Archeology
motahareh zakeri; maryam mohammadi; nafiseh esnaashari
Abstract
A comparative analysis of Women’s Clothing designs in Minab and kalpouregan pottery in Baluchestan based on intertextual approachAbstractThe political and geographical proximity of Sistan and Baluchestan and Hormozgan provinces is effective in creating their cultural commonalities. Is the study ...
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A comparative analysis of Women’s Clothing designs in Minab and kalpouregan pottery in Baluchestan based on intertextual approachAbstractThe political and geographical proximity of Sistan and Baluchestan and Hormozgan provinces is effective in creating their cultural commonalities. Is the study of prefixes as well as the commonalities and differences between the designs used in the two mentioned art industries. The questions of this article are what is the background of the designs of Minab women's clothing and Kalpurgan pottery and what are the similarities and differences between them? This research is qualitative, descriptive-analytical and has theoretical foundations based on the intertextuality approach. Its information is based on library studies and field observations. The results indicate that the use of common contexts such as nature, ethnic beliefs and women's tastes in creating commonalities between Kalpurgan pottery motifs and Minab women's clothing motifs, these commonalities in the use of visual techniques such as repetition, symmetry and balance. It is evident in the design structure of the designs, which includes three types of plants, animals and geometric, especially the widespread use of geometric patterns that are mainly manifested in the form of circles and rhombuses in pottery and can be seen in the shape of triangles in women's clothing designs. The existence of these commonalities along with a few differences leads to the emergence of commonalities in the culture and arts of other regions and, of course, is effective in strengthening their cultural values. Key Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's Clothing.Key Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's ClothingKey Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's ClothingKey Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's ClothingKey Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's ClothingKey Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's Clothing
Archeology
Behrouz Afkhami; Taghi Zinizadeh; Seyyed Mehdi Hosseyninia
Abstract
Women’s position in historical periods and their participation in political and administrative affairs of government are considered as one of the main issues in development of societies. Women participation in societies is considered as a proper index to measure the rate of intellectual growth ...
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Women’s position in historical periods and their participation in political and administrative affairs of government are considered as one of the main issues in development of societies. Women participation in societies is considered as a proper index to measure the rate of intellectual growth of the people of a society. This document examines the position of women in Iranian civilizations and Mesopotamia in the given historical periods (achaemenid and Assyrian). Among the most important archaeological evidence, monuments and relics of historical eras, we considered the role of women in political arena. The aim of this paper is to examine the position of women of the achaemenid era and compare it with Assyrian civilization and provide clear image of their performance based on existing documentation. This study is kind of a historical research with descriptive - analytical approach and adaptation of archaeological evidence ranging from Seals and Rock paintings to analyze the status of woman in the civilizations of Iran and Mesopotamia in the given historical periods using archaeological evidence. We have concluded that despite the th influences of Assyrian images on the achaemenid ones, we can say that indicators including respect for women, women participation in political and economic activities, and women autonomy and individual freedoms in private life in achaemenid women is higher than those indicators in the Assyrian period.
Archeology
Diana Rostami Nejadan; Mansour Mansouri Moghadam
Abstract
Spirituality and religious status of women in Kurdistan have many different aspects. For centuries, the goddess of mother, and his holiness, as a symbol of respect and importance of women, is in the midst of Kurdish culture and worldview. The cultural zone of Kurdistan is the land of the first ...
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Spirituality and religious status of women in Kurdistan have many different aspects. For centuries, the goddess of mother, and his holiness, as a symbol of respect and importance of women, is in the midst of Kurdish culture and worldview. The cultural zone of Kurdistan is the land of the first religions and abstract systems which, in their dawnings, have been mixed with feminine characteristics and the honors of the mother goddess. The position in Kurdistan in this regard has two contradictory facets: in the literature and the present social system, we can observe a patriarchal system and ideology to some extent. Studying the religious roots of Kurdish culture, however, we can observe the evidence for the maternal system, the sanctity of goddesses, and consequently the spiritual and powerful position of the woman. Among the characteristics of all the material and immaterial works relevant to the woman and the mother goddess, we can find strong symbolic and abstract nature. These symbols have mixed features and have evolved over time, and today they comprise the main sources of the rich literature and traditional arts of the Kurds.
Archeology
Habib Shahbizi Shiran; Esmaiel Maroufi Aghdam; Saeid Sattar Nejad; Fariborz Tahmasebi
Abstract
Iranian artworks such as metal, during the historical periods, reflect the ideas and viewpoints mainly in political, economic, and religious ritual aspects. The metal works of Sasanian period, due to frequency and variety of designs, are considered representative of the belief and thoughts of this era. ...
