درخت حوزه‌های تخصصی

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 present article, which has been written in a descriptive-analytical manner based on field studies in the field of popular literature, examines the oral and Kurdish tale "Shirzad Shirdil," which has not yet been fully documented, based on Joseph Campbell's (1904-1987) theory of the hero's journey. It aligns the stages of the tale with this theory and also addresses some of its symbols. The importance of the present subject is due to the cultural-literary value of folk tales and the interdisciplinary position of Campbell's theory. The main question is: How and to what extent do the stages of this tale correspond to the hero's journey? The hypothesis is that although this tale does not have all the stages of Campbell's hero's journey, it has most of them. Based on the research findings, since Shirzad is accompanied by the older dimension of his existence – Malek-Ahmad - both dimensions must necessarily attain transcendence. Therefore, to complete the hero's journey, the repetition of a stage such as the meeting with the goddess, the passage through the belly of the whale, the ultimate boon, the apotheosis, and the master of two worlds is sometimes manifested. Additionally, this tale lacks the stages of the hero's refusal of return, the magical flight, and the rescue from without.

In the 5th and 6th centuries A.H., glassmaking in the Islamic era reached its peak of growth and prosperity in Islamic lands and was accompanied by innovations in the field of construction and decoration, which became the inspiration for glassmaking in the world after this period. This article aims to introduce and categorize innovations in the methods of producing and decorating glass products from the fifth and sixth centuries of Hijra. This research is descriptive-analytical with a library method. The results show in the 5th and 6th centuries of Hijri, Islamic glassmaking underwent significant transformation and innovation, evident in four key areas: color and raw materials, form and manufacturing methods, decorations, and applications. Islamic glassmaking in Iran, Iraq, Syria, and Egypt exhibited distinct technical features compared to the preceding era, which in Iran ceased with the Mongol invasion in the 7th century AH, subsequently shifting to the glassmaking centers of Iraq, Syria, and Egypt.

One of the most important archaeological remains from the Sassanid period is the famous structures called Chahartaqi, which are related to religious beliefs and are considered part of religious architecture. The recognition of these buildings regarding the sacred fires erected in them is faced with ambiguities. Ilam Province is located in the western part of central Zagros, which has attracted the attention of archaeologists due to its proximity to Mesopotamia during the Sassanid period. Investigations carried out in various sites in this province indicate the existence of many fire temples and Chahartaqi structures, some of which have been introduced and some remain unknown. This research aims to introduce typologies of the fire temples and Chahartaqi buildings in Ilam Province to recognize the architectural style and pattern and their relationship with the sacred fires based on Zoroastrian religious texts. This research has used the documentary method with a descriptive-analytical approach. The results show that the Chahartaqi buildings in Ilam Province are divided into simple and compound Chahartaqi in terms of architectural pattern. Simple Chahartaqi consists of a square plan, four thick piers, four wide openings, and a domed roof, which, according to Zoroastrian religious books, belong to the Atesh Dadgah. Compound Chahartaqi consists of a square plan, a protected corridor for the fire, and corridors around the building that lead to the surrounding spaces, which were used for the residence of Mobeds and the maintenance of auxiliary equipment related to the fire temple

In the second half of the fourth millennium BC. Southwest Asia underwent social changes, the result of which was the emergence of writing. In these developments, the cuneiform script in the south of the Mesopotamia and the Proto Elamite in the Iranian plateau progressed rapidly to such an extent that at the beginning of Elamite was scattered throughout the Iranian plateau. These writing systems were used for administrative and accounting purposes, and despite the fact that most of their signs are different from each other; there are important similarities between the two. Chalcolithic era, the best period in which you can see the idea of trading's and keeping of account; for the first time in this course, tools are seen which called them Token; it seems that the tokens in a variety of forms and counting symbols refer to a specific concept. The end of this period coincides with the Proto Elamites era in the south and southwest of Iran. Domestic production in the Neolithic period gave his place to the production of a workshop in the Chalcolithic era, which causes a lot of production. In the present study, firstly, will be investigated, small clay counters and then the Proto Elamite texts.

Guitty Azarpay was born in Tehran, Iran in 1934. She graduated with a PhD in Art History in 1964 from UC Berkeley.She taught at UC Berkeley until her retirement in the early 2000s. Her research on the ancient Iranian and Transoxiana (Central Asia) art, especially about Urartian Art and Sogdian Painting, is highly commendable, as she wrote two valuable books such as Urartian Art & Artifacts (1968) and Sogdian Painting: The Pictorial Epic in Oriental Art (1981). The publication of the book of Sogdian Painting introduced many art scholars to Sogdian art. Azarpay played a valuable role in introducing Sogdian paintings and Sogdian art. She was the recipient of the Book of the Year Award from the University of California Press for Sogdian Painting, and received the Albert Nelson Marquis Lifetime Achievement award.About 20 years ago, Azarpi donated her personal library to Golestan Palace in Tehran.Guitty Azarpay passed away in early April 2024.

Amlash is one of the most important parts of Guilan Province in northern Iran. It has endured unending political and military turmoil due to its special geopolitical and geostrategic position, during the early and middle Islamic eras. The establishment of numerous castles in the area is one of the manifestations of this state of affairs during that period. This study, based on library and field study, is aimed at analyzing the factors that might have led to the formation of the castles. The library studies included a review of literature on military castles and fortresses for an analysis of the factors that might have contributed to the castles in the Amlash region. The field studies included direct observation of the locating, photographic imaging, and numerical measurement and topographical features of those castles.

Calligraphy in Islamic art is regarded as sacred due to its connection with the divine word. The Quran itself references the sanctity of the pen, the value of writing, and swears by them. Inscriptions are the only visual elements that directly carry meaning and hold significant importance in the architectural structures of the Islamic period in Iran from both visual and content perspectives. The aim of this paper is to achieve favorable results in response to the following questions: What were the goals and exp Study and Analysis of the Inscriptions Arrays of Imam Mosque in Tehran.ectations of the designers and writers in composing and designing the inscriptions? What elements and components shaped the themes of the mosque's inscriptions? The results of field and library studies indicate that the artists' goal in writing and designing the inscriptions was to create a building worthy of the Muslim community that would attract the attention of every viewer and provide spiritual tranquility. Additionally, the expectation of the designers and writers in composing these inscriptions was to immortalize their memory in the field of art and architecture. Based on the study and analysis of the inscriptions, it appears that most of the inscriptions in Imam (Shah) Mosque are derived from the Quran and contain poems praising FathAliShah, the names of Qajar kings, the names of artists, poets, and verses that indicate the date of the building's construction