fa jalali 1404 5 1 gregorian 2025 8 1 46 109 online 1 fulltext

fa بازنگری در منشأ هنر مهرسازی دورۀ شوش A: نقش و تأثیر سنت‌های زاگرس در تحولات اداری دشت شوشان در اواخر هزارۀ پنجم پیش‌ازمیلاد مُهرها از شاخص‌ترین یافته‌های باستان‌شناختی‌ به‌شمار می‌آیند که حامل پیام‌های بصری بوده و در قالب نقش‌مایه‌های متنوع تجسم یافته‌اند. زبان تصویر، زبانی فراسوی مرزهای زبانی و بی‌نیاز از کلام است، اما درک معنا و کارکرد آن مستلزم شناخت مؤلفه‌های نمادینی است که در فرهنگ‌های گذشته واجد معانی مشخص بودند و بازتابی از باورها و اندیشه‌های سازندگان خود محسوب می‌شدند. مُهرها، که از نیمۀ دوم هزارۀ پنجم پیش‌ازمیلاد رواج یافته‌اند، نه‌تنها ابزارهای عملی نظام‌های اقتصادی و اداری جوامع کهن بودند، بلکه صحنه‌هایی از حیات اجتماعی را با نقش‌مایه‌های هندسی، گیاهی، انسانی، حیوانی، اساطیری و آئینی-‌اسطوره‌ای، گاه در ترکیب با صحنه‌های رزم، به‌شکلی هنرمندانه بازنمایی کرده‌اند. این پژوهش با تمرکز بر منشأ هنر مهرسازی در دورۀ شوش A، پیشینه‌های احتمالی آن در نواحی مرتفع زاگرس‌مرکزی را بررسی می‌کند؛ هرچند فرهنگ شوش A (حدود اواخر هزارۀ پنجم تا آغاز هزارۀ چهارم پیش‌ازمیلاد) معمولاً در بستر تحولات تاریخی دشت شوشان تحلیل می‌شود، این مطالعه بر نقش‌برجسته و تأثیرگذار ارتفاعات در شکل‌گیری سنت‌های مهرسازی تأکید دارد. از رهگذر تحلیل تطبیقی طرح‌ها و نقش‌مایه‌های مهرها از محوطه‌های کلیدی زاگرس هم‌چون: تپه گیان، هکلان و پرچینه، و مقایسۀ آن‌ها با یافته‌های شوش، این جستار به تداوم‌های صوری و شمایلی اشاره می‌کند که مؤید منشأ ارتفاعات یا دست‌کم پیوندهای فرهنگی مستحکم میان این مناطق است. شواهد حاصل از ساختارهای ترکیبی مشترک، مضامین انسان‌وار و جانوری، و ویژگی‌های سبکی ویژه، فرضیه‌ای را تقویت می‌کند که مهرسازی در شوش A، نه صرفاً محصول فرآیندی بومی در دشت شوشان، بلکه بازتاب تعاملات فرهنگی و هنری گسترده‌تر با ارتفاعات زاگرس بوده است. با بهره‌گیری از رویکرد تاریخی‌-‌تحلیلی و مطالعات کتابخانه‌ای، این پژوهش از رهگذر تبارشناسی نقش‌مایه‌های مُهرهای استامپی مناطق مرتفع زاگرس و دشت شوشان، تصویری تازه از پویایی‌های فرهنگی جنوب‌غرب ایران ارائه می‌دهد و مدل‌های رایج مبتنی‌بر نوآوری یا انتشار فرهنگی صرف از مناطق کم‌ارتفاع دشت شوشان را به چالش می‌کشد. Abstract This article revisits the origins of the stamp seal tradition during the Susa A period, with a particular focus on its potential antecedents in the highland regions of the Central Zagros. While the culture of Susa A (late fifth to early fourth millennium BCE) has often been examined within the historical context of the Susiana lowlands, this study underscores the significant role of highland traditions, especially regarding stamp seals. Through a comparative analysis of designs and motifs from prominent highland sites alongside those from Susa, the research identifies formal and iconographic continuities suggesting either a highland origin or a strong interregional relationship. The shared presence of composite structures, anthropomorphic and zoomorphic themes, and distinctive stylistic traits supports the argument that the Susa A stamp seal tradition emerged not exclusively from an indigenous Susiana lowland culture, but from a broader sphere of cultural and artistic interaction with the Zagros highlands. This perspective reshapes the understanding of cultural dynamics in southwestern Iran and challenges prevailing models that emphasize innovation or cultural diffusion primarily from the Susiana lowlands. Keywords: Stamp Seal Tradition, Susa A, Zagros, Susiana, Highlands,  Administrative Developments. Introduction Susa ranks among the world’s oldest continuously inhabited sites. Despite more than a century of archaeological excavations, particularly those conducted by French missions in the late 19th and early 20th centuries questions about its earliest developmental stages persist. The Susa A period marks a transformative cultural phase in southwest Iran, characterized by distinctive pottery types, specialized administrative techniques, and a rich repertoire of stamp seals. Traditional scholarship has often interpreted the seal tradition of this period as a lowland phenomenon, either emerging indigenously within Susiana or shaped by Mesopotamian traditions. This article challenges that prevailing narrative by presenting evidence of technological and stylistic parallels with the highland regions of the Central Zagros, long regarded in historical discourse as peripheral. This study adopts a comparative approach grounded in cultural transfer theory, interregional interaction models, and frontier dynamics. Rather than adhering to the conventional one directional, diffusionist perspective that positions the lowlands as the sole center of innovation, it embraces a network model in which highland societies function as active agents in shaping shared cultural symbols and administrative technologies. Methodologically, the research operates on three analytical levels: 1. Form and Style Analysis – Comparative examination of stamp seals from Susa A and key highland sites, assessing shape, dimensions, image composition, engraving techniques, tool mark signatures, and stylistic tendencies ranging from abstraction to naturalism. 2. Iconographic Classification – Detailed categorization and analysis of motifs, including animal figures (quadrupeds, composite creatures, birds), anthropomorphic forms (depicted clothed or nude, solitary or in groups), geometric fillers, and symbolic elements such as abstract signs and rosettes. Special attention is given to narrative scenes, animal combat, human–animal interaction potentially imbued with mythological significance. 3. Network Reconstruction – Integration of stylistic and technical data to trace artisan mobility, identify shared workshops across regions, and detect cross cultural borrowings within the broader framework of artistic and technical exchange. Through this integrated methodology, the study reconstructs the complex artistic and administrative networks of the late fifth millennium BCE, highlighting the reciprocal cultural contributions between the Central Zagros highlands and the Susiana lowlands. Susa in the Late Fifth Millennium BCE By the late fifth millennium BCE, Susa exhibits clear signs of complex social and political organization. Excavations reveal those administrative technologies, particularly the use of seals played a central role in regulating goods and enforcing institutional control. While monumental architecture in earlier centers such as Chogha Mish primarily served ceremonial or communal purposes, the Susa A period is distinguished by large scale, hierarchically organized buildings featuring elevated platforms and funerary or ritual structures, reflecting concentrated political authority. A comparative analysis between Chogha Mish during the Late Middle Susiana phase and Susa A highlights profound cultural and structural differences, challenging the notion of uninterrupted continuity between the two centers. Architecturally, Chogha Mish is defined by inward focused monumentality without clear evidence of centralized governance, whereas Susa A demonstrates pronounced political–ritual centrality expressed through expansive, hierarchically arranged spaces. In ceramics, the contrast is equally striking: Chogha Mish produced pottery with distinctive decorative styles and varied scales of production, in contrast to the standardized, mass produced wares of Susa A, designed to meet the requirements of intensive administrative systems. Economically, the rich repertoire of seals in Susa A reflects a formalized bureaucratic apparatus regulating trade and distribution, a mechanism only minimally present in Chogha Mish. Collectively, these distinctions suggest that the cultural transformation between the two sites may have been shaped by intervening highland influences rather than solely by endogenous lowland development. The corpus of more than 261 stamp seals and seal impressions from Susa A, extensively documented by scholars such as Amiet (1979), provides compelling evidence of deep connections with the Zagros highlands. Amiet interprets the anthropomorphic imagery in these seals as emblematic of political authority, while comparative analysis shows striking stylistic and iconographic correspondences between Susa A and highland specimens. Technically, both regions employed identical engraving tools, achieved comparable carving depths, and maintained similar production quality. Iconographically, the recurrence of geometric arrangements, distinctive anthropomorphic stances, and specific animal compositions is common to both traditions. Furthermore, the presence of highland motifs and techniques within Susa contexts suggests either the mobility of artisans between highland and lowland zones or the circulation of finished seals through established exchange networks, underscoring the role of interregional interaction in shaping the stamp seal tradition of Susa A. Iconographic Typology The iconographic repertoire of Susa A stamp seals comprises three principal motif groups, each reflecting shared traditions with the Zagros highlands alongside adaptations to the administrative realities of Susiana. 1. Geometric Motifs: Ranging from zigzags, chevrons, and intersecting grids to concentric circles and dotted patterns, these designs form the foundational visual vocabulary of both regions. In the highlands, geometric motifs were primarily linked to ritual contexts; in Susa, however, they evolved into layered compositions characterized by precise symmetry and enhanced visual depth, serving both ritual and bureaucratic purposes. 2. Animal Motifs: Depicting cattle, caprids, predators such as lions and leopards, birds, and occasionally composite mythological creatures, these motifs often present dynamic combat or pursuit scenes. Such imagery may encode symbolic narratives of human mastery over nature, divine sanction, or assertions of political authority. 3. Anthropomorphic Motifs: Less frequent yet significant, these portray human figures in styles shared with highland traditions, with Susa examples featuring more elaborate attire, complex staging, and possible representations of officials, deities, or heroic figures. These variations emphasize the bureaucratic and ceremonial dimensions of seal imagery. Collectively, these motifs constitute a visual lexicon in which highland heritage was reinterpreted and expanded to address the evolving socio administrative needs of Susa. During the Susa A period, stamp seals were predominantly employed by officials vested with administrative authority, functioning as instruments to regulate the movement of goods into and out of offices or storerooms through marks of ownership, approval, and official validation. In highland contexts, seals often combined administrative and ritual functions; in Susa, they became firmly embedded in a centralized bureaucratic apparatus, reflecting a shift toward specialized economic governance. This trajectory suggests an initial shared symbolic vocabulary between highland and lowland traditions, followed by functional diversification and specialization within the lowland administrative sphere, while sustained artisan mobility and motif exchange preserved stylistic continuity across the two regions. Challenging the Lowland Centric Model  By foregrounding highland traditions in the evolution of Susa A’s stamp seal repertoire, this study directly challenges the diffusionist paradigm that conceives innovation as a one way stream flowing from economically dominant, politically centralized lowland centers toward supposedly peripheral highland zones. Instead, it proposes a model of genuine, bi directional cultural exchange in which the Zagros highlands emerge as active contributors, providing original iconographic motifs, distinctive engraving techniques, and potentially skilled artisans whose mobility facilitated the transfer of both technical knowledge and aesthetic values. Within this framework, the genesis of Susa’s early bureaucratic culture is understood not as a purely local lowland invention, but as a composite creation forged through dynamic interaction between highland ritual–symbolic vocabularies and lowland administrative pragmatism. This reciprocal relationship produced a hybrid visual–functional system in which technical precision met symbolic richness, ensuring that Susa’s seals functioned both as instruments of governance and as carriers of layered cultural meanings drawn from an expansive interregional network. Conclusions This study redefines the stamp seal tradition of the Susa A period as a hybrid construct born from sustained, multidirectional contact between highland and lowland cultural spheres, dismantling the long standing notion that its origins lay solely within the Susiana plain. The evidence highlights deep roots in highland cultural milieus, where shared composite structural arrangements, rich anthropomorphic and zoomorphic themes, and distinctive stylistic traits emerged through mutual influence rather than simple peripheral borrowing. In Susa, these highland traditions were not merely adopted but transformed into more elaborate, technically precise designs tailored to the demands of rapid administrative expansion and the consolidation of political authority in the late fifth millennium BCE. Situating Susa A’s seal tradition within a broader highland–lowland network of cultural, technical, and symbolic exchange offers a more nuanced perspective on the socio political forces shaping early complex societies in southwest Iran. It reveals how reciprocal innovation across ecological and cultural boundaries generated the complex administrative and artistic systems that would become hallmarks of the later Elamite society. Stamp Seal Tradition, Susa A, Zagros, Susiana, Highlands,  Administrative Developments. هنر مهرسازی, شوش A, زاگرس, شوش, گیان. 7 32 http://athar.richt.ir/browse.php?a_code=A-10-2374-2&slc_lang=fa&sid=2 2025/05/8 1404/2/18 2025/07/5 1404/4/14 Rouhollah Yousefi Zoshk Associated Professor, Department of Archeology, Faculty of Literature and Human Science, Varamin-Pishva Branch, Islamic Azad University, Varamin, Iran روح‌الله یوسفی‌زشک 0000-0002-0703-4153 No دانشیار گروه باستان‌شناسی، دانشکدۀ ادبیات و علوم انسانی، واحد ورامین، دانشگاه آزاد اسلامی، ورامین، ایران. Khalil-Ollah Beik Mohammadi Assistant Professor, Department of Archaeology, Faculty of Cultural Heritage, Handicrafts and Tourism, University of Mazandaran, Babolsar, Iran (Corresponding Author). 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). Hassan Afshari Ph.D. Candidate in Archeology, Department of Archeology, Faculty of Literature and Human Sciences, University of Tehran, Tehran, Iran حسن افشاری‌سالکی 0009-0001-5742-7414 No دانشجوی دکتری باستان‌شناسی، گروه باستان‌شناسی دانشکدۀ ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران. Donia Etemadifar Ph.D. in Archeology, Islamic Azad University, Science and Research Branch, Tehran, Iran. دنیا اعتمادی‌فر 0000-0003-4229-816X No دانشجوی دکتری باستان‌شناسی، دانشگاه آزاد اسلامی واحد علوم و تحقیقات تهران، تهران، ایران.

