PAZHOHESH-HA-YE BASTANSHENASI IRAN
Year:2018 | Volume:8 | Issue:17 |Papers Count:12

In the present article, we have discussed the objections of critics raised by post-processualists from processual school and mentioned this point that their alternative, borrowing its basic ideas from the social sciences which have different theoretical nature, caused the present chaotic situation in the theoretical fields of archaeology. In spite of mentioning the problems of positively attitude of Processual Archaeology, it is argued that one by one refusal of this attitude’ s ideas and acceptance of Post-Processual is not good solution. Post-processualist archaeology is seeking to change the archaeological research as a scientific practice to any type of a literature, story-telling with high-level potentiality of individual interpretation that one of its samples is shown at extremist culturalism of phenomenological viewpoint to the landscape archaeology. Archaeologists have access to neither the concepts behind the objects nor the mental values and social structures of the individuals created by them. To set our goals, the precondition is to recognize limitations. According to adopt normative and ideally principles, Post-processualists choose an ideological (anti-realistic) approach to study cultures and due to self-contradictory expression of this meta-induction that all scientific theories are individual and wrong, refuse the science as a reliable foundation for researches. It’ s amazing that their alternative is a severely value-laden approach that is derived from human sciences along with biased interpretations and in this way, they are under an only obligation of contemporaneous ethical principles. The important problem of these notions is that they have no concern about the concept of progress in our knowledge of the past and they have nothing to do with new knowledge. Therefore, in the second part, it has been tried to design a new theoretical background beyond the positively difficulties of the processual approach that guarantees the progress towards the better interpretation of archaeological data. Based on the Popper’ s account of science in philosophy of science, we took a compatible version of sophisticated falsificationism which suggested a new theoretical foundation with cohesive epistemological and methodological territories for Archaeology. According to this account of science, each new theory should be as a challenge for the earlier one by showing its flaws, trying to dismiss it, and at the same time having the ability to reach to its achievements. This new approach with adopting the principles of bold and novel hypotheses and predictions, testable and falsifiable propositions, deductive logics, clearly stated and precise theories and rejecting the ad hoc modifications in them have a high capability of providing an excellent framework for archaeologists. This statement is just practical and compatible with the scientific approach of this discipline and its limitation to the material world. Archaeological finds have some typical specifications like materiality, partiality, and being static. Consequently, the methods of extraction should be matchable to them. Given that the nature of archaeological materials is adaptable to the methodology which has been used later by processualists, but according to the suggested epistemology these methods would be used in a non-positivistic setting, and in the direction of falsifying the new theories. As a result, the schemes of researches can practically be shaped away from post-modern relativism and positivistic absolutism. Furthermore, this standpoint does not assume theories as the eternal laws of absolute single truth as positivistic approach does. Rather by considering the inventory character of the hypotheses against the background knowledge of its time, it attaches the significance of the confirmation broadly to the historical setting of the theories. Therefore, it presents a plural and far more moderate insight of science with a huge concern for the concept of progress in knowledge.

Archaeological surveys at the Northwestern part of the Posht-i Kuh were conducted in the winter of 2016. This area that located in Chavar district, northwestern of Ilam province had been consisted of Valley systems opening onto Mesopotamia. However, the rugged and mountainous landscape of this area is inappropriate for agriculture, but rich pastures and warm climate has proposed this area as a suitable place for the winter camp of contemporaneous nomadic pastoralists. During Fourteen (14) years of archeological studies of The Belgian Archaeological Expedition at this area, many cemeteries belonging to the nomads of Bronze and Iron ages have been identified and excavated. Until recent surveys, we did not know whether this region is a mere habitat for livestock of nomads which are living in the plains around or other aspects has been taken into consideration? Also, we did not aware of history of Pre-Bronze age of this region. One of the most unexpected results of the recent surveys is the identification of the workshop place of Kall-Karim. The majority of dispersed cultural materials at the surface of the Kall-Karim is composed of wastes of production process of potteries. In this site, which is far away from the settlement centers, it has been seen the only baked potteries and no evidences of the production of pottery was discovered. Therefore, the process of shaping and decorating of potteries has been probably carried out elsewhere. Abundant and dense Pieces of wastage potsherds have been accumulated at the northeastern of the site. Pieces of furnace welding showing the activities of cooking minerals can be seen in all parts of Site. Much of the scattered potsherds on the surface of site comprise of the squishy or melted potsherds or potsherds that melted and stuck together as a result of high temperatures of kilns. In many cases, the