پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 Study of Settlement Patterns at Iron Age sites in Bijar, Kurdistan Province بررسی الگوهای استقرار‌ی محوطه‌های عصر‌آهن شهرستان بیجار، استان کردستان 7 38 5881 10.22084/nb.2022.25848.2458 FA مژگان رستمی دانشجوی دکتریگروه باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ علوم اجتماعی، دانشگاه محقق اردبیلی، اردبیل، ایران. 0009-0007-7575-8712 اردشیر جوانمردزاده دانشیار گروه باستان‌شناسی، دانشکدۀ علوم اجتماعی، دانشگاه محقق اردبیلی، اردبیل، ایران (نویسندۀ مسئول). 0009-0007-6139-3716 امیر ساعدموچشی دانشیار گروه هنر و معماری، دانشگاه پیام نور، تهران، ایران محمد ابراهیم الیاسوند کارشناس اداره کل میراث‌فرهنگی، صنایع‌دستی و گردشگری، استان کردستان، سنندج، ایران 0009-0005-2491-6683 علی بهنیا دانشجوی دکتری باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ هنر و معماری، دانشگاه بوعلی‌سینا، همدان، ایران 0000-0002-1024-2180 Journal Article 2022 02 20 Abstract Bijar County is situated in the eastern part of the Kurdistan Province and comprises three districts: Central, Cheng Almas, and Korani, along with 11 rural villages. This region is characterized by its location along the hills of western Iran, with approximately one-third of its territory being mountainous. Recent archaeological excavations conducted by the Cultural Heritage Organization of Kurdistan Province have uncovered artifacts spanning from prehistoric times to the Islamic era, including 71 sites attributed to the Iron Age. However, the cultural materials and distinctive features of the region remain inadequately understood and articulated. The primary aim of this study is to investigate the relationships between Iron Age settlements and geographical environmental factors, as well as the various types of livelihoods present. Data for this research is gathered through fieldwork, satellite imagery, GIS mapping, and library resources, and is analyzed using a descriptive-analytical approach. The study of Iron Age settlement patterns in Bijar focuses on aspects such as elevation, slope, access to water resources, and topographical features. The central research question is: What influence did environmental factors have on the establishment, distribution, and cultural interactions of Iron Age settlements in the Bijar area? By analyzing the data collected and generated through GIS mapping based on available information, the study aims to provide insights into this question. The predominant flat, mountainous, and semi-mountainous landscapes of the region have been utilized since the Iron Age; a period marked by significant enhancements in human adaptation to the natural environment. A critical inquiry arises regarding the processes of formation and distribution of sites, particularly in the northeast, central, and southwestern areas, which exhibit the highest population densities. Given the region’s defining characteristics—such as altitude, slope, water availability, and land utilization, most inhabitants reside at elevations below 2000 meters. These environmental conditions underpin the establishment of permanent settlements that rely on agriculture (both irrigated and rainfed), livestock rearing, and seasonal-nomadic lifestyles, leading to the development of herding practices. Keywords: Bijar County, Iron Age, Settlement Patterns, Environmental Factors, Geographical Information System. Introduction The examination of settlement distribution and the influence of environmental factors has historically served as a foundation for understanding human habitation across different eras. The cultural development of each region has been shaped by more or less comparable geographic conditions throughout its history, and the human responses to these natural environments have exhibited notable parallels throughout history, despite existing differences. Key elements such as environmental conditions, climate, and the availability of natural resources played a crucial role in the establishment of both seasonal and permanent settlements in ancient locations. The Eastern Kurdistan region exhibits diverse capabilities owing to its numerous settlements and the presence of the Qezel Ozan River, the largest river in the area. The tributaries of this river originate from the elevated terrains of Eastern Kurdistan’s cities. The biological and geographical conditions in this region play a crucial role in shaping the characteristics of its settlement patterns. The significance of this topic lies in the archaeological surveys conducted in Bijar County, which have identified numerous Iron Age sites; however, the data pertaining to these sites remains inadequately recognized and analyzed. This raises several pertinent questions: How have environmental and geographical factors influenced the distribution of Iron Age sites in Bijar County? Furthermore, can the settlement patterns observed at these sites inform us about various modes of subsistence, including sedentary and nomadic lifestyles? The research hypothesis posits that key environmental factors, such as the sites’ locations in plains or foothills, proximity to water sources, and their elevation above mean sea level (AMSL), are fundamental to the formation and distribution of Iron Age sites in the region. This study employs archaeological surveys, data description and analysis, as well as the creation and interpretation of GIS maps. Analysis of the Settlement Patterns The selected sites underwent evaluation based on multiple criteria, including their elevation relative to sea level, distance from water sources, slope characteristics, their alignment with communication routes, land utilization in the vicinity, and overall area. Elevation was classified into three groups: sites under 1700 meters, those between 1700 and 2000 meters, and those from 2000 to 2500 meters. The first group contains 28% of the sites, primarily located in the northeastern part of Bijar County. The second group accounts for approximately 51% of the sites, while the third group includes 21%. In our examination of water resources, we provided an analysis grounded in the prevailing conditions. However, it is important to acknowledge that recent droughts, coupled with the increased reliance on wells and the construction of dams along river systems, have significantly diminished some of the previously available water resources. Current data indicates that over 54% of the sites are situated within 500 meters of water sources. Additionally, the topography of the areas was a critical factor in our analysis: 22.5% of the sites are on slopes of less than 5%, 62% are on slopes ranging from 5% to 10%, and 15.5% are located on slopes between 10% and 20%. The proximity of the sites to communication routes indicates that approximately 12.5% of the sites are situated within 1000 meters of the road. Furthermore, 28% of the sites are found at distances ranging from 1000 to 3000 meters, while 31% are located between 4000 and 9000 meters. Additionally, sites positioned between 10000 and 19000 meters account for another 28% of the total identified sites. Land use also warrants consideration, with 60% of the areas classified as suitable for agricultural purposes, while the remaining 40% are situated within pasture lands. The categorization of areas by size is a critical aspect of analyzing settlement patterns, revealing that 25% of the areas are less than half a hectare, 31% range from half to one hectare, 38% fall between 1 and 5 hectares, and approximately 5.5% exceed 5 hectares. Conclusion In the context of analyzing settlement patterns associated with Iron Age sites, identifying the key environmental factors is a primary objective of this study. The findings from various investigations reveal a direct link between the locations of Iron Age settlements and their environmental conditions. The presence of critical geographical elements, including the Ghezel Ozan River and its tributaries, significantly influences the spatial distribution of these sites. Within the Bijar region, which features predominantly uneven and elevated landscapes, the highest concentration of Iron Age settlements is found at intermediate altitudes. The existence of regions exceeding 2000 meters in elevation, often comprising small sites, highlights the significance of animal husbandry practices. These sites are typically situated in proximity to pastures. The settlement patterns observed in the Iron Age sites within Bijar reveal a diversity of human habitation types. There are small sites, generally occupying less than half a hectare, located at elevated altitudes and steep slopes, characterized by poor land quality. This category includes seasonal habitats with thin stratigraphic layers, some of which serve as independent cemeteries. In areas designated for dryland agriculture, the vegetation cover is moderate to good. Medium-sized sites, ranging from half a hectare to five hectares, exhibit a richer architectural record. Conversely, sites larger than five hectares are found in the plains’ central regions, where the agricultural land is more favorable, thus providing better communication opportunities. چکیده شهرستان بیجار، یکی از شهرستان‌های شرق استان کردستان است. این شهرستان، دارای سه بخش (مرکزی، چنگ الماس، کرانی)، و 11 دهستان را شامل می‌شود. بیجار منطقه‌ای، در راستای رشته‌کوه‌های غرب ایران و یک-سوم اراضی آن کوهستانی است. بررسی‌های باستان‌شناختی که طی سال‌های اخیر ازسوی میراث‌فرهنگی استان کردستان در این منطقه انجام‌شده، آثاری از دوران پیش‌ازتاریخ تا دوران اسلامی شناسایی شده، که 71 محوطه مربوط به عصر‌آهن است؛ اما هنوز شناخت و تبیین کامل از مواد فرهنگی منطقه و ویژگی‌های آن صورت نگرفته است. هدف از این پژوهش، مطالعۀ سکونتگاه‌های عصر‌آهن، تحلیل هم‌بستگی این سکونتگاه‌ها با عوامل محیطی جغرافیایی و نوع معیشت است. گردآوری اطلاعات پژوهش حاضر، برمبنای روش میدانی، توصیفی-تحلیلی، تهیه و تفسیر عکس‌های ماهوره‌ای، نقشه‌های GIS و کتابخانه‌ای است؛ بررسی الگوهای استقراری عصرآهن شهرستان بیجار، به شاخصه‌هایی چون: ارتفاع، میزان شیب، دسترسی منابع آبی، توپوگرافی و... می‌پردازد. مهم‌ترین پرسش اصلی پژوهش این است که، عوامل زیست‌محیطی چه نقش و تأثیری بر شکل‌گیری، نحوۀ پراکنش و برهم‌کنش فرهنگی استقرارگاه‌های عصر‌آهن در شهرستان بیجار داشته‌اند؟ نتیجۀ دستیابی به این پرسش از طریق تجزیه و تحلیل داده‌های به‌دست آمده، و تهیۀ نقشه‌های GIS براساس اطلاعات موجود نشان می‌دهد. با غلبۀ بشر بر شرایط محیط طبیعی د‌ر عصر‌آهن اغلب مناطق کوهستانی- نیمه‌کوهستانی و دشت منطقۀ مورد‌استفاد‌ه قرار گرفته است. بیشترین تراکم مناطق مورد‌ سکونت د‌ر بخش‌های شمال‌شرقی - مرکزی و نوار جنوب‌غربی تقسیم شده‌اند. اکثر محوطه‌ها در ارتفاع کمتر از 2000متر در منطقه واقع‌شده است و با توجه به شاخصه‌های اثرگذار ازجمله: ارتفاع، شیب، منابع آبی و کاربری زمین، مبنای استقرار زیستگاه‌های دائمی بر پایۀ کشاورزی(آبی-دیم)، دامپروری و استقرارهای دائمی، فصلی-کوچ‌رو به‌صورت رمه‌داری در این منطقه شکل‌گرفته است.

https://nbsh.basu.ac.ir/article_5881_6d378765f17a856b7ba8bf1541cafb69.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 The Evolution of Sasanian Open Wings to Arabesque (A Case Study of Sasanian Plasterwork Arrays Until Islamic Middle Ages) سیر تحول بال‌های گشودۀ ساسانی تا شکل‌گیری اسلیمی (مطالعۀ موردی آرایه‌های گچ‌بری‌های ساسانی تا قرون میانی اسلامی) 39 71 5882 10.22084/nb.2023.27432.2555 FA مرتضی افشاری دانشیار گروه هنر اسلامی، دانشکدۀ هنر، دانشگاه شاهد، تهران، ایران 0000-0003-0050-0155 نفیسه حیدری دانشجوی دکترای تاریخ تطبیقی و تحلیلی هنر اسلامی، گروه هنر اسلامی، دانشکدۀ هنر، دانشگاه شاهد، تهران، ایران (نویسندۀ مسئول) 0009-0006-5398-2732 Journal Article 2023 01 28 Abstract The recurrence of motifs throughout the prehistoric and historical epochs of various nations underscores their significance within the respective cultures and civilizations. In certain instances, these motifs undergo substantial transformations during historical periods, resulting in forms that may bear little resemblance to their original designs; however, they frequently preserve essential components. To maintain these core elements, motifs—often comprised of symbols and signs—are interwoven and reinterpreted, adopting a new lexicon in subsequent historical contexts. One prevalent motif is the depiction of open wings, which emerges from the amalgamation of three important symbols: goat horns, the tree of life, and bird wings. This motif has been represented in diverse manners across Iranian artistic expressions from prehistoric times through to the conclusion of the Sasanian era. The sequence of the transformation of this motif in the Islamic period has been noted by scholars, yet its developmental trajectory and evolution have not been thoroughly examined. In contrast, Islamic motifs are evident in the arts of the Islamic era, where they are frequently repeated and varied. A multitude of topics has been explored concerning the roots of arabesque in the art of ancient Iran, Arab regions, Anatolia, and even East Asia, as well as its possible inception during the Islamic period. However, there has been insufficient discourse on how arabesque emerged as a pivotal motif within Islamic art. This article will address several critical inquiries concerning the motif of open wings, including its transformation during the Sasanian period, its evolution following the advent of Islam, and the extent to which this progression in Islamic art contributed to the emergence of the arabesque. The primary objective of this research is to explore the development and transformation of the open wings motif from the Sasanian era through the Islamic Middle Ages. Utilizing a descriptive and analytical methodology, this research investigates the application of motifs spanning from the early Sasanian period to the advent of Islam and extending into the mid-Islamic period. The results elucidate the process of arabesque formation, highlighting the evolution of the open wings motif throughout these historical phases. Keywords: Sasanian Open Wings, Evolution, Arabesque, Islamic Art. Introduction The depiction of open wings serves as a potent emblem of legitimacy, devotion, and regal magnificence within Sasanian culture, drawing upon influences from earlier artistic traditions. The representation of birds and their wings has been a consistent theme in the artistic expressions of Iranian Plateau since prehistoric eras, symbolizing continuity, recurrence, and progression. The Khvarenah symbol, which emerged during the Achaemenid era, along with its various iterations in Sasanian stucco and intricate arts, underscores the significance of this motif. Throughout history, bird motifs have evolved along two distinct trajectories—naturalistic and abstract—progressively developing over time. Considering the succession of different dimensions of ancient art in post-Islamic art, naturalistic bird motifs also adorn the pottery of the Islamic period, but it seems unlikely that the abstract and summarized role of this ancient and significant symbol disappeared all at once with the beginning of the Islamic period. On the other hand, the Islamic wing motif is considered one of the most important motifs in the Islamic world, and many studies have been conducted on its contexts, meaning, and concept. Scholars such as Pope, Hertzfeld, and Connell have traced the origins of the Arabesque motif to ancient Iranian symbols, including the tree of life; however, they have not identified a specific symbol or motif. In contrast, Burckhardt, Grabar, and others argue that the motif has non-Iranian, Arab, or entirely invented roots within Islamic art. While the Arabesque motif is recognized as having emerged in the decorative arts following the advent of Islam and appears distinct from any preceding motifs. This perspective may overlook the insights provided by Carl Jung regarding archetypes. It suggests that the Arabesque could not have been conceived in isolation or instantaneously after the rise of Islam. Khazai views the open wings as a continuation of their pre-Islamic significance, while Ettinghausen and Wilson have proposed that there are Islamic influences present in the depiction of these wings. Nevertheless, the evolution of the Sasanian open wings during the Islamic era, as well as the Islamic origins and the trajectory of their development, remain largely unexplored. Consequently, the connection between the wing motifs in the two time periods is not well understood. Conclusion • The Sasanian open wings motif integrates elements such as goat horns, trees of life, and bird wings, each representing significant aspects of ancient Iranian cultural symbolism. • Sasanian open wing composition has a heart-shaped structure, which is made in geometry from the symmetry of two golden spirals. Also, in many motifs, the heart is placed in place of the plant of life or combined with it. • In Sasanian plasterwork, the negative space functions as both a motif and an inverted representation of a motif. Transitioning from the Sasanian period to the early Islamic era, this negative space evolved from mere shadow to intricate patterning, ultimately covering the entire plaster surface, a technique that was further refined in early Islamic art, particularly in Samarra style. • Over the course of approximately four centuries during the Sasanian period, the design of open wings underwent a gradual simplification, evolving into a stylized form that eventually resembled arabesque patterns. • The transformation of Sasanian open wings persisted, ensuring the retention of essential elements such as goat horns, trees of life, and bird wings, which remained vital to the motif’s identity. • The recurrence, arrangement, and development of motifs during the Islamic period lead to the emergence of authentic Islamic designs. Consequently, the tables present a comparative analysis of Sasanian motifs to illustrate their evolutionary trajectory and the transition into pseudo-Islamic motifs before evolving into true Islamic motifs. • Throughout the transformation and evolution of these motifs, complexity increases, resulting in patterns reminiscent of arabesque designs at the core of the heart concept. However, until approximately the fifth century AH, the fundamental composition of the artworks retains a resemblance to Sasanian plasterwork, despite numerous alterations. • The Sasanian motif of open wings has undergone significant transformation over the centuries, evolving into the arabesque design; however, the core elements—horn, tree, and wing—remain integral to the arabesque motif and the overall composition of the heart. • Contrary to the perspectives held by numerous scholars, the arabesque does not primarily represent plant forms; rather, it is deeply rooted in animal symbolism, incorporating elements such as goat horns, bird wings, and various representations of the tree of life that exhibit human or animal characteristics. • During the transition from the early Islamic period to the Middle Islamic period, Khataei (vegetable motifs) and Islami (faunal-floral and predominantly faunal) designs were not distinctly differentiated. The tables illustrate that Khataei motifs could emerge from an arabesque Khataei branch. However, as time progressed, Khataei designs began to diverge from Islamic motifs. Although they coexist and complement one another, they ultimately exhibit entirely different design characteristics. For instance, from the middle of the Islamic period to the present, it is nearly impossible to confuse a Khataei design with an Islamic one. The Khataei motifs evolved from their own branches, while arabesque designs developed independently. This evolution resulted in a structural framework that was previously absent in traditional design elements such as plasterwork, gilding, tiles, and carpets. توالی یک نقش در دوره‌های پیش‌ازتاریخ و تاریخی در ملت‌ها، نشانگر اهمیت آن نقش در فرهنگ و تمدن آنان است. گاهی نقش‌ها در دوره‌های تاریخی چنان تطور، تحول و یا تکامل می‌یابند که با ساختار اولیۀ خود هیچ شباهت ظاهری ندارند، اما اغلب عناصر حیاتی خود را حفظ می‌کنند. برای حفظ این عناصر، نقوش که غالباً از نمادها و نشانه‌ها تشکیل‌شده‌اند، با یک‌دیگر تلفیق و ترکیب‌شده و با زبانی نو در دورۀ تاریخی جدید بازآفرینی می‌شوند. بال‌های گشوده نقشی پرتکرار است که از تلفیق سه نماد ارزشمند شاخ‌های بز، درختان زندگی و بال‌ها (پرندگان)، در ایران باستان تشکیل‌شده و از پیش‌ازتاریخ تا انتهای دورۀ ساسانی به انحای مختلف در آثار هنر ایران به‌کار رفته‌است. توالی این نقش در دوران اسلامی به‌صورت عینی موردتوجه پژوهشگران بوده و تحول و تکامل آن بررسی و تحلیل نشده است. ازسوی دیگر، به‌مرور نقش اسلیمی در هنرهای اسلامی ظهور نموده، تکرار و تناوب می‌یابد. مباحث بی‌شماری در رابطه با ریشه‌های اسلیمی در هنر ایران باستان و اعراب (آرابسک)، آناتولی و حتی آسیای شرقی و یا ابداع آن در دوران اسلامی مطرح‌شده، اما به چگونگی شکل‌گیری آن به‌عنوان یکی از مهم‌ترین نقوش اسلامی اشاره‌ای نشده است. پاسخ به پرسش‌هایی در ارتباط با نقش (نماد) بال‌های گشوده که چگونه در دورۀ ساسانی پرورانده شده و پس از ورود اسلام به تحول و تکامل خود ادامه داده است و آیا سیر این توالی در هنر اسلامی منجر به ظهور نقش اسلیمی شده است؛ مسائل مهمی است که در جریان این نوشتار به آن پاسخ داده می‌شود. هدف از این پژوهش، بررسی سیر تحول و تکامل نقش بال‌های گشودۀ ساسانی تا قرون میانی اسلامی است. این پژوهش به روش توصیفی-تحلیلی و براساس تطبیق نقوش از ابتدای دورۀ ساسانی تا صدر اسلام و سپس تا اواسط دوران اسلامی انجام‌شده و نتایج حاصل از این بررسی، تحلیل و ترسیم روند شکل‌گیری اسلیمی از تطور و تکامل نقش بال‌های گشوده در دورۀ ساسانی تا اواسط دوران اسلامی است.

