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Near the northwestern-southeastern foothills of the Marvdasht plain in Fars province, lie a range of ancient necropoleis which date from the reign of Darius I, the Achaemenid king and until the first century after the Muslim conquest. The well-known necropoleis of Naqsh-e Rostam and Persepolis have the most complex tombs among them. However, there are other burials in this region, although smaller and simpler or even imitative, which have considerable archeological importance, since they provide information for the social and political understanding of their time of creation, often known as the dark ages. The present study aims to introduce and analyze the structural-chronological features of the rock-cut tomb of Khūrigān, one of the recent discoveries near Naqsh-e Rostam. Regarding the architectural and stylistic characteristics of the tomb and its context, as well as considering its archeological landscape and using historical information, the period from the last century of the Achaemenid reign until the beginning of the Sassanid dynasty is considered for the general chronology of this tomb; however, through applying a more detailed perspective, we can attribute the chronology of this tomb to the first half of the 3rd until the 1st century BC. [ABSTRACT FROM AUTHOR]

In the recent excavations of Quwakh Tapeh, located forty-five kilometers west of Kermanshah in the Mahidasht Plain in western Iran, two fragments were discovered of an Assyrian royal stele belonging to the end of the eighth century BCE and erected on the site following the attack of the Assyrian king Sargon II (722–705 BCE). Considering the high quality of the material, a dolostone, as well as the high quality of the carving of both the relief and the cuneiform inscription, an important question arises as to where the stele was manufactured. In this article we present the results of petrographic and ICP analysis carried out in order to identify the origin of the raw material used for the Quwakh Tapeh stele. The results of our investigations indicate that the stone used to make the stele was probably extracted from the Shahbazan Formation, which outcrops across the Chahar Zabar-Hasanabad Pass to the west and southwest of Quwakh Tapeh. [ABSTRACT FROM AUTHOR]

This essay seeks to conduct a short study for the first time of the classification of a number of petroglyphs in Mianeh County in the Eastern Azarbaijan Province. The north-western region of Iran is one of the richest regions in rock art; due to its abundant springs, landscape, and the specific lifestyle of nomads who regularly move around the same places. The petroglyphs were discovered 20 km west of Mianeh City on the right side of Tabriz Road, and are located on a black mountain in the Chupughlu region. One of the key challenges in the study of the petroglyphs in Iran and northwestern region of Iran is their dating. Due to the lack of laboratorial equipment, they have not been studied yet. During the survey in 2016 of the Chupughlu region almost seventy sites were identified and are located at a distance of between 60-100 m from each other. Here we present eleven sites. The petroglyphs of Mianeh are among the most original and admirable petroglyphs that reflect parts of the life of the residents of this region in the past. The most remarkable images found through the petroglyphs consist of human, animal, and geometrical images. [ABSTRACT FROM AUTHOR]

Ethnoornithology is a multidisciplinary field of study that focuses on human-bird relationships and humans' knowledge of the Earth's avifauna. Falconry (the use of trained birds of prey—usually eagles, falcons, and hawks—to hunt wild animals) is one type of human-bird relationship, with its origins obscured in poorly understood prehistoric times. We hypothesized that falconry would have been memorable enough to prehistoric peoples to be the subject of rock art, and that evidence of prehistoric falconry could be found in the petroglyphs of the Persian Plateau. To assess this hypothesis, we visited 13 major rock art sites in the Persian Plateau, and searched for petroglyphs depicting a person bearing a bird on the forearm. We found, identified, and photographed 11 petroglyphs depicting falconry. Most (n = 10) occurred in the archaeological region of Teymareh, most (n = 7) showed a falconer mounted on horseback or elephant, and many (n = 6) included an accompanying trained canid or cheetah. These tableaus suggest that falconry was but one aspect of a suite of human-animal associations developed and maintained by the prehistoric peoples of the Persian Plateau. Based on previous surveys of the petroglyphs of Teymareh, along with other evidence, we assume that most of the petroglyphs we discovered were inscribed approximately 4000 years ago, likely making them some of the oldest remaining evidence of falconry in the world. We suggest that our work indicates that future research on petroglyphs may be useful in further exploring and understanding the relationship between prehistoric mankind and wildlife. [ABSTRACT FROM AUTHOR]