thickness of the paint layer at the painted potteries is too conventional and as a result of high temperatures, paint of some pottery motifs melted and infiltrated into the ceramic’ s body or stabilization have not been good. Painted motifs in some of ceramics have been drawn incompletely and required thoroughness in drawing of motifs can not be seen. In some cases, the thickness of the paint layer is not uniform and paint layer is thick on the one hand, while the other parts are diluted that has been created diverse colorful ranges. In addition to these findings, part of a clay object and a clay spindle whorl are identified. Also, no evidences of production of such objects was found on the surface. Painted decorations are monochrome and their colors is included black, red, brown, dark brown or olive green. Negative decorations can be seen on many potteries. The most of distinctive painted decorations are geometrical that is composed of pendant loops beneath the rims, diagonal lines, multiple zigzags, ladder motif, dotted circles motifs, interrupted wavy lines, continuous wavy lines between parallel lines, vertical lines, rows of dotes between parallel lines and horizontal lines upon or beneath the rims or above the basses. Only an Animal motif is used on one sherd. Typological and stylistics studies and also comparisons with the discovered potteries assemblages of surrounding areas is shown that Kall-Karim has settled before the Bronze age. The deposits of this Site belong to Ubaid 2-3 Period and therefore, Kall-Karim has been acted within the framework of the Mesopotamian cultures. The frequency and ease of access to fuel needed for Pottery kilns is one of the main factors in the formation of Kall-Karim in this area being far from the settlement centers. In this situation, environmental pollutions that is come from the activity of the kilns have been away from settlements too.

In this Article, the prehistoric ceramics obtained from two seasons of excavation at Tepe Sanjar of Khuzestan are studied to gain a deeper understanding of a mechanism of intercommunication. Two aims of This research are to determine the manner of communication between this site with the important and contemporaneous settlements such as Chogha Mish, Jafarabad, Bandebal and Susa in the Susiana plain firstly, and secondly is to identify this connection between these neighbouring regions in a broader landscape that these areas such as Deh Luran, Bakhtiari Mountain, Fars and Central Zagros are geographically connected to this plain. The period of time that is shown by the ceramics occurred among the middle of the fifth millennium until the early fourth millennium B. C. These ages are known for the periods of development and changing patterns of communication of Susiana inhabitants from the lowlands of Mesopotamia towards the Iranian highland plateau. In regional comparison, it was clear that the painted ceramics of late middle Susiana phase have no earlier traces in older phases of Susiana plain, and from the beginning of this phase, they can be seen in all three sites compared with Senjar ceramics widely and steadily. In the Trans-Regional scale, it was proven that the paints on this phase’ s pottery were also seen in the older phases of Deh Luran such as Khazine and Mehme, so they probably penetrated from this region into the Susiana plain, Fars, Bakhtiari Mountains and South areas of Central Zagros. In Late Susiana 1 phase, Bandebal is the only site in the Susiana plain that had pottery findings comparable to the pottery of Tepe Senjar at this age. In Trans-Regional comparisons, it was illustrated that the distribution of potteries of Late Susiana1 phase are more than the previous phase; thus, in Gap phase of Fars, Farokh phase of Deh Luran, Godin IX phase of Central Zagros, and Middle phase of Middle chalcolithic period of Bakhtiari Mountains show the similar cases with the potteries of Late Susiana 1 pottery and so, this study is aiming to establish a pattern of potteries in trans-regional terms. Having scarce similarities with the Susiana plain in Late middle Susiana phase, the northern and western parts of Central Zagros has revealed more connections in this phase. In the phase of Late Susiana 2 in all of four areas, there were more resemblances in the paints and shapes of pottery with Susiana plain. In this period, these interregional interactions have two aspects: this process between Susiana and Deh Luran and Bakhtiari Mountain is decreased and this connection between Susiana and Central Zagros and Fars is increased. Also, the elements of local traditions can be seen in the phase of Terminal Susa A. The Pottery styles in layers 23 and 24 at Acropole area of Susa represented a close relation with Sanjar pottery in terms of texture and shape of their wares. In this aspect, the period of Lapui in the region of Fars had the most relationships with Sanjar potteries, especially according to their shapes. In the area of Deh Luran and Zagros, potteries with the temper of grit and flora are different than the Sanjar potteries that are dissimilar in their textures and compounds; althought there are more similarities between these potteries and Sanjar potteries. The regional comparisons of potteries findings of Tepe Sanjar with the other regions of Susiana plain during the Late middle Susiana to terminal Susa A Period show many similarities and equalities between their cultures that in four phases were investigated. In the interregional scales, the four regions that are Fars, Bakhtiari Highlands, Central Zagros and Deh luran are compared; hence, Fars in every one of their sub-phases including Bakun B2, Gap, Bakun A and Lapoui showed the most cultural interactions with Sanjar potteries, and this matter indicates that the late prehistoric periods of this region had a fundamental role in creating a complicated network of cultural, economic and political relationships with Susiana plain.

