۱.
Until the Naserid period, Iranian women clothing was different in and out of the home and was directly influenced by the common moral pattern. Changes in common patterns emerged from Iranians' familiarity with the manner of social presence as well as male and female clothing in the public sphere of western society, from the Naserid period onwards, and has had various effects over time. This process is examined in the present article to answer this question: Between which strata of society and regions of Iran did the change in the style of women's clothing during the period in question occur, and what social and cultural contexts were most effective in this regard? Based on the results of this study, it can be said that due to the increasing social presence of women, the process of fitting their clothing with the requirements of new social relations was within the framework of the ethical order and living patterns of Iranian women. But what happened later in the process of policy-making and implementation of socio-cultural programs by the government has caused ambiguity and numerous damages to this process.
۲.
“Animal drawing in row” has been important and a widely-used style in Mesopotamia, as well as in Persia which is mainly depicted on pottery and metals. This style is also depicted on Greek pottery. The question is: How did “animal drawing in row” affect Greek pottery art. In terms of mythological stories and mythical creatures, this style is close to Greek traditions therefore it had been warmly welcomed and applied by Greek artists. These effects could have also occurred due to enormous trade between Greece and its colonies on the one hand and Syrian, Phoenician, Mesopotamian and Persian civilizations on the other. The purpose of this study is to compare this method in some of Iranian pottery discovered from Marlik, Hasanlu, Elamite and Achaemenid civilization, to Greek pottery. The research method is descriptive-comparative. On pottery and metal vessels, this technique starts with single drawing row, and ends with multi rows. The number of rows in most cases depended on the size and the surface of vessel or pot.
۳.
The archaeological excavation of ancient Elam has led to the recovery of remnants, showing the rise and fall of a Persian civilization as well as reflecting how music and instruments (musicianship) were popular in those eras. Such archeological findings have mostly been portrayed on rock and pottery. A series of pictograms have depicted musical instruments while the majority of depicted string instruments are harps and tanburs. Wrapped in the Elamite culture, these instruments were passed on to the next civilizations, experiencing transformation over time. This descriptive-analytical research attempts to explore the string instruments in ancient Elam, thereby to review the historical roots of Iranian string instruments. The paper first provides an overview of music in ancient Elam. Then, several pictograms depicting string instruments are examined to determine their diversity and significance. The results indicate that harp and tanbur were the most frequent and diverse string instruments depicted in the paintings of ancient Elam.
۴.
Sun deities had sometimes the function of judgment during antiquity. Mesopotamian Šamaš and Urartian Šiwini are of similar examples. Their function as the Judge Deity was more significant than the sun function. Šamaš was the great sun in mythological texts but the judge in royal inscriptions. Šiwini is mentiond in ending and cursing formula of the royal inscriptions to punish the destructor and the enemy. He sometims accompanied two other significant deities in Urartian Pantheon, Ḫaldi and Teišeba. Šiwini had been exhibited and pictured as the winged disc or a horse which are both symbols of Šamaš as well. Accordingly, the similarities between Šamaš and Šiwini are doubtless. Simultaneously, they have differences as the way they are mentiond in inscriptions and Šiwini’s third place in Urartian pantheon. It is the aim of the author to compare these two deities through reviewing the texts they are mentioned in to demonstrate the absolute effect of Šamaš over Šiwini and to refuse the exact imitation of Šiwini from Šamaš.
۵.
By selecting Northwest Iran as the early capital of Ilkhanid dynasty, Mongol rulers had governed this area for about one century which would have been the official route of administration and communication between Mongolia, Inner Mongolia, Northeast China, and Iran. The existence of three unknown rock-cut archetypes in Maraghe (new capital) and its surroundings are among the most controversial subjects for historians and archaeologists. Although the period between 1256 and 1335 is seen as a period of cultural interventions from Mongolia and Inner Mongolia into the Northwest Iran, the architectural influences during Mongol's dominion has been less considered by the scholars. In this way, recent archaeological developments related to this region are beginning to shed new lights on recognition the architectonic appearance and the application of these unique underground architectures in Northwest Iran. Considering comparative studies besides analytical expository of architectural evidences from Mongolia, Inner Mongolia, and Northeast China, this project is aimed at standardizing the identity of unknown rock-cut structures in Northwest Iran. According to the results, the combination of a corridor leading to one or more chambers is not entirely random in Northwest Iran but also shares an exact assimilation of those in Mongolia, Inner Mongolia, and Northeast China.
۶.
For a long time, humans have used plant motifs on objects such as pottery, goblet, and others, which sometimes have a symbolic appearance and were very important in the relics of a particular period. One of the most important motifs, that has a Mesopotamian origin, is the tree of life. The tree of life is a plant that is found in many mythical traditions of the Near East such as Mesopotamia, Anatolia and Egypt. The flower of life or the motif of geometric rosette is another valuable motif with six petals. In this paper, the authors first discuss the symbols and symbolism and then investigate the background of the tree of life and then discuss the motif of geometric rostte or flower of life, and later focus on the Golden, Silver and Bronze findings at the sites of Marlik, Amarlu in Gilan and Kelardasht in Mazandaran related to iron age of Iran and investigate the impact of this symbolic motif on archaeological findings in the surrounding sites that have probably transformed the motif of the tree of life into the flower of life. This motif emerged among the communities of northern Iran during a period almost identical to the Assyrian era at the bottom of the Golden and Silver and Bronze goblets and is a kind of symbol of the tree of life that then the artists replaced the sacred tree with six petal rosette.