https://nbsh.basu.ac.ir/article_5882_dffac38df13c3a801f1b8994f9303bcc.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 New Pahlavi Inscription in Tang-e Bulaghi (Pasargadae 6) کتیبۀ نویافتۀ پهلوی در تنگه‌بلاغی (پاسارگاد 6) و برنامه‌های حفاظتی از آن 73 102 5883 10.22084/nb.2023.27450.2556 FA مجتبی دورودی دانشجوی دکتری فرهنگ و زبان‌های باستانی ایران، گروه زبان‌های باستان و ایران‌شناسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران (نویسندۀ مسئول). 0000-0002-2289-1591 افشین ابراهیمی استادیار پژوهشکده حفاظت و مرمت، پژوهشگاه میراث‌فرهنگی و گردشگری، تهران، ایران. حمیدرضا کرمی دانشجوی دکتری باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ هنر و معماری، دانشگاه بوعلی‌سینا، همدان، ایران 0009-0002-2905-0899 فرهاد زارعی کردشولی کارشناس‌ارشد باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ علوم انسانی، واحد ابهر، دانشگاه آزاد اسلامی، ابهر، ایران 0009-0000-9286-193X Journal Article 2023 01 31 Abstract This paper centers on a newly discovered inscription, first identified in July 2022 within the Bulaghi gorge of the Pasargadae Plain. The inscription, crafted in Middle Persian script following the Sassanid tradition, measures 40 cm in width and 90 cm in length. It features three distinct frames, each containing text. The primary focus is the central frame, which is oriented vertically and consists of eight lines, while the adjacent boxes, positioned above and below the central text, are inscribed horizontally. The upper box features three lines, while the lower box similarly appears to contain three lines; however, only a single word is legible. The primary research inquiries focus on the ownership of the inscription, its date of composition, and its content. Within the Pasargadae Plain, five Pahlavi inscriptions have previously been identified and read. These inscriptions were uncovered in the area referred to as Tall-i Takht between the years 1961 and 1963, and the tombstone is inscribed in Sassanid Pahlavi script. The inscription associated with the present research presents a distinct subject matter compared to the Tall-i Takht inscriptions. It highlights the construction of ancient bridges and embankments, which are thought to have originated during the reign of Khosrow I. Interestingly, before this inscription was uncovered, archaeologists from the Pasargadae World Heritage Site had already recorded the existence of the foundations of an ancient bridge and overpass situated directly beneath the inscription on the Pulvar River. Thus, the discovery of this inscription significantly amplifies its relevance and the imperative for archaeological engagement and conservation. Additionally, it is pertinent to mention that the current study was carried out through both fieldwork and library resources. Keywords: Pasargadae, Dasht-i Morghab, Tang-e Bulaghi, Pahlavi Inscription, Ancient Bridge. Introduction On July 11, 2022, two mountaineers from Pasargad city forwarded an image to the first author (M.D.), a member of the Inscription Research Center of Takht-i Jamshid and the Pasargadae World Heritage Site. They claimed that the image depicted previously unknown symbols. Following this, M.D., accompanied by experts from the Pasargadae World Heritage Site, visited the site and confirmed the presence of a new inscription in Middle Persian script. Consequently, the examination, analysis, and interpretation of this inscription became a primary focus for the authors. Concurrently with the examination of the inscription, archaeologists affiliated with the Pasargadae World Heritage Site reported their findings regarding the works along the Pulvar River, which they had initially observed and documented in 2012 in the aftermath of a recent drought. Notably, these works were discovered beneath the newly found inscription and provide corroborative evidence for the text contained within it. The primary objective of this research is the interpretation and analysis of the new inscription from Tang-e Bulaghi. The inscription recognized as the only significant non-funerary document in Middle Persian script and language (Sasanian Pahlavi) that has been found thus far in the Pasargad Plain and its neighboring areas is of considerable importance. This study seeks to read the inscription and explore the newly discovered ancient text, while also pursuing a historical analysis related to the inscription and its implications. Furthermore, the primary aim of this research is to ascertain the nature of the historical individuals mentioned in the inscription. The present study seeks to address several key inquiries: What information is conveyed by the newly discovered inscription at Tang-e Bulaghi? To which historical period does this inscription pertain? What ancient and historical texts corroborate the inscription’s content? Who is the individual referred to as Zadan Farrokh, mentioned twice within the inscription? Additionally, what was the designation of the Pasargadae Plain during the Sasanian period, and how has this nomenclature transformed in contemporary Persian? In summary, the findings indicate that the inscription pertains to the construction of a bridge and overpass, as well as the delineation of a pathway in the Tang-e Bulaghi during the Sasanian era, with prior documentation of this activity also identified. Zadan Farrokh is recognized as a Sasanian prince from the era of Khosrow Parviz. The region referred to as Dasht-i Murwāb in the Sasanian context is currently known as Pasargadae Plain. Identified Traces This inscription contains three frames and three texts. The main part of the inscription is the middle box, which is written vertically with 8 lines. Two side boxes are also seen above and below the middle text and are written horizontally. The upper box contains three lines, and the lower box also seems to have three lines; Only one word of it can be read. The only word in the lower box: in ͻltͻy transliteration and in transcription ardā means “pious”. The content of the middle frame will be discussed below. Transliteration and Transcription of the middle frame of the new inscription at Tang-e Bulaghi (Pasargadae 6) This inscription has 8 lines and can be seen in the middle frame. Transliteration 1. [ZN]E b[nd] Y sth[m]k1 LWT[E] [////////] 2. ZNE pwl ͻcš [z]ͻtͻn plhw[1] [l] ͻd 3. Y MN lwt dšt1 Y mwlwͻp [ͻ]yt[wn] mlc [l ͻd] 4. plmwt1 krtn1 mgw1mltͻn hl[g Y/////] 5. ͻš lwt ͻwcynk1 Y QDM bythš 6. zͻtͻn plhw1 YHBWN-t [HW]En[d] h[m] ͻ[k1] 7. KRA MN ͻhlwb1 dͻt[1] PWN ANŠWTA 8. ͻpš bͻhl nkwh MNW ͻl ZNE pwl Transcription 1. *ēn *band ī *stahmag *abāg [////////] 2. ēn pul aziš *zādān farrox *rāy 3. ī az rōd dašt ī murwāb *ēdōn marz *rāy 4. framūd kardan mowmardān*harg [ī /////] 5. *ā-š rōd uzēnag ī abar bidaxš 6. zādān farrox dād*hēnd *hamāg 7. har az ahlawdād pad mardōm 8. u-š bahr nikōh kē ō ēn pul Translation of the middle frame of the inscription “This hard dam with [...] this bridge belongs to Zadan Farrokh, who ordered the construction of such a border from the Murwāb plain river. The Muγmardān gave the tax and the cost of that river to Bidakhsh, Zadan Farrokh, which is all charity for the people.” Curse on whoever wants to destroy this bridge. Conclusion The current research presents the identification of a newly discovered inscription located in Tang-e Bulaghi, which was uncovered in July 2022. This finding contributes to the corpus of extant inscriptions from the Sasanian period. Designated as Pasargadae 6 from now on, the inscription is composed of three distinct sections, all conveying identical information. This study marks the inaugural effort to interpret and analyze the inscription, which is classified among the records of Sasanian nobility. The content pertains to the construction of a bridge and overpass over the Murwāb River during the 40th year of Anushirvan’s reign. Furthermore, the inscription indicates that the bridge was intended for the benefit of the general populace. The funding for this project was allocated to Zadan Farrokh by Muγmardān. Notably, Zadan Farrokh, whose name appears twice within the text, is identified as a prominent court official from the era of Khosrow Parviz. The reference to the Murwāb River within the inscription also provides insights into the historical nomenclature of the region during the Sasanian era. موضوع و محور گفتار پیش‌رو، کتیبۀ نویافته‌ای است که در تیرماه 1401 در تنگه‌بلاغیِ دشت پاسارگاد برای نخستین‌بار مشاهده گردیده است. این کتیبه به خط فارسی‌میانه ‌(پهلوی‌کتابی) با سنت ساسانی به تحریر درآمده است که با عرض 40 و طول 90‌سانتی‌متر، دربردارندۀ سه قاب و سه‌ نوشتار است. بخش اصلی کتیبه، قاب میانی است که با هشت‌سطر، به‌صورت عمودی تحریر شده است. قاب‌های جانبی در بالا و پایینِ نوشتۀ میانی، دیده می‌شوند و به‌صورت افقی تحریر شده‌اند. قاب بالا دربردارندۀ سه‌سطر و قاب پایین به‌نظر می‌رسد سه‌سطر داشته است. این‌که کتیبه در چه زمانی نوشته شده و به چه فرد یا افرادی تعلق داشته است؟ پرسش‌های اصلی پژوهش به‌شمار می‌روند که محتوای کتیبه خود بدان‌ها پاسخ می‌دهد. در دشت پاسارگاد، پیش‌تر نیز پنج کتیبۀ پهلوی شناسایی و خوانش شده است؛ این پنج کتیبه که در منطقۀ موسوم به «تل‌تخت» در سال‌های 1961 تا 1963م. کشف شده است در شمار گورنبشته‌های پهلوی محسوب می‌گردند. کتیبۀ پژوهش حاضر، اما محتوایی متفاوت از کتیبه‌های تل‌تخت دارد و آن‌گونه که مشاهده خواهد شد در آن از ساخت پل و بندی باستانی سخن رفته است که به‌نظر می‌رسد به روزگار «خسرو اول انوشیروان» تعلق داشته است. نکتۀ جالب این‌که پیش از کشف این کتیبۀ باستان‌شناسان پایگاه میراث جهانی پاسارگاد پی و شالودۀ پل و فراز-راهی باستانی را درست در زیر کتیبه و برروی رودخانۀ پلوار، مشاهده و مستندنگاری کرده بودند؛ بنابراین کشف این کتیبه اهمیت و ضرورت پرداختن بدان را به‌ویژه از منظر باستان‌شناسی و حفاظتی دوچندان می‌کند. پژوهش حاضر به‌صورت میدانی و اسنادی‌ (کتابخانه‌ای) انجام شده است. باتوجه به این‌که این کتیبه در معرض فرسایش شدید قرار داشته است، نگارندگان با تهیه قالب از آن، کوشش کردند تا جدای از خوانش بهتر، گام مؤثری در جهت حفاظت از آن برداشته شود.

