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 Bahar Danesh is one of the folk and ancient Indian legends, written by Inayatullah Kanabwe Lahori (1088A.H.), it is a joint chapter of folk and literary stories in the style of Indian storytelling and stories within stories. Transfiguration (human to human, human to animal, human to illusory beings, animal to animal, etc.) is one of the recurring themes in the stories of this book, with themes such as shape-shifting, spells and magic, incarnation in a state of change. The form, the awareness of the science of taking off the body and transferring the soul from one body to another is evident throughout the space of stories. The cultural diversity of the vast field of ritual literature in India has led to the discovery of rich collections of folk tales in which the occurrence of extraordinary things is a common thing; Therefore, in legends, we are faced with creatures that suddenly change, metamorphose, do things beyond the natural power of man and reveal the unattainable hopes of the mass of Indian people like a mirror. Various types of personification in Bahar Danesh folk tales have been done with the purpose of analyzing and analyzing the function.

 This research was carried out in a descriptive-analytical way and based on the theoretical framework of the research and using the method of collecting information in a library.

 The types of transformation in the folk tales of Bahar Danesh include a wide range of transformation of humans, animals, divan, fairies and their actions and speech, especially in those types where the elements of imagination and illusion are mixed together, it presents the idea of transformation of humans, an approach towards capacities Ghani"s imagination can be imagined in contrast with natural phenomena.

 In the tales of Bahar Danesh, a large part of mythological beliefs, belief in dissolution and reincarnation, traces of Vedic religion, magical powers of the lord of knowledge and Indian Brahmins in their folk narratives in Persian language have been reflected in it.

The history of ancient Indian literature, the diversity of cultures and religious kinds of literature in India have led to the emergence of complex, rich, and voluminous collections of mythical stories. many of which have been transmitted orally for thousands of years. On the other hand, most Indian mythology, exists only at the rural level and oral culture, which must be recorded. These myths are also ancient, and popular traditions and folk myths, and many of them are the myths that make up the bulk of today's gods in India. In addition, the occurrence of extraordinary things in myths and legends are common and fundamental. Therefore, we encounter creatures that suddenly change from solid to animal, from animal to human, and from human to angels, transform and eventually and doing things that are beyond the natural and innate limits of man. For this reason, it seems that these configurations have been created and addressed as a mirror of the aspirations and unattainable aspirations of those people. this study is to investigate and analyze the functioning of various forms of reincarnation in Indian myths and legends, which are human, animal, angelic, God, divan, fairy and even speech and metamorphosis. Includes them.

India because of its unique features like the, Natural resources, Geopolitical location, Cultural diversity and historical experiences, it is very important for every observer and researcher. Indian society is a picture of heterogeneity and conflict of desires, The tendencies of religions and cultures. Followers of all religions and groups, including Muslims, play a major role in the structure of India. Characters such as Dr. Zaker Hossein, Fakhruddin Ali Ahmad and Abu Bakr Zin al-Abedin Abdul Kalam has held the presidency of India at various times Sectarian clashes between Muslims and Hindus intensified with the rise to power of the Narendra Modi Hindu National Party led by Narendra Modi in 2014. These atrocities and killings undermine India's reputation as the world's largest democracy and raise serious questions about the state of democracy. The results of this research, In answer to the question, what are the causes of violence of extremist groups against Indian Muslims? It shows that what has disrupted the interaction between Muslims and extremist groups in Indian society is, on the one hand, the economic, social and religious inequalities within Indian society, and, on the other hand, the involvement of external factors in fomenting these differences. This study uses descriptive-analytical method and by collecting library documents to investigate the various causes of violence in India.

