Iranian Art History

-Study of Conservation and Restoration of Sassanid Reliefs of Bahram II in Naqsh-e Rostam
Mostafa Rakhshandehkhoo, Hamid Fadaei, Masoud Ansari, Leila Razavi

-The Process of Decoration Conservation and Restoration of Alaki Caravanserai Entrance Gate Toward its Revitalization
Mahsa Saidi Mehrabad, Ali Nemati-Babaylou, Hakime Afsharinezhad

-A Typological Investigation of Forged Historical and Cultural Ceramics in Iran  Mehdi Razani, Zahre Shojai Maleki

-Prioritizing the Concept of Identity in International Cultural Heritage Documents Based on the Analytical Hierarchy Process (AHP) Model [Edit]  Fezeh Rahimi , Alireza Razaghi

-The Importance of Laboratory Studies in the Process of Research and Cleaning of Historical Coins Shaiba Khadir
- Looking at the Operation of Restoration and Conservation of Metal Objects of the Cultural Heritage Treasure of Yazd City
Tahereh Shihebori , Elahe Khakbaz Alvandiyan
Conservation & Restoration of a Pot Belonging to the Iron Age in Sagzabad Hill of Qazvin
Mohammad Yaghizaei

-Technical and Structural Study of Iron Age Gray Pottery; A Case Study of Pottery from Zavarehvar Site Excavation in Varamin Plain
Fatemeh Alimirzaei, Gholamreza Rahmani
-Microscopic Structure Analysis of Qoli Darvish Pottery from the Early Bronze Age to Iron Age I
Seyed Iraj Beheshti, Sheyda Ashrafi, Siamak Sarlak
-Typology of Tiles in the UNESCO World Heritage Site of Takht-e Suleyman
Negar Kafili, Fatemeh Alimirzaei, Somayeh Garakhani
-Ceramic Types Classification Based on Body Structure, Firing Temperature and Manufacturing Techniques
Mohammad Yaghizaei, Atefeh Fazel Najafabadi
-Report of an Experience: Restoration of a Painted Bowl Pottery Belonging to the Old Bronze Age (2500-3000 BC) by Using Papier-Mache
Mehdi Razani, Arina Rashid Zadeh, Ramin Mohammadi Sefidkhani
-Report on the Conservation and Restoration of Decorated Pottery from the Tappeh-Silveh in Piranshahr; A Memorial of Artifacts Submerged in the Silveh Dam
Shiva Razavi
-A Note on Using the Knowledge of Symmetry in the Rearrangement of Decorative Tile Patterns in Historical Buildings
Mehdi Alavi

The Battle of Satala was one of the important clashes of late Antiquity, with political consequences of great importance. However, the sources do not allow the reconstruction of the clash or the course of the campaign. The analysis of the textual material reveals that it contains literary topoi that can be associated with the stories of the Romance of Alexander. Similarly, when studied from the perspective of the history of art, the sculptural reliefs with the combat depictions on the Arch of Galerius in Thessaloniki show their conventional character and strong relation to the Hellenistic models. The conclusion is made that Galerius intentionally stylized himself as Alexander, referring to the well-known narrative, widely circulating in the eastern part of the empire, and whose aesthetics were familiar to the inhabitants of that region. The message expressed both textually and visually was well addressed and targeted the audience under Galerius’s rule. The fact that the most “detailed” description of the Battle of Satala comes from Armenian sources and is set within oriental topoi indicates that such communication had already been deeply rooted and thus could be an example of a well-designed and skilfully executed work of propaganda.

This article explores the phenomenon of a specific type of personal adornment worn by members of the Scythian elite in the North Black Sea region in the second half of the 5th century and throughout the 4th century BCE. The discussion juxtaposes the records from 19th-century and early 20th-century excavations with contextual analyses of very recent discoveries from Ukraine, which shed significant new light on the appearance, production, and meaning of Scythian jewelry. The reconstruction of the shape of the jewelry type in question is greatly complicated by two factors: the lack of relevant depictions in the contemporary corpus of Scythian and Greco-Scythian figure scenes
and misleading scholarly references to supposed analogies in a Roman-era mosaic, which became the chief reason for the misinterpretations of the ornament’s appearance. Composed of numerous gold or gilded silver tubes; beads; pendants; and, sometimes, “buttons,” this jewelry type is reconstructed in two gender-specific variants in this article: one mesh-like and the other with a cross-chest form. For over a hundred years, scholars have considered only the mesh variant to be the correct reconstruction.
As a result, many costume reconstructions of this jewelry form in specialist research and museum displays alike are still proposed without a sufficient evidentiary base.

