fa jalali 1403 11 1 gregorian 2025 2 1 45 107 online 1 fulltext

fa تاب‌آوری محوطه‌های میراث جهانی پارسه ـ پاسارگاد در برابر بحران‌های زیست‌محیطی با استفاده از خلاقیت و دانش سنتی هخامنشی خشکسالی و برداشت بی‌رویۀ آب نتیجۀ سیاست‌های چند دهۀ گذشته در اراضی کشاورزی دشت‌های مرودشت و پاسارگاد باعث ایجاد ترک‌ها، فروچاله و اسفنجی­شدن بافت خاک و نهایتاً نشست سطح عمومی دشت شده است. این عوارض تهدیدی آشکار برای منطقه تاریخی و محوطه‌های ارزشمند جهانی به‌شمار می‌رود. امروزه رجوع به خلاقیت‌های به‌کاررفته برای مهار یا چیرگی بر تأثیرات مخرب محیط طبیعی، می‌تواند الگویی جهت برون‌رفت از بحران‌های منطقه باشد. هدف اصلی این تحقیق، شناخت خلاقیت و دانش سنتی در دورۀ هخامنشی به­منظور چیرگی بر بحران‌های زیست محیطی است و پرسش اساسی این است که، مهندسی و دانش سنتی استفاده شده در این دوره چه نقشی در مدیریت بحران‌هایی هم‌چون سیل و زلزله برعهده داشته است؟ به­طورکلی تأمین منابع پایدار آب در منطقۀ پارسه-پاسارگاد به‌عنوان یکی از مهم­ترین بخش­های شاهنشاهی هخامنشی، اهمیت فراوان داشته است. در این مناطق موضوع توسعه کشاورزی به ارتقاء نظام‌های آبیاری جهت تأمین آب زمین‌های زیر کشت وابسته بوده است؛ بنابراین طراحان و مهندسان دوره هخامنشی جهت مدیریت خشکسالی که از بحران‌های همیشگی مناطق نیمه­خشک ایران بوده است و هم‌چنین چیرگی بر چالش سیلاب‌های گاه و بی‌گاه فصلی، به طراحی و اجرای یک سیستم گسترده کنترل، ذخیره‌سازی و انتقال آب در گسترۀ دشت‌های پاسارگاد و مرودشت نموده‌اند. امروزه شناخت یکپارچه سامانه‌های آبی در شکل‌گیری و توسعۀ مناطق در دوران باستان می‌تواند ریشه‌های تاب‌آوری میراث را در گذر زمان نشان دهد که حاوی درس‌های بزرگی است. هم‌چنین با توجه به لرزه‌خیزی منطقه، استفاده از مهندسی مناسب در مراحل انتخاب، انتقال و اجرای مصالح و ازجمله بهره‌گیری از قطعات بزرگ سنگ در معماری، چندلایه بودن سنگ‌ها در پی و کف بنا و تقویت ظرفیت باربری بستر بناها، ازجمله خلاقیت‌ها در افزایش پایداری بناها بوده است. پژوهـش حاضر، براساس بررسی‌های میدانی و مطالعۀ اسناد و مدارک تاریخی مرتبط  به انجام رسیده است. هم‌چنین با انجام تحلیل‌های لازم تلاش شده است نقش مهندسی در دوره هخامنشی در چیرگی بر ناملایمات زیست محیطی تبیین گردد. نتایج تحقیق نشان می‌دهد شناخت دانش فنی گذشته و به‌کارگیری مجدد آن نه‌تنها می‌تواند هم‌زیستی انسان را با محیط طبیعی و مخاطرات آن ترمیم نموده و به آن تداوم بخشد، بلکه راهکارهای مناسبی برای حفاظت از محتوای منابع میراث در اختیار قرار دهد که تضمین­کنندۀ اصالت آن خواهد بود Abstract Drought and excessive water extraction resulting from the agricultural policies of past decades in the plains of Marvdasht and Pasargadae have led to cracks, sinkholes, and a spongy soil texture, ultimately causing a general subsidence of the plains' surface. These phenomena pose a significant threat to the historic region and valuable world heritage sites. Today, revisiting the creativity employed to manage or overcome the destructive impacts of the natural environment can serve as a model for overcoming regional crises. The main objective of this research is to understand the creativity and traditional knowledge during the Achaemenid period in order to overcome environmental crises. The essential question is: what role did the traditional engineering and knowledge of this period play in managing crises such as floods and earthquakes? In general, ensuring sustainable water resources in the Parse-Pasargadae region, as a crucial part of the Achaemenid Empire, was of great importance. The development of agriculture in these areas was dependent on the enhancement of irrigation systems to supply water for cultivated lands. Thus, Achaemenid designers and engineers, to manage droughts a constant crisis in the semi-arid regions of Iran and to overcome seasonal flash floods, designed and implemented an extensive system of water control, storage, and transfer across the plains of Pasargadae and Marvdasht. Understanding these integrated water systems today can reveal the roots of heritage resilience over time, offering valuable lessons. Additionally, considering the region's seismic activity, employing appropriate engineering in the selection, transport, and implementation of materials including the use of large stone blocks in architecture, multi-layered stone foundations and floors, and enhancing the load-bearing capacity of building bases was among the creative methods used to increase the stability of structures. This study was conducted based on field investigations and the review of relevant historical documents and records. Through necessary analyses, efforts were made to elucidate the role of engineering in the Achaemenid period in overcoming environmental challenges. The results of the research indicate that understanding and reapplying past technical knowledge can not only restore and sustain human coexistence with the natural environment and its hazards but also provide suitable solutions for protecting the content of heritage resources, ensuring their authenticity. Keywords: Traditional Knowledge, Creativity, Resilience, Crisis Management, Parse-Pasargadae World Heritage Sites. Introduction With the establishment of the largest empire of the ancient world during the Achaemenid period, two major capitals, Pasargadae and Persepolis, were founded in Fars by Cyrus the Great and later by Darius (Shobairi, 2017: 58). The fertile lands, abundant water resources, and the temperate, favorable climate of the Pasargadae plain were among the natural blessings that led to the selection of this location and the foundation of some of the most significant monuments of the Achaemenid civilization. The Polvar River also provided a natural route between Pasargadae and Persepolis. The abundant water of the Polvar River indicated the existence of numerous gardens and settlements in the region (Sami, 1996: 10). The site of Persepolis was constructed at the western end of the sacred Mount Mehr (or Rahmat) and overlooks the Marv Dasht plain (ancient Parse), which shows evidence of settlement as early as the fifth millennium BCE (Karami, 2017: 16; Zeidi, 2017: 34). According to historical documents, the ancient plain of Parse was fertile and enjoyed a pleasant climate. Furthermore, it was rich in forests, orchards, abundant water, and pastures for horses. The Persepolis clay tablets also confirm these characteristics (Sumner, 1968: 18). Remnants of irrigation systems have been observed in the surrounding areas of Persepolis as well (Afkhkami & Khosravi, 2018: 28). Unfortunately, repeated droughts and excessive groundwater extraction in the Parse–Pasargadae region have led to land subsidence and the formation of deep fissures around sites such as Persepolis and Naqsh-e Rostam, posing serious threats to these invaluable historical complexes (Raeisi-Ardekani, 2010). The main cause of land subsidence in sedimentary basins of arid and semi-arid regions is the overexploitation of groundwater resources (Pacheco et al., 2006). In addition to this, occasional flash floods caused by climate change threaten the very foundations of many cultural heritage sites. The Achaemenid innovations in overcoming environmental adversities are crucial topics that, if properly understood today, can guide not only the physical conservation of these unique heritages but also offer important lessons for living in harmony with nature and enhancing resilience to modern environmental challenges. Therefore, a principal aim of the present study is to revisit the ancient innovations employed during the Achaemenid period in the Parse–Pasargadae region to control or overcome major regional crises such as floods and earthquakes. By studying previous research, historical sources, and conducting field surveys and documentation, this research introduces, analyzes, and evaluates some aspects of traditional Achaemenid engineering in the geographical context of Parse–Pasargadae as a model for sustainable heritage conservation. Discussion The most important surface water resources of the region are the Kor and Sivand (Polvar) Rivers, which irrigate many plains along their course (Fig. 1). Thus, agriculture—the fundamental basis of the economy of ancient civilizations—developed in fertile plains such as Parse and Pasargadae. However, agriculture during the Achaemenid period would have been highly challenging and economically unjustifiable without systematic irrigation (Shobairi, 2017: 62). Consequently, Achaemenid designers and engineers developed and implemented an extensive system of water control, storage, and transfer across the Pasargadae plain and its surroundings. The construction of