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Numismatic studies have an important role in reconstructing the history and culture of governments, which can be an accurate source of information about the past, and with their help illuminate a dark and forgotten part of history. Alexander the Macedonian established Characene in 324 BC, for commercial purposes at the bank of Arvand River. The Seleucid kings ruled this city until 127 BC. Until Hyspaosines founded a local government in this region in 125 BC. Historical sources give researchers a little information about the local kings of Characene. Therefore, identifying and studying Characene coins in museums can significantly contribute to elucidating historical events during this period and fill the existing research gaps to some extent. This study aims to introduce the Characene coins of the National Museum of Iran and to examine historical events through the coin. In this research, field and documentary methods with a historical approach have been used. The results show that the Characene coins in the National Museum of Iran belong to the kings Hyspaosines, Mithradates II, and Attambelos Kings. Historical and numismatic studies show that these kings had trade relations with the Arab regions of the Persian Gulf from the period of Hyspaosines to Attambelos VI, which politically, these local rulers played the role of negative balance in the region. However, from the period of Pacorus II (AD 131), the administration of this region was entrusted to the Parthian princes and in this way limited the power of local rulers.

Today, we cannot deny the role that organizations and their employees play in the progress and development of societies in different countries. Every institution and organization seeks to maximize its continuity, survival, and organizational dynamism as much as possible, which requires paying more attention to the most important capital of any organization, that is, the human resources of that organization. The purpose of this research is to investigate the effect of social psychological factors on the quality of professional life and professional ethics.

Design/ methodology/ approach: 

 The research is of an applied type and uses a descriptive-correlation method for collecting information. The statistical population of the research is 476 faculty members of Yazd University, and the sample size was determined to be 213 using Cochran's formula. The tools of this research include standard questionnaires, whose reliability according to Cronbach's alpha coefficient was 0.944, 0.944, and 0.959 respectively; the validity of the questionnaires was confirmed, and it was examined by face validity and construct validity. Structural equation modeling and SPSS 22 and AMOS 26 software were used for data analysis.

 The results showed that the significant value of the effect of social psychological factors on the quality of professional life (13.219) is greater than 1.96. The significant value of the impact of the quality of professional life on professional ethics (5.374) is greater than 1.96. The significance value of the impact of social psychological factors on professional ethics (5.371) is greater than 1.96; in this way, it can be concluded that the hypotheses were confirmed.

Limitations & Consequences: 

 The lack of similar research and the absence of objective indicators for comparison within the country were the most important limitations.

Practical Consequences: 

 It is necessary to clarify and pay more attention to understanding the professional conditions and complexities of faculty members, because it can affect the quality of their professional life and consequently their professional ethics.

Innovation or value of the Article: 

 Providing a model to show the effect of social psychological factors on the quality of professional life and professional ethics of faculty members of Yazd University.

By examining the historical roots in the culture of beliefs and convictions of societies, we encounter narratives and myths which play a colorful role in the formation of the visual culture of past nations and civilizations. According to a tradition, the content of myths reflects ethnic customs and traditions, beliefs, and cultural approaches of societies, which have been manifested in art, which can be examined in the form of archetypes. Therefore, in spite of all the complexities, there is a kind of harmony and closeness in their main themes in the mythological archetypes, which makes a comparative study of these narrations possible .One of the oldest mythological archetypes is the myth of the mother goddess and goddess, which is one of the most influential and meaningful gods in the lives of ancient people. The oldest of them is called the goddess Inana which dates back to 3500 BC. In Mesopotamia whose image and symbols have been displayed in the art of different historical periods of Mesopotamia. the text of this myth is written on twenty tablets and several fragments and is kept in the museum of the Ancient East of Istanbul, the museums of universities of Pennsylvania, Philadelphia and, Bail. The tablets were read and studied by Kramer. The Sumerian text of the poem was published in 1952 AD by the University of Pennsylvania museum. the story consists of three parts, which are :1- the relationship of Inana, the queen of Heaven with Enki, the god of water, wisdom and motto 2- the marriage of Inana and Dumuzì, which is known as the Holy marriage 3- the journey to earth is irreversible. On the other hand, in Lorestan region, bronze artifacts with a female motif have been obtained, which belong to the first and the second millennia BC.  Works and their designs can be considered as links between the civilizations of Mesopotamia and the art of ancient Iran. These motifs in terms of form, structure, and aesthetic principles reflect the beliefs and beliefs of ancient people therefore, it is necessary to study these works based on new approaches and theories. Therefore the purpose of this study is to represent and to express common features between images of women in Lorestan bronzes and Mesopotamian goddesses based on comparative and in textual studies to identify the religious beliefs of this period and its relationship with Mesopotamian civilization .Now, considering the proximity of these two regions and the background of the presence of the female goddess in Mesopotamian mythology and art and its role in the applied arts of  Lorestan region, the purpose of this study is to identify the visual relationship between the role of women in the pinheads of  Lorestan and the Mesopotamian goddess in order to discover the common intellectual heritage between these two regions. The questions raised in the research are: What common aspects and differences are observed between the role of women in the works of Lorestan and the Mesopotamian goddesses? According to Young’s archetypes, how are the common cultural ties between the two regions interpreted?

