the Faculty of Literatures & Humanities2-173020050321--12158FAJournal Article19700101From the 1970s ownward archaeological investigations of the Qazvin
plain has been based on the excavatio.ns of the sites of Zagheh, Ghabristan and Sagzabad. The three sites are in close proximity with Zagheh lying two kilometres to the east of Sagzabad and Ghabristan about 300 metres to the west of the latter. The main objectives in the re-excavation of Zagheh in 2001 were to ascertain the settlement size of the site, demonstrate the craft areas of the site and collect radiocarbon samples to establish an absolute chronology. Eight trenches were opened, of which five reached virgin soil. This provides for a total area of 18 square metres with six meters of intact layres at the basal for the examination of stratigraphic deposits and remains as compared to the 1.5 square metres in the 1970s excavation. Based on the abailibale data it seems Zagheh covers a sigle period of Transitional
Chalco lithic period, while from the previous works it was suggested a Neolithic period for the lower layers of the site.The data from the 2001
Zagheh excavation are not sufficient for studying the structural context of the craft activities or for distinguishing types of kiln structures. However, the
identification of various types of craft by products such as slag and of different types of semi- finished and finished objects indicates the scale of production and the reorganization of craft production during the Transitional Chalco lithic period. Both direct and indirect evidence indicates the use of the kiln in ceramic production.From the 1970s ownward archaeological investigations of the Qazvin
plain has been based on the excavatio.ns of the sites of Zagheh, Ghabristan and Sagzabad. The three sites are in close proximity with Zagheh lying two kilometres to the east of Sagzabad and Ghabristan about 300 metres to the west of the latter. The main objectives in the re-excavation of Zagheh in 2001 were to ascertain the settlement size of the site, demonstrate the craft areas of the site and collect radiocarbon samples to establish an absolute chronology. Eight trenches were opened, of which five reached virgin soil. This provides for a total area of 18 square metres with six meters of intact layres at the basal for the examination of stratigraphic deposits and remains as compared to the 1.5 square metres in the 1970s excavation. Based on the abailibale data it seems Zagheh covers a sigle period of Transitional
Chalco lithic period, while from the previous works it was suggested a Neolithic period for the lower layers of the site.The data from the 2001
Zagheh excavation are not sufficient for studying the structural context of the craft activities or for distinguishing types of kiln structures. However, the
identification of various types of craft by products such as slag and of different types of semi- finished and finished objects indicates the scale of production and the reorganization of craft production during the Transitional Chalco lithic period. Both direct and indirect evidence indicates the use of the kiln in ceramic production.https://jflh.ut.ac.ir/article_12158_863e7983f9466c6f4163724071551596.pdfthe Faculty of Literatures & Humanities2-173020050321--12159FAJournal Article19700101https://jflh.ut.ac.ir/article_12159_b593edab5abd8a5da41c004a7a8cb59e.pdfthe Faculty of Literatures & Humanities2-173020050321--12160FAJournal Article19700101https://jflh.ut.ac.ir/article_12160_3277d6a877f70002847579d000bc455b.pdfthe Faculty of Literatures & Humanities2-173020050321--12161FAJournal Article19700101The description and classification of decorative patterns is a difficult and Contentious area of Pottery study, Specially if attempts are made to understand the structural content of the Pattern. The analysis of painted pottery is a task where much work has taken place. The Study of pottery in archaeology has become increasingly important over the last century, providing the archaeologist with information on many aspects of the past. In recent years, scientific developments and statistical techniques have contributed still further to the analysis of pottery. The widespread availability of computers has impinged as mach upon ceramics study as on m.any other aspects of archaeology. This paper covers information obtaind from painted pottery in two Neolithic sites Dalma, Ahrenjan and Hajji¬ Firouz. As well as detailing the structural pattern of painting by using special software. The Paper examine the suitability of computers techniques into the quantitative study and comparison of painted ceramic assemblages in a given prehistoric cultural period, this is essential when there are many data.The description and classification of decorative patterns is a difficult and Contentious area of Pottery study, Specially if attempts are made to understand the structural content of the Pattern. The analysis of painted pottery is a task where much work has taken place. The Study of pottery in archaeology has become increasingly important over the last century, providing the archaeologist with information on many aspects of the past. In recent years, scientific developments and statistical techniques have contributed still further to the analysis of pottery. The widespread availability of computers has impinged as mach upon ceramics study as on m.any other aspects of archaeology. This paper covers information obtaind from painted pottery in two Neolithic sites Dalma, Ahrenjan and Hajji¬ Firouz. As well as detailing the structural pattern of painting by using special software. The Paper examine the suitability of computers techniques into the quantitative study and comparison of painted ceramic assemblages in a given prehistoric cultural period, this is essential when there are many data.https://jflh.ut.ac.ir/article_12161_a8b14933a3231e07848ba1ace34f16ee.pdfthe Faculty of Literatures & Humanities2-173020050321--12162FAJournal Article19700101https://jflh.ut.ac.ir/article_12162_770c82fe07e766c8467592a666aecc68.pdfthe Faculty of Literatures & Humanities2-173020050321--12163FAJournal Article19700101The Golden Age of Safavid period, is the era of technological
development, commercial and art relationship between Iran and China. From such interaction and also location of Iran in the Silk Road, the Chinese arts had influenced on the Iranian arts.