Many years have passed from the first excavations on the northern coasts of Persian Gulf, and according to the conducted studies in this regard, major problems still exist in the chronology and identifying settlement periods. Besides, there is no clear description about the social, economic, political or religious life of prehistoric societies. Most of the archeological studies in this region were focused on the historical and Islamic cultural periods. Few prehistoric sites have been identified and studied in the Boushehr province and in general, the northern coast of the Persian Gulf archaeologically; in this regard, most of researches is related to the Elamite period and after that, the historical and Islamic periods. The area of Chahar Rustai located in the Genaveh county is one of the few prehistoric sites were identified and studied in this region. The first season of archeological excavations in this site was conducted in the June of 2013 to determine the stratigraphy and delimiting and its results shows that the site of Chahar Roustaei is a seasonal and temporary settlement dating back to the fifth millennium BC, so is compared with the middle Bakun culture in this part of the northern coast of the Persian Gulf. The site is located on 2 km northwest of the village with the same name, beside the tomb of Imamzadeh Amir-Almomenin, on the district of Hayat Davood, Gonaveh County. The geographical coordinates of the area are N. 29° 33’ 12. 3” and E. 50° 45’ 44. 5” and it covers an area of seven hectares. The site is precisely is located on the ridges of very hard and dense sands. The mean sea level on its highest point reaches to 30 meters, the majority of the site is leveled by farmers and is utilized as farm lands. The southern part of the site is covered by trees, locally known as Kur, recently planted by the ministry of Agriculture of Iran. The local access to dirt road exactly passes through the middle of the site and another road passes from its northern side and the mentioned tomb is on the right. According to the conducted excavations on this site as well as the distribution of pottery on its surface, Chahar Rustai is a seasonal and temporary settlement during the fifth millennium BC and probably is belonged to people immigrated from the cultural sphere of Fars to this region. Also, Chahar Rustai was excavated in order to obtain a more precise understanding about the prehistoric cultures existed on the northern coast of the Persian Gulf. Discovering the painted buff ware and comparing them with the ceramics of Tall-e Gap, Tall-e Bakun, Tol-e Bashi in the Kur river basin, Tall-e Nokhodi, Tall-e Rahman in the sivand river basin, Tall-e Nurabad in the Nurabad zone, Tall-e Mehr-ali in Iqlid and Tall-e Mashkarim in the district of Semirom show that Chahar-Rustai is one of the southern settlements of the culture which had been influenced by the dominating Bakun culture during the fifth millennium B. C. . Their ceramics clearly indicate that Chahar-Rustai settled during the middle Bakun period or the Gap period which can be dated between 4800 to 4500 B. C. During this excavation and throughout the detailed survey on their surrounding, no ceramic related to the more ancient or more recent period than middle Bakun was recovered. Given the its general characteristics and the distribution of ceramics, Chahar-Rustai site can be considered as a site settled by the nomads who were seasonal habitant of the area during the fifth millennium B. C. Furthermore, the marine products which were also discovered in other Bakun sites can definitely show a wide range of interactions among the coastal settlements including Chahar Rustai. Obviously, for gaining more accurate understanding about the prehistoric settlements and specially Bakun period, more comprehensive studies and surveys are required.

