مجله مطالعات ایرانی
پیاپی 41 (بهار و تابستان 1401)

Study on people’s daily life, aiming at understanding both science and art used by them, is among the most extensive categories of research world. Exactly it is during such studies that most uncertainties are resolved and new theories are formed. Adoring beauty is something rooted in human being’s nature; for the same reason there is a desire to adornment in their nature. Hairdressing is an occupation that has long been recognized as a form of art and since literature of each nation is where one can find interests and inclinations of that nation, manifestation of this art is found in the ancient literature. In Persian literature, thanks to their lyrical nature and fictional form, romantic poems are one of the most important resources proving Iranian’s inclination to adornment; as research on their descriptions about “lover” not only provides the reader with a sort of literary pleasure and joy, but also helps them to reach a better understanding about make-up and its different types and forms during different eras. 

In this basic descriptive-analytical research, both library method and note-taking tool were used. It is necessary to note that since adornment is a very extensive subject, only hairdressing in the well-known romantic poems of fourth, fifth and sixth centuries A.H. have been considered in this study. The purpose is gaining knowledge about Iranians’ hairstyle in different times and comparing them to each other in order to resolve some poetic ambiguities and making them available for the interested researchers. 

Adoring beautiness has been illustrated in different extensive forms in the Persian poems; as most of them can be seen in the lyrical literature. Reflection of the “lover’s” beauties across the romantic Masnavi[1] descriptions, apart from limitations one may face in other poetic forms like odes, proves how important poems are as valuable resources regarding Iranian desire to adornment. Throughout the cultural and social history of Iran, adornment had been recognized and accepted by all Iranian ethnics and religions. Adornment can be divided into several separated categories: head and face trimming, using clothes and ornaments, pointing to the fact that adorning hair is a subcategory of head and face trimming. To understand Iranians’ adornment, hair usage and its synonyms including Zolf, Ja’ad, Giss and Gisu in the romantic poems were studied. While some differences found in the meanings of these words and terms, they only refer to hairstyle of Iranian men and women. The necessity of conducting such interdisciplinary studies is that they not only resolve some poetic uncertainties, but they pave the way to start investigation in other fields such as history, social sciences and etc. and also can begin new and innovative ideas on various arts such as filmmaking, sculpture making and make-up.

Our study made it clear that along with the tight mouth, lip’s speckle, tall height, arch eyebrow, narcissus eyes and etc. other descriptions such as long hair, lock of hair, blacks and fragrant hair are among the critics to percieve someone’s beauty. Some hairstyles like braided, pinned hairs, dropping hair on forehead or shoulders, fragrant hair, using ornaments such as crowns and jewelry were common between men and women. However, there were styles which were only for women: center parting, using bonnets and scarves. The most attractive descriptions about hairstyles can be found in the sixth century poems and it seems that both content and origin of story and time and place of the poet have been very effective in description and explanation of hair adornment.

One of the arts of writing that emerged in the Arabic literature during the Abbasid period was the art of Maqama writing. This method of literary writing began with Badi ol-Zaman Hamedani and culminated in Abolghasem Hariri’s works. Maqama expresses social, cultural, political, etc. issues in literary forms which begin humorously and end with skillful description. 16 out of 51 Maqamats in Hamedani are named after Iranian cities and cultural and geographical cities of Iran are mentioned in their text. Therefore, considering the high frequency of the names of Iranian cities in Hamedani’s Maqamats, especially in their titles, the present descriptive-analytical study, seeks to investigate how these seven important cities were represented in Maqamats of Badi-ol-Zaman. The study also intends to provide a statistical analysis of the ratio of Maqamats named after Iranian cities in comparison with other Maqamats, and explain the reason for naming and why these titles were chosen for Maqamats. This has been done by the analysis of the text including the name of the city and the rhetorical and semantic study of the title of Maqamats. The study showed that the reason for naming some Maqamats after Iranian cities was diversifying Maqamats, mentioning the signs of civilization and urbanization of these cities as a spatial element in the internal events of Maqamats, in addition to describing the weather conditions, culture, society and also describing some common customs in these cities.  Also, the concealment of the often begging and pretending hero of the story in the noisy environment of the city has also been considered.  

The present research attempts to analysis the representation of Iranian cities in Maqamats of Badi-ol-Zaman Hamedani in a descriptive-analytical study by using library resources. The data is analyzed by investigating the content of Maqamats and also the analysis of that part of the text in which the name of the city is mentioned. Then, the reason for its naming and the linguistic and non-linguistic references in the text are explained. 

In half of Maqamats, the names of the cities are used in the text or in the titles. The title is in fact the key, the entrance and the threshold for entering the text, with which the reading of the text begins and ends, and always remains in the mind and heart of the audience even if the text itself is vanished (Balavi et al, 1398: 70). The narrator first refers to the city and the location of the events, but in some cases s/he suffices with the same reference and hastily refers to the protagonist. Urban environment and urbanization have their own characteristics namely noise, congestion, the often unknown identities of the people of the city to each other, and cultural diversity in terms of culture, social, economic factors are among these characteristics. In most of the events, the hero tries to enter a gathering anonymously and amaze the audience with rhetoric and sermons, and by so doing impress the audience with his advice and receive their financial aids. Or, with a messy dress and appearance, cause the audience to feel pity for him and thus achieve his financial desires. In any case, the appropriate space for this is the bustling environment of the city, and these characteristics are vivid in Iranian cities. Therefore, unlike most literary genres in Arabic literature, which develop and reach their peak in the pristine environment of deserts, its origin is often the city, society and urban community. Therefore, the element of place in Maqamats, despite the need to repeat it, is not very prominent. 

