beauty. Although the beauty and beauty of art work is an important feature of art, but these roles have higher values. Each role is not just beauty color, and shape it also has a meaning the appearance of many roles in different motifs at the start of seeing is an invisible and in word maiming study and research in various aspects of art will deserve the recognition of many of the signs and roles of various arts. Otherwise, you cannot get enough interest from the art work unfortunately, the study of this image of religious and ritual art (various parts, such as the historical event of slaughter Ismail) is located less discussed in comparison with historical dimension. This issue, addressed in this writing, is primarily aimed at introducing a historical event from past documentation in the context of history that in the Quran and historical sources are mentioned. And attempted to drow on the two - sided (decorative and semantic) relationship of an effect (painted muddy bred discovery from Babylon- Iraq) artistic found to this paid historic event that has been neglected in Persiam source. And in no way intends to make a new claim to the events events that occurred in this historical event. The Babylonian muddy bred repeat the impact of the historical event has been one the beliefs of the people of Babylon in their period. In any event the end result is this with all the probabilities and doubts in the story of Babylonian muddy bred only the themed of both stories can have a meaningful relationship with each other.

Abstract
The western Lut desert is well-known in the archaeology of Southwest Asia because of the existence of an early urban center (Shahdad) that dates back to the 3rd millennium BC. The site of Shahdad, as one of the major urban centers of the Bronze Age of Southeastern Iran, plays an important role in the Near Eastern archaeological studies. After half a century of Shahdad excavations, it is time to have a new look at Shahdad and its objects in light of our present knowledge from the archeology of southeast Iran. Here is an assessment of Shahdad data obtained from Shahdad excavations such as seals, metal and clay objects. In another article, we discussed the rest of finds of Shahdad. In this study we tried to present a revised chronology for Shahdad. This article also provides information on the status of the regional and trans-regional cultural interactions of Shahdad.
Keywords: Shahdad, Chronology, Metal Objects, Seals, Cultural Interactions.

Introduction
The site of Shahdad is located at the base of an alluvial fan where it was in antiquity surrounded by the Shahdad River and a number of streams flowing east from their origin in the western mountains. In 1968, during a general geographical reconnaissance of the Lut depression, the Early Bronze Age site of Shahdad was identified. Excavations lead by Ali Hakemi of the Archaeological Service of Iran began in the following year and continued until 1978. The work concentered on a necropolis in which 383 graves were cleared including many with spectacular grave goods, including impressive human statuettes, elaborate metal objects such as a bronze standard, numerous stone and ceramic containers and ornamental finds. Hakemi also did some excavations in the east of the site, Operation D, which he identified as an industrial area of the urban center of Shahdad. Overall, excavations in necropolis and industrial area provided evidence for local craft activities and cross-regional contact. This article reevaluates the results of Shahdad excavations conducted by Hakemi.

Chronology, Seals, Metal and Clay Objects
The comparative study of the metal artifacts of Shahdad with those of the sites of Southwestern Asia revealed some results. First, the interactions of Shahdad with long-distance areas such as Indus valley, Central Asia, East, West and southwest of Iran were identified, then the evidence of the existence of a very homogenous style in metal objects in a wide geographical area was revealed and third, Shahdad was a metal production center with its own characteristics. Due to the comparative chronology, Shahdad metal artifacts date back from the mid third millennium BC to the early second millennium BC.
According to the comparative studies, Shahdad seals share some similarities and characteristic with those of Early Bronze Age sites such as Shahr-e Sokhta, Jiroft, Tepe Yahya and the remote areas such as Central Asia and the Indo-Iranian borderlands. It was also revealed that most of Shahdad seals are not comparable with those found from other regions and they had their own local characteristics. One-cylinder seal was also uncovered from workshop D that is not yet published. Due to erosion, its motif is not very clear. It seems to represent a winged goddess.
Two unique artifacts were found from Shahdad; one human statues and one house models. In total, 24 human clay statues were discovered from Shahdad cemetery which had ritual functions. The clay house models were uncovered from 33 graves of the cemetery of Shahdad. They are cubical and 20-30 centimeters long. Some researchers take them as a 3D example of house motifs on chlorite vessels. Hakemi called them shrines.
The comparative analysis of the funerary goods reveals that the cemetery A of Shahdad dates to the mid third millennium BC and lasts until the late third millennium BC (2500-2000). This dating is based on the comparative studies on pottery, chlorite and marble vessels, bronze objects and seals of Shahdad with the contemporaneous areas of southeastern Iran and neighboring regions such as Shahr-i Sokhta, Jiroft, Bampur, Tepe Yahya, Mundigak, Umm-al Nar, Susa and the sites of the central Asia. Also, the dating of the second half of the third millennium BC was proposed for the artisans ‘area (area D), the residential areas excavated by Kaboli and, in general, the entire area of the city of Shahdad. In other words, the flourishing period of this city is the second half of the third millennium BC. Furthermore, the early 2nd millennium BC was proposed for the culture after the collapse of the urbanization of Shahdad (cemeteries B and C).

Conclusion
The revision of Shahdad data yielded some new information. Shahdad had been inhabited for a long period from the middle third millennium BC to the early second millennium BC and it was flourished during the second half of the third millennium BC. By studying cultural materials found from Shahdad area, one can find cultural interactions of Shahdad with other regions. The impact of Shahdad on Central Asia through the Bronze and chlorite materials can be easily observed. Despite all the cultural interactions with all these regions, the local and regional cultural traditions dominated in Shahdad and it has all the characteristics of a city with local cultural character in 3rd millennium BC. In general, the similarity and harmony between the cultural materials of Shahdad and different parts of the Southwest Asia, from Mesopotamia and Southwest Iran to Central Asia, the Indus valley and the south of the Persian Gulf indicate the existence of a cultural interaction sphere in the west of Asia during the early and middle Bronze Age.

Abstract
The most important way of understanding human being in the past is to study their relics and among the works that have made a significant contribution to identifying culture and civilization and many other issues of ancient Iran, the motif are seals. Studies of this kind of data have been the focus of archeologists and historians for many years and many articles and books have been published on this endless subject. Because the seal and sealing in answering some questions, the correct orientation of a number of questions and new questions about social, economic and people perceptions of the past have been raised. In some motives the artist describes his/her world and this kind of description is actually the optimal use of symbols. In the Persepolis museum, there is a black seal that differ substantially from other Achaemenid seals. This bilateral seal is a lesser-known role in the art of molding and is unique in Achaemenid molding. This seal is first published and revised based on various criteria such as art style and symbol interpretation. The main purpose of this article is to document and introduce the symbols of this seal; the author will also answer a few questions about this seal by using descriptive-analytic methods and by using authentic library resources after fully describing this seal. First, what are some of the concepts used on the engraving on the seal? How these symbols originated and whether these forms were the result of Achaemenid thought or a legacy of a very ancient culture?
Keywords: Seal, Achaemenid, Persepolis, Symbol.

Introduction
On the occasion of the plan of organizing the repositories of the Persepolis museum in the summer of 2015, I had a black seal on a meeting in august of that year. This seal had differences A double-sided stamp seal that is unique in the Achaemenid period. On the other hand, the seals have a special place among the represent the customs, habit and believes of a people and also showcase history, religion, philosophy and art alongside administrative. Social management for centuries, these motives are rooted in ancient Iranian civilization and sometimes influenced by neighboring nations. This portable data has also spread art and culture to other lands due to its use in commercial exchanges, office letters and political relationships. The main purpose of this article is to document this seal and to interpret the emblems that have reached the Achaemenid from the distant past. Recorded in the Persepolis museum of bilateral seal No. 1267. It has a diameter of 15 mm and a thickness of 9 mm. It is made of stone and its location is Persepolis. There are three distinct roles on the seal. First the man sitting and holding a bowl in his hand and a flower in his other hand. The second is the cedar tree behind the man, and the third is censer in front of the man. The man is Probably a king with a short crown, the hemisphere is like the Achaemenid image.

