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Sakestan has always been an important region during the Sassanian era. The mints of this region have been the most active of all in Iranshahr from the reign of Khosrow I to Khosrow II, demonstrating the full dominance of Sassanians over Sakestan. After the death of Khosrow II, the mints of the region were inactive intermittently. A coin from the reign of Ardashir III which is currently kept in Hazrat Masumeh Museum of Qom is the only gold coin found of this king and the first with the mint mark of Sakestan. In this research, apart from studying this coin and comparing the findings with archeological data from the late Sassanian period in Sakestan, the political situation of southeastern Iran after Khosrow II has been explored using the archeological and historical data. This paper is considered an original research concerning its objective, and a historical and analytical-descriptive research in terms of its methodology and context. Data and information gathering were carried out in the field and library. Based on the results of this study, it seems that Sakestan region was under the control of the main branch of Sassanian dynasty, loyal to Khosrow II during the late Sassanian period. The importance of this study is that it can clarify the political status of southeastern Iran in the late Sassanian period based on new findings.

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"Haftwad" story is a multilayered story of shahnameh, Although it included in a section called historical section of shahnameh, but it has been interwowen with mythologic elements and constructed in margin of myth and history. this story with it's origin came back to "Ardeshir Babakan Works", is a section of Ardeshir life befor reaching Iranshahr kingdom. Historical-mythic nature of Haftwad story and its collection of textual and intertextual elements required in various reading and pave the way to reading religious, historical, political and even economic topics with semiological approaches, discourse analysis, and new historicism. The present research aims to review This story from both new historicism and discourse analysis point of view (perspective) having a deep connection with authority and ideology, and to represent its neglected and unsought aspects. In sum, struggle between Parthian and sassanian, contrast of legal and illegal authority, hegemony of financial system and contrast of both Zoroastrianism and Mithraism is motif of Haftwad story in each of such reviews. Also study of elements and signs available on shahnameh narrative and another source of Haftwad story show that source of political and ideological authority has played an important role in formation events in primary source of shahnameh narrative (Ardeshir Babakan Works) and following it in shahnameh itself.

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In the early 21^st century, during an excavating of a village on Farahan plain, some remains of an important monument including part of a large brick column and several walls were discovered. For a decade, despite national registration, no scientific and comprehensive study was performed on these remains until the time when the remains captured the attention of the authors of this paper during their archaeological study of the Farahan plain. Therefore, considering two main objectives, the chronology of the discovered pieces and determining their real identity, initially, a comprehensive archaeological survey was carried out on the Fardaghan region and samples were collected from different areas of this plain; afterwards, the cultural data were typologically compared. At the next stage, historical evidence was sought in written sources using a historical approach in order to determine the identity of the site. The results indicate that the current building belonged to the Sassanid period that has been also used during the Islamic era after a functional change. It is highly probable that this building is the one mentioned in some written sources such as Ibn Yaghoubi’s Mokhtaser Alboldan. In early Islamic centuries, this fire temple was changed into a fortified castle.

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Glassmaking traces its history back to antiquity as is the case with several other crafts in Iran. The craft would culminate under the Sassanian rule, when an assortment of receptacles in different sizes, shapes, and functions came into popular use. The present study examines a sample of 29 pieces of Sassanian glass objects preserved in the Sanandaj Archaeological Museum. Deriving from clandestine excavations, no previous research has investigated these pieces. This descriptive and historical-analytical study draws upon comparisons with related museum objects and library research. The questions are: Which excavated sites in the Sassanian territory are to be examined for comparanda? What are the manufacturing techniques of the objects in question? To which part of the Sassanian time span do they date? What are the common forms as well as their functions and decorations? The sample appears to compare with the material from Mesopotamia (Tell Mahuz, Abu Skhair, Barghuthiat, and Kish) and Veh Ardashir, which were major centers of glass production at the time. The pieces were manufactured in free-blowing and mold-blowing techniques. Bowls are the common form, followed by bottles, unguentaria, juglets, and jars for ritual, cosmetic, and practical functions. The major decorations detected on the study sample include applied trails and facet cutting. The pieces can be assigned to two consecutive chronological extents: The first spans the onset of the Sassanian period (2nd century AD) to the 4th century AD, and the second encompasses the 4th century AD to the demise of the empire. Dispersion of such objects across the Sassanian Empire suggests that glassware represented a trade item at that time.
 

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Anahita, a prominent Zoroastrian goddess, has always had importance status and widely revered during the Sassanian period. In the present research, relying on the studies of Sassanian bas-reliefs and stuccos, an attempt has been made to study the role of this goddess in Sassanian art. The results of this research clearly indicate that Anahita, among the other Zoroastrian deities, has always had a valuable place in those eras because she was thought to offer wisdom to those who revered her. Personification and depiction of the goddess Anahita in human icons in Sassanian bas-reliefs and stuccos were an attempt by the Sassanian emperors to legitimize their rule.