درخت حوزه‌های تخصصی

Khalifeh Kandi village is located in the southeast of the Sahand mountain range and northwest of Hashtrud province. Investigation at these sites started in 2013 and continued until 2015. Obtained evidence included a variety of potteries, carved stones, and caves from the historical and Islamic eras. in this paper an attempt has been made to introduce and analyze cultural and historical founds. The result shows that most of the surveyed sites and places around Khalifeh Kandi, in terms of pottery types, belonged to the Islamic period and rarely, artifacts from the pre-Islamic period were observed. The settlements identified in the area under study are mostly located in w slopes by the river and shallow valleys, and only one of these archaeological sites was observed in flat and elevated lands. probably this site was used in certain seasons of the year. Glazed and simple pottery from the Islamic period and rough pottery that was produced in local workshops are among the artifacts observed in the surveyed sites.

Emphasis on the importance of social-political fabric and its effect on the urbanization and economic system that are aspects of urbanization life is one of the necessities during the Achaemenid Period. This study was conducted based on the deductive-inductive method. First, written sources (clay inscription of Persepolis and classic authors) have been used to achieve general information about the social-political fabric of Fars during Achaemenid Period then archeological evidence remained from the economic system of Achaemenid period in Central Fars was analyzed within this framework. No coin, including Shahi or so-called Satrapy, has been discovered from archaeological excavations in Iran, even. It seems that Achaemenid Empire had no plan for monetary economic development, and coin promotion and use in transactions despite its wide territory and regular discipline. On the contrary, it seems that Darius and his successors considered coin as a political instrument used to convey and show the message of the political and military power of the Achaemenid king at that ear not as a tool for the economic system. Therefore, studies focused on clay inscriptions of Persepolis and evaluated works of authors indicate that the sociopolitical fabric of Iranian society, especially Fars has been traditional and based on agriculture and husbandry during Achaemenid Era. As we know, the city was not shaped during the Achaemenid period despite the presence of urban structures, such as social sophistication, specialism, and the modern administrative system of the ear; therefore, coin use was not institutionalized in the economy of that era.

Light and color are effective factors in the creation of works of art, which, as the most immaterial element of nature, have always been influential in Iranian Islamic painting, and in fact, they represent the sublime world and spiritual atmosphere Also, the research about light and color in painting and its impact on painters and its contribution to the scope of expressing the influence of mysticism in the whole Islamic culture and art is at the starting point certainly knowing and understanding the three words mysticism, light and color and finding their meaning and meaning in a symbolic way is not only effective in better understanding Iranian and Islamic painting, but also our insight in understanding the Islamic ideas that are rooted in mysticism and Sufism and It also makes the behavior smoother. Colors have a chemical aspect in art, and mixing them is an art similar to alchemy. The main concern of this research, which is presented in an analytical way, is aesthetics and investigating the mystical aspects of paintings and motifs in Islamic civilization in Iranian art and architecture. It seems that Islamic art and architecture tries to manifest God's unity among colors, forms, lights, and sounds. Each color has a special allegory and a relationship with one of the inner states of man and soul. Color is an important factor for spiritual use in the painting effects of Islamic architecture. Mosques in the Islamic world usually use turquoise green and blue colors. Blue and turquoise colors are the main background colors of walls, tiles, altars, domes, and courtyards and along with the golden color in Iranian Islamic paintings, among other colors, they have a special shine and effect. These colors are manifestations of the inner meanings of colors. The colors of turquoise, green and white, which are symbols of nature's sky and divine light, respectively, are mixed together and add to the majesty of the mosques. The colors that result from the radiation of light are a symbol of the manifestation of unity in multiplicity and the dependence of multiplicity on unity. The reflection of the existence of colors in Iranian art shows an extraterrestrial truth outside the world of the senses, rather than imitating the surrounding natural colors. Vigilance and accurate insight in the arrangement of colors and the correct selection of each color refers to a symbolic concept of colors and their mutual effects that permeate the human soul and spirit.

 Mythologies are closely related to each other because of the archetypes, and due to time, place, and specific geography, they appear in different forms in different peoples. Gilgamesh is considered the oldest Mesopotamian epic poem whose image can be seen on Lorestan bronzes in the second and first millennium BC in the form of a horned man supporting, killing, or taming animals. Identifying the visual relationship between the role of the horned man in Lorestan bronzes and Gilgamesh in Mesopotamian works in order to discover the common intellectual heritage between these two regions is the main goal of this research. The main question of this research is about what and why are the technical and visual similarities and differences of the paintings, which have dealt with the background of Gilgamesh's role in the Mesopotamian civilization with a descriptive-analytical method, and then, with an analytical method, he analyzed the relationship between the role of the horned man in Lorestan's bronze works and the role of Gilgamesh in Mesopotamian art based on the theory of pre-textuality. The results show that the artist of Lorestan created a work of art under the influence of Mesopotamian mythology and art which are similar in visual and narrative components, but according to the culture and customs of the region, differences can be seen in the performance style and the structure of the topics, which shows that Lorestan artist did not imitate Mesopotamian themes. Rather, it has created a new work of art by creating transformational relationships with changes in the pretext.

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.

The article reviews chivalry traditions, developed in ancient Iran, and their transition and transformation to the country’s post-Islamic history. The author analyses the cultural mechanisms, which provided this movement, and argues that its roots and prerequisites should have taken place in Great Khorāsān at the very turn of the ‘Abbāsid revolt in the middle of the century CE. This was a period when an external call activated forces and facilities, preserved in the stratum of Iranian knights, to become the basis for the later military evolution within the new circumstances. The cultural importance of Khorāsān for the Iranian state and rule at the turn of the Muslim era is reflected in written texts. The early muslim period in Great Khorāsān was a special time as Iranian predominance mingled with multicultural traditions in the boundary region. The topic is presented in a wide context including Irasnian literary, artistic, and artisanal sources, helping to visualize the historical backdround of Iran. This is based on philosophical doctrines for Iranian cultural developement proposed by contemporary scholars.

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 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.