This article presents a comparative analysis of two prominent schools in Turco-Persian miniature painting—the Turkmen and Bukhara schools—through an examination of miniatures from Khavaran Nameh, representing the Turkmen school, and the iconic illustration Sultan Sanjar and the Old Woman from Nizami’s Makhzan al-Asrar, associated with the Bukhara school. The Turkmen school, rooted in the Shiraz tradition and shaped by Turkmen patronage under figures like Sultan Khalil, developed a distinct, eclectic style characterized by elongated figures, brown-hued (Kumral) coloring, and dense, dynamic compositions that emphasize epic narratives. Conversely, the Bukhara school, while influenced by the Herat school, established a unique aesthetic marked by independent figure portrayals, social symbolism, and simpler compositions that feature vibrant colors. This style shift reflects a movement toward realism and didactic themes, underscoring Bukhara’s emerging artistic identity.
Through detailed analysis, this study highlights how each school embodies specific cultural and artistic narratives while also engaging in a reciprocal stylistic evolution influenced by prior traditions. By focusing on form, color, and compositional structure, the article reveals the role of social and political influences in shaping these visual languages and demonstrates how the miniatures reflect broader socio-cultural issues of their respective periods. This exploration offers insight into the interconnection between art, power, and society during the Turkmen and Bukhara periods, enhancing our understanding of the complex evolution of Turco-Persian miniature painting.
Keywords: Turkmen school, Bukhara school, Khavaran Nameh, Makhzan al-Asrār, Turco-Persian Miniature Painting, Cultural Symbolism, Artistic Style Evolution.

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The fifteenth-to sixteenth-century Sufi mosque of Langar Ota is located in a mountainous region of Uzbekistan, 104 km southwest of Samarkand, historically one of the most important cities of the Silk Road. Although Sufi shrines, mosques, mausolea, and lodges are known and preserved in urban centers of Central Asia and the Silk Road such as Bukhara, Samarkand, and Shahrisabz, the Langar Ota mosque is one of the few rural Sufi mosques in Uzbekistan that has survived mostly intact since the fifteenth century, when it was built during the reign of the Timurid dynasty as a khanaqah (lodge) by the Ishqiyyah Sufi order. The mosque housed three important Islamic relics: a collection of very early Qurʾans, the shajjara (geneology) of the sheikhs (spiritual leaders) of the Ishqiyyah order, and the khirqah (cloak) of the Prophet Muhammad. Even though these relics are no longer kept in Langar Ota, the mosque and the mausoleum of Sheikh Muhammad Sadiq are still important centers for pilgrimage. More than 1,000 pilgrims per month visit the mausoleum and mosque of Langar Ota. The Langar Ota mosque itself is also remarkable for its beautiful cut-tile mosaic decoration, which has survived for 600 years.

With the issuance of the constitutional decree in 1906 AD until the end of the Qajar era, some arts participated in the changes and transformation of this era and their functional role was reflected in the sources. Music was one of the most important of these arts, which, with its traditional background, brought with it signs of modernization even at the end of the Qajar period, and since the beginning of the constitutional era, it has left many, varied and continuous functions of its own in the Iranian society. The present study was written in response to the question of the political, social, and economic function of music in Iran's constitutional era, based on the study of library documents and in a descriptive and analytical method. Regarding the important results of the findings of the political function of music in this era, it can be noted the influential presence of music from the threshold of the constitutional movement to the conflicts of the minor dictatorship period, the use of music by parties and associations in programs and activities, political stance with ballads, songs, concerts, and operettas. The efficiency of music in the politics of foreign actors in the constitutional era, the tendency towards nationalism with music and paying attention to anthems and marches, the efforts of politicians to support music and awarding titles to some musicians, monitoring and using music and creating power for the ruling apparatus, exercising power with military music in the capital and other states and provinces, the role of music in the fate of some prominent figures and important events of the constitutional era, the importance of music in the approach to the negotiations of the constitutional era assemblies and finally the destruction of Ahmad Shah's character in the fifth assembly by his participation in the “Ish and Tarb” assemblies and He pointed out the playing of music in the ceremony and the process of power transfer and removal of the Qajar dynasty. Also, about politics and music with coffee houses, cafes, screen recordings, mourning and ceremonies, and political parties, functional cases have been raised in this research. The social functions reflected in the sources of this age indicate the society's favor of this art and the increasing spread of the influence of this art in social life; In a way that led to challenges for the family and society. Regarding the social function of music in the constitutional era, such things as the role of music in the activity and cohesion of social organizations, the meaningful presence of music in the educational programs of specialized and non-specialized schools, the change and continuity of music in parties, rituals and social occasions, announcing the time with instruments and the effect of concerts and Operetta in prolonging nightlife, the social presence of more minorities and foreigners through music, the issue of music and gender in different dimensions, creating power in society by preventing and opposing music, strengthening religious and religious rites and rituals with music, expressing social criticism in the form of Songs and ballads, the effect of music in creating new social spaces, the solidarity of religious people and mystics, the role of music in multiple and multi-layered identification, giving meaning to the individuality of the artist and the audience, synergy with literature and other arts, are among the issues. Also, recording and representing history with music, getting to know Iran through music, and the presence of music in the activities and needs of daily life are considered as other macro and micro social functions of music. From an economic aspect, the function of music in the constitutional era can be seen in job creation, direct and indirect income generation, new financial diversity for artists, the presence of recording and broadcasting companies in the Iranian market, revenue from customs duties, taxes and duties, the financial synergy of music with other artistic groups and Guilds, the market of buying, selling and repairing musical instruments and recording and playback devices. Additionally, the important role of music in collecting donations for charity and public benefits in the three considered functions is discussed. In general, music was an important field for political, social, and economic activity in the constitutional era, and its functions were obtained that had a part in influencing the destiny of the society and its changes and transformations.