Historical, cultural, and archaeological sites reveal manifestations of the ancient man’ s interactions with the surrounding world from ancient ages until the present. Among the most important sets of archaeological data with the highest information about the spiritual aspects of our ancestor’ s cultures, there are cemeteries and related remains of the burial rituals. an important portion of these remains pertaining to these cultural and ritual heritage are metal objects dated back to the Iron Age. As the ornamental metal objects integrated to the life and rituals of ancient man, these objects were buried alongside the dead bodies; hence, the grave and the grave findings can be considered as a live image of life’ s special moments of past societies. Throughout the vicissitudes of the history of Iranian plateau, Central Zagros, especially Lorestan, has played an important role in the development of metallurgy technology. The “ Western Chia-Sabz” cemetery located in the western plains of “ Pish-Kuh” , i. e. the present Lorestan province, is one of these important ancient sites referring to the Iron Age. This area is more than 3 acres, and is gained access through the dirt road of Ramavand from the north and faces Vyzenhar heights, and the Neolithic site of East ChiaSabz is located on its east side. The southern and western sides of the area border the steep slopes of the valley through which Seimare is flowing. The site has recently (in 2010) been explored and three bronze pins were found through the excavations. The pins are somehow the most interesting and also the most diverse artifacts made by the ancient residents of Lorestan region, among them, bar pins have the highest diversity. Based on the conducted historical and comparative investigations, the pins are classified in the category of “ bar pins” and their relative manufacturing date is determined between the Middle Bronze Age and Early Iron Age in the central Zagros area. Despite the particular historical importance of the ancient metal objects discovered in Lorestan, since the “ Western ChiaSabz” cemetery has just recently been discovered and explored, no independent specific structural and technological study on these metal objects via laboratory methods has been reported yet. The present study aims to introduce, describe, and present a comparative analysis of the pins founding in the “ Western ChiaSabz” cemetery. The pins were investigated technologically through the instrumental methods using SEM-EDS, AAS, radiography and metallography; Also, microscopic and macroscopic studies were conducted and their alloy type, chemical composition, and their manufacturing technique were determined. According to the results of the semi-quantitative chemical analysis, the composition used in the construction of two of the pins was a two-component copper-tin alloy, and the other one was made of copper. It was found that the two bronze pins are produced by Cu– Sn or tin bronze alloy with a variable tin content and some metallic impurities. Their inclusions are composed of copper sulfide which represents the use of the sulfide ore to make these objects. The variation of the Sn content indicates that the bronze alloy has not been made by a controlled alloying process. The varying bronze composition might have originated due to one of following processes of bronze production: (1) co-smelting copper and tin ores in crucible to produce a bronze alloy; (2) alloying by adding a variable amount of cassiterite (SnO2) to the metallic copper and melting in crucible (cementation of metallic copper with cassiterite); (3) using a complex Sn-bearing copper ore. Finally, with regard to the results of the X-rays and microstructural metallographic analysis, it seems that these pins have been made through a continuant thermal / mechanical (hammering and annealing) process.

Seleucids who gained power in the eastern conquered territories of Alexander’ s empire, after his death, needed trustworthy agents to rely on in this widespread territory especially in case of emergency. To do so, the kings of this dynasty built or rebuilt many cities all around these conquered territories including Iran, Mesopotamia and Syria. Theis made big changes such as societal, political, cultural and economic structures of their dwellers. These cities were built in accord with Greek culture and the presence of Greek and Macedonian merchants and army made a significance difference with that of the previous cities. The purpose of this research is to shed lights on the Seleucid policies regarding the conquered territories and the influencing factors on them. This research also aims to find out whether this method affected the economic, political and even the spread of Hellenism culture? Did the Seleucid kings facilitate the migration of Greek and Macedonians by providing such amenities? Did they try to influence on the economy, policy and spread of the Hellenism? By considering these policies, one can understand that by building new cities their residents would be under the influence of Selucid government. This research was done based on library work and resource texts, historical resources and the other researches that had been done prior to this. The information has been analyzed based on scientific and argumentation methods. Therefore, Hellenism and its prevalence were the most important and major factor in the construction of these cities. The presence of the Macedonians and Greeks with the many tribes who emerged in this territory validated the centers of Hellenism and changed the way of life in these cities. These cities, with the prevalence of the culture of Hellenism, were expanding day by day and later provided a boom to their economic prosperity. The presence of merchants and Greek and Macedonian troops also has contributed to the creation of cities that had major disparities with past towns. These cities were considered important economic and cultural bases for this dynasty, and their rulers had realized the importance of these populous and lucrative cities, and these cities were structurally Greek. Since then, with the expansion of these cities, the goals of the Macedonians in changing the culture of the people through urban life have been pursued, which in fact was part of a general policy of domination and permanent presence in these lands, the most important of these goals Was the expansion of Hellenism. Therefore, the most important action of the Selucians could be the development of urbanization, and this was Alexander Macedonian policy that continued during the Selucians. All the cities of Selucid have the same shape in the form of a square or rectangular square shape, including a grid of streets and buildings. Around the main streets of these cities there were administrative buildings, temples, palaces, markets, squares, theaters, baths and so on. The findings of this research show that by building new cities in their conquered territories, Selucids tried to gain economic, political and societal dominance along with spreading Hellenism, however in the long run they could not achieve their goal except in some cases. It can be firmly asserted that the conclusion was not that much successful for them. The people who lived in those cities could never forget their traditions and ancestral identities and after some years those traditions were revived again. Alexander and his successors, in the end, did not leave their intended trail and just some small amount of their historical remnants remained.

