درخت حوزه‌های تخصصی

Diodorus Siculus, Quintus Curtius Rufus, Polyaenus, and Arrian are the primary historians who have written about the Battle of the Persian Gates but their accounts differ in some details. Much research has been done on the cause of differences between these historians, their method of historiography as well as their sources; but in this article, the main focus has been on the identity and political status of Ariobarzanes, the general who led the Persians in the aforementioned battle. As this essay argues, the clarification of this issue hinges on a large extent understanding Ariobarzanes’ end at the Persian Gates. Of course, due to discrepancies between classical sources and the absence of any Iranian evidence in this regard, this is not an easy task, but this article tries to find the most reasonable answer by identifying the most accurate classical account, and then presents essential historical results to be drawn from it. It should be noted that so far, various researchers, have speculated on the identity of Ariobarzanes with skepticism, but in this article, with detailed criticism of classical resources, the identity and political status of Ariobarzanes are clarified.

Antiquarianism is one of the significant elements of Iranian nationalism that emerged through archaeological research and exploration by Iranian scholars and Western archaeologists in the realm of Iran's history and culture. It provided a fresh definition of Iranian history and identity, playing a crucial role in the construction of modern Iranian nationhood during the era of Reza Shah. Nationalist antiquarianism had a lasting impact on cultural, literary, and even political aspects, transforming the understanding of Iranian history and identity. As an intellectual and cultural movement, antiquarianism aimed to uncover the unknown aspects of Iran and its people beyond recorded history. Its purpose was to revitalize the material and spiritual culture of the historical Iranian nation, turning it into a source of pride and a foundation for constructing a new government-nation with a rich historical civilization. In this context, Reza Shah leveraged the Iranian antiquarian movement to construct a modern Iranian government-nation, utilizing the deep-rootedness of the monarchy system in pre-Islamic Iranian history as a legitimate link, presenting it as a legitimate pole against the backdrop of Islamic Iranian history. This research seeks to answer the question of the function of antiquarianism in the development of Iranian nationalism during the reign of Reza Shah, employing a descriptive-analytical method. It explores the coordinates of Iranian nationalist antiquarianism and investigates why Iranian nationalists conceptualized antiquarianism as the foundation of the Iranian nationalist movement.

In archaeological finds, seals are generally considered as one of the most important data bearing important economic, political and even artistic information of relevant time periods. Moreover, the iconography of seals plays an informative role to explore the main characteristics of seals or sealing in order to better understand the social, economic or even the administrative contexts of the societies to which they belonged to. Different styles in the different space and times are known in terms of pictography that can help researchers understand the characteristics of a time period better in the absence of sufficient information. The ancient city of Susa with a rich collection of seals related to different historical-cultural periods is one of the most important ancient sites in Iran which have been used as clues to decipher or interpret that can guide researchers in the stylistics and iconology of seals from its neighboring areas. The cylindrical seal No. 1841 has been registered in the catalogue of the National Museum of Iran with an “unknown” location. The similarity of the image engraved on this seal to those found on seals obtained from Susa was the reason the author came up with this article in order to introducethe seal and specify iconography and stylistics and finally its date and origin with a comparative study. The present study tries to answer the research questions: “What style and time period can be considered for the iconography of the cylindrical seal in the National Museum?” and “Is it possible to prove that it belongs to the city of Susa according to the iconography of the image of the relevant seal?” Studies that have been conducted with the comparative method and with the approach of the image analysis, the IVA style of Susa is considered for it leading to the conclusion that this seal probably belonged to Susa itself.

The objective of this research is to present a designing model based on cognition of effective components on the sense of belonging to place in contemporary houses in Tehran (Narmak 60s and 70s). The method of conducting the research was considered as a causal method in terms of practical purpose and in terms of implementation and analysis. Using the panel data (PD) method, the research was tested and analysed. The Hierarchical Multiple Regression (HMR) was used for the analysis of the data. Random selection method was employed to select individuals as research sample. The areas of sampling included 1. Houses in Central Narmak, 2. Houses in North part of Narmak and, 3. Houses in Western Narmak. Based on review of opinions and replies of the sample and on the obtained weights, it can be clearly seen that the criterion of concentration is in the first place, the criterion of spatial qualities, accessibility and permeability as the second important and influential criterion in the development and improvement of the recognition model of the components affecting the sense of belonging to the place and the criterion of the sense of physical belonging the place has been mentioned as the third important and influential criterion in the development and improvement of the recognition model of the components affecting the sense of belonging to the place.

The art of glassmaking in Iran, with a glorious historical background, visual richness and unparalleled beauty reached its peak of prosperity in different historical periods. Safavid and the Qajar era are among the brilliant periods of Iranian art, which in many fields, was the continuation of the Timurid golden age. These works include the most outstanding examples of court objects, they include the most mundane objects and household utensils produced in workshops, which in each of these two groups, depending on the social class of their patrons and creators, have unique features. One of the unique glassmaking in that era was the production of scent-bottle. The root of the word "perfume" is derived from the Latin word "perfume" and means "passing smell". Scent-Bottles were containers that kept all kinds of perfumes (oily liquid, perfumes, and even pharmaceuticals) in it. Iran is one of the most important centers for the production of glass perfume bottles; however, no research has been done in this field. In this research, while taking a brief look at the historical background of glass production and its manufacturing technique, the form and motifs of Iran's glass perfume bottles have been examined and their manufacturing technique, shape, size and decorative motifs have been studied. The research method is historical-analytical and the purpose is to examine the differences and similarities of perfume bottles in different historical periods, and finally the results proved that there are fundamental differences between perfume bottles through different historical periods in Iran.