the research method in this articles is descriptive  analytical, in the process of which, while introducing and describing the content and features of Inana myth, the analysis of works of art has been done, which deals with Mesopotamian cylindrical seals and bronze works of Lorestan. The data collection tool is library-based, thus, the role of Inana -Ishtar in the cylindrical seals of the old Sumerian to Cassian period was first investigated based on the two catalogs of Null and the catalog of William and Moory to achieve the goal. Then, the bronze works of Lorestan with the motif of a woman were studied. Thus, 114 objects of Lorestan bronze objects were examined. Among them, 60 objects had female motifs. For this study, only female motifs on circular pins were used, and 20 of them were selected for comparative comparison with Mesopotamian seals’ designs. In this way, images were created from the designs created of the goddess Inana Ishtar on Mesopotamian works and the motif of a woman on the head of Lorestan bronze pins, and the analysis of these motifs is based on design, composition, visual elements, and archetypes.

The results show that the institutional philosophical thought in the myth of the female goddess is procreation and fertility and the inhabitants of both lands had similar concepts of the female goddess. The style of show in the art of both societies is realistic, but there is a difference in the style of execution. According to archetypes, the difference in appearance and coverage is the result of the environmental and historical conditions of societies. Thus, the people of both regions were influenced by regional beliefs to express their mythical ideas.

The ancient sites of Jahangir Dome and Goriye tape in Ilam province are very important in the archaeological studies of the Sassanian period. In the excavations, a large number of glass objects were obtained, and among these objects, 20 pieces of glass bracelets with different designs were also observed which belonged to the Sassanian period.This research is based on field studies, library, and laboratory analysis. twenty pieces of glass bracelets were selected for typological and morphological studies, and considering the difference in appearance and color of the samples, twelve of them have been chosen for elemental analysis, after that by comparing the bracelets of these two areas with Siraf glass bracelets, has been tried to investigate the possibility of trading these objects through trade routes between the south and western regions of Iran. The research questions are: On the basis of morphology, how many groups are divided glass bracelets obtained from Jahangir Dome and Guriye tape on the basis of morphology? Based on the comparison of elemental analysis results with Siraf bracelets, Is there a possibility of trans-regional communication in the trade route between the west and south of Iran? Based on elemental analysis, is the similar raw material used in making these bracelets?The result shows that the glass bracelets can be divided into five groups which include 1 - simple circular bracelets, 2- twisted bracelets with a semi-circular section, 3- ribbed bracelets, 4- Twisted bracelets with spiral cross sections, 5- bracelets with geometric decorations. Morphologically and these bracelets are similar to the glass bracelets obtained from the ancient site of Siraf. In addition, the elemental composition shows that these bracelets are of the type of silica-soda-lime glass in which the source of the supply of soda was the ash obtained from plants grown in salty soils.

One consequence of urbanization in ancient times was the emergence of complex states. However, the structure of ancient Iranian states has not been examined in detail compared to the Greek and Roman worlds. Most researchers believe that the political structure of ancient Iran was autocratic and hereditary. This theory can be challenged by carefully assessing the contents of documents and comparing them with archaeological data. The following article discusses the state of the governmental structure of the Median period in the 8th century BC. The purpose is to identify the governing structure of the subjects based on written sources, specifically during the time of the Medes. The chronology and their place of precedence and backwardness compared to what was implemented in Athens and Rome will also be examined. The research questions are based on the examination of the data of the Neo-Assyrian and Neo-Babylonian period sources about the structure of the Median state and the evaluation of the possibility of the existence of democratic structures in some of the Median settlements or at least in two of them before the kingdom period.This research was conducted using the library method. Based on the study of written sources and analysis of documents, the research shows that in a period of eight years in the history of Media and also in the political structure of a part of the history of the Persians before the rise of the Achaemenid Empire, there were strong elements of the establishment of a democratic governance system.

