Abstract
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The pseudo-prehistoric ware is one of the pottery types of Islamic period that is identified in the archaeological surveys in Narmashir. This type, has also reported from South and South-West Iran in previous years, and it has identified recently in other regions of Iran. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins.  The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” In this article, pseudo-prehistoric wares are introduced and studied. Then they have compared with other sites. The data have collected in documentary and field methods. The research method in this study is “descriptive-analytical”. Accordingly, in the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the cultural material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.
Keywords: Narmashir, unglazed painted wares, pseudo-prehistoric pottery, the historical sites of Islamic period.

Introduction
Narmashir plain at Kerman, has many settlements from Neolithic to Qajar era, But it has not considered by researchers. The old city of Narmashir (Choghook Abad site) has been introduced as one of the five main cities of Kerman, the center for agricultural and industrial products, the mediation center of Goods, and the serving location for the caravans, in the Islamic sources. This city was located along the road of India, Oman, and Sistan to the center of Iran. For this reason, it played an important role in the development of southeast Iran in early and middle Islamic era. The pieces of wares from early Islamic period to the 12th AH has identified on the surface of the Islamic sites of Narmashir, in the authors archaeological surveys. One of these wares is the unglazed painted ware (pseudo-prehistoric ware), which was reported by Sumner and Whitcomb for the first time in south and southwest Iran (Sumner & Whitcomb, 1999). But, several sites in Iran were introduced as the sites containing pseudo-prehistoric wares, after recent studies. The Pseudo-Prehistoric wares don’t have the glaze, but they are painted with brown, ochre, red or orange geometric patterns. These types of wares are like prehistoric ones, but their clay, color, and motifs are different from prehistoric painted wares. Furthermore, they distribute along with glazed wares from Islamic sites in the most parts of Iran, and for this reason, they introduced as the Islamic Potteries. The question is “what are the characteristics of pseudo-prehistoric wares of Narmashir in comparison with the other sites?” The aim of this article is to introduce and study and comparison of this type of pottery with the other samples of Iran. This helps to better understanding the Islamic cultures of South-East Iran and the communities of Lut desert margins. 

Data and analysis
The unglazed painted wares of south and southwest of Iran are very simple. They are painted in dark red or dark brown. The ornaments have appeared on the outer surface, upper part and around of their rims and handle. This motifs include simple, primitive, and careless lines, such as horizontal or vertical bands, curved and wavy lines, and zigzag designs. (Sedighian & Gholami, 2012: 135). They belong to the middle and late Islamic period (Ibid: 134). These wares have found in the old city of Narmashir, Jalal Abad and Rafi Abad. The pseudo-prehistoric wares of Narmashir, are similar to those one from southwest, center, north, and northeast of Iran. They have red or orange clay, buff slip, and mineral temper. Most of them have produced with the wheel. Their ornaments have painted in brown, red or orange. The samples of the old city of Narmashir are similar to the “Mad Abad” wares (see. Sumner & Whitcomb, 1999:320-321). The pieces of Jalal Abad and Rafi Abad are similar to those one from Atigh square of Isfahan and Samiran of Manjil (see. Sedighian & Gholami, 2012: 138). The technique of production of them is similar to the samples have reported from Bishapoor, which have painted by simple and curvy designs in red or black (see. Amiri et all. 2012: 13). Also, the samples of Kompos Bonari in Kohgiluiyeh (see. Qezelbash & Parviz, 2013: 123-124) and Qal’eh Dokhtar and Shahdezh in south Khorasan from 5th -7th AH (see. Sedighian & Gholami, 2012: 137) are similar to Narmashir wares. But, the samples of Narmashir are different from those one of Sistan and Bluchestan. The wares of Sistan and Baluchestan have the orange or red background and dark-brown motifs (see. Mousavi Haji et all. 2013: 127). The pseudo-prehistoric wares of Narmashir belong to the 5th – 8th century AH, based on similar samples found in the south of Khorasan, and center and southwest of Iran. The samples of Narmashir do not belong to the nomad communities, but they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran.

Conclusion
In the old city of Narmashir, Jalal Abad and Rafi Abad, the pseudo-prehistoric wares with brown-red ornaments found from the context that contained the material from Islamic middle ages. These samples have many similarities with the samples of south, south-eastern, northeastern, north and center of Iran. But the pseudo-prehistoric wares from Narmashir do not belong to the nomad communities, and they belong to the urban and sedentary settlements, unlike the samples of south and south-eastern Iran. Furthermore, the samples of Narmashir are different from pseudo-prehistoric wares in Sistan and Baluchestan, because the Sistan and Bluchestan samples have the red background and dark-brown ornaments. 

Abstract
The Varamin plain is located on the way to the Great Khorasan and the point of intersection between East and West of Iran in the North of Iran’s Plateau. The plain is fertile in the south of the Alborz Mountains and the deposits of alluvial soils flowed from the Alborz to the central desert, and are the gathering place of human societies with evidence from the Middle Paleolithic so far. This plain, with an average up rainfall, but due to the arrival of current waters, in the past, nowadays, with the construction of two dams on the way to the streets of Varamin, a small amount of this river water reaches Varamin, there is a thriving agricultural and livestock farming, which are still visible signs Is. The Zahistor area is also one of the foundations located on the periphery of the river, which is likely to be permanent, which is currently no longer visible. The site is one of the few settlements where its initiation pottery was obtained in the plain of Varamin, and the key area is located in the East of the plain of Ray and North of Qom. The purpose of this research is to introduce and describe the area as a whole, and to identify and characterize the clay evidence of the site, and its comparative study on the Susa, bang, and primitive culture of the culture. The questions raised in this study are generally about the changes in the pottery of this site, and what interactions have they with the nearby sites? The basis of analyzes relies more on information and internal findings, and field data, and the results also include the full typology of its upcoming pottery and the documentation of another settlement establishment of the urbanization period (its initiation) based on the evidence of the pottery of this period.
Keywords: Zavarehvar, Varamin Plain, Protoliterate, Pottery.

Introduction
This site is located in the archaeological study of Varamin plain, and was identified in Jawadabad District in 2012 (Hessari et al., 2014). The Zahavar is currently a small part of a brick factory that was excavated to expand the plant to cultural works that had before been seen in the plain of Varamin. It is worth noting, that if the plan was not a factory development, then, perhaps, in years of years, nobody realized these works and remained unknown. Having found cultural materials from this site, the question of the scarcity of the study centers in the Varamin plain was cleared in the studies of the Varamin plain establishments in Varamin plain, but other questions were based on the works of the Safavid horizons of Sialk III and IV, how the clay changes to this site and that what has been interacting with nearby centers. These findings adapted to the Shush 2 cultural horizons in Khuzestan, Fars, Varamin plains, Erisman and Sialk (Hessari et al., 1396; Hessari, 2011; Alden, 1982; Malkeshmirzadi, 2006; Ghirshman, 1934). In the evaluation of clay indicators, the basis of analyzes is more based on information and internal findings and field data. The main objective of this research is to document the archaeological evidence of Late Protoliterate and Early Bronze Age periods in this area, which can serve as an indicator area in the North of the Iranian plateau, depicts the routes to the South through the Chemarshahr to Qaq Qom, Qalidroish and Silak Kashan. The most important approach to this study is to answer the question of how are the findings gathered from this hill can interpret the culture of the cohesion of Silk III to the culture of Silk IV? This is avilible the hypothesis that there was probably a native culture specific to the plain of Varamin, which has been serious interactions with the south and north of the plain.

The Types of Pottery Studied
The zeal was collected from the clay and classified in the field study and then in comparative study in the following species (Ghasemi, 1392).
Type one: The clobug, which is hereinafter called CLEBUG, is made of wheat, and has a mildew paste.
Type two: The pomegranate, called FIGTEG, is a man-made with brown-black or black-colored gray tasting, often with simple (non-engraved) pottery with relatively thin bodies.
Type three: The abbreviation is FIGOP. This kind of crop with orange-brown flavors and a creamy lining is the largest known species in this collection.
Type four: This type includes mostly simple pottery and rarely pomegranate, which has a small amount of herbs in it.
Type five: This type is so rough with a pepper-colored, or curly-colored, cream-molded pottery that is used in it to be large vegetation with high purity of gravel.
Type Six: Such hand-made pottery with a vivid color and desire to have a simple and small bowl known as the Banchi Tray or the Uruk (Hessari et al., 1396: 40) seems to have been made of simple pottery without any decoration and role.
In this resaerch, other types of pottery such as types 7, 8, 9, 10, and 11 have been studied.

Conclusion
The appearance of the bevelled rim bowles on this site should indicate some specific and intermittent activities. It is possible to examine and determine some of the administrative-supervisory documents through different sizes of containers. It seems, that the time findings of this site has before been the beginning of the period or the horizon of Susa 2. These examples are proposed in the comparative chronicle of the middle Susa cultural period. The low proportion of applied pottery in this site such as cooked bowls, is may prove non-industrial and non-productive.

