درخت حوزه‌های تخصصی

Among the archaeological documents, seals and seal impressions are of special importance because the symbols and designs therein represent much of a country's customs, practices, customs, and beliefs, as well as aspects of its history. It shows rituals, religion, philosophy, and art as well as administrative and social management over the centuries. This motif has its roots in the ancient civilization of Iran and is sometimes influenced by the neighboring nations. These portable data have caused the spread of culture and art to other lands for the sake of use in business exchanges, administrative letters, and political relations. The introduction of seals and the study of inscriptions carved and motifs on them can help us to know some of the unknown aspects of ancient Iranian culture and civilization and introduce us to the intellectual world of this period. The main goal of this article is related to the documentation of stamp seals of the Museum of Ancient Iran and the interpretation of the symbols engraved on them.

This paper utilizes an approach that combines studies of Samanid period artifacts and textual accounts with modern genetic studies to explore the identity of the people who were involved in long distance trade from the far eastern regions of the Central Asia into Northern Europe. Although this study does not analyze the Samanid works, it reiterates and illustrates how important Iran/Persia was in the history of Europe as well as Central Asia. The information contained in the artifacts and texts gives us the evidence needed to understand the vast trade network and the people who were responsible for the movement of these goods, people and ideas. This study reconfirmed recent genetic studies that the people, collectively termed Rus or Vikings, were a mixture primarily of Scandinavians, Slavs, and Turks, with additional admixing with local populations. The importance of the Persian and Arabic sources addressing contact between the Rus and Eastern people has been thoroughly discussed by Thorir Jonsson Hraundal. In these texts, the Rus were referred to by different names including Majus, Northmanni, Urduman, Warank as well as by other names. One of his many observations is the unmistakable influence of Turkic culture on that of the Rus. This complex ancestry is supported by recent genetic studies and will be discussed in more detail below in light of archaeological evidence. Thus, the term Rus refers to a way of life rather than a homogenous ethnic or cultural group. However, this study refined the identity of the people responsible by observing a correlation between the distribution of the genetic haplogroup R1a sub-clade and the long-distance trade routes across Central Asia to Northern Europe, with the central focus in Eastern Europe. Despite the vast distance, the evidence indicates that there were cultural contacts between people with linked ancestry. The study is important because it begins to reveal the unexpected influence of Eastern cultures on those of Northern Europe.

The Urartu civilization is one of the old civilizations of the Azerbaijan region. Urartus ruled over northwestern part of Iran, Caucasia, eastern Turkey and even northern part of today Syria. Their language does not belong to Indo-European or Semitic language families. Their language was an agglutinative language. There are lots of inscriptions related to Urartus in East Azerbaijan, West Azerbaijan and Ardabil in northwestern Iran. These inscriptions and Urartu castles in the region have Turkish names. The researcher tried to find out whether there is any relationship between Urartu language and Azerbaijani Turkish language of local people of the region. The cognate based study and comparing roots of the words between ancient Turkish and Urartu language showed that Urartu and Turkish words have the same roots. There are also grammatical similarities between these two languages in using suffixes like –li and –ni for showing relationship and possessiveness. Furthermore, in Urartu language like Kazakh Turkish suffix –u is used to make an infinitive verb. Some Uratian names like Turkish names start with prefix ar/er. The name of some Urartian Gods have meaning in Turkish. As a result, Urartu language must be an Altaic language and a proto-Turkic language.

Following Arab invasions into Iran and their territorial expansion within the Sasanian realm, Iranian discontent with Arab rulers grew, particularly during the Umayyad and Abbasid periods. These grievances sparked uprisings and revolts, eroding Arab control over the eastern reaches of the Islamic Empire and gradually enabling local governments in the east to assert autonomy. Amidst conflicts on its western borders and engagements with the Byzantine Empire, the Abbasid Caliphate grew uneasy as local governments like the Tahirids, Saffarids, and Samanids declared independence, albeit with nominal allegiance to Baghdad. Among these emerging powers, the Samanids of Transoxiana, centered in Bukhara, rose to prominence. Originally prominent commanders within the Abbasid army, the Samanid rulers, with the backing of their people and forces, navigated toward independence. Initially part of the Abbasid army hierarchy and beneficiaries of military training under the Abbasid regime, the Samanid emirs seized the opportunity created by the weakened Caliphate and conflicting interests with Baghdad, establishing a semi-independent government in the east. In this historical context, military forces and militarism held significant importance for all the established systems in the eastern regions, including the Samanids. The military played a pivotal role in shaping and sustaining Iranian local governments like the Samanids.

