Izeh

The Islamic era tombstones of Shahsavar Cemetery in Izeh, southwestern Iran, reflect a rich tapestry of religious, cultural, and socio-economic values embedded in local Bakhtiari traditions. This study explores the typology and semiotics of 632 gravestones dating from the Zand, Qajar, and Pahlavi periods to the contemporary era. These gravestones, which range from simple slabs to sculpted lion figures and tiered, crenellated forms, serve as commemorative markers and visual expressions of identity, status, and belief. Utilizing a dual-method approach —historical document analysis and ethnoarchaeological fieldwork— this research categorizes the gravestones into five primary types: simple, tiered-crenellated, stone lion (bardshir), arched (mihrab-shaped), and anthropomorphic. The study reveals that the selection and design of tombstones were highly codified within the Bakhtiari tribal hierarchy, governed by symbolic traditions and cultural legitimacy. These forms also encode valor, piety, and transcendence, linking the deceased with tribal memory and spiritual continuity. The findings contribute to the broader understanding of funerary art in post-Islamic Iran.

A newly discovered Elamite rock relief in the Alhak region of central Izeh in southwestern Iran contributes significantly to the corpus of commemorative Elamite art. Unlike other well-known reliefs from the area—such as those at Kūl-i Farah, Shahsavar, and Khung-i Azhdar—this composition was carved onto a conglomerate rock surface, a medium both unique and inherently fragile, leading to its accelerated erosion and delayed recognition. The relief depicts a male figure seated in profile on a simple throne, raising his right hand in a gesture of reverence or supplication. A stepped platform lies before him, while a prominent solar disc hovers above his head—features resonant with iconographic motifs found on contemporaneous cylinder seals from Elam and Mesopotamia. Iconographic and stylistic parallels suggest that the Alhak relief belongs to the Shimashki cultural horizon (ca. 2000–1970 BCE). The absence of divine attributes—such as horned crowns or zoomorphic insignia—indicates that the figure is more plausibly interpreted as a royal personage engaged in ritual devotion rather than a deity. The rightward orientation of the seated figure, in contrast to the left-facing postures of most Izeh reliefs, further underscores its distinctiveness. This discovery broadens our understanding of regional variability within Elamite rock art. It highlights the cultural resilience of Elamite traditions in the highlands following the collapse of lowland power centers such as Susa. Future investigations employing advanced imaging technologies (e.g., 3D scanning and photogrammetry) are essential for recovering lost details and refining our interpretation of the relief’s symbolic schema.