مجله مطالعات ایرانی
پیاپی 14 (پاییز 1387)

Halilrood region excavations in recent years, have led to discover an ancient culture and civilization in south-east of the country and introduced Jiroft, capital of Arata ancient state in Kerman, as the most ancient civilization of East. Most of the newly discovered relics in Halilrood region are related to gray stony relics of chlorite, known as soap stones which contain various geometrical, plant and animal designs. This study, categorizes the discovered designs of Halilrood region into three main classes, as well as introduces and studies extendable geometrical ornamental designs included in abstract symbols and figures. The aforesaid designs involve repeated patterns made of face continuum, a plait decoration similar to wavy hair and a helical design and a nacreous fish scale decoration that contains festoon forms. Additionally, wavy design (water design) has been surveyed on discovered vessels in Jiroft like ceramic vessels, etc. and these newly discovered relics in Jiroft ancient region have been compared with neighboring civilizations having the same designs. These designs are applied as well as ornamental. Artists and manufacturers have created these designs based on their beliefs. Hence, most of them can be seen in Iranian myths as well as civilizations of other nations.

Study of education history and philosophy at any period helps a person to identify the origin and cause of incidents and, if possible, contrive plans to oppose the negative aspects and reinforce the positive one whereby to prevent repetition of such bitter incidents along the history. This paper aims at studying the education history and philosophy of a school named Robe Rashidi founded in Mongol era. It also considers the how and why of foundation, function and conclusion of this school. The method used is a library one. The study of history and philosophy of Robe Rashidi gives a lesson that historically, Iranians have had noble and deep-rooted beliefs. These very beliefs were the cause and origin of blessings. Furthermore, they lead one to the oldness of Iranian culture, civilization and potentialities to take patterns from our own past and nobility rather than the Wests, to base the present and future developments of our society on the historical experiences of the past, as well as to indentify the factors of separation from the historical experiences and replace the factors of connection, continuation and development of such experiences.

To identify Divan is one of the foundations of religious research and Iranian mythology. The present paper studies the position of Divan in Avesta and old Persian texts in which Divan refer to a group of Aryan old gods worshipped by people. Zoroaster has finally denied these old gods in the Gahani teachings, not worthy of being worshipped and presents a negative aspect of them.There is no mention of these gods at Hoftha, but this thought continues in New Avesta and Xashayar inscriptions.The Demons can be classified in New Avesta into five general classes:1.The old gods which are still worshipped as gods in one of Xashayar's inscription2.Aggressors, enemies and the people of neighboring countries3.The ugly and devilish traits of Man4.The men having moral abnormalities5.The destructive elements of natureDivan have either a faith similar to the Devil and are driven to the hell or a man-like fate and are treated as failed enemies.

The covenant on" Mazdiyasni – religion" is a power that originates from Asha. The Asha substantially means order, and is equal to Sanskrit Dharma. This order (Asha) includes material and the spiritual dimensions of life. Therefore, on material dimension, it is the equilibrium requests and needs and on spiritual one is truth and righteousness. So, covenant is a moral principle. By the covenant, Ahriman power is inhibited and finally will be annihilated. Hence, the covenant is not a passive powre but is a constructive one. Observing the covenant, the world gets to desired extreme and breaking it creates world disturbance and corruption. Sole acceptance is not enough in the covenant. Then every person must be trained in such a way that his loyalty to the covenant caused to be innate. The covenant in itself has truthfulness and softness, chastity and moderation, etc. Therefore, the covenant is the most important in human’s life.

In folklore of Khorasani dialect, the word "pishing" is in use as "splashing of water drops". Etymologically, this word has a long history and seems to be used in the Iranian mythology as a proper name for a lake.The present paper studies the etymology of this word as well as its significant relationship with the name of "pishineh" lake whereabouts Garshasb, the Iranian dragon-killer hero, used to live.

