درخت حوزه‌های تخصصی

The final goal of this research is to investigate the design of Qajar women's clothing in different periods. In the first step, the question arises whether the cover can be a language. Then this research seeks an answer to the question of what messages in the form of language mean. Therefore, in the current research, the above issue has been analyzed by a case study of Qajar women's clothing and using a descriptive-analytical qualitative research method. Findings: This study shows that the clothing of Qajar women can be considered a single language of signs. In deciphering this language, concepts such as women's attention to religious foundations, gender inequality, and patriarchal view in society, the value of wearing Iran's old traditions, as well as the desire to move towards westernization and fashionism of Europeans can be inferred. The results of this research show the importance of the role, color, code, sign, symbol, and finally language in the field of women's clothing in the Qajar period.  

Artificial intelligence (AI) has the potential to revolutionize the field of archaeology by enabling researchers to analyze large amounts of data quickly and accurately. In this article, we have tried to implement some methods and algorithms in image processing on the image of ancient artifacts. We implemented the algorithms on two historical models as examples, one of which is the image of a coin decorated with the image of Farkhan the Great and the other is the coin with the image of Khursheed Daboui to obtain the details of these works from the images on the computer. We used Edge Detection, Hough Transform, imcontour, and Filter Images Using Predefined Filters algorithms in MATLAB software, each of these algorithms is used for specific purposes in image processing. By using digital image analysis techniques, researchers can gain a deeper understanding of the objects and sites they are studying and can make new and important discoveries about the history and culture of ancient civilizations.

The artistic background of the Good Shepherd motif can be traced to ancient eras of the East and the West. This motif later gained prominence in early Christian art. The ram-bearer (carrying a sacrificial or an offering animal) first appeared in Near Eastern art and later became an important motif in Greco-Roman art to represent certain roles of the god Hermes. This motif was considered by Christian converts as a symbol of Jesus Christ, as they represented him in the figure of a young shepherd caring for his flock. This theme can also be seen on some Sasanian seals, which can be considered as the Good Shepherd motif. In this article, the authors introduce the aforementioned motif depicted on these seals and examine their possible connection with the Christian communities. The motif of the Good Shepherd, as seen on the seals, demonstrates modifications in the original iconography. These changes can be observed in the longer dress of the ram-bearer or the engraving of celestial symbols. These modifications are probably a sign of the localization process of an imported motif in the Sasanian Empire.

This paper deals with an old Judeo-Persian letter called Dandān-Uiliq II (Abbreviated as DU II); which probably dates back to 9th century CE and further to its contents, has some important linguistic features, often without existence in later Persian texts written in Arabic script, for instance, the use of the adverb bē = but (as in Qur’an-e Qods translation), use of the conjunction kū, the use of the verb h- (to be) and ancient subjunctive mood. This paper also presents a new translation of the letter and its ancient linguistic features discussed in comparison to Early Persian texts (in Perso-Arabic script) and some early Persian translations of Qur’an, especially Qur’an-e Quds (probably written in Sistan in 12th CE). These features represent language transmission from Middle Persian to Neo-Persian (Dari). The given translation is not the same as previous English and Chinese versions and reflects my understanding of its syntax and morphology.

In the 1980s, Polish researcher Maria Składankowa promoted in her publications a theory stating that the representatives of the Sistani family described in Ferdowsī's Šāh-nāma were reflections of the rainy and sunny steppe shamans. The four main representatives of this lineage were said to alternately represent these particular shamans beginning with the primordial and rainy shaman personified by Sam and ending with the solar shaman in the form of Sohrab. Another rain shaman according to Składankowa was to be Rostam. This article aims to introduce Składankowa's theory to the international research community and to subject it to verification. The battle between Rostam and White Dīv, which was the seventh trial in Rostam's cycle of seven trials, was used for verification. This is a clash between two national heroes and the circumstances of this battle blur the boundaries between what is commonly understood as good and as evil. Thus, this is an example that perfectly demonstrates Składankowa's theory of rejecting religious notions of good and evil and focusing on the primeval connection between man and nature when it was man's greatest ally and enemy. Neither Rostam nor White Dīv, according to Składankowa's theory, are therefore completely good or completely evil, like any element of nature, which can be a life-giving or destructive force. Identified with good forces, the sun warms the earth and causes vegetation but can also cause drought and the death that follows. Identified with evil forces, rain can cause floods, but without it, vegetation will die. There is no absolute good or absolute evil in nature. Nor is there one in the battling Rostam and White Dīv. Ferdusī's description of this combat in Šāh-nāma clearly goes back to this primeval myth leaving the story universal.

A study of the arrow guide or nāvak in Iran. It covers the technical aspects of arrow guides and how they may have entered Iran. In Persian, arrow guides are called nāvak and their projectiles are called tīr-e nāvak. However, sometimes nāvak is used for the arrow as well, and even the bow. It also covers how outside cultures viewed Iran as a source of innovation in the further development of these devices. In Arabic they are called majrā and this is the term most familiar in the west due to two important translations of Arabic archery manuals into English, Arab Archery and Saracen Archery, but they were mentioned earlier as nāvak in an English translation of part of the Hidāyat ar-Rāmī, where they were mistakenly described as crossbows. Essentially, an arrow guide is a partially closed tube used with a bow to shoot a short arrow drawn much farther than its length would normally allow. This produces a projectile that has increased velocity and less friction through the air than a regular arrow. The arrow guide has had a long history in Iran, probably entering in the last years of the Sasanian Dynasty, surviving the Arab conquest and persisting until the gradual takeover by firearms. It was fertile ground for invention with many variations being spread across the Islamic world. The persistent association with Iran in Arabic archery manuals reflects the perception that much of its development was tied to Persian users. Here, Persian and Arabic sources are examined. Reference is made to original artefacts and reconstructions.

In recent years there has been a growing interest among historians, historical martial artists, reenactors, and those who are interested in Eastern culture as well as in Persian offensive and defensive weapons to have a more detailed study of armor. The change in the paradigm of defensive weapons throughout Western Asia (the last quarter of the 15th to the first quarter of the 16th century) has not yet been fully investigated. Reconstruction of mail-and-plate armor from a period between 1540-1650 CE is quite challenging as most museums or major private collections do not have a complete set. Based on a detailed study of existing sets of joshan armor and several technical assumptions related to the design of this type of armor, the present study tries to reconstruct a fully protective complex of a joshan armor that was worn by a noble Persian warrior. The purpose of the following article is to reproduce a Persian mail-and-plate armor from a period between 1540-1650 CE in its original size and design with its inherent properties and qualities. Different existing sets of this type of armor from museums are studied and compared to different miniatures and literary sources. Based on the collected information gained from theoretical and practical research, the article presents a historical armor design and provides advice on the practical reconstruction and production of such a set of armor. Armor masters were looking for the best combinations and ratio of plates and mail armor in one set. They were experimenting with the shapes and sizes of plates, the number of holes, diameters, geometry, and method of ring interconnections. Characteristic of the armor of this period is rather large plates and a small number of their rows (3-5 rows on the chest/back), a small overlap of the plates in a row, basically only the same standard plates are used, large mail rings (inner diameter about 10 mm).

The Parthian Empire was a major Iranian political and cultural power in ancient times and reigned in Iran for almost 500 years. There have been many books or articles written on Parthians over the past years; however, in recent years, research on this empire has intensified. The Parthians: The Forgotten Empire by Uwe Ellerbrook, was published in 2021. In this book, Ellerbrook has investigated all aspects of the Parthian kingdom and goes beyond the political history of the Parthians to familiarize the readership with the archaeology, history, culture, religion, art, and society of the Parthians.