نشریه مطالعات اسناد میراث فرهنگی
سال دوم شماره 1 (پیاپی 2، بهار و تابستان 1396)

One of the existing monuments belonging to the Ilkhanid period is Chelebi Oghlu’s Khanqah located at hundred meters away from the city of Sultaniyeh. Although this monument has been attributed to Celebi Oghlu, one of Mowlana’s descendants, but based on historical and architectural documents this structure should belong to a Sufi and influential statesman known as “Borāq Bābā”. As the historical documents prove a chronological issue between the construction tomb and Khanqah, one can reach to the conclusion that the said Khanqah was contemporaneously built with city of Sultaniyeh (704 H.) by Oljeitu’s order (reign: 703- 716 H.) and the Tomb was constructed close to Khanqah in 707 H. In addition, according to the inscription (probably installed on the structure at 733 H.) Khanqah was at least once renovated and reconstructed by Shams al-Din Mohammad Qazvin’s order, the founder of Shamsiyeh Khanqah in Qazvin. As the brickworks and the Tomb show, half of the construction is full of architectural ornaments and the other half enjoys none. This fact implies that the builders impetuously finished the project while such imbalance can not be seen in construction of Khanqah. This can be another fact proving that the tomb was built after Khanqah. The Complex of Chelebi Oghlu’s (Borāq Bābā) Khanqah and Tomb is comparable with Sheikh Abdol Samad’s Complex in Natanz and Imamzadeh Ja’far in Isfahan. This research employs historical method. In addition, the inscription installed in the Tomb-Khanqah attributed to Chelebi Oghlu has been read and its important contents which has been compared with a similar inscription in Shamsiyeh Khanqah confirm the main results of the research in which the Khanqah can be attributed to Borāq Bābā.

Undoubtedly, one of the most important reasons for the creation of a writing, it was sloving the problems of the trading. Ancient layers of the fourth millennium B.C in Susa good way for the formative and the development of trade, it has in itself from objects that known counting until introduction of scroll and inscription, and show that how to creat writing and inscriptions the language trading and development of it.Since from new reaserch in the Acropol mound that lead by Allen Lobren (1969), this provides the possibility for reaserchers to pursue the evolution and development from numerical signs method to obtain evolution writing style name at proto- Elamite from coherent stratigraphic. The process that looks to start from 18 layer of Acropol and leading to creation of first scrolls namely tablets of Proto- Elamite in the 16 layer. This paper trying to illustrate this process and step by step movement on the way of catching up to writing, have studied layers and ancient materials related, and explain taken developments in each section. in the end, shows that how at this point of time, in this section of Iran formed one of the first trading systems and development of it to the writing of ancient world, same time but completely different from samples of Mesopotamian.

The relationship between literature, art, and operational objects and in this way with the users is the subject that in some crafts like pottery which are so operational could be seen. These objects, as a documentary without any distortion could transfer the science, culture, and historical information. They are also recognized as examples of written and lingual heritage. The pottery of 6 and 7 centuries A.H. especially the luster wares have some motifs derived from the literature of that time, for example the story of »Leila and Majnoun «,and »Bahram gour and Azadeh «,and pottery›s inscriptions, so it›s important to study them in the aspect of art and literature. The Persian poetries that were written on these potteries included Quatrain, Ode, etc. They were written with different kinds of lines and subjects like epic, social, critical, romantic, mandatory and mystical. These poetries were written by famous or anonymous poets of that time and drew by potters. The literature was progressed during that time and the outbreak of Sufism in society and the mass production pottery with Persian poetry was popular, therefore these inscriptions are available as intact documents that had no alteration of written manuscripts, so they can be used for understanding the nature of language of that time. This descriptive research with this hypothesis and by following the meaning and the value of aesthetics of inscriptions with different subjects in static society of pottery with inscription is analyzing the literary features and changes in those centuries. Finally it finds the different aspects and changes in different kinds of literature, literary approaches, and literary changes in method and taste.

Including the Persian art that the communication function inseparable, with a Persian inscription culture, is calligraphy. Inscriptions and calligraphy , the arts, and especially the ways that to arrangement of pottery, in islamic periods, was applied. The Seljuk period, provided context to the art industry artists could with Inscriptions to advance their art. Art pottery, the art in this period, reached its zenith. Mina›i pottery(A type of pottery belonging to the Seljuk period) is one of the species of is due to the enormous costs of making it, in terms of social status, class and the wealthy privileged of the period and paintings, miniatures, compared with the manuscript the same period. One of the most used in the decoration of pottery, inscriptions with the black line on the edge of the designs. Now this question can be asked: Is inscriptions on pottery, dishes ownership can be attributed to a particular class in society Seljuk? Pottery study and application of inscriptions on them, the evidence on the widespread use of this Pottery, in the other classes Seljuk periods. In this type of pottery, paintings special importance and that this points, the balance among the manuscripts of the few that has been ascribed to the sixth and seventh century AD. This research has been conducted on field and collection library resources. The present study is considering study and reading inscriptions on Mina›i pottery in(Bonyad Museums Institute) Dafineh museum, the themes used in the inscription to say in relation to the cultural, social and political period.

Coins are one of the important evidences in archeology; because they are intacter than the other archeological findings such as textile, wood and parchment. With study of the coins, we realize the important subjects of art, religion, social status, culture, languages and scripts; and they will probably be able to resolve some of ambiguities of history.Parthian coins have the great importance because they show the true picture of the Parthian rulers. In the study of coin designs, should be considered special features such as hat or crown, necklace, beard, hair and wart on the forehead. In this article, I survey the moles or warts on the face of rulers in some Parthian coins.

Shapur I (242-273 AD) is the second Sasanian king and son of Ardashir I who is the founder of the Sasanian Dynasty. Although, during his reign, there existed a strong system of governance, military marshals and landowner princes (Zamindar Wispuhrs) who seem to date back to the Arsacid organization which ancestrally survived in the Sasanian period, he proved himself as a strong and determined person. He not only succeeded to safeguard the Sasanian identity against the authoritarian Zoroastrian clergymen in all governmental and non-governmental organizations both in rural and urban areas but also he could protect the country against the foreign enemies. There survived a large number of inscriptions and reliefs belonging to Shapur I especially is Fars. They unquestionably prove interest, attention and tendency to a politico-cultural permanence during his reign. One of these works is a relief belonging to him in Tang-e Chogan in Kazerun. It depicts an image of three victories of this Sasanian king which have occurred in three different times but shown in a segment of time. This paper aims to identify the original idea that led in showing the victories in the form of an artistic symbol. At the same time, it tries to study and introduce conditions and particulars of those images through political circumstances of that period of time.