There is always a spiritual & intellectual power in Persian art which connects our world with supernatural world. Our deeds will be evaluated in the presence of GOD by angels or Angles’ patterns coming from the other Persian archetype that had intellectual power and we named it: Farvahr. This research is tries to find and analyze the roots of angel shapes in the form of Farvahr archetype, with the help of holy Verses & religious stories as document for proving the reason for its human shape with two wings

There is a spiritual & intellectual power in Persian carpets which connects to the terrestrial world. Plant patterns that make gardens not only symbolize paradise in the heart of carpets; but also the patterns in the borders which sometimes are decorated by angels represent the spiritual world. Maybe the position of angels indicates the initial stage before paradise gate (in the middle of the carpet) and Judgment Day, which our acts will be evaluated by angels and God will visit us, or it comes from other Persian archetype that has intellectual power, known as Farvahr. This research is tried to find and analyze roots of the angel shape by the form of Farvahr archetype, and we use holy Verses and religious stories as documents for proving the cause of its human shape with two wings. Writers try to prove that the Angel pattern is connected conceptually with the symbol of Farvahr.

Some basic concepts such as the Ideas and farvahar hold a particular and precious place in Plato’s philosophy and the Zoroastrian religion. In Plato’s philosophy, the doctrine of Ideas introduces the origin of the forms of the material world through explaining the concept of being. Similarly, in the Zoroastrian worldview, the creation of the forms of this world has been considered to depend on their spiritual forms (farvahar). Because of certain similarities between these two key concepts, some believe that Plato modeled Zoroaster’s teachings and maintain that the doctrine of Ideas is indeed a Zoroastrian doctrine. This paper aims to verify this claim by comparing these two concepts and checking the differences and similarities between them in terms of their characteristics and functions. Apparently, the differences between them are too great to allow the easy acceptance of the modeling theory.

The oldest written materials existing in India belong to the Vedic Aryans. It is within these works that Samasāra doctrine appears for the first time. Having lived with the indigenous people for some time, Aryan people adopted certain religious themes assimilating them into their own belief system, or substituting them for the parallel beliefs of their own culture; among those beliefs, doctrines of Fravahar, Totemism (kinship of humans with plants) and ancestor worship are plays the most part. These doctrines when  is penetrated into India are merged with the ideas of incarnation and embodiment of the gods (which are themselves rooted in Mesopotamian and Middle Eastern traditions) and the belief in totemism and are ultimately manifested as Samsāra doctrine. In this way, Gods like Viṣnu, that is closest to Samasāra, have somehow been substituted for the Arian Mithra which is most closely linked to Fravahar (manifestation) doctrine. Although Samsāra was openly expressed in Upaniṣads, there is some evidence in Vedas of the return of the soul indicating an earlier belief in Samsāra in the period before writing of Upaniṣads.

The concept of perfect nature (ṭabā ‘tāmm) has been derived from a Hermetic anecdote and, according to Illuminationists, is among nūrī (luminous) and archetypal truths. The union of the soul and archetype (intellect) is possible through purification, asceticism, and liberation from intermediate and immaterial worlds. This view, which was also shared by Abu’l-Brakāt al-Baghdādī and some others before Suhrawardī, was explained and interpreted by Mullā Ṣadrā and his students. Mullā Ṣadrā believed that perfect nature is a single intellectual form and the highest level of Man’s existence which enjoys the highest degree of immateriality. He called this level the “Holy Spirit” and emphasized that there is no difference between the soul and perfect nature and, basically, the whole identity of the human soil originates in their perfect nature. Although perfect nature is closely related to Hermetic teachings, one cannot ignore its Khosravani roots. In Mazdayasnan teachings, reference has been made to the states and modes of the soul, the most supreme of which is Fravashī or Farvahar. Fravashī is the heavenly essence or an aspect of Mīnuy-e Xerad (or spirit of wisdom) which reveals itself to ascetics and teaches them religious principles. In the present paper, after examining the views of Islamic philosophers regarding perfect nature, the authors have tried to demonstrate that this concept is rooted in the pre-eternal essence of wisdom, which, in conformity with Suhrawardī’s etymology of both Eastern (Khosravani) and Western (Hermetic) branches of philosophy, is among the most fundamental principles of epistemology. In fact, in order to attain his own illuminationist purpose, which is to revive the pre-eternal substance through posing the concept of perfect nature, Suhrawardī has brought Khosravani and Hermetic philosophies together. Mullā Ṣadrā has also advocated him in this regard.

jewelry art along with other arts of the Achaemenid era represent the glory of Cyrus the Great and his successors' empire. Motifs and symbols engraved on jewelry and accessories of the Achaemenid era,are actually a representation of  thehistory of ancient  Persian beliefs that can be summarized in the form of art of the Achaemenid era. The use of this symbolic meanings in the art of jewelry in this period was influenced by culture, religion and mythology of previous periods as well as neighboring areas.  The aim of this study was to identify and study some mythological symbols and concepts that are prominent in the art of jewelry and accessories used in the Achaemenid era.