The thoughts and ideologies of ancient societies have been displayed in the form of art. Hence, with content analysis artifact can be understood by the concepts hidden in them. Lorestan is a mountainous region in the east of Mesopotamia, where in the 8th and 7th centuries B.C., the highest levels of metallurgy were achieved. The bronze artifacts of Lorestan in the second and first millennium BC contain mixed images of imaginary creatures, which, while beautiful, are formed on the basis of deep beliefs and express beliefs, stories and myths common in the region. Therefore, in order to accurately understand the role of motifs and understand its meaning and content, it is necessary to study the pictures and narratives that show the worldview of the studied societies based on symbology. One of the recurring mythological images in the art of the ancient societies of Lorestan and Mesopotamia is the role of the mythological cow-man. The aim of this research is to identify the visual relationship between the role of cow and man in the ancient art of Lorestan and Mesopotamia, in order to study and investigate the process of their development and the evolutionary process of religious ideas in the art of the studied societies, it is based on archaeological documents. The method of this research is descriptive and comparative and the method of library collection, and the images were prepared through the museum and the museums' website. The research questions are: 1- By examining the mythological motifs with an emphasis on the cow-man role in Lorestan pins, can they be considered a symbol of Divan or horned gods? 2- Investigating mythological motifs with an emphasis on the horn in the period from the second millennium to the first millennium BC. Do we see material and content changes in them? Since motifs in artifacts represent common beliefs and beliefs among the people of ancient times, it is necessary to accurately understand a work and understand its meaning and content. to be studied.The results show that the motif of the cow-man is a symbol of the primitive gods of ancient societies, which entered the art of the studied societies due to the beliefs and beliefs of animism and totemism, and over time, with the expansion of human thought and consciousness, we see a transformation in the way they are represented. Such that the images of the animal's head and body disappear gradually and the images of the gods are displayed in a realistic and human form, and the horn remains as a divine symbol and power in the headdress of the gods.

Coins represent important objects of our cultural heritage and are usually of high artistic and cultural value. The archaeological issue concerns questions in relation to the iconography, dating, provenance, and technology of production or authenticity. So, the symbols on the coins are the most important guide for researchers in recognizing religious beliefs with religious opinions and beliefs in different historical periods. Myths have played a major role in the culture and art of every nation for a long time and they have had various usages in different eras and have been manifested in the narrative stories or visual symbols from the heart of the religions, beliefs, and art of any nation. Plant motifs have a special place in Iranian thought from the past, which have been sanctified as symbols and myths in Eastern cultures and have been associated with ancient rituals. Numismatics is an auxiliary source for recognizing political and economic issues and for explaining historical periods from which there is limited information about them in written sources. In fact, in some cases, the design on coins is the only source that provides significant information for researchers, about the political, cultural, social, and religious structures of a historical period. Therefore, it is an important source in historical studies and art history. While other sources, especially written sources, do not have the information on these coins. Despite the importance of coins as first-rate sources, the knowledge of numismatics from the Parthian period is very incomplete, compared to other periods in the history of Iran, and studies on coins from this period are more about the identification of kings and political history, and less about the subject of religion. The symbols on the coins are the most important guide for researchers to recognize religious beliefs and opinions in different historical periods. In the culture of ancient Iran, plants and trees have been respected for a long time. According to the many designs found on seals, beddings, pottery, etc., it can be seen that some plants had a sacred and mythical place and a particular plant had high importance and status based on religious and ritual beliefs in different historical periods. The main purposes of this field research is to identify plant symbols by emphasizing the patterns engraved on Parthian coins, and to try to study, re-read and interpret plant images in order to identify their place in the religious and mythological beliefs of this period. The main issue in this study is the lack of resources and so far, no independent source has studied them. The questions of this research are:What are the most important plant drawings used on Parthian coins?Is it possible to understand the religious beliefs of this period from the plant symbols?In terms of the research method, this research has described and analyzed the drawings and symbols by using the fieldwork and library-based method. At first, two hundred and fifty coins in the repository of the Reza Abbasi Museum were examined and studied. These coins were purchased from individuals and collectors in the years before the 1979 Revolution and among them, one hundred and thirty coins had plant drawings. The research also referred to the coins of museums of Sepah Bank and Money Museum with two samples of coins of Arsaces I and II belonging to the Money Museum, and bronze coins with plant images belonging to the Sepah Bank Museum. Due to the limitations of museums regarding photography and providing photographs to the authors, eighty coins were selected for study; sixty- five of which were Tetradrachms and Drachmas while fifteen coins were Bronze, which had been designed in Photoshop and Corel softwares. In order to conduct library studies and to identify the Parthian kings, the Sellwood catalog of Parthian coins has been used. Thus, at first, the plant motifs, which were used in Parthian coins, were identified. Then, by collecting information through library research, and relying on the symbolic approach, plant drawings were studied and checked in order to provide a comprehensive interpretation about plant symbols which were used on Parthian coins, as well as their function and place in the myths, beliefs, and rituals of this period.The results of this study show that the plant motifs which were used in the Parthian period, include palms, olives, rosettes, grapes, wheat, pomegranates, lilies and oaks.  The motifs of palm, olive, rosette and lilies can be seen in the Tetradrachm and Drachma coins of the Parthian kings, while the motifs of grapes, wheat, pomegranate and oak can be seen in the Bronze coins, and according to symbolic issues, it can be said that these arrays are related to Zoroastrian, Mithraic and Anahita’s religions. In the Parthian period, Zoroastrianism is mixed with other beliefs, which is seen as the trinity of the gods of Mehr, Anahita and Ormazd, which ultimately indicates the religious tolerance in this period.