The Ware are considered as the best cultural criteria in identifying and recognizing families and communities, due to different reasons such as being productive and importing and their application in business goods transportation, and are of great importance in studying various parts of a regional culture on the one hand, and other regional cultures on the other hand; The Clinky ware is a type of local and common creativity and innovation of Parthians in the western part of Iran, which emerged in the middle ages (from about 150 B. C. to the late of first century A. D. ) and was extended to the other regions during later Years. In this study, according to the 200 Clinky ware pieces obtained from 36 Parthian areas, 36 earthenware pieces were selected, which had desirable conditions in order to perform given experiments with appropriate distribution range in the Central Zagros cultural domain (Kermanshah, Ilam, Lorestan, Hamedan, Kurdestan and Zanjan). Since the data contains information about the given piece and could not be solely considered as a perfect archeological evidence. Hence in this study, it has been attempted to provide scientific answers regarding the source and structure of these Potteties by carrying out different field, experimental and component parting analyses of these wares (using FT-IR, XRF, XRD, EDX methods) in order to obtain new information and interpretable evidences, and also to answer archaeological questions and theories of the Parthian Period. According to the proper distribution area of current data and the extent of research, the same similarity was observed in terms of elements and components based on the four experimental FT-IR, XRD, EDX, XRF methods. The accuracy of above tests was verified based on the multiple experiments and their comparison with each other and the observation of similar results. Concerning the mineralogy experiments, it can be concluded that the origin of the soil used in the making of studied earthenwares is the oxidization and the erosion of volcanic and transformed stones in Sanandaj-Sirjan region which extends from the north to the south. The profound amount of Muscovite in Schist and Granite and also the production of the main elements of quartz and Ilite originates from volcanic and the active magmatism of this region. Also, the existence of active magmatism in over thrust Zagros (Ilam and Kermanshah) which is located at the meeting point of Zagros zone and Sanandaj-Sirjan and includes under water volcanic activities during the Mesozoic era along with Ophiolites of Neiriz and Kermanshah, shows a strong volcanic activity and transformation that has the potentials of forming elements obtained from these analyses. Therefore, the soil of this region is similar to the soil observed in Sanandaj-Sirjan zone. In this regard, the presence of Talc can result from both the contact of penetrable igneous masses with Dolomite present in Zagros and contact metamorphism of penetrable igneous rocks in Zagros and Sanandaj-Sirjan. However, with respect to the great amount of penetrable igneous rocks and metamorphism in the studied region and the evaluation of clay elements, the biggest part of the soil used in Clinky wares is from Sanandaj-Sirjan zone. Based on all experiments, we could conclude that the technology of producing Clinky wares is similar in the region and the slight difference is due to the furnace conditions and raw materials. There is no phase difference between gray layer and earthenware surface that implicates on the smoothness of the applied paste in earthenware. Cooking temperature of earthenwares was appropriate and is predicted to be more than about 900° C in the environment. The soil used in making earthenwares was desirable and included Kaolinite clay with iron impurities along with other soil Encklozins including mica and calcite. Overall, what is understood from these diagrams is an indicator of rich textures of Clinky ware silica with some carbonate which categorizes this typical earthenware in cilica clay group.