A comparative study of literary works reveals some secrets which are paid less attention in studying the works separately. Comparative approach makes it possible to compare common and contradictory aspects and more important, various thoughts of two works. Several studies have been conducted about Shahnameh and Balouch epics though their common themes have not been considered yet. In this paper, some of the common themes of Ferdowsi's Shahnameh and five collections of Balouch verses are studied in a comparative approach in two sections: A. A concise introduction of Balouch collection of verses. B. A comparative study of their common themes, if any.Noticeably, these two works are incredibly similar. On the other hand, an attempt has been done to mention the differences between the themes.In this paper, five collections of verses have been studied in comparison with Shahnameh as follow:1.Chakrogoharam Collection of Verses (Randvalashar), by Sholan (Shirkhan)- 759 stanzas2.Neli's Battle Collection of Verses (Chakrogoharam), by Sholan (Shirkhan)- 259 stanzas3.Delhi Battle Collection of Verses-141 stanzas4.Hammel and Protégées Battle Collection of Verses-100 stanzas5.Mirkambar Collection of Verses-250 stanzas

Two old civilizations of Iran and India always communicate with each other during the history and have many cultural and artistic commonalities. This research intends to examine the motif of the bull in Persian and Indian myths by a library method, and then studies the role of bull in the arts of the two civilizations in a comparative way and helps us in the clarification of the common aspects and differences between the myths and the arts of the two civilizations of Persian and India. This animal both in Persia and India is considered as the first cause for the creation and emergence of animals. The horns of the bull in Persia and India because of their crescent shape are a symbol of the moon. A bull with a woman-head is a symbol of Mythology Goddesses in India but in Persia a bull with a male-head is a symbol of the guards of the king’s castle against evil spirits and the enemies. However, the motifs of bull are different in Iran and India regarding the method used to process the visual elements.

Sun worshipping, one of old Persian traditions, has an Indio-European origin and will be understood magnificently by having a look at its relics in Sanskrit as well as Avesta texts especially the Yashts. Sun worshipping after a while reached the Asia Minor through the East and from there reached Europe by the European soldiers and survived there more than four hundreds. Regardless of its extension and world scope, due to increasing prejudices of other religions, not so many relics of this tradition is available nowadays, and most of modern researches have been based on contemplation and speculation.Since Shahnameh of Ferdowsi has embraced various manifestations of Iranian myths, religions and history, this paper intends to show the reflections of sun-worshipping in this National Epic.

While doing a research about the architectural works, at the level of some buildings, existence of a series of Gajar tiles in new styles was noteworthy among which Allam-ol-Saltaneh palace was of great importance. This palace was built in 1318 in an Iranian- foreign style. Its outstanding characteristic is not only in its architectural design but in its use of seven-color embossed tiles, each considered to be a beautiful and unique portrait heralding the emergence of a new style.The glazed tiles though having an old history in Iran, each having an artistic style, is a modern phenomenon in applied arts in architecture due to the portraits themes and national identity.The designs on the tiles including the old subjects particularly depict the portraits of the Iranian mythological and historical kings in pre-Sasanian period according to the contexts of Shahnameh next to which is written its name. The portraits of these tiles include the religious and architectural themes specially the picture of foreign buildings of Gajar period along with the pictures of other persons and pre-Islamic kings.In 1986, the author found the similarity between the portraits of these tiles and Tekiye Moavenolmolk's in Kermanshah.The similarity between the portraits of these two buildings and those of contemporary tiles in Bushehr, Shiraz, Ghazvin, etc. is an important issue.Following up other researches and comparing similar samples presented more information about the designs, portraitists and their skill and care as well as the same origin of these portraits.

The word "Kord" is used two times in Shahnameh (The book of kings), once in Zahhak Reign and another in the period of Ardashir. Some scholars interpret the meaning of Kord as equal to "ethnic group". But this interpretation is in contradiction with its usage in the old texts in which it means job, profession, or shepherd. Furthermore, the interpretation of “Kord” as an ethnic group or language may evoke resentment against some Iranian citizens belonging to Kordish ethnic group. This paper, based on studying old Persian texts and some Arabic ones tries to prove that the word "Kord" originally means job, profession, or shepherd.