«(1305-1285) کارکرد سیاسی، اجتماعی و اقتصادی موسیقی در عصر مشروطه ایران»
با صدور فرمان مشروطیت در سال 1285ش/1324ق تا پایان دورۀ قاجاریه که از آن به‌عنوان عصر مشروطه یاد می‌کنیم، برخی هنرها در تغییر و تحولات این عصر سهیم شده و نقش کارکردی آنان در منابع انعکاس یافته است. موسیقی، ازجملۀ مهم‌ترین این هنرها بود که با پیشینۀ سنتی‌اش، نشانه‌هایی از نوین شدن را هم در اواخر دورۀ قاجار با خود به همراه داشت و از آغاز عصر مشروطه، به‌صورت متعدد، متنوع و مداوم، کارکردهایی از خود در جامعۀ ایران بر‌جای گذاشت. پژوهش حاضر در پاسخ به مسئلۀ کارکرد سیاسی، اجتماعی و اقتصادی موسیقی در عصر مشروطۀ ایران، برپایۀ مطالعۀ اسنادی کتابخانه¬ای و به روش توصیفی تحلیلی نگارش یافته است. درخصوص اهم نتایج حاصل بر یافته‌های کارکرد سیاسی موسیقی در این عصر، می‌توان به حضور تأثیرگذار موسیقی از آستانۀ نهضت مشروطه تا درگیری‌های دورۀ استبداد‌صغیر، استفادۀ احزاب و انجمن‌ها از موسیقی در برنامه‌ها و فعالیت‌ها، موضع‌گیری سیاسی با تصنیف، ترانه، کنسرت و اپرت، کارایی موسیقی در سیاست بازیگران خارجی عصر مشروطه، گرایش به ملی‌گرایی با موسیقی و توجه به سرود و مارش، تلاش‌های حمایتی سیاسیون از موسیقی و اعطای القاب به برخی موسیقیدانان، نظارت و بهره‌گیری از موسیقی و ایجاد قدرت برای دستگاه حاکمه، اعمال قدرت با موزیک نظامی در پایتخت و سایر ایالات و ولایات، نقش موسیقی در سرنوشت برخی شخصیت‌های مطرح و وقایع و رویدادهای مهم عصر مشروطه، اهمیت موسیقی در رویکرد مذاکرات مجالس عصر مشروطه و درنهایت تخریب شخصیت احمدشاه در مجلس پنجم با لفظ شرکت کردن او در مجالس عیش و طرب و نواخته شدن موسیقی در مراسم و فرایند انتقال قدرت و خلع قاجاریه اشاره کرد. همچنین در ارتباط سیاست و موسیقی با قهوه‌خانه، کافه، ضبط‌های صفحه، سوگواری و تشریفات و مهمانی‌های سیاسی، موارد کارکردی در این پژوهش، مطرح شده است. کارکردهای اجتماعی بازتاب شده در منابع این عصر، بیانگر اقبال جامعه به این هنر و پراکندگی هرچه بیشتر تأثیر این هنر در زندگی اجتماعی است؛ به‌نحوی‌که به چالش‌هایی برای خانواده و جامعه انجامید. درخصوص کارکرد اجتماعی موسیقی در عصر مشروطه، مواردی چون نقش موسیقی در فعالیت و انسجام تشکلات اجتماعی، حضور معنادار موسیقی در برنامه‌های آموزشی مدارس تخصصی و غیرتخصصی، تغییر و تداوم موسیقی در مهمانی‌ها، مناسک و مناسبت‌های اجتماعی، اعلام زمان با سازها و تأثیر کنسرت و اپرت در طولانی‌تر کردن زیست شبانه، حضور اجتماعی بیشتر اقلیت‌ها و خارجیان به‌واسطۀ موسیقی، مسئله‌مندی موسیقی و جنسیت در ابعاد مختلف، ایجاد قدرت در جامعه به‌وسیله ممانعت و مخالفت با موسیقی، تقویت مناسک و شعائر دینی و مذهبی با موسیقی، بیان انتقاد اجتماعی در قالب ترانه و تصنیف‌پردازی، تأثیر موسیقی در ایجاد فضاهای جدید اجتماعی، همبستگی اهل طریقت و عرفان، نقش موسیقی در هویت‌دهی متکثر و چندلایه، معنادهی به فردیت هنرمند و مخاطب، هم‌افزایی با ادبیات و سایر هنرها، ازجملۀ موارد مطرح هستند. همچنین ثبت و بازنمایی تاریخ با موسیقی، آشنایی با ایران از طریق موسیقی و حضور موسیقی در فعالیت و نیازمندی‌های زندگی روزمره از دیگر کلان و ریزکارکردهای اجتماعی موسیقی محسوب می‌شوند. از جنبۀ اقتصادی، کارکردهای موسیقی در عصر مشروطه را می‌توان در اشتغال‌زایی، درآمدزایی مستقیم و غیرمستقیم، تنوع جدید مالی برای هنرمندان، حضور شرکت‌های ضبط‌وپخش در بازار ایران، عایدی حق گمرکی، مالیات و عوارض، هم‌افزایی مالی موسیقی با سایر گروه‌های هنری و اصناف، بازار خرید، فروش و تعمیر ساز و دستگاه‌های ضبط‌وپخش مشاهده کرد. همچنین نقش مهم موسیقی در جمع‌آوری اعانه برای امورخیریه و مصارف عام‌المنفعه در سه کارکرد مدنظر، مطرح است. درمجموع، موسیقی عرصۀ مهمی برای فعالیت سیاسی، اجتماعی و اقتصادی در عصر مشروطه بود و از آن کارکردهایی حاصل شد که سهم اثرگذاری در سرنوشت جامعه و تغییر و تحولات آن داشت

