Justice is one of the main issues of Iranshahri political thought and a universal concept. In Iranshahri's thought, justice is the explanation of a political situation based on which the social order coincides with the cosmic order. This idea of justice as the establisher of social order is the main function of Kings. Regulating the relationship between the King and the subjects was one of the most important issues of justice. But, the realization of this function required the benefit of the Iranian race and recognition of the sacred cosmic order by the King. After this recognition, the king acquiring the wisdom of the just king could be possible. Acquiring this knowledge was possible only through the education of the king by the wise minister. Also, for the continuation of the political system, it was mandatory for the successor of the king, to be trained by a wise minister. Therefore, the role of the wise minister as well as his method of Andarzname was important. Andarzaname was an instructive expression of political wisdom in the context of the story and includes an important aspect of the history of Iranian thought. The aesthetic requirements of the Andraznamei method shape many artistic and literary works of Iran. Therefore, the most important updates of Iranshahri political thought have been formed in Persian arts and literature. Therefore, it is necessary to pay attention to the tradition of Andarzname and the political aspects of that, to be able to understand many subtleties of the works left over from Iranian art and literature. to what was mentioned, it is noteworthy that during the Timurid era, the issue of realization and continuity of justice in society was considered an essential principle for the rulers. Justice of the king is emphasized in many texts of this period. Also, it was common to adapt or to reproduce a copy of the important texts of Andrzanameh, with the aim of transferring knowledge and political wisdom. On this basis, Khamsa of Nizami was considered in this era. The copy of Or 6810 preserved in the British Royal Library, which was one of the products of the court library of Sultan Hossein Baiqara, is one of the most exquisite copies of Khamsa of Nizami, with a collection of Iranian arts. Also, this version contains a painting with the subject of the Khovarnaq Palace painted by the artist Kamaluddin Behzad. Considering the importance of Khamsa of Nizami and the art of painting in the Andrazname tradition, it is important to consider the various aspects of the manifestation of justice in this painting as one of the prominent works of Iranian art.  In this painting, the subjects are building a palace for the king. As noticed, the relationship between the subjects and the king was one of the main aspects of the concept of justice, which is depicted in this painting. Therefore the aim of this article is the cognition of relationship between the concept of justice and Iranian painting. The research method is descriptive-analytical and historical. The method of data collection is documentary and library research. In this article, the Miniature of the Khovarnaq Palace is analyzed as a case study. Based on this, in this study, the question was raised: what is the relationship between Khamsa of Nizami's account of the building of Khovarnaq Palace and its depiction by Kamaluddin Behzad with the necessity of establishing and continuing justice during the reign of Sultan Hossein Baiqara? The necessity and importance of this article are also in the study of Iranian art as a subject with multiple aspects. On one hand, it is important to examine the socio-political aspects of Iranian art, and on the other hand, how to find the relationship between socio-political aspects and aesthetics. The obtained results show that the painting of the Khovarnaq Palace building is one of the works of the Andarzname tradition and reveals the necessity of the ruler's attention to the establishment and continuation of justice. In the context of the narrative of Khamseh of Nizami and considering the historical events during the rule of Hossein Baiqara, several layers of meaning are formed when facing this image. In this painting, with the beauty of repetition, the shape of the bricks, the color of the palace, arrangement of the workers, an image of justice is brought to Sultan's attention. Also, the need for the Sultan to pay attention to the continuation of justice, the relationship of educating the successor of the king, and maintaining the community's jobs becomes a central aspect. In another layer of this painting, the issue of maintaining the jobs of professors and artists is also raised. By objectifying the most important aspects of justice in Iranshahri's thought, this painting has made justice in Armanshahr its main subject.

Nizâmî’s Haft Peykar, which through its depiction and description of architectural states and features directly and indirectly presents architecture and architectural spaces, provides valuable material for understanding and comprehending the architecture of the past and the architectural culture of Iran. The study of the text of this work reveals that architects pay attention to elements that give shape and vitality to the buildings they create. In his work, Nizâmî describes two buildings, Khawarnaq Palace and Seven Domes, along with the events taking place inside them, which can shed light on the elements and symbols associated with architecture. The research methodology employed in this study is descriptive-analytical and historical. It is based on library research, involving the interpretation and analysis of content to examine the mentioned buildings. The study focuses on several structures mentioned in the text, namely the Khawarnaq Palace, and Seven Domes, as well as the mentioned architectural features, characteristics, and symbols. The research findings indicate that each of the aforementioned areas has rules and frameworks for describing and explaining the architectural culture of the order in the text. The architectural characteristics of the mentioned structures and elements and symbols related to architecture and the poetic and architectural narrative of the work include attention to the grandeur and magnificence of the structure, its form and appearance, suitability for lifestyle and use, customs and cultural aspects of life within the building, consideration of ancient patterns such as iwans, attention to its location, neighboring structures, and the focus on color and its meanings in verses, hierarchy, views, condition and quality of materials, attention to form and shape and its influence on the evolution of the story, attention to celestial sciences and stars, etc. Furthermore, the role of the architect in relation to the client, the multi-disciplinary expertise of architects, the prescription of lifestyle and style by the architect, etc., are features of architecture in Haft Peykar by Nizâmî.

