درخت حوزه‌های تخصصی

Petroglyphs are a form of human artistic expression that can be found in various locations around the world, displaying similar features despite being created in different eras. This art form, commonly found in mountainous and rocky areas, is often associated with shepherds and hunters. The themes depicted in petroglyphs typically revolve around hunting scenes, weapons, goats, sheep, dogs, and other activities related to hunting and herding. However, religious motifs can also be observed in some cases. While a variety of petroglyphs can be found throughout Iran, sites in central regions such as Yazd province have received less attention from archaeologists due to the desert climate. The petroglyphs we will discuss in this article are located in the Chah Abdullah region of south Yazd province, in central Iran. In 2021, the author conducted an archaeological survey of Harat City, identifying various cultural and historical sites from different periods. While most of the sites identified were historical monuments, several historical sites, including the Chah Abdullah petroglyphs, were also discovered. Based on the type of motifs and the depth of carving, this site is associated with different historical periods. However, it is fascinating that the creation of rock motifs continues even in contemporary times.

The first millennium BC is very important from the point of view of archeology and the study of the cultural developments of the Iranian plateau. In the time range of the first half of the second millennium BC to the first half of the first millennium BC, the simultaneity and closeness in time and place of the New Ilam, Samatore and Manna governments and the geographical area of ​​the western belt of the Iranian plateau has caused that these governments undoubtedly Different artistic, social and political influences have left each other and the works discovered by these regimes have not been devoid of these influences and impressions. In this research, which is a type of descriptive-analytical study and in order to collect its data, reference-field methods were used, to study and compare the metal weapons of these governments and the influence of each of them on the other and that in each The rule of what kind of metals are used and also what aspects and applications of the exposed metals in each of them have been discussed. In this study, the weapons examined in the northwestern areas under the Manna government had differences in terms of shape and form from other areas in the west of Iran at that time. Its kind of metalworking art has had more effects on the type of metalworking of Samatore governments directly and Manna government indirectly.

This study analyzes 26 pottery fragments from the Shah Qoli Beygi archaeological site, focusing on their typology, technology, and chronological significance within the Lapui phase of prehistoric Fars in the Shiraz Plain. The assemblage, dominated by red fine wares, also includes common wares and evidence of different from the preceding Middle and Late Fars (Bakun) Phase. Variations in color, texture, and manufacturing techniques, including both hand-made and wheel-made forms, are examined. Comparative analysis with other Lapui sites reveals regional trends in pottery production, including the shift towards red fine wares and the prevalence of specific vessel forms. The study highlights the transition and continuity of ceramic traditions during the Lapui phase, emphasizing the site's contribution to understanding the cultural dynamics of the fourth millennium BC in southern Iran.

This paper investigates the role of Zen philosophy, as derived from haiku poetry, in the architectural design process. It explores the nature of Zen, its unique perspective on art and literature, and how this perspective is reflected in architectural design processes. The paper also examines how the creation of architectural spaces can be integrated with the poetry and (haiku) influenced by this philosophy. This research seeks to answer the question of how Zen thought can be applied in architectural design through the utilization of haiku poetry. A descriptive-analytical approach, combining inductive and deductive reasoning, is employed. Initially, Zen theories based on haiku are deductively applied to case studies. Subsequently, Zen architectural theories based on haiku are extracted from these case studies. Finally, the results are obtained by combining inductive and deductive methods. This paper aims to introduce haiku, elucidate the role of Zen philosophy in haiku poetry, and explore the influence of Japanese Buddhism on the architectural design process. The result of this research reveal that haiku is the product of immediate, intuitive experience and cannot be evaluated based on conventional poetic criteria. Haiku is a form of enlightenment or illumination, in which the poet perceives the vitality of objects and grasps the meaning of the ordinary and commonplace. Haiku poetry presents viewers with perspectives on nature, humanity, and life. By integrating literary concepts into the architectural design process, haiku can serve as a powerful cultural and artistic medium, fostering audience engagement with literature and cultivating a unique, philosophical understanding of phenomena.

The assemblage of our archaeological data and findings regarding the early Roman-Sasanian interactions is very limited. During the recent survey of the Dehlorān Plain, an accidental coin find (discovered by a passerby, Mr. A. Hosseini) was handed over to the members of the expedition. The highly corroded and perforated coin belongs to the Singara issues of Gordian III (238-244 AD), the young Roman emperor whose reign coincided with the first series of Sasanian incursions led by Ardashir I and his successor, Shapur I. Not only it is one of the few known findings that relate to this tumultuous era, it has been discovered in the vicinity of Roman Mesopotamia, where most of the fighting took place. In this article, in addition to describing the coin, the authors have discussed the historical context of this period and the possible entry scenarios of this coin into the territory of the Sasanian Empire. 