2024.12.01
4-7PM
Glassware and Ceramics Museum of Iran
Navid Salehvand/ Director of Abgineh Museum /Ph.D In Archaeology
Alireza Ebrahimi Jafari/Researcher & collector/ Ph.D In History & Civilization of Islamic Nations
Secretary of the conference: Zohreh  Mohammadian Moghayer

"The First Gathering and Exhibition of Ceramics by Naeen Ceramic Masters of The Qajar Period"

"And The Unveiling Ceremony of The Naeen History Manuscript"
& "Analyzing Related Descriptive And Pictorial Documents"

This article is devoted to the study of the material and artistic aspects of nomad migrations from the
2nd century BC to the 2nd century AD. It outlines the basis of artifacts mainly found in archaeological
layers of the route followed by the Yuezhi tribe’s movement on the Silk Road. Some of the most striking
monuments of this era include the images of warriors in plate armor. These images are mentioned in
various archaeological sources. By fixing them in a spatial and temporal dimension, it will be possible to
clarify or offer a fractional historical periodization of the era of nomadic migration in Central Asia.

The purpose of this study is to investigate the functional aspects of modern photography and cinema arts in the Mashruteh era (Constitutional Era) and its role in changes in this course of Iran’s history. These modern arts, with their charm providing for audiences, have put various applications in this course of Iran’s history and were effective in events and changes of this era. The question posed in this research is: how was the political, social, and economic function of modern photography and cinema arts in the Mashruteh era, and how has it had reflection in events of this period? Total data of this study has been prepared with analytical method and show that photography by spreading the image of the king (shah) in the community destroyed the king’s inaccessible option and showed him normal in views and took part of his power of the vassal’s eyes. In the beginning of this era, spreading the Belgian Neves photo with habit led to accelerated sparks of Mashruteh, and also at the end of this era, Ahmad Shah’s photo with a woman and pergolas caused protests in several cities and helped to remove Qajar from the Iran government. These issues refer to the sensitivity of the community about coating and the religious and political exploitation of them in events. Movies, cinema’s location, and leisure from the beginning of this era were politically exploited. Modernity and distinction of photography and cinema art of Iran’s traditional arts challenged most of the community, and in the social sphere, it led to new behavior and insights. These arts placed community members in new positions, and because their existence capacity was capable of carrying a variety of capacities, they were extended in society and, in connection with the economy, became more coherent. The shaped economic behaviors about photography and cinema and their capacity and function established in this part show their foundations on the market and economy well. Totally Mashruteh movement and era not only found meaning in language and writing words and essays, but also in art language, and by creating various political, social, and economic functions obtained from these arts, earlier this era and with more intensity in this era, in discourse of modern art such as photography, cartoons, theater, and cinema, was shaped.