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Iranian artworks such as metal, during the historical periods, reflect the ideas and viewpoints mainly in political, economic, and religious ritual aspects. The metal works of Sasanian period, due to frequency and variety of designs, are considered representative of the belief and thoughts of this era. The figures of women and shrewdly pointed out the figures of the goddess Anahita are one of the greatest groups of the motifs depicted on the golden and silver vessels of the Sassanid period. In the containers of this period, arәdvīsūra Anahita is depicted as a beautiful woman, half naked, in the middle or in the different directions, with minor painting such as lotus, dogs, fish, eagle, pomegranate, baby, grapes, the jug water and etc. In this research, we considered 23 vessels containing Anahita legend. This demonstrated that the objects in the hands of this goddess and plant, human and animal motifs in her scene, may represent descriptions, manifestations and functions that entirely have been speaking about in Avesta. Thus, we can say that Sassanid artists wisely choosed this designs with full knowledge about mythical and religious beliefs in same time. This research is based on descriptive and historical methods and data collection and –library survey.
Archeology
Behrouz Afkhami; Zeynab Khosravi
Abstract
Xwēdōdah had been one of the cultural issues in ancient Iran based on political thought. Xwēdōdah was especially common among royal families. Xwēdōdah tradition has been carried out for a very long period of time; the same factor explains the importance of this tradition. The emergence of this ...
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Xwēdōdah had been one of the cultural issues in ancient Iran based on political thought. Xwēdōdah was especially common among royal families. Xwēdōdah tradition has been carried out for a very long period of time; the same factor explains the importance of this tradition. The emergence of this tradition based on archaeological evidence dates back to the Elamite era which continued in Achaemenid era with some changes. In the ancient Iran, religion and politics were heavily influenced by “life-worlds” having harmonic horizons. In this paper, Xwēdōdah is viewed as a ritual demand of political thought in line with the reign immortality which existed in two Elamite and Achaemenid eras and also continued into Sassanid era in another form. This research, using a phenomenological approach, studies the essence and reason of continuation of this ritual along with an objective interpretation of such evidence as water, woman, snake and abstract concepts like "Snake Goddess". Finally, it is concluded that belief in totems and their holiness originate from the demands of political thought on the basis of religion, by the institution of politics and power in both Elamite and Achaemenid eras.
Archeology
Behrouz Afkhami; Saba Farajzadeh; Seyyed Mehdi Hosseininia
Abstract
Water has been highly esteemed in ancient Persia. There have been a few deities to preserve and protect water; Anahita was considered the most popular one. We can see Anahita’s popularity and stature by survival of the works of art in ancient Iran. No doubt, the most important factor is the permanent ...
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Water has been highly esteemed in ancient Persia. There have been a few deities to preserve and protect water; Anahita was considered the most popular one. We can see Anahita’s popularity and stature by survival of the works of art in ancient Iran. No doubt, the most important factor is the permanent presence of Anahita is existence and continuity of mythological and religious beliefs arising out of the culture and history of Iran, Therefore, Anahita is not only considered as a visual element in art, but it is more consistent with fundamental concepts and symbols. The current study addresses an analysis of the visual motifs of Anahita and describes its spaces and image composition in art history of ancient Iran such as stamps, coins, reliefs and metal packaging in the Sassanid era. This research uses qualitative and comparative analytical methods. It is concluded that Anahita influenced historical and material culture of Babylon, Phoenicia, Greece and ancient Rome; but Anahita’s historical existence belongs to Iranian intangible culture.
Archeology
Ali Norallahy; Hasan Talai; Bahman Firoozmandi
Abstract
Up to now, various graveyards from Iron Age in the west central Zagros have been examined and some burial goods specific to women have been found. However, researchers have only described the data obtained not dealing with the issue of women’s rank in this period. This is due to the fact that among ...
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Up to now, various graveyards from Iron Age in the west central Zagros have been examined and some burial goods specific to women have been found. However, researchers have only described the data obtained not dealing with the issue of women’s rank in this period. This is due to the fact that among the buried objects any inscription related to these graves has not been found. Moreover, women studies have recently been posed within archeological literature. Researchers have ascribed these graves to semi nomads; a style of living in the form of tribal living which still exists in this region. Therefore, it can be said that with regard to the geographical similarity and the same living style of these people with the tribes living in this region, and also continuation of the traditions in central Zagros, some of which have been shown in this paper such as the burial type, women’s rank during Iron Age has been dealt ethno-archeologically. In this paper, woman’s burial in 14 graveyards, taking into account that women ranking in these tribes are seen in the family form which is affected by numerous social, political, and economic factors, has been studied. Finally, a conclusion will be presented.