fa تحلیل مراحل پویش مکان‌های آئینی در ایران پیش از اسلام (مکان آئینی در ایران باستان) در این پژوهش شکل‌گیری و پویش مکان‌های آئینی در ایران پیش از اسلام از آغاز تا انقراض ساسانیان، به‌مثابه تحلیل فرآیندهای مکان‌مند شدن امر آئینی مورد بررسی قرار می‌گیرد. برای این‌منظور از روش تحلیل ابعاد کیفی به‌عنوان راهبرد پژوهش استفاده خواهد شد. بر این‌مبنا جهت دست‌یابی به تحلیلی از پویش مکان آئینی، نخست چیستی امر آئینی براساس نتایج پژوهش‌های علوم اجتماعی بررسی می‌شود و دو تعریف کلی از امر آئینی به‌دست می‌آید که آئین را بازتاب عقاید و فرهنگ یا یک امر استعاری و سیستم انضباطی یا الگوی رفتاری تعریف می‌کند. این دو تعریف مبنایی را به‌دست می‌دهد که براساس آن می‌توان داده‌های تاریخی درمورد تأثیر سنت‌های دینی (زرتشتی، میترائی و ...) و نظام‌های سیاسی و اجتماعی را بر مکان‌های آئینی، دسته‌بندی و از آن‌ها مفاهیم نظری لازم جهت حصول هدف پژوهش را استخراج کرد. این پژوهش توضیح خواهد داد که شکل‌گیری مکان آئینی در ابتدا در گرو ارزش‌های ازلی نهفته در عناصر طبیعی بود (کیفیت ازلی-بودن) و تنها در بستر طبیعت مکان‌یابی می‌شد (کیفیت طبیعی‌بودن). گسترش فعالیت‌های آئینی سازمان‌یافته و به‌کارگیری آئین به‌عنوان سیستم انضباطی جهت کاهش تنش‌های اجتماعی با رسمی‌شدن دین زرتشتی در دورۀ ساسانی سبب شد بازارگاه‌های شهری نیز به‌عنوان مکان آئینی مورداستفاده قرار گیرند و از درهم‌آمیزی آتشگاه‌ها با یک‌دیگر یا با بازارگاه‌ها مجموعه‌های موسوم به «ایوان نوروز» شکل‌گرفتند که نمایان‌گر تاریخی‌شدن و شهری‌شدن مکان آئینی هستند و واپسین حلقۀ تکامل در فرآیند مکانی‌شدن امر آئینی در ایران پیش از اسلام به‌شمار می‌روند.    Abstract This study investigates the formation, transformation, and localization of ritual spaces in pre-Islamic Iran, tracing their trajectory from their initial emergence in the earliest cultural and mythological traditions through to their integration into the urban and administrative structures of the Sasanian Empire. It seeks to offer a comprehensive analysis of the dynamic processes that contributed to the evolution of sacred places, referred to as ritual spaces within a complex interplay of cosmological symbolism, sociopolitical control, and religious authority. Employing a qualitative methodological framework grounded in interpretive content analysis, the research explores how ritual practices shaped and were shaped by their spatial contexts across different historical periods. The core premise of the study rests on two interrelated conceptualizations of ritual. First, ritual is analyzed as a metaphorical construct a symbolic reflection of deep-seated cultural values, mythological narratives, and sacred cosmologies. Second, ritual is approached as a disciplinary system, functioning to structure social behavior, enforce moral norms, and legitimize hierarchies within the frameworks of political and religious governance. These two interpretive lenses, drawn from the theoretical traditions of anthropology, sociology, history, and religious studies, provide a multidimensional view of how ritual space functioned in ancient Iran. Keywords: Ritual, Ritual Place, Pre-Islamic Iran, Fire Temples, Zoroastrianism. Introduction The theoretical basis of this study draws on key thinkers such as Durkheim, Eliade, Turner, Geertz, and Radcliffe-Brown, whose contributions to the understanding of ritual and sacred space have been seminal within social science disciplines. The study also integrates insights from environmental psychology, myth analysis, and urban theory. Ritual is conceptualized not merely as a religious act but as a socially embedded phenomenon that reinforces group cohesion, legitimizes power, and regulates behavior through symbolic performance. Methodologically, the research employs qualitative content analysis with open coding, allowing for the identification of recurring themes and concepts in historical, archaeological, and textual data. Through this process, the study isolates key phases in the evolution of sacred spaces and theorizes the relationships between cosmological beliefs, ritual performances, and spatial practices. The coding process identifies three major stages in the development of ritual space in pre-Islamic Iran: the natural–sacred phase, the structured–temple phase, and the urbanized–ritual phase. Phase One: The Natural–Sacred Ritual Space The earliest ritual spaces in Iranian culture were deeply connected to the natural environment. Sacredness was attributed to natural elements such as water, fire, trees, and mountains, which were seen as dwelling places of divine forces. Rivers and springs were regarded as manifestations of the goddess Anahita, while mountains like Mount Damavand were considered cosmological axes or anchors of order (axis mundi). These elements were not only physically revered but also symbolically integrated into mythological narratives that gave meaning to the universe and human existence. Fire held particular significance as a divine force and was often maintained in open-air altars without enclosing structures. The sacred tree, especially species such as the cypress and pomegranate were another important symbol of divine presence. Rituals in this phase were typically performed in open landscapes, reflecting a close, almost unmediated connection between the community and the cosmos. The sacred space, in this sense, was naturally occurring rather than human-made, characterized by spatial openness, ritual spontaneity, and accessibility primarily for religious functionaries or tribal leaders. Mountains served not only as physical places of elevation but also as spiritual heights where proximity to the divine was believed to be more immediate. Offerings and sacrifices were often conducted at mountaintops or nearby highlands, reinforcing the mountain’s role as a medium between the human and divine realms. Mythological texts such as the Yashts and Bundahishn repeatedly reference such sites, solidifying their role in the collective spiritual imagination. Phase Two: The Structured and Restricted Ritual Space With the institutionalization of Zoroastrianism, particularly during the Achaemenid and Parthian periods, ritual spaces underwent a significant transformation. Sacred sites became more architecturally defined, enclosed, and regulated. Fire temples, notably the char taq (four arched domes) were constructed in remote areas, symbolizing the isolation of the sacred from the profane. Access to these spaces was restricted to Magi and mobeds, reinforcing the idea of spiritual hierarchy and ritual purity. The movement from natural to constructed sacred space marked a pivotal shift in the function of ritual space from an open, community based act to a controlled performance within an institutional framework. The sacred fire, now enclosed, represented not only divine presence but also the legitimacy of dynastic rule. The fire temple served as a nexus of metaphysical power, religious education, and political propaganda. In contrast to the public facing Zoroastrian temples, Mithraic ritual spaces developed in secrecy. Mithraea, often built-in underground caves or carved directly into rock formations, reflected the esoteric and initiatory nature of Mithraic worship. These spaces were concealed, private, and oriented toward individual transformation through sacred mystery. Their secluded nature stood in stark contrast to the grandeur and visibility of Zoroastrian temples, indicating a diversification in sacred geographies and the emergence of ritual plurality in ancient Iran. These developments illustrate how sacred space became both a symbol of cosmological order and a mechanism of exclusion, regulated by religious elites and tied to the legitimization of political authority. Ritual space in this phase was increasingly monopolized, ritualized, and divorced from its earlier natural contexts. Phase Three: The Urban Integrated and Institutionalized Ritual Space The final phase in the evolution of ritual space corresponds to the consolidation of the Sasanian Empire. During this era, the spatial logic of sacred sites shifted dramatically: fire temples and ritual centers were now situated within cities, alongside administrative complexes, markets, and royal palaces. The sacred was no longer secluded in nature or isolated architecture; it was now interwoven into the fabric of civic life. A key innovation in this period was the emergence of Eivan e Nowruz (Nowruz halls), public spaces adjacent to fire temples where festivals, political ceremonies, and communal gatherings were held. These venues illustrate the historicization of the sacred, where ritual events coincided with royal victories, seasonal transitions, or state proclamations. Sacred time and space became tools for consolidating imperial ideology. The Sasanians utilized ritual as a means of social integration, particularly through the performance of festivals such as Tirgan, Sadeh, and Nowruz, during which kings would pardon prisoners, distribute gifts, and engage with subjects in highly choreographed displays of magnanimity. The ritual calendar synchronized with the administrative logic of empire, turning religious performance into an instrument of governance. This phase marks the culmination of sacred space as a disciplinary system. Drawing on Foucault’s concept of power and surveillance, the study demonstrates how sacred architecture, ritual choreography, and spatial configuration functioned to maintain social order. Fire temples became sites of behavioral regulation, enforcing moral codes and cosmological doctrines while fostering allegiance to the throne. Furthermore, the spatial integration of temples with urban marketplaces symbolizes the complete localization and commodification of the sacred. Ritual spaces were no longer peripheral, they were central to the political economy of the empire. Religious sites doubled as spaces of exchange, authority, and spectacle, embodying a totalizing vision of imperial unity. Dual Theory of Ritual Space: Metaphor and Discipline This study proposes a dual theory of ritual space in pre Islamic Iran. As a metaphorical construct, ritual space represents a projection of cultural belief systems, mythological cosmogonies, and sacred temporality. It connects individuals to ancestral narratives and the celestial order. As a disciplinary system, it structures behavior, regulates access, enforces orthodoxy, and mediates power through architecture, ritual performance, and institutional control. The progression from nature based rituals to structured temples and finally to urbanized ceremonial spaces underscores a trajectory of increasing institutionalization and centralization. What began as communal acts rooted in ecological reverence evolved into highly orchestrated performances embedded in the bureaucratic machinery of empire. In the pre Sasanian phase, the multiplicity of religious traditions (e.g., Zoroastrianism, Mithraism, Zurvanism) fostered a plurality of sacred geographies. However, with the Sasanian assertion of Zoroastrianism as the official state religion, ritual space became more uniform, hierarchical, and state controlled. This marks a crucial turning point in Iranian religious history, where sacred space no longer reflected only divine order, but the imperial will. Conclusion The transformation of ritual space in pre Islamic Iran offers profound insights into how spatial practices reflect evolving relationships between belief, power, and society. From sacred groves and mountain altars to monumental fire temples and city center festivals, ritual spaces served not only as stages for divine–human interaction but also as arenas of political drama and social engineering. By tracing this evolution across three distinct phases, the study illuminates how sacred space is not a fixed or inherent quality of geography but a dynamic product of historical, ideological, and ritual processes. The research contributes to broader discussions on sacred geography, urban religiosity, and the politics of space in ancient civilizations, providing a model for understanding how religious landscapes are constructed, contested, and institutionalized over time. Ritual, Ritual Place, Pre-Islamic Iran, Fire Temples, Zoroastrianism. آئین, مکان آئینی, ایران پیش از اسلام, معابد آتش, دین زرتشتی. 33 58 http://athar.richt.ir/browse.php?a_code=A-10-3172-3&slc_lang=fa&sid=2 2025/05/82025/02/23 1403/12/5 2025/07/52025/06/3 1404/3/13 Seyed Abdolhadi Daneshpour Professor, Department of Urban Drsign, Faculty of Architecture and Environmental Design, Tehran, Iran (Corresponding Author) سید عبدالهادی دانشپور Daneshpour@iust.ac.ir 0000-0003-2373-5985 Yes استاد گروه شهرسازی، دانشکدۀ معماری و شهرسازی، دانشگاه علم و صنعت ایران، تهران، ایران (نویسندۀ مسئول). Babak Akbari PHD Candidat In Urban planing, Department of Urban Drsign, Faculty of architecture and environmental design, Iran University of Science and Technology,Tehran, Iran. بابک اکبری babak.akbari1990@gmail.com 0000-0001-6305-2316 No دکتری شهرساز، دانشکدۀ معماری و شهرسازی، دانشگاه علم و صنعت ایران، تهران، ایران.

