Scholars have been reading Assyrian texts for over a hundred years to locate the toponymys mentio... more Scholars have been reading Assyrian texts for over a hundred years to locate the toponymys mentioned in the inscriptions. Some of these toponymys are located on the eastern borders of the territory of the new Assyrian empire in western Iran, one of which was the Ellipian kingdom. Inscriptions of the Neo Assyrian Period from Ashurnasirpal II (866 B.C) to Ashurbanipal (639 B.C.), had referring about 250 years to the Ellipian kingdom. Most archaeologists have located the Ellipian kingdom north of Pish-Koh in Luristan and south of Kermanshah. Over the last two decades, after the attribution of Genre of Luristan ware (Baba Jan III painted ware) to the kingdom of Ellipi by Louis Levine and later Yana Medvedskaya, researchers have tried to analyze the different cultural finds such as this type of ware in the context of the kingdom. The reason of researchers for attribute Genre of Luristan ware to Ellipian kingdon is the concurrence and distribution of this type of ware in the territory considered for kingdom of Ellipi. This study seeks to use the Historical archaeology approach, which relies on interpreting historical textual information in the context of archaeological data to provide an accurate and comprehensive analysis of this issue. This research indicates that attributing the archaeological findings of the early first millennium BC such as Genre of Luristan ware, to the kingdom of Ellipi is not valid. This attribution should be considered a hypothesis; basing it on analysis of findings will lead to misguidance and inaccurate results. On the one hand, there is no actual historical evidence for the exact location of the kingdom of Ellipi in the Pish-Koh of Luristan. On the other hand, according to the existence of nomadism in this region, adapting the distribution range of archaeological data such as Genre of Luristan ware with the historical information in Assyrian texts is problematic.
The genre of Luristan ware, which was first emerged in the early first millennium BC, was distrib... more The genre of Luristan ware, which was first emerged in the early first millennium BC, was distributed in the Pish-Koh region. The typology of this ware was not clear because of the lack of excavation and surveys on the first millennium BC site of the region. Only painted ceramics of genre of Luristan ware, known as Baba-Jan III, had been well introduced. Regarding the lack of comprehensive typology for the genre of Luristan ware, many suggested pottery typologies and relative dating for the first millennium BC sites of Luristan were unreliable. According to the results of the several new-excavated sites containing genre of Luristan ware and the author's survey in the Pish-Koh region, it is possible to suggest a comprehensive typology for the genre of Luristan ware for the first time. Based on some factors such as manufacturing, forms, paintings, and hardness, genre of Luristan ware can be divided into three groups: rough ware, medium ware, and fine ware. These wares are mostly in simple and painted forms and some with application decorations. The result of the research showed that the tradition of genre of Luristan ware was common in the early first millennium BC in the Pish-Koh region. This research also indicated that the genre of Luristan ware was distributed on a broad scale. In this type of pottery, the shape, size and smallness of the designs best match the shape of the container. Hand-lit tea pots are found only in cemeteries that seem to have a ritual application. Jars are found in government areas such as Baba-Jan tape. Ordinary simple dishes are also more common in nomadic villages. Since the main and largest amount of the genre of Luristan ware has been documented from the royal place of Baba-Jan, it seems that this place was a center for distribution of this ware. The appearance of this ware may indicate a political-cultural unity in Pish-Koh during the early first millennium BC .
Based on the results of preceding research in the field of architectural history and archeology; ... more Based on the results of preceding research in the field of architectural history and archeology; the largest brick arch in the Islamic world during Ilkhanid era (1256-1353 AD), in the remains of socalled Alishah Gilani, Minister of sultan Muhammad Khodabandeh Öljaitü, and in the city of Tabriz has been erected. In the present survey, by providing the structural weakness of the architectural volume of the building attributed to Alishah to execute such a huge arch in a span of thirty meter, while the previous studies have been questioned, the incompatibility of modern architectural remains with the mosque in historical texts has been confirmed. With this pre-assumption that the U-shape structure had been considered to create a brick arch of a huge architectural project; clarifying the statically limitations of the mentioned building in terms of the impossibility of creating any kind of arch or vault in the mentioned span would shed new lights on the identity of this structure. After responding to the question of static feasibility of any kind of arch or vault in the so-called Ark-e-Alishah and besides static analyses, what paradox of historical engineering does the results highlight is that the tension result of loading due to any kind of arch would exceed the mechanical potentials of structure's buckling capacities, causing gross deformation and fracture of vertical units under any conditions. From this point of view, there has never been any kind of arch nor vault in this building anytime-The engraving drawn by Jean Chardin seems to represent an accurate picture of the Alishah building before the new southern part was annexed to it, and the connection of the southern part took place after the early seventeenth century (the year this engraving was drawn)-and in other words, what is known as today's remnants of the so-called Ark-e-Alishah is in the complete contradiction with what is known as Ali-Shah Mosque including a great brick arch.