Archaeological evidence and the study of remains from prehistory to the Islamic era show that astronomy has been prevalent among ancient peoples for thousands of years. Astronomy made a great progress in the Islamic era and was used in both science and astrology. In the middle Islamic Period, the motifs used on pottery varied widely, so that the origins of pottery motifs on the one hand and the interpretation of its concepts on the other challenged scholars and has been caused disagreement and divisions between them, insofar one group refers to pre-Islamic influences especially the Sassanians and the other seeks to interpret it with the ideas of the community context in which these motifs were formed. The necessity of this research, therefore, is due to the vacuum felt by the authors in locating the purports of pottery motifs by an astronomical approach. The forgoing essay is rooted in questions such as "Should the origins of medieval pottery motifs be merely searched in the pre-Islamic era?", "How the constellations were reflected on the pottery motifs of this era?" The methodology of this paper is historical-analytical-comparative and based on and library studies. In the process of researching, we first done to gathering statistical samples from museums, drawing the motifs with CorelDraw software and matching the pottery designs with constellations and in the continuation of the research, library studies have been carried out to trace the semantic themes and meanings of historical documents. The achievement of a comparative study of pottery motifs with constellations showed that astronomy and constellation discussions formed part of the credence and beliefs of the medieval peoples that often incorporated with superstitions and supernatural beings. Therefore, some of the themes of pottery motifs can be attributed to superstitious beliefs of constellations.
Keywords: Pottery, Middle Ages, Constellations, Astronomy, Astrology.
 
Introduction
Astronomy in Islamic times consists of two parts: Astrology (Astrology and Superstition) and Science (Vegetarianism, 2009: 20). Agriculture, prediction of phenomena such as, eclipse and calendar design and timing are the most important reasons to pay attention. Evidence suggests that astronomical rulings were popular during this time, so that the dependence of the affairs of life on the celestial bodies gave rise to a wide range of superstitions. Due to the prohibition on the use of gold, silver and metal utensils in the Islamic era, one of the important sources of this "pottery" era is the beliefs and values ​​of artists and clients in the motifs of Islamic pottery. Pottery has greatly improved in the Middle Ages, with a variety of pottery construction techniques, motifs and ornaments.
The origins of pottery motifs and the interpretation of its concepts have challenged, disagreed and multiplied the researchers. Hence the necessity of research on pottery of the Middle Ages is due to the lack of comprehensive research and void felt by the writers on the astronomical approach of pottery ornamentation.
Questions and Hypotheses: Two questions are asked, "Should the origins of the medieval pottery motifs be searched only in pre-Islamic times?" And "How have the constellations reflected the motifs?" Hypotheses state that "the similarities of the motifs of these two eras cannot be understood solely as the reason for their origin from the pre-Islamic era and must be found in the intellectual context of those who ordered them at that time and in social and political conditions" and "given the progress of astronomy and its influence. It is possible for people to trace the origin of motifs in constellations and astronomical topics. "
Methodology: The method of this research is historical-analytical-comparative based on library studies which initially collected statistical samples from museums, designed drawings with CorelDraw software, and compared pottery designs with constellations.
 
Matching the Pottery Motifs of the Middle Ages with the Constellations
This section of the paper studies the reflection of astronomy on medieval pottery motifs from two scientific and superstitious perspectives on the basis of different and common statistical examples of the time, which have not been studied from an astronomical approach so far. These works include three specimens of ceramics with scientific function and 11 specimens of astrology and superstitions that are further adapted to their motifs and themes by the constellations mentioned in the Suralququebb book.
 
Reflection of the Constellations on Pottery with Scientific Function
The scientific reflections of the constellations on the motifs include three containers held at the Ashmolean, Metropolitan and Boston Museum.
The designs on these three containers include the role of the sun in the center and the six famous planets (Moon, Mercury, Venus, Mars, Jupiter, and Saturn) and the twelve eclipses that collectively exist on earthenware and can be used for special purposes such as education, Clay astrolabe set the calendar and courtyard because astronomy education and learning was in the hands of the rulers, scientists, and scholars at that time, and the limited number of these dishes confirms the public claim of the dishes.
 
Reflection of Constellations on Pottery Using Astrology (superstitions)
This section refers to the constellation symbols of the North Face, the Exterior Area, and the South Face on the pottery.
Deb Akbar: A blue-and-black plate with the role of a bear and 27 stars inside it and eight stars outside it (sixth century AH) is held at the Los Angeles Museum of Art. (Dehkhoda, 1373: below Deb Akbar).
Figures (inflamed): Plate of Zarrinfam (6th and 7th centuries AH) with human role in his hand 11 stars and outside those two stars, made in Kashan, is kept at the Aga Khan Museum in Toronto. (Sufi, 2002: 44).
Essence: Enamel plate (6th and 7th centuries AH) with the role of a woman sitting on a 13-star bed, made in Kashan at the Metrolithin Museum. (Sufi, 2002: 74).
Nasr Ta'air: From the north faces is a bird that is adaptable to the two eagle (5th and 6th century AH at the David Museum) and vulture (6th and 7th century AH at the Metropolitan Museum) there are nine stars inside it and six stars outside it. (Sufi, 2002: 102)
Al-Fars al-Thani: A Seljuk-era gold plate with a winged horse and 20 stars inside it, built in the city of Rey, is kept at the Metropolitan Museum (Sufi, 2002: 109).
Thor: Gross-style green pottery with the role of a cow and 33 stars inside it and 11 stars outside it (5th and 6th centuries AH) is preserved in the Sincinati Museum. (Sufi, 2002: 129).
Cancer: Porcelain clay molded with white monochrome glaze with 9 stars inside it and four stars outside it (5th and 6th centuries AH) probably produced by Kashan or Ray and is kept in the British Museum. (Sufi, 2002: 148).
Assad: The Golden Lion Bowl with the role of a lion inside him of 27 stars and outside of the eight stars (sixth century AH) made by Kashan is held at the Metropolitan Museum of Art. (Sufi, 2002: 152).
Kolb and Arneb: The Albarlow-style Zinfam jar with the role of dog and rabbit (sixth century AH) made by Kashan is kept at the Brooklyn Museum. (Sufi, 2002: 230, 233)
Courageous: The bowl is kept in the Boston Museum by painting it under the snake's glaze inside the 25 stars and outside those two stars, related to the Seljuk era, made by Kashan. (Sufi, 2002: 250)
 
 
Conclusion
The comparative study of medieval pottery motifs with constellations shows that astronomy and its topics were widely popular among the people of this period because of the rulers' support for it in both scientific and superstitious dimensions. Also, the twelve-face facial motifs, with the greatest number of illustrations, are of particular interest to the people of that time. Now the answer to the question, "Should the origins of medieval pottery motifs be searched only in the pre-Islamic era," said the origin and concept of many bizarre animal and human motifs derived from widespread superstitious beliefs about constellations in That is the era. In response to the second question, "How have the constellations reflected on the motifs?" It can be said that the male and female gender constellations come in two groups for special containers and single use, superstitiously derived from people's belief in supernatural powers. However, the illiteracy of the potter in this regard, and only the aesthetic attention, as well as the distortion of astronomy by superstitious beliefs, have made the difference between motifs and constellations.

Abstract
The previous studies on the Elamite pottery generally focused on the form and shape of the artifacts. From the perspective of fabric, very few studies have explored the Elamite pottery. The pottery type studied in this paper is orange (ranging from light brown to red) composed of a tempering material, sand and white particles. The core of this no ornamented, wheel-built pottery is black. In an investigation to outline the scope and boundaries of Haft Tapeh ancient city, a number of the Elamite pottery samples were recovered in certain layers dating back to the late ancient Elam (Sukalmah) and the Middle Elamite near the adobe structures of Haft Tapeh. Haft Tapeh refers to a structure belonging to the Elamite Era located in Khuzestan and south of Susa. One major finding in this city is a tomb from the Middle Elamite Era. Since 1965, this building has been investigated by Negahban and later by Mofidi-Nasr abadi. Thus, Haft Tapeh can undoubtedly be considered a city belonging to the Elamite Era. In this light, the pottery type in this geographical scope can be particularly useful for comparison of similar artifacts found in Isfahan and Chaharmahal and Bakhtiari, both of which could be associated with the Elamite Era. This study focused on Asgaran and Saba as two regions in Isfahan and central part of Ardal in Chaharmahal and Bakhtiari. A total of 10 pottery samples were randomly selected from these regions. They were then compared in terms of fabric and composition against 4 counterparts found in archaeological layers of Haft Tapeh belonging to the Elamite Era. It should be noted that the two-color body in the pottery sample is not at all associated with the type of compounds or curing temperature, Since the two parts are identical in terms of composition. Moreover, it seems that the main reason for the two-color body lies in the curing conditions and techniques (oxidation and reduction) inside the furnace, leading to two different colors. Apart from that, there is a kind of orientation in the components of pottery samples, potentially indicating they were built on wheels.
Keywords: Elam, Orange-Red Pottery, Petrography, XRD, Ft-IR.

