Iranian Archaeology

Dynastic connections in the Arsacid Empire and the origins of the House of Sāsān, in: The Parthian and Early Sasanian Empires: Adaptation and expansion, Editors: Vesta Sarkhosh Curtis; Elizabeth Pendleton; Touraj Daryaee; Michael Alram, Oxford and Philadelphia: Oxbow, 2016, 23-35.

See http://www.oxbowbooks.com/oxbow/the-parthian-and-early-sassanian-empires.html [Published by the British Institute of Persian Studies (BIPS) Archaeological Monographs Series]

ABSTRACT
The old rivalry between branches of the Parthian royal house
and clans, including the Younger (western) Arsacids, the
Gondopharids in Indo-Parthia, the Sūrēn and Kārin, revived
when a rebellion broke out in Persis under the leadership
of Ardashir I, son of the Gondopharid prince Sāsān. The
connections between the Gondopharids of Sakastan and
the Sūrēn with Persis under Ardashir eventually led to the
overthrow of the Younger Arsacids.
A comparison of the diverse traditions about Sāsān shows
that the Persian writings and Sasanian inscriptions were
manipulated for specific political reasons. The Shahnameh
tradition traces Sāsān’s ancestry to the late Kayanids, harking
back to the historical Achaemenids. The same tradition
suggests that the ancestral seat of Sāsān’s forebears was in
India, where they had fled in fear of Alexander. Sāsān was
in fact a member of the Arsacid Gondopharid line, the ruling
dynasty of Indo-Parthia, who reigned in Afghanistan and the
north-western regions of India. Even under Farn-Sāsān they
held Sakastan, Arachosia and probably part of Sind.
Most probably Sāsān was the father of Ardashir, as
indicated by the Shahnameh, Agathias and the Armenian
authors, and as implied by Narseh’s inscription at Paikuli.
The coins and inscriptions of Ardashir I and Shapur I say
Ardashir I was the son of Pābag. Tabari, Kārnāmāg and
Bundahishn give a version that Ardashir’s father was Pābag,
but include Sāsān in the genealogy.
For reasons of propaganda Ardashir I, and later Shapur I,
endeavoured to downplay Sāsān’s role, so as not to be
perceived in Persis/Fars as a foreign dynasty. The paradox
is that, assuming Sāsān was Ardashir’s father, the Sasanian
dynasty in fact had a Parthian, and perhaps even an Arsacid
ancestry. Moreover, the early Sasanians built up their empire
thanks to the support of the chief clans of Parthia including
the Sūrēn and Kārin. That is why the Sasanian Ērānšahr
has been referred to as “the empire of the Persians and
Parthians”. And that is why Ammianus perceived the royal
house of Persia as the Arsacids.

In this paper, an attempt has been made to gather information about the Elamite cities and lands in the period when the Awan dynasty was known as the ruler of the Elamite world, and some suggestions have been made about the history, chronology and genealogy of the Elamite rulers in this period. Finally, a new periodization on the history of Elam in the third millennium BC is proposed.

The contents of five Iron Age I–II (1200–900 BC) small ceramic vessels similar to ancient kohl pots excavated from the graves of the archaeological site of Estark–Joshaqan, near Kashan in central Iranian plateau, were characterised by optical microscopy (OM), X-ray powder diffraction (XRPD), micro X-Ray fluorescence (μ-XRF), micro-Raman spectroscopy (µ-Raman) and field emission scanning electron microscopy coupled with energy-dispersive X-ray spectrometry (SEM–EDS). The analytical data demonstrated that the pots were filled with powdery white laurionite (peculiar fibrous shape) and lead (hydr)oxychloride crystals to which manganese and iron oxides were added to obtain grey and orangish colours, respectively. The occurrence of minerals such as leadhillite, cerussite, anglesite, wulfenite and vanadinite together with barite, celestine, gypsum and anhydrite was ascertained via different analytical techniques and was discussed in an archaeological and technological context. In addition, the possible occurrence of mereheadite, with a fibrous habit, has been discussed. These small pots were used as kohl containers for storing cosmetics and placed in the burials as grave goods.

The visual devices used by Tony Blair and George Bush to get themselves elected and maintain power, come not from modern times, but a world that is thousands of years old. How Art Made the World ventures back to the creation of Stonehenge and the reign of Alexander the Great to reveal how imagery became an indispensable weapon in every leader's political armoury.

This episode explores how art can be used as a persuasion device by those in power and when did we learn to use images, to create a powerful icon or symbol, this way?

The use of art as a tool for those in power, started at different times, in different cultures. Near Stonehenge the grave of the Amesbury Archer was discovered in 2002, the grave was different to those previously found near the site, as this one was not Roman, but much earlier, dating to when the first sarsen stones were erected. What made him interesting were his gold hair tresses, possibly the oldest dated gold objects in Britain, and the fact that he was a foreigner, from the region that is now Germany / Switzerland. The archer had completed an epic journey for the time, and the treasures in his grave show a man of status. Art for personal adornment, like these hair clasps, elevated him above his peers.