An illustrated copy of Khamsa Nizami preserved in the British Museum, compiled in the Timurid period, is world famous due to high artistic value of the paintings and the presence of painters such as Mirak, Behzad, and possibly Qasim-Ali and Abdul Razzagh. Also, its text is a valuable relic of Hakim Nizami, which is one of the most cited research works in the field of Persian literature. Nizami is one of the talented Persian poets, who not only has a separate method and style, but the influence of his style on Persian poetry is also quite evident in the poets after him. He had a great knowledge of the common knowledge of his time, including literary sciences, astronomy, philosophy, Islamic sciences, jurisprudence, theology, and Arabic literature, and this characteristic is reflected in his poems. Khamsa Nizami has been very popular with Persian painters and calligraphers and many copies of it have been reproduced in various periods from the Timurid era to the Qajar era, which are scattered in museums all over the world, and this is due to the special charm of Khamsa Nizami's romantic-mystical and sagacious stories. It is popular with audiences all over the world today and shows Nizami's ability to attract the collective unconscious of humanity. This magnificent collection includes 22 paintings, which are important in terms of showing the way people lived in the Timurid period and reflecting it in Persian paintings. On the other hand, Behzad is an outstanding artist who, in addition to accurately recording the daily life of the people, deeply adheres to the social concerns of his time and benefited from mystical references in his works, which is his close and deep connection with prominent mystics and poets(Jāmī and Nava'i) and mystical circles that are proof of this claim. In this regard, the painting of “Khovarnagh Palace ’s build” by Kamaleddin Behzad, was chosen due to the special paradox hidden in it, which is unprecedented in Behzad's artistic career, so that a deeper reading can be provided by discovering the possible mystical sources of the work. In this regard, the precious work of, Najmeddin Rāzi “Mersād al-Ebād”, is one of the important sources of   Islamic mysticism, whose basics are useful in the mystical interpretation and has a lot of harmony and consonance with the present painting. In this regard, it is possible to use the theory of Razi's colorful lights in order to adapt it to Behzad's color selection in the direction of Razi's mystical views. To put it better, Razi's colorful lights is a bridge between Behzad's paintings and Razi's mystical works. The upcoming research is of a qualitative type and descriptive-analytical and interpretative method and it has benefited from library resources(real: available books - virtual: images and related websites).The results of the research indicate that the building of Khovarnagh Palace is a great symbol of the human format at the beginning of creation entertained by insatiable worldly ties in order to forget the nearness of the truth and the unseen world, and to join the world of sense, and Senmār (Khovarnagh Palace's architect) is also a manifestation of this attachment, who was caught by the burning lights of God's wrath. The glory and wrath of God engulfed and was destroyed him. A repeatable fate for those who have closed their hearts to the material world and got caught in its wrath.

Mithraism and Zoroastrianism، the ancient Iranian religions، are rooted in the culture of this country; consequently، their reflections are vividly evident in Persian literature. The prominent Iranian poet Nizami Ganjavi utilized these cults allegorically and symbolically in his two prominent versified stories of Haft Paikar، and Khosro and Shirin. This paper aims at discussing the primary samples of allegorical and symbolic uses in Nizami’s Haft Paikar، a number of which are as follows: Bahram in his multiple aspects as the name of a deity in Mithraism and a king in Zoroastrianism; the frequent use of Gonbad standing for the fire temple in the story; Seven Palaces for seven Princesses; seven as a significant number in Mithraism and Zoroastrianism; the comparison of the seven princesses’ portraits on the Khovarnagh palace ceiling with the seven stars on Mithraic temples; and finally an analogy between Bahram’s passage from the first Gonbad to the seventh in Nizami’s story with the initiation rituals of going through seven steps in Mithraic tradition

Since there are distinctive similarities and differences between miniatures and paintings of Tower of babel and Khovarnagh Palace, this research aims to uncover the seemingly hidden and obscured reasons behind it. To this end, this study examines and analyzes the visual structure of Persian miniatures in comparison to Western miniatures in order to find differences and similarities taken shape in Tower of Babel and Khovarnagh Palace. Hence, in this research, first the main question to be answered is;” Does the Persian miniature like Khovarnagh Palace own the same ideologies and values the same as Tower of Babel in Western miniatures or due to various reasons, they have got some other thinking and interpretation? As the findings of this research, it has to be mentioned that, besides the differences, Persian miniature - rooted in an ancient oriental culture –has also a lot of similarities in comparison to western cultures and civilizations; such as avoiding void, characterization, gradient and shaping, removal of perspective, the use of unreal colors, and regarding the choice of subject matter, the use of historical buildings and the attention to working class people instead of a monarchy. Ultimately, as the obtained results, it should be said that impacts occurred by different landmasses regarding the variability of religious, traditional approaches as well as the social values of “time” are all matters which should be proceeded with. Thus, the created visual atmosphere guides the addressee to investigate the similarities and differences. And changes in races, civilizations and cultures or even in various nations have a significant role in creating aforementioned points. Given the fact that factors and elements formed in “Persian miniature”, in addition to their differences, have also similarities with “European miniature” and particularly “Western painting”, thus in this comparison and inquiry, one can point out these differences and similarities between these artworks very well.
Research Analytic –Descriptive method. References are taken from library resources and also, in some cases, from reliable internet websites.