Katja Föllmer was born on October 17, 1974. She was a senior researcher and lecturer at the University of Göttingen. Katja Föllmer studied Iranian Studies, Arabic Studies, and Ethnology at the University of Göttingen between 1993 and 2002, earning a Master of Arts degree. Katja Föllmer received her doctorate in Iranian Studies in 2007 with a thesis on “Satire im Iran von 1900 – 2000: Eine Analyse exemplarischer Texte” (Satire in Iran from 1900 to 2000: An Analysis of Exemplary Texts) (Harrassowitz, Wiesbaden; 2008), and her habilitation in Iranian Studies in 2017 with a thesis on “Das vorislamische Erbe Irans: Zwischen Tradition und Reform und Modernisierung” (The Pre-Islamic Heritage of Iran: Between Tradition and Reform and Modernization) (Kohlhammer, Stuttgart, 2022).Her research interests include concepts and ideas from the pre-Islamic heritage in Iranian societies, issues in Iranian cultural and religious history from antiquity to the present, Persian historiography, identity construction, classical and modern Persian literature, and Sufism and Persian Sufi literature.Manṭiq-uṭ-Ṭayr (The Conference of the Birds or Speech of the Birds) is a Persian poem by Farid ud-Din Attar, translated into German as Die Konferenz der Vögel by Katja Föllmer (2014). She published Satire in Iran Von 1990 Bis 2000: Eine Analyse Emplarischer Texte (Satire in Iran from 1990 to 2000: An Analysis of Empirical Texts) (2008); and also, Das Vorislamische Erbe Irans: Zwischen Islamischer Tradition Und Reform Und Modernisierung (Iran’s Pre-Islamic Heritage: Between Islamic Tradition and Reform and Modernization) (2022).Dr. Katja Föllmer passed away on June 11, 2025, at the age of 50. May her soul rest in peace.

From a temporal perspective, we observe the presence and distribution of beveled rim bowls in Iran and Mesopotamia from the mid-fourth millennium BC until the beginning of the Bronze Age. The large production and specific shape of this pottery, alongside its extensive distribution, have prompted many archaeologists to study this subject. Beveled rim bowls is categorized into two types: Uruk and proto Elamite, based on their shape and structure. The geographical conditions in Iran have differentiated the distribution of this pottery compared to Mesopotamia. During this period, the Uruk type gradually changed in structure and transformed into the proto Elamite type. The regions of Khuzestan, Central Zagros, and the Central Plateau have the highest density of sites and pottery in Iran, connecting these centers through intermediary areas. According to the studies conducted, this distribution in Iran has been exported to various other regions by local elites or specific groups of people. Perhaps, this group consisted of local merchants who, through migration, spread the proto Elamite culture in Iran, while the Uruk type of beveled rim bowl was produced and distributed for economic or political purposes in significant sites such as Susa, Chogha Mish, Tepe Yahya, Sefalin, and Godin Tepe.

Culture encompasses the values, norms, traditions, beliefs, and customs of a society, with clothing representing one of its most significant elements. In analyzing the traditional attire of an ethnic group, two key aspects are of importance: the cultural patterns influencing choices of material, color, design, and tailoring methods, and the symbolic and functional roles of clothing. Certain garments play vital roles across various social, cultural, occupational, and religious contexts. The Qashqai are one of the major nomadic tribes of Iran, primarily residing in the southern and southwestern regions of the country. The distinctive features of Qashqai clothing set it apart from that of other ethnic groups, despite notable similarities with the attire of the Lurs. Based on archival research and fieldwork, this study explores the historical evolution of Qashqai clothing. It aims to identify the earliest documented references to their attire through textual sources and visual representations, and to discuss the key factors contributing to its continuity. The findings reveal that although traditional Qashqai clothing has undergone changes over time, particularly among men, where modern styles are increasingly replacing it, it continues to be preserved among Qashqai women, especially during ceremonial events.

The purpose of this research is to investigate the architectural index elements in local and Jame Mosques. “Mosque” is an allusion to a place of worship, which should be able to induce a sense of worship in its audience. The forms and roles in the building are the shapes that are influenced by the content and affect the human sensory perception and are directly related to people's beliefs and religion. Therefore, the main issue in its design is the suitability of the architecture of the mosques with their dignity and functional content. When Islam emerged, there was no idea of the principles of building a mosque and the only pattern was the Prophet's house. Iranian architectural styles have changed and evolved during different periods of history, in accordance with governments, religions and beliefs, and with the arrival of Islam, the Iranian architectural style underwent many changes. In general, several prominent elements are used in the architecture of the mosque: the courtyard, the porch, the shrine, the mihrab, the dome and the minaret. However, some mosques lack elements or some have several elements of the same element. So, in this research, by examining the historical (local and Jame) mosques of Zanjan, their architectural index elements which are unknown aspects of this research, as well as to determine the factors influencing the design of these mosques that take the ambiguous dimension of the research, it was revealed through library studies and the descriptive/analytical method of existing documents and research.