fa بازشناخت و تحلیل سبک‌شناسی سردیس‌های منسوب به دورۀ اشکانی در موزه هنر جهان تهران: تأثیرات بین‌فرهنگی در هنر پیکرتراشی ایران باستان  دورۀ اشکانی، یکی از ادوار تاریخی پُر رمز و راز و در عین‌حال تأثیرگذار در تاریخ هنر ایران است که ویژگی بارز آن التقاط فرهنگی و هنری میان سنت‌های بومی و نفوذ عناصر خارجی، به‌ویژه هلنی، میان‌رودانی و آسیای شرقی می‌باشد. در موزۀ هنر جهان تهران مجموعه‌ای شامل هشت سردیس سنگی نگه‌داری می‌شود که به دورۀ اشکانی نسبت داده شده‌اند؛ اما فقدان مستندات دقیق، کاوش‌های علمی و اطلاعات باستان‌شناختی مربوط به محل کشف یا زمینه‌های فرهنگی این آثار، هویت و نسبت زمانی آن‌ها را با چالش مواجه کرده است. این پژوهش با رویکرد توصیفی-تحلیلی و برمبنای مقایسۀ تطبیقی، درپی آن است تا از خلال عناصر سبک‌شناختی، ویژگی‌های شمایل‌نگاری، فرم‌های پیکره‌سازی و جزئیات اجرایی، جایگاه زمانی و فرهنگی این سردیس‌ها را بازشناسد. یافته‌های پژوهش نشان می‌دهد که این سردیس‌ها ازمنظر فن ساخت، مواد به‌کار رفته، و ویژگی‌های ظاهری ازجمله: چیدمان مو، فرم چشم‌ها، ابعاد بینی، حالت دهان، و تزئینات سر، با نمونه‌هایی از نواحی مختلف قلمرو اشکانی، مانند: نسا، هترا، دورا-اوروپوس و حتی برخی مناطق شرقی، مانند بلخ، قابل مقایسه‌اند. به‌عنوان نمونه، وجود فرم چشم‌های بادامی و کشیده در برخی سردیس‌ها، مؤید تأثیرات هنر شرقی، و در مقابل حالت چهرۀ طبیعی و موهای فرفری در نمونه‌های دیگر، گویای استمرار سنت‌های هلنیستی در بستر فرهنگی ایران است؛ هم‌چنین عناصر بومی ایرانی نظیر: بینی برجسته، سبیل‌های بلند و گونه‌های استخوانی، در ساخت این سردیس‌ها به‌وضوح مشاهده می‌شود. نتیجه‌گیری پژوهش بر آن است که این سردیس‌ها هرچند در ظاهر منسوب به دورۀ اشکانی‌ هستند، اما در باطن، ترکیبی غنی از لایه‌های فرهنگی و هنری چندگانه را در خود دارند که بازتاب‌دهندۀ ماهیت سیال و فرامرزی هنر این دوره است. بازخوانی این آثار می‌تواند به درک عمیق‌تری از روند شکل‌گیری هویت تصویری ایرانی در دوران میانۀ تاریخ ایران و نحوۀ مواجهه هنرمندان آن‌زمان با جریان‌های هنری وارداتی بی‌انجامد. Abstract The Parthian period represents one of the most enigmatic yet influential eras in the history of Iranian art, marked by a distinctive cultural and artistic syncretism. This period witnessed a fusion of indigenous traditions with external influences, particularly Hellenistic, Mesopotamian, and Eastern of Iran elements. The Tehran Museum of World Art houses a collection of eight stone busts attributed to the Parthian era. However, the absence of precise documentation, scientific excavations, and archaeological data regarding their provenance and cultural context has cast doubt on their identity and chronological attribution.  This study, employing a descriptive-analytical approach and comparative stylistic analysis, aims to reassess the temporal and cultural positioning of these busts through examination of iconographic features, sculptural forms, stylistic elements, and technical details. The findings suggest that these busts, in terms of craftsmanship, material composition, and visual characteristics—such as hair arrangement, eye shape, nasal structure, mouth expression, and head ornamentation—are comparable to examples from various regions of the Parthian realm, including Nisa, Hatra, Dura-Europos, and even Bactria in eastern Iran. For instance, the presence of elongated almond-shaped eyes in certain busts reflects Eastern artistic influence, while naturalistic facial expressions and curly hair in others indicate the persistence of Hellenistic traditions within the Iranian cultural sphere. Indigenous Iranian elements such as prominent noses, long mustaches, and high cheekbones are also distinctly visible in their construction. The study concludes that although these busts are outwardly attributed to the Parthian era, they inherently embody a rich amalgamation of multiple cultural and artistic layers. This hybridity reflects the transregional and fluid nature of Parthian art. Reinterpreting these artifacts may contribute to a deeper understanding of the development of Iranian visual identity during the middle periods of its history, as well as the ways in which contemporary artists engaged with incoming artistic currents. Keywords: Parthians, Sculpture, Tehran Museum of World Art.   Introduction Sculpture, as one of the oldest forms of human cultural expression, has always reflected the beliefs, social structures, and intercultural dynamics of societies (Qaderi et al., 2015:39). Across different historical contexts, statues were created not only to honor deities and kings but also to preserve the likeness and identity of ordinary individuals (Colburn, 2014:773). In Iran, the art of sculpture entered a new phase with the arrival of the Seleucids and the expansion of Hellenistic influence. Subsequently, with the rise of the Parthians and their efforts to revive Iranian cultural identity, this art form underwent a profound transformation (Lukonin & Ivanov, 2015). The artistic style of the Parthian period can be seen as a complex synthesis of Iranian, Hellenistic, Mesopotamian, and even Central Asian elements (Pierfrancesco, 2015:12). Especially in the later centuries of Parthian rule, a conscious shift away from Greek realism toward indigenous and traditional Iranian features is evident—a transition that not only redefined the sculptural style but also contributed to the emergence of a distinct syncretic visual identity (Hauser, 2012:1001; Genito, 2019:73). By examining the stylistic evolution across three main phases—initial Hellenistic influence, fusion with native elements, and eventual reassertion of authentic Iranian features—it is possible to trace the gradual formation of Parthian art. In this process, early political and military challenges, especially the expansionist nature of Parthian rule, hindered cultural unity and instead fostered a multilayered artistic output enriched by diverse influences from conquered regions (Sinisi, 2020:9; Kiani, 2012:110; Colburn, 2023). A notable feature of Parthian sculpture is the inclusion of commoners alongside royal and divine figures—perhaps an indication of broader social participation in artistic production or greater accessibility to representational art across social classes (Colledge, 1979:221). Within this context, eight busts attributed to the Parthian period, currently housed in the Tehran Museum of World Art, are the focus of this study. These works exhibit a blend of Hellenistic, Mesopotamian, East Iran, and Achaemenid elements, while also reflecting a distinctly Iranian identity. The primary objectives of this research are: to identify the artistic styles and techniques used in these stone and plaster sculptures; to understand the cultural and historical contexts of their production; and to analyze the symbolic and religious significance of the depicted themes and motifs. Key research questions include: To which historical period do the busts attributed to the Seleucid–Parthian era in the Museum belong? Which cultures do they represent? Discussion The Tehran Museum of World Art houses eight busts attributed to the Parthian period which, despite their historical and artistic significance, have yet to be the subject of a systematic academic study. Their identification relies solely on minimal museum labels, and there is no available information regarding their provenance, typology, or stylistic analysis. This research, for the first time, presents a comparative and analytical examination of these busts. A notable aspect of Parthian sculpture is its inherently hybrid nature, shaped through interactions with neighboring cultures and artistic traditions. Due to their unique geographical position—situated at the crossroads of East and West—the Parthians functioned as cultural mediators, giving rise to a dynamic, multi-layered artistic identity. Hellenistic culture, in particular, left a profound imprint on Parthian sculpture, promoting a tendency toward realism and the creation of lifelike representations. However, Parthian art was not merely a passive recipient of Greek influence; rather, it actively synthesized and reinterpreted diverse cultural inputs. In Parthian artistic production, Hellenistic realism coexisted with Eastern symbolic expression, resulting in a distinctive aesthetic that blended classical naturalism with local iconography. The empire’s proximity to Mesopotamia, the Indus Valley, Central Asia, and the Hellenized western regions contributed to a wide spectrum of stylistic influences. This cultural diversity is clearly reflected in the sculptural features of the busts under study. Together, these busts illustrate the stylistic pluralism and layered identity of Parthian sculpture, bridging various cultural realms while maintaining an underlying Iranian essence. The busts include depictions of both male and female figures of varying ages and characteristics. Conclusion Sculpture, beyond being a mere aesthetic tool, has served as a symbolic and propagandistic medium fundamental to reinforcing and promoting social values, beliefs, and political agendas. In the context of Parthian sculpture, due to the unprecedented territorial expanse of the empire and the diversity of ethnic groups and cultures under its dominion, the artworks reflect a complex, multilayered, and intertwined cultural and artistic identity formed through a sophisticated fusion of diverse influences. The early Parthian period coincided with the dominance of Hellenistic culture, which spread widely following Alexander the Great’s conquests and became the prevailing artistic current across much of the East. Distinctive features of this culture in sculpture include a strong emphasis on realism, meticulous attention to facial details, soft and natural body contours, and hairstyles and clothing styles derived from Greek traditions. These traits are clearly visible in the early Parthian busts, indicating deep and comprehensive Hellenistic influence. As noted by Qaderi and Khademi Nedoushan (2006:89), “the Parthians entered a domain previously ruled by Macedonian-Greek Seleucids whose influence persisted, and even after gaining independence, major surrounding powers remained Hellenized... thus, it is unsurprising that these desert dwellers and their cultural sphere exhibit strong Hellenistic influences.” Over time, as Parthian power consolidated, artists increasingly integrated authentic Iranian and regional elements. The thick, curly beards of men, symbolizing authority and social status in Iranian culture, stand in contrast to the clean-shaven faces typical of Greek art. Additionally, Mesopotamian influences are evident, particularly in women’s headgear and male cap styles, reflecting the extensive cultural interactions within the multiethnic Parthian empire. Asian and eastern Iranian characteristics are also traceable in certain hairstyles and facial forms, indicating broad engagement with eastern peoples and reciprocal cultural exchange. The study of the eight previously undocumented busts at the Tehran Museum of World Art vividly illustrates this complex and intelligent cultural amalgamation. Despite apparent differences, these works share extensive similarities in technical composition, subject selection, and the representation of cultural identity, demonstrating a convergent and synergistic artistic approach during the Parthian era.   Parthians, Sculpture, Tehran Museum of World Art. اشکانیان, پیکرتراشی, موزۀ هنر جهان. 59 80 http://athar.richt.ir/browse.php?a_code=A-10-2497-2&slc_lang=fa&sid=2 2025/05/82025/02/232025/06/4 1404/3/14 2025/07/52025/06/32025/07/25 1404/5/3 Nasrin Mohamadgholiha M.A. in Archaeology, Department of Archaeology, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran. نسرین محمدقلیها nasrinm1379@gmail.com 0009-0002-7361-9528 No دانش‌آموختۀ کارشناسی‌ارشد، گروه باستان‌شناسی، دانشکدۀ هنر و معماری، دانشگاه مازندران، بابلسر، ایران. Reza Mehrafarin Professor, Department of Archaeology, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran (Corresponding Author). رضا مهرآفرین reza.mehrafarin@gmail.com 0000-0003-1005-7222 Yes استاد گروه باستان‌شناسی، دانشکدۀ هنر و معماری، دانشگاه مازندران، بابلسر، ایران (نویسندۀ مسئول).