Archeology
Mohamad Ebrahim Zarei; khadijeh Sharif Kazemi
Abstract
Music in Iran has a long history. In the early Islamic period, music was denounced. In the Umayyad period, music still faced opposition from some jurisprudents and a group of Muslims. But in the next century, due to positive attitude of governments as well as scientific attitudes of many scholars and ...
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Music in Iran has a long history. In the early Islamic period, music was denounced. In the Umayyad period, music still faced opposition from some jurisprudents and a group of Muslims. But in the next century, due to positive attitude of governments as well as scientific attitudes of many scholars and scientists of that era, arts received public attention. The design of women was carved on clay during the Seljuk and Ilkhanid for many reasons. These designs can be a valuable resource to check the state of music and social status of women. This article, studying pottery designs in the Medieval Islamic eralocated in the artistic treasures and based on ancient texts, aims to examine the social status of women and their role in the evolution of music art during that era. The current research is fundamental in terms of purpose and historical-analytical in terms of method. Data collection was performed using historical-library resources. Furthermore, pottery samples of museums during different periods, especially in medieval Islam with respect to central role of woman, have been analyzed. The results show that many musicians of the period, especially female musicians, had an appropriate social status. Moreover, ceramic designs of this period show that women played instruments such as strings and percussion more.
Archeology
Bahman Firozmandi; Iraj Rezaie
Abstract
Due to shortage of contemporary written sources and archaeological evidence, our knowledge about different parts of the Median society is very incomplete and fragmentary; therefore, a detailed assessment of some related issues such as conditions of women in this period is difficult and sometimes risky. ...
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Due to shortage of contemporary written sources and archaeological evidence, our knowledge about different parts of the Median society is very incomplete and fragmentary; therefore, a detailed assessment of some related issues such as conditions of women in this period is difficult and sometimes risky. The results of this research, based on the same historical sources and archaeological evidence, show that Median society, like other contemporary societies, was a Patriarchal society in which father was the head of the household and other members including lady of the house were his followers. In traditional Median society, men’s and women’s jobs were defined and both genders had their own tasks based on their physical and mental capabilities and abilities. In addition, it seems that women played a role in making decisions within the family, strengthening its foundations, protecting family’s traditions and dynamics of the family and median’s society economy.
Archeology
Kamal Aldin Niknami; Reza Ghasemi; Rezvan Rezaee
Abstract
The study of seals and seal impressions can make clear the dark corners of the social history of the Seleucid and Parthian. On the other hand, the analysis of personal and social position of individuals or groups for understanding the complicated relationship between human with other people or groups, ...
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The study of seals and seal impressions can make clear the dark corners of the social history of the Seleucid and Parthian. On the other hand, the analysis of personal and social position of individuals or groups for understanding the complicated relationship between human with other people or groups, also for the understanding of interactional relationships has gained special attention in historical researches. Among the above mentioned topics, the position of women has attracted particular attention. In this paper, 53 seal and seal-impressions of women with different designs from different parts of the Seleucid and Parthian lands are explained and analyzed. Pictures of women on the seals differ in style and motif including images of Greek women doing various chores and social activities, of which the Greek goddesses comprise more seals impressions in this period. samples from study centers such as uruk, Tel Kadesh, Seleucia Tigris, Nesa, Shush and Saleh Davood of Khuzestan were obtained. This article analyzes the designs, also the role and activity of women in administrative, political and social structures of Seleucid and Parthian. The most famous motifs of seals and seal-impressions include Aphrodite, Tike and Athena goddesses. It should also be noted that using women in designs were more common in the Seleucid era, whereas in Parthian periods, other than three seals, the image of women were rarely used.
Archeology
Bahman Firozmandi; Mohgan Khanmoradi
Abstract
The present study is investigating the role and situation of women in Parthian period. The role of women in Parthian era based on archaeological evidences and historical literatures is unknown. The literature had a brief look to this and even leading to the misunderstanding. Such literatures concerning ...
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The present study is investigating the role and situation of women in Parthian period. The role of women in Parthian era based on archaeological evidences and historical literatures is unknown. The literature had a brief look to this and even leading to the misunderstanding. Such literatures concerning generally to the women and their personal attributes in the court like political marriages. In order to receive a comprehensive view regarding to the women statute in Parthian era, we investigated archaeological evidences throughout Parthian Empire including western (Hatra, Ashur, Seleucia, Babylonia, Dura Europos, Palmyra) and eastern territories (Kuh-i Khwaja) and also regions such as Elymais and central part of Iran. These investigations demonstrate that depiction of women figure in Parthian era was more common comparing to Achaemenid times. The depiction of women can be seen on coins, stuccos, wall paintings and base reliefs. Surveying of archaeological evidences mentioned above showing that women have a main role and place in Parthian era and attending in different states and activated in religious, economic, social, and artistic ground.