Some aspects of this influence can be observed in earthenware such as blue and white ceramics, celadon wares, tiles, paintings, textiles and carpets and also book art and bookbinding specially gold ruled margins of that period. Of course, this influence not only was not imitation, but also in most cases, it joints with some inventions. It is also integrative with motif persian to match Iranian taste.
In addition Persian culture and art has influenced Chinese culture and art as well. Finally, Sometime the Iranian art has accepted some intentionally to achieve some specific goals, specially the commerical goals. For example some of the persian potters, when making the potteries were drawing some motifs like Chinese alphabet to attract the attention of more customers.The Golden Age of Safavid period, is the era of technological
development, commercial and art relationship between Iran and China. From such interaction and also location of Iran in the Silk Road, the Chinese arts had influenced on the Iranian arts.
Some aspects of this influence can be observed in earthenware such as blue and white ceramics, celadon wares, tiles, paintings, textiles and carpets and also book art and bookbinding specially gold ruled margins of that period. Of course, this influence not only was not imitation, but also in most cases, it joints with some inventions. It is also integrative with motif persian to match Iranian taste.
In addition Persian culture and art has influenced Chinese culture and art as well. Finally, Sometime the Iranian art has accepted some intentionally to achieve some specific goals, specially the commerical goals. For example some of the persian potters, when making the potteries were drawing some motifs like Chinese alphabet to attract the attention of more customers.https://jflh.ut.ac.ir/article_12163_a37fbdf8e77cbe454abc9a2b0eda6b27.pdfthe Faculty of Literatures & Humanities2-173020050321--12164FAJournal Article19700101In this paper I investigate the impact of writing on styles of pottery painting in the ancient Near East. I analyze geometric and animal line compositions typical of the Ubaid and Susa I period - preceding the invention of writing (in the late fourth millennium BC). I compare them tonarrative scenes on Mesopotamian and Elamite scarlet ware of the early
Dynastic period - after the invention of writing. I propose that, by borrowing strategies of writing, art increased its capacity to communicate information, namely pottery paintings went beyond mere symbolic evocation to become narrative.In this paper I investigate the impact of writing on styles of pottery painting in the ancient Near East. I analyze geometric and animal line compositions typical of the Ubaid and Susa I period - preceding the invention of writing (in the late fourth millennium BC). I compare them tonarrative scenes on Mesopotamian and Elamite scarlet ware of the early
Dynastic period - after the invention of writing. I propose that, by borrowing strategies of writing, art increased its capacity to communicate information, namely pottery paintings went beyond mere symbolic evocation to become narrative.https://jflh.ut.ac.ir/article_12164_ea756e14076858d7edbf804bbcfdf842.pdfthe Faculty of Literatures & Humanities2-173020050321--12165FAJournal Article19700101The presence of the burials across Posht-e-Kuh of Luristan in western Iran, belonging to the periods from the early Bronze-Age to the Iron-Age III, has been attested by the excavations carried out in the region after 1965. Based on investigation upon more than 600 graves, the Iron-Age’s material culture is most recognized among the others. In this research we have made an attempt to elaborate part of the evidence to clarify some correlated aspects such as grave structuring and burial objects and traditions during the mentioned period. On this ground one may infer that there has been a continuum from the burial traditions of the Bronze-Age to those of the Iron- Age. The essay includes three sections. First, it describes the burials of the sites so called “Bard- e- Baal” “Waer Kabude” and “Cheshmeh Shmamah” and their contents. In the second section we will architecturally glimpse the graves of the 1st half of the 1st millennium B.C., and finally we refer to the characteristics of the 1St millennium B.C.’s burials in Luristan.The presence of the burials across Posht-e-Kuh of Luristan in western Iran, belonging to the periods from the early Bronze-Age to the Iron-Age III, has been attested by the excavations carried out in the region after 1965. Based on investigation upon more than 600 graves, the Iron-Age’s material culture is most recognized among the others. In this research we have made an attempt to elaborate part of the evidence to clarify some correlated aspects such as grave structuring and burial objects and traditions during the mentioned period. On this ground one may infer that there has been a continuum from the burial traditions of the Bronze-Age to those of the Iron- Age. The essay includes three sections. First, it describes the burials of the sites so called “Bard- e- Baal” “Waer Kabude” and “Cheshmeh Shmamah” and their contents. In the second section we will architecturally glimpse the graves of the 1st half of the 1st millennium B.C., and finally we refer to the characteristics of the 1St millennium B.C.’s burials in Luristan.https://jflh.ut.ac.ir/article_12165_35dffa967be84b18846d513ae6cdd528.pdf