Coins are engraved metals that are similar to a book full of historical, cultural, religious, and mythological information that can survey their motifs through symbolism. Therefore, studying the images and symbols on them opens a window to ancient periods for researchers. The Parthians (Arsacid) is one of the most important periods of ancient Iran. due to their long reign, they minted many coins with various motifs. The aim of this study is identifying the symbols of Mehr (Mithras) in the Parthian drachma coins of Ekbatan mint, to be revealed the religious belief of the rulers of this period. This research has been done in a descriptive-analytical method with an iconographic approach, which is a method of collecting information and data based on library and museum studies. The statistical society consists, two hundred and fifty coins in the repository of the Reza Abbasi Museum were examined and studied. These coins were purchased from individuals and collectors in the years before the 1979 Revolution. The results show, according to Zoroastrian religious texts, the motifs that symbolize Mithras are: Bow, Rosette, Flag, Ring, Bird, Star and Moon. Parthian Kings have used these symbols since the beginning of their reign which is caused by their being warriors and nomads. Symbols of Mithras increase during the reign of Mithradase II to Artabanos II (121 BC- 38 AD), Its probably caused by the increase of their power in the region and from the reign Vologases I to the end of the period, the symbols of Mehr are removed from the drachmas, on the king's hat can be seen deer antler symbol which originates from the nomadic traditions of Central Asia. Considering that Parthian kings were liberal in religious matters. they did not have an official religion but mostly they have used Mehr(Mithra) symbols in the drachmas.

Preventive protection in museums includes all strategies that control the process of destruction of cultural and historical monuments and prevent damage to them. The first step in these activities is the museum pests’ identification so that the pest management program can be used in museums. The purpose of this study was to identify the Niavaran Museum Palace pests and suggest methods for preventing them. Method and Research Design: In this study, insects were examined in three buildings of the Niavaran Museum Palace complex including the Royal Library, Ahmad Shahi Pavilion, and Sahebgharanieh Palace. The study was carried out using a field laboratory method. Insects were collected from all aspects of buildings using brushes and traps. The samples were identified after examination in the laboratory. Findings and  The Niavaran Museum Palace insects belonged to the order Thysanura (having long caudal filaments), the beetles of the family Dermestidae, Ptinidae, and the moth butterflies of the family Tineidae. In order to develop an integrated pest management plan, the current methods of pest control in Niavaran Museum Palace were evaluated and preventive strategies and monitoring programs were presented, so that the use of pesticides is the last option.

Ideology and worldview of societies have noticeable impact on artistic arrays formation.  In Islamic Art, Plant motifs have a special place and they have a large part of the ornamentation. Most of these motifs have symbolic meanings in religious places. Ancient Iranian considered these motifs to be mythological and sacred. These motifs have continued in the Islamic period. Āl-e Būya rise to power alongside Islamic-Shiite ideas witnesses the rise and fall of Sassanian thought in the art of this period. The artwork created in this context reflects the beliefs of the pre-culture era which have become symbolic. Cognitive elements that have formed these insights could be identified by using the iconology method and social study in researches at the same time. The research study seeks to express the concepts hidden in the plant motifs used in the art of the Āl-e Būya era, and the influence of the pre-Islamic thought and art to identify the religious beliefs of this period. The main question of the research is about the quiddity and essence of technical and visual similarities and differences of floral images in the art of early Islam and pre-Islamic art. The question are as follows: what are the most important motifs and subjects transferred from the paintings of the Sassanid period to the architectural works of Āl-e Būya mosque? What factors have led to the transfer of symbols from the Sassanid period to the Āl-e Būya era? The aim of this research is to study and represent Iranian symbols in the emergence of motifs and their application in Islamic art. This article has been done by Descriptive-analytical with a semiotic approach has examined the process of the formation of Islamic motifs. The results indicate that the motifs used in the ornamentation of the Islamic period in Āl-e Būya mosques are influenced by the role of the Sassanid themes so that we can see Iranian attitudes and beliefs in the formation of Plant-Islamic paintings of these mosques. Along with this influence, the formation of Islamic culture has created abstract motifs by a Muslim artist.

Book and documents damaged or contaminated by microorganisms are a serious threat to the health of users and librarians. This research was aimed to identify the different species of fungi in the archive of museums and their effects on manuscripts and also reviewing the possibility of transferring them to employees or vice versa. Method Current research was conducted in a field experiment. First the manuscripts (Aldoa, Resale Haj and Kholase Alfieh) were examined based on the visual effects of the fungal deterioration, then sampling was performed to cultivate and identify fungi under sterile conditions. Sabouraud dextrose agar medium was used for cultivation and finally, after 10 to 14 days, directs smears were prepared from grown colonies, and fungal genera were identified. the fungi were identified based on microscopic and morphological properties. The results of the studies showed that the fungi on the paper works in the archives of the Malek museum include Aspergillus flavus, Cladosporium, Acremonium, Trichophyton schoenleinii and Sterile hyphae, respectively. Aspergillus, Cladosporim and Acremonium fungi are common allergenic fungi which are identified in the libraries and can cause lung allergies in human. So these fungi can be dangerous for people who suffer from tuberculosis or background lung diseases. T.schoenleinii fungus is a pathogenic fungus in humans and is not common in books. This pathogenic fungus can be probably transferred to the manuscript by one of the librarians or a person who has frequently accessed to this book. Sterile hyphae are usually scattered in the surrounding and are not worth diagnosing and pathogenic.