this system, including a series of dams, barriers, and a wide network of water canals, faced numerous complexities and difficulties, yet was executed successfully through wise planning and management. This approach fostered resilience in settlement and agricultural activities against environmental hazards. Part of the architectural science and structural engineering in Iranian architecture, including during the Achaemenid period, focused on resilience against the constant threat of earthquakes. Therefore, during the Achaemenid era, it was essential to devise and apply measures to mitigate earthquake impacts. The use of durable materials along with architectural techniques was among the strategies employed by Achaemenid architects to withstand natural adversities like earthquakes and to ensure the resilience and longevity of architectural monuments. The craftsmanship and precision of the stonecutters in joining stone blocks were so refined that the joints were sometimes imperceptible, creating an integrated appearance between structural and decorative elements. The use of clamps between stone blocks not only prevented additional movements but also enhanced the structural integrity, thereby improving resistance against tensile forces and unforeseen shear stresses (Wright, 2005: 254). In the foundation construction of Achaemenid buildings, the load-bearing capacity of the soil was reinforced to prevent settlement, rupture, and creep within the affected zones. The use of massive and monolithic stone blocks in Achaemenid palaces, despite the challenges in transportation and assembly, significantly contributed to the unified behavior of structures during seismic events. Early examples of seismic isolation systems and effective connections between load-bearing elements to increase the stiffness of the platforms upon which palaces were built were among the methods employed during the Achaemenid period to cope with climatic adversities (Motamedmanesh, 2018: 24). Additionally, the insertion of lead sheets between stone blocks not only assisted in leveling large stone units but also played a role in reducing the slippage of stones over each other. Conclusion The Achaemenids' understanding of resource arrangement strategies in the Parse–Pasargadae region, combined with sound decision-making and coherent, environmentally adaptive actions, led to the creation of essential infrastructure for water resource management and mitigation of environmental crises caused by floods in the plains. Particularly in Pasargadae, the control of upstream water resources, their utilization for agricultural development, and the design and creation of the royal garden, along with the organization of garden irrigation through uniquely designed water features, all reflect precise engineering and intelligent exploitation of environmental and climatic capacities. The management behind the creation of these achievements, whose evidence endures to this day, stands as an exceptional testament to the Achaemenid art and engineering of resilience against environmental adversities, especially seasonal floods that once threatened the foundations of life and economy in the region’s fertile plains. Seismic activity in the Parse–Pasargadae region posed another significant threat to architectural structures, particularly to the monumental buildings of Pasargadae and Persepolis. One aspect of the Achaemenid engineering response to this threat was the use of large stone blocks in construction, aimed at preventing settlement and structural failure through precise calculations and reinforcement of the load-bearing capacity of building foundations. At the same time, the coherence and flexibility of structures demonstrate a construction system well adapted to climatic conditions, with special attention given to enhancing the bearing capacity of the ground. Indeed, the durability of many of these monuments owes much to the careful consideration of climate, innovative material selection, transportation methods, and construction techniques. The creation and enduring survival of the grand Achaemenid monuments to this day are the result of their traditional knowledge and creativity in adapting to and coexisting with nature, understanding its laws, and wisely utilizing its capacities to overcome environmental adversities. Awareness of traditional knowledge regarding the management of environmental crises offers valuable models for how humans can interact sustainably with the natural world. This reciprocal relationship between the past and the present not only strengthens cultural identity but also contributes to enhancing the resilience of cultural heritage sites in the face of contemporary environmental challenges. Traditional Knowledge, Creativity, Resilience, Crisis Management, Parse-Pasargadae World Heritage Sites. دانش سنتی, خلاقیت, تاب‌آوری, مدیریت بحران, محوطه‌های میراث جهانی پارسه ـ پاسارگاد 5 40 http://athar.richt.ir/browse.php?a_code=A-10-3779-1&slc_lang=fa&sid=2 2024/06/21 1403/4/1 2024/09/6 1403/6/16 Hamid Fadaei Assistant Professor, Research Center for the Conservation and Restoration of Cultural and Historical Objects, Research Institute of Cultural Heritage and Tourism, Tehran, Iran حمید فدایی hfadaii@yahoo.com 0009-0009-8600-3475 Yes استادیار پژوهشکدۀ حفاظت و مرمت آثار تاریخی-فرهنگی، پژوهشگاه میراث فرهنگی و گردشگری، تهران، ایران (نویسندۀ مسئول) Aminallah Kamali Assistant Professor, Research Center for the Conservation and Restoration of Cultural and Historical Objects, Research Institute of Cultural Heritage and Tourism, Tehran, Iran امین اله کمالی aminkamali1984@gmail.com 0000-0003-2748-4538 No استادیار پژوهشکدۀ حفاظت و مرمت آثار تاریخی-فرهنگی، پژوهشگاه میراث فرهنگی و گردشگری، تهران، ایران. Hamidreza Karami PhD in Archaeology, Pasargadae World Heritage Site, Shiraz, Iran. حمیدرضا کرمی karami.pasargadae.hk@gmail.com 0009-0002-2905-0899 No دکترای باستان‌شناسی، پایگاه میراث جهانی پاسارگاد، شیراز، ایران.

fa ارزیابی شواهد منسوب به آتشکده‌ها و آتشدان ساسانی خطۀ شمال ایران (مازندران و گلستان) با استناد به منابع تاریخی و کاوش‌های علمی باستان‌شناسی در دورۀ ساسانیان با رســمیت یافتن دین زردشت، آتشکده‌ها به‌عنوان جلوۀ بارز تشریفات و آداب دینی، در جامعه نمایان شدند. از آنجاکه آتش در نزد زردشتیان عنصری مقدس بوده، نگهداری از آن شرایط خاصی را اقتضا می‌کرد، به‌همین‌منظور بناهایی به‌نام آتشکده (چهار تاقی) احداث گردیده است. خطۀ شمال ایران به­دلیل موقعیت استراتژیکی خاص یکی از مناطق ایران بوده که تا دو قرن نخست اسلام مانع نفوذ اعراب به این منطقه شده، به‌همین‌دلیل مورخین و جغرافی‌دانان مسلمان درخصوص این منطقه سکوت کرده‌اند و این امر سبب شد تا اطلاعات ما در خصوص بناهای مذهبی مردم این منطقه بسیار اندک باشد. هدف از این پژوهش بررسی آثار موجود این منطقه، که در متون تاریخی از آن‌ها به­عنوان آتشکده یاد شده و هم‌چنین آتشکده‌هایی که در کاوش‌های باستان‌شناسی در این منطقه کشف گردیده است؛ بنابراین در کنار مطالعات اسنادی از روش میدانی برای ثبت، ضبط و توضیح وضعیت کنونی آثار و براساس روش توصیفی-تحلیلی برای شناخت آثار استفاده‌ شده است. نتایج پژوهش نشان می‌دهد آثار منسوب به آتشکده در این منطقه که در متون تاریخی از آن‌ها به‌عنوان آتشکده یادشده است، از نظر نوع پلان و تاریخ ساخت هیچ ارتباطی آتشکده و پایۀ آتشدان ندارند، ولی تعدادی آتشکده در این منطقه کشف گردید که با مکان‌هایی که در متون تاریخ ذکرشده از لحاظ موقعیت جغرافیایی کاملاً متفاوت بوده و در هیچ منبع تاریخی از آن‌ها نام‌برده نشده است. Abstract In the Sassanid period, with the officialization of Zoroastrianism, fire temples appeared in the society as an obvious manifestation of religious rituals and customs. Since fire is a sacred element for Zoroastrians, it requires special conditions to maintain it, for this purpose, buildings called fire temple (four vaulted) have been built. Due to its special strategic location, Mazandaran province is one of the regions of Iran that prevented the Arabs from penetrating this region until the first two centuries of Islam. For this reason, Muslim historians and geographers have been silent about this region, and this caused our information about the monuments The religious people of this region are very few. The purpose of this research is to investigate the remaining works in Mazandaran, which according to historical texts were fire temples in the Sassanid period and then changed their use in the Islamic period, and also to introduce the fire temples that were discovered after archaeological excavations in this area; Therefore, along