As time progressed, art became a political tool, kings competed for more dazzling adornments. As kingdoms got bigger the kings had to overcome communication issues. Darius the Great of Persia, ruled over 20 nations from Persepolis. As very few people could read, Darius had stone reliefs created that combined styles from all over the empire, the carvings showed each nation bring tributes to their king. This showed respect, and the carvings communicated that Darius admired and respected his people. Darius created a symbol for himself, that of the archer, symbolic to Persians of leadership and wisdom, central to the concept of kingship. Darius embossed this symbol on gold coins, which became the currency to trade within the empire.

Darius’ conqueror, Alexander the Great, took this concept further. From an early age, Alexander’s image was being made for him. In his fathers tomb, an Ivory head recognisable as Alexander’s was found, showing that his image had been made for him in advance of him becoming king. In Pompeii, a copy of an original Macedonian painting, shows Alexander the Great, fearless, fixated on his enemy and leading from the front. He is in the midst of battle with king Darius, shown fearful and panicking. Where Darius had used a symbol to communicate his power, Alexander used his face. On defeating the Persians, Alexander melted down all their coins replacing them with coins bearing his head. Tests have shown that people are more influenced by the image of the head and this technique has endured 2500 years and still used today.

This artistic power can be used for sinister purposes, to persuade us to see things a certain way or even deceive us. The earliest known use of this dates back to the Romans. In 40BC Rome was in crisis, the city state was split between royalists and republicans. You could tell people’s political allegiance by how they dressed. Octavian (Augustus) understood the power of art and used it to his advantage. He needed to persuade his opponents ,and used artists to create a less threatening image, one that won over the republicans. Although the image showed him as a powerful general, it didn’t show any military arms, and his gestures were more about humility than power. His armour breast plates show him accepting surrender of the Parthian Empire, with the gods looking on approvingly. The statue offered reassurance, but it was all a lie. While he portrayed himself as a peace maker, he was getting rid of the opposition; while he was preaching humility, he lived like corrupt royalty and while pretending to hand power to the people he reinstated himself as a king.

The leaders of past used paint and marble, today we use digital manipulation. But as humans we still remain vulnerable to the persuasive power of art.

«مسجد حکیم اصفهان، مسجدی چهارایوانی است که در زمان صفویان بر روی بقایای مسجدی قدیمی از دورۀ دیلمیان ساخته شده و مانند سایر بناهای مذهبی این دوره، از تزئینات زیبا و چشم‌نوازی برخوردار است. عمده تزیینات این بنا شامل کاشی‌کاری‌های معرق است که با رنگ‌های مرسوم در این دوره، زینت‌بخش فضای خارجی مانند صحن و فضای داخلی مانند گنبدخانه مسجد شده‌اند. چنانچه بگوییم مسجد حکیم، بزرگترین گنجینۀ کتیبه‌های "کوفی بنایی" یا همان "مُعَقلی" معماری ایران را به‌لحاظ تعدد و تنوع در خود جای داده است، سخن به گزافه نگفته‌ایم. کمتر بنایی را در تاریخ معماری ایران در دورۀ اسلامی می‌توان یافت که با این میزان از کتیبه‌های متنوع به خط کوفی بنایی آراسته شده باشد. تنوع در کتیبه‌ها، رنگ‌بندی کاشی‌ها، بهره‌گیری از ترفندهای فنی، هندسی و چیدمانی متفاوت در اجرای عبارات کوفی بنایی از جمله نکات شاخص کتیبه‌نگاری‌های این بناست.»

Alexander assumed the principal items of Iranian dress and Achaemenid regalia in 330 B.C. Sources agree that Alexander wore a purple Iranian chiton with white trimmings, a belt, a diadem and a tiara. Also a kind of kandys was part of the king’s attire. Elements of Iranian dress appear on artifacts from the Diadochoi period as the garb of the Macedonians.

This study examines a little-known case of Enlightenment knowledge transmission centred on the rock-cut monument of Darius I at Bīsotūn in western Iran. It discusses a report on the monument published by the cartographer and historian Jean-Baptiste Bourguignon d'Anville, which originated with the Decalced Carmelite monk Emmanuel de Saint-Albert (born Jean-Claude Ballyet); who transmitted it to Isaac Bellet, a doctor involved in secret negotiations in Constantinople; who in turn sent it to Louis, Duke d'Orléans, in Paris; who passed it on to d'Anville. The collison of scholarly interest, political service and scientific personality offers a fascinating case study of the Enlightenment 'republic of letters' in action.

Geography, history, and the material culture provide the three bases for definition and determination of a cultural landscape. The region of Maymand in northwestern of Kerman province as the interacting-ground of the three aforementioned factors is considered as a cultural landscape. The geographic diversity, historical events and 2500-years-old cultural vestiges have prepared the necessities for the formation of a dynamic cultural landscape. The archaeological survey findings show the process of change and evolution in lifestyles of the people who have been living in the Maymand region from ancient times to modern era. This process has been affected by geographic conditions on the one hand and has influenced the region’s history on the other hand. In addition to the complicated and multilinear historical processes having determined the characteristics of the Maymand’s landscape, the village of Maymand has played the focal role in the changing and evolution of the region. Identifying the factors which were acting in the evolution of the cultural landscape of Maymand, would help us to find the true way to indicate and solve the current problems.