With specialized research and activities, archeology introduces many features such as old and ancient areas, ethnicities, cultural traditions, artistic handicrafts and the diverse climate and ecosystem of Iran to attract tourists. The formation of a positive sense in tourists about tourism destinations, taking into account the synergistic approach, also strengthens the sense of pride in the local community. On the other hand, increasing the level of perceived quality of tourists leads to an increase in the satisfaction of tourists as customers of tourist places and becomes the basis for encouraging managers and planners to try to provide more services with better quality. If the environment of tourism destinations lacks the desired quality, it will affect the perception of the tourist about the space and as a result, his mental image of the environment. In addition to motivating and introducing tourist attractions, archeology can provide the basis for the participation of government institutions and private sector investors in order to provide facilities and revive tourism dimensions. Reconstruction of historical contexts, anthropology, linguistics, traditional arts and other related sciences, can provide a suitable platform for economic growth and development, along with the development of tourism in the region and the world for Iranian society. According to the above, in this study, the researcher attempted to investigate the role of archeology studies and the quality of the rural environment in the development of tourism. This study is applied in terms of purpose, descriptive-analytical in terms of data collection, and is based on observation, interview, questionnaire and statistical data. In the present study, two methods of documentary and survey studies have been used. The statistical population included experts in the field of tourism and planning. The statistical sample of the research is about n=10. In addition to seeing the sights and natural landscapes of those places, tourists become familiar with the customs and culture of that village. In this way, tourists are interested in buying village products, such as handicrafts, local products, etc., and this means an increase in the income of villagers who work directly or indirectly in this industry. Most studies are demanded and focused on visitors and their needs and motivations.  

Light and color are effective factors in the creation of works of art, which, as the most immaterial element of nature, have always been influential in Iranian Islamic painting, and in fact, they represent the sublime world and spiritual atmosphere Also, the research about light and color in painting and its impact on painters and its contribution to the scope of expressing the influence of mysticism in the whole Islamic culture and art is at the starting point certainly knowing and understanding the three words mysticism, light and color and finding their meaning and meaning in a symbolic way is not only effective in better understanding Iranian and Islamic painting, but also our insight in understanding the Islamic ideas that are rooted in mysticism and Sufism and It also makes the behavior smoother. Colors have a chemical aspect in art, and mixing them is an art similar to alchemy. The main concern of this research, which is presented in an analytical way, is aesthetics and investigating the mystical aspects of paintings and motifs in Islamic civilization in Iranian art and architecture. It seems that Islamic art and architecture tries to manifest God's unity among colors, forms, lights, and sounds. Each color has a special allegory and a relationship with one of the inner states of man and soul. Color is an important factor for spiritual use in the painting effects of Islamic architecture. Mosques in the Islamic world usually use turquoise green and blue colors. Blue and turquoise colors are the main background colors of walls, tiles, altars, domes, and courtyards and along with the golden color in Iranian Islamic paintings, among other colors, they have a special shine and effect. These colors are manifestations of the inner meanings of colors. The colors of turquoise, green and white, which are symbols of nature's sky and divine light, respectively, are mixed together and add to the majesty of the mosques. The colors that result from the radiation of light are a symbol of the manifestation of unity in multiplicity and the dependence of multiplicity on unity. The reflection of the existence of colors in Iranian art shows an extraterrestrial truth outside the world of the senses, rather than imitating the surrounding natural colors. Vigilance and accurate insight in the arrangement of colors and the correct selection of each color refers to a symbolic concept of colors and their mutual effects that permeate the human soul and spirit.