Introduction
One of the surrounding regions cover the north of present-day provinces Fars and Khuzestan as Elamite centres in the ancient era. The noteworthy point about these regions is their potentially rich metal mines. This has been mentioned in the Mesopotamian inscriptions, mainly explaining the link between the Mesopotamian plain and the highlands of Elam. The present-day provinces, Khuzestan and Fars, have small potentials for metal mines. Hence, they only served as surrounding regions supplying the metals. However, little investigation has been done on the archaeological data from the Elamite Era. It is crucial to carry out a historical study on these regions along with the archaeological data to enlighten the dark spots in the Elamite Era, and ultimately provide a toponymy of the Elamite cities. One instance of such archaeological data involves various types of local pottery in Khuzestan (as a central city of Elam), which was compared through petrography against the samples recovered in Isfahan and Chaharmahal and Bakhtiari (as two dently the era in surrounding regions). Thus, this paper intends to discuss more con which this type of pottery was built and its origin in order to provide a toponymy of the previously mentioned cities based on historical and archaeological data. In Miankooh, Ardal, more than 76% of Elamite sites have been reported to be nomadic. This is highly important alongside the neighborhood of this province and Isfahan with regard to the toponymy of Zabshali and LU.SU. Meanwhile, there are a considerable number of pottery samples from this region comparable to their counterparts across the Elamite centers. 
The surrounding regions of Elamite centers (Susa and Anshan) have so far been rarely explored. One of such surrounding regions stretched across the norther of Elamite centers, covering certain areas of present-day provinces Isfahan and Chaharmahal and Bakhtiari. In addition, there are pottery samples from the Elamite Era found in Khuzestan (as one of the central districts of Elamite), even though they have rarely been explored in studies on the Elamite Era. This can be partly associated with the limited number of such pottery samples against their counterparts from the Elamite Era in Khuzestan. Nonetheless, the noteworthy point about this pottery type is the great similarity (discussed later) in Khuzestan to those recovered in Isfahan and Chaharmahal and Bakhtiari. Therefore, this study attempted to explore these regions from the Elamite Era through an interdisciplinary approach involving archeology, archeometry and history of northern Susa and Anshan. Despite the importance of the regions surrounding Elamite centers (Susa and Anshan) based on the Mesopotamian inscriptions, insufficient effort has so far been made to investigate the Elamite Era in Isfahan and Chaharmahal and Bakhtiari as two surrounding regions. Nevertheless, the pottery type studied in this paper has been frequently found in Isfahan and Chaharmahal and Bakhtiari. In this study, great effort was made to review the geographical locations of the two provinces in Elamite Era according to written sources and archaeological evidence. Moreover, the pottery artifacts were petrographically examined to find out whether or not the samples recovered in Haft Tapeh, as a key central spot in Khuzestan during the Elamite Era, are congruent with the clay artifacts found in Isfahan and Chaharmahal and Bakhtiari from the perspective of appearance and textural characteristics. In fact, the discussion revolves around the possible involvement and predominance of the Elamite in Isfahan and Chaharmahal and Bakhtiari, while providing a toponymy of ancient Elamite regions in those provinces today.

Conclusion
The specific pottery type in this study indicated a remarkable frequency in Isfahan and Chaharmahal and Bakhtiari. Moreover, it proved to be similar to counterparts recovered at Haft Tapeh (Khuzestan) in terms of fabric, production technique and curing temperature. It is essential to point out the pottery types across the northern Elamite centers which have been rarely explored so far. The specific pottery type examined in this paper can definitely be considered an Elamite artifact. It should originate from the Zagros Mountains in the north of Khuzestan (Bakhtiari highlands). That is perhaps why this type of pottery is less abundant in Khuzestan as opposed to Isfahan and Chaharmahal and Bakhtiari. According to the constituent element of pottery samples, this pottery type does not originate from Khuzestan Plain, but it can rather be traced in Zagros Mountains.  Therefore, it can be argued that the Elamite were involved in dominated Isfahan and Chaharmahal and Bakhtiari, while delving into the toponymy of Elamite cities such as Zabshali and Tukrish in certain parts of Isfahan and LU.SU in Chaharmahal and Bakhtiari. The regions never explored from that very perspective can set out a new avenue of Elamite research into these Iranian provinces. Finally, it is recommended that future studies focus on northern regions of Elamite centers including the present-day Isfahan, Yazd and Chaharmahal and Bakhtiariti so as to clarify many of the archaeological ambiguities of Elamite Era. After all, an in-depth investigation of Mesopotamian inscriptions can help scholars realize the importance of these regions, while revealing their archaeological capacities.

Abstract
Among the ancient motifs from Iran and Mesopotamia, some pictures showing special shaped beakers can be seen but unfortunately no explicit comment has been made on the nature and function of these forms by researchers. Recently, 7 pottery beakers have been found in a Mannaean cemetery (Mala Mcha) and and Iron Age grave (Kani Koter) in northwestern Iran and authors are believed that their shape and possible function are compatible with some of these ancient motifs dating back from the third millennium B.C. to the Achaemenid period. A glazed beaker from Tepe Hasanlu which belongs to Iron Age II also has the same characteristics as the Mala Mcha and Kani Koter examples. Considering the symbolic meaning of the Lotus flower in ancient cultures, as well as their form and decoration, it seems that the Mala Mcha, Kani Koter and Hasanlu pottery beakers have a special application. Previously some researchers in some cases have interpreted these motifs as a Barsom (Barsam) or flower (often lotus). The authors propose that these objects that can be seen on ancient reliefs or ivories are simple or painted beakers equivalent to the clay beakers unearthed in these sites. Probably this type of beaker was not used as normal container, but it seems to have been utilized by high-level people during special events and banquets perhaps for drinking prized liquids. In addition, it seems that the samples of the Mala Mcha, Kani Koter and Hasanlu in terms of shape and possible there function, are comparable with some of the patterns of the motifs discussed in this paper. The grave of Kani Koter is rich and belonged to a warrior of high status. Also the graves of Mala Mcha which had pottery beakers were richer than other graves, and it seems that the users of them have superior position over others. The glazed beaker of Hasanlu was as well as obtained from a room with local and Mesopotamian specimens in a special room. In ancient motifs, users of these objects have a superior social position than others. In this paper, in addition to comparing the shape of the beakers of Mala Mcha, Kani Koter and Hasanlu with the remaining ancient motifs, Chromatography experiments were carried out which unfortunately, did not receive any laboratory data on its application.
Keywords: Pottery Beaker, Banquet, Mala Mcha, Kani Koter, Hasanlu, Ancient Motifs.

Introduction
Archaeological excavation in 2012 at the Mala Mcha Cemetery near the ancient Mannaean site of Ziwiye in Kurdistan province, a number of very interesting pottery beakers were found which, according to the authors, seems to be the objects depicted in the images of ancient motifs from the third millennium BC until the Achaemenid era in the Middle East and Iran. Examples of these motifs are presented in the papers.
From Mala Mcha cemetery, five pottery beakers were found with a narrow body, and a large mouth that three beakers were identified from grave No. 5. Another two beakers is excavated from grave No. 7. The graves of 5 and 7, those containing these beakers are richer than others. The special shape of these beakers shows that they have probably had a special function. The painted beakers have a petal shape similar to lotus flowers. These potteries are often have a fine temper, well-fired, burnished, wheel-made and are comparable with Ziwiye potteries. The Garve of Kani Koter is located in the near of Mala Mcha and its tomb was destroyed by illegal excavator. The burial goods of it is rescued by Cultural Heritage of Kurdistan province. In Kani Koter grave 2 blue glazed beaker obtained which resemble to plain beakers of Mala Mcha. Different objects were obtained from this grave that indicating its richness that its artifacts is dated to Iron Age III.
In addition to these pottery beakers, a glazed pottery from the Burned Building II of Hasanlu (Iron Age II) also has a form and decorations that are almost identical to the pottery beakers of Mala Mcha and Kani Koter. In addition to these beakers, a number of glazed terracotta jars are also identified in the same layer that depicted them in Assyrian reliefs. Hasanlu’s sample is also one of the few glazed pottery that is of high quality and obtained with ivory and special objects, and it is believed that these objects are derived from the cultic context of Burned Building II of Hasanlu. The shape, motifs and the place of Hasanlu’s glazed beaker are indicative of its importance. The Excavator of Hasanlu believes that this beaker is made in the Solduz region, although it’s very similarity with objects from neighboring areas. 
It should be noted that the similarity between the burial goods of the Mala Mcha’s finds with the Mesopotamia and Iran is not limited to beakers and visible in other objects. A number of Mala Mcha vessels are similar to the Pasargadae and Assyrians potteries and artifacts of Kani Koter is resemble to Urartian, Assyrian and Mannaean samples. In Hasanlu’s excavation, various objects have been compared with the images of neighboring areas, and in particular the Assyrian. 

Ancient Motifs and Interdisciplinary Test 
In the ancient motif of the Mesopotamia and Iran sometimes a picture of a particular object is seen that used by some high-ranking people or gods, which has so far not been accurately detected about its nature and application. This object, often with a narrow body and a wide mouth, has a length of at least one beaker which according to the authors of this article can be a picture of a beaker. This image (beaker) is seen from the third millennium BC to the middle of the first millennium BC but in the first millennium BC is more. In this paper some ancient motifs with resemble picture like a seal impression from Tell Asmar that belong to third millennium BC, an ivory from Nimrud (1000-850 BC), Assyrian wall relief from Tiglath-Pilesar III from Nimrud have been compared. Among the palace reliefs of the Assyrian period; Sargon II (722-705 BC), there are similar motifs. In this motif, there is a banquet subject that is used this beakers, although its beaker is not exactly the same with the samples obtained from western Iranian excavations. Similar discussed beaker is seen in the Esarhaddon stone stele from Zanjirli. Some of the images in the following periods like Persepolis’s plain beakers which is seen in the hands of elite Persian and Median nobles on the East and north side of the Apadana is resemble to pottery beakers. These images are also presented as flowers. The similar picture is also seen in the rock-cut tombs of Qizqapan. To understand the function and the type of material used in the beakers of Mala Mcha, a chromatographic test was performed on them, which unfortunately did not produce the data that indicated their use. 