«کارکرد سیاسی، اجتماعی و اقتصادی هنرهای نوین (عکاسی و سینما) در عصر مشروطه (1285 - 1305ش)»
هدف از انجام این پژوهش، بررسی ابعاد کارکرد هنرهای نوین عکاسی و سینما در عصر مشروطه (1285ش/1906م-1305ش/1926م) و نقش آنان در تغییر و تحولات این دوره از تاریخ ایران بوده است. این هنرهای نوین با جذابیتی که از خود برای مخاطبان ارائه می‌دادند، در این دوره از تاریخ ایران کارکردهای گوناگونی را از خود برجای گذاشته و در سرنوشت رخدادها و تغییر و تحولات این عصر مؤثر واقع شدند. سؤال مطرح شده در این پژوهش این است که کارکرد سیاسی، اجتماعی و اقتصادی هنرهای نوینِ عکاسی و سینما در عصر مشروطه به چه شکل بوده و چگونه در وقایع و رویدادهای این دوره بازتاب داشته است؟ مجموع داده‌های این پژوهش با روش توصیفی و تحلیلی نگارش شده است و نشان می‌دهد که عکاسی با پراکندن چهرۀ شاه در جامعه، گزینۀ دسترس ناپذیری شاه را از بین برده و او را در نظرها عادی جلوه داده و بخشی از قدرت وی را از دیدگان رعیت گرفته است. در ابتدای این دوره با اشاعۀ عکس نوز بلژیکی در لباس روحانیت به تسریع جرقه‌های مشروطه منجر شد و همچنین در پایان این عصر، اشاعه عکس احمد شاه با زن و کلاه فرنگی، سبب تظاهرات در چند شهر شده و به از صحنه خارج کردن قاجارها از حکومت ایران کمک کرد. این موضوعات به حساسیت جامعه در خصوص پوشش و مذهب و بهره‌برداری سیاسی از آن‌ها در وقایع اشاره دارد. فیلم‌های سینمایی، مکان و تفریح سینما نیز از آغاز این عصر مورد بهره‌برداری سیاسی قرار گرفت. نوین و متمایز بودن هنر عکاسی و سینما از هنرهای سنتی ایران موجب شد تا بیشتر جامعه را به چالش کشانده و در حوزۀ اجتماعی به رفتار و آگاهی‌های جدید منجر شود. این هنرها، افراد جامعه را در موقعیت تازه‌ای قرار می‌دادند و به دلیل آنکه ظرفِ وجودی‌شان توان حمل مظروف‌های گوناگونی را داشته، در جامعه گسترش و در پیوند با اقتصاد، انسجام بیشتری یافتند. رفتارهای اقتصادی شکل‌گرفته درخصوص عکاسی و سینما و ظرفیت و کارکردی که در این بخش از خود بر جای نهادند، پایه‌های آنان را در بازار و اقتصاد به خوبی نشان می‌دهند. در مجموع نهضت و عصر مشروطه، تنها در زبان و کلمات نوشتار و رسالات معنا نیافت؛ بلکه در زبان هنری و با خلق کارکردهای متنوع سیاسی، اجتماعی و اقتصادی حاصل از این هنرها، پیش‌تر از این عصر و با شدت بیشتر در همین عصر در گفتمان هنرهای نوینی مانند عکاسی، کاریکاتور، تئاتر و سینما، شکل گرفت

A flood vulnerability map is a comprehensive tool for predicting and preventing the destructive effects of floods worldwide, especially in areas with a history of recurrent floods. These maps have not been prepared for many River Basin in developing countries and do not currently exist. As there is still a lack of proper understanding of the main factors contributing to flooding, this hazard remains an unresolved issue on a global scale. This research aims to provide insights into the parameters contributing to flooding and their impacts on flood vulnerability in the Alamut-Rood River Basin, using the Analytic Hierarchy Process (AHP) and ArcGIS Pro software. As the result, four parameters were identified as factors influencing the occurrence of floods in the Alamut-Rood River Basin, namely distance from the river, annual rainfall, slope, and land use. These parameters were prepared in a Geographic Information System (GIS) and after creating a pairwise matrix and conducting ranking, the final weights of the factors were determined. By combining all these flood-causing parameters based on their weights and rankings, a flood hazard zoning map was generated. Based on this, the study area was classified into five hazard zones. 7.3% and 8.2% of the watershed area were classified as very high and high hazard zones respectively. This map was accurately evaluated using historical flood data collected in the study area and by employing the Analytic Hierarchy Process (AHP) statistical evaluation method, and the results confirmed the high accuracy of the produced map. The findings of this research can contribute to gaining a proper understanding of the current flood issue in this River Basin, identifying its underlying causes, and developing effective water management plans.

