نشریه پژوهش های باستان شناسی ایران
پیاپی 35 (زمستان 1401)

The worship of cattle, especially bull and cow was common in ancient cultures, from Egypt to the Indus valley , and many of its signs can be seen in images, texts and myths. Many of the gods and goddesses were bull or cow. The religion of the indigenous peoples of the Plateau are similar to the mentioned cultures and the image of a cow goddess on the Elamite seal the third millennium BC has been obtained. But in Iran, due to the arrival of the Aryans and the emergence and domination of the Zoroastrian religion and the changes that occurred in the sources of the Zoroastrian religion, there are various ambiguities and opinions about the Iranian goddesses. It is assumed that due to centuries of proximity of the indigenous peoples and newcomers and cultural ties with other areas, religious interactions have taken place. The main question is which goddesses can be a good example for a cow goddess like other civilizations? The aim of this study is to select two or three cow goddesses in Mesopotamian, Egyptian and Indian cultures and by comparative study and using the three universal and widespread symbols of cow, milk and tree of life as the main criterion and characteristic of the great goddesses, we will show that some of these characteristic can be matched with the goddesses; Drvasp (Goṧurvan), Anahita and Sepandarmaz. The two symbols of the milk and the tree of life have been seen in all ancient times and their association with the symbol of the cow in most cultures provides a good criterion for knowing more about the goddesses of Iran. This article has been done by descriptive- comparative and analytical method and using library resources. The lack of a study focused on the leading Iranian goddesses necessitates a comparative study.

Historical sources point to Hamedan/Hegmataneh as a city in the Median, Achaemenid, Seleucid, and early Parthian periods, but after more than a century of archaeological excavations in this city, except some un-suit Achaemenid columns, has not yet been found reliable evidence of this period (Median - early Parthian periods). It seems that the focus of Hamedan archeology studies on t Tepe Hagmataneh and without attention to its outer areas is one of the most important reasons for no detection of any reliable evidence from this city. In fact, the Hegmataneh has taken over almost all archaeological activities of Hamedan for more than a century, and the results have been generalized to the whole city. Therefore, this article first introduces and analyzes the results of the excavation site of the “Meydan”, which is located outside the present-day Tepe Hagmataneh, and then the settlement status of Hamadan in the Median to the beginning of the Parthian period has been investigated and analyzed. Excavation of the Meydan started in the autumn and winter of 2016 and another season in the summer of 2017 because of some urban construction operations in the center of Imam Khomeini Square. Three levels are identified on this site. According to the comparative chronology, which has been done by emphasizing the comparison of objects like kind of pottery, levels II and III of this site are related to the Median and early Parthian periods. The discovery of peculiar types of ceramics from the Median, Achaemenid, Seleucid, and early Parthian periods in levels II and III, along with some architectural structures such as broken walls or pits, indicates this site has been used as a residential area. The detection of the in-suit layers and significant cultural findings in this site, verifiably confirms the existence of Hamedan has been residential in the Median, Achaemenid, Seleucid, and early Parthian periods.

One of the infrastructure programs for the economic development of the plains located in the western slopes of the Zagros Mountains in the Sassanid period has been the establishment of water transmission systems and water supply canals. This article tries to introduce the Nahr-e Velash in the northeast of the SarPol-e Zahab area as one of these examples with a descriptive method and historical approach, which has transferred the water of Alvand River to Zahab plain. This canal is 30 km long, a little more than two meters wide and one meter deep, and with exact calculations, it passed through the northern margin of agricultural lands in the SarPol-e Zahab area and finally reached Zahab plain as the most important fertile plain on the western slopes of Zagros Mountains. The construction and maintenance of the canal, as a large project with about 51,000 of digging, was naturally beyond farmers and villagers reach in the region, and its creation and maintenance were possible only with government support. The nature, distribution, and location of historical monuments in the region show that this irrigation system was established to develop the agricultural economy of these regions, and it was probably established during the reign of the Sassanid king, Belash (Vologass), and by the governor/lord of Velashgerd . In recent years, two more irrigation canals have been created parallel to this canal. The choice of this route with modern knowledge shows that the engineers of the Sassanid period had high knowledge and exemplary skills to create this canal and were able with accurate scientific calculations in the construction and location of this canal. As the agricultural hub of the region to cultivate water. Although at present the patterns of operation and the method of water distribution of this canal are not clear to us, this carefully engineered project is an important infrastructure for the prosperity of the region's agricultural economy in the Sassanid period.