Scholars have been reading Assyrian texts for over a hundred years to locate the toponymys mentio... more Scholars have been reading Assyrian texts for over a hundred years to locate the toponymys mentioned in the inscriptions. Some of these toponymys are located on the eastern borders of the territory of the new Assyrian empire in western Iran, one of which was the Ellipian kingdom. Inscriptions of the Neo Assyrian Period from Ashurnasirpal II (866 B.C) to Ashurbanipal (639 B.C.), had referring about 250 years to the Ellipian kingdom. Most archaeologists have located the Ellipian kingdom north of Pish-Koh in Luristan and south of Kermanshah. Over the last two decades, after the attribution of Genre of Luristan ware (Baba Jan III painted ware) to the kingdom of Ellipi by Louis Levine and later Yana Medvedskaya, researchers have tried to analyze the different cultural finds such as this type of ware in the context of the kingdom. The reason of researchers for attribute Genre of Luristan ware to Ellipian kingdon is the concurrence and distribution of this type of ware in the territory considered for kingdom of Ellipi. This study seeks to use the Historical archaeology approach, which relies on interpreting historical textual information in the context of archaeological data to provide an accurate and comprehensive analysis of this issue. This research indicates that attributing the archaeological findings of the early first millennium BC such as Genre of Luristan ware, to the kingdom of Ellipi is not valid. This attribution should be considered a hypothesis; basing it on analysis of findings will lead to misguidance and inaccurate results. On the one hand, there is no actual historical evidence for the exact location of the kingdom of Ellipi in the Pish-Koh of Luristan. On the other hand, according to the existence of nomadism in this region, adapting the distribution range of archaeological data such as Genre of Luristan ware with the historical information in Assyrian texts is problematic.
The genre of Luristan ware, which was first emerged in the early first millennium BC, was distrib... more The genre of Luristan ware, which was first emerged in the early first millennium BC, was distributed in the Pish-Koh region. The typology of this ware was not clear because of the lack of excavation and surveys on the first millennium BC site of the region. Only painted ceramics of genre of Luristan ware, known as Baba-Jan III, had been well introduced. Regarding the lack of comprehensive typology for the genre of Luristan ware, many suggested pottery typologies and relative dating for the first millennium BC sites of Luristan were unreliable. According to the results of the several new-excavated sites containing genre of Luristan ware and the author's survey in the Pish-Koh region, it is possible to suggest a comprehensive typology for the genre of Luristan ware for the first time. Based on some factors such as manufacturing, forms, paintings, and hardness, genre of Luristan ware can be divided into three groups: rough ware, medium ware, and fine ware. These wares are mostly in simple and painted forms and some with application decorations. The result of the research showed that the tradition of genre of Luristan ware was common in the early first millennium BC in the Pish-Koh region. This research also indicated that the genre of Luristan ware was distributed on a broad scale. In this type of pottery, the shape, size and smallness of the designs best match the shape of the container. Hand-lit tea pots are found only in cemeteries that seem to have a ritual application. Jars are found in government areas such as Baba-Jan tape. Ordinary simple dishes are also more common in nomadic villages. Since the main and largest amount of the genre of Luristan ware has been documented from the royal place of Baba-Jan, it seems that this place was a center for distribution of this ware. The appearance of this ware may indicate a political-cultural unity in Pish-Koh during the early first millennium BC .
Based on the results of preceding research in the field of architectural history and archeology; ... more Based on the results of preceding research in the field of architectural history and archeology; the largest brick arch in the Islamic world during Ilkhanid era (1256-1353 AD), in the remains of socalled Alishah Gilani, Minister of sultan Muhammad Khodabandeh Öljaitü, and in the city of Tabriz has been erected. In the present survey, by providing the structural weakness of the architectural volume of the building attributed to Alishah to execute such a huge arch in a span of thirty meter, while the previous studies have been questioned, the incompatibility of modern architectural remains with the mosque in historical texts has been confirmed. With this pre-assumption that the U-shape structure had been considered to create a brick arch of a huge architectural project; clarifying the statically limitations of the mentioned building in terms of the impossibility of creating any kind of arch or vault in the mentioned span would shed new lights on the identity of this structure. After responding to the question of static feasibility of any kind of arch or vault in the so-called Ark-e-Alishah and besides static analyses, what paradox of historical engineering does the results highlight is that the tension result of loading due to any kind of arch would exceed the mechanical potentials of structure's buckling capacities, causing gross deformation and fracture of vertical units under any conditions. From this point of view, there has never been any kind of arch nor vault in this building anytime-The engraving drawn by Jean Chardin seems to represent an accurate picture of the Alishah building before the new southern part was annexed to it, and the connection of the southern part took place after the early seventeenth century (the year this engraving was drawn)-and in other words, what is known as today's remnants of the so-called Ark-e-Alishah is in the complete contradiction with what is known as Ali-Shah Mosque including a great brick arch.
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