fa بَرد پَنیر: ایستگاه یا استقرارگاه آغازنگارشی در شمال خوزستان تخصصی باستان‌شناسی Special Archeology پژوهشي Research <div style="text-align: justify;">شمال اندیمشک، نقطۀ تلاقی مابین زاگرس‌ مرکزی و خوزستان است و به‌لحاظ موقعیت جغرافیایی و زیست‌محیطی، با بارش نسبتاً متوسط مانند لرستان، و دمای معتدل بدون سرمای لرستان، و بدون گرمای سوزان تابستان خوزستان است و می‌توان آن‌را یکی از مهم‌ترین نواحی در تحولات فرهنگی پیش‌ازتاریخ و آغاز تاریخی ایران محسوب نمود. بَردپَنیر از محوطه‌های متعلق به آغاز نگارش در این منطقه است که در نزدیکی سد بالا‌رود واقع شده است. در این محوطه با یافته‌هایی مواجه هستیم که زمان استقرار آن‌را هم‌اُفق با شوش 2 در ایران و اوروک در بین‌النهرین معرفی می‌کند و به‌نظر می‌رسد در این زمان با شبکه‌هایی از جوامع روبه‌روییم که در زاگرس مرکزی و خوزستان تا جنوب‌شرق ترکیه، شمال سوریه و تمامی بین‌النهرین ساکن بوده‌اند. مقالۀ حاضر، حاصل بررسی‌های سال 1390 هـ.ش. نگارندگان در بردپنیر است، که هدف اصلی آن توصیف و ارزیابی یافته‌های متعلق به دورۀ فرهنگی شوش 2 این محوطه می‌باشد. مهم‌ترین رویکرد این مقاله نیز دست‌یافتن به پاسخی است در خصوص این‌که چگونه یافته‌های جمع‌آوری شده از این تپه می‌تواند فرهنگ شوش 2 را در دروازۀ ورودی به بخش کوهستانی قلمرو ایلام باستان تفسیر ‌نماید؟ و با توجه به سلسله‌مراتب استقرارگاهی، در چه وضعیتی قرار داشته؟ و چه رابطه‌ای با مرکز بزرگ‌تر و مراکز کوچک‌تر خود داشته است؟&nbsp;&nbsp;</div> <div style="text-align: justify;"><strong>Abstract</strong><br> In this paper, research was performed on cultural materials from Bard Panir, which morphologically is located on southern Central Zagros at mountainsides of Lorestan, close to the Khuzestan Plain and is geopolitically a part of Khuzestan Province. However, this region is similar to Lorestan Province with regard to its average rainfall, its mild temperature is neither similar to freezing winters of Lorestan, nor like torrid summers of Khuzestan. In addition, this region had traditionally been fertile because of being near Bala Roud, Dez and Karkhe (Hole, 1994). Regarding Cultural-Historical parameters, this region seems to be at least contemptuous with cultural materials from cultural periods such as Shoush II or Uruk in Mesopotamia. Shoush II Period in Khuzestan is known based on what is found in Acropolis I, especially layers 17-22. Moreover, materials from Apadana are analogous to those from Acropolis1, layers 19-22 (Dittmann, 1986: 76). Therefore, this time horizon seems to be related to a network of societies that connect Central Zagros to Khuzestan, and from there to Mesopotamia, within which is especially located the key deployment called Uruk, which is divided into three periods: Early Uruk, Mid Uruk, and Late Uruk. Hence, based on cultural materials excavated by authors and some samples from this site which were kept in Andimeshk Cultural Heritage, the morphology and location of this Tappeh, as a special physiographical region, were determined.<br> <strong>Keywords:</strong> Bard Panir, Shoush II, Uruk, Beveled Rim Bowl, Baneshi Tray.<br> <br> <strong>Location and Description of Bard Panir</strong><br> This site is located near the banks of Bala Roud Dam, Bala Roud, close to Hosseinieh<br> Town, northern Andimeshk City, Khuzestan Province. It is at 32 40 13.4 northern latitude; at 048 15 49.4 eastern longitude; and at a height of 343 m Altitude the sea level. Although, Bard Panir is geopolitically mapped within Khuzestan Province, it must geographically be located at southern Central Zagros. Bard Panir is about 10 m high; its area is 3.5 Ha; and distribution of pottery in it extends to around 30 Ha. This site is within a plain, at 100 meters from the banks of Bala Roud. Moreover, the site is about 40 m above the level of this river, and all surrounding area can be observed. It is circular. Within it, there are observed pieces of architectural evidence such as steeples and walls. Fortunately, because of being surrounded by the dam, it is not damaged by illegal excavations, buildings, farming, and traffickings by domestic and humans; so that it is easy to find large pieces of pottery and other data on the surface of this site.