نشریه پژوهش های علوم تاریخی
سال سیزدهم شماره 2 (پیاپی 26، تابستان 1400)

Physical activity is the motif of most archaeological evidence in ancient Mesopotamia, but the origins, functions, and values of physical activity are not well known in the whole of ancient Mesopotamian culture. The basic questions of research are that in what process of the people living in ancient Mesopotamia, various types of physical activity have emerged? And what functions and values have they had in the structure of society? Data of research has been collected to do desk study from archaeological, historical, and mythological sources and have been studied by the qualitative method of descriptive-analytical. Based on a holistic view of the culture, the purpose of this paper is to examine various types of physical activity in the structure of the Mesopotamian society from the Initial Urbanization to the end of the New Babylonian period. This study reveals that each of the ritual, martial and entertainment activities have protected the Mesopotamian man against all kinds of injuries, including mental-physical, and has brought him life and security. Physical activity is associated with power and religion, and the majority of them are projected into the world of the gods and the meaning of ritual physical activity is based on mythology. Myths, as the beliefs of ancient peoples, legitimized the king's martial and entertainment activities and emphasized important physical activities in the process of Mesopotamian human life, and reflected the common values of society

According to historical sources, Azargoshnesb fire temple was one of the three important Sassanid fire temples. The location of this fire temple is mentioned in Pahlavi Ganzak sources, which the Arabs called Shiz, and its fire temple was lit until the fourth century AH. According to historical sources and archaeological research, Shiz is the current Takht-e Soleiman. Takht-e Soleiman is completely forgotten for two centuries after the fifth century AH. so that in the historical sources there is no mention of this place, but in the reign of Ilkhanate, this place was considered again and a hunting palace was built in it. In this period, Takht-e Soleiman, is referred to as Storliq, Surluq, or Soghorluq and most of the historical developments of Takht-e Soliman in the Islamic period are related to this time. After the Ilkhanate period, during the early Safavid kings, this place was used as a royal hunting ground and in the same period, this place is known as the Takht-e Soleiman. With the change of the Safavid capital and the departure of Takht-e Soleiman from the centers of government, this place was marginalized and forgotten forever in the political history of Iran.

The spread of Islam from the Arabian Peninsula to the east and west had a great impact on the region's communications; Thus, the intercultural and multicultural feature is one of the main features of Islamic art, especially in the Mediterranean area, where the three continents of Asia including Europe and Africa are connected by Mediterranean Sea. The Shiite Fatimid Caliphate (297-567 A.H) that ruled parts of southern Italy, northern Africa, the Levant and parts of Saudi Arabia for more than two and a half centuries is one of the best examples of intercultural and multicultural interaction in the history of Islamic art. Although the geographical feature of the Fatimids provided the basis for the growth of the multicultural character of their murals, such a profound transformation required other causes and reasons as well. Descriptive-analytical method for writing and library study has been used to collect data in this theoretical research. Contextualism also provides a good framework for analyzing works of art in their historical context. The outcome of this research clarifies those schools and techniques of different cultures, sects and races that were present simultaneously in the Fatimid lands. Instead of indigenous opportunities of Mediterranean region, the flourishing multicultural art of the Fatimid murals was derived from political transition, freedom of religion, backing Shia Muslims and economic growth of the era which provided fertile ground for foreign painters from Iraq, the Byzantium Empire and the Armenians.

Astronomical thought, tradition and content have a long and rich history in Iranian science, culture and arts. This sentiment has greatly impacted various eras, aspects and communities and Persian history is replete with specific examples of this phenomenon. This concept became more prevalent and common with the invasion of the Mongols and the rule of the Ilkhanid dynasty in the 13th century (AD). Its impact was indeed all-encompassing, affecting all aspects of society. A significant quantity of artworks belonging to the Ilkhanate era, especially star-pattern tiles with astronomical decorations remains to this day. The philosophy underpinning this design was that art is the essence of society and that artists are inspired by the thoughts, traditions, and common beliefs that predominate society. Multiple religious shrines (Imamzadeh) of the Ilkhanate period are adorned with these tiles. Using decorative animal tiles in religious structures in Iranian-Islamic structures art lacks precedent and on the other hand, it has been a point of contention and criticism. So revealing this firm relationship is the main goal of this study. In line with this objective, the animal-pattern decorations of seven-star tiles from Ilkhanate era have been assessed and analyzed. and they correspond with the paintings of astronomical pamphlets of Abdul Rahman Sufi Razi, entitled “Sovar-al Kavakeb”. the history of utilizing these designs has also been discussed. Correspondingly, this research seeks to answer the question of the relationship between the animal-pattern decorations of star-pattern Ilkhanate tile designs were with the astronomy-influenced thoughts and traditions prevalent in that era. The research method utilized for this paper is descriptive-analytical and the data/information is collected via the library method. The findings of this study indicate that the animal-pattern decorations of star-pattern Ilkhanate tile designs were not just decorative in function, but also contained symbolic astronomical meanings and had obvious/visible influences from “Sovar-al Kavakeb” Sufi paintings

