درخت حوزه‌های تخصصی

A series of architectural spaces were discovered from the excavation of Tepe C of Bandiān Dargaz, a site revealing both the Islamic and Sasanian periods. The surface layer is related to the Ilkhanid period followed with the layer of the Sasanian period, which further consists of two phases. The architecture of the first phase is the remains of a palace, which had probably been transformed into a set of industrial-production workshops in the second phase of architecture. The remains of the palace include a pillared hall, long halls, and a part that is probably a Mithraeum and was built during the reign of Yazdgerd I.

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.

This research provides a comprehensive exploration of ecosophy as a modern interdisciplinary concept in architecture, integrating ecological philosophy and psychology. The research problem focuses on examining how ecosophical principles can be effectively implemented in architectural design by emphasizing the interaction between humans and the environment. The central question is how ecosophy can transition from theoretical discourse to practical application in contemporary architecture. The study employs a descriptive-analytical method, utilizing both inductive and deductive reasoning. Key ecosophical attributes are identified through a literature review and the analysis of case studies that exemplify ecological, psychological, and socio-environmental harmony. The findings highlight the integration of cultural, psychological, and ecological elements in architectural design to enhance human-environment interactions. Furthermore, the research underscores the importance of incorporating natural elements such as daylight, greenery, and sustainable materials to promote physical and mental well-being. The study advocates for design strategies that align with ecological sustainability while respecting cultural and social contexts. By aligning ecosophical architecture with sustainability, environmental consciousness, and human well-being, this research moves beyond conventional functionalist approaches, positioning architecture as a medium for fostering meaningful and harmonious relationships between humans and nature. Ultimately, ecosophy offers innovative solutions in architecture that address contemporary environmental crises while enhancing spatial experience and ecological balance.

The main issue of the present study is the examination of the story "The Patient Stone" based on Joseph Campbell’s (1904-1987) Hero’s Journey theory. The value and significance of this research lie in the cultural and mythological importance of folk tales as well as the theoretical worth of Campbell’s theory. This interdisciplinary study is conducted using a descriptive-analytical method. Its main question is: How do the stages of the story "The Patient Stone" correspond to Campbell’s Hero’s Journey? The hypothesis is that, given the mythical nature of this story, although not all stages of the Hero’s Journey may be applicable, it certainly includes many of them. The outcome of the research is that in the story "The Patient Stone," the hero undergoes a perilous journey without receiving help from an external individual. The twelve stages of Campbell’s Hero’s Journey, including "The Call to Adventure," "Crossing the Threshold," "Difficult Trials," "Crisis," "Resurrection," and "Return to the Ordinary World," are present in this story; however, it lacks the stages of the hero’s refusal of the return, the magical flight stage, and the arrival of external help to bring the hero back, and he simply returns to the community.

Jewelry has been prevalent in human societies since ancient times. By studying these artifacts and analyzing the decorative styles and techniques employed in their creation, researchers can gain insights into the identities of the people who produced them. Archaeological excavations in Jubon cemetery in Gilan province have uncovered numerous Gurkani graves dating from the first millennium BC to the Sassanid period. Some of these graves were found gold earrings, now kept in the National Museum of Iran. This research aims to classify earrings found in the Juban cemetery and compare them with those from the North Caucasus to identify their manufacturing techniques and production workshops. The study employs a descriptive-analytical method with a comparative approach. The findings indicate that the earrings from the Jubon cemetery can be classified into two typological categories: The first type is gold earrings without precious stones and the second is gold earrings adorned with garnet decorations. The identified manufacturing techniques include relief, casting, hammering, inlaying, and wiring, which were prevalent among Greek and Scythian artisans during the Parthian period. The methods used in making Jubon earrings show similarities to earrings from the North Caucasus, but significant differences in the decoration of gold indicate local production.

Safavid and Qajar rulers, following an enduring tradition, inscribed royal decrees on stone monuments concerning issues such as tax exemptions and reductions. These inscriptions served to preserve the king’s direct voice as an authoritative document, aiming to safeguard a just fiscal system, prevent corruption among officials, avert potential uprisings caused by rising taxation, and reinforce the image of a legitimate and benevolent monarchy opposed to innovation and injustice. This study examines the extent to which Safavid decrees retained their authority and effectiveness during the reign of Nāṣer al-Dīn Shāh Qajar, particularly in the context of the interaction between the state and society. The research is based on primary documents and sources, applying a historical-comparative method and content analysis. The findings reveal that Safavid decrees on exemptions and tax reductions, though inscribed as “perpetual,” did not remain effective in practice. With the dynastic shift, and despite the people’s efforts to preserve documents and demand their enforcement, these decrees rarely yielded favorable outcomes, except in cases where the Qajar state itself benefited from their implementation.

