سفال

The Iranian origin of some pottery was confirmed by discovery of various types known as K?b?cheh, including black, green and colorful pens found in archeological excavations of the different Iranian regions such as Khorasan, Rab’-e Rashidi in Tabriz, Ardebil, Em?mz?deh Benis near Shabestar, the historical city of Gaskar (Haft Daghn?n) near Some’eh-Sar?, Tamisheh in Golest?n Province, Alamut Castle, Nargeh Hill in T?kest?n, and Shurpaz-kh?neh Hill in Kh?nlaq village in the suburbs of Shahr-e Rey near Tehran. Findings of the petrography of certain samples further indicate the above fact and identify the production centers for this type of pottery to be the cities of Neysh?bur, Mashad, Tabriz and Isfah?n.
Based on the samples which carry dates and figures, K?b?cheh is known to have been produced in Iran since the second half of the ninth century AH in the two forms of black and green pens which continued up to the 12th century AH in its colorful forms. Whereas production of this type of pottery has decreased considerably since then, it has not been abolished completely and has survived up to the present time in some limited regions including Mend in Gon?b?d

The goal of this article is to study the Shimashki potteries in the Saymarreh valley. Archaeological surveys conducted in the Saymarreh valley shows that the painted pottery tradition of Godin III has become prevalent in the valley during the Bronze Age and only once, development of this pottery tradition had cracked. This event took place in the phase of Godin III4, which we relate it to the influence of pottery traditions penetrating from Susiana plain to the Saymarreh valley. Contemporary with phase of Godin III4, there have been no potteries of such tradition, but the ceramics by the Shimashki styles appeared in Saymarreh valley. Diagnostic ceramics of Shimashki phase has been gathered in the archaeological surveys of Saymarreh valley at Ghale Zinal and Gharatmalghah. It seems that development of Shimashki period pottery as far as the Saymarreh valley, took place because of Ur III conflicts with polities at northern regions of Susiana plain. Saymarreh valley again joined to the distribution area of painted pottery tradition of Godin III and after the Shimashki period, diagnostic ceramics of Godin III2 phase have been wide-spread in the Saymarreh valley. Development process of painted pottery tradition of Godin III at Saymarreh valley support the view that Shimashki may was located in the highlands, somewhere in the northern parts of Susiana plain, although we cannot prove this in the absence of non textual data.

Archaeological excavations at Bishapour have begun in 1921 by Asian department of Louver museum and then continued by Iranian archaeologists till 2009. The 9th season of excavation at Bishapour was carried out by Mosayyeb Amiri in summer 2011 which have resulted most informative finds. As an important characteristic of the recent work was considering a new approach for documentation and reordering of data. The recent work was conducted on the part of the site known as monarchy citadel located in the south of mosaic hall. So, due to the importance of shard gathered from the last excavation, this paper will focus on classification and typological study of shards of the site.

The current article is a research on the classification of the potteries found from a scientific excavations of Jafar Abad Kurgans. Kurgans are kind of graves that are mostly unknown which were paid less attention than other sites in Iran. Research on the potteries that are found in the graves enable us to identify some aspects of cultures moreover gives us insight into thoughts, beliefs, faiths and daily life styles of people and tribes who made them.
Pottery art because of its plenitude and popularity in each region signify climatic characteristics and historical, economical, social, cultural and artistic characteristics those who have lived in the area. Forms, shapes, colors, patterns, decorations, construction techniques, heating methods that are used in the creation of the pottery vessels contain valuable concepts about different life styles and living conditions of the tribes and are considered as power of innovation of their makers after thousands of years.
Data on Jafar Abad Kurgans potteries, although a few of them have been explored, show nomadic lifestyles. The main goal of this article is to identify Kurgans Culture who built those Kurgans graves and put the items burried in them. Pottery items by far is the most abundant of the finds and their typology and chronology could be the most important archaeological evidences and documents.

The archaeological site of Moshkouyeh that nowadays called Moshkin tape is located in northern part of the Iranian plateau, between the two historical cities of Rey in the north and Saveh in the south. The two terms can be considered for the word of the Moshkouye: A) Moshkouye was a region where the hunting of gazelle and extraction of musk was carried out there. B) Moshkooy can be considered a kings palace or harem. By Searching in historical resources, it became clear that nowadays Moshkin Tape is the same as historical Moshkouye that was settlement in Khurasan Road. After reading the historical texts, the systematic survey of the site showed that pottery shards and pottery equipment could be the remains of an industrial city from the Seljuq Era. Archaeological excavation in 2008 indicated this small city has produced the pottery required by inhabitants of Rey and many villages in the political and cultural region of Rey during the 5th and 6th centuries after Hijrat. This paper analyzes the structure, function and chronology of excavated kilns. This aim has been achieved through the analyses and interpretation of ceramic along with ethnographic studies, historical resources and especially archaeological data which has been yielded from Moshkin tape survey and excavation.

This paper presents the petrographic examination results on the thirteen pottery sherds from the first season of excavation of Tepe Gratziani in Sistan plain. In order to specify whether the pottery were local or imported, conducted experiments have been performed by polarizing microscope of Jame Swift Model in the petrographic lab of the Institute of Cultural Heritage which based on the review of test results and geological map of the area. It became clear that the source of all the pottery is local and also the remained structure of kilns demonstrates the local production of Tepe Gratziani’s pottery. Sections of examining pottery sherds show that the baking temperature has not been more than 800 centigrade due to the presence of Meekers “tiny calcite crystals” with less than 4 microns in size as well as the presence of Asparay “coarse calcite crystal” in the pottery sections.

In this essay, Jelinki Pottery (clinky- ware ceramics) has been studied as one types of ceramics at Arsacides era. Raw materials, quality of processing and baking conditions of potteries are some of effective factors in strength and stability of this material. Employing purposeful methods of chemical analyses in order to examine such factors and in fact structural science of historical potteries will be effective in terms of identifying production technology and their dating as well as taking appropriate techniques to maintain and repair of historical- cultural heritage rather than revealing the latent values in such artefacts. Mineralogical survey on structure of Jelinki potteries by adaption petrography technique, conducting analysis on X-Ray differaction and Sweeping Electronic Microscope (SEM-EDX) may give some remarkable results from production technology and baking conditions of such kind of potteries. Using appropriate aggregate of raw materials, quartz processing in fine grain with the unform diffraction throughout the texture in process of producing original paste to prepare pottery and formation of secondary minerals such as anorthite, glinite, diopside, enstatite (ferous) and pseudo- mullite in some of samples within the limit of baking temperature (950-1000°C) as well as formation a variety of iron oxides within oxidation and reduction conditions- hematite and magnetite, respectively- are some of structural properties of this pottery type. In this paper the modern hypothesis purposed concerning to laminar or sandwich structure in Jelinki potteries may lead to formation of amorphous phase of vitrification with polymeric structure that is the strength factor as well as reason for creation of metallic sound (tone) in this pottery.

The archaeologists who have investigated Ziwiyeh have presented different views about the constructors of material culture and its artistic styles. The majority of them, relying on one single object and analyzing its inscription and comparison with similar cases of adjacent cultures and sites, have attributed the origin of materials and artistic styles with respective region, and on the basis of the comparison, have dated all of the collection of Ziwiyeh. What is wrong with them about the stylistics and chronology of objects is that they coincided all the collection of objects found in Ziwiyeh. It seems, one of the reasons for this imagination have been discovery of the majority of treasure items in the bronze coffin. In this research I try to consider all different styles in Ziwiyeh complex and present more suitable dating which includes all styles and material culture. Proposed chronology expands from the end of Iron Age II to the Median period.