https://nbsh.basu.ac.ir/article_5883_c1cdd433a18e3949d6e64b68564a7c0d.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 Introduction and Review of Newly-Found Pahlavi Inscriptions in Teymareh, Golpayegan معرفی و بررسی سنگ‌نوشته‌های نویافته به خط پهلوی در تیمرۀ گلپایگان 103 125 5884 10.22084/nb.2024.28135.2620 FA محسن جمالی دانشجوی دکتری باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ حفاظت و مرمت، دانشگاه هنر اصفهان، اصفهان، ایران (نویسندۀ مسئول). 0000-0002-1750-7591 رسول بشاش کنزق عضو هیأت علمی پژوهشکدۀ زبان‌های باستان، پژوهشگاه میراث‌فرهنگی، گردشگری و صنایع‌دستی، تهران، ایران. 0009-0007-9564-9521 Journal Article 2023 08 24 Abstract The petroglyphs located in Teymareh are recognized as one of the most significant and extensive collections of rock art in Iran. Among the various motifs present, signs and linear inscriptions stand out, with Pahlavi inscriptions being a notable subset. A total of fifteen Pahlavi inscriptions have been documented within the petroglyphs of Teymareh in Golpayegan. This article presents, for the first time, the introduction of six new Pahlavi inscriptions discovered during the authors’ recent field research in the Qarqab, Esfajerd, and Kucherey sites. The analysis, translation, and interpretation of these inscriptions raise two pertinent questions: Is there a conceptual relationship between these new inscriptions and the existing Pahlavi inscriptions in Teymareh? Furthermore, how do the themes of these inscriptions correlate with the natural and cultural landscape of the area? The inscriptions predominantly address the theme of “water,” with the term “Zehab” frequently appearing throughout. According to the Pahlavi Dictionary, “river” is the most prevalent interpretation of Zehab. This terminology is intrinsically linked to the region’s natural environment and its proximity to water sources, as well as the locations of the petroglyphs found in these areas. It is plausible that these inscriptions served to indicate the availability of water resources, particularly for travelers and nomadic groups. Furthermore, the significance of water and the historical narratives associated with it are deeply embedded in the oral traditions of the local populace. Collectively, these factors underscore the vital importance of water to both indigenous and nomadic communities, particularly during the late Sassanid and early Islamic periods. This research was conducted through a descriptive-analytical approach, utilizing surveys, field interviews, and library research. Keywords: Petroglyph, Pahlavi Inscription, Teymareh, Golpayegan, Zehab. Introduction The Teymareh petroglyphs are extensively located across the present-day provinces of Isfahan, Markazi, and Luristan. A total of over 36,500 petroglyphs have been cataloged within the Teymareh’s Golpayegan collection, which encompasses thirty-two distinct sites (Jamali 2023: 73). These petroglyphs were primarily produced through hammering techniques and span various historical periods. The majority depict narrative scenes, with predominant themes including hunting, human conflict, representations of the natural environment, and ritualistic practices. In addition to these narrative elements, the collection also features various signs and lines, which are significant for understanding the linguistic and cultural contexts of the petroglyphs. The Teymareh petroglyphs exhibit inscriptions in Pahlavi, Arabic, Persian, and certain Hebrew scripts. This article focuses on the analysis of the Pahlavi inscriptions found within these petroglyphs. A total of fifteen Pahlavi inscriptions have been documented in the collection from the Golpayegan collection of Teymareh. Of these, nine have been previously presented and examined in separate studies (Jamali, 2014: 213-219; Bashash Kanzaq, 2011: 88). In the current article, we will present and interpret six newly-discovered inscriptions from Teymareh’s Golpayegan collection, which were identified between 2008 and 2022, marking their inaugural introduction in this context. The research inquiries are as follows: First, what is the translation and primary significance of this collection of inscriptions, and how do they relate to other Pahlavi inscriptions found in Teymareh? Second, can a substantial relationship be identified between these inscriptions and the natural as well as cultural environment of the area? Research Method: In this study, data collection was conducted in the field through photographic documentation and the development of graphic illustrations. The texts were read and translated using the Pahlavi Dictionary, referencing two primary sources: “Mac Kenzie” and “Farah Vashi.” By utilizing library research, investigating the oral traditions of the indigenous population, and analyzing the characteristics of the landscape along with other motifs present at these locations, we were able to conduct a thorough analysis of the inscriptions. This research is categorized as descriptive-analytical in nature. This article aims to present, analyze, and interpret the significance of six previously unexamined Pahlavi inscriptions from Teymareh’s Golpayegan collection. Additionally, we will explore the parallels between these new inscriptions and earlier ones. Furthermore, we will investigate how the meanings of these inscriptions correspond with the region’s landscape, environmental features, cultural attributes, and other petroglyphs. Identified Traces Since 2007, Mohsen Jamali has successfully identified a total of thirteen Pahlavi inscriptions in the Teymareh’s collection of Golpayegan. When combined with the two previously recognized inscriptions, this brings the total to fifteen. A comprehensive description of the nine earlier inscriptions can be found in the publication “Golpayegan Petroglyphs: The Passage for History.” The inscriptions frequently contain brief terms that pertain to water. It is plausible that these served as indicators of water sources within the vicinity. Nonetheless, it is essential to acknowledge the significance and influence of water on human existence, particularly in regions where water is scarce. The inscriptions of Esfajerd 1 and 2 exactly mean “Zehab Mehman”. Zehab Mehman means a pleasant spring. Currently, only a few seasonal springs flow in this area. Qarqab 1 and 3 inscriptions are also located near Golpayegan river, several seasonal springs and Tang-e Qarqab. In these two inscriptions, the word “Zehab” is also mentioned. In one of these two inscriptions, the word “Kenaroud” is also written in Persian. In the Qarqab inscription 2, a phrase similar to “Mah Farn Goshnasb” is probably mentioned. Located near the Golpayegan river, along with its streams and seasonal springs, are the Pahlavi inscriptions of Kucherey. It is noteworthy that the inscription includes the term “Zehab.” In many of the inscriptions presented in this article, the words “Zehab” and “Water” are prominently featured, indicating that a detailed analysis of the cultural and geographical environment surrounding these petroglyphs could uncover additional important aspects. In the dictionary of Pahlavi language, in two sources “Mac Kenzie” and “Farah Vashi”, the words Zehab and Zehabak are given as follows. Conclusion Among the significant archaeological findings in Teymareh, the Pahlavi inscriptions stand out prominently. A total of fifteen such inscriptions have been cataloged at Golpayegan’s collection. This article presents an introduction and analysis of six newly identified inscriptions, which are being reported for the first time. Notably, the inscriptions numbered 10, 11, 12, 14, and 15 prominently feature terms associated with water, specifically the term “Zehab.” The term “river” is one of the interpretations of water, and in the Pahlavi inscriptions from Esfajerd, the term “Mehman” appears alongside the word for water. Consequently, the interpretation of these two Pahlavi inscriptions from Esfajerd may be rendered as “seasonal river.” Looking at the perspective of these inscriptions, we realize that all of them are placed next to permanent and seasonal streams and water sources. Teymareh means the place where the water of the rivers gathers. It seems that these texts could have marked the presence of water sources in the region, especially for passers-by and nomadic tribes. All these cases show the special place of water among the people of this region. All indications point to this area having been of considerable prominence and significance in the late Sassanid era. The discovery of fifteen rock inscriptions in Pahlavi script further corroborates this hypothesis. سنگ‌نگاره‌های تیمره، به‌عنوان یکی از بزرگ‌ترین و مهم‌ترین مجموعۀ سنگ‌نگاره‌های ایران، محسوب می‌شود. این نقوش‌صخره‌ای بازتابی از محیط طبیعی و انسان و هم‌چنین نحوۀ تعامل دو طرفۀ انسان‌ها با خود و با محیط است. نشانه‌ها و علائم خطی، یکی از موضوعات ویژه برروی سنگ‌نگاره‌های تیمره است، که سنگ‌نوشته‌های پهلوی ازجملۀ این علائم خطی محسوب می‌شود. در مجموعۀ سنگ‌نگاره‌های تیمرۀ گلپایگان، تاکنون 15نمونه سنگ‌نوشتۀ پهلوی شناسایی شده است که بیشتر آن‌ها متعلق به اواخر دورۀ ساسانی و اوایل دوران اسلامی است. در این پژوهش برای نخستین‌بار، به معرفی شش سنگ‌نوشتۀ پهلوی نویافته در تیمره که در بررسی‌های میدانی نگارندگان در سال‌های اخیر در محوطه‌های غرقاب، اِسفاجرد و کوچری یافته شده‌اند، پرداخته شده است. ضمن بررسی ترجمه و مفهوم اصلی این سنگ‌نوشته‌ها، دو پرسش مطرح می‌شود؛ آیا ارتباطی مفهومی میان آن‌ها و سایر سنگ‌نوشته‌های پهلوی تیمره وجود دارد؟ و چه هم‌سویی بین مفاهیم این سنگ‌نوشته‌ها و چشم‌انداز طبیعی و فرهنگی منطقه وجود دارد؟ در متن این سنگ‌نوشته‌ها، بیشتر به موضوع «آب» پرداخته شده است و واژۀ «زِهاب» در اغلب آن‌ها دیده می‌شود. در فرهنگ زبان پهلوی «رودخانه» به‌عنوان معنای زِهاب، متداول‌تر است. این واژه ارتباط مستقیمی با ‌چشم‌انداز طبیعی منطقه و نزدیکی به منابع آبی و هم‌چنین موقعیت سنگ‌نگاره‌ها در این محوطه‌ها دارد. به‌نظر می‌رسد که این متون می‌توانسته نشانه‌گذاری بر وجود منابع آبی در منطقه، به‌ویژه برای افراد رهگذر و اقوام کوچ‌رو بوده باشد. موضوع آب و داستان‌های تاریخی مرتبط با آن، ریشه در فرهنگ شفاهی مردم منطقه نیز دارد. همۀ این موارد نشان از جایگاه ویژۀ آب درمیان مردم بومی و کوچ‌رو، به‌ویژه در اواخر دورۀ ساسانی است. این پژوهش کاربردی، به شیوۀ توصیفی-تحلیلی و با استفاده از بررسی‌ها و مصاحبۀ میدانی و مطالعات کتابخانه‌ای انجام‌گرفته است.

https://nbsh.basu.ac.ir/article_5884_7ed2d3454c5eea71148b11d0c25104ff.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 Study of the Prehistoric Mourning Ritual of Siavash with the Help of Archaeological Documents of the Sogdiana Region with an Iconological Approach مطالعۀ آئین پیشاتاریخی سوگ سیاوش با کمک اسناد باستان‌شناختی منطقۀ سغدیانا با رویکرد آیکونولوژی 127 150 5885 10.22084/nb.2023.27785.2586 FA مهدی قادرنژادحمامیان استادیار گروه پژوهش هنر، دانشکدۀ هنر، دانشگاه نیشابور، نیشابور، ایران 0000-0002-2778-6774 محبوبه اکبری ناصری استادیار گروه ارتباط تصویری، واحد لاهیجان، دانشگاه آزاد اسلامی، لاهیجان، ایران. 0000-0001-7639-3339 Journal Article 2023 05 06 Abstract The region of Sogdiana is recognized as a vital historical and cultural center within the ancient Iranian geographical landscape. This area has garnered the interest of scholars from diverse archaeological viewpoints. The relationship between the religious-narrative culture of Sogdiana and its artistic traditions is particularly noteworthy. Central to this discourse is the narrative of Siavash and mourning for him, which is one of the key religious-ritual stories, showcasing remnants of various ancient mourning practices. Beyond the realm of religious and literary sources, aspects of our historical visual tradition also reflect this narrative, enabling an analysis of the semantic and religious origins of this ritual through these artistic depictions. This article examines the Panjkent wall painting associated with Siavash’s mourning, aiming to analyze this ritual as a significant historical and cultural representation. To achieve this, the study employs Irwin Panofsky’s iconological approach, which proves beneficial in the fields of archaeology, art history, and visual studies. This methodology facilitates the “description,” “analysis,” and “interpretation” of the wall painting, allowing for a comparative exploration with other visual artifacts that contribute to a fresh understanding of the mourning concept. The objective of the present research is to address the central inquiry: “How has the concept of mourning manifested and persisted throughout the history and culture of the Iranian people?” This inquiry aims to explore the historical and cultural significance of mourning while tracing the evolution of this concept through associated imagery. By concentrating on the meanings and historical roots of mourning as depicted in visual representations, this study facilitates an examination of the motifs and gestures of various figures, thereby enabling a broader analysis. The research adopts a descriptive-analytical approach, aligned with its fundamental aims, and employs a methodological framework that incorporates both visual and textual sources obtained through library research and archaeological findings. Keywords: Archaeology of Central Asia, Sogdiana, Iconology, Mourning for Siavash, Panjkent Wall Paintings, Continuity. Introduction The structured rituals associated with mourning and death represent a longstanding and expansive area of inquiry, generating considerable discussion among scholars. The narrative of Siavash, along with the mourning practices linked to him, has been transmitted from ancient times through both religious and epic literature. It appears that, despite the passage of time, the essence of mourning has persisted in various representations and ideas, thereby shaping the entirety of this ritualistic practice. Consequently, the mourning rituals and symbols in ancient Iran have maintained their foundational frameworks throughout history. This article employs Panofsky’s iconology approach to explore the underlying meanings of mourning and its associated symbolic concepts. The examination of existing visual artifacts and textual records indicates that in ancient Iran, various forms of mourning for the deceased and heroes were prevalent. The practices associated with mourning, such as hair pulling, cutting, scratching, weeping, and the donning of black attire, were integral to these rituals performed by mourners. This research aims to explore the concept of mourning, particularly in relation to the mourning of Siavash. This review seeks to investigate the phenomenon of mourning and to analyze the cultural framework that supports such expressions of grief. To achieve this, it will delve into the themes of repetition and continuity as depicted in mourning imagery, with a specific focus on the mural from Panjkent. The portrayal of mourning in Panjkent is not simply a visual representation; it embodies a deeper cultural significance. This article aims to address the question: “In what ways has the concept of mourning persisted and evolved throughout the history and culture of the Iranian people?” Our intention is to uncover the continuity of an ancient religious tradition by analyzing mourning imagery. This investigation seeks to understand both the historical and cultural implications of mourning and to trace the ongoing representation of Siavash’s mourning within the framework of Iran’s archaeology. To facilitate this analysis and respond to the research question, we have utilized Panofsky’s method of iconology. Article Text The depiction of mourning for the hero in Panjkent features a variety of figures alongside a chamber or structure. Positioned on the right side of the image, and flanking Amari, are fourteen individuals who are engaged in the act of mourning while carrying a chamber or coffin To the left, three larger figures are also present, all of whom are depicted in a state of grief, inflicting injuries upon their heads and faces. It is important to note that the mourning of Siavash has its roots in Iranian-Central Asian traditions, with influences from Mesopotamia, as well as Eastern and Greek cultures. This article emphasizes the Central Asian origins of this mourning practice. A notable aspect of the rituals surrounding the death of the martyred god is the emergence of secretive learning ceremonies that develop around his persona posthumously. This establishment of enigmatic rituals is a distinctive feature of mourning for Siavash, characterized by expressions of lamentation, weeping, and bodily harm, which have persisted over the centuries. This practice represents the initial gesture or thematic element encountered in the Panjkent. The public’s conviction in empathy and engagement during mourning is pivotal to the mourning scene, fostering a connection with the hero depicted and ensuring the endurance and recurrence of this ritual through the actions of ritual practitioners across generations. Additionally, the mourning iconography is enhanced and sustained by various gestures and symbolic elements. A significant aspect to consider in the representation of mourning is the use of black; this is evident in the attire of the ritualists and the presence of a black horse within the scene. The choice of black clothing by the ritualists can be interpreted as an effort to forge a sense of unity that resonates with the hero’s narrative. In this context, the rituals and their practices serve as a means to facilitate this connection. By engaging in these rituals and partaking in the specific mourning rites for the Shah-Martyr, individuals participate in a continuum that transcends time, re-enacting a sacred event within an eternal framework. The persistence of the icon, reflected in the postures of the figures, their meanings, and the imagery, illustrates the self-reinforcement and preservation of the ritual within cultural and historical contexts. Conclusion Following the demise of Siavash, his commemoration as a hero-god was sustained through a confluence of cultural, historical, and ritual-religious factors that ensured the persistence of his image. This continuity manifested across various regions of Iran, extending into Central Asia. The depiction found in the Panjkent wall painting, while ostensibly illustrating the death of Siavash, the god-martyr, serves as a representation of an enduring archetype, accompanied by corresponding ceremonial practices. The application of Panofsky’s iconological approach facilitates a deeper understanding of this imagery and the associated mourning gestures. Through this analytical lens, we can discern the recurring themes present in these images and texts that have traversed time and geography, highlighting the resurgence of ancient myths and rituals in different eras. Furthermore, many actions performed by mourners, such as weeping, donning black attire, and the ritualistic cutting of hair and faces, can be interpreted as expressions of solidarity with the hero. This desire for unity with the hero is a profound aspect of human experience, manifesting in diverse forms throughout. منطقۀ ‌سغدیانا از مراکز مهم تاریخی-فرهنگی موردتوجه در حوزۀ مطالعات تاریخ هنر و باستان‌شناحتی ایرانی بوده و در این‌میان، فرهنگ حماسی-مذهبی این منطقه واجد اهمیت دوچندان است. داستان «سوگ سیاوش» از مهم‌ترین این روایت‌های حماسی-مذهبی بوده و می‌توان رد بسیاری از آئین‌های کهن مرتبط با سوگ را در این روایت‌ها و هم‌چنین سنت تصویری مرتبط با آن‌ها تشخیص داد. ریشه‌های معنایی سوگ را می‌توان از خلال این تصاویر بررسی کرد. در پژوهش حاضر با ارجاع به دیوارنگارۀ پنجکنت منتسب به سوگ سیاوش، سعی‌در مطالعۀ چرایی استمرار و بقای انگاره-تصویر سوگ شده است. بدین‌منظور، از روش آیکونولوژی «اروین پانوفسکی» استفاده می‌شود. این روش به ما کمک می‌کند تا با «توصیف»، «تحلیل» و «تفسیر» این دیوارنگاره و تطبیق آن با دیگر اسناد تصویری مرتبط به خوانشی نو از انگارۀ سوگ دست‌یابیم. پرسش اصلی این است که، حضور انگارۀ سوگ و استمرار آن در تاریخ و فرهنگ ایران به چه طریق بوده است؟ هدف از این پرسش، در درجۀ اول مطالعۀ تاریخی-فرهنگی معنای سوگ و پی‌گیری استمرار این انگاره از خلال تصاویر مرتبط با آن است. براساس اسناد مکتوب و شواهد تصویری، در ایران باستان سوگواری در عزای مردگان و پهلوانان به اشکال مختلف مرسوم بوده و نشانه‌های آن‌را در کنش‌هایی چون: گریستن، موی کندن، روی خراشیدن، سیاه پوشیدن و... نزد آئین‌ورزان می‌توان مشاهده کرد. بدیهی است که در آئین سوگواری افراد حاضر در مراسم با نوعی حضور مدام، این اعمال را تکرار می‌کردند. پژوهش حاضر، ضمن پرداختن به مسأله سوگ، این استمرار را از خلال مطالعۀ دیوارنگارۀ پنجکنت و تطبیق آن با دیگر اسناد باستان‌شناختی منطقۀ آسیای مرکزی مورد بررسی قرار می‌دهد. این پژوهش، براساس هدف بنیادی و از منظر روش، توصیفی-تحلیلی است. داده‌های اولیۀ پژوهش حاضر نیز از طریق مطالعات کتابخانه‌ای و اسناد باستان‌شناختی فراهم آمده‌اند.