today, the non-destructive geophysical methods such as Magnetometry used to detect the archaeological discoveries without harmful environmental effects that only use natural properties of the subsurface material. The 80 hectares Urartian Bastam Castle is one of three large castles in Urartu in northwestern Iran. Therefore, determining the actual boundaries of the castle can determine its location in the east of the empire. This study aims to better understand Urartian sites using new knowledge and new methods of studying archeology without the slightest interference with the site. Using magnetic methods, the study identified the subsurface structures of the ancient site of Qala-e- Bastam. For this purpose, magnetic data in a rectangular square grid were regularly collected in the desired range and after the necessary corrections of the data, topography and map of magnetic anomalies were prepared. The results show that there are regular and high-density architectural structures in the residential area. Architectural spaces have expanded in a West-East direction and along each other, and large and medium stone pieces with mud mortar have been used in the construction of architectural spaces. On the south side of the lower part of the castle, the remains of ash layers as well as the sidewalk floor can be seen, which indicates the existence of settlement layers in this area of the castle. On the western side of the castle and along the Aghchai River, part of the remnants of the water canal can be seen. This indicates that the people who occupied the castle, used the Aghchai River to provide their water needs. The castle was built by constructing a water canal made of stone and mortar.

Studying the elemental composition of glass objects provide a lot of information about the manufacturing technique, the determination of the raw materials and the pigments were used to create different colors. In this study, 19 samples of glass objects obtained from the archaeological site of Jahangir Dome and Gouriyeh hill were analyzed by the micro-PIXE technique to measure the constituent elements. The Jahangir Dome and Gouriyeh hill are located 50 km northwest of Ilam on either side of the Kangir River. These sites excavated in three seasons by Leyla Khosravi from 2015 to 2017 and layers related to the Sassanid and the Early Islamic periods have been identified.  In the layers of the Sassanid period a considerable amount of glass has been recovered that no comprehensive research has been done on them so far.  The main purpose of this article is to study the glass industry of the Sassanid period and evaluate the raw materials were used in the manufacture of glass artifacts by micro-PIXE technique that followed by questions about the elemental composition of the glasses, identifying and examining sources of silica and flux raw materials, colorant and decolorant agent. The most important questions raised in this reach are:1- What kind of flux materials have been used in the glassware manufacturing process? 2- The colorant and decolorant materials used in the manufacturing process are deliberately added to the bath or are due to the iron oxide and manganese oxide existing in silica raw materials? The micro-PIXE analysis was performed with microprobe system manufactured by Oxford Instruments using the 3 MV Van de Graaff accelerators at the Nuclear Science & Technology Research Institute (NSTRI) in Iran. The samples were analyzed in a vacuum chamber using a beam of 2.5MeV protons focused to a diameter less than 10 μm. The beam current was in the range of 30 to 50 pA. Characteristic X-rays were detected using a Si(Li) detector with an active area of 60 mm2 positioned at an angle of 135◦ relative to the incident beam direction and with an energy resolution of 150 eV for Fe-Kα. The results of elemental composition show, the weight percentages of SiO2 (60-71wt.%), Na2O (11-20wt.%) and CaO (4-8wt.%) have the highest proportion of elemental composition in the samples. Also, the weight percentage of MgO (3-6 wt.%) and K2O (2-5 wt.%) in the analyzed glasses are greater than 1.5wt.%. Therefore, it can be concluded that the glass artifacts of these sites are silica-soda-lime glasses type, which is used the plant ashes as a flux.  Furthermore, wide variations in the weight percentage of SiO2, Na2O, K2O and MgO indicate that silica and flux raw materials obtained from various sources. The comparison of these data by the literature data shows the raw materials used in these sites are different from those were used in glasses excavated in Sassanid sites in Iraq. In addition, the elemental composition of these samples show that Fe2O3 and Cu2O are the colorant agents and MnO has been used as a decolorant element in the samples. However, in Jahangir Dome, these oxides were used unintentionally, but in the Gouriyeh,  MnO is added deliberately to the bath.