<br> <br> <strong>Surface Data</strong><br> Different cultural materials were collected from Bard Panir such as:<br> <br> <strong>Pottery, Coarse Ware</strong><br> 1. Beveled Rim Bowl (Tab 1, Fig 3): This type of bowl is buff or cream-pink in colour. It is categorized among simply designed potteries. It is made of Chaff. There is observed some impurities because of using sands. Its surface is coarse because of the methods of they are produced. On the interior side of this kind of pottery is observed the deep trails of potter&rsquo;s fingers. The rim of the container had been bevelled by a thing such as a piece of pottery or bone or fingers. Temper such as large (about 1.5 cm) chaff had been used. Moreover, average and tiny (0.5mm-5mm) sands had intentionally been added to the pottery material, so that the surface of the pottery is coarse. The mouth of all excavated pieces were approximately identical, ranging from 15 cm to 16.7 cm. All potteries are firmly made and almost all samples are baked completely. Data with regard to four of these containers are as follows: Container no. 1: 980ML; Container no.2: 965ML; Container no.3: 940ML; Container no. 4: 928ML<br> 2. Baneshi Tray: Baneshi tray, which is known by its Uruki name, is a simple and shallow container. This had been made in circular and oval shapes in pinkish or buff colour. These potteries are hand-made and are made without any kinds of decorations or motifs. The temper used is of herbal kind which includes large (1.5 cm long) chaffs; however, some tiny (rarely larger than 2 mm) soft sands had intentionally added to the soil. It seems that they had been haggled; then they had been sprayed like a bread; and lastly the rims of the container had been leaned inwards; while, the surface of the container is levelled by hands and fingertips. The coarse exterior surface is the outcome the method of manufacturing them.<br> Fine Buff Ware Plain and painted (Tab 2, Fig 4): This type of Buff pottery includes often simple and rarely painted Motives. They had been designed mostly in brown and red colours. Their body is relatively thin.The Temper which are used mostly belong to the category of minerals. In the body of these pieces are observed coarse and homogeneous sands (0.20-2mm), being graded with a quality ranging from good to very good. According to the temper used in these types of potteries, the soil used by the potters had been relatively clean. There were not observed any impurities except for rare cases. The mould used by potters had acceptably been knead; however, the large amount of temper had resulted in its firm structure.<br> Fine Red Ware (Tab 3): This kind of pottery with orangey-red mould, includes often plain and rarely painted potteries. The Temper that had been used in these kinds of potteries are tiny minerals and are similar to small knobs on the interior and exterior surfaces of all pieces. Furthermore, in some cases the additive Chaff is observed, and this is one of the most important characteristics. In all these types of potteries except for one, the interior surface of the open-mouth pottery which is covered similar to the exterior surface is simple and untouched; so that the trails of parallel lines made by pot-wheel are observed clearly on the interior surface of the pottery. The soil used in manufacturing these potteries are observable with naked eye, although the herbal additives are chipped very small in size, and lots of heterogeneous and numerous sands in all sizes. The mould had acceptably been knead and potteries are made of a constant and firm structure.</div> <div style="text-align: justify;"></div> بَرد پَنیر, شوش 2, اوروک, کاسۀ لبه‌واریخته, سینی بانشی. Bard Panir, Shoush II, Uruk, Beveled Rim Bowl, Baneshi Tray. 35 48 http://journal.richt.ir/mbp/browse.php?a_code=A-10-25-1&slc_lang=fa&sid=1 Morteza Hessari مرتضی حصاری mhessari@aui.ac.ir Yes Associate Professor, Department of Archaeology, Art University of Isfahan and Research Institute of Cultural Heritage and Tourism. دانشیار دانشکدۀ مرمت دانشگاه هنر اصفهان و پژوهشگاه میراث‌فرهنگی و گردشگری Hassan Akbari حسن اکبری No Ph.D Candidate Faculty of Conservation and Restoration, Art University of Isfahan دانشجوی دکتری باستان‌شناسی، دانشگاه هنر اصفهان. Alireza Sardari-e Zarchi علیرضا سرداری No Assistant Professor, Department of Archaeology, Research Institute of Cultural Heritage and Tourism. استادیار باستان‌شناسی پژوهشگاه میراث‌فرهنگی.