https://nbsh.basu.ac.ir/article_5885_75877cb75154206c4e65e76b88a12712.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 The Origin of Urchin Dome in the Seljuk Architecture and the Evolution in in Later Periods پیدایش گنبد اُورچین در معماری سلجوقی و سیر تحول آن در دوره‌های متأخر 151 180 5371 10.22084/nb.2023.27923.2598 FA احمد صراف زاده دانشجوی دکتری معماری اسلامی، گروه معماری، دانشکدۀ معماری و شهرسازی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0000-0002-7277-9514 احد نژاد ابراهیمی استاد گروه معماری، دانشکدۀ معماری و شهرسازی، دانشگاه هنر اسلامی تبریز، تبریز، ایران (نویسندۀ مسئول). 0000-0001-6025-1942 مینو قره بگلو استاد گروه معماری، دانشکدۀ معماری و شهرسازی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. Journal Article 2023 06 08 Abstract Urchin domes represent a significant category of dome architecture in Iran, alongside Nur and Rok domes, which exemplified innovative structural and technological advancements of their time. Some scholars suggest that the origins of this dome type can be traced back to the Seljuk period. Consequently, the aim of this research is to explore the typology and to identify the geometric transformations of the Urchin dome, while also addressing pertinent research questions. Specifically, this study seeks to answer “What factors contributed to the development of the Urchin dome during the Seljuk era?” and “What trajectory of changes impacted the development of Urchin domes?” This study employs a descriptive-analytical research method, focusing on the elements that influenced Seljuk architecture and their subsequent impact on Urchin domes. The analysis proceeds with a typological and historical classification of Urchin domes. The research findings indicate that multiple factors have shaped the variety of Urchin dome types, which were intrinsically linked to the characteristics of Seljuk architecture. The elements observed in the later periods reflect a continuation of the values established during the Seljuk era, particularly evident in the design of the Urchin dome. The findings indicate that Urchin domes, by maintaining the characteristics of Seljuk architecture, established a foundation for a novel architectural framework during this era. Subsequently, in later periods, these domes evolved while retaining their fundamental essence, resulting in a variety of Urchin dome forms. The transformations initiated during the Seljuk period were characterized by a relatively straightforward design compared to the more intricate developments that followed, with the apex of complex geometric forms in dome architecture being associated with the post-Seljuq era. Keywords: Urchin Dome, Seljuk Architecture, The Origin of Urchin Dome, Evolution. Introduction Among the various forms of dome construction in Iran, Urchin domes hold a prominent place, alongside Nar and Rok domes, which signify a transformative architectural style and technological progress of their time. Researchers have indicated that the origins of this dome type can be linked to the Seljuk era. Urchin domes are regarded as a pioneering aspect of Seljuk architecture, distinguished by their unique characteristics. They bear resemblance to Rok domes, which are designed with multiple stepped layers. The stepped dome’s configuration is reminiscent of moqarnas patterns, suggesting that these domes may represent the earliest iteration of moqarnas. Additionally, a thorough investigation into the historical significance of Urchin domes highlights their concentration in the southern and southwestern regions of Iran during the Seljuk period. Understanding the evolution of Urchin dome types from the Seljuk period to subsequent eras is crucial. This research aims to explore typology and identify the geometric changes in Urchin domes while addressing key research questions. Specifically, it seeks to determine the factors that influenced the development of the Urchin dome during the Seljuk period and to trace the changes in these influencing factors over time. The method employed in this study is both descriptive and analytical, focusing on the elements that shaped Seljuk architecture and their impact on Urchin domes. The analysis involves a typological classification of Urchin domes throughout history. Data for this research is gathered through library resources, field surveys and studies, allowing for the extraction of relationships among the various components. In addition, the designated sections employ software redrawing to provide a more thorough examination of the subject and the diverse structural forms present in Urchin domes. This methodology allows for a detailed articulation of the effective components of the architectural body, which is essential for assessing the domes based on Structural Architectural principles. Thus, in relation to the research topic, the typology of structural components and elements within the dome is analyzed, focusing on both its objective and formal dimensions to clarify a sequence of developments expressed through visible semiotics. Identified Traces The existing body of research indicates that Seljuk architecture has had a significant impact on various architectural elements. This influence is particularly evident in the characteristics and structural nature of the domes, specifically Urchin domes. Consequently, this study examines the features that define the Urchin dome of Seljuk origin and analyzes its transformations that occurred in subsequent periods. The research findings reveal multiple factors that have shaped the proliferation of different Urchin dome styles, which are intrinsically linked to Seljuk architectural principles. These elements persisted into later eras, reflecting a commitment to preserving the architectural values established during the Seljuk period. Investigations reveal that different features related to Urchin domes have resulted in the development of multiple types. Each of these types has influenced both the purpose and visual characteristics of dome construction, thereby playing a crucial role in the architectural design of Seljuk edifices. According to specialists in Seljuk architecture, the external and functional attributes provide insights into the factors that shaped this era. By analyzing the individual elements that contribute to the objective characteristics of Urchin domes, it becomes possible to identify the structural patterns that are fundamental to Seljuk architecture. These elements can be categorized into several aspects, including verticality, dome proportions, dome types, the dome’s crown, the stem or grave, and the final covering. Each of these components has significantly influenced the development of the Urchin dome, resulting in a variety of structural forms. Conclusion The trajectory of architectural changes indicates that simpler structures emerged in the early centuries of the periods under consideration. Over time, as architectural designs evolved, greater complexity and novel forms of Urchin domes became evident in the later periods. Furthermore, in subsequent centuries, new constructions maintained their inherent characteristics while coexisting with the original structures. These developments were influenced by the architectural style of the Seljuk period and retained their identity as a structural component in later eras. Consequently, the influence of these changes over time can be viewed as a progression towards the evolution of this architectural feature, while still honoring its historical ties to the Seljuk period. The analysis reveals that Urchin domes, by retaining the distinctive traits of Seljuk architecture, facilitated the emergence of a new structural context during this time. In the following periods, they preserved their fundamental characteristics while evolving into various forms of Urchin domes. These modifications began in the Seljuk period and were predominantly characterized by a simpler nature in comparison to the more elaborate designs that followed, with the height of complex geometric configurations in dome elements being linked to the post-Seljuq period. گنبدهای اورچین یکی از گونه‌های رایج گنبدسازیِ ایران در کنار گنبدهای نار و رُک می‌باشد که نمود ساختاری جدید و فناوری عصر خود بوده‌اند؛ هم‌چنین برخی از پژوهشگران اشاره دارند که پیدایش این نوع گنبد به عصر سلجوقی بازمی‌گردد. به‌همین دلیل، شناخت سیر تحول ایجاد شده از دورۀ سلجوقی تا بعد از آن در ساختار گونه‌های گنبد اورچین مورد اهمیت می‌باشد؛ به‌طوری‌که هدف پژوهش به گونه‌شناسی در کنار شناسایی تغییرات در هندسۀ گنبد اورچین توجه‌داشته و عوامل مؤثر بر شکل‌گیری گنبدهای اورچین را موردمطالعه قرار می‌دهد. در این مسیر، این پژوهش درصدد پاسخ‌گویی به این پرسش‌ها است؛ چه عواملی بر شکل‌گیری گنبد اورچین در دورۀ سلجوقی نقش داشته است؟ و سیر تغییر در عوامل مؤثر بر شکل‌گیری گنبدهای اورچین بیانگر چیست؟ جنبه‌ای دیگر از انجام این پژوهش محسوب می‌گردد. روش پژوهش این جستار، توصیفی و تحلیلی است و اطلاعات لازم از طریق مطالعات کتابخانه‌ای و پیمایش‌های میدانی، جمع‌آوری شده‌اند. یافته‌های پژوهش نشان‌داد، مؤلفه‌های مختلفی بر پراکنش گونه‌های مختلف گنبدهای اورچین تأثیرگذار بودند و این مؤلفه‌ها در معماری دوره‌های بعد تداوم‌یافته‌اند که نمودی از نمادهای معماری دورۀ سلجوقی می‌تواند در ساختار گنبد اورچین باشد؛ هم‌چنین گنبدهای اورچین با حفظ ویژگی‌های معماری سلجوقی در خود، زمینۀ ساختار نوینی در این عصر را ایجاد کرده و در دوره‌های بعد با حفظ ماهیت، گونه‌های متنوعی از گنبد اورچین را به‌وجود آورده‌اند. این تغییر و تحولات از دورۀ سلجوقی شروع‌شده و عمدتاً با ماهیتی ساده نسبت به دوره‌های بعد از خود ایجاد شده‌است؛ به‌طوری‌که می‌توان اوج هندسۀ پیچیده در اجزای گنبد را مرتبط با دوره‌های بعد از سلجوقی مرتبط دانست.

https://nbsh.basu.ac.ir/article_5371_78719f11fa2df9917de3110133506521.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 An Analysis of the Significance and Status of the Bagh-Bamid Area Within the Sirjan Plain from the 6th To the 10th Centuries AH based on Potsherd Analysis نقش و جایگاه محوطۀ باغ‌بَمید در دشت سیرجان طی سده‌های 6 الی 10ه‍.ق. براساس تحلیل یافته‌های سفالی 181 214 5352 10.22084/nb.2023.27763.2582 FA ستار خالدیان استادیار گروه باستان‌شناسی، دانشکدۀ باستان‌شناسی و مرمت، دانشگاه هنر شیراز، شیراز، ایران. 0009-0004-2820-570X زینب افضلی پژوهشگر پسادکتری باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران (نویسندۀ مسئول). 0009-0008-7343-4527 Journal Article 2023 04 28 Abstract Archaeological surveys have pinpointed the Bagh-Bamid area to the northwest of Sirjan. The considerable dimensions and variety of cultural artifacts found there imply its importance in the Sirjan Plain throughout the Islamic era. Therefore, this study seeks to explore and analyze the pottery findings from Bagh-Bamid to better understand its role during the middle Islamic centuries, particularly given the limited documentation available in historical texts regarding the area. The field investigation yielded a diverse array of pottery artifacts that serve as valuable indicators for assessing the status of Bagh-Bamid during the middle centuries of the Islamic period. This research seeks to address several critical inquiries: What role did Bagh-Bamid play between the 6th and 10th AH centuries? What pottery-making technologies were prevalent during this time? Furthermore, an analysis of the evidence will help determine whether the pottery discovered in this area was locally produced or imported. The objective of this study is to investigate the cultural artifacts discovered at the Bagh-Bamid site during the medieval Islamic period, with the intention of assessing the importance of this area during that era. Employing a descriptive-analytical research framework, the study utilized both documentary and field data collection methods to gather relevant information. Findings from the Bagh-Bamid site demonstrate that the pottery can be categorized into two principal groups of glazed and unglazed varieties. The unglazed pottery types feature a range of decorative techniques, including carving, pressing, molding, stamping, and the use of combined designs. The glazed pottery, on the other hand, is available in both monochromatic and polychromatic varieties. Furthermore, the collection features several pieces of imported Chinese pottery, which were brought to Sirjan through trans-regional connections. Archaeological research suggests that Bagh-Bamid was established alongside Qale’h Sang site during the 6th to 10th centuries AH, acting as a crucial link in important commercial and economic pathways to the city of Sirjan. Keywords: Bagh-Bamid Locality, Sirjan Plain, Archaeological Survey, Islamic Middle Centuries, Pottery Typology. Introduction The Sirjan Plain, situated in Kerman Province in southern Iran, serves as a vital nexus for communication routes, linking the southern with the central and northern areas of the country. This strategic significance has persisted from historical times to the present day. Among the population centers located on this plain is the Bagh-Bamid area, historically referred to as “Beymand” in various literary sources. This area is positioned along key communication routes, including those connecting Shiraz to Sistan and the Persian Gulf shores to the central regions of Iran (Ibn Khordadbeh, 1992: 40-42; Istakhri, 1994: 168; Maqdisi, 2006: 686-682). This locality has historically served as a conduit to numerous regions, including Fars, Hormozgan, the shores of the Persian Gulf, Yazd, Isfahan, Kerman, Sistan, and Khorasan. Archaeological evidence, particularly in the form of pottery, substantiates this assertion. However, the written records from the medieval period provide scant information compared to those from earlier centuries. Notably, the city is only briefly mentioned in Idrisi’s Nuzhat al-Mushtāq, while other texts such as Mo’jam Al-Buldan and Taqwim al-Buldan merely reference the city’s name (Idrisi, 2009: 53-45; Hamawi, 1968: 177; Abulfeda, 1970: 381). The Bagh-Bamid area, located to the northwest of Sirjan city, was recognized during archaeological surveys conducted in 2017, which yielded a variety of cultural artifacts. This research primarily seeks to address several key questions: What role did the Bagh-Bamid site play during the 6th to 10th AH centuries? What technological characteristics are evident in the pottery discovered in this site? Furthermore, do the findings suggest that the pottery is of local origin or imported? Furthermore, what has been the nature of both regional and extra-regional interactions involving this area? This research seeks to explore the geographical and cultural significance of the area by utilizing both written sources and field investigation results. To date, there has been a lack of published information regarding the medieval period in this region. Analyzing its cultural artifacts may shed light on the contributions of this area to the cultural, political, economic, and social evolution of the Sirjan Plain. By selecting the Bagh-Bamid area and focusing on its identification during the medieval centuries, along with the categorization of various pottery types and their comparative analysis, one can elucidate the connections between the findings from this area and other Islamic regions to a significant degree. Consequently, this approach allows for the establishment of its cultural ties in both regional and extra-regional contexts during this period. Discussion The Bagh-Bamid area, encompassing approximately 300 hectares, constitutes a significant residential area located in the northwest of Sirjan. Within this region, a total of 1,346 potsherds were discovered, of which 79 were subjected to analysis in this study. These artifacts date back to the medieval Islamic period and are categorized into two primary types: unglazed and glazed pottery. In contrast, various written records identify this area as Beymand or Meymand in the medieval centuries. However, aside from Idrisi’s Nuzhat al-Mushtāq (2009: 53-45), which offers a comprehensive discussion, most other sources only acknowledge its name. As a result, we sought to clarify historical context and appearance of the area in question to some extent by examining archaeological discoveries. During the medieval Islamic period, Bagh-Bamid was a relatively minor settlement when compared to both the early and late Islamic eras. Its position along key trade routes facilitated communication, making the Sang castle and the surrounding Bagh-Bamid area crucial for commercial and cultural interactions among diverse regions. Additionally, the political dynamics of this era significantly influenced the economic vitality of the Sirjan region, particularly following the mid-7th century AH when Turkan Khatun successfully reclaimed Sirjan from the Shabankara princes of Fars, who had previously held control over the area. Subsequently, the initiatives undertaken by Padishah Khatun in fostering appropriate relations with the Ilkhans led to significant economic and trade advancements in the Kerman state, particularly in regions such as Sirjan. Monshi Kermani notes that during this period, “the Kerman road became the highway” (Monshi Kermani, 2015: 71). This development had a profound impact on the region. Consequently, the efforts of the Qarakhitai and the Al-Muzaffar rulers in Kerman, coupled with the enhanced security of trade routes in Hormuz, contributed to the commercial prominence of peripheral areas like Sirjan. Conclusion Bagh-Bamid emerged as a significant entity within the Sirjan Plain, serving as a crucial nexus for communication. It facilitated connections between the ports along the Persian Gulf, particularly Hormuz, and the interior regions of the Iranian Plateau. The site’s growth and prominence can be attributed to its strategic location within the extensive communication network of southern Iran. Analysis of the pottery artifacts from Bagh-Bamid indicates two primary categories: unglazed and glazed pottery. The unglazed pieces feature a variety of decorative techniques, including carving, pressing, molding, stamping, and combinations thereof. In contrast, the glazed pottery is characterized by both single-colored and multi-colored finishes. This collection includes various pieces of imported Chinese pottery, which were transported to Sirjan as a result of trans-regional interactions. Archaeological evidence indicates that this region was established concurrently with the Qale’h Sang site during the 6th to 10th AH centuries of the Islamic period, serving as a vital link in significant commercial and economic routes leading to the central city of Sirjan. The resemblance of its pottery to that of other regions suggests that diverse pottery types were produced in major centers such as Hamedan, Kashan, and Ray, and subsequently exported to other locations, including Bagh-Bamid. This reflects the extensive interconnections among population centers during the 6th to 10th centuries AH. محوطۀ باغ‌بَمید در شمال‌غربی شهر سیرجان طی بررسی‌های باستان‌شنا‌سی سال 1397 شناسایی شد. وسعت زیاد و تنوع یافته‌های فرهنگی این محوطه، از نقش مهم آن در دشت سیرجان طی دوران اسلامی حکایت دارد. به این‌دلیل جستار حاضر قصد دارد تا در پژوهش پیش‌رو برای شناخت موقعیت و جایگاه محوطۀ باغ‌بَمید در بازۀ زمانی سده‌های میانی دوران اسلامی به بررسی و تحلیل یافته‌های سفالی آن بپردازد؛ زیرا در منابع مکتوب این دوره، اطلاعات اندکی از این مکان وجود دارد، ولی از بررسی میدانی آن، یافته‌های سفالی متنوعی به‌دست آمد که تا حدودی می‌توان با مطالعۀ آن‌ها به موقعیت این محوطه در سده‌های میانی دوران اسلامی دست‌یافت. پرسش‌های اصلی این پژوهش عبارتنداز 1. موقعیت محوطۀ باغ‌بَمید در سده‌های 6 الی 10ه‍.ق. براساس بررسی و تحلیل یافته‌های سفالی چگونه ارزیابی می‌شود؟ 2. فناوری رایج یافته‌های سفالی این محوطه کدامند؟ 3. براساس شواهد، یافته‌های سفالی این محوطه وارداتی یا بومی هستند؟ 4. محوطۀ باغ‌بَمید براساس یافته‌های سفالی چه نقش و جایگاهی در برهم‌کنش‌های منطقه‌ای و فرامنطقه‌ای در سده‌های میانی دوران اسلامی داشته است؟ این پژوهش تلاشی در جهت مطالعۀ یافته‌های سفالی محوطۀ باغ‌بَمید طی سده‌های میانی اسلامی است تا بتوان سیمای این محوطه را در این بازۀ زمانی مشخص کرد. روش پژوهش، توصیفی-تحلیلی و یافته‌های آن به‌صورت کتابخانه‌ای و میدانی گردآوری شده است. نتایج نشان‌داد که این محوطه هم‌زمان با محوطۀ قلعه‌سنگ طی سده‌های 6 تا 10ه‍.ق. استقرار داشته و حلقۀ ارتباطی راه‌های مهم تجاری-اقتصادی به شهر مرکزی سیرجان بوده است. یافته‌های سفالی محوطۀ باغ‌بَمید در دو گروه اصلی بی‌لعاب (نقوش کنده، فشاری، قالبی، مُهری و ترکیبی) و لعاب‌دار (لعاب‌دار تک‌رنگ و چندرنگ) تقسیم می‌شوند. در این محوطه، داده‌ای مبنی‌بر تولید سفال یافت نشد، که نشان می‌دهد به احتمال اکثر سفال‌ها وارداتی بوده و از مناطق دور و نزدیک به آن وارد شده‌اند.

