نوع مقاله : مقاله پژوهشی
نویسنده
دانشیار پژوهشکدۀ باستانشناسی، پژوهشگاه میراثفرهنگی و گردشگری، تهران، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسنده [English]
Abstract
The Chalcolithic period in the Northwest and Central Zagros region commenced around 5500 BC and is recognized as a significant prehistoric era in Iran. Spanning from 5500 to 3000 BC, this period exhibited distinct characteristics when compared to the preceding Neolithic Period. The relatively simple rural communities that emerged during the Neolithic underwent substantial development, evolving into more complex societies during the Chalcolithic. Notable settlements from this era include Qeshlaq and Sufian, located within the study area. The onset of the fifth millennium BC is associated with Dalma culture, which is regarded as one of the most intricate prehistoric cultural traditions due to its extensive cultural reach. Despite extensive research aimed at elucidating the cultural dynamics of the Dalma across various locations, this tradition remains one of the most enigmatic archaeological phenomena, not only in the Northwest region of Iranian Plateau but also in Central Zagros, the Caucasus, and Anatolia. This raises numerous inquiries, particularly regarding the cultural connections of the inhabitants of the Caucasus, Northwest, and Central Zagros with adjacent regions. This article aims to explore and analyze the cultural landscape of the early fifth millennium BC, focusing on the interrelations among the areas influenced by the Dalma culture through an examination of cultural artifacts.
Keywords: Caucasus, Northwest, Central Zagros, Dalma, Chalcolithic Period.
Introduction
In the realm of archaeological literature, Northwestern Iran is predominantly recognized for the Lake Urmia Basin’s expansive plains. Nevertheless, the cultural influence of this region extends far beyond its immediate geographical confines. Historically, the basin has attracted considerable attention from both domestic and international researchers since the inception of professional archaeology in Iran. In addition to the excavations mentioned in the main text, Dalma culture has been the subject of numerous pedestrian field surveys. Despite extensive research efforts aimed at elucidating this culture, it continues to be one of the most perplexing archaeological traditions, not only within northwest Iran but also in adjacent areas. Recent findings related to this culture across various regions have prompted a plethora of new inquiries. Preliminary results from several field studies indicate a notable increase in population in these areas, primarily attributed to migrations from surrounding regions driven by factors such as population growth and pressure in the source locales. The same concept is relevant to the materials discovered in numerous excavations, which reveal the similarities in pottery across an extensive geographical area. Moreover, the environmental and climatic disparities found in various sections of the Zagros Mountains, particularly from northern to western Iran, have played a significant role in the inconsistent evolution of these cultures. In other words, there are significant environmental and regional variations present in nearly all cultures linked to the Chalcolithic Period. One of the most significant Chalcolithic cultures in the northwestern and northern regions of Iran is referred to as the Dalma pottery tradition. Our knowledge of this tradition is rather limited and is primarily informed by excavation projects conducted at Tepe Dalma, which is recognized as the second-oldest culture around Urmia Lake, following the Hajji Firuz Phase. The diversity and distinctions in certain cultural elements are indicative of social and economic shifts, as well as cultural adaptations to the environmental contexts of these areas. These adaptations are reflected in the variations of cultural materials found at three southern sites of Urmia Lake, Talvar Valley, and Central Zagros, which are considered subcategories of the Dalma tradition. The distinctive environmental conditions in each region showcased unique aspects of this culture. The cultural sphere of Dalma has been identified through archaeological investigations not only in the southern basin of Lake Urmia but also across extensive regions of northwest Mesopotamia, northern Anatolia, and the northern and northwestern parts of Iran, extending to the natural boundaries of Jebel Hamrin and the outskirts of the Khuzistan Plain. This indicates the culture’s evolution and adaptation to varying environmental conditions, as each area exhibits distinct regional characteristics alongside overarching traits. The archaeological findings associated with Dalma culture reveal numerous similarities with contemporary regions, prompting several inquiries, such as: What were the interactions and cultural exchanges between the inhabitants of the northwest region and Central Zagros and their neighboring territories, as well as those beyond the Iranian Plateau? How can the cultural connections of the region’s inhabitants with adjacent areas be characterized? Furthermore, what explanations exist for the presence of Dalma culture outside the confines of the plateau?
Research Method: This study was conducted through a combination of fieldwork and library research. It is essential to contextualize Northwest Iran in relation to the regions of the Caucasus, Anatolia, and Mesopotamia. Consequently, after gathering data from these various areas, the cultural findings were subjected to analysis.