Č ahā rṭ ā q is one of the common patterns of religious architecture in Sasanian period. In the Pahlavi books, this type of architecture is refered to as dome (gunbad). This form is either free standing or the core of a more complex building. The chronology and function of the Č ahā rṭ ā qs are still matter of debate by scholares. Our understanding of the formation and development of the Č ahā rṭ ā qs in the Sasanian period and its continuation during the early Islamic centuries is still very scanty. In addition, there is no solid evidence to explain the nature of ritual ceremonies conducted within the Č ahā rṭ ā qs and the rank of the fire (Vahrā m, Adarā n, Dā dgā h) venerated therein. The study and investigation of Č ahā rṭ ā qs structure play an important role in recognizing the architectural and religious traditions of the Sasanian epoch. The study of architectural structures of fire temples alongside the historical sources can lead to know of behavioral patterns in these structures. Recent scholarship has shown that fire temples were always closed buildings and these structures were in the form of complex, and the Č ahā rṭ ā q were surrounded by corridors, walls or rooms. In the central regions of Iran-known as Iran Miā nak, which is considered to be one of the seven kusts of Iranshahr-, many fire temples have been identified in Qom, Kashan, Natanz and Na’ in. They include Nevis, Atashkouh, Niā sar, Khorram Dasht, Vigol, Natanz, Nakhlak, Shirkouh and Qaleh dā r. These cultic places have been established at the outskirst of Dasht-e Kavir. The establishment of these fire temples is an indication of the significance and spread of Zoroastrian religion in this area during the Sasanian period. Their architectural structure is a combination of simple buildings to large architectural complexes. These fire temples, built in different geographic locations, have diverse architectural structures and plans. While they have their own independent identity, they share common patterns. Niasar Č ahā rṭ ā q is one of the most important fire temples of the Sasanian period in Kashan’ s cultural sphere which, despite its reputation, has not thus far been well studied. This fire temple stands on the summit of the Karkas Mountain overlooking the present-day town of Niasar. On the ground of the literary evidence, it seems that this Chahar Taq was a fire temple founded by Ardashir Babakan. Some scholars have attempted to stylistically classify and describe this type of Sasanian religious architecture over the course of the last century. An effort has also been made to offer various interpretations regarding the function of Chahar Taqs. The surface architectural evidence suggests that the Niasar Chahar Taq might have been part of a much larger architectural complex whose remains can clearly be discerned at the present time. Thus, one can refute A. Godard’ s theory that the freestanding Chahar Taqs served as a “ single station” . The present paper aims to provide detailed descriptions of the architectural characteristics of the Niasar fire temple and its adjacent architectural remains. The paper will also attempt to analyze and discuss the date and function of the Niasar fire temple on the basis of literary texts and architectural comparative studies in particular with The Chahar Taqs in the neighboring regions. It seems that the Niasar Chahr Taq served as a local fire temple given its geographical setting, the architectural structure of the Chahar Taq, and the population texture of Niasar. Furthermore, the presence of the architectural structures adjacent to the Chahar Taq confirms the idea, previously advanced by D. Huff and L. Vanden Berge that the Sasanain Chahar Taqs were originally enclosed rather than open. This paper also seeks to provide a deeper contribution to our understanding of the nature and significance of the Niasar fire temple.

There are some remains of a stone-masonry building lying buried beneath the modern village of Sarmā j-e Hosseinkhā ni, located in the southern vicinity of Bisotun, in Kermanshah Province of Iran. Aerial photographic investigations, topographic survey, and the detailed examination of the remaining parts of the building indicate that the building is almost square in plan, with dimensions of about 288 m × 295. 50 m. It is fortified with four square bastions at the corners. This monument sits on the summit of a natural hill that stands almost 20 m higher than the surrounding terrain. The monument was once surrounded by a rather deep and very wide moat, which filled with water supplied by a nearby stream running along the northern side of the monument. The construction technique of the walls is in a manner that the smooth-sided ashlars were set one beside another on the exterior of the walls. These stones were used in their unchanged, ‘ natural’ shape which was that of a large coarsely undressed, large-sized ashlar. Almost all of these stones were laid in vertical position with chips between the joints. The core of the walls was filled with smaller rubble stones embedded in generous quantities of gypsum mortar. Here, a row would initially be laid down, and the top of the wall would then be finished with a rough layer of mortar, in order to make it smooth and level. After this had dried sufficiently, it became the base for the construction of the second course. This second course would be set on top of the first course in the same manner as the previous, and so on, continuing until the final row. As Luschey and Trü mpelmann have documented, there existed, until fairly recently, remains of a wall on the summit of the mound. The wall was part of a much larger architectural complex which is now buried beneath the modern village. The remaining wall consisted of four courses built with cut-stone block masonry. The stones were of different sizes and dressed with utmost precision. Historical and archaeological evidence indicates that the Sarmā j monument was constructed in the late Sasanian period, most likely at the reign of Khosrow II (590-628 C. E), and could be identified with “ Dukkā n” , where the Sasanian King of Kings, Khosow II Parviz, hosted the world’ s kings including the king of China, the Roman emperor, the Tü rk Khā ghā n and Dā hir (identified with a king of India). Primary textual sources explicitly suggest that the site of Sarā mj was also a stronghold built by the Kurdish ruler Ḥ asanwayh (Ḥ asanū ya) Barzekā nī (d. 369/980). Sarmā j was the center of the Ḥ asanuyid principality that has played important political, social, and cultural roles in the late 10th and early 11th centuries. Muslim geographers and historians report the legendary fabulous wealth and treasures of Ḥ asanwayh dynasty held in the stronghold of Sarā mj. This material wealth was one of the motivations that provoked Buyid rulers to lunch military campaigns against Sarā mj. Upon the death of Badr ibn Taher (439 AH), the last ruler of Ḥ asanwayh dynasty, the castle of Sarā mj was conquered by Ibrahim Yanal, the brother of Ṭ oḡ rel Beg Saljok, the first sultan of Saljuq. The Numerous monumental inscriptions in engraved Kufic found in the site, one of which bears the date 370 or 390 AH. The Quranic verses on the inscriptions indicate that they may have once embellished a religious building, i. e., a mosque or most likely a mausoleum. If the latter identification proves valid, it is reasonable to assume that the inscriptions under discussion belong to the mausoleum of Ḥ asanwayh, the Kurdish ruler who died in Sarmā j in 369 AH. It is likely that the mausoleum was built at the order of Badr, the son of Ḥ asanwayh, in 370 AHS.