THE INCARNATIONS OF THE GOD BAHRAM ON THE STUCCOES OF THE SASSANIAN PERIODAbstractThe stucco art of the Sassanid period is of great importance in the history of Sassanid art because this art was not only to decorate buildings but their creation was associated with religious purposes. One of the most important subjects of stucco art in the Sassanid period is the motifs of God Bahram, which are found in ancient sites such as Hajiabad, Tepe Hissar, Umm Al-Zaatar, Chal Tarkhan, Nizamabad, Tepe Mill, Kish Palace, Tell Daroz, Barz Qawaleh, Jahangir in Ivan and stucco pieces have been obtained from unknown sites. Although the study of various researchers and archaeologists on the plaster works of the Sassanid period has been done since the early 1930s, so far little research has been done on the identification of stucco plaques associated with the god Bahram. Therefore, there are still ambiguous aspects about the various incarnations of the god Bahram in the stucco art of the Sassanid period. In this article by descriptive-analytical library method, the following questions were asked: 1.Which incarnations of the god Bahram have been used on the stuccoes of the Sassanid period? 2. According to the study of stucco motifs of the Sassanid period, which incarnations of the god Bahram were more important? By studying the stucco pieces of Sassanid sites by descriptive-analytical library method, it can be said that the incarnations of God Bahram on Sassanian stucco plaques include: the Stucco plaques of rams, horned goats, boar heads, hawks, and especially hawks' wings and Stucco pieces with a combination of motifs consist of human torso with wing, winged ram, and winged horse. The windblown ribbon and the hawk's wing are the most important among the incarnations of the god Bahram.Keywords: Sassanid period, stucco art, incarnations, God Bahram,

Vigol Archaeological Site is one of the largest historic-Islamic sites in Isfahan province with an area of about 450 hectares. In addition to the existence of immovable structures such as architectural structures, a significant volume of pottery that scattered on surface of this ancient site can be seen in this area. The present study, while being aware of the importance of the site and its pottery data, especially in the early and middle centuries of Islam, only considers the study of Sassanid pottery in this area. Accordingly, at first, the question arises as to the typological status and classification of Sassanid pottery in the Vigol area and to how its pottery forms can be compared with other Sassanid sites? Also, what is the variety of decorations used in the pottery of this area? For this purpose, from the total amount of pottery collected in the systematical study and networking of the site in 2007, 98 pieces of Sassanid Vigol pottery were selected in order to answer the above questions and studied in detail. The research method of this paper is descriptive-analytical. Thus, first the description of the site is explained and then the typology, classification and chronology are given. The results of this study showed that the mentioned data only included of simple and unglazed species. Formally, these potteries includes a variety of bowls, bins, jars, vats, pots, flat, trays, lids, and handles, which with other Sassanid areas of the west, northeast, south and center of the plateau Iran is comparable. In terms of decorations, the pottery of this area shows various examples such as additional decoration, excised, engraved decoration, impressed decoration, and combined decoration types. However, what is very significant in the decorations of Sassanid Vigol pottery is the variety of decorative stamped designs, which indicates the prevalence of a local tradition in creating such designs.

The Old city of Esfarayen is located in the north east of Iran and the south west of the modern city of Esfarayen. In the Qajar period, this city was cited as the "city of Belghays". According to archaeological evidence and written sources, Esfarayen was influenced by economic and culture of Nishapur and deemed as one of the major centres for the production of domestic herbivores (sheep, goat and cattle) that provided Nishapur with animal products. This paper attempts to gain a better understanding of subsistence economy of Esfarayen by evaluating the faunal remains of this city and studying written sources focusing on the Islamic period. The paper also aims to identify the exploited animals in Esfarayen and the role of livestock and stockbreeding in such aspects of the local society as diet, farming, trade, and transportation. As regards few Archaeozoological astudies have been done on animal remains, especially, in Islamic period.Due to the importance of agriculture and animal husbandry in Esfarayen, the faunal remains of two seasons of excavation (1389/2010-1391/2012)were studied in the Archaeometery Laboratory of the University of Tehran. The assemblage belonged to the first centuries of the Islamic period (S1), Samanid-Qaznavid (DJ121,DK121), Seljukid-Ilkhanid (BW-BX116), and Timurid period (H1-H5). Nearly 1005 pieces of animal bones were found in these excavations, and this article presents the results of archaeozoological studies on the collection. The bulk of the animal bones was recovered in the S1 trench. The vast majority of the animal remains, in all periods, belonged to caprines (sheep/goat) followed by the cattle. The other identified animals in Shahr e Belqeys were identified, such as horse, donkey and dromedary. Wild taxa including gazelle, red deer and carnivores. The presence of various traces related to human modification (cut marks and burning) shows that all these animals had a role in different areas of the economy of this town.