fa سبک فضاهای معماری مسکونی و تالار بار عام محوطۀ اشکانی قدکودان در کرانۀ رودخانۀ زاب کوچک قدکودان یکی از محوطه‌های دوران پارت در منطقۀ پیرانشهر و از مهم‌ترین استقرارگاه‌های حوضۀ آبگیر سد کانی‌سیب پیرانشهر در شمال‌غرب است، که در یک درۀ میان‌کوهی باریک و برروی بلندی‌های طبیعی واقع شده است. رودخانۀ زاب کوچک با فاصلۀ 200متری در شرق آن در جریان است. کاوش‌های باستان‌شناسی این محوطه طی سه فصل متوالی صورت‌گرفت و منجر به کشف فضاهای معماری مسکونی شامل تالار مرکزی و مطبخ گردید. محوطۀ مذکور در دورۀ اول استقرار خود، دارای ساختارهای معماری سنگ‌چین بزرگ با فضاهای متعدد معماری متعلق به دورۀ اشکانی بوده، سپس در دوران اسلامی به‌عنوان گورستان مورداستفاده قرار گرفته است. مطالعه و مقایسۀ سفال‌های قدکودان (سوغانلو)، نشانگر تعلق و شباهت سبکی آن‌ها با مواد فرهنگی دورۀ پارت است که پیش‌تر در همین منطقۀ جغرافیایی از محوطه‌های هم‌زمان به‌دست آمده بود. نظر به قرار داشتن محل مورد مطالعه در مسیر جادۀ ابریشم که به‌عنوان یک شاهراه تجاری بین شرق و غرب در دورۀ پارت شکل‌گرفته، تأثیر سبک‌شناختی و فرهنگی داده‌های این محوطه با دیگر مراکز استقراری پارتیان قابل‌شناسایی است. نتایج کاوش قدکودان که طی آن گستره‌ای به ابعاد 23×15متر (345مترمربع) مورد کاوش باستان‌شناختی قرار گرفت، نشان از یک بافت استقراری گستردۀ پارت است. هدف اصلی این پژوهش ارزیابی کارکرد و تعیین قدمت بافت تاریخی قدکودان براساس شواهد باستان‌شناختی است و پاسخ به این پرسش‌های مهم که، چه عواملی موجب شکل‌‌گیری و توسعۀ این محوطۀ استقراری در حاشیۀ رودخانۀ زاب کوچک شده است؟ کیفیت ساخت ابنیه و ارتباط آن با سایر محوطه‌های هم‌افق در این منطقه چگونه است؟ درمجموع حسب مواد فرهنگی به‌دست آمده و ارزیابی ویژگی‌های بوم‌شناختی و جغرافیایی منطقه نشان‌داد که اشتراک سبک‌شناسی و اسلوب معماری به‌کار رفته در قدکودان نشان‌دهندۀ وجود یک سبک کاملاً کاربردی و مسکونی است که هیچ‌گونه تزئینات خاص در آن ایجاد نشده است. این پژوهش مبتنی‌بر داده‌های نویافته از کاوش باستان‌شناسی استوار است. Abstract Ghadkodan is a Parthian-era site in the Piranshahr region and one of the most significant settlements within the catchment area of the Kani Sib Dam in northwestern Iran. It is situated in a narrow valley between mountains on natural elevations. Archaeological excavations were conducted over three consecutive seasons in 2019, 2020, and 2021, leading to the discovery of various residential architectural spaces, including a central hall and a kitchen. During its initial phase of habitation, Ghadkodan featured large stone structures with multiple architectural units characteristic of the Parthian period. In later times, it was repurposed as a cemetery during the Islamic period. Comparative analysis of Soghanlu pottery reveals stylistic affinities with Parthian cultural materials previously recovered from contemporaneous sites in the same geographical area. The results of excavations, covering a 23 × 15 m (345 m²) area, confirm that Ghadkodan represents the remains of a Parthian settlement. These substantial architectural structures, located within a settlement layer lacking historical continuity, were constructed from limestone rubble bound with mud mortar. Overall, based on the cultural materials recovered and an assessment of the ecological and geographical characteristics of the region, it is evident that the architectural style of Ghadkodan aligns closely with other Parthian-period remains. The architectural texture reflects a purely functional design, devoid of ornamental decoration. This study is based on newly documented data obtained from recent archaeological excavations. Keywords: Northwest, Little Zab Basin, Architectural Remains, Parthian Period. Introduction The Parthians were one of the tribes belonging to the Dahi confederation, nomadizing in the desert region situated between the lower Oxus River (Amu Darya) and the Caspian Sea. The Dahi interacted with the Massagetae and other tribes, whether immigrants or settled inhabitants of Central Asian villages. The term Parth is attested in inscriptions from the early Sasanian dynasty. Local populations continued to speak the Parthian language until the mid-4th century CE in southern Turkmenistan (including Margiana) and northeastern Iran (Media, Khorasan, and Sistan). Parthian expansion under Mithradates I (Mehrdad I, 171–139 BCE) restored much of the ancient Achaemenid Empire, positioning the Parthians, as Ghirshman suggested, as a connecting link between the Achaemenid and Sasanian dynasties. Archaeological excavations at Shahr-i Qumis, very probably the historic Hecatompylos located along the “Great Khorasan Road” in the Damghan region, uncovered hundreds of clay vessels spanning from the early 1st millennium BCE through the Achaemenid, Parthian, and Sasanian periods. Chinese historical records, likely dating to the 2nd century CE, describe Parthia (Anxi) as follows:  “The main center of the Kingdom of Anxi [Parthia] is the town of Hedu [Hecatompylos]… [Parthia] is several thousand li across. There are several hundred small towns.”  The political consolidation of Parthia under Mithradates I was accompanied by territorial expansion to include major cities such as Seleucia-on-the-Tigris, Dura Europos, and Susa. Finds from Shahr-i Qumis have helped establish its chronology. Notably, seven coins attributed to Orodes I (ca. 80–77 BCE) or his immediate predecessor were recovered from Area VII, along with ostraca bearing Parthian inscriptions, apparently records of monetary donations similar to those found at Ak-depe and other sites in southern Turkmenistan. Sixteen significant seals were discovered in Area V (Bivar 1981). While Shahr-i Qumis may have functioned as a major political and military center, it was one of several strategically positioned Parthian fortresses in northeastern Iran. Other important archaeological discoveries from this period have been made along the Gorgan Wall and in defensive castles on the Gorgan Plain, a region significant during the Achaemenid era and subsequently under the Sasanians. The Ghadkodan site is situated in the central part of Piranshahr, approximately one kilometer northwest of the crown of the Sib Mineral Dam. It comprises two main areas: a northern hill and a southern relatively flat section, located on an almost oval ridge aligned north–south. The northern part is a high hill bordered to the north and east by the agricultural and alluvial lands of the Little Zab River with steep slopes; to the west by natural ridges with gentle slopes; and to the south by the ancient Ghadkodan site. The southern section is relatively flat, bordered to the north by the ancient hill slope; to the south and west by natural ridges and agricultural lands with gentle slopes; and to the east by an apple orchard with a relatively steep slope. Discussion  Despite the significance of Parthian architecture, our understanding of this period, particularly its smaller-scale buildings remain incomplete. This gap is especially pronounced in the study of residential architecture. Consequently, no definitive stylistic framework can yet be associated with such structures. Factors such as the scarcity of large-scale excavations, environmental diversity, and regional traditions complicate efforts to reconstruct the architectural characteristics of the middle strata of Parthian society. Limited archaeological research in the region has resulted in minimal knowledge about the cultural traditions prevalent during this era. The extensive area of Ghadkodan encompasses numerous residential architectural spaces which, based on ceramic typology studies, are conclusively dated to the Parthian period. The multiplicity of these spaces indicates prolonged habitation during this time. Furthermore, the public hall at Ghadkodan underscores the site’s importance, likely serving as a venue for special gatherings or ceremonial events. Overall, excavations revealed a total of 13 architectural units of varying dimensions and layouts, providing rare and valuable insights into settlement organization and communal space usage during the Parthian period. Conclusion  This study sought to identify the cultural traditions of the Little Zab River region and to establish a relative chronology of the material culture within this basin. The findings reveal a clear cultural connection between Ghadkodan, Piranshahr, and other contemporaneous sites in the northwestern cultural basins, including Yazdgerd Castle and Baarveh. Recent excavations at Ghadkodan have uncovered substantial architectural remains from the Parthian period, an extensive architectural texture embedded within a settlement layer lacking earlier occupation or subsequent continuity. These structures were constructed from limestone rubble bound with mud mortar, comprising centralized rooms and stone walls. Culturally, Ghadkodan appears to have been among the most prosperous and expansive settlements in the Little Zab River basin. Its architectural remains are dispersed across both the central site and extensive peripheral zones. Residential units feature simple layouts consisting of rectangular rooms built from rubble and river stones of varying sizes. The presence of a public hall underscores the site’s prominence, especially given that, while monumental buildings such as palaces and temples from the Parthian period are well-studied, smaller-scale residential architecture remains comparatively underrepresented. In this regard, Ghadkodan stands out as a model of locally adapted architectural style. The proximity of the Little Zab River, a reliable water source, played a crucial role in the establishment and longevity of Ghadkodan. Environmental resources from the river supported both agriculture and livestock farming, fostering favorable living conditions that stimulated long-term habitation along its banks from prehistoric times onward. These conditions contributed to the development of indigenous and localized cultural traditions in the region. Architecturally, the settlement’s spaces can be categorized into inner and outer sections, composed of rectangular or square enclosures separated by one to several rows of stone walls. Ultimately, evidence indicates that Ghadkodan was abandoned at the end of the Parthian period and was never reoccupied. Northwest, Little Zab Basin, Architectural Remains, Parthian Period. شمال‌غرب, حوضۀ رودخانۀ زاب کوچک, بقایای معماری, سفال. 81 107 http://athar.richt.ir/browse.php?a_code=A-10-2192-1&slc_lang=fa&sid=2 2025/05/82025/02/232025/06/42025/04/21 1404/2/1 2025/07/52025/06/32025/07/252025/06/28 1404/4/7 Afrasiab Garavand PhD in prehistoric archaeology; Manager of Takht Suleiman World Heritage Site, West Azarbaijan, Iran (Corresponding Author). افراسیاب گراوند garavand.afra@gmail.com 0000-0002-9209-8265 Yes دکتری باستان‌شناسی پیش‌ازتاریخ، مدیر پایگاه میراث جهانی تخت‌سلیمان، آذربایجان‌غربی، ایران (نویسندۀ مسئول). Mahnaz Sharifi Associate Professor, Department of Archaeology, Research Institute of Cultural Heritage and Tourism (RICHT),Tehran, Iran. مهناز شریفی m.sharifi@richt.ir 0000-0002-6293-8534 No دانشیار پژوهشکدۀ باستان‌شناسی، پژوهشگاه میراث‌فرهنگی و گردشگری، تهران، ایران. Fatemeh Malekpuor Senior expert in archeology of cultural heritage, tourism and handicrafts of Khoy city, Iran. فاطمه ملک‌پور No کارشناس‌ارشد باستان‌شناسی اداره میراث‌فرهنگی، گردشگری و صنایع‌دستی شهرستان خوی، خوی، ایران.

