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Kooh-e Khajeh (Kajeh Mountain), with 120m height and 2-2.5km in diameter, is located at Hamoon Lake like an island. Since the archaic era, due to its specific geopolitical location, religious sacredness, and the natural beauty especially at the times of water-richness at Hamoon, this place caused the formation of settlements. Based on an intensive archaeological survey conducted in this region, seventeen sites have been identified of which thirteen possess earthenware. Through typological and chronological studies of potteries found at surface level, two era of settlement have been identified in this Mount: one refers to the pre-Islam era beginning from 3rd century B.C. until the end of Sassanians; the second belongs to the Islamic era particularly on the basis of glazed potteries scattered on the surface as well as some structures built during 6th and 8th century Hegira. The buildings and structures related to the pre-Islam era include palaces, defensive forts and citadels, and temples, whereas; the buildings of the Islamic era are exclusively related to some religious places such as shrines, mausoleums and cemeteries.

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The first season of survey at Qeshm, carried out during the winter of 2006, resulted in the identification of nine sites from the Parthian and Sasanian periods. The surface pottery from these sites suggests their trade and cultural relations with contemporary sites in the southern Persian Gulf and other areas. For instance, the Parthian and Sasanian glazed types in Qeshm Island are closely related materials found from Khuzestan as well as northern and southern coasts of the Persian Gulf, including ed-Dur, Suhar, Kush, Failaka and Qalat Bahrain. Parthian painted ware reveals close similarities to monochrome and bichrome painted pottery of southeastern Iran, Oman coasts and the southern Persian Gulf, specifically ed-Dur, Suhar, Kush and Tel-i-Abrak. The so-called Indian Red Polished Ware is the other diagnostic type widespread in the northern and southern coasts of the Persian Gulf from the middle Parthian up to the early Islamic period. The material was being widely produced in the Indian region (Gujarat) and Indus, and exported to different places around the Persian Gulf. The Coarse Black Ware (ceramic noir epaise) with decorative raised bands recorded in Qeshm compares with coarse-black material from the southern Persian Gulf, also occurring at sites such as ed-Dur and Abu Dhabi Islands. Plain, common Parthian and Sasanian pottery from Qeshm shows parallels with known materials of this period in the northern and southern Persian Gulf.

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Undoubtedly, pottery is among the most important information types that can help understand societies and cultures better. Despite introducing pottery known as Sultān Abād and its classification over the last few decades, very limited information has been published so far on the origin of its type and about archeological sites containing them. The main reason for this seems to be that containers could not be found in archeological excavations, and most of these potteries were obtained through illegal excavations hence; are part of private collections and museums. Consequently, our understanding on their origin, extent and distribution is very limited. In the current study, we attempt to present a brief introduction about the technical and decorative features of this pottery type, its construction origin, historical background and the likely place or places of its production. Then, based on information from recent archaeological excavations and surveys, this pottery type is described and explained.

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  The appearance of animal images on the archaeological remains is always considered as an evidence to determine their natural living and their role in human's cultural and ritual life. Animal imagery is found in every medium of art in the Proto Elamite period include stone statuette, pottery, metalwork and finally seal impressions. The glyptic art and pottery through their diversity and the nature of their symbols provide the researchers with the basic information with which to piece together the iconography and the social and economy history of the Proto Elamite period. This paper examines serpent, turtle and feline imageries and related pastiches on two media at Tepe Sofalin, including seal impressions and pottery fragments.  

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Archaeologically, the Roudbar plain is one of the richest and most outstanding regions in the south east of Iran. Tomb-e Kharg, is the largest site in this region. The site is a multi-period one, but based on the surface material, the main settlement belongs to the historical period. Some things remain unknown about these periods in south-eastern Iran and lack of any reference to them in the authentic authorities, makes this region necessary to be aimed of a particularly urgent archeological research as an underlying and reliable reference. To do this, a topographic map of the mound, as well as the grid map was laid out, in which the region was divided into 10×10m² regions. By means of simple random sampling method, 10% of the squares were then sampled. In the light of the study on the collected cultural material, the main settlement dates back to periods ranging from the first millennium BC up to the 8^th or 9^th AD centuries. Moreover, there are some items of painted grey ware, suggesting that this mound leads back to 3^th millennium BC.
 
