Journal of Archaeological Studies

Abstract Archaeological activities during the past two decades at Bishapour have revealed architectural structures, plaster-molding, seals and other objects from this valuable site. This city, which is one of the first Sasanian cities and capitals, has its own documented historic urban planning. Excavations in the city began in 1935 and archeological activities are still continuing. During archeological excavations at Bishapour, a few pieces of plaster-molding with human motifs were found. Stucco of this type has not reported from other Sasanian sites as yet. These pieces are mostly found in the ninth season of excavations at Bishapour that was conducted on the south of the mosaic porch and the cross-shaped hall of the royal residence. It appears that the plaster-molding embellishments were drawn on the walls all at once, and then the artist created the desired designs on the plasters with a tool like the relief drawknife or it was prepared in the form of molding and then installed in its place. In this paper, the data collection method was based on two paths: fieldwork and library sources. The present paper analyzes and introduces these findings in the context of the Sasanian plaster-molding art of the acient town of Bishapour. The article demonstrates that the Sasanian plaster-molding art was inherited from the Iranian past.

Abstract Eastern Lorestan is one of the regions of the Central Zagros region where the fewest number of chronological studies related to the Bronze Age have been conducted. Chronological studies of the Central Zagros are more concentrated than other areas in the Gamasiab river areas in Nahavand and Kangavar. The chronological framework of Lorestan and Gamasiab valley face many problems concerning the Bronze Age. At present, the chronology of Gamasiab and Kangavar region is related to the 1970 and 1980s and so far, the volume and quality of archaeological findings has changed in this areas. In order to clarrify of the chronological status of East of Lorestan, stratigraphic excavation have been carried out at the mound of Gariran in Aleshtar. Excavations in this area have shown that the common pottery of the Bronze Age after the beginning of the Elamite period is a well-made painted pottery style called Godin III. Meanwhile, in the Gamasiab river basin, the Early Bronze Age is known by the Yaniq style. Based on the excavations at Gariran Tepe, it seems that the common cultures in the Bronze Age of Lorestan were mostly related to the western and southern regions of Lorestan. Yaniq pottery has not been obseved widely in this area. In this study, according to the findings obtained from the excavations at Gariran Tepe, the chronology has been adjusted according to the cultural and regional realities. According to this, the Early Bronze Age (early-to-mid third millennium BCE) has contined without any interruption at Gariran Tepe after the begining of the Elamite period. In this period of pottery, which is common to the old phases of old Godin III (which in Godin’s chronology belongs to the middle period of the Bronze Age) ancient Bronze polychrome pottery. In this study, we have attempted to answer the following questions: What is the chronology of eastern Lorestan during the Bronze Age, and, how can the exploration of Gariran Tepe’s stratigraphy be corrected given the chronological defects of eastern of Lorestan.

Abstract The study of architecture and architectural decorations is one of the most basic archaeological tools for the recognition of ancient cultures and societies. However, despite its importance as the prologue of Iranian architecture in the historical period (i.e., Median and Persian architecture), Iranian Iron Age architecture has been studied less than it deserves. Painted bricks and tiles— which are found across different regions of Iran, e.g., the Northwest, Luristan, and the Central Plateau at ancient sites such as Hasanlu, Qalaichi, Rabat, Baba Jan, Qoli Darvish, Sialk, Shamshirgah, and Gholam Tape—are among the most significant elements of Iron Age architecture, about which our knowledge has grown considerably over the last few decades. The present article deals with the descriptions of the aforementioned bricks and their typology. We try to show how much these bricks have been influenced by the art of neighboring nations. This article also aims to indicate the function of these painted bricks, and by extension, the function of the buildings on which these bricks are adorned. The research results suggest that these bricks can be divided into three distinct categories that are consistent with a triple political and geographical division of Iran during the first half of the first millennium BCE. The research also shows that despite the fact that these bricks have been influenced by the art of neighboring regions, they are indigenous and have been made by native artisans. It seems that the painted bricks of the Iranian Iron Age are mostly used in religious buildings and temples of this time.