fa نقش مجموعۀ آرامگاهی شاه نعمت‌الله ولی در توسعۀ حیات شهری ماهان از دورۀ آل‌بویه تا قاجار آرامگاه شاه نعمت‌الله ولی، از شاهکارهای معماری عصر تیموری به‌شمار می‌رود که روند ساخت آن در گذر سده‌ها تا دورۀ پهلوی تداوم یافته است. این بنای شکوهمند، نه‌تنها نمادی از هنر ایرانی اسلامی است، بلکه هویت مذهبی و فرهنگی شهر ماهان را نیز در خود جای‌داده است. این مجموعه از قسمت‌های مختلفی چون: رواق‌ها، صحن‌ها، حمام، آب‌انبار، کاروانسرا و کتابخانه تشکیل‌شده و به یکی از شاخص‌های هنر و معماری ماهان تبدیل شده است. براساس منابع مکتوب و گمانه‌زنی‌های انجام‌شده در محوطۀ لنگر واقع‌در فاصلۀ ۴ کیلومتری ماهان شواهدی به‌دست آمده که نشان می‌دهد سکونت در این منطقه دست‌کم به دورۀ آل‌بویه بازمی‌گردد؛ هرچند داده‌های باستان‌شناختی حاکی از آن است که این منطقه در آن مقطع تاریخی از رونق اقتصادی و جمعیتی چشم‌گیری برخوردار نبوده، با روی‌کار آمدن شاه نعمت‌الله ولی در عصر تیموری، ماهان حیاتی تازه یافت. این پژوهش می‌کوشد علاوه‌بر بررسی مباحث تاریخی در مجموعۀ شاه نعمت‌الله ولی به جایگاه و تعامل این آرامگاه با شهرسازی ماهان از دوران آل‌بویه تا قاجار بپردازد. روش پژوهش در این جستار تحلیلی-تاریخی است و جمع‌آوری اطلاعات ازطریق مطالعات کتابخانه‌ای چون استفاده از منابع مکتوب تاریخی، کتب، مقالات، پایان‌نامه‌ها و تحقیقات میدانی چون مشاهدات مستقیم و تصویربرداری از بنا و محوطه صورت گرفته است. این پژوهش درصدد پاسخ‌گویی به این پرسش است که آرامگاه شاه نعمت‌الله ولی چگونه بر سازمان‌دهی و ساختار شهر ماهان مؤثر است؟ نتایج پژوهش نشان می‌دهد علاوه‌بر مسئله آب به‌عنوان یک عنصر حیاتی، وجود مقبرۀ شاه نعمت‌الله ولی و نفوذ ایشان در دستگاه سیاسی کشور و تردد امیران، حاکمان و مریدان به ماهان و موقعیت استراتژیک این منطقه در همسایگی کرمان، این شهر را به حلقه‌ای حیاتی در نظام خدمت‌رسانی به دارالملک تبدیل کرده و بخش زیادی از نیازهای ساکنان کرمان را فراهم می‌‌کرد؛ درنتیجه، این رفت‌وآمدها و به‌تدریج از دورۀ قاجاریه، شهر از مرکز به جنوب و به‌صورت متحدالمرکز حول این آرامگاه مقدس گسترش یافت. Abstract The tomb of Shah Nematollah Vali is considered one of the architectural masterpieces of the Timurid era, and the process of its construction continued over the centuries until the Pahlavi period. This complex consists of various parts, including porches, courtyards, a bathhouse, a water tank, a caravanserai, and a library and has become one of the indicators of Mahan’s art and architecture. Based on written sources and research conducted in the Langar area, located 4 kilometers from Mahan, evidence has been found indicating that habitation in this area dates back to at least the Buyid period. Although archaeological data suggest that this region did not enjoy significant economic or population growth at that historical point, with the rise of Shah Nematollah Vali in the Timurid era, Mahan gained new life. The research method in this study is analytical historical, and information was collected through library studies such as using written historical sources, books, articles, and theses and through field research, including direct observations and photography of the building and grounds. This research seeks to answer the question: How did the tomb of Shah Nematollah Vali affect the organization and structure of the city of Mahan? The research results show that, in addition to the issue of water as a vital element, the existence of the tomb of Shah Nematollah Vali, his influence in the country’s political system, the frequent visits of emirs, rulers, and followers to Mahan, and the strategic location of this region in the vicinity of Kerman made this city a vital link in the service system to the capital and provided a large part of the needs of Kerman’s residents. As a result of these movements, and gradually since the Qajar period, the city expanded from the center to the south and concentrically around this sacred tomb. Keywords: Mahan, Tomb of Shah Nematollah Vali, Urban Life, Islamic Period. Introduction At the time of the emergence of Islam in Iran, there was no tradition of tomb architecture that could inspire Muslims to build such structures. Tomb building was not a common tradition in early Islam, and the Holy Prophet was opposed to lavish burials as well as excessive wailing and lamentation. The burial of the Prophet Muhammad in Medina can be considered a turning point in tomb construction. However, the beginning of tomb construction in Iran cannot be precisely identified and presented. Religious tomb complexes have had a fundamental impact on the formation and expansion of many Iranian cities during the Islamic period, becoming the initial core and center of gravity for the formation of a city. By the fourth and fifth centuries AH, funerary architecture emerged in the form of towers like the Qaboos Dome and domes like those of Amir Ismail Samani, which laid the foundation for the form of Islamic tombs in later centuries. Tomb spaces were instrumental in the development of cities, attracting pilgrims and devotees, who transformed places into urban complexes by constructing public facilities. The importance of tombs in Iran is such that their existence has, in many cases, been the main reason for the initial construction or development of cities. Many Imamzadehs welcome pilgrims from other cities or regions. One of the most important tombs in Iran is the tomb of Shah Nematollah Vali, which is considered a masterpiece of Islamic art and dates back to the Timurid period. Shah Nematollah Vali came to Mahan in 810 AH and settled there. During this period, he gained many disciples from all over Iran and even India. After his death in 840 AH, the first foundation of the tomb was laid by Ahmad Shah Bahmani from the Deccan, and in later periods, especially the Qajar period, additions were made to this building. The construction of this shrine mausoleum complex attracted many travelers, followers, and pilgrims, paving the way for the expansion of the city. To maintain the tomb, public utility facilities were established around the city, which caused the city of Mahan to gradually prosper, because it was necessary to meet the needs of travelers and pilgrims, as well as those who resided in the vicinity of these tombs and monuments. Urban facilities and spaces were therefore needed. As a result, many neighborhoods were formed around the Shah Nematollah Vali complex and along the seasonal rivers that flowed into the city. Discussion The formation of the city of Mahan can be attributed to the fourth century AH, because before the Buyid period, there is no mention of this city in written historical sources. Therefore, the physical spatial development of Mahan began in the Timurid period and gradually expanded in subsequent periods. This process gained momentum, especially during the Qajar period, given the religious political status of the city, and it experienced significant progress in all economic, social, and cultural dimensions. Tombs are among the key factors in the formation and development of urban spaces. The presence of these religious historical monuments attracted pilgrims and travelers, which gradually led to economic prosperity, the physical expansion of the city, and an increase in its population. The city of Mahan in Kerman Province is a prime example of such changes in the shape of Iranian cities. This city was considered one of the most important religious and communication centers. Therefore, the most important factors influencing the formation, expansion, and development of the city of Mahan can be stated as follows: (1) the natural geography of the region; (2) communication methods; (3) the residence and burial place of Shah Nematollah Vali. In general, it seems difficult to understand Mahan’s urban development before the Pahlavi period. The lack of information from maps before this period, as well as the lack of data from written historical sources, the absence of archaeological excavations in the city center, and the lack or absence of architectural works and evidence from before the Qajar period have further contributed to this uncertainty. Since the basis of the studies in this research is to determine the historical physical growth of Mahan, the following evidence and documents have been used for this purpose: (1) written heritage and archaeological research; (2) the oldest maps dating back to the fourth century AH; (3) an aerial map of Mahan city from 1346 AH; (4) a detailed plan map of Mahan city from 1395 AH. Given that no tangible architectural works have been found in Mahan since the Buyid period and that the original core of Mahan is unclear, it is challenging to draw firm conclusions, but based on written historical documents, it is possible to identify the oldest neighborhood located in the central part of Mahan. One of the oldest neighborhoods of Mahan during the Buyid period is probably the Qalatuyyah neighborhood. Written sources have depicted the development of the city in the Qajar period in more vivid detail. Conclusion Mahan began its formation process during the Buyid period and reached its highest level of development and prosperity during the Qajar period. An important and effective factor in the development of Mahan’s urban life, in addition to the issue of water as a vital and important element, was the existence of the tomb of Shah Nematollah Vali and his influence in the country’s political system, as well as the visits of emirs, rulers, and followers to this region. Analysis of data obtained from maps indicates the peak of Mahan’s urban development during the Qajar period, spreading from the center (the tomb of Shah Nematollah Vali) to the south. Considering Shah Nematollah Vali’s journey to India, his many disciples and admirers, and the attention he received from sultans, nobles, and emirs, development activities were initiated in the Khanqah tomb complex of Shah Nematollah Vali. This indicates the political religious importance of this city. During the Qajar period, the area of Mahan city began at the foot of Mount Jupar and extended northward. Thus, the southern parts of Mahan are higher than its northern, relatively flat parts, dividing Mahan into two parts: Upper and Lower. The city of Mahan is shaped like an elongated rectangle that extends perpendicularly in the northern direction (with a deviation to the west). The Mahan River, which flowed north from Mount Jupar and served as the main passageway for Mahan, was an important factor in concentrating settlement on its outskirts. Most neighborhoods were formed near the river crossing and around the tomb of Shah Nematollah Vali. During the Qajar period, construction intensified and aligned along the riverbed. The market was located next to the tomb of Shah Nematollah Vali in that same direction, and this led to the prosperity of the physical space of the city and its revival during this period. Among the natural factors that have had a significant impact on the growth of the city are the existence of seasonal and underground rivers. The Mahan Plain benefits from all of these water resources, including Tigran, Mahchal, Vakilabad, Mehdiabad, Kahno, Kushk Langar, and Goharriz Qanat. Since ancient times, the most important source of water flow for the Shah Nematollah Vali complex has been the Fermitan Qanat, which runs from south to north. This city has long been considered an important communication center and a bottleneck on the Silk Road. Mahan, Tomb of Shah Nematollah Vali, Urban Life, Islamic Period. ماهان, آرامگاه شاه نعمت‌الله ولی, حیات شهری, دوران اسلامی. 109 133 http://athar.richt.ir/browse.php?a_code=A-10-4011-1&slc_lang=fa&sid=2 2025/05/82025/02/232025/06/42025/04/212025/04/17 1404/1/28 2025/07/52025/06/32025/07/252025/06/282025/06/24 1404/4/3 Marzie Faryabi PhD student in Archaeology, Department of Archaeology, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran. مرضیه فاریابی faryabi1991@yahoo.com No دانشجوی دکتری باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ هنر و معماری، دانشگاه مازندران، بابلسر، ایران. Hassan Hashemi Zarjabad Associate Professor, Department of Archaeology, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran (Corresponding Author). حسن هاشمی‌زرج‌آباد h.hashemi@umz.ac.ir 0000-0002-7115-2859 Yes دانشیار گروه باستان‌شناسی، دانشکدۀ هنر و معماری، دانشگاه مازندران، بابلسر، ایران (نویسندۀ مسئول). Ali Zarei Associate Professor, Department of Archaeology, Faculty of Arts, University of Birjand, Birjand, Iran. علی زارعی azarei1354@gmail.com 0000-0002-2052-195X No دانشیار گروه باستان‌شناسی، دانشکدۀ هنر، دانشگاه بیرجند، بیرجند، ایران.

