Journal of Archaeology and Archaeometry

The preservation of invaluable cultural heritage assets, including ancient artifacts and historical sites, remains a critical global concern. Existing perimeter protection methods, such as CCTV systems, infrared sensors, and conventional surveillance technologies, often exhibit significant limitations in terms of spatial coverage, sensitivity to subtle intrusions, and adaptability to varying environmental conditions. This paper presents an innovative and highly effective solution utilizing fiber optic sensor (FOS) technology, which offers numerous advantages, including lightweight construction, immunity to electromagnetic interference, ease of installation, high sensitivity, and reliable performance across a broad range of applications. Specifically, the study introduces novel designs for distributed acoustic FOS systems based on Michelson, Mach-Zehnder, and Sagnac interferometric configurations. Through comprehensive theoretical analysis, simulation modeling, and experimental validation, the research explores their practical utility in protecting cultural heritage. Two detailed case studies—focused on the Louvre Museum in France and the ancient archaeological site of Persepolis in Iran—demonstrate the implementation, functionality, and real-world efficacy of the proposed systems. The findings highlight how these FOS networks, particularly when combined with advanced artificial intelligence and machine learning algorithms, can effectively detect, classify, and localize human-induced acoustic disturbances such as walking or digging, while minimizing false alarms caused by environmental noise. This enhanced discrimination capability not only improves overall security but also significantly reduces the need for extensive human surveillance. Moreover, these systems enable precise, continuous, and real-time 24-hour monitoring over vast indoor and outdoor areas. In conclusion, the integration of FOS technology offers a scalable, intelligent, and transformative approach to addressing the complex and evolving challenges associated with the long-term preservation and protection of cultural heritage sites around the world.

Among the significant and yet controversial archaeological remains of the Sasanian period are the Chahār Tāqis and fire temples of this era. Chahār Tāqis reflect historical and architectural engineering points that, despite their simplicity in construction, have managed to endure for many years. Although the primary function of Chahār Tāqis was mainly religious, in some cases, they could also serve as commemorative monuments or guideposts. Despite being constructed over a long period and scattered across a vast geographical area throughout the Iranian plateau, Chahār Tāqis exhibit very similar characteristics in construction techniques and spatial positioning. The abundance, distribution, and expansion of Chahār Tāqis in the studied region necessitate multiple research topics from architectural, functional, and religious perspectives. Given the prevalence and spread of Chahār Tāqis in the Isfahan region, this study adopts a descriptive-analytical approach to compare the architectural elements of Sasanian fire temples and Chahār Tāqis in Isfahan province, as well as the metric dimensions of each architectural element. In addition to studying the architectural and decorative elements used in prominent Chahār Tāqis of the region, such as those in Niasar, Shirkuh, Nakhlak, and Qal'eh Dar, the reasons for their abundance in this region compared to other areas during the Sasanian period and their potential uses in the early Islamic period are also explored. Furthermore, the positioning of these structures in relation to nearby natural and unnatural phenomena has been carefully examined. Based on the dimensions and surface distribution of the mentioned Chahār Tāqis, it can be concluded that these structures were likely sites for the Aduran or Dadgah fires.

From a temporal perspective, we observe the presence and distribution of beveled rim bowls in Iran and Mesopotamia from the mid-fourth millennium BC until the beginning of the Bronze Age. The large production and specific shape of this pottery, alongside its extensive distribution, have prompted many archaeologists to study this subject. Beveled rim bowls is categorized into two types: Uruk and proto Elamite, based on their shape and structure. The geographical conditions in Iran have differentiated the distribution of this pottery compared to Mesopotamia. During this period, the Uruk type gradually changed in structure and transformed into the proto Elamite type. The regions of Khuzestan, Central Zagros, and the Central Plateau have the highest density of sites and pottery in Iran, connecting these centers through intermediary areas. According to the studies conducted, this distribution in Iran has been exported to various other regions by local elites or specific groups of people. Perhaps, this group consisted of local merchants who, through migration, spread the proto Elamite culture in Iran, while the Uruk type of beveled rim bowl was produced and distributed for economic or political purposes in significant sites such as Susa, Chogha Mish, Tepe Yahya, Sefalin, and Godin Tepe.