Bustan-e- Khayal is one of the most valuable and longest fiction texts in Persian folk literature which was written in the land of India in the style of storytellers in the twelfth century by Mir Mohammad Taqi Jafari Hosseini Ahmadabadi. A story mixed with truth and myth, semi-historical and fiction that so far not corrected and published. This article by research-descriptive method introduces this long Persian story which is based on the history of the Fatimid caliphs of Egypt and the Ismaili Shiites. The findings of the article indicate the empirical confirmation of some of the author's narrations about the Fatimid caliphs are based on historical sources, but in some cases, historical differences were also observed. In the field of story structure, the amazing motifs of magic, sorcery, and fairies with a lot of repetition make the atmosphere of the story very imaginative, and religious motifs play a role in moving the story forward. Linguistically, this story is full of Arabic, Hindi, Turkish and Mongolian words, and the author is well aware of the proverbs and poems of Persian poets. The use of Quranic verses and hadiths can be seen everywhere in this story.

The beginning of the introduction of the Dari Persian language to India is during Sultan Mahmud's campaign to the Indian subcontinent. Since the Ghaznavid Turks were Persian-speaking and their counterparts in the Ghorian era, the Tajiks, were also Persian-speaking, the Persian language opened its way in India and in the depth of its culture, and became the only language of communication, language of understanding, language of education and university language of India.This descriptive and analytical research sought to explain why the Dari Persian language spread in India and concluded that this language found a special place in the scope of Indian literature after the arrival of Mahmoud Ghaznavi to India and this land became a great center for the publication of Dari Persian language works. The study of Indian literature and philosophy attracted Abu Rihan Al-Biruni, who had entered India with Sultan Mahmud, and authored the research books of Mallahnd, Athar al-Baqiyyah and Al-Tafhim Lawael Sanaaat Tanjim. Sultan Mahmud from the year 416-392 AH. He traveled to India seventeen times, and every time many scientists, poets and writers such as Eleni Balkhi, Farrokhi Sistani, etc. were with him. Because the sultan liked the Dari Persian language, the poets and writers of this language in India gathered at his court. From that date onwards, the Dari Persian language spread in India and the literary and cultural centers were transferred from Khorasan to India.

Sadegh Hedayat’s cultural modernism formulates an enlightened subjectivity, which founts the historical sociology’s experience of modernity in Iran. His literary experience conceptually differentiates Erziehung and Bildung. For him, a critical encounter with ideology forms Bildung, while Erziehung is subtle thinking informed by an encounter with an-other. Debilitating the sensorial paradigm of Iranian modernity is a social action that is only possible through a decoding of its temporality, all of which explains the chaotic narrative form of The Blind Owl. Investigating Hedayat’s experience is only possible through the non-I and other realisations in The Blind Owl. By suspending the ideological representations and mental structures, Hedayat represents a waned reality. In The Blind Owl, attention to places, recollection of memories, and dynamic forces that affect subjectivity and inform a migrative nurture. The Blind Owl is the structured explication of the chaotic experience of modernity in Iran. It is the roadmap of a heterotopia which leads to India, or an other within the self – as a promise.

The family is the first, most important and most blessed social institution in the history of human culture and civilization. Considering the importance of the family institution in societies and considering the cultural and social commonalities between Iran and India. The present study examines the Characteristics of the family institution in India and identifies its commonalities and differences in these two countries. The data of this research work were collected by comparative descriptive method using experimental observation technique (according to the study and six-year life of researchers in India) and the use of secondary data (documentary method). Given the multiplicity of religions and cultures and cultural pluralism in India, the data of this study were only related to Hindu families in the southern Indian state of Karnataka. The outcome of this paper showed that there are many similarities and commonalities in the family institution in Iran and India such as the importance of family formation, sexual regulation, monogamy, family orientation, respect for the elderly, tendency to have children, low employment of women, female illiteracy and differences such as low divorce rates, Populism, violence against women and high abortion rates. The result of the present study was that in these two societies, the family is a natural and basic element of society and as one of the three institutions, structuring the social system of the society (family institution, religion institution and government institution) is centralized in organizing human and social life.