This article reviews motifs engraved on artwork samples, such as bracelets, necklaces and earrings at the Museum of Great Britain, Miho, Boston and the Louvre, showed that the beliefs of that era are well reflected in the form of symbolic meanings in the art of that period, especially in Jewelry. The evidence behind this claim is numerous motifs and symbolic concepts that can be seen repetitively in the Achaemenid art, including the use of Griffin, that is a legandary creature, on bracelets or armbands, the use of Forouhar in necklaces and earrings and the representation of the god Bes on earrings.

During the Achaemenid period, there was prosperity, especially in the court centers. This confirms the historical sources of ancient times and to some extent archaeological discoveries. However, there is not too many jewels form this period. The most important collections from Iran are a treasure trove inside a jug of water that was found near one of the Pasargad granges. There are also jewels in Achaemenid  art. For example, in Persepolis, glazed brick frame of Susa palace, the statue of Darius in Susa and the statue of Potahotep, treasurer of Egypt  under Darius Ι, that pictured in Iranian dress. The statue is now held at the Brooklyn museum.
Through excellent quality inlaid glittering ornamentation, the feature of Achaemenid jewelry is characterized. In this style, jewels are all decorated in different colors with pieces of precious stones, glass, ceramics and maybe enamel (Koch, 2008, 255-256).
The period of glamorous ornamentation in Achaemenid jewelry is seen in bracelets, earrings, necklaces and array of dresses (Curtis & Talis, 2012, 130).
The bracelets are usually with the animal's head at the end, that were very common during the Achaemenid era (Curtis & Talis, 2012, 130). A beautiful example of these bracelets is Karlsruhe, Germany. In this bracelet two lions are devouring two rams, still having their heads out of the mouths of the lions (Koch, 2008, 256-257). Of the finest examples of necklaces of this period, some of which are multidisciplinary, five were found from the coffin buried in Susa. The most usable gold necklaces, with gems of turquoise and azure stones were decorated, while other simple gold necklaces were lemon shaped (Curtis & Talis, 2012, 131). According to Persepolis motifs, it is clear that the necklace was only for the king and the elders unlike the bracelets (Mousavi, 2011, 169).
The most prominent from of Achaemenid earring is an annulated surface which do not produce the complete circle (Curtis & Talis, 2012, p. 131-132). Another type of earrings that is very rare and beautiful in the Achaemenid era have horse-shaped hinge, and were used in the ceremonies. These earrings are from treasures of Russian Akalgori and are unique (Culican, 2006, 137). 
Griffin is an animal  that usually has an eagle's head and sometimes a crown and a lion's body and a wing and sometimes a claw. Griffin species in the Middle East may have appeared during massive migration from the Northeast in the first half of the second millennium. Crowned eagle species became common in Mesopotamia and Syria in the 14th and 13th centuries BC (Hall, 2001, 64-65).
Mousavi says, “The whole composition of animals in art has a long history”. In Persepolis and in the battle scene between the king and the legendary animal, we find a greater combination but this composition, known as Griffin, is a pure Elamite art, which was accepted even in Egypt. 
Achaemenid Griffins of great size were used for capital of column. The Achaemenid Griffins during this period were mostly in stylized form and were abstracted (Jaberansari, 2008, 100-104). 
By the middle of the 19th century, western scholars firmly believed that in Achaemenid art, the representation of the winged circle, commonly seen in the upper torso of a dressed man, same as an Achaemenid king, was a symbol of Ahuramazda, the greatest god of Iranians. This background was taken from the land of Assyria, and the symbol of Assyria represented the great god of the Assyrians, in Iran too, this symbol should be the emblem of Ahuramazda, Assyrian Iranian counterpart (Shahbazi, 2012, 15). On the other hand, Iranian researchers, also had a hard time believing winged circle, represents Forouhar (in Avesta: Fravashi, and in modern Persian: Frohar) which is usually the same as the species peer and like the human spirit and the angel has been his guardian. It has long been known that the origin of the winged circle in the land of Egypt goes back to the third millennium (Shahbazi, 2012,15-17). This role was probably transferred  to the Achaemenids through Assyria and then the Medes (Raff, 1994, 183).
The policy of religious freedom pursued by the Achaemenids is well known in the socio-political history of the ancient world. If we see that the Achaemenids kings usually respected the great gods like Murdoch, Bell or Amun and that they even announced themselves messengers, it was more political, but the role of the god Bes may be an exception. Of the Egyptian gods, only Bes was widely accepted throughout the ancient Middle East. The Achaemenids were probably influenced by this general acceptance that used the role of this god in their artwork (Mousavi, 2011, 283-284).

