درخت حوزه‌های تخصصی

The silver plate from the British Museum (inv. 124091) usually attributed as depicting “Šābuhr killing deer”does not have a direct parallel in Sasanian iconography. The attempts were made to explain the image in perspective of relation to Mithraism, however no detailed analysis was done. The plate represents features typical for the Sasanian silver but, at the same time it is modelled upon Mithraic tauroctony. This makes the scene a possibly important argument in discussion regarding the very existence of Iranian Mithraism. The fact that the scene is not a direct copy of the Roman tauroctony arguments for association with Iranian imagery. The scene had to be understood in Iranian terms, despite referring to Roman depictions. This supports the view of Iranian, pre-Zoroastrian Mithraic cult. 

A recent trend in photogrammetry is the use of unmanned aerial vehicles (UAVs) for photogrammetric purposes. A data acquisition sensor is mounted on an unmanned aerial vehicle to collect data during short-range aerial photogrammetry from a low altitude. This system is capable of filling a significant gap left by other conventional methods in the field of map production. The improvement in processes over conventional methods is the basis for this method's effectiveness. A significant portion of valuable data is obtained after the first processing stage as a result of automation in all data production processes. Real orthoimages, 3D models, and a detailed point cloud of the area are all included in this data. Drawing and mapping maps have gotten much easier, more accurate, and quicker thanks to modern software. We are looking for ways to use these kinds of methods in documenting the archaeological heritage in this article by applying this method at the historic site of Susa. The experts and practitioners in this field will benefit from this method, which is a collection of the most effective techniques for geometric measurement, analysis, and interpretations related to issues raised in archaeology.

The ability to recognize and compare shapes and understand the concept of proportions is one of the first human findings from environmental geometric data. And certainly the formation of geometry as a science of recognizing the arrangement of lines, shapes and levels and proportions leads to the definition of golden proportions in the mathematical sciences as a new way of organizing shapes and forms. Golden and geometric proportions are effective as a determining element in the scale of spatial forms, and the formation of spatial forms by not using or misuse of geometric proportions is due to functional and psychological interactions on human perception and cognition. Which causes the construction and formation of scales and proportions of the environment and the emergence of psychological effects due to human activities in the environment. And then the abnormal effects and environmental dysfunction on the saccade system of the human eye and as a result the feeling of fear and lack of belonging to the place interacts. On the other hand, nature as the raw material of creation, and the principle and mother of man, which causes him to model the proportions in nature. Understanding the laws governing the relationships between elements and spatial shapes leads to the formation of geometric and golden proportions in the spending of space. Because knowing the symbol of shapes, proportions and scales in the world of meaning and kingdom is reminiscent of the divine order in all dimensions of the world (even in astronomy). Therefore, evaluating the values ​​of spatial proportions in nature as the bedrock of human life and the pattern of psychological perceptions, leads to the adoption of human activities. Also, the study of human needs on a mental and psychological scale from the perception of the environment causes the recognition of scales and dimensions by human visual senses, which leads to the perception of the correct golden and geometric proportions through Sakadi eye movements and psychophysical sciences. . Certain ratios can also be observed in the creation and design of various shapes in nature. These relations are those geometric relations that have immaterial roots and follow the spiritual and supernatural principles, believing that their subject is sacred, and have a symbolic language and spiritual characteristics. In the traditional world, geometry was inseparable from the other four Pythagorean sciences, namely arithmetic, music, and astronomy. And traditional geometry is also associated with the symbolic composition and shapes of space. To this end, the study of the effect of golden and geometric proportions on human visual perception of the architectural environment based on the sense of belonging to the place, causes visual quality to increase the sensory richness of the place and achieve human values ​​and criteria in the sense of belonging to the place and human needs. To be considered by the architect. In this research, with the perspective of this identity and the interaction of geometric and golden proportions and the sense of belonging to the place, the criteria and indicators of the research have been studied and the results have been presented in the form of tables and diagrams.

A number of candidates in the Kor River Basin, Fars, Iran, have previously been proposed for the location of the ancient Raxā/Rakkan a town mentioned in the Bisotūn Inscription and in the Persepolis Fortification Tablets. None of these suggestions, however, is convincing. Based on textual evidence, archaeological observations, and the local environmental conditions, the present study suggests that ancient Rakkan should be identified with the archaeological site of Kal Abdi in the southern part of the Baizā Plain. 

Biological samples such as bones, tooth, and hair obtained from archaeological excavations are mainly used for dating measurements. However, these findings provide valuable information about the diet, lifestyle or migration, and genetic interaction of communities, and disease because the biochemical content of biological tissues such as bones, teeth, and hair changes under the influence of the lifestyle of the past population. Therefore, it seems that human remains' biochemical, microscopic, and histological studies could be advantageous for clarifying the dark events of the past societies. Bioarchaeology, as an interdisciplinary science, assesses the historical-cultural relationships in ancient samples and human remains like hair, bone, or tooth by biological tools and techniques. In this science, the biological data of specimens are combined with archeological information to obtain a more accurate sociology of past civilizations. The purpose of the present review article is to familiarize archeology researchers with the usual methods in bioarchaeological studies.

