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Horse with the hero archetype are the most common mythological motif. In Jung's opinion, archetypes are collective unconscious contents which potentially exist in the human's mind; therefore, myth is not limited to the time and space. The pattern of horse and horseman was used on pottery and in wall paintings, paintings and drawings throughout the history. This kind of pattern is observed frequently on different artworks of the Seljuk Period (Eleventh and twelfth centuries AD). During the 10th century, due to various events, the Oghuz had come into close contact with Muslim cities. Seljuk Turks had a strong interaction with the nature. They fought with their neighbors to find suitable permanent pastures; so, war and hunting were their favorite works and subjects. One of the artworks on which these patterns were frequently used was golden shades and enamel pottery in the Seljuk Period. Pottery in this period is important in terms of its qualitative and quantitative value. In this article, first we address Jung's opinions about the hero and horse pattern as an archetype; then, by introducing some samples of golden shades pottery with the pattern of horse and horseman, we will discuss the concept which the Seljuk society had understood.

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The spatial organization of cities during the Sassanid period includes three parts called Kohandezh, Shārestan, and Rabaz that the important political, religious and social sectors were located in Kohandezh. In the Islamic period, although the organization of urban space, has the same three parts of Kohandezh, Shārestan and Rabaz like the ancient era, according to historical texts, during this period the power of Kohandezh diminished due to some reasons, and Rabaz and Shārestan became the political, religious, economic and social center of the city. The purpose of the present research is to recognize the historical texture of Rey during the Seljuk period by spatial organization of the city and social level changes based on historical texts and archaeological data. Accordingly, some important questions are raised here: What is the role of Kohandezh, Rabaz, and Shārestan in the organization of urban space during the Seljuk period of Rey? How did this structure differ from the previous periods? As a result, it was revealed that the historical texture of Rey during the Seljuk period took a new form compared to the urbanization style of the previous eras. Archaeological data indicate that during the early Islamic era, especially the Seljuk period, the Rabaz and Shārestan sections boomed and expanded.

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