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The oldest mosque of Kirman that built by the Turanshah I is the Melik Mosque. Although the stucco mihrabs of this mosque that contain rich ornaments and inscriptions of the Great Seljuk period, however, the number of detailed studies on these stucco ornaments and inscriptions is very low. According to this, one of the aims of this article, prepared with the title of the Great Seljuk stucco mihrabs of Melik Mosque in Kerman, is to introduce the art of stucco decorations of the Melik Mosque. From the results obtained, it is understood that the ornamental composition of the mentioned mihrabs includes inscriptions, vegetal and geometric decorations and that they are made in embossing, engraving and pierced work techniques. There is no information about the artist of the stucco decoration and inscriptions of these mihrabs. Some stucco inscriptions and ornaments are seen on these mihrabs are similar to the stucco ornaments belonging to the Sassanid period of Iran (61- 226 A.D.), the first Islamic era of Iran (around the tenth century A.D.) obtained from Nishabur excavations, Qarakhanid period architectural decorations (840-1212 A.D.), Ghaznavid Period architectural decorations (963-1186 A.D.), Anatolian Seljuk architectural decorations (1075-1308 A.D.) and stucco decorations of the Ilkhanid Period of Iran (1256-1353 A.D.). [ABSTRACT FROM AUTHOR]

There is a rich collection of carvings on a cliff facing to the east in border of the Zarrinehrood River, Western Azarbaijan Province, and in a hillside mountain called Kou Sorkh (In Kurdish) or Red Mountain, in the north of Aghrablou Village around Shahindej City. This collection includes animal motifs, ibex with high and long horns, hunting scenes, human on horseback, geometric and tools motifs and so on. This paper, which is based on field and library studies, has been done to identify and typology these motifs completely, explaining the function and purpose of creating lithography and determining their chronology. [ABSTRACT FROM AUTHOR]

Ghadamgahs are sacred places in Iran date back to ancient and historical eras, serving as symbols of Islamic and cultural heritage. Usually, sculpted human footprints at these sites are mostly attributed to the journey across Iran by the Eighth Imam Ali ibn Musa al-Reza AS (765-818 CE). Ghadamgahs are relatively abundant in southern provinces of Iran, such as Fars, Khuzestan, and Bushehr. In the present study, the footprints of some of Ghadamgahs and their relationships with natural footprints are investigated. Besides, the spatial location of Ghadamgahs with water resources is evaluated. The data were gathered based on the available reports as well as the observation of some footprints in Ghadamgahs. The results show that although the natural footprints of humans have been reported from many parts of the world, the type of rock and the geometry of the footprints in Ghadamgahs are evidence of their handiwork and artificiality. Traces of natural footprints are found in sedimentary rocks or pyroclastic rocks (volcanic ash). Meanwhile, the pedestals installed in Ghadamgahs have also been carved on igneous or metamorphic rocks. However, the role of footprints in Ghadmagah is historically reminiscent of the presence of Imam Reza (AS) and the descendants of Imams are miraculously engraved in stone. Ghadamgahs in Iran are often built near springs and water sources and are somewhat associated with the sanctity of water in Iran. Keeping water clean in Iran is associated with ritual approaches and historical-religious beliefs, and the construction of Ghadamgahs shows the efforts of Iranians in this direction. [ABSTRACT FROM AUTHOR]

In March 2005 a rescue excavation uncovered a spectacular new epigraphic find from Thebes. Now on display in the Archaeological Museum of Thebes, a column drum 0.41 m in height has inscribed on it two identical epigrams, one (the older one) written vertically in Boeotian script and a second (later) Ionian copy written horizontally on the other side. Nikolaos Papazarkadas published the editio princeps of the epigram in 2014, using both inscriptions to create a composite text. As Papazarkadas realized, the column drum, which has a chi-shaped orifice at one end meant to hold a stationary object, at one point displayed a 'shining shield' (φαεννὰν | [ἀσπ]ίδα, lines 3–4) that Herodotus had seen in the temple of Apollo Ismenius in Thebes. Moreover, this shield was interpreted by Herodotus (relying on the language of the inscription and likely on the commentary of temple staff) as having been dedicated by the Lydian king Croesus to the hero Amphiaraus, when he was 'testing' the various oracles in Greece in order to decide on a course of action against his rival Cyrus of Persia. [ABSTRACT FROM AUTHOR]

A 14-cm motif of a six-legged creature with raptorial forearms was discovered in the Teymareh rock art site in central Iran (Markazi Province) during a 2017 and 2018 survey of petroglyphs or prehistoric stone engravings. In order to identify it, entomologists and archaeologists compared the motif to local insects and to similar motifs and geometric rock art from around the world. The inspected motif resembles a well-known "squatter man" motif based on aurora phenomena and found all over the world, combined with a praying mantid (Mantodea), probably a local species of Empusa. The petroglyph proves that praying mantids have been astounding and inspiring humans since prehistoric times. [ABSTRACT FROM AUTHOR]

The article examines several petroglyphs in Domab, Iran, highlighting the need to create a bridge between petroglyphs and archaeological sites and materials to understand Iranian rock art. Iran is reportedly an important region for studying rock art due to the large number of rock art sites in the country. Also discussed are the characteristics of rock art in Domab, themes of petroglyphs, and their iconography, style and subject matter.