هاگن ي نا تافرصتم هب ي نار ي ناساس ي بونج زاقفق رد ي هداد ساسا رب اه ي ناتساب تخانش ي * ،يناجيدنه يتاونق دمحم 1 يدمحم بوقعي رف 2 هديكچ بونج زاقفق ،ي شخب ناونع هب ي ا زا ي نار گنهرف ي هرود ي ناـساس ي ) 224 651 م (. ، هرمز رد ي مزرس ي ن اه ي ا ي رهشنار تفرگ رارق . راتشون كرادم رب انب ي ناساس ،ي ا ي ن ب هقطنم ا مزرس ناونع ي ن اـه ي نا ي ـ نار ي ـ م هتخانـش ي دوـش . روپاـش ناـمز زا ي مـك ) 241 272 م (. ، تاحلاطصا ي ا نوچ ي ،رهشنار ا ي نار نا و ي نار گنس رد ار هتشـبن اـه ي ناساس ي نا ـ م هدهاشم ي ـ نك ي م . ا زا هدافتـسا ـ ي ن هژاو اـه ي دج ـ ي د فرصـت رگناشـن مزرس ي ن اه ي برغ ي برغ لامش و ي هاشنهاش ي تن رد ي هج بسن طلست ي ناـساس ي نا رـب ا ي ن تسا قطانم . رضاح شهوژپ ، اب هرهب يريگ سررب زا ي بطت ي ق ،ي رـب دراد شلاـت گنهرف داوم ساسا ي ناتساب تخانش ي و لاح نيع رد هتشون اـه ي راـت ي خ ي ا هـب ـ ي ن ناـساس تافرصتم هك دهد خساپ شسرپ ي بوـنج زاـقفق رد ي قطاـنم هـچ لماـش ي م ي هدش ؟تسا ي هتفا اه ي م ناشن شهوژپ ي دنهد بوـنج زاـقفق هـقطنم هك ي هرود رد ناساس ي حان هس هب ي ه موق ي ـ داژن ي مرا ،نا...

The work under review immerses the reader in the skillfully crafted and highly sensorial world of polychromy and the evidence of its appreciation (or lack thereof), with a focus on Achaemenid art and architecture. Divided into six chapters with copious subsections and images, the volume first investigates the production, use, and meaning of polychromies in this discrete late-sixth- to mid-fourth-century BCE context in ancient Iran as revealed in the present day through preserved material culture and textual sources. But the study also sets its own stage, beginning with a dive into the definition of polychromy and a consideration of its study over the past two centuries, with a focus on West Asia broadly. Building on a passion that first took root during his doctoral studies with Margaret Cool Root at the University of Michigan (pp. xv, 13), Alexander Nagel first fragments and then reassembles and celebrates a world that has until very recently been muted by its (largely) monochrome ruins.

This volume titled “Early Iran”, of the series The Definitive Visual History of Iran, comprises five chapters examining the rich history of Iran, tracing its evolution from the geographical formation of its land, the pivotal shift from nomadic hunter-gatherer societies to settled communities, the advent of agriculture and domestication, the rise of early civilizations, and the dawn of recorded history. It explores the intricate tapestry of trade and cultural exchange that catalyzed the emergence of the region's first indigenous states and empires during the first and second millennia BCE.

An attempt is made to answer the questions: How to base the Utterance system in the visual texts of Iranian painting, based on
commitment discourse theory in the literature of the 60s and 70s? and What is the main difference between the Utterance and Discourse
systems in visual arts? The generating institutions of this type of Utterance system necessitate the referential function for visual texts as
the main component in the formation of such texts. According to these institutions, production of artwork as classical and ornamented
texts convey only one meaning, unlike the phenomenal texts with multiple meanings, next to illustrating how some outstanding and
common semantic signs lead to the formation of this type of Utterance system in the Iranian art.

The focus is on the representation of auspicious birds in Sino-Sogdian funerary monuments. These birds can be portrayed with a halo behind the head and ribbons attached to their neck. Special emphasis is given to their connection with the mythical Iranian bird, the Simurgh, and the concept of Farr (‘glory, charisma’). In particular, an attempt is made to shed some light on the possible association between the Simurgh, the ‘Western’ Phoenix, and the Chinese Fenghuang.

The aim of this paper is to collect the different types of Luristan axes and adzes to present their characteristics and parallels with the help of the numerous literature on Luristan bronzes. Many researchers have already dealt with Luristan axes and adzes from this point of view, but most of these summaries were made in the last century, and since then many new discoveries, theories and additions have been made, which need to be summarised in one place. In this respect, the publications of the major excavations have partly done this, but they only deal with the types that were found in the excavations. The advantage of this typology is that, unlike most works on Luristan artefacts, it concentrates only on axes and adzes, thus providing a more coherent and unified picture.
However, before setting up the typology, it is essential to provide an overview of where Luristan is located, what is known about its former population, what are the Luristan bronzes that include these groups of objects, what problems the researcher is confronted with and what previous archaeological research has been carried out in the area. It is also worth briefly outlining what these weapons were made of, the production techniques used and where the raw materials were obtained. This is followed by a typological description of the axes and adzes, and then a more detailed discussion of the context of the weapons recovered from controlled and documented excavations, first from Bronze Age and then from selected Iron Age sites. Finally, a summary of what can be concluded from all this about axes and adzes, including their function and meaning, will be presented.
Note: Figures 11 and 12 at the end of this paper have been redacted for copyright reasons.

