جواد نیستانی

The history of Tabaristän, from the late Sassanid era through the middle Islamic age, underwent significant social and political changes the result of which were independence seeking movements leading to some semi-independent local governments. Each of these governments claimed political and social governance over a particular region. Castles, as important and influential military bases, were means at the disposal of the commanders and governors to maintain their sociopolitical power. Among the known castles in the mountains of Mazandaran province, Pouläd Castle in Nour, the capital of Nour County, is one of the symbols of territorial defense. It is located on a tall mount off the city of Baladeh in Nour County. Being built on an elevated location and overlooking the important surrounding regions and strategic ways has made Pouläd Castle one of the important centers in the sociopolitical changes. The present study follows a field work method as well as a library research method to investigate the defense structure of Pouläd castle and its geopolitical and geostrategic role in the power distribution pattern over the region of Rouyän in Tabaristän during the Islamic middle ages. The results show that the builders had tried their best to enhance the stability of the castle by building several layers of walls, utilizing the slope of the mountain, building several defense towers, and using rocky and impervious points as natural forts. Architectural analysis shows that Pouläd Castle, with both its military and political functions, has had a prominent role in the political changes of western Tabaristän.

From the middle of the first millennium BC, there witnessed a gradual bilateral relation between Iranians and Greeks. These people to people attachments also resulted in interactive influences between these two cultures and arts. Qualitative and quantitative investigation on these interactions is a basic issue in identifying both cultures. The current paper, among all miscellaneous influences of Hellenism on the culture and the art of the Parthian realm, attempts to analyze only the influences of basics and rules of the Greek aestheticism on the Parthian sculpture and come to a historical conclusion based on an inductive method. .

With the formation of local and national governments during the 3 rd -5 th centuries A.H. [9th - 11th A.D.], the circumstances were prepared for adaption and recreating cultural and artistic traditions of Sassanid period. In this regard, Samanid governors played a key role. Amir Ismail Samanid came up with a style which became a pattern for numerous mausoleums and on the other hand connected the architectural elements and designs of Sassanids with the Islamic era. The Mausoleum of Amir Ismail Samanid itself shows how the Sassanid architectural elements appear in a new format. Both the design and construction of this building appears to have been carried out objectively, and Amir Samanid had somehow intended to follow the Sassanid dynasty. Studying the architectural elements and features of the Ismail Samanids Mausoleum as well as adaptions from the Sassanid architecture, and also its historical and cultural contexts (the revival of Iranian identity and returning to the traditions of Sassanian, during the 3rd – 5th centuries A.H.) are the main objectives of the present paper.

From the middle of the first millennium BC, there witnessed a gradual bilateral relation between Iranians and Greeks. These people to people attachments also resulted in interactive influences between these two cultures and arts. Qualitative and quantitative investigation on these interactions is a basic issue in identifying both cultures. The current paper, among all miscellaneous influences of Hellenism on the culture and the art of the Parthian realm, attempts to analyze only the influences of basics and rules of the Greek aestheticism on the Parthian sculpture and come to a historical conclusion based on an inductive method.