The preservation of invaluable cultural heritage assets, including ancient artifacts and historical sites, remains a critical global concern. Existing perimeter protection methods, such as CCTV systems, infrared sensors, and conventional surveillance technologies, often exhibit significant limitations in terms of spatial coverage, sensitivity to subtle intrusions, and adaptability to varying environmental conditions. This paper presents an innovative and highly effective solution utilizing fiber optic sensor (FOS) technology, which offers numerous advantages, including lightweight construction, immunity to electromagnetic interference, ease of installation, high sensitivity, and reliable performance across a broad range of applications. Specifically, the study introduces novel designs for distributed acoustic FOS systems based on Michelson, Mach-Zehnder, and Sagnac interferometric configurations. Through comprehensive theoretical analysis, simulation modeling, and experimental validation, the research explores their practical utility in protecting cultural heritage. Two detailed case studies—focused on the Louvre Museum in France and the ancient archaeological site of Persepolis in Iran—demonstrate the implementation, functionality, and real-world efficacy of the proposed systems. The findings highlight how these FOS networks, particularly when combined with advanced artificial intelligence and machine learning algorithms, can effectively detect, classify, and localize human-induced acoustic disturbances such as walking or digging, while minimizing false alarms caused by environmental noise. This enhanced discrimination capability not only improves overall security but also significantly reduces the need for extensive human surveillance. Moreover, these systems enable precise, continuous, and real-time 24-hour monitoring over vast indoor and outdoor areas. In conclusion, the integration of FOS technology offers a scalable, intelligent, and transformative approach to addressing the complex and evolving challenges associated with the long-term preservation and protection of cultural heritage sites around the world.

Understanding the philosophy behind the stucco motifs in the tomb tower of Semiran, Qazvin, can provide insights into the cultural unknowns of northern Iran. This study examines these motifs through library-based and documentary evidence. It appears that the decorative stucco motifs of the Semiran tomb tower can be seen as a continuation of the stucco art styles from the Sasanian period and the early Islamic centuries. This research comparatively studies the remaining motifs and decorations in this tomb tower, seeking to revisit Iranian stucco art and its integration with religious and cultural concepts of northern Iran. Moreover, it aims to examine the artists’ decorative and functional techniques to meet the specific demands of rulers and the aristocracy. Findings indicate that the Semiran Citadel reached its peak of growth and prosperity between the fourth and eighth centuries of the Islamic era. The surviving structures, particularly the tomb towers, significantly reflect the historical prominence of this citadel city during the Islamic period. Additionally, archaeological evidence suggests a flourishing social and cultural life in the central part of the Semiran Citadel City during the Timurid and Safavid eras. Collectively, archaeological and historical evidence suggests the prosperity and expansion of the Semiran Citadel City during the early and middle Islamic periods, especially under the rule of the Musafirids, Seljuks, and Mongol Ilkhanates. Despite its historical significance, the Semiran Citadel gradually lost its vitality and eventually fell into decline and oblivion

Timurid coins serve as a mirror reflecting the significant economic and political events of the era, and their study can provide deeper insights into the economic and social dynamics of the Timurid period. This research examines the Timurid coins housed in the Museum of Bu-Ali Sina Mausoleum using X-ray fluorescence spectroscopy. A specialized review of the initial results obtained from XRF spectroscopy, particularly in numismatic studies, holds significant importance and can be a fundamental step toward reducing errors and enhancing precision in interdisciplinary analyses. XRF technology, as a non-destructive method, enables precise examination of the chemical composition and identification of elements present in coins. However, without meticulous monitoring and comprehensive reevaluation of the obtained results, misinterpretations and uncertainty in historical analyses may arise. The research questions focus on the value of reinterpreting and analyzing XRF spectroscopy data and their role in identifying counterfeit coins and understanding economic and cultural characteristics in numismatic studies. The central hypothesis of the study posits that raw XRF spectroscopy data do not provide accurate results, and in-depth analysis by experts is required for a precise examination of coins. This research also highlights the importance of detailed spectrum analysis, technical challenges in data interpretation, and the use of interdisciplinary approaches to enhance the accuracy of results. The findings reveal that a more profound reinterpretation of XRF spectroscopy data significantly contributes to better understanding the chemical composition of coins and preserving cultural heritage treasures. It also provides deeper insights into the economic policies and activities of the Timurid period.