Identified Traces
Three separate images can be seen on the seal, first is the man sitting and holding the wine cup in one hand and the flower in the other the second is the cedar tree behind the man and the third the udsuz in front of the man.
The man is probably a king with a short crown with several congresses, it is depicted from the half- face like the other Achaemenid image, the crown is similar to the Ahura Mazda round Cap. On the king’s seal has the original image and the role of cendar and is quite marginal.
Beneath the crown of hair, curly like all the motifs of persepolis the forehead and back, the king’s face wide and his eyebrows reached the ears, the nose is delicate, long and straight, lips are up and drinking and beard shorter than persepolis motifs but curly, the king’s eyes look great. The king’s neck was proportioned to the body, part of which was nuder the dress, the king’s hands are long and stretched and he looks thin. The king has a lotus flower in his left hand with a bud in his right hand corner, like Darius in the Naghshe Baram. The branch of the flower is tall and its end protrudes from the king’s hands. The king has a large wine cup in his right hand that lifts it up or closes it. The king’s waist is slender and its curvature is quite evident, and the belt is wrapped in two rows around the king’s waist. The king’s feet are on the ground and parallel to the base of the chair. The king’s Boot is a long boot with twisted straps that are not simple in the designs attributed to king Boots, but a simple shoe. Behind the king is a small triangular cedar, there are ten rows of branches on the left and eleven branches on the right of the cedar tree. The branches have all gone upwards and look like praying hands.
It is noteworthy that most tree motifs are on the palm tre seal and less than the cedar tree. Lion painted on a young and very angry seal seems to be a characteristic of most of the lions imprinted in the Achaemenid period. The body of lion is soft and agile, his head turned back. The hands and feet are in a relaxed gait so that the lion triumphantly moves forward the bird on the seal is Dorna that wing has been opened it seems that the artist insisted on drawing the head and neck of the Dorna so as not to induce the role of the Farrah.

Conclusion
Prehistoric believes of Iranian ethnicity have had such a broad role in shaping Iranian art that it is still visible in many works of art, an example is the seal studies. At a time when most of the seals built during the Achaemenid period are cylindrical, a bilateral seal imprinted on Persepolis is the most famous and important Achaemenid city, all the carved motives on it reflect the millennial believes of the Iranian people, some of which still have the same implicatins for contemporary people. None of the motives were devised by the Achaemenid artist, rather, old concepts in a new way with new technology and sophistication are on the seal.

Abstract
The motifs in Iranian art carry the concepts and themes that represent the worldview of human societies; the motifs that embody the seals reflect the legacy in which the context was created. The present study studies and analyzes animal motifs on lattice seals in southeastern Iran; one of the most interesting phenomena of the Bronze Age cultures in Iran is the prevalence of lattice seals in the southeast of Iran. These types of seals are generally made of bronze as well as silver in rare cases, and various alloys made with the missing wax method. The purpose of the present study is to identify their concepts and themes and to identify the factors that were involved in creation of the motifs of this period. It should be noted that these seals are made in the form of squares, circles and triangles and include geometric, plant, human and animal motifs. No substantiated theory has been put forward regarding the importance of substances on metal lattice seals. Obviously, information extracted from specimens used in the lattice seals of the southeast Iran during the Bronze Age can greatly shed lights on many of the ambiguities in this area. From this point on, we attempt to document the various conceptual and content dimensions of the design, based on a descriptive-analytical research method, relying on a library study method and assuming that the design of these designs is based on the surrounding nature and Indicates the importance of animals in the live hood of the people in this area, we discuss and analyze. The findings of the study indicate that these animals depicted on the seals have a significant influence on the lifestyle and status of these animals in the religious and intellectual beliefs that overwhelm in this area.. 
Keywords: Iran, South East, Seal, Compartmented Seal, Animal Motifs.

Introduction
Since the emergence of man on the scene, his attention has been focused on animals. animals have become an integral part of his life. This attention in the Paleolithic times was in the form of paintings on the caves wall, which somehow created a sense of power and superiority over these creatures, and somehow reflected his mastery over hunting. In this way, archaic man, without writing, only made the future known to his imagination and beliefs, instead of just visual arts. However, today’s human beings cannot experience their ancient culture and discover their mystery. Because some of the elements that today seem trivial and are part of human biological practices were once sacred and divine to them. Scientists and anthropologists have different views on the emergence, evolution, transformation, and diversity of the gods. But we can still draw a weak line from this. It may be somewhat plausible that it has a direct relationship with the production system and the environmental characteristics of humans in the emergence and development of gods. From the logic of practical philosophy, man has created gods at the shepherd stage that are different from the gods at the agricultural stage (Darwish, 65: 1355). During the Neolithic period, this dependence was inseparable from the extent to which humans were interested in domesticating animals and using them in their daily life (agriculture and animal husbandry). He also designed and used animal bones on his artifacts, including pottery. And it has benefited from agriculture and commerce. During the Bronze Age, the interest in animals was not only diminished, but also had a special place in the way that the role of animals was performed on reticular seals specific to southeastern Iran. Important questions that are addressed in this study are: What is the role of the applied seals and for what purpose? The purpose of this study is to determine the status and importance of these animals in the life cycle of these populations, and the hypothesis is that the function of animals is essential in the economic and livelihoods of these populations.

Animal Motifs
Thousands of years have passed, and humans have continued to ambush, trap, or hunt for their own livelihoods and for the survival of their generation. The hunter-gatherer thus established a long, intimate, unbroken bond with the animals through hunting, and owed his long life to them. It is not clear to us what kind of animal that human was feeding at that time, or what beliefs, beliefs, and beliefs they had. Our scant information only includes the remains of bones and the kind of tools that come from ancient sites and give a very clear picture of those communities. However, this little information suggests that from a Paleolithic perspective, everything was sacred. “Everything that human beings have used, felt, seen and loved, has become a holiness magazine,” says Mircha Eliade. Therefore, even the animal, which was all human, could not be sacred (Eliad, 32: 1372). The first evidence that we can find in the hunter-gatherer beliefs and ideas is the paintings they left in the dark caves. And. Perhaps these paintings “were a means of human control of the animal and of the animal being called to the hunt. In this way, the man was supposed to first capture the prey in the depths of the cave and to take his carcass out of the cave easily” (Asadian Khorramabadi, 58: 1358). Animals such as eagles, scorpions, cows, goats and fish are found in the lattice of southeastern Iran. It seems that due to the presence of such animals in this region, they have been engraved on the seals.

Conclusion
Thousands of years have passed and humans have been lurking for animals to feed themselves and their offspring, trapping them or hunting them with very simple and basic hand tools. The most important manifestation is the role of animals in their beliefs. Totem and totem worship. According to them, their great soul has become an animal or a bird after death, as a result of which all of them have been created from an animal or a bird. Therefore, this animal or bird was sanctified by them, and in all aspects of their lives, such as religion, magic, ordinary and everyday currents, especially artistic creations, it was manifested and found a significant presence. By examining the animal motifs used on the south-eastern lattice seals, their importance in the life of the people of this period can be achieved. This importance has been so highlighted and valuable that they have illustrated their artifacts. It is also possible to understand the existence of this type of animal in its bed and environment and its functional role in providing livelihood and subsistence economy of the people of this period. Animals whose importance and position are rooted in the thoughts, ideas, beliefs of these people.

