نشریه پژوهش های ایرانشناسی
سال یازدهم شماره 1 (بهار و تابستان 1400)

From the establishment of Iraq in 1932 up to the Iraqi coup of 1958, the disputes between the two neighboring countries of Iran and Iraq did not extend beyond boundary disputes and lead to severe tensions and disputes between them due to the royal structure of their ruling system, their membership in the Baghdad Pact, and the dependence of both governments on the Western bloc. However, there was a period of tension, threats and regional competitions between them after the 1958 military coup in Iraq by Abd al-Karim Qasim and Iraq’s tendency to establish friendly relations with the Soviet Union (Eastern Bloc). This article investigates Iraq's relations with the Soviet Union and its impact on the foreign relations of Iran and Iraq from 1958 to 1979. The question dealt with in this study is: “How did Iraq's dependence on the Soviet Union impact the Iran-Iraq relations from 1958 to 1979?” It is argued that Iraq established friendly relations with the Eastern bloc in line with the Soviet policy after the coup of 1958 in order to gain a more prominent role in the Persian Gulf and enhance its military and political power in the region, which added to the conflicts and disputes between Iran and Iraq, as well as their arms races and interventions in each other’s internal affairs and support of the opposition groups in the two countries. Discussing the history of Iran-Iraq relations before the Iraqi coup of 1958, this article points to Iran’s post-coup concerns due to the change of Iraqi government and its tendency to the Eastern bloc. Delving into the Iraq-Soviet relations, this study examines the impacts of Iraq's dependence on the Soviet Union on Iran-Iraq relations manifested by their arms races and support for the opposition groups in the two countries.

Horse Rugs are among the most functional hand-woven materials used by nomads in north-west regions of Iran particularly by Shahsavan tribes. In addition to meeting the urgent daily needs such as carrying persons and utensils, horse rugs have been a vehicle in which the aesthetic aspects of the nomad weavers’ imagination have been reflected. Motifs originated from communal beliefs, individual tastes as well as imaginative fantasies depicted by vivacious colors have given Shahsavan Horse Rugs, aesthetically, a unique character. In this study, 30 cases of Shahsavan horse rugs were analyzed, described and introduced in terms of weaving techniques and aesthetic considerations (colors and motifs). The study mainly focused on discovering the most dominant designs, motifs and colors in Shahsavan horse rugs. The findings implied that the Shahsavan horse rugs, often in rectangular shape, had a larger size than that of the other similar nomadic horse rugs. Meanwhile, the designs and motifs in Shahsavan horse rugs generally outnumbered those of other nomadic ones. The ground of each Shahsavan horse rug is divided into frames defined by almost narrow stripes. In each frame, different motifs, particularly animal ones, have been designed. Also, some Shahsavan horse rugs have all-over grounds with no frames or stripes; motifs are scattered across the length of the ground. The most commonly applied motifs include peacock and goat ones represented in a wide range of designs; plant motifs including trees, flowers as well as abstractly-designed shrubs have been used much less than the former ones. In terms of weaving technique, Shahsavan horse rugs, have a twisted-woven texture. The colors applied are limited in number mainly including natural and herbal dyes. Red, blue (in different hues such as dark blue), golden yellow and mustard, black, white, brown (dark and bright), green (dark and bright) are among the most commonly applied colors in Shahsavan horse rugs. This study is qualitative in nature with a descriptive-analytic methodology. The data were mainly collected based from library sources, reliable databased and museums.

In the first section of the Mahābād’s letter which has been located at the beginning of Dasātīr, a blueprint of world is presented which is influenced by Peripatetic doctrines. On the basis of this plan, first intellect which is named Behnām in Dasātīr is emanated from God. Second intellect which is named Amshām is emanated from first intellect, as well as body and soul of paramount sphere byname Mānistār and Tānistār are emanated from first intellect. After this, third intellect as well as body and soul of the sphere which is located under paramount sphere, are emanated from second intellect and this series is continued in the same way and finally ends to moon sphere. From the last intellect which is emanated from the intellect which emanated him together moon sphere, does not emanate neither any intellect nor any sphere. This last intellect who is named Farnoosh, flows the under the moon world. Opposite of this Peripatetic plan in which the number of intellects and spheres are determined and Peripatetic philosopher could know it, the number of intellects and spheres are undetermined and uncertain in second section of Mahābād’s letter. We understand from this section that human reasons could not recognize these numbers that is counts of intellects and spheres. On the other hand, there is a limit for human in this case. Moreover, in the second section of Mahābād’s letter, it is emphasized that there are many intelligible creators in world and this proposition is obviously conflict with Peripatetic view. This approach is affected by Illumination school and it is clear that is not according to what has been said in the first section of Mahābād’s letter. Thus, there are two views about system of the world in Dasātīr which could not be true simultaneously. On the basis of the verdict of this paper, Illumination approach is more important in Dasātīr and plays a role in other parts of it