Over the centuries, Iranians' clothing, which consists of different parts, has attracted the attention of the world. Indian clothing also has an irrefutable variety and beauty. Between the fifteenth and eighteenth centuries, various groups including scholars, artists, Sufis, and merchants from Iran came to India and brought about positive developments in various fields including the spread of science, culture, and art. Among Iranians who joined India in a group, Gilani immigrants were appointed to key posts. The research has tried to address only one region in each country that has long-standing garments and features of proximity to ancient women's apparel. Also, by studying clothing and then identifying common elements between Gilani and Rajasthani garments during the fifteenth and eighteenth common garments of centuries, these two regions has been analyzed. The present study is a descriptive-analytic study of the women of Gilan and women in Rajasthan. The Information obtained shows that there are many similarities in their garments including clothing and clothing accessories. One of the main reasons is the presence of Iranians, especially Gilani people in the Indian court, and the spread of Iranian culture in those centuries.

The cultural heritage of the ancient lands of India and China makes up an important part of Buddhist culture. Buddhism is a most important religious current in these lands, which has had a deep impact on the Indian and Chinese art. Mixing the common artistic foundations of these two civilizations with the Buddhist ideas, manifested in the cave-temples of Ajanta and Dun Huang, raises the question: What effect did the Indian and Chinese artistic foundations have on the structure and the common themes left in the painting of these caves? Developed in a descriptive-analytical way and based on library sources, this research has investigated this subject. The result although there is a similarity between the common themes in the Buddhist paintings, but Chinese artists, relying on the ancient culture and intellectual foundations of their land, have transformed Artistic methods and have added to the richness of Buddhist culture and religion.

Since it is the common experience of a large number of the continent population, Buddhism has a unique place in the history of Asian religions. One of the success keys of Buddhism is its ability to adjust to the beliefs of the people of different lands, which, in harmony with ancient cultures, has opened up new perspectives on life for them. The demonstration of this kind of religious attitude throughout these places has been complemented by the invention of numerous works of art. The land of China is one of the areas that was intensely affected by the introduction of Buddhism. The arrival of Buddhist traditions in this ancient land opened new possibilities for Chinese artistic culture. In sculpture, the Chinese adopted Buddhist iconography and adapted it to their belief system, but Indian Buddhist temples were imitated in China. The Dunhuang stone temples at Gansu are among the works inspired by the Ajanta Buddhist caves in India. The murals of these temples are among the most magnificent works of art of the Indo-Chinese civilizations, which can be considered a manifestation of Buddhist beliefs and philosophical thought prevalent in these areas. The influence of Buddhist teachings on the formation of the murals of the caves of Ajanta and Dunhuang, along with the common ideological foundations in these lands, raises the following questions:What has been the effect of the common artistic principles in the lands of India and China on the common structure and themes in the painting of Ajanta and Dunhuang caves?
What themes are most prominent in Buddhist paintings of the Ajanta and Dunhuang caves?
This study aims to help better understand some of the cultural and artistic relations of these civilizations from studying the common Buddhist paintings in the two civilizations of India and China.

The research method is descriptive-analytical; data collection has been done via library resources and documents. This study deals with Buddhist paintings of Ajanta caves in India and Dunhuang in China. Examples are scrutinized from available publications in this field, such as Art, Religion, and Politics in Medieval China (Qiang, 2004), and online sites such as Pinterest (pinterest.com). Among the collected samples, in agreement with the content and volume of the article, the image of some of them is included in the text. Gaining acquaintance about how the illustrations are done in these works has been made by referring to historical sources.

The fundamentals of Indian art can be found in the Hindu intellectual systems (Darŝana). “Yoga” is one of these treasures (Rikhtegaran, 2009: 11). Art, regarding the rituals performed in the path of its emergence and the works and results obtained from it, is considered a “devotional act.” The presence of the three main pillars of worship (Sadana), remembrance (Mantarm), and “meditation” (Dhyana), before the creation of the work of art, make it a sacred truth. The artists are ready to receive the “divine images” (Devata) by passing these steps. Based on these artistic instructions, the artist must understand the sources by which the gods are inspired, namely the Vedic chants (Mantras). In this intellectual approach, the creation of art as a devotional practice and the special characteristics of the artist is emphasized. This intellectual approach has been extensively reflected in the illustration of the cave temples of Ajanta. The subject matter of these paintings is very different and is mainly about the previous lives of the Buddha. The depiction of heaven as man's idyllic destination and the first place of the Buddha is one of the favorite subjects of Buddhist artists. Along with the portrayal of sacred spaces, Buddhist artists sought to achieve perfection through the embodiment of the supreme human essence, which they believed was manifested in the person of the Buddha. In its historical course towards China, this art spread with similar themes, but the key difference is the influence of the intellectual foundations of China in the creation of the paintings of the cave temples of Dunhuang. The intellectual foundations, practices, and way of life in traditional China are the teachings of Confucius, Laozi, and Buddha. Prevalent artistic practices in China also influenced the mainstream of thought in the land, and Buddhist art evolved on the intellectual achievements of the Confucian and Daoist religions. Indian Buddhist painting traditions helped the Chinese a lot in terms of composition techniques.