There are two total verdicts about Background and factors of Iranian’s tendency to Islam. Some know it as Iranians contraption to protect their own personality, a phenomenon under which they could keep Arabs calm and guide them to their own aims and this machination also lies in their tribal culture. But there are another viewpoint which shows Iranians mostly had accepted Islam firstly for the sake of its spiritual and cultural bases which were Iranians favorites who had always adopted purity in practice, nature and speech and justice as an important moral duty in their life. Secondly, it was the redeemed container of celestial Islamic edifications and also character and conduct of Islamic leaders which make every truth researcher to seek about Islam. Along this, however, Shiite Iranians’ tendency to Islam may be clarified, because Iranians great ideals may be achieved better in sublime aims of Shiite Islam.

Roudaki Samarghandi is called as the father of Persian poem because he has versified all concepts, meanings and intentions of poetry of Dari Farsi among which lies his concern for wisdom and knowledge reference to myths, heroes of national epics and Iranian culture and traditions.This paper studies the quality of Roudaki's impression ability from resources of National Epic and the manifestations of epic, myth and old Persian traditions which caused fact-revealing and realism ending to the distinction of his poem and speech will be described and analyzed in a library method.

Water as a life original source and the raw material of creation has importance, sanctity and values in our religion. It also is the cleaner and purifier of body and soul that can be observed in different religions such as Zoroastrian. Shahnameh as the most important manifestation of Zoroastrian contents has considered this characteristic of water in which the reflection cases of importance, sanctity and spiritual purification with water can be observed. This paper intends to show this water characteristic in different religions specially the Zoroastrian and illustrate its reflection in Shahnameh as well.

Man has experienced different methods for his understanding of the universe and decoding the surrounding world along the history and in the unlimited range of thought in which myth, beliefs and mystical traditions can be mentioned as human's intellectual efforts in various historical eras. Likewise, the contemporary world does not give up endeavoring to find a way into nested layers of cosmology and decoding. The present intellectual man has endeavored to retrospect and meditate his universe through different approaches one of which is myth tendency. Mythical criticism concerns the role of myths and their relation with ideals of people and tries to find a relation between human nature and literature and art to criticize literary works in a scientific and compiled view. Hence, we cannot claim to criticize and analyze outstanding literary mythical works such as Shahnameh and ignore the function of mythical literature. Lack of familiarity with mythical criticism demotes the prominent poets like Ferdowsi from an intellectual poet familiar with concepts of tradition, belief and history simply to a verseman, while, classic and modern poets who find their ways to the world of myth and mythical concepts are reflected in their poems, are intellectuals familiar with beliefs, customs, human spirit, previous world, unconscious nature of man, nature's symbols, etc. therefore, it is impossible to enter the intellectual world of Shahnameh and Ferdowsi without being acquaintant with mythical criticism. Mythical approach acquaints us with new territories of myth and opens new window to us regarding the expand of thought of myth tendency poets.In this paper, we try to mix theoretical topics of mythical criticism with samples, examples and evidences to make them more concrete, objective and applied. Thus, the mythical criticism and analysis of Fereidun and Zahak story has been considered based on the mythical theme of "death and rebirth" to make it more scientific through an analytical view.

Myth is the most ancient and significant human's mind creature which has gone beyond the domain of creature and changed into human creator according to its importance and impact. Myth, as a mould and a vessel, has contained human's thought, culture, beliefs and civilization and co-operated in forming them directly, indirectly, deeply and unmistakably. Etymology of "Myth" reveals the fact to us that in ancient times, myth has been equal to all human's thought. Still human interprets the universe employing mythical presumptions in such a way that mythical ancient and institutional beliefs dominated. Moreover, myth has been effective in originating other components and institutions of human's life such as rules and rites and has absolute intervention in mental life of human. In this paper, based on the mentioned ancientness and impact, myth dimensions and variants are studied regarding its etymology and variants in ancient Iranian's beliefs.

The objective of Islamic art is to express beauty which is a manifestation of Divine essence. To reach Divine beauty, one must pass through different stages of perceivable beauty.Worldly beauty is a shade of light. The Moslem artist tries to progress from shade to light. This is the one and only goal of the Islamic art. What is manifested in the Islamic art, i.e. achieving balance, proportion and beauty are manifestations of the final aim of creation. It is believed that through gradual appreciation of the different stages of beauty and understanding concepts such as tangible beauty, pleasure and love, etc., the artist may reach the absolute.