https://nbsh.basu.ac.ir/article_5352_7261925973c9bf0a74d85ae968a57e5f.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 Evolution of Common Visual Patterns in the Framing of Ilkhanid Coins سیر تحول الگوهای بصری رایج در قاب‌بندی سکه‌های ایلخانی 215 236 5886 10.22084/nb.2023.28262.2625 FA مریم صادقی قرق آقائی کارشناس ارشد هنر اسلامی، گروه کتابت و نگارگری، دانشکدۀ صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران. 0009-0003-3039-7125 احمد صالحی کاخکی استاد گروه باستان‌شناسی، دانشکدۀ حفاظت و مرمت، دانشگاه هنر اصفهان، اصفهان، ایران (نویسندۀ مسئول). 0000-0002-1849-0701 فرهاد خسروی بیژائم استادیار گروه کتابت و نگارگری، دانشکدۀ صنایع‌دستی، دانشگاه هنر اصفهان، اصفهان، ایران 0000-0002-4625-5063 Journal Article 2023 09 11 Abstract Coins are among the most varied and informative historical and archaeological artifacts from the Ilkhanid era, providing not only diverse and valuable insights but also intriguing framing elements that deserve scholarly exploration. The objective of this research is to analyze the evolution of coin frames during the Ilkhanid period, which will facilitate a more nuanced understanding of the visual and artistic culture of that time. The research poses the question: what visual culture is dominant in the framing of Ilkhanid coins? This study is fundamental in its nature and employs a descriptive-historical-analytical methodology. A selection of twenty Ilkhanid coins has been sourced from the Ashmolean, David, and Malek museums, as well as from the personal collection of Komesh in Semnan, for thorough investigation. The results suggest that the samples can be classified into four fundamental categories: central, mixed, bordered, and simple. The frequency of frame usage within the visual culture of Ilkhanid coins is as follows: mixed frames are the most common, with 24 examples, followed by bordered frames with 10, central frames with four, and simple frames with two. Among these types, mixed frames stand out for their abundance and variety of designs, which is evident in their prominent role within the samples. This category can be further delineated into nine shapes in chronological sequence: circle, square, five feathers, sun, six feathers, seven feathers, eight feathers, altar, and three feathers. Keywords: Ilkhanid Visual Culture, Framing, Ilkhanid Coins. Introduction Problem Statement: The coin frame, serving as a decorative feature, has a long-standing history that has evolved through various epochs. This decorative element exhibits numerous variations across different coins. In the context of the Islamic period in Iran, the visual characteristics of coins experienced notable transformations. Similarly, the coins from the Ilkhanid era also reflected these changes, showcasing distinct attributes. The frame acts as a boundary that delineates the design and inscriptions, distinguishing the internal elements from the external ones. The framing of Ilkhanid coins is no exception to this principle. Since their inception, coins have mirrored the cultural geography of diverse regions, providing a significant source of information that helps illuminate the obscure and complex aspects of historical narratives. Objectives and Importance of the research: The introduction of coins has significantly enhanced commercial and economic transactions, leading to pivotal transformations in the trajectory of human history. The characteristics of coins, including the metal composition, designs, inscriptions, minting locations, and dates, are crucial for comprehending their historical context. This research particularly emphasizes the importance of coin design in elucidating aspects of history, economy, culture, and art. Consequently, the primary aim of this study is to recognize, analyze, and investigate the developments in coin design during the Ilkhanid period. Research Question: This study aims to address the following inquiry: what visual culture predominates in the representation of Ilkhanid coins? Research Method: The study is characterized by its fundamental nature and employs a descriptive-analytical methodology. The sampling technique utilized is judgmental. From a total of 200 samples gathered, 20 were specifically chosen for their comprehensive representation of various parameters, including design, motifs, and calligraphy styles prevalent during the Ilkhanid era, and these samples were subsequently analyzed. In essence, the research involved an examination of 10 percent of the total samples gathered. A deliberate selection of 20 coins from the Ilkhanid era was made, sourced from the Ashmoulin, David, and Malek museums, along with the personal collection of Komesh in Semnan. The collection of research records was facilitated through library studies and the review of national museum documents. This study employs a qualitative analysis method, which categorizes the general motifs and distinctly separates the linear design framing found on the reverse of the coins. Identified Traces In this investigation, a total of 20 coins from the Ilkhanid era were analyzed and classified into four categories of framing: “simple,” “with a border,” “central,” and “combined.” This categorization is informed by the framing patterns presented below. The frames are delineated into these four types based on the patterns illustrated. In order to examine the specifics of the sample framing, a framing pattern has been developed that reflects the most fundamental design characteristics of the existing samples, as illustrated below. The “gray” areas of the coin represent their physical attributes, while the “white” sections convey the author’s perspective on the minted coin, informed by the available research and evidence. The “dark gray” regions correspond to the worn patterns observed on the coin, and the “black” segments signify the remaining frames of the coin. The category of “Simple Framing” includes two examples from the Gaykhatu and Ghazan periods. In contrast, “Central Farming” comprises four examples from the Hulako period. The style “With a Border” is represented in ten examples from the reign of the second Ilkhanid monarch. Additionally, a “Combination” style features 24 examples from the era of Abaqa Khan, the second ruler of the Ilkhanid dynasty, and this style persists in examples up to the conclusion of Abu Said’s reign. An analysis of the frames reveals that the predominant visual motif of the Hulako period is characterized by a “central” arrangement. In contrast, the frames associated with Abagha and Arghun exhibit a “combined” style with a border, while Gaykhatu’s frames are described as “combined and simple.” The frames from the Ghazan period are noted for being “combined, with a border and simple,” whereas Uljaito’s frames are simply “combined.” Abu Said’s frames are also “combined and with a border.” The concept of “combined framing” encompasses a range of designs, historically categorized as circular, square, featuring five feathers, eight feathers, six feathers, seven feathers, mihrabis, and three feathers. This variety was prevalent throughout the Ilkhanid period, except for the Hulako’s frames, which predominantly feature five feathers. The diversification of composite framing began to rise during the mid-Ilkhanid era, particularly in the Ghazan period, with the most varied frames attributed to Abu Said. Conclusion This study aims to elucidate the framing patterns of coins from the Ilkhanid period by examining a collection of 20 coins housed in the Ashmolean, David, and Malek museums, as well as in the personal collection of Komesh in Semnan. Upon analysis of these specimens, it becomes evident that, despite an initial perception of similarity in the frames, they exhibit distinct differences upon closer inspection. Initially, the framing of the coins was restricted to a basic circular geometric shape; however, over time, these shapes evolved into a more varied array. The earliest form of central framing is attributed to a coin from the era of Hulaku. The third category, characterized by a border framing, emerged during the Abaqa period and persisted until the Abu Saeed period. The final category featured simple framing, which was evident in the samples from the Gaykhatu and Ghazan periods. The variety of types is notable, comprising 24 samples of combined framing, 10 samples with borders, 4 central samples, and 2 simple samples. Notably, combined framing exhibits both a greater quantity and a wider range of designs. This classification encompasses nine historical categories: circle, square, five-feather, eight-feather, six-feather, seven-feather, altar, and three-feather. The era of Abu Said is noted for its exceptional diversity. یکی از متنوع‌ترین مدارک تاریخی و باستان‌شناسی دورۀ ایلخانی، سکه‌ها هستند که باوجود اطلاعات متنوع و ارزشمند، از حیث قاب‌بندی نیز، درخور توجه هستند. هدف از این پژوهش، تحلیل و مطالعۀ تحولات قاب سکه‌ها، در خلال دورۀ ایلخانی است که منجر به شناخت بیشتر و بهتر ابعادی از فرهنگ بصری و هنری دورۀ ایلخانی می‌شود. پرسش پژوهش پیشِ‌رو، این است که فرهنگ بصری غالب در قاب‌بندی سکه‌های ایلخانی چیست؟ پژوهش موردنظر از نظر هدف، بنیادی و از نظر روش، توصیفی_تطبیقی است. نمونه‌گیری به‌صورت انتخابی هدفمند [هدفمند خوشه‌ای] انجام‌شده و بدین‌منظور، 20سکه مورد تحلیل و بررسی قرار گرفته است. پس از مطالعات مقدماتی کتابخانه‌ای و جستجوی اینترنتی موزه‌های دنیا و آلبوم سکه‌ها، 20سکۀ دورۀ ایلخانی از موزه‌های اشمولین، دیوید، ملک و مجموعۀ شخصی کومش سمنان انتخاب‌شده و موردمطالعه قرار گرفته است. برپایۀ نتایج حاصله، قاب نمونه‌ها در یک تقسیم‌بندی کلی به چهار دسته: مرکزی، ترکیبی، حاشیه‌دار و ساده، قابل تفکیک هستند؛ از این‌رو، می‌توان فراوانی استفاده از قاب‌بندی‌ها را در فرهنگ بصری سکه‌های ایلخانی به این‌ترتیب بر‌شمرد؛ بیشترین تعداد گونه‌ها به‌ترتیب شامل: قاب‌بندی ترکیبی با 24 نمونه، حاشیه‌دار با 10 نمونه، مرکزی با 4 نمونه و ساده با 2 نمونه هستند. در بین گونه‌ها، قاب‌های‌ ترکیبی بالاترین تعداد و تنوع طرح را داشته، که این تنوع در نقش مرکزی نمونه‌ها مشاهده می‌شود. این‌گونه به‌ترتیب تاریخی به 9 شکل: دایره، مربع، پنج‌پر، شمسه، شش‌پر، هفت‌پر، هشت‌پر، محرابی و سه‌پر تقسیم‌شده‌ و اوج تنوع در قاب‌بندی ترکیبی با اختلاف زیاد با پنج نوع نقش: پنج‌پر، هفت‌پر، هشت‌پر، محرابی و سه‌پر مربوط به دوران «ابوسعید» است.