with documentary studies, field method has been used to record, record and explain the current state of the works and based on the descriptive-analytical method to recognize the works. The results of the research show that the works attributed to the fire temple in Mazandaran, which are mentioned as fire temple in historical texts, have no connection with the fire temple in terms of the type of plan and the date of construction, but a number of fire temples and the foundation of the fire temple were discovered in this area, which are with the places mentioned in the history texts. The mentioned are completely different in terms of geographical location and they are not mentioned in any historical source. Keywords: Mazandaran, Sasanian, Zoroastrian, Fire Temple, Fire Pit. Introduction Mazandaran province is considered one of the most important and influential provinces in the developments of the historical and Islamic periods. In the political divisions of the Sassanid provinces, the position of Parshavgar can be determined to some extent through archaeological evidence and written sources of the Islamic period. Therefore, the current province of Mazandaran was part of the Parshavgar province of the Sassanid period. Geographers have not mentioned any fire temple or fire pit in their descriptions of the northern region that was related to the Sassanid period or before this period. The lack of access of Muslims to Tabaristan in the first two centuries of the Hijri and the neglect of Iranian culture by historians of the early Islamic period are the main reasons for the lack of information about the status of Zoroastrianism in this region. In later periods, many foreign and Iranian tourists and researchers presented different points of view before visiting the buildings attributed to the fire temple in Mazandaran. Some have introduced these buildings as fire temples and pre-Islamic temples and Zoroastrian and Mehrist temples, and others consider them to be tombs of the Islamic period. These buildings are located in the geographical area from east to west of Mazandaran. Undoubtedly, fire temples and fire pits are of special value in religious archaeological research of the Sassanid period. The main purpose of this research is to examine the buildings in Mazandaran province that are mentioned in historical sources as fire temples and fire pits of the Sassanid period, and to introduce the fire temples discovered from archaeological excavations. Since no specific research has been conducted in this regard so far, it is very necessary to examine these buildings and their use. The most important question in this research is that; Are the exact locations of the buildings mentioned in historical texts as the Sassanid fire temple in Tabarestan the same as the current buildings in Mazandaran province that are referred to today as the fire temple or the site of the Sassanid fire temple? Initial investigation has revealed that the buildings bear no resemblance to the fire temple, and it is likely that a mistake was made in locating the fire temples related to Mazandaran mentioned in historical texts. Discussion Buildings and places located in Mazandaran province (Map 2) that are referred to as fire temples in historical texts included:1. Kosan Fire Temple (Behshahr city): Kosan Fire Temple is one of the countless fire temples of Sassanid period mentioned in historical texts. Remains of this fire temple are located 4 km west of Behshahr city and in the northwestern heights of Asyabsar village. The length and width of this building is 8.40×8.40 m. (Table 1-1). 2-Sari Fire Temple (Sari Grand Mosque): Sari Grand Mosque is the first mosque founded by Muslims in Mazandaran. Current building of the mosque belongs to the Qajar period. This mosque is located in Sari, Chenarban neighborhood, inside Nargisiyeh Bazaar (Table 1-2). 3-Amol Fire Temple (Shams Al-Rasool): This building, having special architectural features, is one of the buildings dating back to the eighth and ninth centuries AH, and the tomb of Seyyid Shams al-Rasoul; compared to other towers of this period, it has a larger area. The building is made of bricks and plaster and consists of a rectangular body with a conical dome. The upper parts are decorated by Muqarnas. (Table 1-3).4- Tashkun Fire Temple: This site is located near Tashkun village, Khorramabad district of Tonekabon city (Table 1-4).There is no evidence in this site showing that there was a fire temple in this place. 5- Savadkuh Fire pit: The rock attributed to the Fire pit is located at the east of Firoozkooh to Sari road, near Shirgah city. The rock is in the form of an irregular polygon and is made of conglomerate, which has been severely damaged by human and environmental factors (Table 1-5). 6- Fire Tape Kolah Arfa Deh: In the archaeological excavation of the Kala Hill (mosque Sar) in the village of Arfa Deh Savadkouh, the remains of a building with a plan similar to the four-arched arches of the Sassanid period were discovered(Table 1-6). 7- Turang Tepe Fire Temple, Gorgan: This fire temple was built in the seventh layer of Turang Tepe and on the ruins of the fortress (Table 1-7) 8- Fire Temple of the Great Wall of Gorgan: During the excavation of the Great Wall of Gorgan in the Qara Deeb Workshop, the remains of a four-bay building with an area of ​​188 square meters were discovered. (Table 1-8), 9- The base of the hearth of the Kaka cemetery in Gonbad-e-Kavos: The base of the hearth discovered in this area has spoon-shaped decorations in an inverted manner, one under the other, and was placed on a plaster board measuring 80.10 centimeters (Table 1-9). Conclusion Considering the research conducted on the identity of the buildings referred to as fire temples or fire pits by historians of the Islamic era in the Mazandaran region, the following conclusions can be reached: The exact location of the Kohsan Fire Temple is not clearly known, and other buildings such as the Jame Mosque of Sari, the Shams Al-Rasoul Tomb of Amol, and the Tashkun Fire Temple were not related to the fire temples and were related to the Islamic period in terms of plan and materials. Regarding the stone piece that is located next to the Firuzkooh road in the Savadkooh area, and some researchers have considered it to be a fire pit from the Sassanid period, it should be said: Based on the investigation, the material of this stone is Kanglu Mara and no traces indicating that this stone is a fire pit have been observed on its surface. All the buildings that historians have named as fire temples or fire pits in Mazandaran have artistic, historical, and architectural value and are mentioned as urban monuments. However, these buildings have no connection with fire temples or fire pits, and the original location of the buildings that are mentioned in historical texts as fire temples is not exactly known in which part of this region they were located. Although the fire temples mentioned in historical texts are not known, following scientific archaeological excavations, in recent years, remains of fire temples and fire pit bases from the Sassanid period have been discovered in the Mazandaran region and Golestan province (which was part of Mazandaran province in the past decades), including; 1. The fire temple of Tepe Kola Arfa Deh located in Savadkuh County (Mazandaran Province), 2. The fire temple discovered from Turang Tepe Gorgan, 3. The Qara Deeb workshop (Gorgan defensive wall), 4. The plaster fire pit base discovered from the Kaka cemetery of Gonbad Kavus. It should be noted that the fire temples identified during archaeological excavations are not mentioned in historical texts and their geographical location is completely different from the buildings mentioned under the title of fire temples.   Mazandaran, Sasanian, Zoroastrian, Fire Temple, Fire Pit. خطۀ شمال, ساسانی, آتشکده, آتشدان. 41 71 http://athar.richt.ir/browse.php?a_code=A-10-3072-7&slc_lang=fa&sid=2 2024/06/212024/03/17 1402/12/27 2024/09/62024/06/9 1403/3/20 Soheil Ahmadi Vastani PhD in Historical Period Archaeology, Department of History and Archaeology, Science and Research Branch, Islamic Azad University, Tehran, Iran. سهیل احمدی واستانی soheil_ahmadi_1361@yahoo.com 0009-0000-1537-0993 Yes دکتری باستان‌شناسی دوران تاریخی، گروه تاریخ و باستان‌شناسی، واحد علوم و تحقیقات، دانشگاه آزاد، تهران، ایران.