Deyoces (708- 665), hijo de Fraortes, unificó las “tribus” medas: busas (en Ecbátana), paractenos (en Isfahán capital), estrucates (en Markazi), arizantos (en Kashan, N de Isfahán), budios (en Markazi) y magos; Fraortes estableció Ecbátana como capital, expulsó a los asirios y fijó una legislación; su hijo Fraortes (665- 663) sometió a los persas y murió bajo Asurbanipal; su hijo Ciaxares (663- 549) reinó sobre Medos, Persas, Partos y Sagartios, enfrentó a Lidia que había dado refugio a unos escitas opositores, es el Asuero bíblico?; su hijo Astíages o Istuvegü (549- 539) se tuvo por mal gobernante, encargó a Hárpago dar muerte a su nieto Ciro, hijo de Mandana, pero Hárpago lo entregó a un pastor cuya esposa no cumplió la orden sino que lo cambió por su hijo muerto.

From engraved metal artifacts of bronze land (Luristan), it should be referred to unique objects named disc pin head that are from makeup, ritual and religious requirements. Different types of these pinheads are observed from graves, temples and also on deco rational motive of figures applied in decoration motive of figures applied in decoration of pinhead. Building pinheads began from the late of third millennium B.C and continue to the first half of first millennium B.C. Disk pinheads have much more diversity and different species that at eight and nine centuries B.C reach to its peak of development and beauty. Disk pinheads is composed of one flat engraved head and one bar that often are made of bronze and sometimes both bronze and iron with two methods. Molted in mold and hammering. Pin heads are divided into two disc pinheads: circle and square and based on motive and deco rational subjects on its disk are divided into several motive and subjects that are geometrical, herbal, human, animal and combinational motives, Key questions pacing present researcher are: 1) what is the objective of building and decoration of these pinheads? 2) Why these objects are often obtained from grave and temples? In present writing. In addition to answer the questions and considering and analyzing the motive of these pinheads from the art and visual perspective, it is tried to offer the integrated and rationale analysis based on motive typology, use kind, building method, building technique and motive of disc pinheads that are made in bronze and iron age.

The Iranian Expanse explores how kings in the ancient Iranian world utilized the built and natural environment—everything from royal cities and paradise gardens, to hunting enclosures and fire temples—to form and contest Iranian cultural memory, royal identity, and sacred cosmologies over a thousand years of history. Although scholars have often noted startling continuities between the traditions of the Achaemenids and the art and architecture of medieval or Early Modern Islam, the tumultuous millennium between Alexander and Islam has routinely been downplayed or omitted. The Iranian Expanse delves into this fascinating period, examining royal culture and identity as something built and shaped by strategic changes to architectonic and urban spaces and the landscape of Western Asia. Canepa shows how the Seleucids, Arsacids, and Sasanians played a transformative role in developing a new Iranian royal culture that deeply influenced not only early Islam, but also the wider Persianate world of the Il-Khans, Safavids, Timurids, and Mughals.

Persian Translation of Shenkar, M. (2011), "Temple Architecture in the Iranian World in the Hellenistic Period”, in Kouremenos, A., Rossi, R., Chandrasekaran, S. (eds.), From Pella to Gandhara: Hybridisation and Identity in the Art and Architecture of the Hellenistic East, Oxford.

Preliminary Report on Archaeological Survey of Komijan, Markazi Province

Abstract
These days the role of middle- point regions is one of the important issues for archaeological researchers due to their importance in political, economical, social and cultural interactions. Archaeological surveys have important role for knowing of political and cultural changings in various regions. One of the goals of the Komijan Town survey and studying is reaching to the role of the middle- point regions during the different periods of human life in the region. Komijan Town is located between the center of Iranian plateau and Zagros. This town had had role in the cultural communications. The region has been consisted an immense plain with ranges around it. Mentioned plain is bounded on the west by Famenin Plain in Hamedan and on the south by Shaara greens valley. It has been a place of settlement for human groups in different periods in comparison with regions of piedmont and has had the main role in regional communications as well. Qara Chay River is the most important river of the region that is came at the part of the plain. Komijan Town archaeological survey carried out in 2009 in 1625 square kilometers space. At the end of the survey has identified 90 footprints relating to prehistoric era until contemporary centuries: sites, petrology and historical buildings.
Keywords: Komijan, Archaeological survey, Iranian Plateau, Zagros and middle- point region.

On account of the peculiar geomorphological and geographical features of the Iranian territory, water has always been a fundamental element of the Iranian landscape. Surface water and groundwater reserves were extensively exploited during the Sasanian period-for freshwater supply and to enhance the agricultural productivity-by means of public as well as private programmes of management of the hydraulic issues. Focusing on archaeological evidence from Southwestern Iran and stressing the extent to which the cultural landscape of Sasanian Iran was influenced by the importance of water, this paper deals with topics related to the architecture and chronology of some hydraulic infrastructures in Fars and Khuzestan.