One of the consequences of the expansion of Iran-Europe relations in the Safavid period was the drawing of maps of Safavid Iran by European cartographers. In the era of European geographical explorations and multilateral relations with Iran, European cartographers, in addition to drawing global, Asian and even regional maps, also drew specific maps of Iran. The drawing of various maps by Europeans of Safavid Iran along with specifying details in the maps shows the location and characteristics of each of the Iranian states in that period. One of the most important states of Iran in the Safavid period was Makran province in southeastern Iran. Makran was important because of its connection with the sea and also as a bridge between Iran and its eastern neighbors, especially India, and was considered by European cartographers. Given that in the historical and geographical sources left from the Safavid period, brief descriptions of Makran remain, and on the other hand, European cartographers drew the map of this state with minor political, natural, human, etc. phenomena, the analysis of Makran historical geography in this The maps are worth discussing. The purpose of this article is to explain the historical geography of Makran in the Safavid period based on historical maps of Europeans from that period, which has been written in a historical way by extracting information from maps and library sources

The texts are written for particular purposes and consciously spread their discourse, power, and mastery among audiences, competitors, and opponents. The same is true for fictional texts. AlamAra shah Isma'il is a special epic narrative of how he comes to power, his progress, and the continuous and fast process of his changing into a symbol of power and courage. One of the tools creating such a narrative is the letters in this book whose careful examination declares the author’s specific purposes and his point of view. In this study, inspired by Fairclough’s critical discourse analysis model (in three levels of description, interpretation, and explanation) and according to Persian rhetoric, a model with a native approach has been designed, the text is described at a linguistic and rhetorical level and by its comparing with other sources of the period, their purposeful impacts has been investigated and then the author’s purposes and discursive conflict has been explained. In these letters, the process of gaining power and conflicts between the Safavids and the internal claimants of the monarchy, Timurids, Uzbeks, Mughal Empire, and Ottomans are represented. This examination demonstrates the negative correlation between magnification and exaggeration in the merits of rule in Shah Isma'il and in contrast, the lack of these characteristicsin his opponents. The increasing power of shah Isma'il, after the defeat of Chaldiran, stops and the text further tells the story of his competitors’ weakness. The correspondence of the Shah Ismail to induce the Safavid discourse, after this incident, has significantly declined

The lithographic religious books as one of the most prevalent books in the Qajar period, are closely related to the public culture and also influenced other artworks. In this regard, the present study aims to review the impacts of Ashura paintings of one of the most effective lithographic books (i.e., Judi collection) on the tilework of Tekyeh Moaven al-Molk.

This analytical-descriptive study utilizes a documentary-library method involving the study of lithographic manuscripts available in the National Library of I.R.Iran along with the  tilework of Tekyeh Moaven al-Molk with the theme of Ashura.

Ashura paintings on the Tekyeh Moaven al-Molk tiles have been inspired by lithographic images found in such books as Toofan Al-Beka’, Asrar Al-Shahada, Majalis Al-Muttaghin, and Judy Collection. This inspiration is seen more in Judi Collection than in other lithographic books. This inspiration is evident not only in the subject matter but also in the design styles. The similarities include the same elements in the selection of scenes and figures, religious and historical narrations, visual presentations, layout, and lines of shapes and interior surfaces. The background is more important in tilework and the presence of women is remarkable in the paintings of the building’s tiles. Indeed, the quantity of women in the paintings of the Judi collection is more than in other manuscripts. The concepts of resistance, the superiority of good over evil, and the companions of uwliya (saint figures) are significant in these works.

Water and water management studies have long been a matter of concern to archaeologists. In Arrajan, one of the five regions (xora) in Fars during the Sasanian era, the remains of water installations are evidence of nature- culture interactions as well as of environmental behavior through time. Maroon and Khairabad Rivers, as two main water resources of the region, have long been subjected to control and management by societies. Based on the archaeological field surveys and the analysis of written primary sources, the dependence of Arrajan to these rivers in different periods and water management strategies and practices will be assessed across the Arrajan landscape. Written sources as well as recent geological surveys show that groundwaters in the region were of low quality and had not been suitable for agriculture and domestic use. As the prosperity of the region largely depended on an effective water management and sufficient knowledge of surface and subterranean water potential, the evolution of water management in Arrajan region lead us to be aware that any negligence in the issue of water management would lead to the decline and desertification of the landscape and vitiate its potential of to host human settlements