The Study of settlement patterns in any time period in a region, Due to the natural and cultural features of that area, it requires its own special methods. A combination of factors plays a significant role in creating settlements contexts at any given time. Over the past recent years, a lot of attention has been paid to understanding and evaluating the complex processes between humans and the environment in the field of archaeological studies. This approach to archaeology makes it possible to adapt habitats with the existing environmental situations in addition to recognizing the impact of the environment on the creation of each habitat. One of these approaches in the study of archaeology is the study of the settlement pattern and the analysis of the habitats which examines the formation of ancient sites in environmental settings. Sarayan is a city located in the Lout and Central desert in the province of Southern Khorasan; it’ s 160 Km apart from Birjand, the center of the province, and is located in a plain in the margin of the desert in the west-southern slopes of Zabari mountain known as Shotoran. No studies have been done so far to investigate the settlement pattern and the interactional effects of humans and the environment during the Islamic periods in the southern plain of Sarayan; the present study aims to fill this gap by addressing this issue. On the basis of goals, the present research is a fundamental research and in terms of its nature and method is a historical and descriptive-analytical type, according to which the written information is gathered from reliable sources and even first hand, and then archaeological evidence and its related elements are provided by the results of field studies and archaeological excavations. Use of geographic information system, the monitoring of cultural data is statistically based on its field analysis and “ main component analysis” of the methods used which in this research to find the settlement patterns of identifying the priority and the main component for locating the developments. The authors are trying to use theories and views Proposed in this context and using new geographic tools Such as GIS or Geographic Information System, a cultural and biological landscape single-period enclosures of the southern plain Sarayan during the Islamic Middle Ages Be evident. GIS analysis of identified sites in the Middle Islamic period (5-9th century) as well as environmental analysis in order to know the knowledge and skills of the past people Sarayan the use of environmental resources as well as the impact of environmental resources on the distribution of Islamic sites is one of the other objectives of the present study, which it seeks to achieve. What are the effective factors in the formation of a settlement pattern in the southern plains of Saroyan? The most important factors in the formation of the Islamic era settlements in the south plain of Saroyan are the environmental factors such as proximity to water, elevation, soil fertility, vegetation and access to roads. The results are based on archaeological studies and the study of cultural data in this Research shows that the distribution of all the settlements of the Islamic Middle Ages in the single-period enclosures of the southern plain Sarayan. They are centrally located and close to each other and follow the pattern of clustering and clustering, and they follow only the margins of the grove. Due to limited environmental resources in the southern plains of Sarayan and rivers, due to access to water resources, the output of GIS maps clearly illustrates this.