Conclusion
In some ancient motifs in the Mesopotamia and Iran from the third millennium BC to the Achaemenid period, a picture of a beaker-like object is seen in the hands of the gods and high-ranking people. These objects are depicted in important places or on important objects such as ivory. According to the authors, the similarity of the five pottery beakers from Mala Mcha graveyard and tow similar beakers form the tomb of Kani Koter, as well as a sample of beaker from Tepe Hasanlu IV could be considered as suitable samples for the type of function of these vessels. The motifs are also reminiscent of the role of the Lotus flower, a symbolic flower in the Middle East. The use of painted beakers that is the same can be seen reminder of Lotus flowers.

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

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

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

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

Abstract
The existence of route such as the Khorassan highway and the Shah’s subway in the Hamadan have made the region known as an important station throughout the historical periods. In the Islamic era, these trade routes have led to the emergence of various types of pottery cultures in the region. Due to the influence of the pottery cultures of Hamadan from the large areas of Islamic pottery production, this research has tried to address the issues such as: the era of Islamic pottery of Hamadan region? Which types of Hamadan region have local cultures? With the aim of identifying various kinds of clay of the Islamic period of the region, which is carried out through the study of archaeological data, a variety of pottery styles of the Islamic Ages are identified and introduced. During this research, more than 12 pottery styles were identified. All these types of pottery date back to the early centuries, the Middle Ages, and the later centuries. In the first centuries a variety of Unglazed pottery’s, Flower-shaped species and Sgraffiato were obtained. In the medieval pottery the types of pottery can be mentioned: Monochrome, Unglazed pottery with marble and mosaic designs, Ghalam Meshki, Silhouette, Lakaby, pottery of Sultanabad, Zarinfam and the Blue and White of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late centuries. During this period, the production of species such as Blue and White Safavid era and engraved pottery on ghosts with abnormal designs are prevalent.
Keywords: Hamadan Region, Pottery Styles, Islamic Era.

Introduction
Hamadan is one of the areas that has had a strategic position throughout history. This area allowed the Central and Eastern Plateau to connect with the West and Mesopotamia. The existence of major routes such as the Great “Khorasan Road” and the “Royal Road” route has affected the region’s transformations in the various cultures of human societies. For example, during the survey and archaeological excavations in this region the influence of the Yanik culture from the northwest and the Black on Buff  Ware (BOB) from the southwest on this region has been determined. One of these developments is the creation of various styles of pottery of the Islamic era. Surface surveys on the Islamic period of the Hamadan region indicate that in this region various types of pottery styles have been used in different parts of Iran. However, except for the alternate and two underground crumbling basins, the Samen (It’s a underground archaeological site in the southwest of Hamadan province) is still not one of the sites of the era Islamic, with the approach of identifying and introducing various types of pottery of Islamic era, has not been explored. Based on the data obtained from the archaeological excavations carried out in Hamadan (like Hegmatana, Arzanfood underground archaeological site, Samen underground archaeological site, Islamic city of  Darjazin and Zinoabad ) it seems that apart from the few centuries that, in the absence of exploration of the temporal exploration of the pottery cultures of this region, it is still unclear to our knowledge of the next century pottery, which is generally from archaeological surveys Gets more accessible. In this study, by studying these data, a variety of ornamental species commonly associated with the Middle Ages are known, such as simple mosaic-free glazed ceramics, graphite pottery, pencils, zarrinfam, aquatic blueberries of the Middle Ages, and others in Hamadan region.

Decorative Styles of Pottery of the Islamic Era in Hamadan
After reviewing all the archaeological sources of the area, 12 styles of decorative decoration of Islamic pottery were identified for the period of the early centuries to the late Safavid era. Decorative styles include: plain clay and glazes, all kinds of pottery with monochrome glazes, clay pottery with glazed pottery and stamping, scratching, lacquering pottery, all kinds of underbrush glazes, silhouette, types of painting on the glaze of type Zarrinfam, Sultan-Abad style pottery, famous blue and white pottery and various styles, generally related to the later period, the Qajar period.

Conclusion
The result of the study of Islamic clay data obtained from the archaeological explorations of Hamadan region is the identification of 12 species of clay. These types of pottery were each produced with different decorative features in different Islamic periods in this region. In general, Islamic pottery can be divided into three periods of the early centuries, the Middle Ages, and the later centuries. In the first centuries of the Islamic era, due to limited studies, the conditions of the cultures of the Hamadan region are not clearly known, but based on this limited information, a variety of simple ceramics without glazes, clay dipped and pottery clay. The next period is related to the medieval pottery. The pottery of this period has been identified in many Islamic sites of Hamadan. Among the types of pottery of this period are: monochrome pottery, unmolded pottery with decorated motifs, black pottery, silhouette, lakaby, pottery of Sultan Abad, pottery of Zarrinfam and blue and white species of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late century’s pottery. However, during this period, some species of pottery of the previous periods, with changes in the type of dough and motifs used, were still used, but the production of species such as blue and white Safavid era and engraved pottery on the glaze with austerity motifs from this era became popular. From late centuries later, in the area of Hamadan, pottery products have found local flavors and a variety of cultures have been created. The peak of this process is seen during the Qajar period and with the advent of Laljin. The city is still known as the largest pottery center in Iran, the center of which exports its own clay styles to different regions.

Abstract
Islamic potteries have been studied since about 100 years ago, which concluded to whole bunch of disseminated literature, including books and articles. However, new findings from archaeological excavations and surveys light ambiguities and develop modern knowledge of potteries. Archaeological excavation project of troglodytic structure of Tahigh revealed glazed and unglazed potsherds that have been left unstudied. Accordingly, present research aims to classify findings from Tahigh to define cultural interactions with neighboring areas, further than relative chronology. Two main problems raise here as period of potteries of Tahigh and relevant manufacturing center(s). collecting data follow bibliographic and field work studies that is based on analytic-descriptive method. Considering comparative studies, the findings probably date to Islamic medieval centuries; and regarding available data, exotic items mostly imported from sudden neighboring areas or close regions of Central Iranian Plateau, including Zolf Abad of Farahan, Moshkoyeh Zarandieh, Aveh, Rey, and Kashan, however, there have not been identified any items from further regions of Kurdistan, Zanjan, and Kirman or other countries of China and India. 
Keywords: Underground Hand Making, Tahigh Khomein, Pottery, Investigation of Medieval Islamic.

Introduction
Present paper comes from a season of archaeological excavation and unearthing troglodytic structure of Tahigh, Khomein, which concluded to many pieces of potsherd (Sherahi 1393). It is necessary to involve in the excavation and pottery findings in a monogram, because of lack of relevant literature and diversities of findings. Accordingly, present paper intends to classify and define cultural interactions, in addition to relative chronology, that is responding to problems facing chronology, manufacturing centers, defining local, regional, and intraregional cultural and commercial relations of residents of Tahigh to the other areas. Descriptively and analytically present paper investigates data that collected according field works and bibliographic methods; findings resulted of archaeological basic activities and excavations that studied bibliographically. The authors, firstly, present introductions on Tahigh site, then investigate different types of revealed potsherds. 

Discussion
Some 10,000 pieces of glazed and unglazed potsherds revealed following the 1st season of excavations of troglodytic structure of Tahigh. Around 60% of total amount of potsherds are unglazed ones, as the most amount of findings. One could categorize potsherds to different types, considering technical and decorative characteristics, as follows: Plain or decorated kitchen wares with grey or black temper; Plain or decorated kitchen wares with reddish buff temper or smoky dark brown, similar to some findings from Rey; Plain or decorated wares with reddish buff temper; Decorated or plain wares with buff temper; Wares with reddish buff temper and inlaid to patches of turquoise glaze, or with dark brown temper and inlaying of patches of bronze similar to samples from Moshkuyeh and Rey;Wares with buff or reddish buff and typical stamped Seljuq decoration, and wares with light buff temper and orange painted decoration.
Glazed wares from the site mainly are frit wares that vary to many types including different types of glazed monochrome ones and underglaze incised or stamped decorations, types of underglaze paintings on white or turquoise background for example blue and striped white, wares with silhouette turquoise underglaze decoration, and few samples are painted luster or enameled wares. The potteries are very similar to medieval potteries from Zolf-Abad, Moshkuyeh, Kashan and Rey. Furthermore, there were found four unique miniature frit wares with painted underglaze decorations from Tahigh; there have not been recovered similar comparative samples from the other sites. There were recovered many glazed and unglazed tallow burners that formally categorized to four groups of plain cup-like, couple handled cup-likes, plain piped, and bisection piped.   

Conclusion
There have been recovered different types of unglazed potteries, with clay, sand or grit temper, whereas glazed findings are generally frit wares, and few clay wares. The unglazed wares show stamped decorations that typically manufactured during medieval Islamic centuries, however, decorations of unglazed painted samples characteristically revealed during 11 to 13th centuries, which have not been reported from other archaeological sites. Considering comparative chronologies, the unglazed potteries of Tahigh probably manufactured during Islamic medieval centuries especially 11-13th centuries; they were probably manufactured in workshop(s) close to the site or peripheral settlements. However, the other unglazed potteries, including stamped ones, probably imported from other areas such as Moshkuyeh Zarandieh or Rey. The glazed wares revealed abundance and diversities of burnishing and productions, generally frit wares, however, there were identified few clay ware samples. Regarding comparative chronologies, the potteries manufactured between 12-13th centuries. No samples were regional production, while they were probably imported from other regions including Zolf-Abad, Moshkuyeh, Aveh, kashan, and even Rey. Furthermore, tallow burners, generally frit wares, probably manufactured during 11-13th centuries. According to comparative studies of Islamic potteries of Tahigh, one could suggest that residents had local and regional cultural and commercial relations. Accordingly, pottery findings generally are reveal similarities to settlements at Iranian Central Plateau including Moshkuyeh, Kashan, and Rey, rather than other sites such as Jiroft, Aqkand of zanjan, and Garoos of Bijar. It may be troglodytic construction, structure, and small area with little population of Tahigh that never permitted it to raise as a metropolis with intraregional or even international commercial relations.