fa بررسی ریشه‌های نمادین صحنه‌روایی کشتی‌نشینان در سفالینۀ مکشوف از نیشابور براساس متون تاریخی نقوش سفالینه‌های گلابه‌ای رنگارنگ نیشابور، به‌عنوان برجسته‌ترین جلوه‌های هنری سده‌های سوم و چهارم ه‍جری‌قمری، برخاسته از باورها و اعتقادات آفرینندگانش و سرشار از مفاهیم نمادینی است که بررسی‌شان می‌تواند به درک بهتر نگرش‌های فرهنگی آن عصر یاری رساند. باوجود پژوهش‌های متعدد در زمینۀ بازخوانی و تفسیر این نقوش، برخی از آن‌ها ازجمله کاسۀ گلابه‌ای منقش به صحنۀ روایی کشتی‌نشینان در موزۀ رضا عباسی، هم‌چنان با ابهام جدی روبه‌روست. تفاسیر ارائه‌شده از این صحنۀ روایی نیز به‌دلیل نبود مطالعات تطبیقی دقیق، پر ابهام و ناهمگون است؛ از این‌رو، پژوهش حاضر با رویکرد تاریخی-تحلیلی و تطبیقی، به واکاوی و بازبینی این صحنه‌روایی می‌پردازد. نگارندگان به‌منظور نیل به اهداف پژوهش، برپایۀ متون تاریخی و شواهد باستان‌شناسی این پرسش‌ها را مطرح ساخته‌اند: صحنۀ روایی کشتی‌نشینان برروی این ظرف به چه مفهومی اشاره دارد؟ آیا این صحنه ریشه در اساطیر کهن دارد و ملهم از باورهای اسطوره‌ایِ دوران مختلف تاریخی است؟ نتایج پژوهش نشان می‌دهد که مضمون صحنه‌روایی، با توجه به جایگاه طبقات مختلف اجتماعی، احتمالاً معرف جامعۀ بازرگانانِ نیشابوری است. روایت کشتی‌نشینان بیانگر باورهای خرافی مرتبط با نجوم و صور فلکی درمیان این طبقه و ریشه در هراس‌‌شان از بلایا و خطرات دریانوردی دارد. درنتیجه این صحنه اشاره‌ای است به پیوند عمیق میان هنر، اسطوره و دانش نجوم در فرهنگ آن دوره و نه برخاسته از اساطیر پیش از اسلام. Abstract The Nishapur polychrome buffware pottery, one of the paramount artistic expressions of the 3rd and 4th centuries Hijri, is deeply rooted in the beliefs and worldview of its makers, rich with symbolic meanings that provide insight into the cultural outlook of the time. Despite many scholarly attempts to interpret these motifs, several pieces remain highly controversial-such as the narrative scene of the seafarers on the polychrome buffware-painted bowl in the Reza Abbasi Museum. Previous interpretations often suffer from a lack of precision and arrive at inconsistent conclusions due to the absence of stringent comparative analysis. This study conducts a historical-analytical and comparative examination to investigate and re-evaluate this narrative scene. Based on historical texts and archaeological evidence, the authors raise the following research questions: What kind of symbolic meaning does the scene of the seafarers convey? Does it have mythological roots, and is it related to beliefs from various historical periods? The results suggest that the narrative reflects the worldview of the mercantile class of Nishapur. In fact, the imagery of sea travelers is linked to superstitions associated with astrology and celestial constellations, stemming from merchants' fears of maritime perils. Hence, rather than reflecting pre-Islamic mythology, the artwork reveals a deep interplay between art, myth, and astronomical knowledge within the cultural fabric of the time. Keywords: Pottery, Nishapur, Polychrome buffware, Seafarers, Mythology, Astronomy. Introduction Polychrome buffware constitutes a distinct category of Iranian pottery that flourished in the 3rd and 4th centuries AH (9th–10th centuries CE), notably during the Samanid period in the northeastern part of Iran. The term “buffware” refers to the ceramic technique used in its production (Fehervari, 2000: 50; Blair & Bloom, 2004: 122; Watson, 2004; Kiani, 1978: 15). Although scholarly debates continue regarding the precise locations of workshops and the exact dating of these artifacts, researchers broadly agree that polychrome buffware was produced in cities such as Nishapur, Samarkand (Wilkinson, 1973: 3,139–138; Fehervari, 2000: 63; Watson, 2004: 248), Sari (Cooper, 2000: 89; Lane, 1948: 12; Wilkinson, 1961: 105), and Kerman (Fehervari, 2000: 61–63; Allen, 1989: 60). The polychrome buffware from Nishapur, in particular, stands out for its aesthetic complexity and thematic diversity, which are virtually unparalleled among ceramics excavated from the region. The motifs include vegetal, geometric, anthropomorphic, and zoomorphic designs—many of which potentially carry layered meanings and depict specific narrative scenes or culturally significant imagery (Ettinghausen & Yarshater, 2000: 141). In recent decades, scholars have made increasing efforts to explore the origins and cultural contexts of these artworks. The Excavation of Buffware from Nishapur Fig. 8 is a polychrome buffware bowl dated to the 3rd–4th centuries AH (9th–10th centuries CE), currently housed in the Reza Abbasi Museum under inventory number 231. This piece features one of the most intricate configurations of motifs found on ceramics excavated in Nishapur. The design comprises three concentric circles on a buffware background. In the central ochre-toned circle, a relatively small boat is depicted, carrying eight passengers, a giant fish, and a full-figure man standing on the shore. The boat is rendered in buff color, with its hull surface covered in dense checkerboard and wicker-like patterns, black arabesques, and edged by an ochre band outlined in black. At the center of the boat is a stylized, decorative, vase-like object on legs, painted in black and white. A group leader, along with six attendants behind him, stands onboard. Facing the man on the shore, the leader holds a black-painted tiller or oar. He is depicted with narrow eyes, pronounced eyebrows, a long nose, a small closed mouth, a dark complexion, and a thick curly black beard. His straight black hair is tied horizontally at the back. He wears a long dark tunic with broad yellow bands at the edges and a black cloak over the shoulders, outlined with white brushstrokes extending to his hands. He is rendered larger in scale than the attendants behind him. The attendants are shown in semi-profile with tilted faces, all wearing sorrowful expressions. Their features include large, staring eyes, connected eyebrows, long noses, small pursed lips, and curved black lines indicating mustaches and beards. Their hair is black and straight, pulled back. They wear long-sleeved tunics with round necklines and ochre backgrounds decorated with dark vertical and geometric lines. An individual beyond the third attendant appears seated atop a mast-like structure. In his right hand, he holds a triangular flag embroidered with dots and a simple black border; in the left, he grasps a curved rope or stick. This mast structure is adorned with four symbols commonly associated with protection from the evil eye. The man on the mast has large, intense eyes, arched eyebrows, and long, straight black hair. His ochre-colored tunic is decorated with irregular circular motifs outlined in black. Beneath the ship appears a large-bodied fish (likely a dolphin), with round, staring eyes and a closed mouth. Its body is marked with four prominent rows of buff-colored scales, several black fins, and a curved tail beneath the waterline. The man standing on the shore faces the group leader and the ship’s occupants. He is shown with his body in a three-quarter turn and his face in profile. His wide, staring eyes, long eyebrows, thick straight black hair, and beard are adorned with decorative rings tied at the back. He wears a long ochre garment with a deep, round neckline extending to his long sleeves, which reach the wrists. The lower part of the garment falls below the knees and is paired with pointed black boots. His left hand is placed on his chest, while the right hand holds a straight, sheathed black sword. Around the main scene’s periphery are painted multi-petal flowers and numerous motifs associated with protection from the evil eye. Some are brown-ochre, others light brown, simply rendered and closely aligned with the bowl’s rim. Conclusion In response to the first research question—the meaning of the narrative scene depicted on the Nishapur ceramic bowl-it can be asserted that, contrary to some assumptions, the scene does not portray ancient mythologies or pre-Islamic beliefs. Rather, a thorough analysis of its componentsa boat, a large fish, the anxious faces of the passengers, a man on the shore, and the figure atop the mast-reveals an allegorical composition reflecting astronomical superstitions and folk beliefs of the time, particularly among Nishapur’s merchant class. Historically, given the strategic importance of Nishapur and the greater Khorasan region during the Samanid period as a key hub for trade between China, India, and Central Asia, it is plausible that a substantial merchant population lived in the area. Merchants, exposed to the dangers of oceanic trade, sought protection through celestial constellations such as Delphinus (the Dolphin) and al-Safīnah (the Ship), which they invoked for divinely guided prosperity. These constellations functioned more as mystical symbols than scientific references. Regarding the second question-whether this scene relates to ancient mythology-there is insufficient evidence to support any reference to pre-Islamic mythological themes, particularly those involving water deities or afterlife beliefs. Therefore, the hypothesis of direct influence from ancient mythologies remains unsubstantiated. Turning attention to the large fish beneath the vessel, its likeness closely resembles representations of the Delphinus constellation. The image of the boat, elevated on a kind of pedestal, can metaphorically symbolize the celestial path provided by this constellation to guide or save ships at sea. Likewise, the figure atop the mast with a sail and rope or stick may symbolize human efforts to invoke cosmic forces during times of crisis. The man on the shore, holding a sword and seemingly in conversation with the ship’s rower, may represent an official or coastal guard. He appears as an