The Achaemenids entered the realm of history as the adjacent lands with ancient civilizations and historical background in political, social, cultural and civilization terms. The Achaemenid contact with ancient civilizations in the form of conquest of these lands required them to take advantage of the culture and civilization of the advanced nations to make up for the gap. Thus, cultural, artistic and mythological themes were brought to the art and the Achaemenids became indebted to its civilized nations. Inspired by these artistic  elements, subsidiary tribes and neighboring civilizations combine and integrate with their indigenous art to create beautiful and unique works of art. In the Achaemenid era special attention was paid to the uniformity of the motifs, and this pattern of construction was applied to all art centers. The Achaemenid period has a large geographical distribution and the influence of indigenous and subsidiary tribes on the Achaemenid metal works is quite evident. The existence of mythical motifs and concepts illustrates this claim that can never doubt the myth and its widespread use in ancient peoples' lives, because myth has always been the answer to unanswered questions and this made the myth important in the daily lives of the ancient people. The Achaemenids were no exception. Witnesses this claim to the symbolic motifs and concepts that are often seen in Achaemenid artworks. In the Achaemenid art of jewelry, despite the fact that the number and range of Achaemenid jewelry is limited. This themes is clearly visible on remaining jewelry such as bracelets, necklaces and earrings. For example, during the Achaemenid era, bracelets were commonly worn with animal heads at the bottom.
However, the influence of the cultural elements, myths, religion of the earlier tribes and neighboring civilizations on the formation of this context should not be overlooked.

Although after the uprising of June 6th, 1963 republican tendencies, influenced by the first National Front of Iran under the leadership of Dr. Hossein Fatemi, were seen among some members of the National Front of Iran, such as Abolhassan Bani Sadr and Dariush Forouhar, the dominant discourse of the Fourth National Front from its establishment in 1977 until the last few months of the Pahlavi regime was ‘constitutionalism and support for the constitution’. In the last months leading up to the 1979 revolution, this discourse moved toward republicanism and overthrow. To understand this process, we directly interpreted the statements, speeches of the leaders, and the articles of the publication of the National Front organization using the textual discourse analysis method. In this method, the parameters related to the discourses of legalism, revolution, overthrow, republicanism, constitutionalism, etc. have been explored. Based on the results, this change in the discourse of the National Front took place gradually, and the National Front of Iran evolved from an intra-governmental opposition to a group opposed to the establishment of the regime, with a three-point declaration in Paris in November 1978. However, some contradictions can be seen in the discourse of the National Front during this period, which is mostly due to political and partisan interests.

In Islam and Zoroastrianism, there are untouchable and unobservable creatures which are said to play significant roles in creation, continuation and end of the world. Everywhere in the holy Quran, it is acknowledged that angels exist and people should believe in them. According to Islam, angels have a variety of responsibilities such as protecting Divine Ark, continuous praise of God,, providing means of raining and thundering for clouds, assisting believers in wars, recording behaviors of people, etc.Avesta has explicitly asserted that fravashis, unseen companions of Ahura Mazda, exist and their activities are principally important. The existence of these heavenly creatures is so crucial that Ahura Mazda highlights their critical and vital status. As a result, ašavans refuse to insult them and try to enjoy their material and spiritual blessing through praising them and appealing to them.Via a careful analysis of holy Quran and Avesta, the present study attempts to reveal similarities and differences of angels in Islam and fravashis in Avesta along with their different status, structures, categorizations, functions, and etc.

It seems unlikely to find someone who does not believe in the two-dimensionality of human being; because this is a matter of conscience and innateness. Accepting the issue in its totality, all divine religions, in order to explain the issue of man's two-dimensionality, have come up with some evidence that has been manifested in their sacred books. Zoroastrianism is one of the religions that, in its sacred scriptures Avesta, has mentioned remarkable words on the second
dimension of man, i.e. the spirit and the soul. Using a descriptive- analytical method, this paper discusses the five Minooyee (spiritual) forces, which include Ahou, Deena, Ba'o'z, Orvan and Farvashi, and offers definitions and documents of their holy texts. It expresses the views of the writers and scholars of Zoroastrianism and some minor differences in this field, and analyzes the various assumptions about the singularity or multiplicity of these forces. Five assumptions have been made in this regard and each has been analyzed separately. In the end, according to the evidence found in the sacred texts of Zoroastrianism and the views of the Zoroastrian scholars in this regard, the paper confirms the multidimensionality of these forces from the Zoroastrians' view point