Abstract
Cylinder seals usually were used on clay objects, especially tablets, as a symbol of individual’s identity and administrative centers of the ancient East. While, rare potteries sealed by cylinder seal are a new case for archaeologists. Based on the small number of sealed pottery fragments found, archaeologists are dealing with several main questions: Why cylinder seals used on pot-tery? What is the usage of sealed pottery? And whether it is possible to provide an exact chro-nology for these potteries? A sealed pottery fragment from the site of Qal’eh Asrār in South Khorāsān is an example which is also our subject matter in this present study. The area of Qal’eh Asrār is located 1800 meters southeast of Barandood village and 800 meters northwest of Zarbarandood village of Ghohestān section of Darmiān city. This area is currently located on top of a natural hill at a height of about 200 meters above ground level. Analysis of potteries found on the surface of site shows that the occupation of it belongs to Late Iron Age and Achaemenid period, although there are also small numbers of pottery belonging to the late Is-lamic centuries. In this paper we try to study a fragment of a sealed pottery found from surface of site. Firstly, we deal with the issue of sealed pottery with regard to the context and the prob-lems and challenges of its study, then we try to analyze sample pottery of the Qal’eh Asrār in terms of typology, style and its legend. This study shows that the sealed pottery of Qal’eh Asrār is locally produced and its legend is a local style with the common motifs of first half of the first millennium BC. As this site is probably a garrison, this container could be used for bearing commodities to the construction.
Keywords: Qal’eh Asrār, Sealed Pottery, Iron Age, Achaemenid period, Local Style.

Introduction
In ancient near East, the stamp and cylinder seals have been used on diverse clay objects such as bullae and tablets to sealed administrative documents, but use of seals on pottery is rare. Since 3rd millennium B.C Fragments of sealed pottery have been found in sites from north Iraq and Syria (Collon, 1987: 13; Oates, 2001), Levant (Amiet, 1975: 425-426), west and south western of Iran (Caldwell, 1976), Shahr-e Sukhta in south east of Iran (Baghestani, 1997: 34- 43; Hakemi & Sajjadi, 1989: 145) and central Asia (Sariandi, 1986; Heibert, 1994a). Several fragments back to the Iron Age I and II were found from Bahrain in Persian Gulf (Olijdam, 2008) and Central Plateau of Iran in Tepe Sialk (Malekshahmirzadi 1381: 25) and Gholi Dar-vish in Qom (Sarlak 1386: 193- 194). Most of these sealed potteries are small fragments that have been found mainly as single fragment on the surface of sites. A small number, such as the Gonur Depe fragment in Turkmenistan (Sariandi, 1986: fig.123) or the Tell Brak in Syria (Oates, 1985: 257), have been found from archaeological excavation. 
In archaeological survey of Qal’eh Asrār in South Khorasan, Iran, one fragment of sealed pot-tery with a cylinder seal impression was found in archaeological survey. There are several questions raised here. Is it possible to provide an accurate chronology for the sealed pottery of Qal’eh Asrār? Why the pottery sealed, specifically with cylinder seal? Are these sealed pottery have an administrative function and were used as a kind of administrative-economic object or tool? Or here seals just used as decoration? In this paper, which is a descriptive-comparative and analytical approach, firstly we examine the challenges related to chronology and recogniz-ing the function of sealed potteries in archaeological studies, then we focus on study Qal’eh Asrār fragment and its seal impression.

Chronology and Usage of Sealed Pottery
Archaeologists have two different approaches for chronology of sealed potteries. If these frag-ments are found from excavation, they propose site stratigraphy to date it. But, most of the sealed pottery has been found on surface of sites, so dating will be complicated. In fact, archae-ologists use two methods to date sealed potteries, such as Qal’eh Asrār case; they propose the chronology based on typology of pottery or the style and image of seal impression. 
Function of sealed pottery is under debate too; there is no consensus on why sealed potteries are made and how it has been used. In general, the proposed suggestions can be divided into three groups, although, there are many doubts about each of these three views. 
1- The image of seal on pottery was for decoration.
2- The seals are the sign or signature of the potters who identifies the ownership and identity of his handicrafts.
3- Sealed pottery has an administrative function and has been used for storing or moving com-modities.
The style and image of the cylinder seal impression of Qal’eh Asrār sealed pottery
The image of Qal’eh Asrār seal does not show a unified theme and its upper part is broken. In part of the image a human is standing, bending one hand from the elbow and holding a cane, his other hand is not clear, it had stretched body with broad shoulders and arms, the proportion be-tween the upper body and the legs is not observed and the upper body is taller than the legs. It seems he have a dagger in his waist. On both sides of the human image are two birds. On the left side is design of the quadruped (donkey?) and in front of it is a horse, both are upside down. Of course, the horse’s head is broken. Between the two images are a small bird at the top and probably a sitting human at the bottom. The style of Qal’eh Asrār seal is a local style which focusing on the outer lines, not paying attention to the details. 

Conclusion
Studies on sealed potteries in diverse sites, despite different time and cultural periods, shows the following common features can be observed:
1- All fragments of sealed pottery are locally produced.
2- The seals that are used on these potteries also have a local and indigenous style, and this in-dicates the locality of their production.
3- Sealed pottery fragments indicate they should mainly belong to medium and large jars.
 4- In most of fragments seal was mainly used at the area between the neck and body of the ware. 
Given the common features mentioned, it can be argued that these potteries had an administra-tive aspect. However, they used locally which both the pottery type and the seal originate from the local culture of the same region, and there are no examples that show their displacements or dispersion in a wider cultural context.
A comparative study of Qal’eh Asrār sealed pottery shows that this pottery is locally produced and cylinder seal used on it also has local style of the 1st millennium B.C. Due to pottery type and the presence of architectural remains, this area is suggested to be a garrison to protect the road in the late Iron Age - early Achaemenid period, and the style and image of the seal on the pottery also confirms the proposed chronology. 

Abstract
Excavations in the last five decades in northern Iran, especially in the Sepidrood catchment area, have led to the discovery of unknown cultures, in the ancient sites of Marlik, Kaluraz, Nasfi, Joven, Jam-shidabad and other sites in the cultural area, during the late second and first millennium BC. They were achieved from different periods of the second millennium BC until the Sassanid era.  This article re-ports the result of a preliminary research on a number of exchange stamps (seals) which were identified and registered during the re-organization of the objects of the National Museum of Iran in 2010.They were part of a collection of seals frits from the ancient sites of Kaluraz.These works contain valuable and important information from various artistic, cultural, economic and commercial aspects in different historical periods in this cultural field.  The purpose of this study was to stablish the method of con-struction; the typology and the age of these seals; the geography of this cultural field; the method of making imitation stamps and recognizing their designs.  Research Questions and Hypotheses are specif-ically explained below: Where was their main origin and from which historical and cultural context? Do these seals have a particular local style or their style is influenced by other cultures? The seals found in the kaluraz Archaeological Site belong to which historical period? Archaeological excavations in the cemeteries and the geographical basin of SepidRood in the last five decades has provided valuable ar-chaeological knowledge of this cultural area during the late second to the first millennium BC, includ-ing specimens of wrought iron and bronze Frits seals from the whole tomb. The results of this research led to documentation of the findings and comparison the finding with other important settlements of the first millennium BC, in contemporary cultural horizons such as Marlik, ToulTalesh, Hasanlu and Mesopotamia.  Furthermore,a general conclusion about the process of typology and stylistics of seals is presented.
Keywords: Gilan, SepeedRood, Kaluraz, Cylindrical Seal, first and Second Millennium BC.