Coins are among the most precious material for the study of the economic, political and cultural structure of societies during the different historical periods. Numismatic studies are used as a complementary science for historical studies. So often that, applying the numismatic has been proofed by archaeologists, historians, history of art’s researchers and other related sciences. Although historical sources represent a vague image of Alexander, the plenty of Alexander’s issues give us significant information concerning Alexander and his period. Therefore, his coinage is considered first-hand sources in archaeological and historical researches. Many studies regarding Alexander’s coinage have been published abroad for more than a century. However, Alexander’s coinage studies have some deficiencies in Iran. According to this research, the mints of Alexander’s coinage, based on Alexander’s drachms at Falak-ol-Aflak Museum in Khorram Abad, will be introduced for the first time. 20 drachms were identified in this collection. The descriptive-analytical method is applied at the present study, and the data has collected by library and field studies. Studying weight, legend, symbol, and badge showed Alexander’s drachms at Falak-ol-Aflak Museum were produced in Asia Minor’s mints such as Lampsacus, Abydus, Colophon, Mylasa, Sardes and Magnesia. All of the six mints were considered as the most important mints which were responsible for struck alexander’s drachms. The mints started to produce drachms just several years after the conquest of Alexander in Asia Minor. Issues were minted between 323-297 BC., and are produced from the last year of Alexander’s life to the last battles of his successors. The presence of these coins in Luristan might be related to several reasons such as the political events during these periods especially for the consecutive wars of Alexander’s successors. On the other hand, Alexander’s drachms might through trading arrived in Luristan.
 

Numismatic studies played an important role to detect the political and economic situation of various historical periods, especially when we have a shortage of archaeological materials and ancient sources. Sometimes a coin is all of what we have can transfer the information concerning political, cultural, social and religious situations of the cities. Although many studies of Alexander coinage have been done abroad, our knowledge from Alexander’s issues and his successors’ coinage is scanty in Iran.
23 Alexander’s drachms are at the numismatic collection of Falak-ol-Aflak Museum. All but three were identified. Even if tetradrachms are the majority of coins among the collections of museums in Iran, Khorram Abad collection keeps numerous Alexander’s drachms. Probably this group of Drachms can be considered as the major collection of Alexander drachm in the west of Iran, which is in-depth the richest of any such group of drachm yet reported in Iran. The collection can improve our knowledge regarding Alexander coinage specially drachm issues in Iran. However, the collection has not been studied before.
In this paper will pay to several matters; first, Falak-ol-Aflak Museum in Khorram Abad briefly will be presented. Second, the coinage of Alexander’s time and his successors will be discussed. Third, coins of this research and their mint will be introduced. Forth, the attention will be paid to the reasons of drachm minting at these workshops; and five, finally, the probable reasons for the presence of Alexander’s drachms in Luristan will be examined.
What we are trying to answer in this paper is a range of demands such as: how was the coinage minting during Alexander and his successors periods? Which are the mints that have produced the drachms in this research? What was the reason for striking drachms and what were the mints which produced drachms? And why were these drachms found in Luristan?
Greek and Roman sources, different catalogues and library studies have been used in this research. For the identification of drachms, the main catalogues were utilized such as Alexander’s Drachm Mints I: Sardes and Miletus”, “Alexander’s Drachm Mints II: Lampsacus and Abyadus” by Margaret Thompson, “Five Alexander Hoards in Afyon Museum” by Richard Ashton and “The Coinage in the Name of Alexander the Great and Philip Arrhidaeus” by Robert Price. The inventory numbers of drachms are preserved for the authenticity of drachms. For having easy access to the catalogues, the abbreviations of catalogues have been written in the “Notes” section at the end of this paper. 
Scholars such as Muller, Newell, Mørkholm, Thompson Bellinger and Price had widespread studies on Alexander’s coinage. Their results have been published for more than a century. However, the study of Alexander’s issues and Iran during his period is really poor in Iran.
 
Falak-ol-Aflak Museum, Khorram Abad
Falak-Ol-Aflak Fortress stands a top hill at the center of the city of Khorram Abad. The original building is attributed to the Shapur the First Sasanian Empire, in the third century A.D. (fig.1-2). Important past uses of the fortress included a treasury, the seat of government and a military base and political prison. The fortress constructed in to the first and second courtyards with their different sections. Falak-ol-Aflak Museum is situated in the second yard. It consists of Archaeological and Anthropological sections (Sajjadi & farzin, 2003: 18). 23 drachms of Alexander are kept at the collection of this museum that made this museum as an important collection in Iran,
 

Coinage is one of the significant materials for archaeologists, historians and numismatists. Numismatic studies are applied for the study of societies’ structure in the past. Whenever the archaeological materials are scanty the numismatic evidence play an important role. From the conquest of Alexander to conquer of Parthians is a gap or a dark part of Iran archaeology. Alexander’s issues contain significant information might be considered as vital sources for the historical and archaeological researches. In this research, in accordance with Alexander’s drachms at the museum of Falak-ol-Aflak, the coinage of Alexander had been studied for the first time. The results showed the issues were struck at Asia Minor mints such as Lampsacus, Abydus, Colophon, Mylasa, Sardes and Magnesia. These mints are among the mints were responsible minting the drachms for Alexander and his successors. The issues mainly were struck for paying the soldiers and mercenaries. Drachms were produced from 323 to 297 B.C. the existence of these coins might be in relation to the Cossaeans’ presence in the army of Alexander and later Seleucus’s army. According to Greek and Roman sources, Alexander and Antigonus one-eyed refused to pay “safe road tax” to Cossaeans when they passed from the land of Cossaeans. If we accept it, therefore, these issues could not arrive to this area by receiving the tribute. On the other hand, the drachms may have entered to Luristan though trading with neighbours like the “Greater Media”.