fa تحلیلی بر طرح و نقش کمان در سنگ‌قبرهای اسلامی موزۀ باستان‌شناسی شهرستان خلخال هنر اسلامی، با توجه به ویژگی‌های فرهنگی، مذهبی و اجتماعی خود، همواره به‌عنوان یک ‌زبان نمادین در انتقال مفاهیم دینی و اجتماعی عمل کرده است. در این‌میان، سنگ‌قبرهای اسلامی با ترکیب عناصر هنری و معنوی، به‌ویژه ازطریق نقوش خاص، نمادهایی چون کمان را در خود جای‌داده‌اند؛ نقش کمان به‌عنوان نمادی از سلاح و قدرت نظامی جایگاه ویژه‌ای دارد. شهرستان خلخال، با تاریخ کهن و فرهنگ غنی، یکی از مناطق مهم در نگه‌داری و نمایش این سنگ‌قبرها به‌شمار می‌رود. موزۀ باستان‌شناسی خلخال دارای انواع سنگ‌قبر با اشکال گوناگون است که بازتاب‌دهندۀ تنوع هنری و فرهنگی این منطقه هستند. این پژوهش با رویکرد توصیفی-تحلیلی، انجام ‌شده. داده‌های تحقیق ازطریق مطالعات کتابخانه‌ای و بررسی‌های میدانی گردآوری‌ شده‌اند و نقوش کمان در پنج نمونۀ سنگ‌‌قبر صندوقی و گهواره‌ای تحلیل و مستندسازی شده است. نتایج پژوهش نشان می‌دهد که نقش کمان در این سنگ‌قبرها، علاوه‌بر جنبه‌های زیبایی‌شناسی، معنایی عمیق از پیوند میان زندگی دنیوی و اُخروی و نمادی از استحکام در برابر گذر زمان را به تصویر می‌کشد. کمان‌ها معمولاً با دیگر نمادهای تزئینی مانند: گل‌ها، گیاهان و نگاره‌های هندسی ترکیب ‌شده‌اند که زبان بصری پیچیده‌ای از مفاهیم دینی و فرهنگی را منتقل می‌کنند. بررسی تطبیقی این نقوش با نمونه‌های مشابه از سایر مناطق نشان می‌دهد که سنگ‌قبرهای دارای نقش کمان عمدتاً از نوع صندوقی بوده و این نقش‌ها غالباً همراه با شمشیر به‌کار رفته‌اند. این یافته‌ها بر اهمیت حفظ و مستندسازی این آثار تأکید دارند و به‌عنوان نمادهایی از هویت فرهنگی و تاریخی جامعۀ اسلامی نقش به‌سزایی در انتقال مفاهیم مذهبی و اجتماعی دارند. Abstract Islamic art, characterized by its distinct cultural, religious, and social dimensions, has long served as a symbolic medium for conveying religious and societal concepts. Within this tradition, Islamic gravestones integrate artistic and spiritual elements, frequently featuring motifs such as the bow. As an emblem of weaponry and military prowess, the bow carries deep symbolic significance. Khalkhal County, known for its ancient history and rich cultural heritage, is an important area for the preservation of such gravestones. The Archaeology Museum of Khalkhal houses a diverse collection of gravestones that reflect the region’s artistic and cultural variety. This study adopts a descriptive–analytical approach, combining library research with field investigations to document and analyze bow motifs on five gravestones of box-shaped and cradle-shaped forms. Findings reveal that the bow motif, beyond its aesthetic qualities, symbolizes the link between the earthly and spiritual realms and represents resilience against the passage of time. These motifs are frequently accompanied by decorative elements such as floral designs, vegetal forms, and geometric patterns, creating a complex visual language for expressing religious and cultural ideals. Comparative analysis with examples from other regions indicates that gravestones featuring bow motifs are predominantly box-shaped and often paired with depictions of swords. The study emphasizes the necessity of preserving and documenting such artifacts, which act as vital symbols of the cultural and historical identity of Islamic society and play a central role in transmitting religious and social values. Keywords: Islamic Era, Khalkhal, Bow Motif, Iconography, Tombstone. Introduction Islamic funerary art, as a profound and symbolic facet of Islamic culture, reflects societal values, religious beliefs, and aesthetic principles through its visual elements (Grabar, 1992; Ruggles, 2011). Among these elements, the bow motif occupies a prominent position, symbolizing strength, bravery, and the link between the material and spiritual realms (Kazempour & Shokrpour, 2021). Islamic tombstones adorned with bow motifs serve as more than mere grave markers; they embody the cultural and historical narratives of the communities that produced them (Charaee, 2008). This research focuses on Islamic tombstones preserved in the Archaeology Museum of Khalkhal County, a region notable for its rich material culture and historical artifacts. It examines the artistic, cultural, and symbolic dimensions of the bow motifs found on these tombstones. Specifically, the study seeks to analyze the design and symbolism of bow motifs, explore their broader associations within Islamic cultural and spiritual contexts, and compare them with similar motifs from other Islamic regions (Mohammadian et al., 2020). Through this comparative lens, the research aims to deepen the understanding of Islamic funerary art and highlight its role in safeguarding intangible cultural heritage (Setarnezhad & Afkhami, 2021). Methods This descriptive–analytical study investigates weapon motifs, particularly bows, depicted on Islamic gravestones in the Archaeology Museum of Khalkhal County. Data collection involved both library research and fieldwork, including photographic documentation and motif analysis using CorelDRAW software. Five gravestones featuring weapon motifs were selected for detailed examination. To interpret and compare the motifs with those found in other Islamic regions, the study applied content analysis and comparative analysis. The research tools included photography, digital illustration software (CorelDRAW), and bibliographic resources. Fieldwork was constrained by several limitations: the physical degradation of motifs, restricted access to certain gravestones, and the paucity of specialized scholarly resources. All procedures adhered to ethical research standards, including obtaining official authorization from the museum for photography and documentation. Findings The bow motifs on the tombstones of Khalkhal serve as profound visual representations of the deeply embedded cultural, religious, and spiritual values of Islamic societies. These motifs are intricately carved with remarkable detail and are frequently accompanied by decorative elements such as floral designs and geometric patterns, forming a rich, multi-layered symbolism. In certain cases, the bow is paired with additional martial symbols, such as swords or prayer niches (mihrabs) which both enhance visual appeal and reinforce symbolic meanings of strength, protection, and divine guardianship (Setarnezhad & Afkhami, 2021). The symbolism of the bow extends far beyond its aesthetic function. It identifies the deceased as both a defender of the faith and a protector of societal values, signifying their contributions to the defense of their community (Charaee, 2008). Within the broader framework of Islamic cosmology, the bow also resonates with concepts of cosmic balance and resilience, suggesting a spiritual dimension that emphasizes endurance in the face of hardship (Kazempour & Shokrpour, 2021). In this regard, the motif reflects not only martial prowess but also the enduring strength of the soul, transcending physical death. Consequently, the tombstones of Khalkhal function as more than markers of death; they are integral components of the region’s cultural landscape, underscoring the community’s unique identity while simultaneously echoing broader Islamic funerary traditions observed elsewhere. The careful use of durable materials and sophisticated carving techniques demonstrates the community’s respect for its heritage and its commitment to preserving cultural continuity (Grabar, 1992). Comparative analysis with similar motifs from regions such as Azerbaijan and Central Asia reveals shared cultural themes martial strength and spiritual resilience alongside distinctive local stylistic expressions. Such regional variations in artistic practice contribute to a more comprehensive understanding of shared cultural values (Kleiss, 1969). The bow motif reached its height during the Ilkhanid and Safavid periods, reflecting its central role in the socio-cultural structures of these eras. Its continued usage in these periods underscores the enduring significance of the motif within Islamic art and society (Nicolle, 1996). Ultimately, the bow motifs on the tombstones of Khalkhal are not merely ornamental. They stand as powerful symbols reflecting the intersection of martial, spiritual, and cultural values that have shaped the region’s identity and affirmed its place within the broader Islamic world. Conclusion The bow motifs on Islamic tombstones in Khalkhal embody a synthesis of art and spirituality, symbolizing the connection between the material and spiritual realms of life and death. These tombstones, adorned with intricate designs and decorative elements such as floral, vegetal, and geometric patterns, convey messages of strength, stability, and the bond between heaven and earth. In all examined cases, the bas-relief designs are accompanied by mihrab motifs, underscoring the spiritual and religious significance of these works. Across different historical periods, these motifs served as markers of the social, cultural, and religious status of the deceased, reflecting the prevailing beliefs of the Islamic community of the time. Comparative analyses reveal that such designs were shaped by cultural, social, and religious transformations over the centuries, offering valuable insights into the historical and artistic evolution of the region. The preservation and documentation of these tombstones not only safeguard cultural heritage but also advance our understanding of the cultural and spiritual connections that define Islamic history. Islamic Era, Khalkhal, Bow Motif, Iconography, Tombstone. سنگ‌قبر اسلامی, خلخال, طرح کمان, نماد‌شناسی. 135 158 http://athar.richt.ir/browse.php?a_code=A-10-3911-1&slc_lang=fa&sid=2 2025/05/82025/02/232025/06/42025/04/212025/04/172024/12/24 1403/10/4 2025/07/52025/06/32025/07/252025/06/282025/06/242025/04/21 1404/2/1 Mahan Younespour M.A. student in ArchaeologyDepartment of Archaeology, Faculty of Social Sciences, Mohaghegh Ardabili University, Ardabil.Iran (Corresponding Author) ماهان یونس‌پور mahan.younespour@gmail.com 0009-0003-4830-584X Yes دانشجوی کارشناسی ارشد باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ علوم اجتماعی، دانشگاه محقق اردبیلی، اردبیل، ایران (نویسندۀ مسئول). Ghazal Azizifar M.A. student in ArchaeologyDepartment of Archaeology, Faculty of Social Sciences, Mohaghegh Ardabili University, Ardabil, Iran. غزل عزیزی‌فر Ghazal_azizifar@gmail.com 0009-0000-7015-6957 No دانشجوی کارشناسی ارشد باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ علوم اجتماعی، دانشگاه محقق اردبیلی، اردبیل، ایران.