Luristan is located in the Central Zagros Chains and it plays an important role in the events of the first millennium BC. Therefore, archeological and historical studies of this region lead to a better understanding of the events and the role of Lorestan in this period. The purpose of this research is to investigate the role of Lorestan in the first millennium BC based on historical and archeological sources. This research was done with a descriptive-analytical method with a historical approach. The Results show According to the Assyrian documents, Greek and Roman sources an ethnic group lived in the Zagros Mountains. Their land more probably was bigger than the administrative borders of Lruistan. Presumably, it should be somewhere between the Greater Media and Susa or Chaospes River. Luri is the common language of these peoples in this area.

Fakhr al-Dīn Muḥammad ibn Manṣūr Mubarākshāh al-Qurashī was born around 1150 CE, probably in Ghazna, and eventually joined the court of Quṭb al-Dīn Aybak, the first Turkish Mamlūk or “Slave King” of northern India. He died around 1224 CE. His Ādāb al Ḥarb wa’l Shujācah (“Rules of War and Bravery”) was a treatise on statecraft in the Persian tradition of “Mirrors for Princes”. A substantial, if idealised discussion of warfare, it includes sections on tactics, troop organisation, various weapons, sieges and many military-historical anecdotes. Nevertheless, these chapters also include more recent, more localised Indian and Turkish elements, plus otherwise lost aspects of military practice or theory. For example, the essentially traditional Islamic or ʿAbbāsid sections include Chapter 12 which describes “How to arrange an army firmly and to maintain that (arrangement)”. The first part of Chapter 13 describes “How to bring the army to a halt and the (best) place to do this”. Some specifically military chapters of theĀdāb al Ḥarb wa’l Shujācah are clearly based upon ʿAbbāsid military theory as developed during the 8th to 10th centuries CE; notably sections such as “How to arrange an army firmly and to maintain that (arrangement)”, and “How to bring the army to a halt and the place to do this”. Other sections reflect more recent Indo-Islamic, Indian and Turkish military ideas, as well as otherwise lost aspects of earlier military practice, plus plans of military arrays, idealised encampments and exercises in the tradition of Islamic furusīyah military training manuals. Chapter 11, which is interpreted here, concerned the characteristic features, advantage and usage of a wide array of weapons. Chapter 19, which is also interpreted here, focussed on various aspects and variations in the array and deployment of an army for battle.

Considering special geographical location of Dargaz Plain in Razavi Khorasan province, identifying the cultural evolution there during the Parthian period can answer many questions about this relatively unknown historical era of Iran. Besides, it can help us better understand the origin of the Parthian culture in Northeast Iran. This research was carried out in the form of a reconsideration project during the field studies of Dargaz Plain. In this regard, Dargaz Plain was surveyed during one season, and as a result, 84 sites belonging to the Parthian period were identified. The main purpose of the research was to study the distribution patterns of Parthian settlements and their spatial relations with each other based on environmental variables. The most important environmental indicators in explaining the settlement patterns were analyzed via attributes such as altitude, water resources, slope, communication routes, vegetation, and land use, as well as the characteristics of the sites, including size and chronology using the geographic information system (GIS) and the cluster analysis method. The results indicate that during the Parthian period, the area witnessed an increasing growth in the nomadic population compared to permanent settlements, and in general three settlement patterns were identified: small and large villages, an urban center, and nomadic and seasonal settlements.

Light and color are effective factors in the creation of works of art, which, as the most immaterial element of nature, have always been influential in Iranian Islamic painting, and in fact, they represent the sublime world and spiritual atmosphere Also, the research about light and color in painting and its impact on painters and its contribution to the scope of expressing the influence of mysticism in the whole Islamic culture and art is at the starting point certainly knowing and understanding the three words mysticism, light and color and finding their meaning and meaning in a symbolic way is not only effective in better understanding Iranian and Islamic painting, but also our insight in understanding the Islamic ideas that are rooted in mysticism and Sufism and It also makes the behavior smoother. Colors have a chemical aspect in art, and mixing them is an art similar to alchemy. The main concern of this research, which is presented in an analytical way, is aesthetics and investigating the mystical aspects of paintings and motifs in Islamic civilization in Iranian art and architecture. It seems that Islamic art and architecture tries to manifest God's unity among colors, forms, lights, and sounds. Each color has a special allegory and a relationship with one of the inner states of man and soul. Color is an important factor for spiritual use in the painting effects of Islamic architecture. Mosques in the Islamic world usually use turquoise green and blue colors. Blue and turquoise colors are the main background colors of walls, tiles, altars, domes, and courtyards and along with the golden color in Iranian Islamic paintings, among other colors, they have a special shine and effect. These colors are manifestations of the inner meanings of colors. The colors of turquoise, green and white, which are symbols of nature's sky and divine light, respectively, are mixed together and add to the majesty of the mosques. The colors that result from the radiation of light are a symbol of the manifestation of unity in multiplicity and the dependence of multiplicity on unity. The reflection of the existence of colors in Iranian art shows an extraterrestrial truth outside the world of the senses, rather than imitating the surrounding natural colors. Vigilance and accurate insight in the arrangement of colors and the correct selection of each color refers to a symbolic concept of colors and their mutual effects that permeate the human soul and spirit.