Museums are considered to be the most important sources of cultural, scientific, political, economic, and historical information in the communities for the preservation of historical, natural and national and ethnic cultures, and therefore preserving them is of great importance. The destruction and corruption of museum objects can be due to physical, chemical, biological or external factors that have a damaging effect on these objects. In the meantime, insect storage is of great importance. Unfortunately, if historical objects are infected by pest infestations, they have no chance of being created again, and any damage is irreversible to them. Therefore, the study of damaging factors on properties and items in museums is an integral part of the museum pest. The present study was conducted at the Niavaran Palace Complex, Tehran, Iran, with the aim of identifying pests which damage the museum collections. The insect pests in the three buildings including the private library of Farah Pahlavi, Ahmad Shahi Pavilion and the Sahebqaraniyeh Palace, were studied. Insects were carefully collected from all items in the buildings as well as from the ground using brushes, aspirators, sticky cards and pheromone traps.  The collected insects were transferred to the Entomology Laboratory of Islamic Azad University, Varamin- Pishva branch. Most of the samples belonged to the beetles of the families Bostrychidae, Dermestidae and Ptinidae, and the family of Tineidae. Beetles of Gibbium psylloides, Bostrychidae family and Tineola bisseliella butterflies were first reported from the Niavaran palace complex.

Traditional arts such as plaster, tiling and brickwork are very important in Iranian architecture especially in mosque architecture. With the arrival of Islam in Iran, we have witnessed a great transformation in the form, content and place of the implementation of these arts in architecture, which is the result of the socio-religious context of the societies. Since the advent of Islam in Iran, we have witnessed extensive physical and non-structural changes in the architecture of mosques. Formation of arrays in different historical periods has affected the various factors, including the socio-political context of societies. The present study describes and studies the arrays of the Jameh mosque in Varamin in order to understand the thoughts of Shia religion and the process of changes in its form and content and to examine the effect of social context as one of the factors involved in this transformation.
The questions raised in this study are:- What are the motifs attributed to the Shia religion in the main mosque of Varamin?
2. The social context and historical events of the seventh century. Is it involved in the use of Shi'i arrays in the comprehensive mosque in Varamin?
The goal of this article is the study of designs which their symbolic aspects contain Shiite thinking. The research method is descriptive-analytical and published material is used. According to research finding we conclude on how to change the method of execution (plaster casting and color tiling), the use of natural plant designs in a complex and semantic geometric form, the theme of inscriptions (using Quranic verses, holy names Imams,and Hadiths), and the location of the use of arrays in the interior of the sanctuary to the outer space, and further elaborates and reinforces Shiite thought in calligraphic arrays to emphasize the rule of the time on Shi'a religion.

Kassite was an Iranian ethnic group who lived in Zagros Mountains. Many scholars believe Kassites were inhabitants in Zagros Mountains in Luristan. Probably they were the same Kassites of Babylonia who ruled on Babylonia from the ??th century B.C. to ??th century B.C. The majority of our historical and archaeological knowledge from Kassites back to prehistory. Unfortunately, there is no comprehensive information of this ethnic group in the historical period, especially from ??? to??? BC. Therefore, the lack of written resources from Zagros inhabitants is the main problem for identifying their role during Alexander conquest and Seleucid period. Greek and Roman Sources is all what we have that scanty referred to Cossaeans (Kassites). The aim of this paper is to identify the Cossaeans in Central Zagros Mountains from the Alexander campaign to the Seleucid period and their role in the area during the historical events. Two main questions in this paper will be: According to Greek and Roman sources are Cossaeans the same Kassites in Central Zagros Mountains in prehistory? And what was the role of Cossaeans during wars and historical events? This research is a historical-analytic study; based on Greek and Roman sources and library studies attempt to gather and analysis the information. Probably Kassites in Assyrian and Akkadian documents are Cissians in Greek sources and Cossaeans in Alexander’s historians’ sources. All were famous for their ability to war. They lived in Central Zagros chains. It can be said that Kassites (??th century B.C) in Assyrian documents, Cissia (?th century B.C) in Herodotus writings and Cossaeans (?-?th centuries B.C) in the historians’ texts in the time of Alexander are as several different variants of one and the same name. In addition, Cossaeans were famous for their ability to war. They fought in the side of Achaemenid Empire on the occasion of the battles of Thermopylae and Gaugamela in participate in the battles. Later, they joint to Alexander and Seleucid army as mercenaries, as well.