Abstract
The two most prominent types of material cultures in eastern Zagros are Bronze Age black burnished pottery (3rd millennium BC) and grey Iron Age pottery (second and first millennium BC) that were dog out during archaeological expeditions are being investigated and reconstructed. The technique of firing these two types of pottery will be analyzed in the present study. The main objective of this research was to reconstruct the similar conditions and techniques of these two pottery class using experimental archaeological methods and practical reconstruction of traditional kilns. Along this route, the technical similarities and differences are discussed, relying on archaeological data and comparing it with reconstructed samples. In this regard, two samples of each of the Bronze Age and Iron Age potteries were reconstructed and samples were produced and refurbished by traditional kiln that utilize modern laboratory facilities and precise temperature-measuring devices and are heated in the firing process. The results of the try and error tests indicated that baking with chemical reduction and emergence of gray color is the most important common feature of difference of gray pottery with other pottery assemblages. The firing technique and the structure of the kilns are the most important factors in distinguishing the two types of bronze age and iron age pottery assemblages. What is certain is that with the evolution of the furnace structure, the heat generated from about 700 ° C in the gray Yanniq period of the Bronze Age has increased to about 1000 ° C in the Iron Age specimens, resulting in a higher firing quality as well as a complete and complete chemical reduction of the vessels. Practical comparison of the reconstructed samples showed complete conformity of their characteristics with the ancient specimens (Pisa Tepe, Tushmalan Tepe and Ahmadabad Tepe) and also revealed the secret of producing these two species of gray pottery.
Keywords: Eastern Zagros Central Regions, Bronze Age Pottery, Iron Age Gray Pottery, Experimental Archeology, Kiln, Firing and Reduction.

Introduction
In modern archeology, the scientific question is not what we know, but how we know it. This point of view is one of the most important and at the same time the simplest modern archeological approach to past phenomena (Alizadeh, 2004: 91). Therefore, the idea of reconstructing the conditions and the environment in analogy with what was reported in the reports and data was presented. In response to such ambiguities, it can be said that using more modern methods in research such as “experimental archeology” will increase the accuracy of the premises. Early sections of this study have followed up on existing data and library studies of past sources and reports; therefore, in the next section, reconstructing the conditions and environment consistent with the information provided, has been the author’s main goal. In this section, the “kiln making” and the experience of firing the pottery in these kilns were practically achieved, leading to new information on the evolution of the gray pottery production; Proved the assumptions to be true, so that by producing products that were quite similar to ancient data, the key role of the resuscitation process in the firing process and the important role of kiln design and structure in the specific type of firing were demonstrated However, in some sources (Majidzadeh, 1370: 9-7), general references to the reasons for the pottery being grayed out as interfering with elements such as oxygen, iron, and carbon, and in other research, the reduction process was the main reason ( Kambakhshfard, 2010: 296). Finally, it can be added that according to the comparisons and studies of the samples, the firing of the Iron Age gray pottery somehow evolved into conscious firing methods during the first millennium BC. Although in the early Bronze Age achieved to somehow the technique of reduction firing, but only in Iron Age pottery assembladges, the correct pottery reduction firing can be clearly seen.

Discussion 
After the pottery kiln reconstruction operation and the success of the production of the specimens, only by a very simple comparison, the accuracy of the existing probabilities, which were the unknowns of the equation, can be easily ascertained; however, accurate and scientific recordings of the work confirmed these results. Based on these empirical findings for the Bronze Age gray pottery, although previous findings indicate that the potter accessed the firing process may be regenerated, it is due to the amount of carbon accumulated in the samples (carbonization) that is due to its proximity to heavy smoke and firewood. It can be said it was still not possible to control precisely the firing conditions by the potters.
According to existing reports and objective observations of the Bronze Age pottery assemblages, such pottery has much thicker bodies than the gray Iron Age pottery, and empirical indications indicate lower firing temperatures; There are some other features that have been ignored because of their relevance to the subject of this study, that is, firing techniques. As for its firing technique, most of the existing documents refer to the possibility of a ditched type kilns, which is not far-fetched from the evidence.
Reconstruction of the firing conditions of the Bronze Age pottery indicated that the kiln was probably a small-size oven shaped hole that provided a relatively primitive chamber for controlling fire and firing in the vicinity of heavy smoke from firewood and fuel. Reconstructed furnace firing sector were able to provide similar conditions for oven-kilns. In this oven shape kiln, pottery was quite similar to the Bronze Age specimens, especially the Yaniqe or Godin IV pottery, but due to physical limitations and initial quality and reduction facilities, they were never comparable to those found in the Iron Age.
In fact, despite efforts to create optimum conditions, these types of kilns are not capable of achieving a higher quality product such as gray ceramics of the Iron Age, even though due to the excessive energy loss of the maximum heat produced in the oven by about 700 Centigrade did not exceed that production of higher quality pottery in these conditions is almost unlikely.
As the kiln construction techniques expands and evolves, the reconstituted kiln will eventually move closer to the plan of the kilns in the Iron Age, and after a complete overhaul, the result also confirms this claim. In this kiln, reasons such as the separation of the firing chamber, the dominance of proper flame allocation to the vessels, the closure of the pipes and the non-collision of the pipes with the air, made it easier to obtain the appropriate chemical reduction conditions.
In fact, the gray color of the potteries reconstituted with the conditions of the Iron Age kilns are mostly due to the correct reduction and dependence of the carbon chemical interactions and the consumption and replacement of the oxygen present in the composite iron oxide in the ceramic body soil. The technical differences in these two species, which are mainly due to differences in the structure of the kiln structure, are evident in the firing quality of the bodies and the difference in the intensity of carbon accumulation and the color difference between the surface and the body depth.

Conclusion 
After examining the documentation available in the time and location of interested research subject, it can be said that the gray pottery has two major variations, both of which have significant differences in terms of time of occurrence, originating culture, and specific production and reduction techniques. In terms of firing technique characteristics, it can be said that the only similarity between these two cultural products is the presence of a “different gray color” in the body of both types of pottery, which has brought them closer together because of the differences in the characteristics of the other species.
The characteristics of the Early Bronze Age gray pottery that distinguishes it from the Iron Age gray pottery lie in the presence of two main factors, namely the type of kilns and the pottery body features. According to the comparison and examination of samples, firing gray pottery assembladges of the Iron Age somehow evolves conscious firing methods and only in the examples of the Iron Age pottery can a complete and correct chemical reduction of a pottery be clearly seen.
In fact, both of these types of potteries are common in creating an atmosphere of chemical reduction in firing, both of which are interesting in their quality and type of performance, which can be attributed to the progressive evolution of the kiln structure and the facilities and knowledge necessary for its construction and observance for centuries.

Abstract
Khoy Plain has attracted various tribes in terms of geographical conditions and suitable environmental capacities over the course of thousands of years, and has been the basis for establishing human settlements in different periods. The pattern of dispersion of the areas identified in this mid-range plain in the Bronze Age reveals the emergence and existence of a large center called “Dozdqi”, which in this period becomes a very important center. Dozdaqi with a height of 1200 meters above sea level is an area with more than 16 hectares and 24 meters above the surface of the surrounding area, the highest prehistoric area of the plain, which is located along the permanent river of Ghodvokh Boghan and the springs and wetlands. The existence of a salt mine as an export commodity in this area, as well as obsidian artefacts (imported goods) in 7 different colors. The percentage of the volume of distribution of pottery on the surface of the site indicates that the period of dynamism and flourishing of the site was in the Bronze Age, and it seems that during this period and for the first time in Khoy plain, there could be an over-the-center Of the 16 hectares.The existence of such a center is likely to be in the context of trans-regional trade. In this research, 20 samples of the Bronze Age pottery sherds were collected from the surface survey and speculation to determine the area and privacy of the study area and typology.
Keywords: Dozdaqi Khoy, Bronze Age, Pottery.

Introduction
The late fourth millennium and early third millennium BC, one of the most important milestones not only in Iranian history, but also in the history of the Near East. This period coincides with major events such as the formation of the first city government, the beginning of urbanization and the expansion of its line.
The ancient Bronze Age in the northwest is part of a widespread culture called the Culture of Kura-Aras (Rezalou and Zaban Band, 2016: 17) or Yaniq’s Culture (Burney and Lang, 1971: 44, Dayson, 1973: 686-7) Is known. n this regard, Dozdaqi  Khoy with an area of more than 16 hectares of the largest settlements in the north of Lake Urmia is related to the Bronze Age, which has cultural works of the Neolithic, Copper, Bronze and Iron Age periods. The percentage of the volume of distribution of pottery on the surface of the site indicates that the period of dynamism and flourishing of the site was in the Bronze Age, and it seems that during this period and for the first time in Khoy plain, there could be an over-the-center center Of the 16 hectares, he said that the existence of such a center is likely to be in the context of trans-regional trade. Therefore, attention to the above-mentioned cases, as well as the study of the status of the Dozdaqi area in the Bronze Age, is one of the most important goals of this research in terms of the presence of cultural materials related to the three old, middle and new bronze periods on the site. In this research, 20 samples of the Bronze Age clay collected from the surface survey and speculation to determine the area and privacy of the study area and typology.

