Iranian Studies

Abstract Some of the Iranian artworks during the 10^th-14^th centuries have been illustrated by narrative scenes showing a cavalier archer king in the hunting ground of gazelles; while a tiny lyre playing girl sat back him. According to Shāhnāma-i-Fērdowsī and Haft Peykar-i- Nizami Ganjavi, such scenes narrate the story of Sassanid King Bahram-i- Gūr and Āzāda, his lyre player servant girl. It should be noted that some of recent literal studies presented the story of Bahram-i- Gūr and Āzāda as a faked tale added to Shāhnāma-i-Fērdowsī in later centuries! For that reason, the realizing of the Pre- Islamic genuineness of this story upon the basis of artworks seems more important. On the otherwise, it would be established that the character of Bahram and Āzāda had been produced by Iranian poets and artists in Islamic era. This article examines a hypothesis searches Pre- Islamic patterns and archetypes of such character for Iranian artworks in the 10^th-14^th centuries. The basic literal sources of Bahram and Āzāda have been considered: Shāhnāma-i-Fērdowsī, Haft Peykar-i- Nizami Ganjavi and Hasht Behesht-i- Amir Khosrow Dihlavi. By the second way, Bahram and Āzāda motifs on Islamic artworks have been compared with their pre- Islamic familiars. And archaeologically, the authors have emphasized on the key concept of archaeological context of such artworks to realize their authenticity. As the result, this research has proved that literal theme and artistic motif of Bahram and Āzāda has a Sassanid archetype. Hence, it is a genuine story in Shāhnāma-i-Fērdowsī.

Abstract The Old Elamite documents are indeed rare, but from Susa in the Sukkalmah Period there are some 550 legal documents in Akkadian which provide an excellent opportunity to study Elamite society and culture. The present paper edits and translates a unique and very interesting will made by Gimil-Adad, a man from Susa in the 17^th century BC. In order to provide the historical context for the proper study of the content of this will, we first outline the historical situation of the period. Then we deal with some legal aspects of testament law based on contemporary documents from Susa, Mesopotamia and Egypt. This study shows that parents could not arbitrarily deprive their children from inheritance. However, children’s failure to provide for the aging parent could justify the disinheritance. The text itself sheds light on the social and legal status of women in Elam and demonstrates most clearly that women had capacity to do legal transactions. As there is no English translation of the documents we have provided an English version as well.

Abstract Nazok Kari, One of the Woodwork art, is of arts that functional and artistic instruments has made from well paint woods by Eleganceand precision.The evidences and documents indicated that OrosiSazi (sash making art) and, Consequently, the Nazok Kariwas expanded in Sanandaj city from Safavidperiod. Due to reasons such as lack of professional Craftsmen and high cost, thesash making art (OrsiSazi) activities don’t have thrivednow; But the Nazok Kari is still flourishing. While Nazok Kari works of Safavid period is not found in Sanandaj yet, but those of Qajar Period is remained 
 The questions related on this subject can be asked in this way. The first that arises is the peak of Nazokkari art was during the Qajar? The investigations show that the peak of flourishing of it was at the middle of Qajar period and on wards. The second question, how much the Sanandaj artists were able to reach to a unique style in the field of Nazok Kari art? It seems that the artist in the field of Nazokkari in Sanandaj started their work according to their style and way of wooden art throughout whole Iran, but given to climate, time passing and demands, gradually the special way was found. The aim of this research is to analysis the wooden art and the sort of artist work in this field from Qajar time until now. The resources of this research are based on the field activities and library studies. Therefore, the research method is explanative-analytical. It seems that the suitable ground for growth and development on the one hand and artist’s attempts on the other hand, is caused stability and improvement on this art. This paper is about the history of wooden arts, the methods of wood supply and extraction of walnut roots, Nazokkari art, the tools of Nazok Kariart, different steps of coloring with polish and alcoholand NazokKar’sartists.

Abstract Primitive communalsystem, is particular social andeconomic formation of socialism in Soviet historiography. In fact, the primary forms of human social organizations of Marxism, called "primitive communism". This paper is a discussion about the ways in which the Soviet scientists have been working on a historical analysis of the collective community of Iranian Society.The undeniable fact is that the author of this paper felt great gaps and shortcomings about comprehensive analysis of Soviet historians' approaches in both Iranian and Western researches about most ancient historical ages in Iran.Therefore, present research is on Marxist approaches about human societies and with Interpretation, explanation, and analysis of data's and validEvidences looking for a link between historical studiesand anthropologicalstudies. The Importance of the topics that will be discussed here is so that can lead understanding of the unique social attitudes amongst a large group of students associated with the history of human societies.

Abstract The Sasanian settlements located Persian Gulf shores proving the economic-political sovereignty of Iran over the Persian Gulf through preislamic era denotes commercial relations between Iran and other regions. The remains of Sasanian sites and scattered ceramic sherds help us to apprehend the history of the socio-political organization of the Persian Gulf sphere and recognize the interactions between ancient ports and cities. In the paper after a historical introduction about Sasanian Persian Gulf, we have studied the archaeological evidences of Sasanian settlements in both Persian and Arabian shores of Persian Gulf.

Abstract Seals can help to identify the unknown aspects a culture. Parthian seals and bullaes not only have played an important role in business in the community, but also they are important to identify the art and culture of this period. Except a few reports about Parthian site and a few works that can be found in collections and museums little has been written with regard to the seals of this period. Therefore, the aim of the present study is the introduction of Parthian seals and Bullae, the designs carved on them and understanding their functional role. The results show that make a distinction between the bullaes and seals of Seleucid and those of Parthian periods is often difficult. Parthian seals are inspired by the traditions of Achaemenid, Greece, Central Asia animals and the local styles. Common motifs of the seals are human bust, winged mythical creatures, full-length human, horseman and deer.

Abstract Ethics of ancient Iran has always been formed one of the most interesting topics for Iranian studies. Because of the importance of religion in the Sassanid's period, the Iranian ethics gained great importance and a number of ethical works were developed. Andarz and Andarzgoy traditions are among the prevalent ethical styles of this period. In the field of ancient Iran Andarz-nameha the sub-category of practical ethics are that with certain properties grows its audiences enjoying ethical ethos. One of the things that have been not done so far in this domination is analysis of Andarz-name in the philosophical framework and looking at it from the view points. This article attempts to present and approach to the how of normative ethics in ancient Persia and would indicate that although such an ethics is similar to the Greek model of virtue ethics, but distinctions can also be seen.