Understanding the philosophy behind the stucco motifs in the tomb tower of Semiran, Qazvin, can provide insights into the cultural unknowns of northern Iran. This study examines these motifs through library-based and documentary evidence. It appears that the decorative stucco motifs of the Semiran tomb tower can be seen as a continuation of the stucco art styles from the Sasanian period and the early Islamic centuries. This research comparatively studies the remaining motifs and decorations in this tomb tower, seeking to revisit Iranian stucco art and its integration with religious and cultural concepts of northern Iran. Moreover, it aims to examine the artists’ decorative and functional techniques to meet the specific demands of rulers and the aristocracy. Findings indicate that the Semiran Citadel reached its peak of growth and prosperity between the fourth and eighth centuries of the Islamic era. The surviving structures, particularly the tomb towers, significantly reflect the historical prominence of this citadel city during the Islamic period. Additionally, archaeological evidence suggests a flourishing social and cultural life in the central part of the Semiran Citadel City during the Timurid and Safavid eras. Collectively, archaeological and historical evidence suggests the prosperity and expansion of the Semiran Citadel City during the early and middle Islamic periods, especially under the rule of the Musafirids, Seljuks, and Mongol Ilkhanates. Despite its historical significance, the Semiran Citadel gradually lost its vitality and eventually fell into decline and oblivion

Culture encompasses the values, norms, traditions, beliefs, and customs of a society, with clothing representing one of its most significant elements. In analyzing the traditional attire of an ethnic group, two key aspects are of importance: the cultural patterns influencing choices of material, color, design, and tailoring methods, and the symbolic and functional roles of clothing. Certain garments play vital roles across various social, cultural, occupational, and religious contexts. The Qashqai are one of the major nomadic tribes of Iran, primarily residing in the southern and southwestern regions of the country. The distinctive features of Qashqai clothing set it apart from that of other ethnic groups, despite notable similarities with the attire of the Lurs. Based on archival research and fieldwork, this study explores the historical evolution of Qashqai clothing. It aims to identify the earliest documented references to their attire through textual sources and visual representations, and to discuss the key factors contributing to its continuity. The findings reveal that although traditional Qashqai clothing has undergone changes over time, particularly among men, where modern styles are increasingly replacing it, it continues to be preserved among Qashqai women, especially during ceremonial events.

This paper investigates the role of Zen philosophy, as derived from haiku poetry, in the architectural design process. It explores the nature of Zen, its unique perspective on art and literature, and how this perspective is reflected in architectural design processes. The paper also examines how the creation of architectural spaces can be integrated with the poetry and (haiku) influenced by this philosophy. This research seeks to answer the question of how Zen thought can be applied in architectural design through the utilization of haiku poetry. A descriptive-analytical approach, combining inductive and deductive reasoning, is employed. Initially, Zen theories based on haiku are deductively applied to case studies. Subsequently, Zen architectural theories based on haiku are extracted from these case studies. Finally, the results are obtained by combining inductive and deductive methods. This paper aims to introduce haiku, elucidate the role of Zen philosophy in haiku poetry, and explore the influence of Japanese Buddhism on the architectural design process. The result of this research reveal that haiku is the product of immediate, intuitive experience and cannot be evaluated based on conventional poetic criteria. Haiku is a form of enlightenment or illumination, in which the poet perceives the vitality of objects and grasps the meaning of the ordinary and commonplace. Haiku poetry presents viewers with perspectives on nature, humanity, and life. By integrating literary concepts into the architectural design process, haiku can serve as a powerful cultural and artistic medium, fostering audience engagement with literature and cultivating a unique, philosophical understanding of phenomena.