At the moment, there are two known manuscripts of the Book of Dede Korkut in the world. The  book’s title on the first page of the Dresden manuscript and the name of Dede Korkut are the  controversial topic of this essay. Since the title on the first page is written in Arabic, the scholars  around the world who have worked on this monument have translated it differently. Even the  calligraphers of the title and the text are not the same. The scholars around the world have  translated the Arabic text of the title into their own language and therefore, they are correct.  While the native scholars in Azerbaijan have considered the first three words of the title in Farsi  and the rest of it in Arabic. So their translation of the title into Türki has become somehow  incorrect. On the other side, the name of Korkut is also a matter of controversy. Some native  scholars have tried to analyze it by separating the two syllables of it and interpret it through their  own deductions. However, the author of this paper thinks that the words in any language are the  black boxes of each language. Then they stand so strongly for themselves that you do not need  to break them down to analyze the broken parts. The word “Korkut” is not an exception then.  You do not need to separate it into two parts and then interpret each part separately to achieve  its meaning. The meaning of the word is easily achievable by itself and, especially through the  contexts of the book’s both manuscripts. The aim of this essay is to illustrate the two  misunderstandings about both the title and the precise meaning of “Korkut”.  **** Halhazırda dünya kitabxanalarında “Dədə Qorqut” kitabının iki tanınmış əlyazma nüsxəsi var.  Drezden nüsxəsinin ilk səhifəsində yazılmış kitabın ünvanı və “Qorqut” sözü bu məqalənin  mübahisəli mövzusudur. Kitabın ünvanı ərəbcə yazıldığına görə bu abidəni araşdıran dünya  bilginləri buna fərqli yanaşıblar. Kitabın ünvanını yazan xəttat ilə əlyazmanın mətnini yazan  katibin xətləri açıqca bir-birindən ayrı görünür. Buna baxmayaraq, kitabın başqa dillərə çevrildiyi  ünvan ərəbcədən çevrildiyinə görə düz olduğu halda, Azərbaycan Türkcəsinə çevrilmiş ünvan  fərqli alınıb. Bu abidənin öz vətənindəki alimlər kitabın ünvanının üç başdakı sözünü farsca,  qalanını isə ərəbcə hesab edib çevirdikləri üçün kitabın ünvanı bu dildə düz alınmayıb. Bundan  başqa, “Qorqut” sözünün öz anlamı da yerli elm adamlarının araşdırmalarında mübahisəli bir  durum yaradıb. Bəzi yerli bilginlər “Qorqut” sözünün iki hecasını bir-birindən ayırıb bu sözü  mürəkkəb bir ad hesab edərək araşdırıblar. Amma bu məqalənin yazarı dünya dillərindəki sözləri  hər dilin öz qara qutusu hesab edir. Ona görə zamanın sərt durumlarından üzü ağ çıxıb dilimizi  qoruyan bu qara qutuları sındırıb tikələrini ayrı-ayrı araşdırmağı düzgün bir yanaşma olaraq  görmür. “Qorqut” sözü də bu prinsipdən müstəsna deyil. Onun anlamını açıqlamaq üçün onu ikiyə  bölmək lazım deyil. Bu sözün anlamını birincisi, özündən, ikincisi də əlyazmaların mətnindən  aydın şəkildə izah etmək olar. Bu məqalənin məqsədi həm kitabın ünvanını, həm də “Qorqut”  sözünün dəqiq anlamını aydınlaşdırmaqdır.        ****   Günümüzde dünya kütüphanelerinde Dede Korkut kitabının iki meşhur elyazma nushası vardır.  Dresden nushasının ilk sayfasında yazılmış kitabın unvanı ve “Qorqut” sözcüğü bu makalenin  tartışmalı konusudur. Kitabın unvanı Arapça yazıldığına göre bu yapıtı araştıran dünya  bilginleri kitabın unvanına farklı bakmışlar. Kitabın unvanını yazan hattat ile elyazmanın  metnini yazan katibin el yazıları açıkca bir birinden farklı görünür. Buna rağmen, kitabın başka  dillere çevrildiği unvan Arapçadan çevrildiğine göre doğru olduğu halde, Azerbaycan  Türkçesine çevrilmiş unvan değişik gösterilmiştir. Bu yapıtın kendi vatanındaki bilim insanları  kitabın unvanının başdaki üç sözcüğünü Farsca, geri kalanını ise Arapça olarak düşünüp  çevirdikleri için kitabın unvanı bu dilde doğru alınmamıştır. Bundan başka, “Qorqut”  sözcüğünün kendi anlamı da yerli bilim adamlarının araştırmalarında tartışılmalı bir durum  yaratmıştır. Bazı yerli bilginler “Qorqut” sözcüğünün iki hecesini birbirinden ayırıp bu sözcüğü  bileşik bir ad olarak görerek araştırmışlar. Ama bu makalenin yazarı dünya dillerindeki  sözcükleri her dilin kendi kara kutusu gibi görmektedir. O yüzden de zamanın sert  durumlarından yüzü ak çıkıp dilimizi koruyan bu kara kutuları kırarak parçalarını ayrı ayrı  araştırmayı doğru bir yaklaşım olarak görmez. “Qorqut” sözcüğü de bu prensipten müstesna  değil. Onun anlamını açıklamak için onu ikiye bölmek gerek değil. Bu sözcüğün anlamını  birincisi, kendisnden, ikincisi de elyazmaların metninden açıklamak mümkündür. Bu makalenin  amacı hem kitabın unvanı hem de “Qorqut” sözcüğünün kesin anlamını açıklamaktır.  

On the northern shore of the Persian Gulf, not far from the coastline of Bandar-e Dayyer (Dayyer Port) in Bushehr Province, remains of a large archeological site can be seen in the form of dense piles of the rubble as well as architectural remnants scattering over ​​approximately 27 hectares, which is known as Bardoo. The remaining and main parts of the site are located in the south and southeast of the city of Bardestan, between a road leading to Bandar-e Dayyer and the western flank of salt marshes on the west bank of huge Bay (xowr), located about 2200 meters from the coastline of Bandar-e Dayyer itself. Archaeological excavations at this site reveal three periods, ranging from Parthian to the early Islamic era.