Introduction
The art of sealing and making stamps has a very long history in the olden times of mankind.  Since the appearance of stamp seals in northern Mesopotamia during the 6th millennium B.C, they have been used throughout the ancient Near East until the innovation of the cylinder seal in the second half of the 4th millennium B.C. Cylinder seals were the preferred administrative tool in Mesopotamia during the 3rd and 2nd millennia B.C.  The seals of Persia correspond in their types and use to those of Meso-potamia, beginning with amuletic pendants, and developing into stamp to cylinder seals.
Like cylinder seals, stamp seals could be made from stones; metal and clay. The images carved into the seal face itself ranged from simple geometric patterns to elaborate scenes of human and divine images. Seals are important to the study of ancient art and can, help to define chronological phases. they serve as a visual chronicle of style and iconography.
The images on it, contain enormous information which can be used to clarify the customs, ethnic be-liefs and to some extent the social, religious, political, economic, art and architectural conditions.  Fur-thermore, this information can be employed to culturally reconstruct the ecosystem of the forgotten ancient societies.  On the other hand, the stamps seal was used as a document to facilitate the transfer of commercial goods to neighboring or distant cultural areas.  It also provides information about neigh-boring and other cultural areas and shows the links between ancient societies and their relationship in joint organizations (Collon, 1990: 11).
This article reports the result of a preliminary research on a number of exchange stamps and cylinder seals which were identified and registered during the re-organization of the objects of the National Mu-seum of Iran in 2010.  They were part of a collection of seals from the ancient sites of kaluraz. These works contain valuable and important information from various artistic, cultural, economic and com-mercial aspects in different historical periods in this cultural field.  
The purpose of this study was to stablish the method of construction; the typology and the age of these seals; the geography of this cultural field; the method of making imitation stamps and recognizing their designs.  Research Questions and Hypotheses are specifically explained below:
• Where was their main origin and from which historical and cultural context?
• Do these seals have a particular local style or their style is influenced by other cultures?
• The seals found in the kaluraz Archaeological Site belong to which historical period?

Material and Methods
To achieve this aim, we did literature review using the currently available visual documents and exam-ined eight seals of the Damage and crockery cylindrical seals of Ali Hakemi in the coin and seals section of the National Museum of Iran in 2010.  Our analyzes is based on the excavations information (ob-tained during the field work in this cultural field) and the designs and descriptions of the concepts of the symbols of these seals.  
The National Museum of Iran has a large collection of different seals from various historical periods.  For example, the flat and cylindrical shapes seals that have been obtained in archeological excavations of the last five decades from the ancient sites of northern Iran in the geographical area of SepidRood.  

Geographical Setting
Sepidrood (the name of a river) catchment is located in Gilan province, south of the Caspian Sea.  Due to the climatic conditions; suitable environment and natural resources, this geographical basin has long been considered as a suitable habitat for living and has contributed to the creation of ancient cultures in this area for thousands of years.  The native name of SepidRood, especially in Gilan province, is Es-piyeh or Espiro (Domorgan, 1338: 209) in Gilaki language means white river.  Some Avestan scholars consider Sefidrood to be the same Daiti river in Avesta (Khodzko, 1975: 19-40).  Diakonov mentions the old name of Sefidrood Amard or Amardos (Diakonov, 1379: 79, 210, 312 and 623).  
The history of archeological research in the Kaluraz Valley dates back to the 1960.  During this period, a delegation headed by Ali Hakemi with the cooperation of archaeologists such as Mahmoud Kardvani; Abdolhossein Shahidzadeh and Ali Akbar Sarfaraz excavated some part of Gilan.  They worked contin-ually in several seasons for many years.  They collected valuable artifacts including stamps from Lilijan, kaluraz, Joban, Sandos and other archeological sites of Gilan.  The Stamps of current study were dis-covered and collected by Ali Hakemi and Abdolhossein Shahidzadeh, during the archaeological study and excavations between the years 1965 to 1969. 
During 1967 to 1969, Ali Hakemi studied Kaluraz, which includes a collection of cemeteries such as Ganjpar, Kafarkesh (Daghudalan) Zarindar and Jalalieh (Hakemi, 1347: 22-22).    The findings of Ali Hakemi are maintained and protected in coin and stamps section of the national museum of Iran.   
In 2010, we explored the cemetery and the ancient hill of Kaluraz in the west of Sefidrood, which is located alongside the road from Tehran to Rasht and 85 kilometers far from the coast of the Caspian Sea in Gilan province.   

Result
Excavations in the last five decades in northern Iran, especially in the Sepidrood catchment area, have led to the discovery of unknown cultures, in the ancient sites of Marlik, kaluraz, Nasfi, Joven, Jamshid-abad and other sites in the cultural area, during the late second and first millennium BC. They were achieved from different periods of the second millennium BC until the Sassanid era.  
Preliminary study on these seals, collected from Marlik Cemetery and northwestern sites such as Ha-sanlu, was able to give us a fresh look at the environmental conditions of the region, cultural relations and trade exchanges from socio-economic institutions during the Iron Age of this cultural field. The role of animals such as mountain goats, river fish, hunting birds, native trees of the region and agricul-tural fields indicates the livelihood and livelihood economy of the inhabitants of SepeedRood basin, which reflects a part of the environment and connections of the ancient Kaluraz area.  The artistic qual-ity in drawing the creatures is one of the characteristics of the artistic style of these seals.  This type of design can be seen in other works of this cultural field such as Marlik Cemetery.  The only seal whose style of engraving is different from other seals is a seal with a row of male mountain goats moving backwards.  This type of role is influenced by the stamping style of the Assyrian period, which can be entered into Kaluraz as a result of commercial exchanges. Although the lack of inscriptions on these stamps makes dating difficult, valuable cultural findings such as gold cups; ornaments, and beads made of imitation and bronze, show the characteristics of the Iron Age in Iran and cultural ties in this period.  Gold and silver goblets and ornaments and flat bronze seals and types of pottery obtained during the excavations of Kaluraz Cemetery, indicate very dynamic economic conditions with close relations and economic exchanges of residents with neighboring areas in the south of the Caspian Sea and between different geographical areas in Lake Urmia, such as Hasanlu.  In these areas the effects of the common style of local art and the influence of the Mitani style on cultural findings can be seen.

Conclusion
Archaeological excavations in the cemeteries and the geographical basin of SepidRood in the last five decades has provided valuable archaeological knowledge of this cultural area during the late second to the first millennium BC, including specimens of wrought iron and bronze beads from the whole tomb.  The results of this research led to documentation of the findings and comparison the finding with other important settlements of the first millennium BC, in contemporary cultural horizons such as Marlik, Toul Talesh, Hasanlu and Mesopotamia.  Furthermore, a general conclusion about the process of typol-ogy and stylistics of seals is presented.