authoritative figure, possibly involved in emergency communication with the ship’s captain (represented by the rower). Thus, the entire scene narrates a maritime crisis where humans also seek terrestrial oversight when facing danger. There are two main reasons for the visual differences between the shapes depicted and their real astronomical counterparts. First, artistic aesthetics may have influenced the composition. Second, popular superstitious and astrological beliefs often reshaped celestial formations. These symbols were brought to life through culturally and spiritually informed perceptions rather than scientific precision. In essence, the study concludes that the narrative scene on this Nishapur ceramic reflects a blend of superstitious and astrological beliefs prevalent in the 3rd and 4th centuries AH (9th–10th centuries CE). It is deeply intertwined with the concerns, fears, and hopes of the merchant class of that period. Thus, this interpretive reading-based on historical context, visual analysis, and cultural background-offers the most coherent and plausible understanding of this symbolic composition. Pottery, Nishapur, Polychrome buffware, Seafarers, Mythology, Astronomy. سفال, نیشابور, گلابه‌ای رنگارنگ, کشتی‌نشینان, اسطوره, نجوم. 73 104 http://athar.richt.ir/browse.php?a_code=A-10-2374-1&slc_lang=fa&sid=2 2024/06/212024/03/172024/08/9 1403/5/19 2024/09/62024/06/92024/10/14 1403/7/23 Nasrin Beik-Mohammadi Ph.D. student in Archeology, Department of Archeology, Faculty of Conservation and Restoration, Art University of Isfahan Isfahan, Iran. نسرین بیک‌محمدی beigmohammadi_nasrin@yahoo.com No دانشجوی دکترای باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ حفاظت و مرمت دانشگاه هنر اصفهان، اصفهان، ایران. Ahad Variji Assistant Professor, Department of Islamic Crafts, Faculty of Cultural Heritage, Handicrafts and Tourism, Mazandaran University, Babolsar, Iran. احد وریجی a.variji@umz.ac.ir 0000-0002-2422-1268 No استادیار گروه هنرهای صناعی، دانشکدۀ میراث‌فرهنگی، صنایع‌دستی و گردشگری، دانشگاه مازندران، بابلسر، ایران. Khalil-Ollah Beik Mohammadi Assistant Professor, Department of Archaeology, Faculty of Cultural Heritage, Handicrafts and Tourism, University of Mazandaran, Babolsar, Iran خلیل‌الله بیک‌محمدی k.beikmohammadi@umz.ac.ir 0000-0003-3804-3930 Yes استادیار گروه باستان‌شناسی، دانشکدۀ میراث‌فرهنگی، صنایع‌دستی و گردشگری، دانشگاه مازندران، بابلسر، ایران (نویسندۀ مسئول). Rouhollah Yousefi Zoshk Associated Professor, Department of Archeology, Faculty of Literature and Human Science, Varamin-Pishva Branch, Islamic Azad University, Varamin, Iran. روح‌الله یوسفی‌زشک rouhollah.yousefi@iauvaramin.ac.ir 0000-0002-0703-4153 No دانشیار گروه باستان‌شناسی، دانشکدۀ ادبیات و علوم انسانی، واحد ورامین، دانشگاه آزاد اسلامی، ورامین، ایران

fa دیرینه‌شناسی تصویر خورشید با چهره زنانه در آثار هنری ایران  پیدایی تصویر خورشید در هنر ایران سابقه‌ای طولانی دارد. بنا به کارکردهای فرهنگی-آئینی، نقش کردن تصویر خورشید روی آثار هنری و اشیاء و ابنیه مانند بسیاری نقش‌های دیگر همواره مرسوم بوده است. در این‌میان، نمود جنسیت در این تصویر درحالی‌که کمتر عناصر تصویری دیگر در هنر ایران واجد جنسیت بوده‌اند، وضعیت متفاوت و مسئله‌مندی برای به تصویر کشیدن نقش خورشید قلمداد شده و ابهام برانگیز است. به گواه آثار هنری موجود در موزه‌ها و مجموعه‌های هنری، پیش از دورۀ قاجار نیز خورشید با چهره‌ای زنانه به تصویر کشیده می‌شد، اما تعدد تصویرگری آن بدین‌شکل، به‌ویژه در این دوره به اندازه‌ای است که اصطلاح «خورشید خانم» برای آن متداول شده و این نقش را تبدیل به گفتمانی تصویری-فرهنگی می‌کند. اهمیت این گفتمان هنری موجب شده تا این پژوهش در پی پاسخ به این پرسش انجام شود که، این نقش از چه تاریخی در هنر ایران ظاهر شده است. هدف این پژوهش، تعیین نقطۀ پیدایی یا مبدأ نقش و بازشناسی صورت‌بندی‌های گفتمانی پیرامون آن است. داده‌های موردنیاز از منابع نوشتاری کتابخانه‌ای و منابع تصویری موجود در موزه‌ها گردآوری شده و پژوهش به شیوۀ تاریخی-تحلیلی و با رویکرد دیرینه‌شناسی فوکو انجام شده است. نتایج نشان می‌دهد نقش نوع-گونۀ خورشید با جنسیت زنانه در هنر ایران و فرهنگ‌های همجوار، به تصویر الهه‌گان و اساطیر مؤنث پیوند خورده و به‌طور مشخص می‌تواند گفتمان تحول یافتۀ نقش‌مایۀ خدا-بانوی مادر را تداعی کند. Abstract The appearance of the sun motif in Persian art has a long history. Due to cultural-ritual functions, it was common to depict the sun on artworks and monuments, like many other motifs. Meanwhile, the appearance of gender in the sun, while almost all other visual elements in Persian art are genderless, is considered a different, problematic, and ambiguous situation for depicting the sun. According to the artworks in museums and private collections, before the Qajar period, the sun was also depicted with a female face. The frequency of its depiction in this way, especially in the Qajar period, is so high that the term "Khorshid Khanum" has become a common name for it. So, the motif turned to a visual-cultural discourse. The importance of this art-subject discourse has led this research to be conducted to answer the question of when the motif appeared in Persian art. This research aims to determine the point of origin of the motif and to identify the discursive formations surrounding it. The required data were collected from library written sources and visual sources available in museums, and the research was conducted in a historical-analytical method by a Foucaultian archaeological approach. The results show that the presence of the female sun-type motif in Persian art and neighboring cultures is linked to the image of sacred goddesses and can specifically evoke the evolved discourse of the motif of the Mother Goddess. Key words: Foucaultian Archeology, Genealogy, Female sun, Lion and Sun, Goddess. Introduction  This research explores the historical and visual representation of the sun with a feminine face, referred to as the “Sun Lady” (Khorshid Khanum), within Persian art. The most recent visual traces of the sun appear during the Second Pahlavi era, particularly on flags and coins, where a faceless sun rises behind a lion holding a sword. However, earlier artworks, particularly from the Qajar period, depict the sun with a distinctly feminine face, characterized by round facial features, continuous eyebrows, large black eyes with a direct gaze, small lips, side-swept hair, and occasionally blushed cheeks. This stylized image, often replicated in various artworks of the time, has given rise to a visual-cultural discourse around the “female sun.” Such feminine depictions were not limited to the Qajar period. They also appear in Safavid and Mongol era artworks, embedded within ritual and cultural symbolism. The gendered representation of the sun stands out in Iranian visual culture, which is generally marked by gender-neutral motifs. This anomaly raises questions about the origin and evolution of the image within cultural and artistic contexts. Employing a historical-analytical methodology and drawing on Michel Foucault's archaeological approach—part of his broader genealogical theory—this study seeks to trace the emergence and development of this motif. Archaeology, in this context, involves a return to the historical "zero point" of the motif's appearance, before it was conceptualized in cultural memory. Unlike genealogy, which examines how non-discursive elements affect discursive practices, archaeology focuses on the identification and transformation of discourses over time. Data for this research were gathered through documentary methods, including library resources and online museum archives. Visual data were curated from museum websites and collections, selecting 25 representative samples that embody the characteristic features of the Sun Lady. The samples span various historical centuries, offering a cross-temporal perspective on the motif’s continuity and transformation. Each sample includes typical traits of the feminine sun—round face, soft features, symmetrical composition, highlighting its persistence and visual codification across periods. Ultimately, this study aims not to uncover the meaning of the motif itself, but to chart its discursive trajectory within Iranian visual culture. It contributes to understanding how a unique gendered symbol has persisted, evolved, and acquired interpretative layers over time. Findings and Discussion This study examines the recurring motif of the sun with a feminine face in Persian art, exploring its visual continuity and historical transformations. Despite its symbolic complexity, the motif consistently displays feminine features, prompting a historical-analytical investigation grounded in Michel Foucault’s archaeological method. Rather than interpreting meanings, this method seeks the “zero degree” or origin of visual phenomena by tracing their emergence and transformation across time. The research identifies visual consistencies by comparing artifacts such as an Elamite bronze pin with a Qajar-era tile from the shrine of Shah Abdul Azim. Both images share core feminine characteristics, though the former presents a more abstract form and the latter a realistic evolution. This visual continuity suggests a discursive persistence of feminine representation associated with the sun, though its origins lie in much older divine imagery. Historical and cultural sources, including mythology and religious texts, provide contextual evidence that supports this reading. Scholars such as Ghirshman identify the female figure on Lorestan bronze pins as a mother goddess revered from Susa to Asia Minor. Similarly, the lion often accompanying the sun in later imagery has roots in the iconography of goddesses like Ishtar or Anahita, who were associated with power, fertility, and protection. From a Foucauldian perspective, the study reveals a discursive