https://nbsh.basu.ac.ir/article_5886_5300ef422e613b74fbf759d293aaab6a.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 Characteristics of the Forms, Decorations, and Themes of the Seals of the Afshar Kings شاخصه‌های فرمی، تزئینی و مضامین مهرهای شاهان افشار 237 260 5887 10.22084/nb.2023.28196.2617 FA سارا سپهوند کارشناسی‌ارشد باستان‌شناسی، گروه باستان‌شناسی، دانشکدۀ حفاظت و مرمت، دانشگاه هنر اصفهان، اصفهان، ایران. 0009-0007-2697-0442 میترا شاطری دانشیار گروه باستان‌شناسی، دانشکدۀ علوم انسانی، دانشگاه شهرکرد، شهرکرد، ایران (نویسندۀ مسئول). 0000-0001-7210-7171 سید محمدعلی موسوی پژوهشگر آزاد، ایران. Journal Article 2023 08 20 Abstract The royal seals from the Afshari period represent significant artifacts of this historical era. Despite their importance, there has been a limited number of studies focusing on these seals, which aim to analyze their structural characteristics based on available documents and decrees. Often, the role of seals has been perceived merely as a procedural element within the documentation practices of the time. Furthermore, existing research on the royal seals tends to rely on broad generalizations rather than in-depth analysis. The central questions guiding this research are: What were the shapes and patterns of the seals utilized by the Afshar kings, and what themes and ideas were expressed in their writings? To gather more insights into the forms, motifs, and thematic significance of these seals and their inscriptions, a detailed examination has been carried out. The research encompasses a statistical population of 24 seals and seal impressions linked to the Afshar royal lineage. The present study examines the impact of the royal seals associated with the Afshar dynasty. To date, only a single seal attributed to the Afshar kings has been definitively identified, specifically that of Adel Shah, with no additional seals from other monarchs of this era having been discovered. The research methods encompasses both library and field data collection, employing a historical-descriptive and analytical approach. The selection of royal seals is justified by references in credible documents and literature that acknowledge their existence. Consequently, an analysis of the motifs and inscriptions found on the royal seals from the Afshari period has been conducted. The data utilized in this research are primarily derived from library sources, involving a thorough examination of historical texts and documents. The analysis reveals that the primary designs of the seals belonging to the Afshar kings were characterized by square, crowned square, almond, crowned almond, and oval shapes. The inscriptions found on these seals predominantly encompass themes related to the identity of their owners, rituals for prayer to the Lord, supplications to Imam Ali (A.S.) and Imam Reza (A.S.), as well as expressions of praise directed towards the Afshar monarchs. Keywords: Seals and Seal Impressions, Afshar Kings, Inscriptions, Motifs and Themes. Introduction Investigating the seals of the Afshar kings is a significant endeavor for understanding the cultural, political, and religious contexts of the time. In the aftermath of the Safavid downfall and the Afghan rule over Iran, Nader Shah Afshar was proclaimed Shah in 1148 A.H. He maintained his reign until his assassination in 1160 A.H., during which he succeeded in creating a unified and relatively powerful administration in Iran. The engravings and decorative elements present on seals offer critical insights into the governance of different historical periods. The lack of extensive historical records for specific governmental periods renders inscriptions, particularly those linked to royal seals, crucial for comprehending those eras. Prior to the establishment of the Afshari regime, the significance of seals was already a prominent issue for royal families during the patriarchal, Timurid, and Safavid periods. This focus on seals not only persisted but also grew stronger in subsequent times, notably during the Afshar period. This research project is designed to identify and analyze the forms, motifs, and themes associated with the seals and seal impressions of the Afshari kings. It aims to respond to essential questions such as: What forms and patterns were evident in the seals of the Afshar kings? What themes and concepts are represented in their writings? While the majority of the seals from the Afshar dynasty have been lost, with the notable exception of Adel Shah’s seal, the remaining impressions serve as a crucial source of information about the political, governmental, and religious dynamics during the Afshar period. In addition to historical texts and literature, the remaining documents and decrees are essential sources for understanding seals and their effects. The information for this research was collected using a documentary method, drawing from library sources and conducting field studies in both domestic and foreign museums. The research method is descriptive-analytical and historical. The Afshar kings ruled over various regions of Iran from the establishment of the Afshari government by Nader Shah Afshar until the time of Agha Mohammad Khan Qajar’s rule. A portion of the information gap and its inadequacy regarding this historical period of Iran, including its political, cultural, and religious circumstances, can be supplemented by findings derived from investigations into the seals and the significance of the kings’ seals. Discussion Based on the surviving historical literature and documents, there are 24 seals and their impressions that can be traced back to the Afshar monarchs. Specifically, this assortment comprises 8 seals belonging to Nader Shah Afshar, 3 to Adel Shah, 1 to Ibrahim Shah, 7 to Shahrukh Shah, 3 to Nadir Mirza, and 2 to Nasrullah Mirza. An analysis of the seals from the Afshari period reveals that the majority of seals belonging to the Afshar kings were designed in a crowned square format. Nadir Shah Afshar’s seals exhibit a variety of shapes, including simple squares, crowned squares, plain almonds (or pears), and crowned almonds. In contrast, Nader’s successors predominantly utilized the crowned square shape for their seals, with the notable exception of Adel Shah Afshar, whose seal was oval. The seals of Nader Shah Afshar exhibit a variety of decorative elements, including frames and plates shaped like almonds, crowned almonds, squares, and crowned squares. In addition to these geometric forms, the seals are adorned with both vegetal and animal motifs, notably featuring peacocks. The inscriptions on the seals of the Afshar Shahs primarily consist of their names and titles, accompanied by poetic verses that invoke the remembrance of God, as well as the veneration of Imam Ali (a.s) and Imam Reza (a.s). These inscriptions also express devotion to God, include Quranic verses, and reference the preceding government and the Safavid dynasty. An overarching perspective indicates that the predominant trend has been towards the validation and pursuit of legitimacy in governmental, political, national, and religious contexts. The texts found on the seals of the Afshar kings are composed in both Persian and Arabic, utilizing the Thulth and Nastaliq scripts for their inscription. Persian writings prominently feature the names of the Afshar rulers and poetic verses that extol their virtues, while the Arabic inscriptions contain phrases such as “Salamon Ala Ibrahim,” “La fata ella Ali La saif ella Zulfaqar,” “Besmellah,” “Al-Molku lellah,” and “Al-Hokmu lellah.” In every instance, the sacred divine names and attributes are inscribed in Thulth script, with the seal texts appearing in either Thulth or Nastaliq script. Conclusion While the specific shapes of the seals used by the Afshar kings are not documented, there is available information regarding the primary designs of these seals. Nader Shah Afshar’s seals were characterized by various shapes, including simple squares, crowned squares, simple almond shapes, and crowned almond shapes. His successors predominantly employed crowned square seals, followed by simple squares and oval shapes. The decorative motifs on Nader Shah Afshar’s seals included geometric frames, Khatai patterns, peacocks, lions, suns, and floral half-rings. In contrast, the seals of his successors primarily featured Khatai motifs and geometric frames for their decoration. The inscriptions on the seals of the Afshar kings are composed in Persian and Arabic, utilizing the Thulth and Nastaliq scripts for their written form. Typically, these royal seals feature the names and identities of the kings, alongside poetic verses that invoke the remembrance of God, as well as the veneration of Imam Ali (a.s) and Imam Reza (a.s). These inscriptions not only express devotion to God and include Quranic verses but also reflect the affiliation with the preceding government and the Safavid dynasty. A broader analysis reveals that these seals predominantly served to legitimize the political, national, and religious authority of the Afshar rulers, indicating their anxiety regarding the precariousness of their regime. مُهر و اثرمهر شاهان و حاکمان به‌دلیل ماهیت سیاسی و فرهنگی از ارزشمندترین آثار هر دوره به‌شمار می‌آید. مُهر حاکمان به‌دلیل پیش‌گیری از سوءاستفاده‌های مختلف، معمولاً بلافاصله پس از فوت یا برکناری از میان می‌رفت؛ از ‌این‌رو، به‌جز تعداد معدودی، برجای نمانده‌اند، اما دانش امروزی هم‌چنان ازطریق بررسی آثار مهر ایشان، قابل پیگیری و گسترش است. از آنجایی‌که درخصوص دورۀ افشاریه، اطلاعات اندکی دردست است، بررسی آثار مهرهای برجامانده در میان اسناد و فرامین شاهان این دوره می‌تواند به تنویر بخش مهمی از تاریخ این دوره کمک نماید. در معدود مطالعات صورت‌گرفته درمورد مهر شاهان افشار، بیشتر به کلیات پرداخته‌شده و به مهر، تنها به‌عنوان بخشی از آداب سندپردازی این دوره توجه شده است و اشاره‌ای به فرم، تزئینات و مضامین آن‌ها نشده است؛ برهمین اساس، پژوهش حاضر با هدف شناسایی و طبقه‌بندی فرم، نقوش و مضامین مهرها و اثرمهرهای شاهان افشاری درپی پاسخ‌گویی به پرسش‌هایی چون: مهرهای هر یک از شاهان افشار چه فرم‌ها و نقوشی داشته‌؟ و نوشته‌های حک‌شده بر مهرهای آنان چه مضامین و مفاهیمی داشته‌اند؟ خواهد بود. جامعۀ آماری مورد بررسی در این پژوهش، شامل 24 عدد مهر و اثرمهر از شاهان افشار است. روش گردآوری اطلاعات پژوهش، اسنادی از طریق مطالعات کتابخانه‌ای و میدانی، و رویکرد پژوهش نیز، توصیفی-تحلیلیِ تاریخی است. نتایج پژوهش حاکی از آن است که صفحۀ اصلی مهرهای شاهان افشار به شکل‌های مربع ساده یا تاج‌دار، بادامی ساده یا تا‌ج‌دار، و بیضی بوده است؛ و مضامین اصلی نوشتار مهرها، اشاره به برخی آیات قرآنی، بر هویت صاحبان آن‌ها و شعائری در عرض ارادت به پروردگار، امام علی؟ع؟ و امام رضا؟ع؟، و در مرتبۀ بعدی در ستایش شاهان افشار است.

https://nbsh.basu.ac.ir/article_5887_7cfd5df443b4eb0d69886a583b33de4c.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 Analyzing the Chapar Khanehs and Post Offices along the Tehran-Anzali Route during the Qajar Period through the Examination of Historical Texts and Archaeological Findings بررسی چاپارخانه‌ها و پُستخانه‌های مسیر تهران-انزلی در دورۀ قاجار با تکیه‌بر اسناد و شواهد باستان‌شناسی 261 293 4811 10.22084/nb.2022.25892.2464 FA فاطمه عابدی دانشجوی دکتری باستان‌شناسی، گروه باستان‌شناسی، ادبیات و علوم انسانی، واحد علوم تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران. 0009-0003-1998-8960 احمد چایچی امیرخیز استادیار پژوهشی پژوهشگاه سازمان میراث‌فرهنگی و گردشگری، تهران، ایران (نویسندۀ مسئول). 0009-0004-7449-8718 کمال الدین نیکنامی استاد گروه باستان‌شناسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران. 0000-0001-5273-8179 هائیده خمسه دانشیار گروه باستان شناسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه آزاد اسلامی واحد علوم و تحقیقات تهران، تهران، ایران. 0000-0002-2828-5832 Journal Article 2022 03 08 Abstract The Qajar era marked a significant evolution in the diplomatic and commercial interactions between Iran and Russia. The trade routes connecting Tehran to Bandar Anzali, situated along the northern frontier, emerged as a crucial geopolitical conduit within Iran’s communication framework with both Russia and Europe. This thoroughfare served as a vital passage for monarchs, politicians, merchants, and affluent individuals from Iran and Europe. The exchanges facilitated by this route acquainted Iranians with global advancements, fostering a desire to enhance and modernize the chapar khanehs and newly-established post offices along the highway. While the origins of chapar khanehs can be traced back to antiquity, their functionality and role underwent significant transformation during the Qajar period, reflecting a strategic governmental approach to communication services that catered to various societal sectors and bolstered diplomatic ties. The objective of this study is to examine the chapar khanehs and post offices along the Tehran-Anzali route during the Qajar period, specifically addressing the question of how geographical and cultural elements impacted their architectural design and operational functions. This historical research adopts an analytical methodology. The data collection involved a thorough review of library resources, including travel accounts, written records, reports, maps, and historical images from the Qajar era, complemented by archaeological findings from field investigations. The analysis conducted is qualitative. The results reveal that the chapar khanehs and post offices along the route in question possess similar spatial arrangements yet differ in architectural style, influenced by geographical and climatic factors, the prevailing cultural context of the country, and the imitation of Western trends, all orchestrated by a cohesive governmental and administrative framework. Keywords: Chapar Khaneh, Route, Tehran, Anzali, Qajar Period. Introduction Following the introduction of European innovations in the 19th century to Qajar politicians and educated individuals, significant efforts were made to reconstruct roads and modify construction methodologies, blending traditional and contemporary approaches. The Qazvin-Tehran Road underwent its initial conversion into a chausse, or gravel road, in 1296 AH (1878 AD), with the project finalized three years later in 1299 AH (1881 AD). The extension of the roadway connecting Qazvin to Rasht during the reign of Naser al-Din Shah was executed by Iranian engineers, including Engineer Khan Suleyman, in collaboration with a Russian firm known as Iran Transport Insurance in the year 1298 AH (1881 AD). The project was overseen by a Russian official, Lazarpuliakov, from 1307 to 1309 AH (1889-1891 AD). Subsequently, in 1316 AH (1898 AD), the construction of this road was also taken on by a joint Russian-Iranian enterprise called the Anzali Road Company. The regulation of traffic and the administration of road tolls were maintained by the Russians until the mid-20th century. However, by the end of the Qajar dynasty, following the events of World War I and the Russian October Revolution, this roadway emerged as one of the most active commercial routes, witnessing the annual movement of a significant quantity of goods and passengers. This development greatly benefited the Iranian postal treasury and the financial returns of chaparkhanehs along this corridor. Moreover, this route was recognized as the most direct access to Gilan for Western travelers, akin to European roads designed for high-speed transportation. An examination of post offices and chaparkhanehs along this route, along with an analysis of the cultural and geographical influences on their architectural designs, can contribute significantly to the reconstruction of the cultural history of the Qajar era. Regrettably, many of these structures have been lost in recent years because of adverse environmental conditions and insufficient upkeep. Therefore, conducting archaeological research in this area is essential. Research Questions and Hypothesis: How did geographical location, climatic conditions, and cultural influences shape the architecture and functionality of chaparkhanehs and post offices along the Tehran-Anzali route? The architectural styles of these structures appear to have been adapted to align with the surrounding geography, climate, and cultural context, while also reflecting the impact of contemporary Western trends. Nevertheless, they were all designed with comparable architectural layouts and operated within a unified governmental framework. This article represents fundamental research employing an analytical historical approach, utilizing qualitative research methods. Chaparkhanehes and Post Offices of the Tehran-Anzali Road during the Qajar Period During the early Qajar era, chaparkhanehs, or postal stations, were typically established adjacent to existing caravanserais, with portions of these caravanserais sometimes repurposed for postal functions. Following the formation of the Chapari organization under Naser al-Din Shah, chaparkhanehs were strategically located along postal routes, at the entrances and exits of urban and rural areas, and occasionally within towns along the designated paths. The majority of these structures were constructed using raw or pounded clay, and their architectural design drew inspiration from similar edifices from the Sassanid period. Notably, some chaparkhanehs were tailored to suit the climatic conditions of their respective locations, a feature evident in several stations along the route. Most of these buildings were positioned within expansive green spaces. During the Qajar era, chaparkhanehs were typically accompanied by stables. Each chaparkhaneh featured a two-story structure, with the upper-level functioning as a guesthouse and the lower level designated for livestock. In the year 1291 AH, an Austrian delegation led by Gustav Rider, an official from the Austrian postal service, visited Iran to reform the postal system. Rider implemented substantial modifications to the Chapari organization. By 1294 AH, Iran became a member of the International Postal Union, and by 1296 AH, the term “chaparkhaneh” was officially replaced with “post”. Moreover, communication facilities were established on the postal highway from Tehran to the north of the country, a route crucial for Iran’s imports and exports to Europe. Rider also set up post offices in major cities and important villages along this route, which managed the transportation of goods and postal packages under government supervision. Conclusion This study presents a compilation of 17 chaparkhanehs and 7 post offices, including their historical names. All the chaparkhanehs and post offices along this route were established following the reign of Naser al-Din Shah. While they shared a common functional purpose in terms of architectural spatial organization, the construction methods of their buildings varied. Factors such as geographical location, climate, and cultural context significantly influenced their architectural designs. The construction of “Kohdum” reflects the architectural characteristics prevalent in the northern regions of the country. The ornamental features adorning the ceilings at the entrances of “Qeshlaq” and “Pachenar” bear resemblance to European pediments, showcasing the impact of Western cultural influences. An examination of a photograph depicting the facade of the Qazvin guest house indicates that the architectural design of the post offices was inspired by the styles of more developed nations during that period. Field surveys have pinpointed the locations of Yengi Imam, Aghababa, and Kharzan. The edifices of Yengi Imam and Kharzan adhere to the tenets of traditional Iranian architecture, whereas the Aghababa mansion exhibits a blend of European neoclassical elements with traditional Iranian cultural motifs. در دورۀ قاجار مناسبات میان ایران و روسیه توسعه پیدا کرد. مراودات تجاری- سیاسیِ میان این دو کشور از سوی پایتخت دولت قاجار در تهران به بندرانزلی در مرز شمالی، که معبری راهبردی از نظر ژئوپولتیکی در شبکۀ ارتباطی ایران با روسیه و اروپا به‌حساب می‌آمده، صورت می‌گرفت. جادۀ تهران-انزلی در این دوره گذرگاهی به‌منظور سفر پادشاهان، سیاستمداران، بازرگانان و طبقۀ متمول ایران و دولت‌های اروپایی بوده و فرآیند این ارتباطات موجب آشنایی ایرانیان با چگونگی پیشرفت‌های بزرگ جهان و انگیزه‌ای جهت تعمیر و توسعه، تأسیس و تجهیز اماکن بین راهی، ازجمله چاپارخانه‌ها و پستخانه‌های نوین در این بزرگراه گردید. گرچه بنیان چاپارخانه‌ها ریشه در دوران باستانِ ایران دارد، ولی در دورۀ قاجار به‌لحاظ استراتژی در انجام خدمات دولتی، در حوزۀ ارتباطات برای همۀ اقشار جامعه و گسترش روابط دیپلماتیک میان ایران و جهان غرب، پویا و متحول شد. هدف این پژوهش بازشناسی و بررسی چاپارخانه‌ها و پُستخانه‌های وابسته به مسیر تهران-انزلی در دورۀ قاجار بوده و درپی پاسخ به این پرسش است؛ موقعیت جغرافیایی، شرایط اقلیمی و عوامل فرهنگی چه تأثیری بر روی معماری و عملکرد چاپارخانه‌ها و پستخانه‌های مسیر تهران-انزلی داشته است؟ شیوۀ تجزیه ‌و تحلیل اطلاعات از نوع کیفی بوده و روش این پژوهش تاریخی-تحلیلی است. یافته‌ها براساس، اسناد کتابخانه‌ای (سفرنامه‌ها، اسناد و گزارش‌های مکتوب، نقشه‌ها، عکس‌های تاریخی دورۀ قاجار) و بررسی میدانی باستان‌شناسی جمع‌آوری شده و موردمطالعه قرارگرفته است. تجزیه ‌و تحلیل اطلاعات از نوع کیفی بوده و نتایج حاصل از این پژوهش نشان می‌دهد، ساختمان چاپارخانه‌ها و پستخانه‌های مسیر مورد پژوهش دارای فضاهای مشابه بودند؛ اما به‌لحاظ فرم معماری متنوع بوده‌اند. این بناهای بین راهی درمجموع متأثر از موقعیت جغرافیایی و شرایط اقلیمی، نظام فرهنگی حاکم‌بر کل کشور و الگوپذیری از پدیده‌های نوظهور غربی در آن دورۀ تاریخی شکل‌گرفته بودند و همگی توسط دولت و یک نظام منسجم اداری سازمان‌ دهی می‌شدند.