Abstract
The Urartians lived about 9th to 7th centuries B.C around the shores of four Lake Urmia, Lake Sevan, Çildir Lake and Van Lake. The production of the sealed bullae started from Rusa II’s reign about 713 B.C. The stamp and cylinder seal impressions on these pieces of evidence could provide us with the wide range of data about the Urartians. There are some recognized cylinder seal impressions on some bullae and tablets belong to the Urartian official called aṣuli. This official is mentioned in the seal impressions from several Urartian sites including Bastam, Ayanis, Anzaf and Toprakkale. Some studies and contributions have been taken place on who these aṣulis could be the crowned princes or the officials. The question of who were aṣulis and from which sites their seal impressions are discovered aer significant issue as there are several pieces of evidence discovered. Also, there was the question of the possible difference between the seals and their inscriptions and motifs. Also, the difference between their seal impressions and the variety of their seals were significant questions. It is the aim of this paper to put the different seal impressions of aṣulis in different groups and subgroups according to the detail of the illustrated mythical scenes of the griffins or genies in two sides of a sacred tree and the position of the inscription above and below this scene and the difference in the inscriptions. Additionally, the author provides the readers with the reasons she thinks aṣuli is not the crowned prince but a trusted official who had the permission to deliver commands and massages. The research has been fulfilled by both library and field work.
Keywords: Urartu, Bulla, Tablet, Seal Impression, Aṣuli.

Introduction
Bastam or mrusa=i URU.TUR is close to Ghareziaeddin, close to Khoy and Maku, in Western Azerbaijan in Iran and is recognized the most developed Urartian fortification. W. Kleiss and the German archaeologists have excavated Bastam fortification and city from 1968 to 1979, except 1971 and 1976. Then H. Khatib Shahidi continued the studies in the sites. Bastam was founded by Rusa II, son of Argišti, and is the most developed Urartian city of all.
The tablets and bullae discovered in Bastam could bring significant data with their inscriptions and cylinder and stamp seal impressions. The Urartian cylinder seal impressions bore mostly the inscription of king Rusa II, son of Argišti, and other officials. Among the persond whose inscriptions on the seal impressions are recognized are aṣuli officials who seem to be trusted persons of the king.
Urartian sealed tablets and bullae of Bastam have previously been reported by Seidl (1976; 1979; 1988), Zimansky (1979; 1988), Salvini (1979a, 1988; 2012) and the author (2017; 2019).
The question of who aṣulis were and from which sites their seal impressions are discovered is a significant issue as they are couple of pieces of evidence remained from them. Also, the difference between their seal impressions and the variety of the seals was challenging for the scholars.
Accordingly, it was the aim of this paper to study the seal impression by this official in different Urartian sites to find out the difference and variety and groups of seal impressions remained from aṣulis and also to propose who this official could be in regard of their seal impressions. The author suggested they were trusted persons. Some of the seal impressions mentioned in this paper are published for the first time after the excavations. Additionally, the iconography of their seal impressions scenes was to be studied. The research has been fulfilled by both library and field work.

Paper
There are at least seven groups of the cylinder seal impressions mentioned in this paper according to their inscriptions and motifs discovered in several Urartian sites including Bastam, Ayanis, Anzaf and Toprakkale. The slightly different details of the sacred trees, genies and griffins were observed as well. Also, the exact position of each sign of the two-line inscription on the above and below the scene were studied in comparison with the other impressions. 
KIŠIB LÚa- ṣu-li is always the key expression to this sort of seal impressions and sometimes the name of the aṣuli rarely along the name of his father was also mentioned in the inscription. 
It is possible that a group of aṣuli seal impressions is discovered in different sites and some are only observed in one site. Bastam, Upper anzaf, Ayanis and Karmir-blur are the sites that the seal impressions of aṣulis have been previously discovered in. 
As the seal impression of the aṣuli have been observed on the order tablets and with respect to their fathers’ names it is possible that they were the Seal Holders appointed by the king himself and not the crowned princes, princes or ordinary officials.
The scene of the sacred trees with two genies or griffins holding buckets facing the trees was repeated on the seal impressions of the aṣuli therefore it is possible that they were regarded as the guardians of the Urartian king and his kingship. This scene is very much similar to the Assyrian scenes on the reliefs and seal impressions. The scene is nor recognized on the Urartian reliefs. 
Additionally, the iconography of the sacred tree, genies and griffins are studied to provide a better perception of the elements illustrated on the seals of the aṣulis.
The author proposed that the trees could be regarded as the eternal kingdom of Urartu to be guarded by the aṣulis. It is also possible that the genies and griffins are symbols of the aṣulis on their cylinder seal impressions.

Conclusion
Seven groups and the sub-groups of the slightly different cylinder seal impressions of aṣulis have been proposed and analyzed in this paper according to the impression inscriptions, details of the motifs and the position of the cuneiform signs in the two-line inscriptions above and below the scenes that are observed on the bullas and tablets discovered from Bastam and other Urartian sites. The suggested categories of the aṣulis’ impressions are presented according to Bastam bullae and tablet impressions in comparison with the impressions of other Urartian sites as Ayanis, Upper anzaf and Karmir-blur that aṣulis’ impressions are discovered over the bullae or tablets.
It is possible that at least seven seals were used in the Urartian states by the aṣulis but of course there could be more that are not discovered or are destroyed. The identical seal impressions discovered in different sites in Urartian reign is challenging. It is possible that the bullae or tablets with exactly the same seal impressions were sent or brought from one site to another in the Urartian era or exactly the same seal was copied in another site which seems less possible.
The name and sometimes the fathers’ names of the aṣulis are observed on some of the bullae or tablet impressions. Accordingly, aṣuli was an official in the Urartian reign who possibly bore the seal of the king or had the power to convey his orders and messages to the Urartian cities, fortifications or garrisons. Perhaps some of them were from the royal family but according to the inscription by the aṣulis there is lack of the piece of evidence they were crowned princes or sons of the Urartian kings. It is possible that the seals of the aṣulis were used in order to officially be sent as the orders by the highest ranks.
It is possible that griffins or genies facing the sacred tree on the aṣulis’ seal impressions were symbols of aṣulis themselves safeguarding the Urartian king and his kingship and the sacred trees were the symbols of the Urartian eternal kingdom to be protected and served by the aṣulis.
Additionally, discovering the same seal impressions of the bullae or tablets from different sites could bring the idea of sending or receiving these objects from other sites in the antiquity.

Abstract
Although seals are considered in more studies of art history, they can be an essential source for studying the socio-economic situation of ancient societies. The seal studied in this article was found during the Authors survey Gohargoosh Tepe with one of the local guides from the village of Fattahabad, Delfan County, Lorestan province, in the soil from looter digging part of the Tepe. Stylistically, the cylinder seals comparable to this seal were previously found in various areas in the western part and even in central Iran. This article attempts to answer questions concerning chronology and stylistics by studying and comparing the stylistics and iconography of the Gohargoosh seal with comparable samples. The other goal is to investigate the role of Ellipi in the first half of the first millennium BCE in Pish-i kuh and the potential relevance between their appearance in the region and the Assyrian seal case study in this article. By studying the Gohargoosh seal from various aspects, this seal likely belongs to the Iron Age II and from the ninth to the seventh centuries BCE, and its style is related to the Neo-Assyrian era, which can reflect the increased interaction between Iran and Mesopotamia after a dark and obscure period in the Iron Age I. 
Keywords: Pish-i Kuh, Ellipi, Assyrian Seals, Cylinder Seal, Gohargoosh Tepe.

Introduction
Relations between Iran and the Assyrian Empire increase sharply in the 9th to 7th centuries BCE. At this time, the Assyrians annexed large parts of western Iran to their empire. If we do not consider account of the cuneiform texts regarding the presence and domination of the Assyrians in western Iran, only a small number of archaeological finds can be pointed to long-term relations or the presence of Assyrians in the region. (Reade, 1995; Curtis, 2002; Radner, 2003; Alibaigi 2019). Recently, during a visit to Gohargoosh Delfan hill in Lorestan province and the Central Zagros, an Assyrian-style cylindrical seal was founded, which may lead to the relations between the Central Zagros and the Assyrian territory.