shift: the once-dominant goddess imagery becomes muted, while the feminine sun motif gains visual authority. In contrast, the concept of a masculine “sun-father,” although present in mythological discourse, is notably absent from artistic representation. This discrepancy illustrates the tension between visual and cultural narratives. The analysis distinguishes between valid and invalid forms of knowledge within the visual archive. Valid knowledge is the persistent femininity encoded in the sun's image; invalid knowledge is the retroactive cultural imposition of masculine attributes onto these images. The emergence of the feminine sun, therefore, is not the result of a singular historical event but rather the outcome of complex and overlapping cultural processes. Understanding these processes requires a genealogical analysis, as they involve layered ruptures that reshape meaning. Ultimately, the research uncovers two primary transformations: the evolution of goddess imagery into the conceptual “female sun,” and the visual displacement of the “sun-father” by this feminine motif. These findings contribute to broader discussions on gendered representation in Iranian visual culture. Conclusion This study explores the representation of the female sun in Persian art, using Michel Foucault's method of archaeology to analyze the historical and conceptual evolution of the motif. The research focuses on understanding the emergence of this motif and the discursive shifts surrounding it in Iranian visual culture. The concept of the female sun is analyzed through the lens of Foucault’s genealogical theory, which seeks to identify the origins and transformations of discourses over time. The study examines the historical trajectory of the female sun motif by exploring its appearances in various artworks. By applying the paleontological method, the research traces the development of the image and its associated discourses, without relying on interpretations of meaning. Instead, the study analyzes how societal norms, mythology, religion, language, and beliefs have shaped the visual representation of the sun, using an archival approach to uncover hidden and unwritten laws that influenced these depictions. Through a comparative analysis of the earliest representations of the female sun and the latest examples, the research highlights the contradiction between the visual similarities and the cultural shifts in discourse. Despite the visual consistency across time, conceptual transformations have led to significant changes in how the sun is represented. Initially, the sun was depicted in a masculine or neutral gender context, but over time, particularly in more recent periods, it became feminized, marked by images like that of "Khorshid-khanom" (the sun lady). This shift marks the transition from a male-centered, mythological discourse of the sun to a female-centered one. The study argues that this transformation reflects a broader rupture in the interpretation of the sun, signaling a break from long-standing mythological and gendered associations. The previous discourse of a male or neutral sun has been replaced by the female sun motif, signaling a re-interpretation and renewal of meaning in modern times. This reversal in meanings underscores a critical shift in Iranian visual culture and art. By analyzing these breaks and transformations, the research reveals the contradictions, ambiguities, and paradoxes inherent in this cultural shift. While archaeology helps to uncover the continuity and changes in the representation of the female sun, a deeper genealogical analysis is needed to fully understand the causes behind these shifts. This study invites further exploration of the complex interplay between visual culture and evolving discourses in Persian art. Foucaultian Archeology, Genealogy, Female sun, Lion and Sun, Goddess. دیرینه‌شناسی فوکو, تبارشناسی, خورشید خانم, شیر و خورشید, خدا-بانو. 105 130 http://athar.richt.ir/browse.php?a_code=A-10-3910-1&slc_lang=fa&sid=2 2024/06/212024/03/172024/08/92024/09/25 1403/7/4 2024/09/62024/06/92024/10/142024/12/31 1403/10/11 Soraya Ghafarpouri PhD Student of Comparative and Analytical History of Islamic Art, Faculty of Applied Arts, Iran University of Art, Tehran, Iran. ثریا غفارپوری s_ghafarpour@yahoo.com 0000-0003-1055-8262 No دانشجوی دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکدۀ هنرهای کاربردی دانشگاه هنر ایران، تهران، ایران Samad Samanian Professor, Faculty of Applied Arts, Iran University of Art, Tehran, Iran صمد سامانیان samanian@art.ac.ir Yes استاد دانشکدۀ هنرهای کاربردی دانشگاه هنر ایران، تهران، ایران

fa سبک‌سازی در معماری ایران از راهکار سازه‌ای تا ترکیب با فضای معماری با تأکید بر گنبد سلطانیه معماران ایرانی برای پایدارسازی سازه‌های تاریخی، به‌جای افزودن پیچیدگی، به کاهش وزن و سبک‌سازی بنا می‌پرداختند. زیبایی ظاهری نیز برای آنان اهمیت داشت و در این‌راستا، راهکارهایی ابداع می‌کردند که علاوه‌بر کاهش وزن، زیبایی و کارایی سازه را هم حفظ کنند، و سبک‌سازی در معماری ایران ابتدا یک راهکار سازه‌ای ساده بود؛ ولی در ادامه معماران توانستند این راهکار سازه‌ای با راهکارهای معمارانه ترکیب کنند و در عین سبک‌سازی، فضاهای زیبای معماری خلق کنند و مقبرۀ محمد خدابنده در سلطانیه به‌عنوان بزرگ‌ترین بنای آرامگاهی دوران اسلامی ایران عالم یکی از سازه‌های پیچیده‌ای می‌باشد که فنون سبک‌سازی ترکیبی مانند: صندوقه کردن، کنوبندی، قید کردن در آن به‌کار رفته است. به‌نظر می‌رسد این راهکار ترکیبی سازه و معماری می‌تواند یکی از مؤثرترین عوامل پایداری گنبد سلطانیه محسوب شود. این پژوهش به‌دنبال پاسخ به این سؤال است؛ راهکارهای سبک‌سازی در سازه‌های تاریخی از یک راهکار ساده سازه‌ای تا ترکیب سازه با معماری برای زیبای در عین توجه به الزامات سازه‌ای در معماری ایران چگونه بود و در گنبد سلطانیه این موارد چطور کاربست یافته است؟ این تحقیق از لحاظ هدف از تحقیق‌های بنیادی می‌باشد که به روش توصیفی-تحلیلی کار شده است و جمع‌آوری اطلاعات و داده‌های آن ازطریق مطالعات کتابخانه‌ای در حوزه سبک‌سازی و انواع آن با به‌همراه پیمایش‌های میدانی در نمونۀ مطالعاتی بود و نتایج تحقیق نشان‌‌‌داد استفاده از فنونی چون کم شدن ضخامت از پاکار تا رأس گنبد، استفاده از گنبد دو پوسته و هم‌چنین وجود ایوان‌های داخلی و خارجی، موجب کاهش وزن سازه در کنار ایجاد فضاهای معماری منحصربه‌فرد می‌باشد.  Abstract Iranian architects, to stabilize historical structures, opted for reducing weight and lightening the construction instead of adding complexity. Aesthetic beauty was also important to them, and in this regard, they devised solutions that, in addition to reducing weight, also preserved the beauty and functionality of the structure. Lightweighting in Iranian architecture initially was a simple structural solution, but later architects were able to combine this structural solution with architectural approaches. While lightening the load, they created beautiful architectural spaces. The mausoleum of Mohammad Khodabandeh in Soltaniyeh, as one of the largest funerary buildings of the Islamic era in Iran, is a complex structure in which combined lightweighting techniques such as boxing (sanduqeh kardan), interlocking (kenobandi), and bracing (ghayd kardan) have been employed. It seems that this combined structural and architectural approach can be considered one of the most effective factors in the stability of the Dome of Soltaniyeh. This research seeks to answer the question: How were lightweighting solutions in historical structures developed in Iranian architecture, from a simple structural solution to the integration of structure and architecture for beauty while considering structural requirements? And how were these cases applied in the Dome of Soltaniyeh? This research is fundamental in its objective and has been conducted using a descriptive-analytical method. Information and data were collected through library studies in lightweighting and its types, along with field surveys in the case study. The research results showed that the use of techniques such as decreasing thickness from the base to the apex of the dome, the use of a double-shelled dome, as well as the presence of internal and external iwans, led to a reduction in the weight of the structure alongside the creation of unique architectural spaces. Keywords: Structural weight reduction, Historic building, Lightweighting of historic buildings, Vaulted structure, Soltaniyeh Dome. Introduction Lightweighting as a method for stabilizing historical structures in Iran has been a significant challenge for architects. They aimed to achieve not only a reduction in the structure's mass but also to ensure its apparent and structural stability. Therefore, alongside focusing on structural solutions for lightweighting, they also paid attention to aesthetic factors and visual concepts. For example, 'panam bandi' (creating intermediate layers) was used not only for thermal and acoustic insulation and to provide human-scaled spaces but also for lightening the structure. In the space of dome chambers, the dome itself, as the covering, is the first and most important element in creating this space. In the construction of domes, there were always specific reasons, such as creating a covering for large spans without columns. However, structural necessities and spatial needs, like reducing the effects of heat and cold and the efficient use of materials, could also be among the other reasons. Lightweighting was a structural solution, and architects utilized this technique in various parts, from wall construction to roofing. Architects strived to use architectural solutions in combination with lightweighting, and this lightweighting led to the formation of new architectural forms. The aim of this research is to present various lightweighting solutions based on the study of Iranian architectural examples, with an emphasis