درخت حوزه‌های تخصصی

Coins are engraved metals like books full of historical, cultural, religious, and mythological information. They are also like written documents that can be analyzed through their motifs through symbolism, and they are the most important guide for researchers in recognizing and familiarizing themselves with religious beliefs in different historical periods. Therefore, studying the images and symbols on them opens a window to ancient periods for researchers. Due to its long reign, the Parthian is one of ancient Iran's most important critical periods. They minted many coins with various motifs. One of the symbols used is the pattern of a palm branch, which from the time of Phraates II can be seen as the reverse of the drama and tetradrachm coins of the Seleucid Mint. This study has investigated the symbol of palm branch in coins of Phraates II in the Seleucid Mint to realize political goals. These coins are kept in Reza Abbasi Museum in Tehran (Iran) and were purchased through private collectors. In this study, 250 Parthian coins were examined, among which 60 coins had palm motifs. The palm branch is considered a mythological plant common between Mesopotamia, and Greek. Parthian king, the branch palms were used as symbols for victory, under the cultural influence of the Seleucid and Mesopotamia.

Nowadays, with advanced technology and information, the attention to national and religious culture and ritual has faded, so the lack of collective cultural-ritual spaces based on the correct principles of architectural wisdom is considered as a problem in today's world of speed and technology. The goals of the research are to improve sociability through the analytical analysis of Iran's historical buildings in order to read the effective components in the architecture of collective-ritual spaces based on the wisdom of Islamic art and architecture. The research method is in the form of case studies and logical reasoning and analysis of the content of fundamental principles and concepts, which in the case examples of social arenas from the perspective of the teachings of architectural wisdom in which national and religious rituals are held and a comparative study The factors of each were done in the form of tables; In the following, by adapting the arguments and relational analyzes of anthropological and epistemological discussion in the results of the research, it was shown that the fundamental principles and concepts in architectural wisdom are the result of focusing on rules and precise theorizing and are formed according to the culture of the people. And on the basis of basic needs assessments, it reduces discussions involving duality and difference of opinion. In addition to the semantic dimensions, components with physical-spatial aspects were extracted in an understandable way for the users, whose strategy and solutions will lead the way in improving the sociability of collective-ritual spaces.

The correct position and the determining role of the second and first millennium BC cultures in the Fars region (Marvdasht plain) which we know as the Shoqa/Timuran cultures and the importance of this culture in the transition from the prehistoric to the historical period (Achaemenid) are still not well known. Despite of extensive archaeological research that has been done in the Marvdasht plain and the presence of significant sites of this period, due to the limited and generally very old excavations in these sites, it is still difficult to understand these developments. During that time, huge developments were taking place in Khuzestan and Fars regions; Changes usually created many conflicts between native cultures and southwestern cultures origin (Elamite).Some archaological findings, such as weapons, are signs of the height of such conflicts in the past. This paper will study and introduce the collection of weapons of Toll-e Shoqa, which were obtained from the excavations of Mahmoud Rad in 1942 and Vandenberg in 1950 in that site, those are now kept in the National Museum of Iran. These collections have been studied recently in the inventory project in the National Museum of Iran archives. So far, few cultural materials from Toll-e Shoqa have been published and more emphasis has been placed on its pottery; the pottery is the basis of the relative chronology of this period in the Fars region. Unfortunately, the results of the archaeological excavations in Shoqa were never fully published and all its cultural materials were not introduced. In the organizing project of the National Museum of Iran which will be described and analyzed in this paper.

Sasanian Empire was one of the most powerful periods in ancient Iran. Archaeological evidence and traces, and Sasanian and Post-Sasanian texts show cultural and artistic relations of the Sasanian Empire from the East to the West. However, official Sasanian methods of warfare are one of the most important legacies of the period that have been less studied. These offensive and defensive arms and armor can be analyzed by looking at remaining evidence left by kings and officials within the national borders to the lands abroad. Sasanian swords are depicted on rock reliefs, silver dishes, and coins (drachmas and dinars). Although studies have been done on the classification of Sasanian swords shown on rock reliefs, no systematic study on the depiction of Sasanian swords on Sasanian drachms has been done so far. The following paper tries to restudy the subject by comparing the swords depicted on Sasanian coins and compare them to the swords shown on rock reliefs and dishes. Sasanian swords are depicted on different Sasanian royal arts such as Sasanian coins, Sasanian silver dishes, and Sasanian rock reliefs. Different elements will be taken into consideration such as the shape of swords in general and their method of hanging from the belt in particular. A closer look shows that Sasanian drachmas and dinars show two major types of hanging Sasanian swords via a scabbard slide system: A. hanging the sword in front of the body. B. hanging the sword on the left or the right hip. Additionally, the following paper will compare them to some extant examples of Sasanian swords that are kept in museums and private collections.

Tappeh Bazgir is one of the most important archaeological sites of the Late Bronze Age in northeastern Iran. At this site, a hoard of 759 Bronze Age copper-alloy objects with an approximate weight of more than two tons was excavated. This find is unique in terms of volume and the extraordinary finds it contained. This archaeological hoard was discovered by chance in 2001, and in 2010 a rescue excavation was carried out at the findspot. This hoard had been buried in the virgin soil and deliberately concealed under a residential floor in the Late Bronze Age. The objects recovered served different purposes; they include agricultural and household implements, tools, ceremonial objects and a variety of weapons. The artifacts were all located next to each other in a pit and had been arranged in a regular manner. There were also three shields among these objects. They had been placed next to each other under basins with gutter-shaped pipes and on top of daggers, hatchets, axes, two-pronged forks, and stone rods. These weapons had evidently been positioned at close to the domestic objects. The shields are of strikingly similar shapes, but they differ slightly in the number of openings and bars. Up to now, no similar shields have been found at any other archaeological site. These shields seem to be the oldest shields excavated in Iran. XRD and XRF analyses revealed that one of the shields and other objects of the hoard were made of cast copper-alloy, and they were subjected to cold forging/hammering later.