Journal of Archaeology and Archaeometry

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.

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.

Deccan is a fertile plateau in the southern part of the Indian subcontinent, spanning an area of approximately three hundred square kilometers. In Sanskrit, Deccan means "south," and the Bahmani rulers established the first independent Muslim government in the Deccan region, reigning from 1347 to 1528. This research aims to answer the crucial question of how Iranian-Deccani architecture evolved during the Bahmani era and which structures prominently reflect this architectural style, using a historical research method grounded in a descriptive-analytical approach. The findings of the research indicate that the Bahmani's tolerance and affinity for the Shia sect, along with their support for Shia migrants who had immigrated to Deccan from Iran and Arab lands, led to the widespread influence of Shia beliefs and the prevalence of Iranian-Islamic culture and civilization in Deccan. During this period, numerous Iranian architects and artisans migrated to India, contributing to the creation of many buildings characteristic of the Bahmani era. As a result, many mosques and structures from the Bahmani era in Deccan bear the influence of the Timurid architectural style of Iran. This phenomenon facilitated the penetration of Iranian architectural style and the flourishing of Iranian-Islamic culture in India, particularly during the Bahmani period.

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.

The illustrated manuscripts of Iran in the Islamic period have various cultural, archaeological, social, historical, religious, artistic and other information, And this information is important for historians, archaeologists and scientists of various sciences. kings counted as the main supporters of creating illustrated manuscripts with different topics such as heroic, religious in the Taymurid period. So many books such as Khavaran Nameh, Shahnameh, Khamseh, rewritten and illustrated by same kings in the Taymurid period. Generally, Shahrokhi’s Merajnameh is one of the most important illustrated manuscripts in the Taymuird period and this book has almost 58 miniatures with illustrated pages that written in Turkish,Uighur and Arabic languages. Shahrokhi's Merajnameh has valuable miniatures that indicate us cultural and artistic and historical information about the Taymuird period. One of the main purpose of this article is to introduce the illustrated manuscripts in Merajnameh as one of the study sources in the field of history, art and archeology in the Taymurid period. Archaeological and artistic analysis of the miniatures of this book is another goal of this research.In this research, with fieldwork and library studies, a number of illustrated miniatures of Merajnameh have been studied with descriptive and analytical methods and sometimes with a comparative approach.The result of this research shows the importance of Merajnameh miniatures in the cultural reconstruction of the Taymurid period in Iran.

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.