Jelen dolgozat célja összegyűjteni a lurisztáni balták és bárdok különböző típusait, bemutatni azok jellegzetességeit és párhuzamait a számos, lurisztáni bronzokkal foglalkozó szakirodalom segítségével. A lurisztáni baltákkal és bárdokkal ilyen szempontból már számos kutató foglalkozott, azonban a legtöbb ilyen összefoglalás a múlt században készült, s azóta számos új felfedezés, elmélet, kiegészítés született, melynek szükséges az egy helyen való összegzése. Ilyen szempontból a fontosabb ástatások publikációi részben ezt megtették, azonban ott csak azokról a típusokról esik szó, melyek az adott feltáráson előkerültek. Ennek a tipológiának előnye, hogy a legtöbb lurisztáni tárgyakkal foglalkozó munkával ellentétben ez csak a baltákra és bárdokra koncentrál így egy könnyebben áttekinthető és egységesebb képet ad róluk.
Azonban a tipológia felállítása előtt elengedhetetlen, hogy szó essen áttekintő jelleggel arról, hol is található Lurisztán, mit tudunk az egykori népességéről, mik is azok a lurisztáni bronzok melyekbe ezek a tárgycsoportok is tartoznak, milyen problémákkal szembesül a kutató és milyen korábbi régészeti kutatások voltak a térségben. Ezt követően pedig érdemes azt is röviden felvázolni, hogy mégis miből készültek ezek a fegyverek és milyen előállítási technikákat alkalmaztak, valamint honnan szerezték be az ezekhez szükséges nyersanyagokat. Ezek után kerül sor a balták és bárdok tipológiai leírására, majd az ellenőrzött és dokumentált feltárásokból előkerült fegyverek kontextusáról esik részletesebben szó, először bronzkori, majd vaskori válogatott lelőhelyekről. Végezetül pedig összegzésre kerül, hogy mindezek alapján mi állapítható meg a baltákról és bárdokról, beleértve funkciójukat és jelentéstartalmukat.
Megjegyzés: a dolgozat végén található 11. és 12. Ábra szerzői jogok miatt kitakarásra került.

The present article aims to reconstruct one of the titles borne by Khusraw Parvīz's commander-in-chief (sipahbad), generally known to the sources as Shahr-barāz, 'The Wild Boar of the Kingdom'. The title that is the object of this study is variously given as Farrukhān, Farruhān, and Khurrahān in Islamic sources, and as Khoṙeam in an Armenian chronicle. Two New Persian literary texts, the Shāhnāma (composed between the late tenth and early eleventh century) and the Mujmal al-tawārīkh wa'l qiṣaṣ (begun in 520/1126), offer two forms that certainly originate from a misreading of the title in its Pahlavi and Arabo-Persian spellings, respectively. Such erroneous forms, however, are useful for ascertaining the original form of the title. Only Farrahān, meaning 'glorious, endowed with farr/farrah', an adjective derived from farrah 'glory, divine charisma' and the adjectival suffix-ān, matches all the attested forms.

CОДЕРЖАНИЕ
От главного редактора

Мақолот / Статьи
САКИ В ЦЕНТРАЛЬНОЙ АЗИИ (Я. В. Пилипчук) 9
“ТОМИРИСОМАНИЯ” (Л. Д. Бойматов) 43
САКИ В ИНДИИ (Я. В. Пилипчук) 84
НЕКОТОРЫЕ ДОПОЛНЕНИЯ К ХРОНОЛОГИИ РАННИХ АРТАШЕСИДОВ В ПРИЗМЕ НЕСТЫКОВОК СВЕДЕНИЙ ЭПИТОМЫ ЮСТИНА И ПРОЛОГОВ К ТРУДУ ПОМПЕЯ ТРОГА (Р. С. Кобзарь) 105
КАНГЮЙ – КОЧЕВАЯ ИМПЕРИЯ ЦЕНТРАЛЬНОЙ АЗИИ
(Я. В. Пилипчук) 126
УСУНЬ – КОЧЕВОЕ ГОСУДАРСТВО ЦЕНТРАЛЬНОЙ АЗИИ (Я. В. Пилипчук) 143
ТАҲМИРИС АЗ ДИДГОҲИ ХУРШЕДИ ДАВРОН (Л. Д. Бойматов) 149
نامه‌های ابوالقاسم لاهوتی و صدرالدین عینی- قسمت اول 158
Нақд / Рецензии
ABSTRACTS 194
АННОТАЦИИ 200
چکیده مقالات 207
ЭЪЛОМҲО 211
معرفی کتاب های جدید 213
ИНСТИТУТИ БАЙНАЛМИЛАЛИИ ТАҲҚИҚОТИ ТОҶИКПАЖЎҲӢ
  انستیتوی بین المللی تحقیقات تاجیک پژوهی 215
МУАЛЛИФОНИ ИН ШУМОРА / НАШИ АВТОРА 216
ТРЕБОВАНИЯ К ПОДГОТОВКЕ СТАТЕЙ 217
شیوه نامه مقالات فارسی 219
Изображения/ Images 220
شرح تصاویر 221