Investigating the basics of art and painting in the caves of Ajanta and Dunhuang suggests that: There are many similarities between the common Buddhist paintings in the caves of Ajanta and the paintings of the temples of Dunhuang in terms of theme and style of performance. Chinese artists borrowed their artistic themes directly from Indian Buddhist art, although some have changed. Reflection on the common artistic principles in these two lands also indicates a direct relationship between religious values and the common intellectual principles in the land of India as the origin of Buddhism and the common artistic principles in the land of China. The prominence of humanizing the mind and spiritual powers for gaining peace is one of the issues that both cultures have highlighted. In both civilizations, art is considered a kind of wisdom, and engaging in monastic practices is one of the most significant ways to understand the truth, which results in the arousal of a kind of intuition that the artist manifests in the work of art. In a way, it can be said that the Buddhist spirituality depicted in Ajanta's paintings merged with ancient Chinese wisdom in its expansion and continued with greater richness in Dunhuang paintings. In terms of content, such things as heaven and the ideal human being are the central themes of most of the paintings, and the artist's efforts have often been focused on exalting the myrtle statues to convey the teachings of the Buddha.

Medicine and philosophy are two branches of science that have been associated since the beginning of the presence; an accompaniment that began in both sciences under the influence of the way of thinking or policy of the earlier civilizations in a preliminary form and continued passing through many ups and downs until the present time. This feature was more prominent in Iranian-Islamic medicine due to the impressionability out of ancient civilizations, especially Greece, or the political and social conditions, which brought together philosophers and experts in the rational and medicine sciences due to the coercion in those periods at a piece of time and place and its result was a legacy that lost its former glory with the Mongol invasion, the policies of the Safavid Era and its consequences, but its sparks remained enlightened in the works of Iranian-Islamic scientists, physicians and experts, who immigrated to India. Among these works, we can mention the book "Treatments of DaraShokouhi" by Noureddine Hakim Ein al-Mulk Shirazi, which owes the medicine mixed with the ancient philosophy and a combination of Indian medicine.The present research, which has been prepared and compiled in a descriptive-analytical manner using library sources, attempts to investigate the philosophical chapters in the medical book of Treatments of DaraShokouhi while mentioning some aspects of the alignment of medicine and philosophy.

In the nineteenth century, the European governments competed in the Indian subcontinent, the developments were wonders. The center of developments that transformed the fate of the eastern regions of the Iranian plateau. The French-Russian competition with Britain and the attempt to reach India led the British to take control of Baluchistan by adopting a policy of forming governments and segregating areas of Iran and Afghanistan. The central Iranian government sought to restore and consolidate its weakened power by expanding its influence in Baluchistan, which was an obstacle to the achievement of British objectives. The purpose of this article is to examine the history of political and social developments in the southeastern Iranian border and to study the role of Engels's strategies in India and the separation of Baluchistan in the Qajar era. The method of research is based on the method of historical research and in the form of documents and libraries. This study shows that British and European competitors ' goals and policies have been preserved in the east of Iran in the eastern Iranian region, and its rich resources and interests are in India's strategic subcontinent and increased influence in the area.