In the vast but arid and semi-desert land of Iran, rain has always been life-giving and effective for the people. Due to this, the goddess of rain “Tištar Yašt” has been left from the ancient times of Iran, Which is highly respected and praised. And the celebration of Tῑrgān, which is held in this period, is a reminder of the importance of the rain god in ancient times. In an ancient village called Sharifābād, which dates back to the eighth century AH. Many Mobeds who lived in this village in the past have played an effective role in guiding the Zoroastrians and Parsees in India. An ancient celebration was held in honor of the Tištrya named Tištarīm with a special ritual. This special ritual of holding Tištarīm has not been reported anywhere else. However, in this village, a festival called Tīr-Māhi is also held, which is similar to the Tῑrgān festival in other places. By collecting field documents related to the two celebrations of Tištarīm and Tīr-Māhi in this village, apart from getting acquainted with these and the way they are held, we seek the answer to this question. Did the people of this village differentiate between these two celebrations “Tištarīm and Tīr-Māhi”? And did they recognize both of them? Considering that these people never mention them alone in the mention of the two gods, Tir and Tishtar, and always refer to them together as "Tir and Tishtar", and during one year, at two different times to celebrate the ritual and that according to the available evidence of active priests and awareness lived in this village, it is believed that these people in the distant past, between the gods of Tir and Tishtar. most of this is the goddess of rain, who has etiquette because of the goddess and the dry land of Yazd, but it should be remembered that in The common chronology there is this Tir that between the days of the month and between the months of the year and arises from the equalization and accompaniment of the name of the day and the month is Tirgan.

The spread of national narrations is common in the history of their narration and writings. Sometimes this expansion is done with the aim of explaining and interpreting a sentence or a part of the main narrative, in the form of a sub-story. Therefore, these stories can also help to unveil the textual knots; because they gain a historical understanding of a sentence or a word in the form of a sub-narrative. One of the cases of spreading the narrative is the story that has been mentioned in some sources in the discussion of Anoushiran''s financial reforms. In talking about the financial reforms of this king, the line of narration in Shahnameh and most of the chronicles is such that with a brief reference to the status of tribute in the period of previous kings, there is talk of the beginning of reforms in Ghobad''s time when remains unfinished with his death and Anoushiran continued the reforms . Some chroniclers have cut along this line, and before beginning to talk about Anoushirvan''s reforms, they have narrated a story that is also Ghobad''s main motivation for financial reform. In this article, we try, first, to talk about the recording and the correct meaning of the phrase "No one praises the escaped one" of the kingdom of Anoushirvan, which is in a chaotic state in the manuscripts and the editions of this book, with the help of this narration. After that, we will discuss the authenticity of the narration and the origin of this narration in the second part of the article, and thus show one of the examples of the spread of narration in the national narrations.After that, we will discuss the authenticity of the narration and the origin of this narration in the second part of the article, and thus show one of the examples of the spread of narration in the national narrations

Although the rhino has never been a native animal of Iran, Iranians have long been familiar with it due to their proximity to India and their connections to China and North Africa, which were the main habitats of the animal. Signs of this familiarity can be found in various texts, including geographical and zoological texts as well as Persian poetry. However, due to the small number of rhinos, the distance of its habitats and the few direct observations of the animal, we are faced with different narratives about rhinos in different sources. This diversity sometimes causes the figure of the animal to be drawn as if we are dealing with a creature other than a rhino. Variety in denominations has also been associated with and reinforced this multiplicity. In this article, we try to examine the depiction of this animal through ancient scientific and Persianate literature. One of our main findings is that, as evidenced by several texts and images, some Iranians in some eras considered rhinos to be huge birds. We have tried to demonstrate the process of formation this belief according to the biological characteristics attributed to the rhino to show which ideas played a role in the emergence of this belief. For this purpose, in addition to Persian sources, we have also used texts written in Arabic but in the field of Iranian culture. We have also pointed out that some of the literary depictions of rhino in ancient Persian poetry, such as its fight with elephant, are not made by the creators’ imaginations, but are taken from animal-related sources in ancient cultures, and by searching these sources, one can retrieve the background of such depictions and show their antiquity. It can also be shown to what extent ancient zoological ideas have been the result of a combination of texts with different origins and scientific and cultural exchanges among previous civilizations

The relation between history and literature, and the extent to which literature is used in historical narrations, have been at the center of attention of researchers in the fields of both history and literature for a long time. Persian history books abound with examples of combinations of factual historiography and narrative literature. A closer look, however, reveals that narrative devices are used for many different purposes. One notable example is the use of narration for confirming historical events and lending credibility to superior power of the ruler. It seems natural and justifiable to use sly language and Quranic verses and hadiths, as a method of Islamic historiography, to justify irremediable mistakes  of the ruler or to criticize the performances of powerful individuals in certain historical events. But in certain periods of historiography we witness special fragments that deviate the current scientific historiography altogether and venture into the realm of narrative literature by resorting to fictional stories which show stronger impact on the minds of their popular audience than simply repeating the Quranic verses and hadiths. Only one of the important implications of such deviations is to pave the way for the audience to accept the historical determinism of the time they live in. The Mongol’s era is one of the momentous periods in the history of Iran, and its history forms one the most voluminous dossiers in the Persian historical literature. Jovayni’s Jahāngoshāy can be regarded as the starting point of the historiography of this era, as well as the most notable page of that dossier. Jovayni’s individual way of narrating and his technical language in relating the events as a narrator who is very close to what has happened, in comparison to the plain, unadorned language of later historical works demonstrate an obvious transformation in the way of narrating the same historical era through the time. Telling stories intentionally as a rhetorical device in forming the larger image of the history would develop the author from a historian into a social agent. The closer is the historian to the power system, the more complicated his narration is. This article examines the socio-political implications of using stories/narratives in Jovayni’s Tarikh-e Jahāngoshāy from this point of view, although this view may debilitate the foundation of recoursing to the historical texts