Archaeology on the way to understanding the culture and civilization of the enormous step used communities are removed and a new spirit in the social sciences and the arts had blown. Archaeological work procedures and methods to achieve the desired results, is significant for the people. So, the best way for folks up archaeology, its relationship with tourism. Especially those interested in intuition and objective discovery are more than the others. With this approach, the best approach to archaeology is its relation to tourism. Tourism has common areas with archaeological knowledge and activities and has been working on the development, preservation, restoration and upgrading of With regard to ecology, it can now be closely linked to cultural tourism and its related fields. This article shows the role of ancient and historical monuments in attracting cultural tourists. Accordingly, the main approach in developing a tourism development plan with the logic of the areas of conservation and monitoring and the rational use of ancient artefacts and attention to the categories of economic, historical and cultural growth factors and the importance of the tourism industry in the regions, which leads to the development of the process of studying and studying the tourism industry.

The study of ancient materials with help of non-destructive techniques is a routine work in international museums. Techniques such as Proton Induced X-Ray Emission (PIXE), X-Ray fluorescence (XRF), and X-Ray Diffraction are being used. Coins show an important role in our cultural heritage and they also have usually high artistic and cultural value. The Sassanid Empire is the name used for the 3rd Iranian dynasty and the second Empire after Median Kingdom. The Sassanid Empire was founded by Ardeshir I in 224 A.D. after the fall of the Arsacid Empire. The Sasanian Empire was one of the most remarkable empire and civilizations of the 1st Millennium A.D. As one of the two great powers of late antiquity, the Sasanian domain eventually encompassed not only the modern day of Iran and Iraq, but also controlled or influenced the greater part of Central Asia, Afghanistan, Turkmenistan, Uzbekistan, Caucasus, Armenia, Georgia and the Near East. Throughout its existence, the Sassanid Empire had been an absolute monarchy. It ended when the last Sassanid king, Yazdegerd III (632-652 A.D.), lost a 14-year struggle to drive out the expanding Islam. Studying the Sasanian coins, we come to know that they brought about a standardization of weights and the minting of coinage which was directed from above and under the control of the imperial administration. One of these standard coins is silver coin (drachma) which in weight was about 4.25 grams. Techniques of investigation such as wavelength dispersive X-ray fluorescence (WDXRF) analysis can be applied non-destructively without sample preparation. A typical WDXRF system consists of an X-ray tube, a specimen support holder, a primary collimator, an analyzing crystal and a tandem detector. The instrument applied for this study is PW 2404 which made by Philips Company. The resulting fluorescence is resolved by a lithium fluoride (LiF) 220 crystal, and detected by a flow counter. The chemical composition of 16 Sasanian silver coins, collected in National Museum of Iran, was studied by using wavelength dispersive X- ray fluorescence. These coins are belonging to different kings such as Pirouz, Belash, Kavad I, Khosrow I, Hormuz IV, Khosrow II, and Ardeshir III. The metals such as Fe, Cu, Au, and Pb in addition to Ag were observed. The elemental analysis provides information about the economic and political conditions of interested kings. Two type of silver mines were used, galena and cerussite. The cupellation, which is applying for exploration of Galena after oxidation of Pb and Zn, may lead to obtain Ag. Since Au has not been separated from mines, its amount remains the same with coins. In two coins the amount of silver goes down. One of the studied coins belongs to Kavad I and another one belongs to Khosrow II. It may be related to weakness of these kings in short period and they had to increase the amount of Cu for a period of time. If we look at Istakhr and Ardeshir khoreh mint houses, we will find even more. Pirouz, Kavad I, Khosrow II, and Ardeshir III were using Istakhr mint house. The content of silver was remain constant about 96 percent, except in the case of Khosrow II, which became 92 % and still it was good amount among Khosrau II coins. The same thing can be seen for Ardeshir khoreh mint house i.e. Pirouz and Kavad I struck coins with 95 percent silver, but Belash struck coins with 90 percent silver. Since Belash was not a powerful king, and he ruled only four years and therefore the observations confirm the historical evidences. It seems that the silver used in all the Sasanian silver coins, which had been minted in different mint houses, have been extracted from cerussite (PbCO3) mines. In the same mint house, different percentage of silver was observed which might reflect the debasement of coins due to instability and weakness of related kings.

Methods for studying and analyzing images are important in art studies and art history. Iconography as a non-historical approach in its analyzes, places emphasis on the elements of the form that are placed against content elements. The shape as the external representation of an art leads the audience to an understanding of the concept or meaning implied in it and is the gateway to the content. Painting as a decorative element in monuments and manuscripts has always been of great importance for the transmission of social, cultural and political messages. After the Seljuq's influence in the Abbasid court, there were significant changes in the style of the book design. The result of this influence is the creation of images of some Arabic versions influenced by Iranian and Central Asian works in the Abbasi's writing book. In this paper, by using images of manuscripts in the Baghdad school, a case study of the Varaqe and Golshah treatise with semiotic science is analyzed. The study initially introduced Baghdad schooling. Then, with the emphasis on painting semantics, we find that there is a link between the Arabic and Sassanian illustrations that have played a significant role in shaping the works of the Baghdad school.