Gohargoosh Tepe
We know many settlements of the first millennium BCE in the Nurabad region that Gohargoosh is one of the largest. Considering that many Iranian Iron Age specialists recognize this region as part of the Ellipse realm and Assyrian written sources discuss the connections between Assyria and Ellipse (Medvedskaya, 1999; Grayson et al. 2014: 334; Grayson and Kirk, 1996), the study of the findings that provide clues to these connections can be exciting. This Tepe is located at the perimeter of Khaveh plain, 1.5 ha wide and 18 meters high (long 47.93932696 and lat 33.97512114, elevation 1700 ASL). Gohargoosh has been identified for the first time by Clare Goff, and according to the genre of Lorestan pottery, she has suggested the date of Iron Age II and III to occupation in this site (Goff, 1968: 107). In the survey of 1999, Garajian has pointed to the remains of Neolithic, Iron Age I, II and III, Parthian and fifth and sixth centuries AH in this site (Garajian et al., 2005: 47). In the Authors’ field inspection in 2021, the cylindrical seal investigated in this paper is found in the soil of one of the dig pits of Gohargoosh Tepe.

Cylindrical Seal
This seal is 2.3 cm high and 9 mm in diameter.  It is made of faience, with a hole in the center of its length to pass the string.  The seal impression represents two birds with open legs and wings and open-ended beaks that convey a state of conflict between two birds. The legs, body, neck, beak, tail, and wings are engraved by lines with feathers attached to them, and in some cases, by pressure. The front legs of the birds are separated, and the back legs are close to the frame line at the bottom of the design, and at the top of the left bird is a semicircular form close to the frame line (Figure 2). The birds have the exact similarities, and petty differences are symmetrically engraved opposite each other.

Stylistics and Dating
An executed design of great and probably monster birds on the seals of the eighth and ninth centuries BCE has been typical since dating to Shalmaneser III (858-823 BCE). For example, seal No. 1 in Figure 3, from Nimrud’s excavations, representing a group of great monster-like birds (Parker, 1955: 104). This seal, comparable to the Gohargoosh seal impression, comes from the North-west palace of Nimrud, probably Sargan II (722-705 BC) level, and Parker dating it to the Sargon II reign (Ibid). Another seal impression comparable to the Gohargoosh seal is a seal from Palestine, Level IX Baisan (Beth Shan), made of faience and represents a procession of birds, strutting, with wings raised (Figure 3: 2) (Parker, 1949: 31). A cylindrical seal in a personal collection in Los Angeles (Figure 3: 3), closely paralleled to Gohargoosh seal, showing the quarrel between two birds. The style of this seal is also Assyrian and dating to the 9th to 8th BCE.
Furthermore, in some sites excavated in Iran, such as the Surkh Dom-e Lori (Schmidt et al., 1989: 413), many cylindrical seals comparable to the Gohargoosh seal have been found. Schmidt seals No. 4, and 5 figure 3 of Surkh Dom-e Lori have been classified in Neo-Assyrian linear-style cylinder seals from the 9th-7th centuries BCE (Ibid, 416). From phase 7 and layer D of Goran in Hulailan valley, a seal impression on potsherd founded above floor level from the top of the T2 wall. The scene shows two complete figures and parts of two more (figure 3).  This seal impression referred by Thrane to Neo-Assyrian linear-style cylinder seals and dated to about 800 BCE (Thrane, 2001: 87). Moreover, there are several comparable seals to the Gohargoosh seal in the ancient Iranian Museum (Figure 3. No. 6, 7, 8, 9). These seals, attributed to the Qazvin region along the Silk Road, dated to the Iron Age III and are considered local seals influenced by the Assyrian style (Saed Mucheshi, 2015).

Conclusion
According to analogies of Stylistics, iconography, and chronology, the Gohargoosh seal is closely comparable to seals of Mesopotamia, western Iran, especially Pish-i Kuh Lorestan, and even the central plateau of Iran. This seal has a Neo-Assyrian style from the 9th-7th centuries BCE (the end of the Iron Age II and III). Unlike stagnation in both writing and archaeological evidence Iron Age I, regional and trans-regional interactions increased in the Iron Age II, especially with the Mesopotamian. Gohargoosh seal, an Assyrian-style seal, could have found its way to the region through trade, war booty, or population movements in such a context that we are witnessing an increase in Central Zagros interactions with neighboring areas. In addition to the importance of the Gohargoosh seal in art history and stylistics, it represents a socio-economic organization and presumably of regional and even trans-regional controlling economic and commercial management system in the late Iron Age II and Iron Age III. The development of such an economic system can consequence of the rise of the Ellipis power in Lorestan Pish-i Kuh.

Acknowledgment
We are very grateful to Mr. Kiyomarth Kohzadi from Fattahabad village who accompanied the authors during survey of Gohargoosh Tepe and found a cylindrical seal.

Observation Contribution
The percentage of authors’ participation to writing and conducting this article has been the same. 

Conflict of Interest
The authors declare that there are no conflicts of interest in this article.

Abstract
Seals are one of the most important archaeological data, being always considered in archeological and ancient art studies. As one of the most important archeological sites in Iran in different historical-cultural periods, especially the Elamite period, the ancient city of Susa has provided a lot of cultural-artistic data to archaeologists and art history experts, including seals. Findings from this ancient city, including the seals, indicate various artistic styles in the past, various styles of engraved seals, and iconography have a special place among this data that can express information in various fields such as symbols, myths, or narrative stories. In the Elamite period and especially the ancient Elam that is discussed in this article, we are faced with different artistic styles in the engraved seals. Styles that can express both the special Elamite art and in some cases have not been without the influence of the engraving styles of the neighboring land, i.e., Mesopotamia. Here is a selection of seals of the Early Elamite period of Susa (11 pieces) in this regard, which belongs to the National Museum of Iran, which are considered to study their images in terms of a specific cultural-artistic style to respond to the question indicating “whether the engravings of these seals of Early Elamite express a special narrative style!” The study, which is a library-museum method and is accompanied by a comparative analysis of images, can be a narrator of the power of “master of the animals” / or perhaps the best person in the society of that day in protecting the animals under his support against wild animals such as lions, somehow narrating its power with these illustrations.
Keywords: Susa, Seal, Early Elamite, Images, Symbols.

Introduction
The seal or sealing has always had an important meaning for archaeologists and art historians. The researcher can use them in indicating dates, subject analysis, determining customs, and sometimes even in understanding myths, and thus reconstructing a forgotten world in parts. In addition, by studying seals, complex administrative processes, business relationships, and cultural relationships may be somewhat understood (Neuman, 2013: 83). The use of a seal was a guarantee of authenticity, ownership, documentary participation in a legal exchange, or protection of goods against encroachment on individuals (Collon, 1990: 11).
No seals have been found in the 7-12 layers of the metropolitan area dedicated to the Susa IV period, but in any case, Le Breton’s tabulation of seals without exact origin indicates the superiority of the Mesopotamian style of seals during the first half of the third millennium (Carter, 1980: 25; Carter, 1979: 453). The influence of Akkadian art on the seals of Iran / Elam - almost simultaneously with the Awan period - can be seen on a group of cylindrical seals of unknown origin, at least one of which is purchased in the Foroughi collection from Iran (Porada, 1964: 88 -93). 