https://nbsh.basu.ac.ir/article_4811_810bf83c7adfd8a04ac1f11508bab9e0.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 Recognizing the Roads and Historical Monuments Between Dizful and Khurramābād in the Qajar Era (Based on the Achievements of Arnold Wilson’s Mission in 1911) شناخت راه‌ها و آثار تاریخی محدودۀ میان دزفول و خرم‌آباد در دورۀ قاجار (با استناد به‌دستاوردهای مأموریت سال 1290ه‍.ش. آرنولد ویلسن) 295 323 5888 10.22084/nb.2023.27707.2581 FA کاوه رستم‌پور استادیار گروه معماری، دانشکدۀ مهندسی عمران و معماری، دانشگاه شهید چمران اهواز، اهواز، ایران. 0000-0002-2452-316X Journal Article 2023 04 14 Abstract Tracing historical routes is a crucial key to understanding the network of historical and cultural assets in any region, sometimes leading to the discovery of new sites. Nevertheless, the communication paths between Khūzistān and Luristān have remained largely unknown, and serious research on them has been lacking. In addition to the travels of Nasir-Al-Dīn Shāh’s entourage to Khūzistān, the significance of archaeological excavations and the commencement of oil exploration heightened European interest and activities in the southwestern region of Iran in the mid-20th century. Despite numerous journeys by domestic and foreign agents to Luristān and Khūzistān, Arnold Wilson’s journey and accomplishments in 1911 AD hold a distinctive position. Nevertheless, his contributions have not illuminated the relatively obscure historical pathway connecting Khurramābād to Dizfūl. This research aims to employ a historical interpretive approach, utilizing existing documents and historical maps found in travelogues, books, and military reports. Some of these documents will be published for the first time in this study. The research endeavors to analyze the reports and maps of Arnold Wilson’s 1911 AD mission in Luristān, shedding light on the routes and historical sites between Dizfūl and Khurramābād. The study seeks to accurately identify and introduce these sites and clarify the ambiguities surrounding this historical route. The investigation into Arnold Wilson’s 1911 expedition in Luristān, through the juxtaposition of his specific route illustrations and various historical pathways, notably the Dizfūl-Khurramābād route with an emphasis on the Chul road, has facilitated the unearthing of several significant historical sites. These sites encompass aqueduct structures in Du Hauzān, irrigation networks in Salih Ābād, historical areas in Sar-i-pilleh, Karaharr, Qāfilajāh, and Shahr-i-Gaud, tombs in Gurr-i-Hushkih and Ahmad Kūchīkih, Zāl and Tirādā historical bridges, the historical fortress of Tang-i-Qalā, and unique toponyms along these routes, such as Walmīyān, Baq-i-Khān, Āsīābād Mountain, and more. Many of these sites were introduced by Wilson for the first time and can serve as the foundation for further historical and archaeological field studies. Keywords: Arnold Wilson, Khurramābād, Dizfūl, Luristān, Historical Roads. Introduction Investigating historical routes is essential for comprehending the network of historical monuments across different regions and can occasionally lead to the discovery of new locations. However, the communication pathways between Khūzistān and Luristān have not been thoroughly examined, and there is a notable lack of substantial research in this area. This gap has become increasingly significant to foreign researchers since the latter part of Nāsir Al-Dīn Shāh’s reign. The predominantly narrative and textual travelogues produced by Iranian envoys, which were supplemented by relatively imprecise maps, offer a significantly lesser contribution to the understanding of the communication routes in this region. This is in contrast to the reports generated by European envoys, who traversed these routes equipped with appropriate tools and subsequently represented their findings on more precise geographical maps. Sir Arnold Wilson holds a distinguished position among Europeans, particularly due to the reports and maps produced during his 1911 mission concerning the railway construction in Luristān. The comprehensive location data presented in his military reports, when integrated with a recently acquired map of southwestern Iran, has illuminated numerous ambiguities regarding the communication pathways in Khūzistān and Luristān. This analysis reveals both familiar and lesser-known sites, which are referenced solely by name in historical travelogues, thereby offering a clearer understanding of the geographical and cultural contexts of these areas during the Qajar period. This study aims to provide a comprehensive overview of the roads and historical monuments connecting Dizfūl to Khurramābād by examining the reports and maps produced during Sir Arnold Wilson’s 1911 expedition in Luristān. The research seeks to elucidate various uncertainties associated with this historical route. Key inquiries include: What locations and areas did Arnold Wilson traverse from Dizfūl to Khurramābād in 1911? Additionally, what significance did the documented outcomes of his journey hold in enhancing the understanding of the historical sites and pathways in these regions? This study employs historical interpretive method, utilizing a data collection strategy that encompasses historical documents such as travelogues, books, military reports, and maps. These materials will be published for the first time in this research, having been extracted from the archives of the Qatar National Library. The research will begin with an examination of Wilson’s preliminary studies, which includes an analysis of the works and maps produced by his predecessors in the previous century. Following this, the accomplishments of his 1911 mission in Luristān will be presented. By analyzing these documents and correlating the information they contain, the investigation will focus on the route taken and the locations where he stopped, as well as the significant historical complexities referenced in his sketch map. Identified Traces Upon receiving the notification regarding the Luristān mission, Wilson not only arranged the necessary travel logistics but also meticulously examined the reports and travel accounts authored by Rawlinson, DeBode, Mark Bell, Sawyer, Lord Curzon, DeMorgan, Durand, Rabino, Lorimer, Baird, and the Gazetteer of Persia. In the early days of March 1911, he left Khurramshahr to begin the construction of the Luristān railway. His journey took him through Khūzistān, where he made a brief stop in Dizfūl. He departed from Dizfūl on April 25, 1911, and after an adventurous 27-day trek, he arrived in Khurramābād on May 23. Although this journey was long and demanding, it resulted in valuable contributions, including two reports and a significant map that outlined the railway’s proposed route and highlighted numerous locations in the region that had not been previously recorded. His passion for uncovering areas that had not been explored by other Europeans led him to prioritize the documentation of roads, historical monuments, and lesser-known natural sites in the region. Analyzing the data contained within the documents from Arnold Wilson’s 1911 expedition reveals valuable insights regarding the historical sites and routes connecting Dizfūl and Khurramābād. The acquisition of information about historical monuments has consistently been a significant accomplishment of foreign agents operating in Iran. Although Wilson’s journey did not adhere to a perfectly linear trajectory, the Chul path can be identified as his primary route. In the military report concerning Luristān, the author designated this thoroughfare as Route 4, which comprised ten designated stopping points. These included Qal’eh Husainīyeh, Qal’eh Rizā (Razih), Jauzār, Ab-i-Fānī (Tang-i-Fānī), Walmīyān, Bādāmak, Ab-i-Sard, Chimashk, Dādābād, and Shāh-in-shāh. The report also provides a detailed account of the significant historical monuments located between these halting sites. Conclusion In his account of the journey from Dizfūl to Khurramābād, Wilson highlighted various historical water structures, bridges, cities, tombs, and castles, many of which he documented for the first time. He based his observations on the research of earlier scholars and the insights of local inhabitants. In the Luristān military report, he delineated seven primary routes connecting Dizfūl to Khurramābād, while also noting several secondary paths. Additionally, he made a significant contribution by associating these routes with the tribes of Luristān, thereby enhancing the understanding of connections between Luristān and Khūzistān. His reports and accompanying sketch maps include a selection of place names, such as mountains, valleys, and straits, which reflect the geographical features of the area. Beyond addressing various ambiguities related to the routes and historical sites within the regions of Khūzistān and Luristān, this study has successfully introduced vital primary sources, including Wilson’s sketch map, to fellow researchers. This endeavor significantly enriches the historical and geographical comprehension of Luristān. However, it is essential to recognize that this investigation represents only the beginning of a more extensive research trajectory, which could be expanded through archaeological explorations of critical sites, other historical routes, and the cultural implications of place names. ردیابی مسیرهای تاریخی، کلیدی مهم در شناخت شبکۀ آثار تاریخی و تمدنی هر منطقه و بعضاً اکتشاف نقاطی جدید می‌باشد؛ با این‌حال، تاکنون راه‌های ارتباطی میان خوزستان و لرستان ناشناخته مانده و پژوهش‌های جدی چندانی در باب آن‌ها صورت نگرفته است. علاوه‌بر اعزام اطرافیان «ناصرالدین‌شاه» به خوزستان، اهمیت کاوش‌های باستان‌شناسی و سپس آغاز عملیات اکتشاف نفت باعث توجه و رفت و آمد بیشتر اروپاییان به جنوب‌غرب ایران در نیمۀ دوم قرن گذشته شد. باوجود تعدد سفرهای مأموران داخلی و بیگانه به لرستان و خوزستان، «آرنولد ویلسن» و دستاوردهای سفر وی در سال 1290ه‍.ش. برای تهیۀ گزارش احداث راه‌آهن لرستان از جایگاه ویژه‌ای برخوردار است که تاکنون در معرفی مسیر تاریخی کمترشناخته‌شدۀ خرم‌آباد به دزفول نقش ارزشمندی را ایفاء ننموده‌اند؛ لذا این پژوهش در تلاش است با راهبرد تفسیری تاریخی و استفاده از اسناد و نقشه‌های تاریخی موجود در سفرنامه‌ها، کتب و گزارش‌های نظامی، که بعضاً در این پژوهش برای اولین‌بار منتشر خواهند شد، به واکاوی گزارش‌ها و نقشۀ‌ مأموریت سال 1290ه‍.ش. «سر آرنولد ویلسن» در لرستان بپردازد و راه‌ها و آثار تاریخی محدودۀ میان دزفول تا خرم‌آباد را به‌طور دقیق معرفی و بسیاری از ابهامات موجود در این مسیر تاریخی را روشن نماید.بر این اساس، پرسش‌های پژوهش بدین قرار است؛ آرنولد ویلسن سفر سال 1290ه‍.ش. مسیر دزفول تا خرم‌آباد را با عبور از چه نقاط و مناطقی طی کرده است؟ دستاوردهای مدون سفر ویلسن چه نقشی در شناخت راه‌ها و آثار تاریخی این مناطق ایفاء نموده است؟ تطبیق دستاوردهای مأموریت سال 1290ه‍.ش. آرنولد ویلسن در لرستان ضمن مشخص نمودن مسیر دقیق وی و نیز سایر مسیرهای تاریخی دزفول-خرم‌آباد (با محوریت راه‌چُل)، آثار تاریخی دیگری چون: سازه‌های آبی دوحوضان، شبکه‌های آبیاری صالح‌آباد، محوطه‌های تاریخی در سرپلّه، کرّهر، قافله‌جا و شهر گود، مقبره‌های گری‌خشکه و احمدکوچیکه، پل‌های تاریخی زال و ترادا، قلعۀ تاریخی تنگ‌قلا و جای‌نام‌هایی منحصربه‌فرد در طول این مسیرها مانند: ولمیان، باغ خان، کوه آسیاباد و... به‌دست داده است، که بسیاری از آن‌ها برای نخستین‌بار توسط وی معرفی شده‌اند، و می‌توانند مبنای مطالعات میدانی تاریخی و باستان‌شناسی دیگری قرار گیرند.

https://nbsh.basu.ac.ir/article_5888_0a54b19a13b6712dc04d1b49215423d8.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 Carpentry Patterns and Proportions of Wooden Doors and Windows in Historical Buildings in Eastern Iran شاکلۀ درودگری و تناسبات دَر و پنجره‌های چوبی ابنیۀ تاریخی شرق ایران 325 360 5889 10.22084/nb.2023.27825.2592 FA علیرضا شیخی دانشیار گروه صنایع‌دستی، دانشکدۀ هنرهای کاربردی، دانشگاه هنر، تهران، ایران (نویسندۀ مسئول). 0000-0002-7315-4516 امیرحسین عباسی شوکت آباد دانشجوی دکتری، گروه صنایع‌دستی، دانشکدۀ هنرهای کاربردی، دانشگاه هنر، تهران، ایران 0000-0003-1114-5013 Journal Article 2023 05 15 Abstract Iranian architecture prominently incorporates doors and windows, where the number of panels-two, three, five, or seven-carries specific implications regarding the nature of the building. These architectural features are typically embellished with intricate decorations, with the frames being a significant aspect of their design. The purpose of this research is to explore the woodworking techniques and the proportional dimensions of doors and windows in the historical architecture of Eastern Iran. The study seeks to answer the question: What is the nature of woodworking and the proportions of doors and windows in these historical buildings? The research approach is fundamentally descriptive-analytical. Data gathering is accomplished through library research, field studies, and intentional (judgment-based) sampling of available examples. The findings can be structured into three primary sections: Forms and Designs Typology: This analysis organizes forms, panel quantities, and frame designs into six, five, and six categories, respectively. The prevalence of various frames is crucial, as the main framework influences the arrangement of doors and windows in relation to the building’s internal space, thereby controlling the influx of natural light and enhancing spatial value, which promotes order and alleviates visual monotony. Design and Proportions: This portion addresses the foundational aspects of constructing doors, windows, and openings, emphasizing the significance of airflow and the optimal use of natural light, which plays a crucial role in determining their dimensions and sizes. The construction practices for all doors and windows are aligned with the golden proportions, promoting uniformity across designs that adhere to a consistent pattern. Decorations: The decorative aspects are categorized into three types: wooden, metallic, and stained glass. These decorations are adapted to the specific location and function within the building, following patterns and aesthetic considerations that embody geometric and proportional principles in their design and execution, all of which resonate with the characteristics of Islamic art. Keywords: Woodworking, Doors and Windows, Standard or Scale, Golden Proportions, Eastern Iran. Introduction Iran’s traditional architecture has unique features that, while paying attention to the environment, respond to the climatic needs of each region; doors and windows are no exception to this rule. The technical and visual typology of doors and windows not only includes technical aspects but also embodies religious and social values and concepts. Doors and windows play a decisive role in the appearance of a building and serve as a medium that allows the residents to see and feel the space they inhabit. These doors, representative of each historical period, showcase a range of decorative arts in Iran-including painting, enameling, wood carving, burl wood, etching, and Chinese knotwork-depending on their architectural characteristics and location of installation. The practice of inscribing text on doors, decorating facades with prayers, adhering to the principles of privacy and introversion in traditional Iranian architecture, and distinguishing between male and female percussion instruments (door knockers) highlights the importance of the “door” as more than just an object. As significant elements in Iranian architecture, doors are often seen in configurations of two, three, five, or seven panels, each having special meanings in terms of size and dimensions. Furthermore, the door and window frames not only follow specific proportions within the space of the houses but also maintain harmony and proportion in their dimensions. Date Doors are fundamental elements in architectural design, serving to regulate the interaction between indoor and outdoor environments while managing access. Their size and construction materials, predominantly wood, differ according to the specific type and intended use of the building. In Iranian architecture, a variety of doors, windows, and skylights are incorporated, fulfilling multiple roles including the provision of natural light, ventilation, scenic views, aesthetic enhancement, and security. Doors are composed of several elements, including the bahu, pakhor, kesh, and the frame, with metal fittings such as hinges and key rings enhancing their functionality. Rooms can be categorized according to their intended use, such as bedrooms or reception areas, and may feature a range of configurations that include two to seven doors. The architectural design of doors and windows in Iran is primarily focused on maximizing airflow and harnessing natural light. Various factors shape these architectural forms, including local climate, the cultural importance of specific numerical values, and geometric principles. Buildings are typically classified into three categories: public, private, and noble, with doors being further segmented into primary entrances, access points to interior areas, and those facilitating movement between different spaces. Discussion The architectural features of doors and windows in the eastern regions of Iran can be categorized into three distinct types: public, noble, and private. These features are analyzed based on various criteria, including their shape, the number of slats, the design of the frame, wooden embellishments, colored glass, and metal adornments. Common door shapes encompass crescent, semi-crescent, rectangular, and mihrab forms. The classification by slat count includes government doors, as well as those with three, four, five, and six slats, with the six-slat variety predominantly located in caravanserais and bazaars. The operational mechanisms of these doors may include accordion or vertical sliding styles, each featuring multiple frames (both with and without glass) that are designed to respond to the local climate. The number of frames plays a crucial role in regulating the amount of light that enters a space, thereby allowing for effective control over illumination levels. Door frames can be rectangular, square, or octagonal, with numbers ranging from 