fa شناختِ شفافیت و شاخصه‌های آن در مسکن بومی شهرستان تالش «شفافیت» ازجمله مفاهیمی است که در معماری معاصر موردتوجه ویژه قرار گرفته است. در طراحی و ساخت بناهای امروزی، به‌ویژه در حوزۀ مسکن، تمرکز بیش از حد بر ویژگی‌های کمّی و الزامات فیزیکی موجب کاهش کیفیت‌های فضایی شده است. بهره‌گیری از شفافیت در طراحی می‌تواند یکی از راهکارهای ارتقای کیفیت فضایی در بناهای مسکونی باشد. شفافیت در معماری دارای سطوح و مؤلفه‌های گوناگون است و این مفهوم در معماری بومی گیلان به‌شیوه‌ای خلاقانه نمود یافته است؛ از این‌رو، شناخت و بررسی آن در معماری بومی و بهره‌گیری از دستاوردهای آن در طراحی معاصر می‌تواند به ارتقای کیفیت فضایی بناهای امروزی بیانجامد. هدف اصلی این پژوهش، شناسایی شاخصه‌های شفافیت در معماری و بررسی آن‌ها در مسکن بومی شهرستان تالش به‌عنوان نمونۀ موردی است. بدین‌منظور، با راهبرد روش پژوهش کیفی، در مرحلۀ نخست مفهوم شفافیت و شاخصه‌های آن به روش توصیفی-تحلیلی تبیین و تدوین شده است. ابزار گردآوری داده‌ها در این مرحله منابع کتابخانه‌ای بوده است. در مرحلۀ بعد، مؤلفه‌ها و شاخصه‌های به‌دست‌آمده در 10 خانۀ بومی واقع در بخش جلگه‌ای شهرستان تالش مورد بررسی قرار گرفت و نمودهای کالبدی و فضایی شفافیت در این بناها معرفی و تحلیل شد. یافته‌های پژوهش نشان می‌دهد که شفافیت در معماری بومی شهرستان تالش در سطوح متنوعی تجلی یافته است. از مهم‌ترین این سطوح می‌توان به شفافیت کالبدی-سازه‌ای اشاره کرد که در قالب عناصر معماری جداره هم‌چون: بازشوها، ایوان، غلام‌گردش، تلار و طاقچه نمود پیدا کرده است. شفافیت بصری-ادراکی نیز ازطریق ایجاد روزن‌ها و گشودگی‌ها، پنجره، ایوان، تلار و تداوم دید در فضا ایجاد شده است. هم‌چنین، شفافیت رفتاری-عملکردی با بهره‌گیری از عناصری نظیر: ایوان، غلام‌گردش، راه‌پله، تلار و پیوستگی فضاها تحقق یافته است؛ درنهایت، شفافیت معنایی-مفهومی که درمیان سطوح یادشده کمترین حضور را دارد، صرفاً در قالب عناصری هم‌چون سطوح مشبک و کاربرد رنگ جلوه‌گر شده است. Abstract Transparency has become an increasingly prominent principle in contemporary architecture, recognized as a key strategy for enhancing spatial quality. In the design and construction of modern buildings particularly within the housing sector overemphasis on quantitative metrics and physical requirements has often diminished the richness of spatial experiences. When thoughtfully incorporated into architectural design, transparency can serve as a powerful means of enriching residential environments. This concept encompasses multiple dimensions and components and has been creatively manifested in the vernacular architecture of Gilan. Understanding and applying these traditional interpretations of transparency can offer valuable insights for improving the spatial quality of contemporary residential architecture. The present study aims to identify indicators of transparency in architecture and to examine their application in the traditional houses of Talesh as a case study. Employing a qualitative approach, the first stage provides a descriptive and analytical formulation of the concept, characteristics, and indicators of transparency, supported by library-based research. In the second stage, the components and indicators identified earlier are examined in ten vernacular houses in Talesh, highlighting the physical and spatial manifestations of transparency in these buildings. Results indicate that transparency operates at various levels within the vernacular architecture of Talesh. Physical–structural transparency is expressed through façade elements such as openings, iwan (porches), gholamgardesh (semi-open corridors), telar (terraces), and niches. Visual–perceptual transparency emerges through windows, sightlines, and spatial continuity. Behavioral–functional transparency is shaped by connected spaces, staircases, and semi-open elements like porches and terraces. Finally, semantic–conceptual transparency, though less prevalent, appears in features such as lattice surfaces and the application of color. Keywords: Transparency, Levels of Manifestation of Transparency, Characteristics and Indicators of Transparency, Vernacular Architecture, Vernacular Housing of Talesh. Introduction Transparency is a multifaceted concept that has been studied across diverse scientific disciplines, with its significance steadily increasing over time. In architecture, transparency is understood as both a spatial and visual quality, extending beyond the physical or tangible aspects of a structure to encompass a rich array of dimensions and meanings. Linguistically, the term denotes clarity, purity, brightness, and visibility. In architectural contexts, it refers to characteristics such as translucency, see-through quality, glassiness, and the capacity to transmit light, permitting visual access beyond a surface. Literally, transparency conveys the physical properties of a material, while in practice it relates to the spatial organization and articulation of architectural form. Throughout different historical periods, transparency in architecture has manifested in varying elements and levels, shaped by the prevailing cultural, environmental, and technological conditions of each era. As transparency has emerged as an important design consideration, it is evident that diverse interpretations and applications of this concept are present in the vernacular architecture of different regions. Gilan Province, located in northern Iran, is geographically divided into two principal zones: mountainous (elevated) regions and lowland plains. Each zone has developed its own distinctive vernacular architectural style. Talesh County, situated within Gilan Province, encompasses the Talesh Mountains, foothills, and plains. This research aims to investigate how various levels and indicators of transparency are expressed in the traditional housing of this region, focusing specifically on vernacular buildings in the plains area of Talesh County. Ten traditional houses were selected as case studies. The study addresses the following key research questions: • What is transparency? • What are the different levels of transparency? • What are the characteristics of Talesh’s vernacular architecture? • How are the various levels of transparency manifested in the traditional housing of Talesh? Understanding transparency in architecture can deepen conceptual comprehension and reveal its functional potential. Examining the indicators and expressions of transparency in vernacular buildings not only identifies fundamental architectural principles but also provides guidance for integrating these principles into contemporary architectural design strategies. Discussion In architectural discourse, transparency refers to a spatial quality arising from the relationship between a space’s interior and exterior surfaces. It mitigates the solidity of these boundaries, fostering a sense of openness. Transparency may be classified into three principal dimensions—visual clarity, perceptual transparency, and conceptual or semantic transparency—each manifesting at different levels. For analytical purposes, these levels can be grouped into four main categories: 1. Physical–Structural Transparency — Evident in spatial geometry, material reduction, the use of transparent surfaces, and the visibility of structural elements and form. 2. Visual–Perceptual Transparency — Designed to establish a clear visual connection between interior and exterior. In Iranian architecture, this is exemplified through elements such as Fakhr-o-Madayyen, orsi windows, shabak (lattices), and rozan (small openings). 3. Behavioral–Functional Transparency — One of the most significant levels, perceived through users’ movement and interaction within the space, and strongly associated with spatial continuity. 4. Semantic–Conceptual Transparency — Derives from cultural and spiritual values, manifested in Iranian architecture through symbolic light, mystical concepts, and Islamic motifs such as eslimi patterns. Vernacular architecture is a direct reflection of the cultural identity, customs, and lifestyle of its region. The traditional houses of Talesh—located in the western part of Gilan Province exemplify this approach. Characteristic features include elongated rectangular plans, sloped roofs, minimal ornamentation, functional layouts, the absence of basements, high porosity in main façades, integration with natural surroundings, aligned dual-sided openings, and the use of locally sourced materials. In this study, transparency levels in ten vernacular houses of Talesh were analyzed according to four criteria: physical–structural (structural perception), visual–perceptual (visual understanding), behavioral–functional (spatial experience), and semantic–conceptual (mental interpretations). Each criterion was subdivided into three indicators, and the presence of these elements was systematically evaluated. Findings highlight the pivotal role of gholamgardesh, iwan (porches), and telar (terraces) in enhancing transparency within Talesh architecture. These elements not only permit greater daylight penetration into interior spaces but also contribute to physical, visual, and spatial perceptions of transparency. Openings, including doors, windows, and niches further increase transparency by revealing additional spatial layers and reducing material mass. Staircases add spatial fluidity and strengthen perceptual continuity. The incorporation of railings and lattice surfaces supports both physical and symbolic transparency, resonating with Islamic artistic traditions. Moreover, the use of color in architectural components enriches symbolic and mystical interpretations, deepening the conceptual understanding of transparency. Conclusion An in-depth understanding of transparency and its associated indicators can serve as an effective strategy for enhancing spatial quality in contemporary building design. These principles and their distinctive features have long been embedded in vernacular architecture. By examining how transparency manifests in traditional residential buildings, architects can derive strategies applicable to modern design practices. In the vernacular housing of Talesh, transparency occupies a central position. The architectural tradition of this region employs various elements to achieve spatial transparency, with telar (terrace), iwan (porch), gholamgardesh (semi-open corridor), and aligned openings playing the most prominent roles. Beyond their practical and functional applications, these components exert the greatest influence at the behavioral–functional level of transparency. Furthermore, open and semi-open spaces at the physical–structural level, coupled with reduced spatial boundaries at the visual–perceptual level, strengthen the experience of openness. Flat openings contribute to both structural and perceptual transparency. Additional features in Talesh vernacular housing, such as niches, rozan (small windows), staircases, color schemes, and perforated surfaces, also enhance transparency in meaningful ways. By suitably adapting and modernizing these principles whether through the integration of contemporary materials and construction techniques or through alterations in form and spatial organization it becomes possible to more effectively meet human needs and substantially improve the quality of modern housing. Transparency, Levels of Manifestation of Transparency, Characteristics and Indicators of Transparency, Vernacular Architecture, Vernacular Housing of Talesh. شفافیت, سطوح تجلی شفافیت, شاخصه‌های شفافیت, معماری بومی, مسکن بومی شهرستان تالش. 159 181 http://athar.richt.ir/browse.php?a_code=A-10-3537-2&slc_lang=fa&sid=2 2025/05/82025/02/232025/06/42025/04/212025/04/172024/12/242025/02/17 1403/11/29 2025/07/52025/06/32025/07/252025/06/282025/06/242025/04/212025/05/26 1404/3/5 Hamed Mohammadi Khoshbin حامد محمدی‌خوش‌بین hm.khoshbin@guilan.ac.ir 0000-0002-5478-2517 Yes استادیار، گروه معماری، دانشکدآ معماری و هنر، دانشگاه گیلان، رشت، ایران (نویسندۀ مسئول). Arezoo Moradi آرزو مرادی Arezoomoradi1996@gmail.com 0009-0003-0470-0610 No کارشناسی ارشد مهندسی معماری، گروه معماری، دانشکدۀ فنی و مهندسی، موسسه آموزش عالی راهبرد شمال، رشت، ایران.