The Dozdaqi Khoy Area
The Dozdaqi area consists of two parts of the east (Dozdaqi area) and the western one (Hill Dozdaqi) separated by a sandy road (Picture 1). This ancient site is located 1.5 kilometers southwest of Khoy city, in the central part and 1 kilometer north of the Amirbiq village, in longitude N: 38.31 23, and latitude E: 44.5514 with an average elevation of 1200 meters The water level is formed in the middle of a mid-range plain and the fertile part of the plain on the eastern side of the Qodwokh Boghan River.
 The most important bio-properties of the Dozdaqi field are as follows: the area of the fertile and cultivated land, the amount of precipitation, the appropriate height, access road, the presence of pastures and suitable vegetation available around the site, fuel resources, abundant water resources and most importantly, there was a salt mine in the east of the area. This ancient work has brought the most important potential and conditions of economic exploitation based on agriculture, animal husbandry, trade and cultural exchanges (salt, rock quarrying, etc.) with neighboring areas.

Typology of the Bronze Age Crystal Enclosures
In this paper, 20 pieces of samples of pottery sherd that were collected during the speculation of the field and area of 1395 from the surface of the site were studied and typified (Plan 1 and Table 1). The color of the pottery is varied, and in this regard, the pottery of the collection can be divided into three groups: brown dumplings, gray dwarfs, red pottery, besides in one color case Black beetle. In making most of the samples, the binder is used in the mineral and the surfaces of the clay are smooth and smooth. On two levels, most of the pottery is covered with thick or thin flowers to peppery, light brown, cream and red. There is also a wheel maker in the collection of handmade pottery. The temperature required to bake most of the pottery has been sufficient. The specimen of the Bronze Age is a hot dip galore comparable to the clay samples obtained from the hills of Yannick (Burney, 1961), Burton-Brown Hill (1948), Haftevan (Burney, 1973), Gijler (Pecorlla,and Salvini, 1984), Cole Tape (Abedi, 2011), the Kohneh Tappeh Cy (Zalaghi and Akhalari, 2007) the Kohneh Pasgah (Akhalari 2008) and the Barouj Tappeh (Alizadeh and Azarnoush, 2002).

Conclusion
The percentage of the volume of distribution of pottery on the surface of the site indicates that the period of dynamism and prosperity of this site has been in the era of urbanization and urbanization, and it seems that during this period, and for the first time in the plain, there could be a center with an area of more than 16 hectares said that the existence of such a center in the Khoi Plain is likely to be in the context of trans-regional trade.

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

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

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

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

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

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

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

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

Abstract
The 4th millennium BC is one of the most important periods of the history. During the 4th millennium BC, the first urban societies were established in southern Mesopotamia and south-western Iran. Even southern Mesopotamia and southwestern Iran are among central regions of urbanization, but adjacent areas, particularly Central Zagros in western Iran, have played the main role in this process. Godin Tepe is one of the most important archaeological sites during the 4th millennium BC in western Iran which has main role in the urbanization studies. The excavation of this site and Seh Gabi in Kangavar shaped the cultural sequence of Central Zagros until now.  Even this site has close cultural interaction with northern region such as Urmia basin during 5th millennium BC, but later in the 4th millennium BC, this interaction has changed from north to east and to the Central Plateau. The most significant characteristics of the interactions between Godin and the Central Plateau, is some fair painted buff pottery (Godin VI painted pottery) which is reported from the late chalcolithic period sites of the Central plateau (Sialk III6-7b). Regarding the existence  of this painted pottery throughout chalcolithic period ( not only late chalcolithic) in the Central plateau and the absence of this ware in preceding  period(Godin VII) in Godin sequence, it should be noted that the Godin VI painted buff ware is not local in Kangavar area. It has a foreign provenance that should be looked after in Central Plateau. Our methodology in this paper is comparison of this fine painted buff pottery from Godin VI period with the previous coarse ware of Godin VII, and with same ware of late chalcolithic period sites of the Central plateau.  We do not believe in immigration hypothesis about this intrusive ware in Godin sequence. Obviously future studies will be needed.
Keywords: Prehistory of Central Zagros, Late Chalcolithic, Godin VI Pottery, Sialk III Pottery.

Introduction
The 4th millennium BC is one of the most important periods of the history? During the 4th millennium BC, the first urban societies were established in southern Mesopotamia and south-western Iran. Even southern Mesopotamia and southwestern Iran are among central regions of urbanization, but adjacent areas, particularly Central Zagros in western Iran, have played the main role in this process. Godin Tepe is one of the most important archaeological sites during the 4th millennium BC in western Iran which has main role in the urbanization studies. The excavation of this site and Seh Gabi in Kangavar shaped the cultural sequence of Central Zagros until now. The focus of our studies is on Godin VII-VI strata which overlapped somewhat with Uruk period in Mesopotamia.  About this period and particularly those well-known Godin V rounded building, many papers were published. Our goal is to study the buff painted pottery of period VI (VI1).  Comparing to the previous period (Godin VII) characterized by coarse and plain chaff tempered pottery, the fine wheel made pottery of period VI is an intrusive one. Noted that the same painted buff pottery was reported from the late chalcolithic period sites of Central plateau, Sialk III6-7b and Ghabristan IV (Fazeli et al 2013, Majidzadeh 1978, 1981). In contrast to Central Zagros where this buff painted pottery was introduced in period VI abruptly, in Central Plateau this pained ware was reported from the previous period (Sialk II-III). Also the Central plateau wares have more divers shape and motif comparing to the Central Zagros so our evidence showing that the original provenance of this painted pottery is in the Central plateau and not in Central Zagros. Noted that east of central Zagros and Central Plateau of Iran during the fourth millennium BC had a great interaction with each other that as a result such painted pottery was developed from the Central plateau to Kangavar.  
Question, Research Method: As mentioned, the focus of this paper is on the fourth millennium BC and on the chalcolithic period strata of Tepe Godin and particularly Godin VI painted buff pottery (Levine and Young 1987, Young 2004, Rothman and Badler 2011, Moghaddam and Javanmardzadeh 2012, Wiess and Young 1975, Young 1969, Young and Levine 1974, Badler 1995, Mattews 2006). Godin tepe reached its maximum level of social complexity in the fourth millennium BC and has great interaction with neighboring areas and particularly the Central plateau of Iran.
 This painted buff pottery is reported from the late chalcolithic period sites of the Central plateau of Iran. Our methodology in this paper is comparison of this fine painted buff pottery from Godin VI period with the previous coarse ware of Godin VII,and with same ware of late chalcolithic period sites of the Central plateau. Introducing this painted pottery in the Godin sequence abruptly, the occurrence of this ware not only in late chalcolithic period sites of Central Plateau but throughout the chalcolithic period and diverse shape and decoration of this ware in chalcolithic period sites of Central Plateau, demonstrated that this ware is related to the  Central Plateau. It was considered as an intrusive ware in the eastern Central Zagros area such as Godin Tepe. Godin Tepe has solid cultural interaction with neighboring areas during the prehistory. During the middle chalcolithic period, this interaction was toward the north and particularly the lake Urmia basin. But in 4th Millennium BC this interaction was changed from north to east and to the Central Plateau.(Roustaie and Azadi 2017). This painted buff pottery is considered as a main evidence of this interaction. Future studies will tell us more about the eastern Central Zagros- Central Plateau interaction.

Conclusion
Introducing this painted pottery in the Godin sequence abruptly, the occurrence of this ware not only in late chalcolithic period sites of Central Plateau but throughout the chalcolithic period and diverse shape and decoration of this ware in chalcolithic period sites of Central Plateau, demonstrated that this ware is related to the  Central Plateau. It was considered as an intrusive ware in the eastern Central Zagros area such as Godin Tepe. The main question regarding this fine painted pottery is about the sudden emergence of this pottery in the sequence of Godin and how it developed from the central Plateau and reached the eastern Central Zagros in the west of Iran?    
 We do not believe in immigration hypothesis about this intrusive ware in Godin sequence as those theory explained for Godin VII Plume ware at Central plateau. As noted at fourth millennium BC, Godin tepe at west of Iran reached its maximum level of social complexity and is one of the most important trade centers which has great contact and interaction with neighboring areas and particularly the Central plateau of Iran. This trend was started at Godin VII period and those plume wares of Zagros were reported from the Central plateau of Iran. noted that before Godin VII period and during the fifth and sixth millennium BC, west of Iran had great interactions and contact with the northwest of Iran. With the beginning of Godin VII period and specially Godin VI period, the direction of communication was changed from north to the east and the areas like the Central plateau become the main commercial partner of the western Iran at fourth millennium BC. Consequently, this fine painted ceramic was evidence of this interactions and communications.  Obviously future studies and excavations will tell more about this fine painted ware in western Iran.