Discussion 
The form of wide shoulders and narrow waist and proportion of people in these seals is comparable to the examples of the Akkadian period. However, the equal distribution of people in the scenes of Iranian seals distinguishes them from the form of narrative distribution of people in the Akkadian seals, in which there were wide empty spaces in front of people (Porada, 1993: 486). The domination of the rulers of the third dynasty of Ur/ Ur III over Susa (from the last years of Shulgi rule on 2094-2097 BC) is reflected in the influence of the Mesopotamian sealing style on the seals of the rulers of Shimashki dynasty and the first kings of Sukkalmah (Porada, 1993: 486).
Based on the studies by researchers and comparative studies on several selected seals in the repository of the National Museum of Iran, this article will try to answer the question regarding whether the engravings of these seals of Early Elamite could express a special narrative style. The study was conducted by the library-museum method and was accompanied by the comparative analysis of images.
The seals selected from the National Museum of Iran, which are 11, can be divided into the following categories in terms of visual style and iconography:
- Susa style (Susa IV), which includes the seals No.: 592.1 (Susa), 597 (Susa), 599 (Susa), 602 (Susa), and 601 (Susa) of this collection.
In the period of Early Elamite, we   also see different styles, which we will discuss as follows:
- Akkadian Related style, which includes the seals No. 607 (Susa), and 605.1 in this collection.
- Popular Elamite style (Akkadian / Awan Related), which includes the seals No.: 619.1 (Susa), 619.2 (Susa), and 595 (Susa) in this collection.
- Ur III Related / Susa V, which includes the only seal: 606 (Susa) in this style collection.

Conclusion
What can be seen in all the designs and images of the seals is the depiction of things that existed in the life and climate of the people of that period, which were influenced their thoughts and type of look, somewhat being the engraved designs affected by the customs, beliefs, and traditions of those people. Except for the scorpion motifs on the seals, which symbolized the insidious creatures and suffering or even indicated rebirth, they were often found in arid lands and could be related to the climate that had influenced the beliefs of the people of those lands. What most of the pictures in this collection tell us, is about the fight between humans and animals; a powerful human being against strong animals, perhaps to defend a weaker animal. The fight of man and lion, with the presence of animals such as goats and cows; an ideal narrative of superior personal power. These fighting scenes are often seen in the motifs of ancient Iran (and of course Mesopotamia) from the period before Elamite and Elamite to later periods, indicating the power of a superior person in most interpretations - in older periods, perhaps the of “master of the animals” or ruler and referring to the king in more recent periods.
On the one hand, the distinct and prominent presence of animals such as lions (or cats) being the symbol of power in the land of Elam - especially the Susa plain as a habitat of this animal - e and also the goats as a constant companion of humans from The agricultural period onwards, and also in this period. On the other hand, the need to protect the owned animals accompanied by man against hostile animals does not take the creation of such scenes out of the mind. Inspired by the issues and landscapes around him, the engraving artist used to create images, which ultimately led to a particular style. In these special cases, the battle scene is a kind of narrative of a superior person to show his superiority and power. Now, this person should be considered the ruler of animals to be sought in myths, or a powerful king that is present in the historical scenes.

Abstract
The third millennium BC marked a period of significant cultural, economic, and commercial exchanges between Iran and neighboring regions, including the Indus Valley, Mesopotamia, the Persian Gulf, the Oman Sea, and Central Asia. This article aims to investigate the cultural semiotics and connections between the Bronze Age sites of Southeast Iran, with an emphasis on Shahr-e Sukhteh, Shahdad, and Tepe Yahya. In this research, the seals and seal impressions of sites in the southeast of Iran, including Shahdad and Shahr-e Sukhteh, will be studied and analyzed based on comparative studies with important sites in Central Asia, including Balkh, Merv, Mondigak, Altintepe, Gonor Tepe, Dashlitepe, Tughlaq, and Ordos region. Therefore, in the framework of the signs studied on seals and seal impressions, a suggestion is made that there have been cultural connections between these regions in the Bronze Age. Based on this, the research questions have been raised as follows: What are the similarities between the motifs of pottery and seals? What are the similarities between the cultural artifacts found in the southeastern region of Iran and the Central Asian region? Were the visible similarities connected and serving a common purpose? Knowing the cultural interactions of these societies requires the study of the material evidence left by them. According to the distances between the ancient sites of the third millennium BC, these signs can be the result of a specific and guided thought that appeared in the sites of the eastern half of the Iranian plateau. The transfer of ideas from one place to another has occurred due to extensive commercial connections between societies. This shows that the cultural interactions between Central Asia and the eastern and southeastern regions of Iran and part of the Indo-European culture in the Bronze Age could have originated from common beliefs and ideas.
Keywords: Bronze Age, Seal, Semiology, Southeastern Iran, Central Asia.

Introduction
Seals and seal impressions have been obtained from Bronze Age sites in the southeast of Iran, which are comparable to Central Asian seal samples. On many metal seals and the seals impressions, there are patterns that are similar to those created on the pottery of Shahdad, Shahr-e sukhteh and Tepe Yahya. Several theories have been presented about these signs on pottery samples, including their use as the owner’s mark, the potter’s signature or the trade mark of the pottery workshop, and some signs for measuring volume and numerical value. The use of these signs on the seal samples, potteries, containers and human and animal figures in the third millennium BC both individually and in combination as a part of human mentality along with numerous concepts, originated and were drawn.  It seems that some of these signs are same on the pottery that are repeated in the seals, and some of them are similar to the signs from the Proto- Elamite period to the end of the Bronze Age. Markers have created marks with special purpose and thoughts on seals and potteries and have tried to transfer them. The signs could be ownership concepts, rituals and beliefs of the societies of that period. Out of the total number of 400 seals and seal impressions from the studied areas, 206 seals and seal impressions have signs.

History of signs on pottery and seals in the study areas
In many seals of Shahr-e sukhteh and Shahdad, as well as in some study areas of Central Asia, various geometric, animal such as reptiles and birds, plants and human motifs have been found. In addition to motifs, signs can be seen on the seals that are very similar to the signs created on the pottery of Shahdad, Shahr-e sukhteh, Tepe Yahya and other sites, and in some cases, the seal itself is in the form of a sign. Some signs are similar to Proto- Elamite signs, and others are similar to the body parts of gods (hands, feet, and heads). Most of the signs in the Shahr-e Sukhteh are on sherds related to the bottom of dishes and pear-shaped glasses, which were obtained from the layers related to industrial and residential areas, as well as in the surface surveys of the mounds and cemeteries of the city. Most of the signs on the Shahdad pottery are on the intact vessels obtained from the burials. Incised Signs have been seen on the red pottery of Shahdad (Cemetery A)., these signs were created on pieces of hand-made and almost rough pottery in Tepe Yahya. Most of the signs of Tepe Yahya pottery are grooved on the outer body of the vessel and on the upper part of the bottom, and some on the bottom. From Balkh and Marv, signs are placed on the body or under the bottom of bowls and plates. In Altin Tepe, signs on the clay figurines have also been seen, which Mason considers to be comparable to the signs of the Proto- Elamite, Early Sumerian, and Harappan periods. Also, these signs have been seen in the eastern areas of Iranian plateau, Bampur, Baluchistan, Pakistan, and in sites such as Damb Sadat and Quetta, Amri, Balakot and Rahman Dehri in Mundigag in Afghanistan, and some sites of the Chalcolithic period in India. On the seals, in addition to the two key sites of Shahdad and Shahr-e Sukhteh, there are signs from the sites of the northern regions of the Iranian plateau, such as: Tepe Hesar, sites of Central Asia, Turkmenistan, Uzbekistan, northern Afghanistan, many examples of Altin Tepe settlements, in the northern foothills of the Kopet Dagh mountain range and the abandoned oases of Tughlaq and Gonor related to the Margiana culture were found in the desert plains, in the north of Marv city. In addition, signs on the seals were obtained from the mounds related to the South bacteria culture in the vicinity of Balkh city in Afghanistan and Sapali Tepe and Jarkotan in Uzbekistan, related to the Northern Bacteria culture.  Also, many seals have been found from Ordos, with common signs with the main sites of Central Asia and three sites in the southeastern Iran.