In this article, we speak about Nizami Ganjavi’s adjuncts to the historical story of Bahram Goor. Haft Peykar is one of the most attractive verses in Persian poetry. The original plot of the story was narrated by Tabari in Tarikh Tabari and its Persian translation by Bal’ami. Other history-writers like Dinvari, Nizamal Molkm, Yaghoobi, Maghdasi, Sa’alibi and Ibn Asir wrote this story in different structures. But Nizami, as a storyteller, made some changes to the plot and added some parts to the historical plots. Nizami’s additions are some parts like: Bahram’s seeing the painting of seven princess in Khovarnagh Palace, fighting with dragon, going to the cave and has ascension to God. Nizami knew about alchemist, astronomy, medicine and mythology. He uses the symbolic meaning of number seven in Haft peykar in the best form.

The essay is based on a new reading of Kamal-ed-Din Behzad’s painting regarding the construction of Khavarnaq Palace. Behzad painted the picture to be used in a manuscript copy of Nezami’s Khamse. The writer believes that Behzad has not merely illustrated Nezami’s story, but referring to his thought and understanding has manipulated it. Behzad’s Khavarnaq palace despite Nezami’s is not a decorated and luxurious one; rather it is a simple building made of soil. Behzad’s reading is the narration of labour, hand, and manipulation of soil and material. It is the narration of those who manipulate the material to make it appropriate for their living, but unaware of the fact that they are raising their own death construction.

The palace is the hallmark of civilization and power of a government and an element influencing the structure of the city and the social, political, and cultural aspects of historical periods. Today, palace tourism is done not only to observe a historical body but also as a symbolic element of the thoughts and beliefs of power groups. The failure of specificity approach to achieve the core of the palace’s tourism culture requires the adoption of holistic approaches to understanding the identity of the building. The purpose of this article is to explain the concept of the palace and to examine how to move from partial approaches to holistic attitudes in palace tourism. For this purpose, the content analysis method with two descriptive and explanatory approaches has been used in analyzing Iranian palaces and the case of Qasr-e Qajar in Tehran. According to the research findings, adopting a landscape approach in tourism due to the nature of holistic and comprehensive perception leads to reading and explaining the identity of the whole palace as a text in the city. The explanation of Qasr-e Qajar also shows that this palace has affected and has been influenced by the social, political, historical, and natural structures of the city, both physically, functionally, and semantically, at the micro, meso and macro levels.

Jahānnāma Pavilion at the beginning of Čahārbāḡ Street is one of the famous palaces of the Safavid period, which, like many other palaces of this period, was completely destroyed during the Qajar era and specifically, the rule of Ẓell-al-Solṭān. With archaeological excavations in the approximate area of the palace in 2014, in addition to determining its exact location, a significant number of seven-color tile pieces with plant motifs were obtained. The present study was carried out with the aim of identifying the plant motifs used on the tiles of the ruined palace of Jahānnāma and finding the similarities and differences between these motifs and the plant motifs of the tiles of the remaining Safavid palaces in Isfahan and identifying their indicator Characters. The research questions are: What kind of plant motifs are mostly used in Jahānnāma Palace tiles? And what similarities or differences these plant motifs have with the plant motifs on the tiles of other Safavid palaces in Isfahan? The information of this research has been done through the method of finding and collecting library documents and texts on the one hand, and on the other hand, field investigation on 141 pieces of remained tiles from Jahānnāma Palace and compare them with the patterns of tiles of other palaces remaining from the Safavid period in Isfahan. So the research method is descriptive-analytical and comparative. The results of the research show that among the plant motifs in the tiles of Jahānnāma Palace, Eslīmī and ḵatāʾī motifs have the highest quantity, respectively, and these motifs, with their vast subsets, show that they are very similar to other motifs found on the tiles of other palaces in Isfahan. In all four researched palaces (ʿĀlīqāpū, Čehelsotūn, Haštbehešt, and Jahānnāma), the greatest similarity can be seen in the combination of Islamic motifs with ḵatāʾī motifs, while in some parts, ḵatāʾī motifs are used individually and only in one of the palaces.