عنوان مقاله [English]
Excavations at Gūriyeh and Jahāngir at Eyvan, Ilam Province, have led to the discovery of architectural and exquisite stucco belonging to the Sasanian Period. The strategic location of the area at the Central Zagros, its position on one of the important ancient routes to Mesopotamia, and the presence of Kangir River could be among the reasons behind the formation of the mentioned architectural remains. Shortage of information on the historical constructions and residential areas in west of Iran was one of the incentives to run the present research. Among the objectives were answering important questions surrounding chronology of the architectural remains and associated decorations, specifying the main characteristics of the remains and assessing the construction materials, and finally, investigating on art styles and the influence of various factors in their creation. This research is undertaken using descriptive methodologies in comparative approach. The architectural remains have been built with no foundation using rubbles and half-baked and beaten gypsum mortar, and finally, have been decorated with delicate stucco reliefs. Based on the planning and various findings, the architectural remains could be specified as fortified noble residence at both sites. Thus, as seems obvious from nomenclature, the main function of the remains was most probably residential. The architect(s) and decoration artist(s) of the buildings have binded themselves to consider elements and variables such as natural topography, local climate and environmental characteristics, and even religious beliefs in construction and decoration. The use of anthropomorphic, faunal and floral motifs in frames with symmetric and repetitive geometric fringes is attested in both buildings, which indicates the impact of Sasanian art style in its own local expression. All stucco decorations at Gūriyeh and Jahāngir highlight the symbolic presence of supernatural forces related to the common mythologies, albeit they are sometimes used only as simple ornaments. Apparently, the art here does not appear to be demonstrative, and the artists had not sought to depict naturalistic forms and scenes.