fa تحلیل تحولات تاریخی و محتوایی مجلۀ «اثر» هدف این پژوهش، بررسی تحلیلی سیر تاریخی و تحولات محتوایی مقالات منتشر شده در فصلنامۀ علمی «اثر» بین سال‌های 1393 تا 1403ه‍.ش. است؛ هم‌چنین، این مطالعه به ارزیابی میزان هم‌سویی مقالات با نیازهای روز و اولویت‌های حوزۀ حفاظت و مرمت می‌پردازد. این پژوهش با استفاده از رویکردهای علم‌سنجی، تبارشناسی و تحلیل روند، تعداد 303 مقاله را در بازۀ زمانی موردنظر بررسی کرده است. داده‌های کتاب‌شناختی شامل اطلاعات نویسندگان، موضوعات، روش‌های پژوهش، کلمات کلیدی و شبکه‌های همکاری علمی جمع‌آوری و با استفاده از نرم‌افزار ATLAS.ti تحلیل شده‌اند. یافته‌ها نشان می‌دهد که مجلۀ «اثر» از ثبات نسبی در تعداد و تنوع موضوعی مقالات برخوردار بوده و عمدتاً بر مباحث اجتماعی، تاریخی و معماری تمرکز داشته است. با این‌وجود به بخش‌های اجتماعی و زیست‌محیطی توجه بیشتری شده است؛ از سویی دیگر، موضوعاتی مانند فناوری‌های نوین (مانند دیجیتال‌سازی و مدل‌سازی رایانه‌ای) و ابعاد اقتصادی حوزۀ مرمت کمتر موردتوجه قرار گرفته‌اند. شبکۀ همکاری علمی نشان‌دهندۀ نقش محوری پژوهشگاه میراث‌فرهنگی و گردشگری است، اما تعامل با نهادهای صنعتی و سازمان‌های دولتی هم‌چنان محدود است. این پژوهش نتیجه‌گیری می‌کند که مجلۀ «اثر» جایگاه تثبیت شده‌ای در حوزۀ حفاظت و مرمت دارد؛ اما برای پاسخ‌گویی به نیازهای درحال ظهور و ارتقا جایگاه بین‌المللی خود، لازم است همکاری‌های میان‌رشته‌ای و بین‌المللی را تقویت کرده و به موضوعات کمتر پرداخته شده، به‌ویژه موضوعات فناوری‌های نوین و اقتصاد میراث‌فرهنگی، بیشتر توجه کند. Abstract This study investigates the historical trends, thematic developments, and scholarly collaboration patterns in articles published by the Asar Scientific Journal from 2014 to 2024 (1393–1403 in the Iranian calendar). By analyzing 303 published articles, the research seeks to determine the degree to which the journal’s content aligns with contemporary priorities in heritage conservation and restoration. Using a combined approach of scientometrics and content analysis, data were collected on authorship, institutional affiliations, keywords, methodologies, and collaboration structures, and analyzed using ATLAS.ti software. The findings indicate a relative stability in publication frequency, with a peak in 2022 (42 articles) and a low point in 2016 (22 articles). Thematic analysis shows a predominance of social, historical, and architectural studies, while technological and economic aspects remain underexplored. For context, only one article in the entire decade focused on economics, while technology-related papers rarely engaged with modern digital applications. Geographically, most contributions originate from Iran, particularly Isfahan, Tehran, and East Azerbaijan, although limited international comparisons with Turkey, China, and Russia were also observed. Collaboration networks reveal the central role of the Cultural Heritage and Tourism Research Institute, supported by universities such as Islamic Azad University and Isfahan University of Art. However, engagement with industry and governmental bodies remains limited, highlighting a gap between research and policy. Overall, while Asar demonstrates strong academic visibility, future growth depends on expanding its thematic scope to include economic dimensions, technological innovation, and pressing national challenges such as water scarcity and climate change. Strengthening international collaborations and diversifying methodological approaches could further enhance the journal’s contribution to sustainable heritage conservation and increase its real-world impact. Keywords: Scientometrics, Asar Journal, Historical Heritage Conservation and Restoration, Scientific Collaboration Networks, Emerging Research Trends, Scholarly Genealogy, PESTEL Model. Introduction The Asar Journal, published by the Research Institute of Cultural Heritage and Tourism in Iran, represents one of the most influential academic platforms for the dissemination of knowledge in heritage conservation, restoration, architecture, and related cultural studies. As the first specialized journal in this field established after the Islamic Revolution, and holding a “B” rating from the Ministry of Science alongside an ISC classification, its academic standing is well-established. Since its establishment, the journal has played a critical role in shaping scholarly debates within the national context, while also contributing to broader regional dialogues. Yet, despite its longstanding reputation, there has been limited systematic investigation into how effectively the journal reflects the evolving needs of both academia and society. This is particularly crucial in the face of pressing national and global challenges such as climate change, water scarcity, urban transformation, and the integration of digital technologies into heritage management. This study addresses this research gap by examining the journal’s alignment with these contemporary priorities. In the last decade, the academic publishing landscape in Iran has undergone significant transformation, mirroring global trends. Growing internationalization, the digitalization of research outputs, and the increasing importance of scientometric and genealogical analyses have compelled journals to adapt their editorial policies and thematic orientations. In this regard, evaluating the thematic evolution of  Asar is essential for understanding its responsiveness to emerging scientific, cultural, and social priorities. A genealogical approach, inspired by Foucault, allows for a deeper analysis of the historical processes and intellectual shifts that have shaped the knowledge produced within its pages. The journal’s potential role extends beyond academic discourse; it can serve as a vital bridge between researchers, policymakers, and practitioners in heritage conservation, thereby contributing to sustainable cultural development. The effectiveness of this role, however, depends on its ability to foster diverse collaborations and address practical, real-world problems. The present study, therefore, aims to conduct a comprehensive scientometric and genealogical analysis of  Asar over a ten-year period (2014–2024) to address three main objectives. First, it analyzes the historical trends and content changes to evaluate the journal’s role in knowledge dissemination. Second, it assesses the alignment of published articles with the current needs and priorities of the heritage sector. Third, it examines the degree of theoretical coherence or diversity within the journal’s publications. By applying analytical frameworks, including a PESTEL analysis, the research seeks to identify strengths and weaknesses in the journal’s thematic coverage across political, economic, social, technological, environmental, and legal dimensions. In doing so, the study provides evidence-based insights and strategic recommendations that may guide future editorial strategies and enhance the journal’s impact in both national and international contexts. Discussion This analysis of 303 articles from the Asar journal confirms its established position in Iranian academia while simultaneously revealing critical areas for strategic development. The findings illustrate a significant thematic imbalance, which, when viewed through the PESTEL framework, shows a clear concentration on social, historical, and environmental dimensions. While this focus reflects traditional strengths in humanities research, the pronounced underrepresentation of economic and modern technological topics points to a potential disconnects with key contemporary challenges in heritage management. The scarcity of research on topics like project budgeting or the economic impacts of conservation, alongside the limited engagement with crucial technologies such as digitalization and 3D scanning, suggests that the journal may not be fully equipping its readership to address the practical and financial realities of sustainable heritage development. Methodologically, the predominance of qualitative and case-study approaches is consistent with the nature of heritage studies but also presents a limitation. This homogeneity may restrict the generalizability of findings and inhibit broader comparative analysis. To enhance the robustness of its published research, the journal could benefit from actively encouraging a greater diversity of research designs, particularly the integration of analytical or mixed-methods approaches that can provide more generalizable insights. The analysis of collaboration networks highlights another crucial gap: the disconnect between academic research and its practical application. While the Cultural Heritage and Tourism Research Institute serves as a strong central hub for academic collaboration, the limited engagement with governmental and industrial sectors is a significant weakness. This finding suggests that the valuable knowledge produced within the journal’s pages may not be effectively translated into actionable policies or industry practices. Fostering stronger, formalized partnerships between researchers, policymakers, and industry professionals is therefore essential for bridging this gap and maximizing the real-world impact of the research. Finally, the study reveals that academic output is not produced in a vacuum; publication trends appear to be influenced by the broader socio-political context within Iran. This interconnectedness underscores the journal’s potential to serve as a chronicler of national priorities and challenges. By strategically diversifying its thematic scope, promoting methodological innovation, and fostering cross-sectoral collaborations, the Asar journal can evolve from a respected academic repository into a more dynamic and influential force in shaping the future of sustainable heritage conservation. Conclusion This study concludes that while the “Asar” Scientific Journal has an established position within the field of heritage conservation and restoration in Iran, it possesses significant untapped potential for academic growth and broader impact. The research found that the journal has maintained a relative stability in its publication output over the past decade, with a peak of 42 articles in 2022 and a low of 22 in 2016, and a strong thematic focus on social, historical, and architectural topics. However, there is a clear opportunity to expand its scope by addressing emerging research needs and contemporary national priorities, such as environmental crises and the need for economic sustainability. Specifically, the findings highlight those topics related to modern technologies, such as digitization and computer modeling, along with the economic dimensions of cultural heritage, have received comparatively limited attention. To better address the real needs of the conservation field and contribute meaningfully to sustainable development, future research published in the journal should prioritize these underrepresented areas. Furthermore, the analysis of the scientific collaboration network revealed that while the Cultural Heritage and Tourism Research Institute plays a central role with 17 key collaborations, interaction with industrial entities and governmental organizations remains limited, indicating a gap between academic research and practical application. The research also pointed to a methodological homogeneity, with a majority of studies employing qualitative approaches, suggesting a need for greater diversity through the inclusion of mixed-methods research. To enhance the journal’s scholarly impact and its competitiveness on both national and international fronts, it is essential to foster stronger partnerships with non-academic stakeholders. By strategically creating special issues focused on technological innovation and the economics of cultural heritage, promoting methodological diversity, and bridging the gap between researchers and policymakers, the journal can better serve the academic and professional communities. Such efforts will allow “Asar” to contribute more effectively to the sustainable and resilient conservation of Iran’s invaluable cultural heritage in the face of contemporary challenges. Scientometrics, Asar Journal, Historical Heritage Conservation and Restoration, Scientific Collaboration Networks, Emerging Research Trends, Scholarly Genealogy, PESTEL Model. علم‌سنجی, مجلۀ اثر, حفاظت و مرمت آثار تاریخی, شبکه‌های همکاری علمی, روندهای تحقیقاتی نوظهور. 183 204 http://athar.richt.ir/browse.php?a_code=A-10-3852-1&slc_lang=fa&sid=2 2025/05/82025/02/232025/06/42025/04/212025/04/172024/12/242025/02/172025/03/26 1404/1/6 2025/07/52025/06/32025/07/252025/06/282025/06/242025/04/212025/05/262025/06/11 1404/3/21 Faezeh Esmaeelbeigi Ph.D. Student in Tourism, Department of Tourism, Faculty of Tourism, University of Tehran, Tehran, Iran فائزه اسمعیل‌بیگی f.esmaeelbeigi@ut.ac.ir 0009-0007-7972-9249 No دانشجوی دکتری گردشگری، گروه گردشگری، دانشکدۀ گردشگری، دانشگاه تهران، تهران، ایران Marzieh Nekoolaal Tak Ph.D. Student in Tourism, Department of Tourism, Faculty of Tourism, University of Tehran, Tehran, Iran مرضیه نکولعل‌تک nekoolal@ut.ac.ir 0000-0002-9880-8782 No دانشجوی دکتری گردشگری، گروه گردشگری، دانشکدۀ گردشگری، دانشگاه تهران، تهران، ایران Faezeh Seyed Bagheri Ph.D. Student in Tourism, Department of Tourism, Faculty of Tourism, University of Tehran, Tehran, Iran فائزه سیدباقری seyedbagheri.fa@ut.ac.ir 0009-0000-1108-4949 Yes دانشجوی دکتری گردشگری، گروه گردشگری، دانشکدۀ گردشگری، دانشگاه تهران، تهران، ایران