Although it is not possible correctly to determine the date of the initial entry of Shiites into India, but the historical roots of the expansion of Shiism in India should be considered as the migration of some Iranians. Although these migrations existed before the Mongol invasion of Iran, they increased further after the Mongol invasion due to problems in Iran. After the Mongol invasion, different Shiite governments, such as dynasties of qutbShahis, the NizamShahis, Bahmanis and adilShahis, were formed in India. Iranian emigrant scholars played an important role in forming these governments and in the economic, cultural and international military arena. Also, along with political and governmental activities, they played a role in socio-economic and cultural activities of the community as well as the guidance of the people. The main issue of this study is to examine the performance of Iranian immigrants in the economic and social administrative, political, and social scale of the Shiite regimes in India. Also, we have tried to study spread of Shiism in India and the causes of turning Indian governments into Shiism.

Today, India has become an influential power in the international system. The industry and the growing economy and diverse - big democracy, have made the image of India based on global objects. Indian cinema (Bollywood) is one of the most important and influential factors in the structure of Indian national identity, as well as the perception of India's global image and its branding in international environment. The study aims to researching on role of Bollywood in the construction and reconstruction of India's image and Indian nation branding. The paper methodology is descriptive-analytical method based on library and media resources. Therefore, the main question of this paper is what is the role of the Bollywood in India's making image and positive perception of India's nation branding in international system? The paper first conceptualizes the meanings of nation branding and then in response to the main question, this paper emphasizes that the Bollywood with the updated tools, has played an important role in spreading the positive perception of India's nation branding and increasing its popularity around the world by the construction of Indian national identity, the expansion of the attractiveness of the foundations of national identity and the cultural-political existence of India

Allegory is one of the most important elements of imagination in which it is often used in the Indian style. Early poets of Persian poetry also benefited from it. Further, it is necessary to study the works of each poet from this viewpoint by taking into consideration of allegory and its various functions in a Literally work. In this regard, some previous literary works are considered in terms of allegory, however, Amir Khosrow`s works has not taken any consideration. This research investigates to answer this research question: What is the function of allegory in in Amir Khosrow Dehlavi 's Masnavi: Nuh Sipihr? The aim of this research is to illustrate Amir Khosrow Dehlavi 's Masnavi: Nuh Sipihr as a creative and unknown work from the lens of allegory. Therefore, the brilliant work of Amir Khosrow which is a treasure trove of allegories taken from the Islamic culture, Iranian, and Indian culture. This work is a collection of new compositions as well as an encyclopedia of musical terms, contents and compositions. Specifically, a printed and corrected version of book is not availabl. Therefore, it is necessary to study this work carefully in the lens of allegory function . This is an attempt, in fact, to bring to light Khosrow Dehlavi 's marvelous experiment in the thought which is as good a piece of cultural history of Medieval India, as it is of Persian literature. The approach and methodology of this research is library research and analytical-descriptive.

A myth has always changed since it was created. This change is repeated in different nations, specially in Iran & India. Using a descriptive-comparative method based on structural analysis. This study aims to show that in spite of similarities between myths in Iran & India there are different distinguishing aspects too. The changes can have different types such as breaking into water, fire, a terminator & a hero. Some myths have divine positions but they break too. This breaking can also be seen in myth with are not myth-god. In fact breaking in Iranian myths is the repeat of breaking Indian myths; but it causes Iranian & Indian myths getting for away. When Indian myths break, they don't stop. This non-stationary can be seen in Iranian myths too. Breaking in Indian myths has caused some of them play an opposite role & this is not be seen in Iranian myths.

One of the most important parts of folklore or folk elements is cultural customs and traditions, a subject that can be carefully observed in the individual and social behavior of people in a society, its signs can be seen and their impact on life can be understood. The experience of these cultural elements and coexistence with them has been influential in the minds and tongues of poets and has been used in various periods to create new themes. Azad Belgrami is one of the Persian poets of India that Islamic and Indian cultural customs and traditions has a significant presence and emergence in his poems. Therefore, the present article seeks to examine the topic of etiquette and customs, which has the highest frequency in Belgrami poetry, in a descriptive-analytical way and to answer the question that cultural customs and traditions in the Belgrami lyric are native to the Indian people. Or has it been influenced by Islamic or Iranian culture? The results show that some customs and traditions, including Hindu women’s beauty spot, burning and Pan chewing, are specific and native to the Indian people, But the highest frequency is related to that The poet is influenced by Islamic and Iranian Culture Including the etiquette of hospitality, mourning and religious festivals - which are also very common in his poetry, and it seems that Belgradmi's religious interests and a lot of attention to religious traditions, have neglected him to pay more attention to India's national and happy customs.

