Unfortunately, several of these objects come from unknown or insufficiently recorded excavations. Most of the dates which will be cited in this survey are therefore approximations based on the stratigraphyç of sites where objects, which are related to those selected here as significant for the study of art, were found. Only very few works of art, found with one or two exceptions at Susa or neighboring Čoḡā Zanbīl, can be dated on the basis of their inscriptions. This is also true for the historical periods. From the listing of archeological sites it is obvious that the study of the art of Iran depends for criteria of geographical origin and date on the results of excavation. Southeast Iran, the modern province of Kermān, Sīstān, and Balūčestān with the sites of Tell Elbīs, Tepe Yaḥyā, Bampūr, and Šahr-e Soḵta.ĭependence of the chronology of art on archeology. In the same general area the all-important site of Tell Malyān was discovered, which later texts serve to identify with Anshan, which vied with Susa for being the most significant site of Elam.Ħ.
Central south Iran, mainly modern Fārs with the prehistoric site of Tell Bākūn close to where Persepolis was to rise several millennia later. The area southeast of the Caspian Sea, and the adjacent regions of Gurgan (Gorgān, Jorǰān), and Khorasan where the most important sites are Tepe Hissar (Ḥeṣār) and Tureng Tepe, closely related to the Namazga (Namāzgāh) sequence and other sites in Turkmenistan of the USSR.ĥ. Northwest Iran, the provinces of Azerbaijan and Kurdistan, where the sites of the Ḥasanlū project have provided most of the available information.Ĥ. Central west Iran, the modern provinces of Luristan (Lorestān) and Kermānšāh, where the sites of Tepe Giyan (Gīān) and Godīn Tepe yielded the longest sequences. South and southwest Iran, the modern provinces of Fārs and Ḵūzestān with the Susiana, the area around Susa, artistically the most significant.Ģ. In the earliest periods, when art, insofar as it is preserved, consisted of clay figurines, painted pottery, and engraved stamp seals, the principal areas of its production can be enumerated as follows:ġ. The artistic provinces of Iran do not remain constant, however. This variation in the artistic products from different areas of the country sets off the art of Iran as a whole from that of countries in which greater uniformity can be observed, such as Mesopotamia where major differences exist only between north and south. Topographically Iran is a varied country and its art is regionally diversified. Geography as a determinant for the development of art.
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