Abstract During the last half of the 4th century CE, we recognize the presence of a desert-dwelling tribe called the Huns or the Hephthalites, who invaded the northeastern borders of Iran, killing and looting. These people, who had flowed from western China to Central Asia, invaded northern Khorasan from time to time. The presence of such a great enemy forced several Sassanid kings to sally to the east to defend this important border, among them was  Yazdgerd I, whose campaign to repel these invaders lasted seven years. The Dastgerd of Yazd Shaporan and the Bandian fire temple have been mentioned as Yazdgerd’s place of residence. Like Yazdgerd, Bahram V was also aware of the potential danger of nomads from the north and his presence on the front caused a heavy defeat for the Hephthalites. This is memorialized in the Bandian Dargaz, one of the fire temples of the Sassanid period. In the hall of this fire temple, the events of the war between Bahram V and the Hephthalite king are painted on stucco. In these stuccos, various scenes of Bahram V's departure from Ctesiphon to fight with the king of the Hephthalites has been shown in the form of successive motifs. The mentioned stuccos have been researched based on historical texts. In addition to the plaster motifs, the Sasanian Pahlavi inscriptions inscribed on the wall of the altar of the fire temple also provide additional context for some of these motifs. This fire temple, which was built during the time of Yazdgerd I, was developed further during the time of Bahram V, especially concerning the elaboration of stucco motifs. This fire temple was destroyed by the Hephthalites during the time of the Sasanian king Pirouz. Therefore, only a part of the lower part of the stucco remains. The present author's comments about some of the characters in this stucco have been criticized. We believe that this criticism, while welcome, has not been careful in matching motifs with some historical events.

Abstract Troglodyte Tahyagh is one of the important sites of the medieval Islamic period in Iran. During the first season of archaeological excavations at this site, in addition to identifying various architectural spaces, pottery and various beads, as well as other valuable artifacts such as various types of metal and bronze containers, gold coins and gold ornaments were found. In terms of variety and abundance, the metalwork of Tahyagh, it is one of the few known archaeological sites in Iran during the Middle Islamic period. Moreover, it is one of the few known sites of this period with this amount of metal artifacts of the Islamic period has been obtained in its excavations. This is important because the total number of archeological sites of this period, which have been found in archeological excavations with a large volume of different types of metal artifacts, does not exceed the number of fingers of one hand; at the same time, most of these sites have several stages of settlement and it cannot be said with certainty that all the metal artifacts discovered from them belong to a specific time period, such as what has been obtained at Nishapur. This is an indication of the importance of these works that yet have not been addressed in any research. In this regard, the main purpose of this study is to introduce and investigate the metal artifacts obtained from archaeological excavations at  Tahyagh. The method of this research is based on field studies at the site and the identification of similar works in museums through library studies. In these studies, it was found that these objects were probably produced and used in the 12-13^th centuries, based on comparative studies and the existence of evidence from coins of this period in the archaeological excavations of Tahyagh. In addition, some of these works were likely produced in Nishapur or Jorjan and exported to this area.

Abstract In 2014, the contractor company operating the Damghan-Neka gas transmission line demolished and exposed two Parthian burial mounds in the village of Vestemin. Vestemin is located 80 km south of Sari. The historic site of Vestemin includes the east cemetery, the west cemetery, the settlement site, the castle and the Islamic cemetery. Vestemin is the first Parthian site in Mazandaran that has been excavated. What distinguishes this cemetery from other Parthian cemeteries discovered in the Parthian cultural sphere is that its western cemetery contains family burial mounds, which are unique in terms of architecture. The burial mounds of Vestemin Cemetery have three sections: 1) rectangular spaces or corridors, 2) entrances or gates between the corridor and the crypt, and 3) the crypt room. All of the burials are mass graves. The number of people buried in the tombs varies from one to five, and the method of burial is mostly squat. Seals and ring seals with human, animal, bird, plant, geometric, rider and fireplace motifs are among the motifs found in the western burial mound cemetery. In using the seals as a gift, the gender of the deceased was does not seem to have been a determining factor. This collection of Parthian seals is unique in terms of the number and variety of seal designs.