The Bisotun plain is one of the most important areas in western Iran where archaeologists have discovered many sites and monuments from prehistoric to Islamic time. During the Sassanid period, many During the Sassanid period, many works were established in Kermanshah were established in Bisotun region. The German and Iranian archaeologists have dated Sasanian buildings and monuments to the reign of Kosrow II (590-628 A.D). Bisotun plain is located along an important military and trade route connected the western and eastern parts of Sasanin empire. Obviously it is necessary to build huge bridge on two permanent rivers of the area (Gamasiāb, Zardāb and Dinavarāb) for military and trade proposes. Bisotun’s bridge or Pol-e Bisotun, Pol-e Khosrw and Pol-e Ghozivand are Sasanian bridges in Bisotun that left unfinished without clear reason at that time. Bisotun’s bridge is located on the north east of the city of bisotun, on the Dinavarāb River. This briadge is 144 m in length and 7/60 m in width, including bases, openings, backups, passage and floor. Three bases have rectangular profile while the others bases have triangular cutwater, inside part of the bases have made of rubble and mortar, the façade has made of stone blocks, put on each other precisely. Based on the typology of the pottery, the potteries found at Bisotun’s bridge can be subdivided in four primary groups: plain without glaze, decorated without glaze, monochrome glazed and polychrome glazed, then they were divided into diverse kinds. The pottery pieces belong to the restorers groups of this bridge and nomad groups in the Ilkhanid period. The potteries of Bisotun᾽s bridge compare with pottery of other Islamic sites for example Ilkhanid Caravansary in Bisotun, Mongol building on the bank of the Gamašāb (Bisotun), Sultaniyya plain, Samen, Ojan, Zolfaabad Site , Hasanlu, Takht e Suliman, Zino Abad, Arzanfud, Hegmataneh, Tahyagh (Markazi province), Asavehe, welab e Famenin, Ban Zardeh, Neyriz Plain, Kul tape, Siraf, Nishabur and Anda-jin .

Aghcheh Rish village (Aghcheh shahr), which is located in east of Charavimaq region, has a large site at west side and tombs in the center. The Aghche Rish site was excavated in November 2019 by an archeology team, from Tabriz Islamic Art University by the supervisor of prof. Mehdi Kazempour. During the activity, coins belonging to the Al-E- Buya dynasty, architectural structures, glass bracelets, so many types of potteries (Sgraffito, Garous, Aq Kand, Luster painted and Minai), daily life equipment, pottery kilns and equipment’s related to pottery kilns unearthed. Among potteries, some types of them, for example, Sgraffito, Garous, and Aq kand are the majority and other types like luster painted and Minai are very less. Archaeological evidence shows this site had been occupied from the early Islamic to middle Islamic period (9th-14th AD centuries). The evidence shows the Al-Buyeh dynasty had politically central in this site and this site had been considered one of their important sites. Now, since the Aghche Rish site is the only archaeological evidence of Al-E- Buya dynasty in northwestern Iran and so far, no archaeological information and evidence has been provided in this regard, this study intends to publish the results of the archaeological excavation. This study was done with a descriptive-analytical method and which is a method of collecting field and library information. The purpose of this study is to introduce one of the important sites of the Al-E- Buya (Salarid) dynasty in the northwest of Iran. The main question of the research is: What scientific archaeological evidence does the Aghcheh Rish site provide regarding the presence of Al-E- Buya in northwestern Iran? Based on this study, it was determined that the Aghche Rish site has architectural evidence, coins as well as pottery that confirms the presence of Al-E- Buya in northwestern Iran.