The case studies
Out of the total number of 400 seals and seal impressions in Southeastern Iran and Central Asia, 206 seals and seal impressions contain signs. 11 seals and impressions from Shahr-e Sukhteh and 30 seals and impressions from Shahdad have common signs. Based on the study, it has been determined that there are 33 signs common among the seals and pottery of all three sites of Shahr-e Sukhteh, Shahdad and Tepe Yahya. The commonalities of seals sign and the impressions and potteries in the three sites mentioned in the southeastern Iran and also Central Asia sites have been identified. The studied seals belong to the second half of the third millennium BP. Some pottery samples with similar signs seem to belong to the researched time period. The common signs between seals and the impressions and potteries are divided into three groups, including conceptual, geometric and plant groups (rosette, wheat cluster). According to some beliefs, some signs are derived from the organs of the gods. For example, the picture of the great goddess is frequently seen in many prehistoric potteries from Eurasia. The relevance of these signs with the religious cult of the Great Goddess has been spread and proven in a vast land. In this way, some symbols of the cult of the Great Goddess later became proto-writing. According to the beliefs of the people of the region, these signs are symbols of fertility, vitality and security. It can be acknowledged that these signs as a tool have revealed concepts that cannot be expressed in any other way, in other words, it is a transcendent truth that has become in the form of the symbol. Some of the incised signs, with a qualitative connotation, have emerged over time and have adapted to the spirit of truth-seeking in human and have become symbols.

Conclusion
For better understanding, the signs of seals and the impressions are prepared and shown in tables. The studied signs are in the form of simple and broken crosses (right round and left round), concentric circles, spiral patterns, crossed lines, simple circle and signs in the form of T, S, Y, M, W, stepped shapes, Star and many signs that are unclear. Some signs, including plant patterns in the form of rosettes, wheat stalks, are easily recognizable. Sometimes several signs are seen together on the surface of a seal. Comparative and statistical studies have been done on the signs of seals and potteries. The information obtained from the study of seals and the impressions has led to a detailed investigation and analysis of their patterns. After that, it has been concluded that the signs of the study area are classified into three main types: conceptual, geometric, and plant. Part of the cases, according to their characteristics and importance, the seal is created by the artist in the same form as the sign (picture 7). Another part of the signs that have been grooved on the pottery, have been depicted on the seals in the form of one or more signs (picture 6). In some motifs, the symbols of the gods in human form, the form, and organ and body parts of the gods are reminiscent of the common signs on the pottery and seals of all the three sites of Shahdad, Shahr-e Sukhteh, Tepe Yahya and also the Central Asia sites. This can originate from the thought that some of the organs related to the gods have become a sign of the symbol. The way conceptual signs are placed and arranged can induce message transmission; it is suggested that there are probably early writing signs in the study period, which we have not managed to discover the documentation of them. The commonalities between the signs on the pottery and seals of South-eastern Iran with the seals of some regions of Central Asian are as if their creators had common thoughts and at this time, this tradition of marking on seals and pottery became common. In general, and with collective study of these signs, in any case, it can be said that whatever the use of these signs was, it indicates that the sign makers have used the signs as a message to the future generations and have created these signs on a seal and together and sometimes as a set of signs. The spread of the discussed signs on seals and also on pottery can be considered as an expression of cultural influences and interactions between the mentioned regions in the Bronze Age.

Fars Province has been the cradle of two great Persian empires—the Achaemenid and the Sasanian—throughout Iranian history. The presence of significant historical monuments from these two periods clearly demonstrates the importance of this province. One such region within Fars is Darab, which was home to the city of Darabgerd during the Sasanian period. Despite the historical and archaeological significance of this area within Iran, the amount of research conducted there remains limited. Given the importance of this city in the Sasanian era, this article seeks to clarify the position of the city and the khurrah (or kūra, “administrative district”) of Darabgerd and to reconstruct its defensive structure. Based on recent archaeological surveys in the Darab Plain, the study aims to determine the role Darabgerd played within the Sasanian administrative and political structure and to assess the duration of its importance. Furthermore, considering the fortresses and military fortifications surrounding the city of Darabgerd, the study examines how the defensive and monitoring system of the city and the Darab Plain functioned. At first glance, the ruins of Darabgerd—which testify to its former grandeur—along with the presence of a rock relief, a large and significant mint that remained active beyond the Sasanian period into the early Islamic centuries, and the discovery of seals and clay sealings, all attest to the importance of this geographical area during the Sasanian and early Islamic periods. For this reason, the existence of a coherent defensive structure for both the city of Darabgerd and the Darab Plain was essential. Based on the identification of fourteen fortresses during archaeological surveys of the Darab Plain, this research adopts a descriptive–analytical approach, integrating archaeological evidence with historical sources in order to provide a clearer understanding of the defensive structure of the Darab Plain during the Sasanian period. The results indicate that the geography of the Darab Plain played a decisive role in the formation of the city of Darabgerd and its defensive system.

Stamp seals constitute one of the most enduring elements of administrative traditions in the Central Zagros of western Iran. However, the uneven archaeological record has generated ongoing debate regarding continuity and discontinuity in their use, particularly during the late fourth and early third millennia BCE, when securely stratified evidence remains limited. Drawing on newly published materials from Tepe Tyalineh, Godin Tepe, Chogha Maran, and Dehsavar, this study reassesses the evolution of stamp seal traditions between ca. 5000 and 2500 BCE within an updated regional chronological framework. By examining the style, iconography, and archaeological contexts of stamp seals and seal impressions from a comparative perspective, the article evaluates competing interpretations of the development of administrative practices in the Central Zagros. The evidence indicates that stamp seals and seal impressions were employed in the region from the Early Chalcolithic (5000–4600 BCE) through Late Chalcolithic phases 1–3 (4600–3700 BCE), during which they continued to develop locally while interacting with broader supra-regional networks. Although the archaeological record suggests an apparent gap during Late Chalcolithic phases 4–5 (3700–3100 BCE), stamp seal traditions persisted into the Early Bronze Age (3100–2500 BCE). While these traditions underwent significant transformation and were increasingly overshadowed by cylinder seals and supra-regional administrative systems during the later fourth millennium BCE, they nevertheless continued to play a role in local administrative practices in the Early Bronze Age. The analysis suggests that this apparent gap is more plausibly explained by biases in archaeological visibility, preservation, excavation coverage, and chronological resolution than by an actual interruption in the production and use of stamp seals. Overall, the study supports a model of relative continuity accompanied by stylistic, iconographic, and administrative transformation within the Central Zagros glyptic tradition. These findings underscore the active role of Central Zagros communities in the development of administrative practices and contribute to broader discussions of cultural continuity, interregional interaction, and the emergence of sociopolitical institutions in prehistoric Southwest Asia.