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

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

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

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

Abstract
Using laboratory of XRD & XRF, this research project was performed to identify the component of the pottery related to Seleucid/ early Parthian period. In excavations performed in western Iran, a number of Seleucid & Parthian site were identified, regarding shape and technical formatting roughly homogenous pottery pieces were found. It could not exactly be determined how many of the discovered pottery pieces of the Seleucid/ Parthian period’s -whether found from surface or stratigraphy excavations- had a regional origin. Determining their homogeneity which was solely based on external similarities and typology has given rise to possibilities of widespread trading of pottery or major centers of production. The main problems in research include How was the selection of consumables for the production of stained glassware in western Iran in two periods of Seleucid and Parthian? How can one know about the similarity and difference between the soil elements and the percentage of pottery and logic soil, whether they are indigenous or imported? Despite the apparent similarities, is the conditions and technique of pottery baking types in the western region in two periods, or has it changed with the evolution of governance in the fabric of pottery? This research is qualitative and has a descriptive-analytical nature. The research method in this paper is a combination of archaeological field activities, laboratory studies, and librarian compilation. Awareness of the explorations carried out in the Seleucid-Parthian sites of the western part of Iran, as well as mineralogical studies based on library information. However, as no archaeological evidence has been found to indicate the existence of such centers, such hypotheses could not be considered. The XRD & XRF methods were used to study the building elements in the excavated pottery samples. Using these methods, the similarities and differences between the clay used in making Seleucid & Parthian period’s pottery and the clay found in the region were studied. Ten sample pieces collected from Delfan, Alashtar, and Nahavand regions, were studies. The samples were selected from archaeological site of Chogha Taghi, Pat-Koole, Zarin Deh Sefid tepe, Hassanabad Sanjabi, Cheshme-Kaboud tepe, Aliabad, Molaghala Adlabad, Shaelie (Shahian), and Laodicea. The 10-pottery sherd often have a bright red peppermint, a dense bubbled glaze, a soft mineral mixture, and geometric paintings and images of birds and animals that are painted in brown and black. The shape of the dishes often shows small bowls and small cups that are well polished and polished and cooked at a proper temperature. However, as these methods usually because a great damage and in most cases destroy the samples, smaller and less important pieces which had these componential characteristics were used. The results of this study indicates that, matching the raw materials of the pottery with the geological structure of the region, it can be noted that the pottery was produced in the studied area. Also, the type, technique, and their baking technique from pottery are similar to each other and confirm that its local production and it dismisses the change in the production process or the non-localization of the production of clay crowns during the Seleucid period.. 
Keywords: Seleucid Period’s, Parthian Period’s, Pottery, XRD, XRF, Western Iran.

Introduction
Our recognition of the western Iran Seleucid/ early Parthian painted pottery is so little in limited due to so many various reasons. The potteries as such are painted and fragile and belong to Seleucid era and early Parthian period party in the period in question is an outstanding type which sounds unobtainable or minimally scarce in considerations. The pieces as such mostly attain light red and beige natural disposition, light rose-colored mantle painted like similar to the metal, fine mineral allegation, geometrical paintings, and animals in birds’ pictures being drawn ocher brown and black. The Potteries shape almost always indicates soft, ting bowls and cups the surface of which is well polished well-furnished and baked in a convenient temperature. The external similitude between late Seleucid and early Parthian potteries nourishes the persisting thought of such a tradition from Seleucid to Parthian. This research is to examining the recognition of the absence/presence of the production and business tradition of the Western Iran area in Seleucid/ early Parthian era. Therefore, using XRF and XRD methods, attempts have been made to deal with the identification of the compounds and elements used in grain utilized conforming western Iran painted pottery.
The propounded hypothesis in this regard is that they did discovered pottery type/species in the west area is possibly none native and imported. The native inference or pottery’s being imported deeply depends upon its natural disposition minerals compound similitude percentage with the minerals present in the area’s soil. In line whit this debate, three questions are replied:
1- How much similar to and different from one another are the soil elements used in Seleucid/ early Parthian painted potteries, compounds, being discovered excavated from some of the Iran Zones? 2- How homogeneous are the elements, present in texture and composition of Seleucid/ early Parthian painted potteries -being discovered in the west of Iran-, whit the structure elements and area geology zone? 3- Are these potteries similar to/different from one another in terms of composition, elements type, and baking conditions?
The selected samples of this research are prominent pieces which are picked up from three areas of Delfan, Alashtar, and Nahavand on ten of which laboratory experiments have been implemented. Among these prominent samples the option of each environment has been done. The XRF experiment on powdered samples has been done in Tarbiat Modarres university and XRD experiment has been implemented in Hamedan Bu-Ali Sina University physics lab, Tehran. These potteries are named as follows: Samples number 1(L.CH.T) from Chogha Taghi in Noor Abad City; sample number 2 (L.P.K) from Pat-koole; sample number 3 (L.Z.D) from Zarrin Deh Sefid tepe; sample number 4 (L.H.A.S) from Hassanabad Sanjabi; sample number 5 (L.CH.K) from Cheshme-Kaboud tepe; sample number 6 (L.A.A) from northern district of Noor Abad city; sample 7 (L.M.GH) from Adl-Abad village; sample number 8 (L.SH) from village Shaeile in Qalaei City; sample numbers 9 & 10 (H.N.L.1) & (H.N.L.2) from Loudich of Nahavand. 

Discussion
The results show that the silicon (oxide) rate is high in the samples obtaining low calcite (like sample number 9, and in the samples with high calcite, the silica (oxide) rate is low. Regarding the composition’s present in potteries body, making use of XRD and XRF methods, it can be inferred that the samples productions are associated with the area itself. Moreover, it can be stated that there are compounds such as Quartz in all soils, which is one of components of soil. There is calcite in all samples because of the presence of the calcareous sediments’ presence. The presence of the calcium carbonate and diopside in the potteries body indicates that the temperature of these potteries is less than 750 degrees centigrade. Three compounds of Aluminum oxide, Silica in Calcium carbonate (SiO2, Al2O3, Cao). Additionally, the percentage of the scarce elements in sample number 3 is different from the other ones. Except for these two, it seems that all of the samples are more or less similar to one another. The pottery’s body color is due to this element (Iron) and its oxidation, and red patterns upon potteries contain Iron as well. Pondering upon most of the painted potteries samples of early Parthian / Seleucid era from  Western Iran, it seems that their color is not that beige in comparison with the Clinker pottery type from Parthian era, which are mostly related to the middle and late of this era, and less homogeneity is observed in their color in comparison white Clinker pottery. These results assert that the production of Seleucid/ early Parthian period painted pottery in comparison with Parthian period Clinker pottery should be considered from a different or perspective. There is Manganese in some of the samples number (7 & 9 and little rate in sample 3) the black color of which possibly contain such an element. The presence of Calcium can be because of the calcareous sediments (probably) or some gypsum in the sample. The presence of sediment on all of the samples stems from burial area, moisture, and its omission then, and formation of calcareous sediments as well. The other elements such as Sodium, Potassium Phosphorus, and Titanium are among the ones present in the soil, the rate of which is from some percentage to a few hundred percent.

Conclusion 
The results of XRF & XRD analysis show that the major part of the examined potteries samples including three compounds of Aluminum oxide, Silica in Calcium carbonate (CaO, Al2O3, SiO2). This compound indicates that there is a share of the soils of the transformations stones (SiO2) in the soil used in building mentioned potteries in addition to calcareous soils (Al2O3, CaO). There is Manganese in some of samples (number7, 9, and a little rate in number 3 simple) which possibly has been because of the pigments usage for decorating the potteries patterns. Moreover, the existence of calcium can be possibly due to calcareous sediments or some plaster in the sample which implies the presence of sediment on all of the samples because of the burial area moisture, and then it’s elimination and calcareous sediments formation. The results demonstrate that the Seleucid/ early Parthian period painted potteries obtain more silica (oxide) rate in comparison with Parthian period Clinker pottery (the late and middle of this period), bring analyzed in western Iran, and also it attains a lower Calcite rate in comparison with Clinker potteries type. According to the potteries external features in terms of color and patterns, the similarity between- the ingredients of raw material (soil) is obvious in making pottery, indicating the production of the Portway in research area of although these painted  potteries of Seleucid often there is less homogeneity in their color in western Iran; and also, their baking technique and mode from pottery are similar with one another, and improve their native and domestic production (it is worth mentioning that there has no analysis regarding  Seleucid/ Parthian period painted pottery in the other areas been done) and it eliminates the issue of importing production of  Seleucid/  early Parthian period painted potteries. 

Abstract
The beginning of the Iron Age on the Caspian Sea coast and the adjacent areas on the Iranian plateau and the neighboring lands was accompanied by extensive social, political and cultural changes that led to the collapse of urban centers and exchange economics, the formation of scattered and rural communities, which were often followed by livestock or nomadic economics. Changes in the social structures in the Bronze Age and the beginning of the Iron Age, for whatever reason, caused extensive changes in the cultural material of the Iranian plateau and the Caspian Sea and formed settlement patterns from which only the associated cemeteries have often been identified and excavated. However, the residential structures, the spatial organization of the settlements and their relationship with the cemeteries are not well known. Excavation on the Parija Tepe, 3 km from Qaem-Shahr-Kiakola road on the low shores of the Caspian Sea, resulted in the identification of two stages of settlement from the Iron Age and the Early Islamic period. The Iron Age finds include pottery, metal objects, stones, bones, animal remains, and the remnants of architectural structures. According to the obtained evidence, the largest volume of cultural layers in the Parija Tepe is related to the Iron Age. The present study indicates that the Parija Tepe has an important place not only in better understanding of the pottery traditions of the Iron Age in the Caspian lowlands, but also in identifying mud-brick architecture and the pattern of sedentary life in this region. Further archaeological excavations of the site will undoubtedly give a clearer perspective on the social organization and settlement patterns of the Iron Age in the coastal areas of northern Iran.
Keywords: Mazandaran, Tepe Parija, Iron Age, Mud-brick, Pottery.