India's quest to become a world-class developed economic power has enabled India to take an active approach in its economic diplomacy, as part of India's continued economic growth and development depends on its economic diplomacy. So India needs to set clear priorities for its economic diplomacy. This paper examines the priorities of India's economic diplomacy in order to sustain India's economic development and how these priorities have an impact on India's economic relations with Iran. The research method used in this study is descriptive-analytical and data gathering is documentary. The conceptual framework used in this research is economic diplomacy. The results show that India's most important economic diplomacy priorities are energy security, facilitation of flow of goods and services, attracting foreign direct investment and communication and utilization of overseas Indian labor force, and India to fulfill some of these priorities including Energy security and increased trade and facilitating transit of goods require cooperation with Iran.

The sacrifice is a form of ritual sacrifice and one of the forms of worship that have deviated from their fundamental purposes at times until individuals have sacrificed themselves. The three civilizations of India, Iran, and Mesopotamia have long had many cultural ties and have been influenced by each other; one of these is human sacrifice. This paper tries to study the human sacrifice in these three cultures in a descriptive-analytical way and according to the theories of the ritual of sacrifice. And to answer the questions of when human sacrifice was performed in the mentioned civilizations and if so, in what ways has this effect been shown? The findings show that human sacrifice was often performed in special religious ceremonies and on sensitive occasions in order to reproduce nature and restore it. In Mesopotamia and India, due to the vastness and cultural differences of the region, human sacrifice was more common. The three civilizations mentioned in the rituals of passing through fire have influenced the privileges of alternative sacrifices and the exile of mythical characters (to the underworld). In the analyzes performed in the fertility sections, Fraser and Taylor's theories; the sacrifice for the idol, Taylor and Boyce's theories; Burning and symbolic sacrifices, freezer theories, and Taylor are more commonly used.

Today, the widespread use ofindigenous handicrafts incommunities shows that the profitability and effective interaction of goods and services with the customer depend on the establishment of a relationshipas a conceptualized content of form and the use of indigenous materials. The present study intends to use the sustainability of the Indian handlooms in the design process of modern products by examining the role of indigenous Indian handloomsin creating sustainable patterns. The main research question is about the role of the formation and production patterns of Indian traditional handlooms in the principles of sustainable design. The research method in this research is descriptive-analytic and case studies are used to make conclusions and generalizethe results to similar samples in the industry. The results of this study show that the revival of the design and production process oftraditional handloomshas been used to reproduce the products of the present day and has been effective in the sustainable design of modern products. Moreover, these products have been accepted by the customer and as a result, have been able to provideadvantagesfor the industry owners.

Tragedy Show (Ta'zieh) is a ritual that has its origin in religious traditions. This show is of an Islamic appearance but its origin is Iranian and represents a mythical and ritual heritage of Persia. The feature of this show is that it combines clarity and flexibility with universal truths and by singularization of Folk Art lifts off the border between the viewer and the actor and in this way the viewer becomes part of the show. In the cultures of Iran and India and in mythological literature, mourning ceremonies are held for commemoration of the elites and heroes and the description of some of them has been offered in poetry and prose. The current essay aims at studying the methods of holding the tragedy shows in Iran and India and its influence on the revival of Ashura themes and rituals. The research question: Which practice methods have been used for holding tragedy shows in Iran and India? The expansion of Shiism in India owes to the ceremonies of commemoration of the tragic martyrdom of Imam Hossein. Upon the arrival of Islam to India through the Newly Converted Persia (Muslim Iran), part of the rituals and ceremonies of mourning particularly the tragedy show (Taziah) and Ashura screen shows made their ways to this land.

This study has been conducted using descriptive method and in some cases the method of analysis has also been used. The data have been collected through library studies and based on the books and authentic websites.

