Sasanian

In order to understand the concept of the winged angel, this article examines the historical course of these roles and studies their conceptual and figurative evolution and transformation through a period from ancient Iran (Persia) up to the Qajar era. After examining Nike Goddess in Greece and Victoria Goddess in Rome, the Goddess of Winged Angel during the Parthian and Sasanian periods has been scrutinized in present paper. It has been determined that these elements have been eliminated with the arrival of Islam, however they reappeared when miniature restarted in Iran. More detailed studies about Qajar period show that although the Qajar winged angelic designs are derived from these ancient motifs and they are visually and schematically similar to the ancient patterns, they are different in terms of function and perception of original concept.

The newly loaded pdf is text-enabled. The article describes the several series of coins of Sasanian type issued under Arab rule:

the coinage of Iran in the first decades of Arab rule, 651-704
transitional Sasanian style issues of Syria
barbarous issues of Sistan and the Kabul region in the 8th century
issues of the Abbasid governors of Tabaristan
issues of Bukhara in the Abbasid period

A lot has happened since the article was published in 1986. It omits the Arab-Sasanian coins of the Caucasus, which were unattributed at the time of writing. The coinage of Gozgan is neglected--again, it was largely unattributed and unrecognized as a series. The coins with earliest dates attributed to Arab rule now appear to be imitations or emergency issues of later decades.

This article analyzes the scene of the Sasanian king combating a lion in two rock reliefs. Most Sasanian Bas-reliefs belong to the first 150 years of the dynasty and most are located in modern Fars province. The reliefs typically depict the king’s investiture by a deity (who is usually Ahurā Mazdā, but, in some reliefs, Mithra or Anāhitā), the king with courtiers, the king with his family, the king at war, the king’s triumph over his enemies, and the king fighting and hunting wild animals. Two of the bas-reliefs of the king killing animals show him killing lions. One is located at Sar Mašhad and the other, less-known, is kept in the Haft-Tanān Museum, Shiraz, and was discovered at the foothills of Pahnu (Pahnā) Mount in Dārāb. In the ancient Near East, the lion symbolized power, courage, and ferociousness: whoever could confront it successfully was regarded as powerful and brave; consequently, many kings have been portrayed fighting lions (and other wild animals) during this period.
Key words: Bas-relief, Sasanian, Lion, King as Hunter, Sar Mašhad, Haft-Tanān

چکیده:
در آزمون دکتری باستان شناسی سال 1392 نقش برجسته « : پرسشی مرتبط با نقوش برجسته ساسانی آورده شده بود بدین شكل که
زمانی که این پرسش را دیدم اولین چیزی که باعث به وجود ؛»؟ جنگ سواران در نقش رستم متعلق به کدامین پادشاه سامانی است
بود! و این که آخر هیچ اثری از شاهان سامانی در این محوطه وجود ندارد، پس » پادشاه سامانی « آمدن علامت سوال شد واژه ی
چگونه می توان چنین پرسشی کرد؟ شاید بتوان ایراد تایپی را توجیهی برای این پرسش دانست؛ اما این پرسش، مشكل اساسی تر
دیگری نیز داشت و آن، این که در محوطه نقش رستم سه نقش برجسته جنگ سواران وجود دارد، و طراح محترم پرسش های
آزمون دکتری باستان شناسی حتی خود به این مهم آگاه نبوده است، در حالی که مسئولیت مهم مورد آزمون و خطا قرار دادن نسل
جدید باستان شناسی بر عهده ی این شخص گذاشته شده است. به هر روی، این پرسش عاملی شد تا نگارنده بر آن شود مقاله ایی
جدا برای هویت شناسی و تاریخ گذاری سه نقش برجسته جنگ سواران در نقش رستم ارائه کند، هر چند پیش از این پژوهش گران
مختلفی در این باره نظریه پردازی کرده اند، اما این سه اثر با نظریات ضد و نقیض و متفاوتی روبرو بوده است، و خوانندگان را دچار
سر درگمی می کند. در محوطه نقش رستم سه نقش برجسته جنگ سواران با شماره های III ، V و VII وجود دارد که دستور
حجاری هر یک از آن ها را یک شاه ساسانی داده است؛ ما در این مقاله ابتدا موقعیت جغرافیایی و وجه تسمیه محوطه نقش رستم را
مورد مطالعه قرار می دهیم، سپس به پیشینه پژوهشی مستشرقان و پژوهشگرانی که از نقش رستم دیدن کرده اند می پردازیم، در
قسمت سوم ابعاد و توصیف هر سه نقش برجسته و رزم جامه های ساسانی را داریم و در بخش سبک شناسی و هویت شناسی، پس از
ارائه نظریات پژوهشگرانی که درباره این سه اثر نظر داده اند، تاریخگذاری و هویت شناسی پیشنهادی خود را ارائه خواهیم کرد. در
پایان می توان این احتمال را داد که نقش برجسته شماره VII به بهرام دوم، نقش برجسته شماره V به هرمزد دوم، و نقش برجسته
شماره III احتمالاً به شاپور سوم تعلق دارد.
كلید واژگان: جنگ سواران، نقش رستم، رزم جامه، بهرام دوم، هرمزد دوم، ساسانیان.

Along the history of Sassanid’s Empire many landmarks marked its turns. But the most important internal issues the kings Shapur I and Khosrau II had to go through were the political, military, social and administrative reforms that they had to imposse to ensure the empire and their power.