An evaluation of the engraved petroglyphs of Meymeh Plain in the Central of Iran, from field work in 2014 is presented. More petroglyphs were detected in South and South-West of Meymeh near the villages of Hassan Robāt and Ziād Abād on the old road Meymeh- Golpāyegān around the seasonal rivers locally called Chāvorchan and Pāgodār that are dewatered today. The petroglyphs can be placed in three groups: animal, human, and inscriptions related to the Islamic period which is introduced here. The research was conducted using the archaeological and field methods. Two inscriptions of Islamic period and the painting of the ibex on them can be helpful in dating the petroglyphs as engraving that has the highest frequency among the paintings. Comparison of the stylistic of the ibex motif with the rock motifs in the other regions in the Near East and its relationship with prehistoric settlements and its usage to the subsistence economy of the Neolithic, especially chalcolithic period implies that the ibex motif in the rock art has begun at least from the Chalcolithic period. Another aspect of the mixture motifs used on the surface of the rocks in the Meymeh plain is their symbolic style. To some extent, such a feature can be seen in their abstract images. The Central plateau of Iran in the Islamic middle centuries was a part of the caravan's routes. Images of animals such as camels and a rural with a suffix ''Robat'' (Cāravānsarā) with Islamic inscription in this area could be a reason for depicting Cāravān (traveler) pathway in the past (Fifth Century AH/11th c AD). [ABSTRACT FROM AUTHOR]

Hamadan province in western Iran has always been of particular archaeological significance in different historical periods. That said, no rock carvings had been identified in this area till present. Recently a small rock carving was discovered in the southern highlands of the Alvand, in Yakhchal valley. This relief depicts a reclining person who holds an object like a cornucopia or drinking horn in his right hand and a cup-like object in his left hand. There is no inscription on this relief but in view of the possiblity to compare it with other rock-carvings, particularly in Elymais, it is likely to be dated in the Parthian period, without being able to be more precise. [ABSTRACT FROM AUTHOR]

Three-dimensional (3D) digital models obtained by laser scanning are particularly useful for monuments located in remote places and suffering from erosion such as ancient rock carvings. Here we describe research by the Iranian-Italian Joint Expedition in Khuzestan, which conducted surveys on three rock carvings dating to the Parthian period (2nd century B.C.-3rd century A.D.). The rock carvings of Hung-e Azhdar, Hung-e Yaralivand, and Hung-e Kamalvand are located near the modern city of Izeh, in the highlands of the Khuzestan province of southwestern Iran. The 3D digital models of the rock carvings provide new information on their method of manufacture and cultural significance by bringing forward previously undetected details, both technical and iconographical. The digital measurements reveal that the Hung-e Azhdar relief was re-sculpted in antiquity, and that on the upper part of the Hung-e Yaralivand relief there are clear traces of an inscription unnoticed by previous surveys. Given that these observations are the result of objective measurements verifiable by other observers using the same data, the 3D surface analysis offers promise of an advance in the study of ancient sculptural works and the models are innovative means for documenting and sharing both raw and elaborated data. [ABSTRACT FROM AUTHOR]

Saravan County is one of the largest petroglyph areas in Sistan and Baluchestan Province in the southeast of the Iranian plateau, with a focus on the Marzbanik Valley. The current research attempts to study the petroglyph motifs there in order to explore the social conditions of its early inhabitants. An important part of the article is the classification of the motifs in terms of both style and thematics. The classification illustrates that two issues have been considered by the petroglyph makers: first is aggression and warfare, the second is hunting, mainly of caprids. These, along with the portrayal of migrating animals and probable ritual scenes are closely associated with nomadism. It is concluded that these petroglyphs had artistic connections with south India, Pakistan, Northeast Iran, and especially with Central Asia. The petroglyphs of Marzbanik Valley are presented in this article for the first time. [ABSTRACT FROM AUTHOR]

Abstract: The continental carbonate deposits of the Zarand Basin were deposited within an intra-continental strike-slip basin situated in the northwestern corner of central Iran. They consist of distal alluvial mudstones to marlstones, carbonate pond deposits, carbonate and siliciclastic-infilled channels, and lacustrine carbonates deposited within a distal alluvial–lacustrine–palustrine complex. Both sedimentological and palaeontological evidence suggest that these sediments mostly formed within an open hydrological system. The common presence of root traces, greyish green mudstones, calcareous nodulisation, mottling, and desiccation breccias indicate a palustrine setting. The carbonate deposits of the Zarand Basin were formed under an overall semi-arid climate but periods of more aridity characterised by extensive calcretization can be distinguished in the stratigraphical sections. Both tectonics and climate have contributed in controlling the sedimentation of the Zarand Basin. Archaeological and geomorphological evidence provides a unique sub-recent analogue for ancient palustrine limestones developed within an intra-continental basin under a semi-arid climatic regime. The combination of geological and archaeological data and their comparison with historical documents show that the so-called historical lake of Saveh was the remnant of the more ancient wetland system which dominated the Zarand region during the late Quaternary. [Copyright &y& Elsevier]