on the case study of the Mausoleum of Khodabandeh, known as the Dome of Soltaniyeh. This is to demonstrate how a structural solution was transformed in combination with architectural space in Iranian architecture. The main research question can be stated as: How have Iranian architects been able to transform lightweighting, which is a purely structural matter, into a completely architectural solution for creating beautiful architectural spaces? The architecture of the Dome of Soltaniyeh is a suitable example for this study, as its structural stability has been achieved through this very method. Discussion A comparative study of lightweighting techniques in Iranian architecture and those employed in the construction of the Soltaniyeh Dome demonstrates that although many of these techniques initially served purely structural purposes, in the case of the Soltaniyeh Dome, they evolved into a sophisticated combination of structural engineering and architectural design. Traditional Iranian architects, throughout history, developed lightweighting strategies primarily to reduce the dead load of massive structures, thus enhancing their stability and resistance to natural disasters such as earthquakes. These methods included the reduction of cross-sectional areas, the use of lighter materials at higher elevations, the introduction of double-shelled domes, and the application of vaulting techniques such as ribbing and coffering. In the Soltaniyeh Dome, while these classical techniques were present, the innovative aspect lies in the architects' deliberate integration of lightweighting methods with the creation of functional and aesthetically pleasing spaces. On the first and second floors, the incorporation of recessed niches and small iwans overlooking the inner spaces not only contributed to the reduction of the wall masses but also introduced dynamic spatial experiences for users. These spaces, while maintaining the structural integrity of the dome, also reflected the aesthetic values of Iranian-Islamic architecture, where the balance between engineering and beauty was meticulously achieved. Moreover, in the upper levels, the use of external iwans around the structure provided further opportunities for lightweighting by removing unnecessary mass while simultaneously enhancing the building’s visual articulation and environmental performance, such as improved ventilation and light access. This strategy illustrates a unique architectural approach where structural necessity was seamlessly blended with spatial innovation. The Soltaniyeh Dome, therefore, serves as a pivotal example of how lightweighting techniques transcended their initial structural purpose to become an intrinsic part of the architectural language. It showcases how Iranian architects moved beyond mere engineering solutions, using lightweighting not just for structural efficiency but also to enrich the spatial, visual, and functional qualities of monumental buildings. This holistic approach represents a milestone in the evolution of architectural and construction practices in Iran, setting a precedent for subsequent developments in Islamic architecture.   Conclusion The principle of lightweighting holds significant importance not only in architectural construction but also in various discussions such as restoration and maintenance. This research has two main objectives. Firstly, to study and examine the various lightweighting solutions in different structural forms: flat, vaulted, and specifically domed. In the next stage, the aim was to understand the skillful combination of lightweighting solutions by re-examining the different components and elements of the Dome of Soltaniyeh. This includes how the main weight of the structure has been significantly reduced despite the presence of eight arches, and how the dome's form and the number of its shells have addressed structural issues, while simultaneously creating beautiful architectural spaces through the construction of vaults and shelves, and elegant iwans. Furthermore, the research explores how niches and arches are created in both load-bearing and non-load-bearing elements in a way that, while creating visual appeal, also contributes to the lightweighting of piers and load-bearing walls. The use of different methods significantly impacts the reduction of the structure's weight, especially when several methods are used simultaneously. In the Dome of Soltaniyeh, multiple lightweighting methods have been employed concurrently, from the dome's covering to the internal and external walls and facades. These lightweight techniques include: The thickness of the dome decreases from its base to its apex. The dome is constructed as a double shell. The use of vaults and arches in the internal and external walls, which, in addition to enhancing the building's beauty, has helped reduce the weight of the walls.      The construction of internal and external iwans on the first and second floors not only created architectural space but also significantly contributed to reducing the overall weight of the building. Reducing the weight of the building plays a crucial role in increasing its resistance to applied forces. Structural weight reduction, Historic building, Lightweighting of historic buildings, Vaulted structure, Soltaniyeh Dome. کاهش وزن سازه, بنای تاریخی, سبک سازی بناهای تاریخی, سازۀ طاقی, گنبد سلطانیه. 131 160 http://athar.richt.ir/browse.php?a_code=A-10-3501-6&slc_lang=fa&sid=2 2024/06/212024/03/172024/08/92024/09/252023/10/4 1402/7/12 2024/09/62024/06/92024/10/142024/12/312024/01/25 1402/11/5 Ahad Nejad Ebrahimi Professor, Department of Architecture, Faculty of Architecture and Urban Planning, Tabriz Islamic Art University, Tabriz, Iran (Corresponding Author). احد نژادابراهیمی Ahadebrahimi@tabriziau.ac.ir Yes استاد گروه معماری، دانشکدۀ معماری و شهرسازی، دانشگاه هنراسلامی تبریز، تبریز، ایران (نویسندۀ مسئول). Ghazaleh Sarencheh M.A. in Architectural Technology, Faculty of Architecture and Urban Planning, Tabriz Islamic Art University, Tabriz, Iran. غزاله سارنچه ghazal.sarencheh@yahoo.com No کارشناس‌ارشد تکنولوژی معماری، دانشکدۀ معماری و شهرسازی، دانشگاه هنراسلامی تبریز، تبریز، ایران. Mohamad Reza Chenaghlou Professor, Department of Civil Engineering, Faculty of Civil Engineering, Sahand University of Technology, Tabriz, Iran. محمدرضا چناقلو mrchenaghlou@sut.ac.ir No استاد گروه عمران، دانشکدۀ عمران، دانشگاه صنعتی سهند تبریز، تبریز، ایران.

fa بررسی فناوری‌های حفاظت لرزه‌ای در ساختارهای چوبی تاریخی این پژوهش با مرور و مطالعه بر ساختمان‌های تاریخی که در ساختار بنایی خود با هدف مقاوم‌سازی در برابر زلزله از عنصر چوب در پی، جرز و پوشش‌ها بهره جستند، در پی یافتن پاسخ به پرسش‌های زیر است: 1. ساختمان‌های تاریخی نمونه از چه فناوری حفاظتی استفاده کرده‌ و چه تمهیداتی در برابر زلزله دارند؟ 2. سیستم‌های این فناوری چیست، چه ویژگی‌هایی دارد و آیا کاربردی صرفاً مقاوم‌سازی داشته‌اند؟ 3. نمونه‌های ایران از چه نوع فناوری هستند و تا چه میزان در کاهش خسارات زلزله موفق بوده‌اند و آیا امروزه نیز از این سیستم‌ها در معماری بومی استفاده می‌شود؟ تا بدین­طریق بتواند در پژوهش­های آتی با محوریت حفظ و توسعه این سیستم‌ها در آینده به حفاظت لرزه‌ای ساختمان‌ها کمک کند. پژوهش حاضر با مطالعۀ کتابخانه‌ای به شناسایی این سیستم‌ها پرداخته و جامعۀ آماری پژوهش بر سیستم‌های شناخته شدۀ جهانی و به‌طور ویژه معماری بومی ایران تمرکز دارد و نوع تحقیق آن توصیفی است. چهار فناوری شناسایی شده مقاوم لرزه‌ای شامل جداسازی پایه، کلاف‌های افقی و عمودی و قاب چوبی هستند. چوب در این سیستم‌ها منحصراً کارایی مقاوم‌سازی نداشته و عوامل دیگری در انتخاب آن اثرگذار بوده‌اند. در ایران نیز سیستم‌های منحصر به فردی از فناوری‌های مذکور وجود دارد که در مقایسه با ساختمان‌های اطرافشان که فاقد این فناوری بوده‌اند، در برابر زلزلۀ نمونه‌های موفقی محسوب می‌شوند؛ اما امروزه ناشناخته مانده و روبه فراموشی هستند. این مطالعه می‌تواند با جمع‌آوری دانش بومی و ایجاد یک پایگاه اطلاعاتی از سیستم‌های شناخته شده تاریخی ایران در ایجاد حساسیت جوامع نسبت به حفاظت این سیستم‌ها مؤثر واقع شود و در پژوهش‌های آتی بینش‌های ارزشمندی را درمورد این نوآوری‌های محلی ارائه دهد. شناسایی و طبقه‌بندی این نمونه‌ها به درک سیستم‌های سنتی ساخت‌و‌ساز چوبی و پتانسیل آن‌ها برای کاربردهای مدرن کمک می‌کند و بر اهمیت ادغام دانش تاریخی با شیوه‌های معماری امروزی، بر پایداری آن‌ها در برابر زمین‌لرزه تأکید دارد. Abstract This research, by reviewing historical buildings that use wood elements in their masonry structure with the aim of earthquake resistance, tries to find answers to the following questions:1-What kind of protection technology do the studied historical buildings use and what are their solutions against earthquakes?2-What are the systems of this technology, what are their characteristics and have they been used only for seismic retrofitting?3-What kind of technology are the examples of Iran and To what extent have they been successful in reducing earthquake damage and Are these systems still used in local architecture today? In this way, in the future research, focusing on the maintenance and development of these systems, it will help to protect the buildings in the future. The research identified and analyzed these systems with a library study, and the statistical population of this research focuses on the world-known systems and especially the local architecture of Iran, and the type of research is descriptive. Four identified earthquake-resistant technologies include foundation isolation, tie beam and timber bracing, and wooden framing. In these systems, wood is not exclusively used for seismic strengthening, and other factors have been effective in its selection.In Iran, there are also unique systems of the mentioned technologies that are considered successful examples against earthquakes, but today they forgotten. This study can be effective in creating the sensitivity of communities towards the protection of these systems by collecting local knowledge and creating a database of known historical systems of Iran and provide valuable insights about these local innovations in future research. Identifying and classifying these examples helps to understand traditional wooden construction systems and their potential for modern applications and it emphasizes the importance of integrating historical knowledge with modern architectural methods and their stability against earthquakes. Keywords: Seismic Protection Technologie, Foundation Isolation, Timber Bracing, Wooden Framing, Tie Beam, Historical Building. Introduction This research explores the use of wood in historical masonry buildings for seismic resistance. The objectives of this study are to identify various protection technologies used in historical wooden structures and assess their effectiveness in mitigating earthquake damage. The necessity of this research arises from the increasing frequency of seismic events and the potential loss of cultural heritage associated with the destruction of these structures.By examining unique systems developed, this study seeks to uncover forgotten technologies that have proven successful in the past.   