There are few Wall Paintings remained from the Parthian and Sassanid era in Iran.These limited examples play a major role in the development of the study and our knowledge on pre-Islamic Iranian painting. The present paper examined two of these remains, one a Parthian Wall Painting in Kuh-e Khwaje in Sistan and the other a unique sample of early Sasanians Wall Painting in Firuzabad, Fars province, dating back to two different times in two different sites, they reveal evident similarities in the style. Also considering the vast painted surfaces in both sites and the characteristic specifications of the sites, one can see the high artistic capabilities applied for painting them.Althoughboth paintings demonstrate the application of different methods, they are well adapted with the host structure in functional conception, in a strong harmony with the echo system of the site and acknowledging the cultural diversity of the creating civilization.Studying these wall paintings in terms of subject and style shows the Sasanian Painting despite of the influences of Hellenistic art, also has been affected by Parthian painting style from east of Iran.

Tras la caída del Imperio parto a manos de Ardešīr, el nacimiento de la nueva Persia sasánida llevo aparejada la aparición de un nuevo poder en Oriente Próximo que sustentaría su cohesión y expansión en la fuerza militar. A lo largo de su historia los sasánidas no solo tuvieron que hacer frente a numerosos problemas internos, sino que debieron desarrollar su estrategia militar, heredera de la tradición parta, para poder enfrentarse con garantías a poderosos enemigos como el Imperio romano-bizantino, los hunos, los heftalitas o los turcos goks. Finalmente, un imperio desgastado por los constantes enfrentamientos no podría resistir al empuje de los árabes musulmanes tras cuatro siglos de historia.

The concept of legitimation in the Sasanian was formed on Khwarrah and provided a spiritual authority for their king. Khwarrah as a Godly force, due to the government communications was sent into the Byzantine and it led to forming a common approach in displaying religious legitimacy. This concept has needed variety of symbols based on religious beliefs that are equal and replaced with each other in artworks. How to organize the message of legitimacy with the help of these symptoms is the aim of this study that was done by semiotics method. According to this method, artworks are based on a code which involves Interactive multilateral as a discursive position. Decoding by positioning in the axis of juxtaposition and succession, specify that message in each representation expresses its content with a cofactor (Anchor) which forms the main structure. The first anchor is Gods and angels as donors’ legitimation and symptoms bringers. They are generally donated a ring instead of the second factor that links visual codes and also plays a main role. So the case study signs are placed in the center of this ring.

The Chehrabad salt mine is one of the rare ancient salt mine in the world and the only identified salt mine in Iran which has evidences of salt extracting over a long time span from 500 BC to modern times. According to the field researches conducted so far, in the excavated area, mining activities are proven to be in use in the Achaemenid, Sasanian, Middle and Late Islamic periods. After the accidental discoveries in 1993 and 2004, several season of excavation and archaeological surveys, have been carried out in the mine and around it. Archaeological researches brought to light interesting results concerning the techniques, periods and extracting tools, also relation between salt mine and the archaeological sites around it. Digging deep tunnels inside the salt rock deposits in different dimensions and sizes and using the various extraction tools can be seen in the excavated area with the difference in details in all the aforementioned periods. The long- term salt extraction activities and multi- periodic collapse of the tunnels, have resulted the formation of various layers such as fall, occupation, mining and erosion layers in different parts of the mine and the filling many of its old tunnels. According to documents, Most of the discovered human remains were probably non- native miners who died during catastrophic mining accidents and mummified naturally.

A lo largo de su historia, el ejército sasánida se convirtió por derecho propio en una de las fuerzas bélicas más importantes de su época y que logró enfrentarse de igual a igual con la todopoderosa máquina bélica que suponía el ejército romano-bizantino, obteniendo numerosas e importantes victorias. Su grandeza radica no sólo en haber sabido mantener y fomentar los aspectos clave del tradicional ejército parto, sino el haber imprimido su propia seña de identidad en él para convertirlo en una garantía tanto del mantenimiento como de la expansión del imperio. La caballería catafractaria se convirtió así en legendaria por su efectividad o maniobrabilidad, pero no era el único elemento importante del ejército sasánida pues éste también incluía expertos arqueros cuyas nubes de flechas provocaban estragos en los ejércitos enemigos. Si a ello sumamos la habilidad táctica de los soberanos sasánidas y la estrategia defensiva que emplearon mediante fortalezas y murallas, destinadas a proteger el imperio, veremos que tanto la fama como el miedo que inspiraba la maquinaria bélica sasánida estaban justificados.

The archaeological campaign of the 16th season of excavations in Tepe Hegmataneh intended to explore the architectural structures belonging to the historical period. The excavated area consists of 4 squares including AJ45, AJ46, AK45, and AK46 with a total size of 400 m 2. Excavations in these squares recorded 55, 54, 105, and 116 loci respectively. The architecture belonging to the historical period was uncovered at an average depth of 4.00 cm from BM1, and after clarifying the spaces, determining the condition of the floors and revealing the façades of the walls, the excavations in the squares was completed. A suite of architectural spaces appeared through excavations in these squares. Though there were slight differences, the plan was similar to the standard one suggested by Mohammad Rahim Sarraf. The revealed architecture includes one passage, three complete spaces, and parts of three other spaces. Based on the results of thermoluminescence experiment, it is rejected not only that this architecture belongs to the Medes, but also that its belonging to Parthians must be reconsidered.

Report on archaeological investigations at Al-Khor Island, Qatar. Chapter headings are: Introduction; Survey & Excavation; The Pottery of Al-Khor Island; Discussion and Conclusions. There is also an illustrated catalogue of the archaeological features. Excavated remains dated to the Bronze Age, and Sasanian and Islamic periods.