The Seljuk period (5th-6th centuries AH) is one of the most important historical periods of Islamic Iran in various arts shaped and developed by Islamic beliefs. Brickwork is one of the Persian architectural decorations, the Seljuk period is the era of development of this art, and the dome of the Taj al-Molk of the Great Mosque of Isfahan is known as its masterpiece. The subject of this article is the flourishing of brickwork and its relationship with the cultural and religious ideas of the Seljuks about aesthetics. Historical and descriptive-analytical methods were used to study historical documents and field observations. The result shows the cultural aspects influencing the extraordinary use of decorative elements by artists in Seljuk architecture. The confirmation of the “philosophy of decoration” based on a common language in the aesthetic perception of pure Islamic Iranian art can be seen in the dome of the Taj al-Molk with its highly developed decorative elements such as brickwork, tiles, geometric patterns and Kufic scripts. Muslim artists used decoration as a decisive role in connecting the material (physical) world with the world of ideas to express their thoughts and mystical and religious ideals. With elements such as rhythm and coordination, harmony and balance, they implement their philosophical principles in action to create a new philosophy that transforms the material into a visualization of unity in multiplicity as the main ideal of the “philosophy of decoration”, the manifestation of the attributes of the One God who created the world and is the Source of beauty.

Glaze is one of the artefacts which we can find its producing process in Persian manuscripts. During this study due to the Persian manuscripts, it could be possible for us to understand the adapting of modern glaze producing and its traditional method. Because it seems that there is an adapting between traditional and modern glaze production in Iran, but how we can understand this adapting? We must pay attention, that one of the documents which could be useful for studying the glaze productions are manuscripts. In addition to manuscripts, the glaze samples which have been reminded from the past, are another document for analyzing the traditional glaze production. So during this study we are going to reconstruct the process of ancient Persian glazes which mentioned in manuscripts. It seems that some of the manuscripts are a copy of another one, and surviving the transposition of the manuscripts is necessary during this study. So we will survey some manuscripts during this study. But it seems that the most of manuscripts which are dated after Safavid period are a copy of older manuscripts. For example, we can suggest some manuscripts which the process of glazes production in these manuscripts are the same. So we must analyze the manuscripts and it seems that one of them Is the original treatise which other manuscripts use its formulas.

Curated by Manoutchehr Eskandari-Qajar: Exhibition of 19th century photographs by European photographers of Persian subjects, and by Persian photographers who learned their skill in Europe. Photographers include: Luigi Montabone, Gaspard-Felix Tournachon Nadar; Paul Nadar, Juliette Haftner, Ludwig Angerer, Victor Angerer, Fritz Luckhardt, Adele Perlmutter, Anton Paul Huber, Abdollah Mirza Qajar, Antoine Sevruguine, among others. Sitters include: Naser al-Din Shah, Mozaffar al-Din Shah, sons of Premier Ali Asghar Khan Atabak-e Azam, and other members of the Qajar court.

Carpet weaving is one of the oldest and most important arts of Iran, which is always known as a symbol of the culture and history of this country. Among the different regions of Iran, Niriz is known as one of the prominent centers for the production of handwoven carpets. This article examines the characteristics, history and importance of reed carpets.

This catalogue essay is a critical survey of recent work by the Iranian artist Parham Ghalamdar, now living and working in the UK. It reflects on the importance for his work of his own direct experiences and his  concern to communicate an understanding of the existential threat we face from climate crisis, the militarised instability of global geopolitics, and the ways consequent human migration exacerbate a worldwide refugee crisis. His art practice also begins to explore how artificial intelligence suggests possible opportunities and further threats from new neural and brain-based technologies.

This article examines some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela in order to explore the sense of Gilles Deleuze’s view that modern political cinema is characterized by a “missing” people, to which the adequate response is the people-sustaining or people-generating trance. I argue that the element missing from Deleuze’s discussion is how the typical way for a people to go “missing” under capitalism involves the obfuscation of their labor, an idea that sustains the materially grounded trance in Varela’s Papeles Secundarios (2004) and Cuerpos Complementarios (2022), drawn from the filmmaker’s experience as casting director of Iranian artist Shirin Neshat’s production of her video installation Tooba (2002) in Oaxaca. The article discusses the “baroque critique” involved in Varela’s elliptically representing the workday of the non-professional Oaxacan actors employed in Neshat’s production, understood here as a critique articulated using the detritus of that production. The result is a paradigm of trans-temporal playfulness on film that also challenges the claims to trans-temporal experience sought in Neshat’s work. Thus, the article also locates these arguments within debates about whether films can “do philosophy”, including a hypothesis about the obfuscations of labor lying behind why making-of documentaries—and their capacities to critique the philosophical pretensions of their original subjects—have not figured more centrally in those debates.