The study aims to create a comprehensive database of historical systems, fostering greater awareness and appreciation for the role of historical wooden structures in contemporary architecture.This research is not only significant for preserving cultural heritage but also for informing modern architectural practices that prioritize sustainability and resilience. Materials and Methods: The research employs a descriptive methodology, utilizing a library study reviews literature from the past 25 years on traditional, earthquake-resistant buildings using wood. The statistical population includes historical buildings that incorporate wooden elements in their foundations, walls, and roofs, which are essential for earthquake resistance. This studyIt focuses on analyzing 42 case studies of wooden systems with seismic protection technology in earthquake-prone areas worldwide and ,particularly those found in Iran. Data: Wood has been one of the earliest and most abundant natural materials used in construction worldwide.Archaeological evidence shows wooden houses dating back to 4200BCE in Iran(zomorshidi,1381) and ancient wooden structural elements in places like Knossos and Herculaneum, including rare multi-story wooden frame buildings(Dutu et.al.,2012).Medieval wooden structures discovered in Pertikara reveal sophisticated geometric designs and represent an important stage in the evolution of timber construction knowledge(Ruggieri et.al.,2013).Timber framing with brick infill first appeared in 8th-century Turkey and remains common in earthquake-prone and culturally significant regions, including parts of Europe(Dutu et.al.,2012).     During earthquakes, buildings experience vertical, horizontal, and torsional forces.Horizontal forces mainly cause shaking and damage, while vertical forces affect heavy structural parts(Carazas,Rivero,2010). Key qualities for earthquake resistance include flexibility, deformability, and strength-allowing buildings to withstand large deformations without collapse(Szakats,2007). Building geometry is critical for seismic stability; simple, symmetrical plans with minimal projections perform better. Structural elements must be well-connected to act integrally during shaking. Quality construction and the use of lightweight materials like wood and bamboo significantly enhance resilience. Wood’s high tensile strength along fibers and light weight make it valuable for seismic resistance, especially in elevated parts, connections, and roofs. However, wood alone is vulnerable to seismic loads and is often combined with masonry and used in framed connections and wooden ties, which remain key in strengthening historic buildings against earthquakes(tabeshpor,farhangfar,2005). Wooden structures are effective in earthquake resistance due to their high tensile strength, light weight, and flexibility. However, wood alone is vulnerable to seismic loads(Olivier Moles,2006). Common seismic solutions include wooden base isolation (which reduces seismic demand by decoupling the structure from ground motion, lowering energy transfer and keeping buildings mostly elastic during quakes), vertical and horizontal wooden ties, and light wooden frames, which improve structural integrity and distribute seismic forces, enhancing the resilience of masonry buildings. Discussion The seismic protection technologies can be categorized into four main types:1)foundation isolation,2) wooden framing,3) Tie beam, and 4Timber bracing. wooden frames, both regular and irregular, use various bracing shapes and are constructed with different infill materials such as stone, brick, adobe, plaster, wood, or bamboo, sometimes as single or double layers. Some frames are even without infill(open porches)or feature intricate decorations like stained glass and latticework(Figure11,12)     These systems are found in different structural locations:throughout the entire building(e.g., Quchan shelters,Darvarchin system),foundations(e.g.,Eskati,Shikili),exterior walls(most examples),sometimes interior walls(Pombalinos),around openings(Tak system),and roofs (Romanian,TaleBast).The critical factor is the system’s integration from foundation to roof, ensuring structural unity(Figure13).   Wood connections are mainly done by palate and tongue joints, natural fibers and ropes, or nailing. These systems were not developed solely for seismic resistance but also due to material availability, functional needs, aesthetics, construction speed, lateral force control during construction, compression force management, ventilation, and comfort. Overall, their effectiveness can be grouped into structural, decorative, functional, and other categories) Table 5(.      In Iran, all four historical seismic protection technologies have been used. For example, wooden base isolation in Shikili foundations is a notable historic example recognized globally. Except for pigeon towers and lattice windows(orosi or sash),these systems were directly aimed at earthquake resistance and were primarily built in highly seismic cities like Rudbar,Quchan, and Tabriz.They showed minimal damage compared to adjacent buildings without such technologies. Today, except for some tie beam and occasionally wooden foundations,other seismic protection technologies like wooden frames and Darvarchin walls are fading in Iranian vernacular architecture(Figure14,15).   Conclusion Masonry buildings have low earthquake resistance due to their poor tensile strength, limited ductility, weak connections between components, and heavy mass. Earthquake damage to these structures can manifest as bending, twisting, cracking, sagging, and in the worst cases, collapse and destruction. The mentioned structural systems, when incorporating wood within their framework, demonstrate adaptability and flexibility. This integration of wood not only reduces the building’s weight but also enhances its strength, depending on the type of wood used and the connection details. Historical examples show that these systems have effectively provided seismic resistance over long periods. Key factors influencing the earthquake resilience of wooden systems include the choice of wood species, its age and condition (avoiding decay), the quality of wood connections and integration with infill materials, climate and environmental conditions (such as moisture protection), proper construction methods, and structural dimensions like height and cross-sectional area. The four technologies discussed have been implemented worldwide in different regions using varied methods but share common fundamental principles. Iran, being an earthquake-prone country, has historically utilized these technologies in its traditional and vernacular architecture, with successful seismic performance. Studying these systems offers valuable insights into local innovations and their potential application in contemporary society. This is especially important since global studies aimed at reviving these systems for modern architecture have produced positive seismic results. However, in Iran, these wooden technologies remain largely unknown or have not been modernized for current use. Future research could focus on testing these wooden systems in Iran, providing quantitative data to validate their effectiveness. Additionally, it could promote designs based on indigenous wooden systems while adhering to conservation principles and regulations. Seismic Protection Technologie, Foundation Isolation, Timber Bracing, Wooden Framing, Tie Beam, Historical Building. فناوری حفاظت لرزه‌ای, کلاف چوبی, قاب چوبی, جداساز چوبی, بنای تاریخی. 161 192 http://athar.richt.ir/browse.php?a_code=A-10-3746-1&slc_lang=fa&sid=2 2024/06/212024/03/172024/08/92024/09/252023/10/42024/05/7 1403/2/18 2024/09/62024/06/92024/10/142024/12/312024/01/252024/08/26 1403/6/5 Afsane Samandi Ph.D Student in Restoration and Conservation of Historical Buildings and Urban Fabrics, Faculty of Conservation and Restoration, Iran University of Art, Tehran, Iran. افسانه سمندی samandiafsane@gmail.com 0009-0009-7573-4205 No دانشجوی دکتری مرمت و احیای بناها و بافت‌های تاریخی، گروه مرمت و احیای بناها و بافت‌های تاریخی، دانشکدۀ حفاظت و مرمت، دانشگاه هنر ایران، تهران، ایران. Ali Zamanifard علی زمانی‌فرد zamanifard@art.ac.ir 0000-0002-8374-0252 Yes دانشیار گروه مرمت و احیای بناها و بافت‌های تاریخی، دانشکدۀ حفاظت و مرمت، دانشگاه هنر ایران، تهران، ایران (نویسندۀ مسئول).