Mourning for the tragedies of Imam Hossein and his household and companions in the event of Ashura has led to the creation of a tragedy show called Taziah. This tragedy show has its roots in various thematic fields: religion, history, literature, anthropology, psychology, sociology. However, what is reflected more in this tragedy show is its religious notion, literary method and poems, musical aspects and songs in the form of a show. In this type of popular performance, the viewer is himself an actor and persuades others to show their emotional reactions. The performance of Taziah tragedy show in every place including city or village is easily possible in a special site in every season be it winter or summer and with any number of performers. This show has its own specific tools, apparatus and methods and for its performance, time, space, nearness and distance lose their meaning. Ta'zieh as a term has a different meaning in India and it does not refer to a theatre or drama performed on the scene rather it represents a real theme, i.e. limited recreation of the tomb of Imam Hossein. This symbolic tomb is carried on the shoulders of mourners in the mourning gatherings in Moharram with various arrangements that remind the events of Karbala. Tragedy show of Ta'zieh was first arranged by Timur the Lame in India. In India, city of Lanco is the main center of mourning for Imam Hossein. This ceremony emerged during the reign of Oudh Kings. In India the performers of the mourning rituals are called “Mourner” and the performance itself is referred to as “pilgrimage”. Pilgrimage, on the one hand, is a combination of the performance of the event of the martyrdom of Imam Hossein and on the other hand, narration of the historical events, majorly religious historical events by a narrator. Today, after several years, Ta'zieh has turned to a fine art in India. These tragedy shows vary in view of their design and size and every city has its own narrative. Two types of tragedy show are used in Indian Subcontinent. One is the temporal and the other is permanent. Permanent tragedy shows are usually called “Shrine”. These shows are held in places called “Imam Bareh”, “Ta'zieh House” or “Ashura House” and people pay visit to these places. Every old great “Imam Bareh” has its own specific Shrine or Ta'zieh. Recitation of the events of Karbala is one of those ceremonies that are related to Ta'zieh and include part of its performative texts and is recited in commemoration of the Imams and their progeny. This expressive method (recitation of the tragic events of Karbala) has a close relationship with the tragic mourning of the mythological culture that has gradually made its way into the Shia mourning culture. The most important book concerning the tragedies and passions of Imam Hossein has been authored by Hossein Waez Kashefi in 1051 H. entitled “Rawzah Al Shuhada” [Commemoration of Martyrs] or “Paradise of Martyrs”. This work is a tragic description of the martyrdom of Imam Hossein in Karbala and also the passions of other Shia martyrs. This book led to the emergence of a new type of recitation of the events of Karbala. Two and half centuries later, thanks to this work, lyric poems and the texts of Ta'zieh shows were combined. Indian Shia Muslims under the influence of the method of the mourning in Iran and particularly due to their familiarity with Persian wrote beautiful poems. The ceremony of recitation of the tragedies of Imam Hossein made its way from Iran into India. These rituals were first held in Persian language. The religious scholars (clerics), merchants, artists and poets sometimes migrated from Iran to India and chose the latter as their hometown. This caused the Muslim Indians to be influenced by the culture and method of mourning of Iranians.

 Taziah as one of the greatest performative ceremonies has served as an expression of the religious emotions and rituals in Iran and India. The origin of these popular mourning ceremonies in commemoration of Imam Hossein and his Household is to be traced back to the passions of the events of Ashura. Ta'zieh as a tragedy show in Iran has been held in the form of a mourning show which is a combination of artistic and literary elements including Imam Hossein show, mourning ceremony, music, song, painting and etc. this form of Ta'zieh through cultural and commercial relations and communications of the Iranian Shia immigrants in past centuries has influenced Indian Muslims and Shia in particular. The Indian Muslims have also modified these rituals and ceremonial shows and indigenized them and perform them every year. Ta'zieh in India is not just limited to ritual performance rather it also refers to small shrines carried like coffins by the mourners and its reason can be sought for in the distance of the Indians from Karbala and the Holy Shrine of Imam Hossein. These shrines along with other sacred items are kept within buildings called “Imam Bareh” which are similar to Imamzadeh in Iran. This can also be considered as a type of simulation of the shrines and holy tombs of the Imams and their progeny.