In this article, understanding of Iranian architecture can be considered as art and mathematics, but unfortunately less to study architecture, the mathematical components of these elements have been analyzed in terms of art. Karbandy or Ribbed Vault consisting of curves with arches geometric rules specified under the original cover intersect and appear to pose is a covering structure. Another definition of Karbandy is a simple circular motion from the rafters in the form of a circle. In the 3rd century A. H., the Mosque of Shiraz (262 A. H. ) in case we find that although the Karbandy no more corners of interpretation (which is to give the dome on it there) but its form, like complete “ Karbandy” , and in fact, an introduction to the beginning Karbandy. Also, we can see a full example of Karbandy in dome of Nain Mosque in the 4rd century as well as an example of “ Barber” and create of the main cover. Karbandy cases is named as Karbandy in bedchamber of the eastern dome of Nizam al-Mulk Mosque in the fifth century, after that in the 6rd century it is easily seen under the dome of the “ Chehel Dokhtaran” building and dome of Sheikh Junaid at the Turan Posht village of Yazd. From the 7rd century hitherto now, Karbandy gradually was used in conjunction with the creation of architectural space as independent of sturcture. Unfortunately, the oldest written document about Karbandy being a draw on the scrolls belonged to the architecture texts of Akbar Mirza Qajar. The use of mathematics as an international language and understandable for everyone is the best way to reach a common cognition of the Karbandy. The studies show that regarding to the perfectly grammatical and legal nature of Karbandy, the mathematics can provide a complete base for reading it. This research can be considered as an objective and applied research that is done on studying the data collections gathered from written methods in the books, library-based manner and reviewing the cases that had not been registered. The research method is a descriptive, analytical and logical reasoning. Regarding to the several parameters of Karbandy, they can be separated into its components that a mathematical model was presented for each factor. After reviewing the material presented in the analysis, they show a mathematical model of simple Karbandy examined there and it was found that their formula replaces all types. This research shows that four factors is contributed to the formulate and model Karbandys. Their factors include N (sides Karbandy), D (distance connection), θ (vertical or non-vertical) and background factors (C1, C2, . . ., Cm). There are other factors but these four factors are important that can help formulating and mathematical modeling th all of Simple Karbandys. Generally, we have two main methods for drawing Karbandy listed below: The Method of Pirnia and Manner of Sherbaf. In the method of Pirnia is shown that for drawing the circle, first, the circle should be divided, then it is splitted in connecting points, and finally it should be done on the the field. In the manner of Sherbaf, it is performed by drawing it on the access point. Therefore, on the base of every drawing, Karbandy is different and varied. Numerous examples of outlining the methods provided in the nodes and Karbandy to follow the outline of the presentation will be avoided in this abstract.

Nishapur is one of the great important artistic centers of the Islamic world in Iran located in the western part of the Khorasan province. The City was built in the Sasanian era and its name is taken from New Shapur. Nishapur be came Tahirid capital in th 9th century A. D. and flourished throught the 10th century in the Samanian period. In Saljuk dynasty, it kepts importance too. Our information about early Islamic Art in Iran are coming through the excavations of the Metropolitan Museum of Art in this city. The excavation by Walter Hauser, Josef Optun and Charles Wilkinson begun from year 1935 and couducted until year 1940. A final season of its excavation has been down in year of 1947. The results of excavations of the Metropolitan Museum of Art in Nishapur Site have came out in a book with title of “ Nishapur: some early Islamic buildings and their Decorations” that was published by Charles Wilkinson. In fact, widespread part of the Art Iran in the early Islamic ages was appeared by the excavations of the Metropolitan Museum in Nishapur. One of these Reasons being important are relics that discovered from there. Some of these relics of buildings assemblages is remained from the early Islamic period contain the vast ornaments, especially Stucoo and Wall Painting. Some of this stucco and wall paintings have had trace of Sasanian styles and motifs. Thus, it can truly be seen in them a developed and continued Sasanian artificially styles and flourishing them in the Islamic period. The Sasanian period is one of the gold ages in the Iranian culture and Art. However, with the formation of Islam, the dynasty Sasanian fell politically down, but the impact of their culture is remained until the later centuries. Looking a lot of Art works including the metalworks, potteries and architectural ornaments such as stucco, wall painting and so on that is dated back to the early Islamic centuries, we can find out that How it has borrowed from works of Sasanian. The aims of this present paper are the introduction of all ornaments used in the buildings of early Islamic Nishapur firstly, then to compare them with the comparable Sasanian cases and finally to specify the effect of Sasanian Art in the formation of artworks. But the question is to express whether Islamic artistst to create these motifs was influenced to imitate the motifs of Sasanian dynasty or they have a creativity in addition to their ancesstor’ s methods? In this survey that are done on the four separated part (Sabz Pushan tepe, Madraseh tepe, Takestan tepe and Kanat tepe), we will be introducing the ornament and ornamental motifs of four mounds of Ancient Nishapur. In every part, first we study methods and motifs of their ornaments, then the motifs will be compared with the Sasanian artworks and at the end of discourse about every mound, it will be provided a comparable table of motifs of both Sasanian and Islamic Period todetermine the influences of Sasanian cases on the Islamic’ s artworks. This study is based on description, analysis and comparison of data. The results of this investigation indicate that the motifs used in the ornaments of the early Islamic in Nishapur are influenced of their antecedents of Sasanian age. These impacts can be seen in the Three classes of motifs. The three classes are consisting of human, plant and animal motifs but as we told about these ancient traces, it was created new motifs under the influence of Islamic culture, too. Of these motifs, it can be pointed to Kufi inscriptions, as a new method of ornaments, geometrical motifs, plant motifs and some of symbols such as Solomons Seal or David Star.