Comparative analysis of form and composition, Minai wares motifs of the jame’a mosque of Isfahan with two pictures of Varqa and Gulshahof of Varqa and GulshahThe Seljukian period is one of the most brilliant artistic periods of Iran. At this period, the cities of Isfahan, Marv, Neishabuor, Herat, and Ray were gathering places for artists and artisans. The jame’a mosque of Isfahan is one of the religious, political, and artistic places in different periods, including Seljukian period. Most of the information about the formation and developments of the mosque is based on the excavation that was fulfilled during mosque restoration by the Italian delegation “ISMEO”. Part of the excavation findings related to different kinds of pottery including: glazed slip, Sgraffito, Lustre, pottery with monochrom glaze and design, underglaze painting, finally minai, blue, white, and silhouette potteries. Among these kinds of potteries, two cases of minai wares are selected to study and compare with Varqa and Gulshah pictures, and authors try to analyze them in terms of composition and form. The aim of this research is identity and visual analysis of minai wares motifs of the jame’a mosque of Isfahan and their relevance with Varqa and Gulshah pictures. The research question is, what has been the usage of form and composition in the minai wares of the mosque and Varqa and Gulshah pictures in the Seljukian period? This article is based on library data gathering and field studying with a descriptive-analytical method. In conclusion, Studies suggest that the minai wares designing method has been influenced by sheet versions of the Seljukian period. Likewise, there is a clear connection between Varqa and Gulshah pictures and minai wares pictures in terms of photofit technique, designing, and composition.Keywords:Minai ware, the jame’a mosque of Isfahan, Varqa and Gulshah, comparative studies, form, composition

The Study of Tomb Tower Attributed to Shaikh Haydar from Meshkin Shahr. IRAN(Architecture, Decorations And Historical Attribution)AbstractRecognizing the main nature and verifying the attribution of religious tombs in iran is a challenging issue because in many of them there are no reliable Evidence that can accurately determine the nature of the tomb, in other words the building is attributed to either name of a historical personality (mistakenly) or is denominated by the name of the city which is placed. Among them, can be mentiond the tomb attributed to Sheikh Haidar in Meshkinshahr, Ardabil province, which was known as the tomb of Sheikh Haidar, but today, Refering to historical documents and books, it’s been more than a century that the attribution of this tomb has been considered suspicious. The purpose of this research is a historical and stylistic inspection with a historical evolution approach to find out the originality, history, type of structure, used materials, date of restoration and reconstruction. In the present study, which is analytical, descriptive and based on field and library, in addtion determining the identity of the founders of the building and its attribution in various historical sources, Also doing comperative studies with similar works kn iran and abroad, Construction date of the monument is been estimated. Studies prove that the building dates back to the ilkhanid period and beyond; Reading the inscription of the building and also the date of Sheikh Haidar's death do not correspond to each other, so it seems that the hypothesis is that Sheikh Haidar's body was buried in this building for some time until finally another part of the body was transferred from Tabasaran village of Russia to present-day Iran. And in general, it will be buried in the collection of Sheikh Safi al-Din Ardabili, it will be strengthened.Keywords: Tomb Tower, Meshkin Shahr, Safavid Era, Shaikh Haydar, Architectural Decorations

Tile is one of the most important decorative materials related to architecture that since ancient times has always been used. During the Qajar dynasty, many variations in the technique of making and designing tiles can be traced. Panel tiles are a type of large and prominent tiles that became common in this period. The unique patterns and pictures of these tiles reflect the social developments of that time. In this regard, the tiles of houses (aristocratic mansions) in Tehran were selected as a sample due to their uniqueness. The aim of this research is to study on visual and technical aspects of tiles of dadoes in cellars of Qajar houses in Tehran (houses of Ghavam O-Dowleh, Alam O-Saltaneh, Mushir O-Dowleh, Fazel Iraqi, Ghavam O-Saltaneh and Teymurtash). Hence the identification of tiles’ techniques; motifs and, themes are considered. This article seeks to answer the question: What are the features of creation techniques and pictorial themes in tiles of dado in cellars of Qajar houses in Tehran?This article seeks to answer the question: What are the features of creation techniques and pictorial themes in tiles of dado in cellars of Qajar houses in Tehran? The research method is descriptive-analytical and data collection is based on library studies, especially field studies (viewing samples and photographing them). Findings show the most important factors affecting the main patterns and themes of tiles are: Creative influence and integration of European culture, art and technological innovations (painting different landscapes as a photograph and using symbolic European scenes); ancient nationalism (the effect of Name-ye Khosrowan book; reliefs of ancient Iran); And rarely Islamic arts (Eslimi and Gol-o-morgh); those have been sometimes associated with the ability of painters in symbolism, innovation and composition (creating symbolic expressions with animals and the image of Qajar kings and politicians). All of the pictures are created in underglaze painting with black hatch and limited colors on molded tiles covered with white slip.