Discussion
The examination of the Chalcolithic Period across various regions of the Iranian Plateau presents considerable challenges, primarily due to several significant factors. Firstly, there has never been a definitive delineation of the absolute chronological framework for this era in Iran, making it difficult to differentiate it from the preceding Neolithic Period. Most studies conducted to date have identified pottery styles as the primary distinguishing feature between these two periods; however, relying solely on this aspect is insufficient for a comprehensive understanding, despite its importance as a documentary source. Notably, the contributions of Henrickson, Young, and Levin regarding the western regions of Iran may be referenced in this context. The second factor relates to the insufficient integrated and extensive research conducted in this area since 1979. In the following decades, western Iran has not witnessed any scientifically significant investigations that could have aided in the identification of various notable settlements from the Chalcolithic Period. Such research would yield a systematic and relevant introduction to the cultural materials pertinent to the Chalcolithic Period in the area, as opposed to a fragmented collection of unrelated instances. Thus, there exists a pressing need for comprehensive research in the Qeshlaq Region, especially given the consequences of the Early, Middle, and Late Chalcolithic periods. The ineffective strategies applied in earlier archaeological excavations have culminated in the presentation of deficient and incomplete results, thereby rendering it impossible to address numerous vital questions, such as the relationships between various regions in the Chalcolithic Period. Moreover, it is significant to note that a large area of the western highlands of Central Zagros was inhabited during this period, while there have been no reports of any preceding settlements in these regions.
The Dalma pottery tradition represents a significant cultural aspect of the Chalcolithic Period in northwest and west Iran, recognized as the second oldest culture in the Lake Urmia basin, following that of Hajji Firuz. Initial findings from Dalma Tepe have been further enriched by subsequent excavations in other locations. During the early 5th millennium BC, and potentially as early as the late 6th millennium BC, the Dalma pottery tradition experienced considerable expansion throughout much of northwest and west Iran. The patterns of settlement reveal a notable increase in the number of Chalcolithic sites, primarily driven by natural factors and shifts in subsistence strategies to better align with environmental conditions. The entity we refer to as Dalma today was initially part of a broader cultural framework, which is observable with minor variations across different regions and can be identified as the Dalma-Hassuna culture. Dalma culture exhibits influences from the adjacent Hassuna culture to the east, both of which are components of a unified cultural tradition known as the Hassuna/Dalma cultural realm. A defining characteristic of the Dalma culture is its standardized and remarkably intricate pottery. This cultural and pottery tradition is particularly noted for its painted and impressed ceramics. Archaeological evidence indicates that the relevant material culture extends from its central area in the southern Lake Urmia basin to the eastern slopes of the central Zagros, encompassing the plains of Mahidasht and Kangavar, the Jebel Hamrin region, and eastern Mesopotamia, where it interacts with Hassuna-type artifacts.
Conclusion
The archaeological site of Tepe Qeshlaq reveals significant insights into the Dalma tradition, characterized by the presence of painted and impressed semi-husking trays, as well as streaky pottery found within a 9-meter stratigraphic layer dating back to 5500 BC. These ceramic artifacts appear to be indigenous to the region, indicating a lack of external influences. This evidence highlights the substantial impact of Dalma pottery from the southern basin of Lake Urmia, illustrating its diffusion through the central Zagros region, particularly evident in the earliest layers of Sehgabi Tepe. By the time of Godin VII phase, it is likely that this tradition had permeated the entirety of the Zagros area. Furthermore, excavations at Tepe Sufian have identified four distinct architectural phases, with Phase I representing the original floor level. Phase II is characterized by a rectilinear structure made from pisé or packed mud, and a notable discovery from this phase includes the stone footings that support Space I. To date, such footings have not been reported from other Dalma sites. Phase III is exemplified by a pit filled with a collection of flagstones, while Phase IV features a small section of a heated stone-lined structure, the purpose of which is not clearly defined. The pottery tradition at Tepe Sufian reflects both regional and extra-regional influences, while also displaying unique local traits, particularly the enigmatic vessel forms previously discussed. From a cultural interaction standpoint, the pottery of Tepe Sufian shows primary connections with the Hajji Firuz, Dalma, and Kul Tepe traditions, and subsequently with artifacts from Tepe Qeshlaq and Godin Tepe, as evidenced by shared decorative patterns and the widespread occurrence of painted pottery.
کلیدواژهها [English]
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