              
 

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Kuh-e Khajeh in Sistan, a mesa 120m height in respect of Sistan plain flat, is located 20 Km south-west of Zabol. This is one of most important historical area in Sistan. In account of its religious and political importance, a series remarkable of structures were built on its flat surface and eastern slight slopes since very ancient times. Despite of the studies of archaeologists and scholars, there have been provided no certain chronology about it and a few studies which have been done are merely based on the architecture of this site.
In this research, based on the pottery data it is tried to make a relative chronology on palace of Kuh-e Khajeh. In doing so, the required data was gathered under systematic survey method in the castle’s area. Considering that the recognizing the potteries’ specifications is an important task in the archaeological studies, therefore, the study of potteries’ specifications was given a specific priority. And in doing so, the collected remarkable potteries from the site were classified and typologically studied, accordingly.
According to the results obtained from the typology of potteries, Kuh-e Khajeh palace has had three different settlement phases: the first was Parthians, the second was Sassanids and the third was known to be the Islamic phase (6-8 AH centuries), respectively.
 

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The Sassanid era is one of the brightest periods of art and civilization in Iran. There are major remains of many different types: monumental rock reliefs, silver vessels, stucco architectural decoration, and seals.
Sassanid art and culture could affect on the Islamic arts in Iran, including in the field of urbanism, architecture, textiles, metallurgy, painting, pottery. There are a lot of motifs that are very similar to the Sassanid ones.
 The Sassanid Empire had an enduring legacy in the Islamic period. On the one hand, the continuation of certain artistic techniques, such as silk production, plate, and stucco, may be attributed to the caliph’s practical marshaling of Sassanid artists to the service of the new state. In some cases, motifs on the artwork of the Islamic era do not show only a simple pattern of previous art, but we see full compliance and a copy of the Sassanid motifs. The pottery as well as cultural and artistic works belonging to the Islamic period too show that they were not unaffected by the Sassanid period. Here, an attempt is being made to study the transition of culture and art of the Sassanid era to the Islamic period. The study of the pottery motifs in the Islamic period can specify the amount of influence and the reasons for the transfer of Sassanid art. This research focuses on the designs of Islamic pottery that are much similar to the Sassanid motifs.
 

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“Animal drawing in row” has been important and a widely-used style in Mesopotamia, as well as in Persia which is mainly depicted on pottery and metals. This style is also depicted on Greek pottery. The question is: How did “animal drawing in row” affect Greek pottery art. In terms of mythological stories and mythical creatures, this style is close to Greek traditions therefore it had been warmly welcomed and applied by Greek artists. These effects could have also occurred due to enormous trade between Greece and its colonies on the one hand and Syrian, Phoenician, Mesopotamian and Persian civilizations on the other. The purpose of this study is to compare this method in some of Iranian pottery discovered from Marlik, Hasanlu, Elamite and Achaemenid civilization, to Greek pottery. The research method is descriptive-comparative. On pottery and metal vessels, this technique starts with single drawing row, and ends with multi rows. The number of rows in most cases depended on the size and the surface of vessel or pot.

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 A study of hidden and obvious angles of Iranian works of art, including the discovered artifacts of the ancient Marlik region, shows the rich heritage of this land. The ancient hill of Marlik, despite its tools and utensils, and especially its clay sculptures, is still explored due to its special elegance and beauty. The aim of this study is to have a measure of fit and linear range in Marlik pottery and to get acquainted with its hidden angles. In this regard, the question arises as to how the use of golden proportions and the visual element of the line (as a range) appear in dimensions and sizes of the clay figures. In this regard, 6 index statues have been excavated from Marlik Cemetery and the results showed that 3 clay statues follow the golden ratio of √2, √3, √4 and √5. And they have a good linear range and balance, exaggeration and harmony can be seen in them. In this process, the other 3 statues are not attractive in terms of size and dimensions and do not have the elegance of construction and design. In addition, the two factors of proportionality and linear expansion are in complete unity, and the role of positive and negative space to achieve balance is obvious. The research method here is descriptive-analytical and in the data analysis, the golden proportion approach has been used, as well as the collection of information is documented.

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Tis was one of the most important commercial ports of Iran in the early and middle centuries of the Islamic era. It played an important role in maritime or caravan export and import. Not only is this port less mentioned in historical sources, but also little research has been done on it. One of the archaeological findings of this region is various ceramics from Islamic periods, which are distributed on different parts of the site. Except for brief references in a few sources, there has been no independent research on ceramics of Islamic periods of Tis. Accordingly, the main purpose of this study is to know the economic and social life of Tis port in the Islamic era through study, analysis, and chronology of pottery. The method of this research is descriptive-analytical. The information is collected through field and library studies. According to research, the ceramics of the Islamic periods of Tis, probably belong to the 7-17^th centuries, but most of them date back to the 9^th-12^th centuries. During this period, various types of glazed and unglazed ceramics were used in this area, some of which, such as unglazed red ware and Celadon, were probably imported from near and far areas such as India, China, and others like a group of Sgraffito were domestically produced.