Introduction
One of the characteristic features of Iron Age sites of Mazandaran is the lack of settlement sites with visible architecture, the abundance of cemeteries, special funeral rituals, as well as a distinguished pottery tradition. During the Iron Age, the majority of dead people were buried in simple pit graves, Mud-brick lined graves or Pithos burials. The dead were often buried in a curved or flexed position, and in limited cases in supine or stretched position. A variety of burial-goods often placed next to the dead, a tradition which was also common in the preceding Bronze Age and that became more prominent during the Iron Age. In addition to the large number of pottery vessels, a good variety of tools such as swords, daggers, knives, spears, and other objects made of bronze and sometimes iron, as well as jewelry such as rings, bracelets, necklaces, plaques, and seals of bronze, silver, iron, bone, faience, stone, and rarely gold have been reported alongside the skeletons. While results of archaeological research in the Iron Age sites of Mazandaran suggests the influence of local Bronze Age cultures on the later Iron Age communities but, it appears from the available evidence that the Iron Age settlements are smaller albeit larger in number compared to the Bronze Age sites. 
The present article introduces the results of excavation in Perija Tepe in the Caspian Sea shores. Results of excavations suggests the important role of Parija Tepe not only for a better understanding of the Iron Age pottery traditions in the coastal lands of the Caspian Sea, but also for the identification of permanent settlements through examination of mud-brick architecture and the pattern of sedentary life in this region. Archaeological excavation at Parija Tepe can provide a clearer perspective of the social organization and settlement patterns of the Iron Age in the coastal areas of northern Iran.

Discussion
Parija Tepe is located in the central part of Mazandaran plain, some 3 km to the northwest of Ghaemshahr, next to the road from Ghaemshahr to Kiakola (Simorgh) and among the paddy fields of Kolagar village. Recent excavation at Parija Tepe has led to the identification of two phases of settlement belonging to the Iron Age and the early Islamic period. The main settlement phase and the majority of cultural depositions at Parija Tepe dates back to the Iron Age which is divided into Iron Age II and III. 
Typologically, most pottery forms of Prija appears to reflect the characteristics of Iron Age II. In addition to the pottery vessels, significant cultural materials such as a tanged bronze spearhead and a stone stamp seal were also excavated. One of the most remarkable findings of this excavation is the discovery of remains of mud-brick architecture that possibly shows a sedentary lifestyle rather than a nomadic way of life. Bio-archaeological studies on the faunal remains of the site demonstrates that all animal bone remains belong to mammals, and no fish, birds, rodents or reptiles have been identified. Throughout the occupational period, sheep, goats and cattle are the dominant species, followed by boars. Very rare remains of red deer have also been seen. Thus, it seems that the subsistence economy of the inhabitants of Prija has been diverse and based on livestock activities, agriculture and hunting patterns.

Conclusion
The cultural material discovered from excavation of Parija Tepe represents the cultural traditions of the Iron Age and indicates cultural links between this area and other Iron Age sites in the northeastern and north-central regions of Iran. Although some rich cultural materials such as a tanged bronze spearhead and some pottery forms have their roots in the Bronze Age cultures of the Northeast and the Gorgan Plain, the production of these type objects has continued throughout the Iron Age and striking analogies could be seen in large areas of Gilan and Mazandaran and the southern slopes of Alborz. It seems that the main volume of pottery and other cultural materials retrieved from Parija excavation indicates to Iron Age II and II period occupation with the material cultures resembling those from contemporary cultures in the north and northeast of Iran. The results of preliminary studies of Parija Tepe indicates that this area, like many of its contemporaries in Mazandaran, is formed near the river and in a flat and fertile land, and in terms of architecture, similar to other Iron Age sites in Mazandaran, has wooden and mud-brick architecture. Therefore, Parija, along with other Iron Age sites of the region, indicates to the uniformity of the Iron Age material culture in the lowlands of Madandaran, which, while similar to the Iron Age cultures of the southern slopes of Alborz, has particular local features.

Abstract
Varamin-Pishva plain is one of the most important cultural areas of the southeastern part of Tehran plateau in different historical periods. Taghabad Tepe with two western and eastern elevations and consisting of different rich layers of Iron and Bronze Age is located in this plain. This site has been studied and archeological research in 1397. In this study, it was found that this area has different deposits from the Iron Age one and two in the upper layers and traces of late bronze in the lower layers along the horizon with the common western traditions on the plateau. The aim of this study was to analyze the mentioned findings and compare it with the findings of other areas of Varamin plain and other neighboring areas. The questions of this research are as follows: based on the archaeological findings of the cultural developments of Taghiabad Tepe, what kind of cultural traditions dose the Iron Age have? What is the influence of regional and trans-regional cultures of the common Iron Age cultures of Varamin plain due to the Taghabad findings in the type of pottery and architecture? Accordingly, the Iron Age 1and2 of Varamin plain and especially Taghiabad Tepe to some extent shows the regional actions in Varamin plain and the proximity and convergence of the trans-cultural region with neighboring areas. 
Keywords: Iron Age, Varamin-Pishva Plain, Iron Age Settlements, Taghiabad Tepe, Architecture, Pottery.

Introduction
Varamin-Pishva plain, having a suitable geographical position in the slopes of Alborz mountain range and Damavand peak and having a suitable height, has provided suitable ecological conditions for the presence of human communities for a long time. This plain is one of the areas prone to the formation of Iton Age settlements in the north-central part of Iranian plateau. During the archaeological study of this area in 1391-1392 AH. Has identified 27 sites belonging to the Iron Age (Figure1), as a result of studding the findings of this study, only a few sites have been introduced and identified. In this research to analyze and study the pattern of establishment and distribution of sites as well as cultural stages of the Iron Age of Varamin plain by analyzing cultural findings identified from  Iron Age sites based on archaeological studies and cultural traditions of this plain by case study, especially pottery, and the architecture identified from workshop A in the eastern ridge of Taghiabad area as well as the surface findings obtained, classified and then the location of this area in Varamin-Pishva plain next to the Iron Age settlements in the center of Iranian plateau, in a general view, reviewed, evaluation and analysis are included. In this review, understanding the Iron Age communities, especially the Varamin plain will be accompanied by re-reading various theories.

Research Method
The present research is structurally one of the basic researches with a comparative-analytical approach, the method of finding is to exploit the findings of an archaeological excavation chapter based on historical analysis of the findings of Taghibad Tepe. According to the research topic and the variables studied in it, the method of collecting information in the field and data collection tool in this research will be based on archaeological excavations and related reports and articles. 

Taghiabad Tepe
Taghiabad area is located in Javadabad rural district and between Taghiabad villages, Khajoo Qaleh and Ajorbast counties in the agricultural lands of Taghiabad village in Varamin city. This site was considered in the framework of joint cooperation between the Institute and the University of Berlin in 1397 AH to collect samples of ancient climate studies from ancient deposits and according to the surface findings of the Iron Age and Bronze Age and according to the situation. The demolition of the site was speculated. The site is located in the west and near the Ali Kharat River. Cultural and settelement findings of this research have been identified in Taghiabad Tepe from workshop A in the ridge No1 of Taghiabad Tepe (eastern ridge) and in the northern side of this Tepe in the area that was excavated with an area of 1/5×2 meters (Figure5). From this Tepe, seven settlement phases with two historical periods from Locus have been identified, which include artifacts from the Iron Age 2 and 1 to the late Bronze Age. The cultural materials of this Tepe are all kind of pottery covered with red, cream and brown mud, gray, architecture (walls and thermal structures) plaster, pounded floor, stone tools such as pounding stone, abrasive stone , burnt plant seeds (in terms of appearance similar to wheat or barley) it has formed a bony specimen, goat horn and clay tokens, etc., which will be described below

Conclusion
The results of the study of Varamin plain settlements from its archaeological of Iron Age communities, based on Taghiabad Tepe excavation, this area and site as an important area and indicators in the study of Iron Age cultures and chronology of the Iranian plateau. One of the most important topics in the archeology of the Iranian plateau is how the tradition from the Bronze Age to the Iron Age and its sequence, one of the important features of Taghiabad Tepe is the presence of communities from the Iron Age and their cultural connection with the Bronze Age which is of great importance in the studies of the tradition from the Bronze Age to Iron (Age)., an area where settlement began in the Iron Age and continued until the Bronze Age . Accordingly, in this study, questions were raised that can be evaluated in this way. The first question was asked about archaeological findings, cultural developments of Taghiabad Tepe and how the cultural traditions of the Iron Age. The urban complex and evolution of later cultures with cultural establishment has been one of the actions of the neighboring horizon in the type of architecture and pottery, especially Gholi Darvish. The second question was asked about the interactions and influence of regional and supra-regional cultures of the common cultures of the Iron Age of Varamin plain due to Taghiabad findings in the type of pottery and architecture, which according to the surface findings of 27 sites recorded in studies, archaeological as well as various excavations in Sofalin Tepe, Chalnasian and other areas, this plain to some extent shows intra-regional activities with the center of Taghiabad Tepe, with cultural trans-regional affinity and convergence with adjacent areas in the southern and northern parts of the central plateau of Iran. Therefore, it can be considered that the Iron Age sites of Varamin-Pishva plain, especially Taghiabad Tepe, are the product of an advanced society with a cultural establishment of adjacent horizon actions in the type of “architecture” and “pottery”. Based on the types of pottery and the type of architecture the cultural sequence of Taghiabad Tepe can be introduced with 7 phases of establishment in two historical monuments. Finally, it can be said that based on the relative and comparative dating of Taghiabad Tepe, it can be dated to the late bronze period of the transition period and the Iron Age of one and two.
pe. 

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

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

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

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

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