3 to 40. Interior and main entrance doors are often simple, typically featuring only a knocker and a nail. Windows exhibit similar diversity, with forms such as crescent, semi-crescent, altar, rectangular, square, and circular shapes having two to thirty frames. The window frames can also take on various shapes, including square, rectangular, octagonal, hexagonal, and Polish. Sashes are usually rectangular or crescent-shaped, with a prevalence of three-slat configurations. Common motifs in sashes include eight-and-four knots and twelve-slat knots combined with geometric shapes like circles and squares. Wooden decorations are predominant and include motifs of plants, stars, and intricate patterns, using techniques such as knotting, inlaying, and mosaicking. In this region, knotting is typically straightforward, connecting elements without complexity, while lattice knotting controls light and airflow through architectural openings. The Mehdi Khani pattern, associated with Isfahan artisans, is frequently found, indicating that many doors and windows were crafted by or inspired by Isfahani masters. Polish and octagonal patterns are mainly found in Mashhad, influenced by the shrine of Imam Reza (AS). The Botteh-e Jaqqeh (or Paisley) pattern is also commonly used in both wooden and metal works. Colored glass is primarily used in noble and private buildings, available in colors such as green, blue, red, and orange, though plain glass is more common due to the financial constraints of the local population. Metal decorations encompass doorknobs, nail heads, key faces, and clasps. Doorknobs may be barrel-shaped, elongated barrel, circular, lion and dragon, or simple circular types. Nail heads can be circular, cross-shaped, or simple. Key faces may be circular, curved, or square, while clasps can also be circular, curved, or elongated. Barrel-shaped doorknobs are the most prevalent, followed by circular and elongated types. The construction of doors, windows, and architectural openings in Iranian architecture prioritizes proper wind flow and natural light optimization. The patterns not only enhance aesthetic considerations but also define spatial characteristics reflective of Islamic art. Each space has unique rhythmic frame patterns that vary in dimensions, influencing spatial quality by regulating light. The decorative features of a space are influenced by its geographical context, with more elaborate motifs typically found in parts such as the Shahneshin. The principles of geometry and proportion play a crucial role in the design of skylights, affecting the variety and scope of patterns while ensuring the preservation of shared characteristics. Skylights serve several purposes, including the provision of natural light, ventilation, aesthetic enhancement, the facilitation of views, and the maintenance of privacy. The dimensions of doors and windows vary according to their purpose and the type of building in which they are installed. Generally, doors are constructed from wood and predominantly feature a rectangular shape, although crescent and semi-crescent designs became increasingly fashionable during the Qajar era. The ornamental style of wooden doors and windows is indicative of their functional roles and integrates modern materials. The fabrication process entails the precise cutting of door frames, which is supervised by a master architect. Adjustments to the frames are made based on lighting needs, especially in areas such as the Shahneshin, where ample light is essential. The architectural design of doors and windows adheres to the principles of the golden ratio, promoting uniformity across diverse configurations. A notable feature of these elements is the recurring visual rhythm found in their components, which reflects the intricate patterns seen in Iranian carpets and traditional arts. This rhythmic quality carries symbolic meaning within sacred art, resonating with concepts such as dhikr. The appeal of these patterns lies in their structured nature, which facilitates easier cognitive processing for the human brain, thereby contributing to energy efficiency. Artists frequently disrupt visual patterns to avoid monotony and introduce new rhythms, thereby enriching the overall aesthetic experience. In Iranian architecture, the paimon serves as a design element that conceals a more intricate visual order. Conclusion The findings related to the research question can be analyzed across three primary domains. The initial discussion centers on the various forms and designs of doors, windows, and sashes. It is observed that these architectural elements are available in multiple configurations, such as crescent, semi-crescent, rectangular, altar, square, and circular shapes. The slats can range from two to six in number, while the frames may take on rectangular, square, octagonal, hexagonal, or Polish designs. The quantity of frames, which can vary from 2 to 40, plays a significant role in shaping the overall aesthetic and functionality of the doors and windows. These frames are classified as either glass-bearing or glass-free (wooden) and are strategically arranged to optimize light penetration and enhance the value of interior spaces, particularly in prominent areas like the throne room. Additionally, the principles of rhythm and repetition are essential for achieving visual coherence and avoiding monotony, as variations in size and shape contribute to this rhythmic quality. The second discussion explores the foundational principles of design and construction within Iranian architecture, highlighting the significance of wind circulation, effective utilization of natural light, climate control, aesthetic structural elements, ornamentation, privacy, and the interaction with outdoor spaces. These factors play a crucial role in determining the dimensions and proportions of doors and windows. The construction method incorporates techniques that take into account the durability of the wood, with measurements established by adept artisans. The application of golden ratios is apparent in the design of doors and windows, where arrangements of two, three, four, and five squares adhere to a specific pattern, promoting consistency in size and aesthetic coherence. The third discussion delineates decorations into three categories: wooden, metal, and colored glass. Wooden decorations are distinguished by their complex designs, featuring eight- and four-knot combinations, chaharlange motifs, and an array of geometric patterns. Conversely, metal decorations include utilitarian components like heels, clasps, hinges, and key rings, typically designed with solar and cypress motifs. The regional differences in the application of geometry and proportion in these decorative forms illustrate a wide range of design diversity while upholding shared characteristics, all of which are emblematic of Islamic artistic values. دَر و پنجره‌ها به‌عنوان پیمون در معماری ایرانی به‌کاررفته ونیز دو، سه، پنج و هفت‌دری‌ها دارای مفاهیمی خاص در اندازه و ابعاد و بسته به نوع بنا، حامل تزئینات فراوانی بوده که قاب‌ها از مهم‌ترین آن‌هاست. هدف این پژوهش، تبیین ساختار درودگری و تناسبات دَر و پنجره‌های ابنیۀ تاریخی شرق ایران است و به‌دنبال پاسخ بدین پرسش است که، ساختار درودگری و تناسبات دَر و پنجره‌های ابنیۀ تاریخی شرق ایران چیست؟ روش پژوهش به‌لحاظ هدف، کاربردی و ازنظر ماهیت، توصیفی و تحلیلی بوده، گردآوری اطلاعات کتابخانه‌ای و به‌ویژه میدانی و نمونه‌گیری، هدفمند نمونه‌های در دسترس است. نتایج حاصله را می‌توان در سه بحث ارائه کرد؛ 1. انواع فرم و طرح، 2. طراحی و تناسبات، 3. تزئینات. در بحث اول، فرم‌ها، تعداد لَت، طرح قاب به‌ترتیب در شش، پنج و شش دسته طبقه‌بندی می‌شوند. تعداد قاب‌ها بسیار فراوان بوده که شاکلۀ اصلی، تعیین محل قرارگیری دَر و پنجره با توجه به فضای داخلی بنا، تنظیم میزان ورود نور به داخل بنا و هم‌چنین ارزش‌گذاری فضاها و سبب ایجاد نظم و جلوگیری از یکنواختی دیداری می‌شود. بحث دوم، اساس ساخت دَر و پنجره و روزن‌ها، جریان باد و استفاده بهینه از نور طبیعی است که سبب تعیین ابعاد و اندازه‌ها شده است. تکنیک ساخت آلت و لقط و تمامی دَر و پنجره‌ها برمبنای تناسبات طلایی طراحی و اجرا شده و تفاوتی میان هیچ‌کدام نبوده و همگی از یک الگو تبعیت می‌کنند. در بحث سوم، تزئینات به سه دستۀ چوبی، فلزی، شیشه‌رنگی تقسیم‌شده و با توجه به نوع محل و فضای استفاده در بنا از الگوی خاص، زیبایی‌شناسی، اصول هندسه و تناسبات در طراحی و اجرا تبعیت کرده و همگی معرف هنر اسلامی هستند.

https://nbsh.basu.ac.ir/article_5889_a3bf6e4db673b6449c2f7d13ee6ec9c0.pdf

پژوهش های باستان شناسی ایران 2345-5225 14 42 2024 11 21 Investigating the Architectural Features of the Façades of Traditional Houses within Yazd’s Heritage Area بررسی ویژگی‎های معماری سردر خانه‎های بافت تاریخی شهر یزد 361 394 5890 10.22084/nb.2023.27764.2585 FA سید فضل اله میردهقان استادیار گروه ایران‌شناسی، دانشکدۀ علوم انسانی، دانشگاه بوعلی‌سینا، همدان، ایران 0000-0002-5111-1523 Journal Article 2023 05 02 Abstract A façade constitutes a significant element of the entrances found in the historical residences of Yazd, Iran. These façades are integral to the decorative aspects of the houses, prominently positioned above the entrance doors and serving as one of the initial spaces encountered by visitors. Although there have been numerous valuable studies focusing on the residential architecture of Yazd, the entrances of these houses have not been thoroughly examined. Consequently, this article employs a descriptive-analytical approach to explore the façades of houses within Yazd’s heritage area. The inquiries pertinent to this study are: 1. What materials are utilized in the construction and embellishment of façades? And 2. What decorative patterns are prevalent in façade design? To tackle these inquiries, a detailed study of the heritage area in Yazd was performed, which included the collection of field data to compile the essential information. The findings revealed that bricks serve as the primary material for façade decoration. Plaster is employed both as a binding agent and for ornamental purposes. While tiles are also used, they primarily serve a decorative function, with clay decorations functioning as mortars, reflecting the city’s architectural heritage. Other materials, including cement, sand mortars, and boulders, are utilized in a more limited capacity. Geometric patterns dominate the decorative elements, predominantly rendered in brickwork. Additionally, floral motifs are often applied with plaster over brick surfaces. Inscriptions are frequently observed on the façades, primarily crafted from plaster, tiles, and bricks, with stones appearing in some limited instances. Moreover, the design of dulcimer-shaped columns and other embellishments reflects influences from Western artistic traditions. Keywords: Facade, Residential Architecture, Historical Texture of Yazd City, Decorative Elements. Introduction Yazd’s extreme heat and dryness play a crucial role in determining the city’s introverted architectural style. Such design centers around a courtyard, leading to façades that may seem plain but are richly detailed on the inside. The entryways of these residences, particularly the façades, have long fascinated architects, even though they often lack extensive outdoor ornamentation. These features not only bridge the interior and exterior environments but also signify the unique identity and architectural merit of each building. As noted earlier, this aspect distinctly marks the entrance areas of houses through diverse forms. The heritage area of Yazd City showcases a rich tapestry of historical periods, particularly the Qajar era, where several houses retain their original entrance spaces due to their well-preserved state. The façades of these structures, adorned with a variety of materials and intricate patterns, produce a visually stunning and captivating effect. Notable examples from the Qajar period include the Lariha, Imamzadei, and Shokouhi Houses. The designs present on the façades serve not only as ornamental features but also as vessels of cultural, social, and political significance. Historically, façades have functioned as a medium for expressing the ideologies, beliefs, and perspectives of the property owners, as reflected in the patterns employed. This article seeks to present an overview of the architectural features characteristic of historical façades in the old city of Yazd. The research is guided by two primary questions: 1) What materials are utilized in the construction and decoration of these façades? and 2) What decorative patterns are evident in the façades? To address these inquiries, a descriptive-analytical method was employed to examine the façades of historical residences in Yazd, with data collection conducted through both fieldwork and library (documentary) methods. The fieldwork involved a systematic survey of Yazd’s historical neighborhoods conducted on foot, during which representative samples were photographed. Subsequently, comprehensive architectural data for each sample, along with additional attributes, were meticulously recorded in designated forms. The physical characteristics of the façades, along with pertinent information, were extracted from library resources, culminating in a final analysis that synthesized both field and documentation findings. Analysis The Moein Dictionary defines “façade” as “the area situated above the entrance or the upper section of a building”. In the context of traditional Iranian architecture, this element serves as a prominent external feature, distinguished by its functional and aesthetic attributes. Bricks were predominantly utilized in the construction and embellishment of façades. Analysis of the data reveals that out of 1280 samples, more than 95.5% incorporated various types of bricks, with 495 samples (38.6%) utilizing Iranian bricks and 785 samples (62.4%) employing Kazakh bricks. The two categories of bricks exhibited distinct forms and shapes, indicating a variety of façades. In addition to Iranian and Kazakh bricks, there existed several other types, primarily utilized in the mehri (molded) and tarash (cut-out) techniques. Another prevalent variant was the Sharafi molded brick, which appeared in various configurations, including simple (10.7%), tak-gol (9%), do-gol (14.5%), panjeh-moushi (10.7%), and taj-pahlavi (5%). These decorative bricks served the practical purpose of directing rainwater away from the edges of façades. Furthermore, barg-e-kangari bricks were employed in 73 instances (5.1%), while falakeh bricks were found in 12 samples. The predominant category of decorations was brick embellishments, with 1,095 façades (81.7%) featuring brick-related designs. Plaster decorations also played a significant role, as evidenced by 91 samples (6.8%) that incorporated plaster elements. Following, brick furnaces accounted for 0.82%, while glazed tiling and brickwork were represented in 10 samples (0.74%). A majority of the façades displayed geometric patterns, with 1,108 samples (82.7%) showcasing such forms. Additionally, plant motifs appeared in 141 samples (10.5%), while inscription patterns were present in 41 samples (3.1%) and decorative columns in 26 samples (1.9%). Although inscriptions can reflect cultural beliefs and ideologies, they were predominantly crafted using plaster-cutting methods. During the late Qajar period, plaster inscriptions were gradually supplanted by those made from bricks, tiles, and stones. The façades observed in Yazd exhibited influences from traditional architectural styles, although some were notably shaped by Western cultural elements. Conclusion The historical houses of Yazd were primarily constructed and adorned using Iranian and Kazakh bricks, which were available in a variety of sizes and shapes. The diverse techniques employed in brick-laying led to an array of geometric patterns. Some designs incorporated embossed plaster rows for added decorative effect, while others utilized Mehri (molded) and cut-out methods. These bricks not only served practical purposes but also enhanced the visual appeal of the structures, featuring plant motifs that were integrated into the main frames and margins of the façades. Plaster was also used as a decorative mortar. Although floral and wooden elements were present in the façades, they were not typically intended for decorative purposes, in contrast to the clay embellishments found in the city’s historical architecture. Furthermore, architects selected materials such as bricks, boulders, sand, and cement mortars based on the preferences of the homeowners. سردر، یکی از اجزای مهم ورودی خانه‌های تاریخی شهر یزد است که بخش عمده‌ای از تزئینات اجراشده را در دل خود جای داده است. این جزء در بالای درب ورودی قرارداشت و یکی از اولین فضاهایی است که مراجعان با آن مواجه می‌شوند. اگرچه دربارۀ معماری مسکونی یزد فعالیت‌های ارزشمندی صورت گرفته؛ اما تاکنون به فضاهای ورودی خانه‌ها توجه چندانی نشده است. این پژوهش سعی‌دارد با روش توصیفی-تحلیلی به بررسی سردر خانه‌های تاریخی شهر یزد بپردازد. پرسش‌های مطرح‌شده عبارتنداز: 1. از چه مصالحی برای ساخت و تزئین سردرها استفاده شده است؟ 2. چه نقوشی در تزئین سردرها کاربرد داشته است؟ به‌منظور پاسخ‌گویی به این پرسش‌ها، محلات بافت تاریخی شهر یزد پیمایش‌شده و مستندات میدانی لازم جمع‌آوری و سپس اطلاعات موردنیاز در جداول مخصوص وارد گردید. بررسی‌ها نشان می‌دهد که آجر مهم‌ترین عنصری است که در ساخت و تزئین سردرها کاربرد داشته است؛ پس از آن، می‌توان به گچ اشاره کرد که هم به‌عنوان ملات و هم عنصر تزئینی کاربرد داشته است. کاشی نیز اگرچه جنبۀ کارکردی داشته، اما جنبۀ تزئینی آن پررنگ‌تر بوده است؛ هم‌چنین، باوجود حضور تزئینات گِلی در سابقۀ معماری شهر یزد، از این عنصر صرفاً به‌عنوان ملات استفاده شده است. از مصالح دیگری هم‌چون: جوش‌کوره آجرپزی، ملات ماسه و سیمان و قلوه‌سنگ نیز در مواردی محدود استفاده شده است. حجم بسیار زیادی از تزئینات را نقوش هندسی تشکیل می‌دهد که عموماً به‌وسیلۀ آجر ایجاد شده‌اند. پس از آن، نقوش گیاهی است که علاوه‌بر آجر از گچ نیز استفاده شده است؛ در مرتبۀ بعدی، نوشتار قرار می‌گیرد که بیشتر از کاشی و گچ و در موارد معدود از سنگ و آجر استفاده کرده‌اند. هم‌چنین می‌توان به ستون‌ها و تزئینات سنتوری اشاره کرد که متأثر از فرهنگ غرب بوده و نمونه‌های اندکی مشاهده می‌شود.

https://nbsh.basu.ac.ir/article_5890_fc95fa5740ba01a870cfa52f671fe1e4.pdf