درخت حوزه‌های تخصصی

Dari apparently began to spread in Greater Khorasan only in the aftermath of the Arab invasions of Iran. As the official language of the Sasanian court, it would experience a substantial proliferation following the shift in power from Ctesiphon and Fars to eastern Iran, particularly Khorasan, which appeared as a safe haven for the king and the prominent court families during the first two decades of the invasions. The question then arises as to the relation between the spread of Dari in Khorasan and the resettlement of western and southern Iranian populations in the eastern part of the collapsing empire. Our inquiry into the Sasanian-Islamic transition in quest of the fire temples that persisted in the early Islamic centuries led to the conclusion in view of the fluctuating numbers of coeval sites that the earlier harsh attacks had apparently forced inhabitants of southern Iran in particular Fars and Ctesiphon to take refuge in Khorasan, the land of Adur Burzen-Mihr Fire. In their new home, these refugees would adopt two different modes of subsistence, thereby settlement, systems: sedentary rural life, and nomadic lifestyle involving periodic moves within a certain area. This dichotomous approach would guarantee their survival. Among the manifold results of the late Sasanian peace treaties between the dehgâns and the Arabs was the preservation of Iranian culture and language in Khorasan, where it contributed to several advances. Several years of efforts by Iranian immigrants to revive architectural and poetic styles in Khorasan proved that they were triumphant in the cultural battleground despite of losing the actual battle.

Chronogram is the conversion of numbers and figures of history into letters, words and terms. Due to its development and growth, especially in the Safavid period, this technique has become a complex form and has gradually attracted politicians` attention and has been used directly in historical developments to prove their legitimacy, as well as their confrontation against their opponents. The use of the chronogram and the attempt to reconcile it with the rise of the Safavids, the accession of Shah Ismail, the formation of Shah Tahmasb's army, some of the Indian conquests during the reign of Shah Abbas and accession of Nader are some of these historical approaches which will be discussed in this study. In addition to stating a specific part of history, some of these chronograms, also indirectly reveal some hidden social and historical issues that can be used in historical analysis.

The famous “Shapur Cameo” from the collection of Bibliotheue Nationale is an important object and appears in various studies of Sasanian art, as well as of arms and armour. Studies focus on dating of the object, identification of the scene or identification of the depicted personages without asking the basic question whether the cameo is surely genuine. The conclusion of the article is that the arguments pointing to its nineteenth century origin prevail. It must be stated that the Sasanian elements are employed in very skilled manner both in terms of composition and majority of depicted details, however indecisive nature of the picture which does not clearly define the victor, unclear clothes or garb of the Persian figure, archaic sword of the Roman figure, his awkward position, and not tied tails of the horses, allow to believe that the person who designed the cameo was not fully aware of Sasanian realia. The Sasanian elements are gathered from the limited range of references. The separate argument is that cameos are not type of art favored in Sasanian Iran.