Abstract Tepe "Chay" (1181 m asl) is a small site with an area of less than one hectare in and a height of 1 meter above the surrounding fertile lands, which is located 2.5 km southwest of Dizajdiz town and 10 km southeast of Khoy. The first season of excavation at the site was carried out in July and August of 2021 in order to delimit the site, to ascertain its exact extent as well as conduct soundings of the stratigraphy of the site to better understand its phasing, periodization and chronology. In this regard, nine test trenches were excavated in different parts of the site; of these, only three test trenches were located within the site’s limits and the rest were off-site. Based on the delimiting soundings the exact extent of the site was 7468 square meters. A stratigraphic trench (TR.10) was also excavated in the southwestern part of Tepe Chay and in total, 7.4 m of architectural, layers and cultural deposits were identified; virgin soil was reached at a depth of 8 meters. According to the typology of pottery obtained from the layers and their comparison with other sites of northwestern Iran, the a relative chronology of the site consists of four settlement phases belonging to 1) the Early Chalcolithic (Dalma culture) (Tepe Chay I); 2) Late Chalcolithic 1 (Pisdeli) (Tepe Chay II); 3) Late Chalcolithic 2 (Chaff-Faced Ware) (Tepe Chay III); and 4) Late Chalcolithic 3 (Chaff-Tempered with comb-design and perforated manqals). Futhermore a Kura-Araxes I (Tepe Chay IV) component is suggested for the sequence of the site. During the excavation, no cultural interruption or gap was observed between Late Chalcolithic and Kura-Araxes layers, and the evidence indicates a continuity and transition between these two periods. It is therefore possible that the Kura-Araxesian, like the Kul Tepe Hadishahr, originates from Late Chalcolithic society of Tepe Chay. Therefore, according to the results of the excavations of Tepe Chay as well as the excavations of Kul Tepe, Dozdaghi Khoy, Tepe Gijlar and Geoy Tepe, perhaps northwestern Iran can be introduced as one of the core centers for the formation of early stages of the Kura-Araxes culture. Evidence from the excavation also suggests a function of trade with neighboring areas, especially the prehistoric obsidian and salt trade for Tepe Chay.

Abstract Tombstones in cemeteries are perhaps one of the most semantically complex human works of art. Tombstones deal with the most important and most painful event in human life, namely death and the hereafter. Tombstones exhibit great variety, both in general form and in their decorative motifs. Studying the morphology of the gravestones and exploring the human, animal, vegetal, geometric and other images, together they provide valuable information on Iranian-Islamic religious beliefs and historical sociology. Tombstones vary signficantly according to the religious beliefs and the culture and geography of each region. In the group of tombstones analyzed in this paper the most important,  from the point of view of visual semantics and mythological beliefs, are rams and stone lions. This group of tombstones are generally found in the western half of Iran, especially in the northwest and west of Iran. This paper is a descriptive-analytical study of field and library studies, seeking to discover the congruence between tombstone form and motifs and ornaments, i.e., the relationship between meanings and patterns in gravestones and lion-like stones found in cemeteries of the era of Islam in Iran. Studies show that the ram and lion tombstones themselves are symbols of greatness, bravery, heroism, greatness and courage, and all the sub-motifs on the body of these works also somehow reflect these traits and meanings, and they are completely dependent on the volume or morphology of the tombstones. Finally, it can be concluded that the stone carving artist has chosen these motifs with full knowledge of the meanings of the shape of the tombstones as well as the motifs placed on them. Therefore, he has been looking for the connection and dependence between form and image in his artwork.

Abstract Esfahan is one of the cities that, despite its ups and downs, retains part of its historic texture and is relatively healthy. Two factors have contributed to the maintenance of the relative health of the old city: relatively low rainfall and low relative humidity on the one hand, and the lack of destructive earthquakes on the other. The quarter of Jobareh (or Jubara) has a brilliant history as the oldest quarter in the city of Esfahan. The mosque is the main core of the city of Esfahan, and its oldest residential quarter dates back to the Achaemenid period; it is reknowned for the centrality of the establishment of the Jewish community there. This quarter was famous for its Jewish population from the beginning of Islam until the fifth century AH. During the Seljuk period, this quarter was located adjacent to important monuments, including the mosque and the Seljuk and market complex, and the city square. This paper tries to answer the following questions: what was the impact of the Jobareh quarter on the formation and growth of the city of Esfahan in the early Islamic centuries and what was the role of the Jews as its native and primary inhabitants in the formation of this historic quarter? The research method used in this study is descriptive–analytical, based on archaeological data including archaeological sites, cultural sites and all monuments ranging from pre-Islamic times to the Safavid period. According to the arguments presented in this paper, one can conclude that one of the most important centers of Esfahan for immigrant Arabs was the Jubara quarter, with the Arabs living in this quarter and with its growing prosperity, it became an important quarter; as time went on, it became larger than the Jay quarter, and the throne of Esfahan was thus transferred from Jay to Judea.