Hamedani has used Iranian cities as a spatial element and at the beginning of Maqamats, he puts his audience in a different environment to present different topics, meanings and images to him and to be able to present his Maqamats in a new space with various illustrations, make it available to the audience and make them more fascinated by his writings. The author of Maqamats sometimes refers to the environmental conditions of the region or city where the events of the story took place, and in addition to literary narration, he sometimes pays attention to the geography of that region and even to the religious beliefs of the people.The names of Iranian cities were not the primary element and the main subject of Maqamats, but these names were only mentioned briefly and other issues were considered.  The use of the environment of Iranian cities in Maqamats’ titles as the element of place and context of events was with the intention of keeping the protagonist anonymous, the distance of these cities for the Arab audience, and finally a variation on the frequently repeated subjects of the Maqamats.

One of the most detailed narrations about the Sasanians in Chinese texts is the reports of Jiu Tangshu and Xin Tangshua on the Last Sasanian Kings. These reports also include the political characteristics of Sasanian Iran, the developments of the turbulent years after Khosrow II (528-628 AD) and the death of Yazdgerd III (651-632 AD) and his descendants in China. Since the different information in Jiu Tangshu and Xin Tangshu contains contradictory reports on the Sasanian kings, the researcher must use analytical and comparative methods in order to provide correct information on the Sasanians. Due to the importance of their information about the last years of the Sasanian Empire, the present article tries to compare the historiographical features and the narratives of these two texts to determine their correctness and inaccuracy. This study will show that since the Xin Tangshu’s style of historiography was based on a "regular chronology of events", the Sasanian narrative in Xin Tangshu is more accurate and authentic. This research will provide us valuable information on the last Sasanians in Tang texts.

Due to a lack of comprehensive studies on the contact between Sasanian and Tang, the researcher must identify information on Sasanians from a variety of primary sources, including historical, literary, and archaeological, integrating them with modern studies. The project follows historical perspective with philological and historiographical tools. Comparative analysis will be one of the important methods that will be used in this research. In some cases, there are no sufficient data about a particular period or event. For instance, in the case of inscriptions of two Sasanian princes, some conclusions can be drawn by using the method of comparative study of archaeological, written and art historical sources.   Information on the Sasanians can be found in a variety of Historical and Archaeological sources including two statues of Sasanian princes and other Sasanian cultural elements at the Qianling Mausoleum. The inscriptions of two statues are; for example, one unique case on Sasanian interaction with Tang’s emperors. Information on these two inscriptions allows us to see how was the life of the last Sasanians in Tang’s court.Western and Iranian scholars have used the information of these two inscriptions to suggest that Pērōz and Nanmei (a high-Ranking Persian nobleman) had important positions at Tang’s court. Although their interpretations of these inscriptions are important, their attention has largely been limited to a general and even wrong description of these two statues. For instance, they have stated that these two inscriptions can be read on the back of two statues, but indeed, they made mistake because these two inscriptions on the statues have been eroded before 1958 and their contents are only available in Li Haowen’s book “Chang’an Zhitu.”In addition, some parts of two statues’ heads were discovered and matched with the two statues on the right side. One of these two heads is interestingly important for us in order to study Sasanians in Tang’s court. The features of this head are very similar to the facial type of a banqueting prince on a plate, found in Lugovka (Perm region), in 1909. The features of the statue with curly hair, Parthian moustache and Chinese garment in Qianling Mausoleum are very close to the facial type of the banqueting prince on Lugovka plate, can be in fact, a new clue to confirm that this statue also belongs to a Sasanian prince who lived in China and Tokharistan.

One of the most important information about ancient Iran in Chinese texts, is the Sasanian accounts of Jiu Tangshu and Xin Tangshu. The parts related to the Sasanians are in the chapter 198 of Jiu Tangshu and chapter 221 of Xin Tangshu. Both books at first provide a report on the location of Sasanian Iran, its capital, population, number of cities, geography and culture. In this part, the only obvious difference is in Xin Tangshu's reference to the Sasanian ancestor (Ou Yangxiu, 1975: j. 221, 6258). These two books begin the account of Sasanian political events with narratives from the years after 605 AD. In this section, there are some differences between the two works. Information on Yazdegerd and his descendants in the Central Asia or at the Tang court appears in the variegated works of Muslim authors, Later Middle Persian Literature, and Chinese sources. Together with Middle Persian texts and Early Islamic sources, the Chinese texts provide the earliest written records about the last Sasanians in Central Asia and China. The Jiu Tangshu , or “Old book of the Tang,” is the first official dynastic history (zhengshi ) of the Tang dynasty (618-907). It was compiled under the direction of Liu Xu and Zhang Zhaoyuan  during the Later Jin period (936-946). The Xin tangshu (), or “The new book of the Tang dynasty,” is the second official dynastic history (zhengshi ) of the Tang dynasty (, 618-907). It was written during Northern Song period ( 960-1126). And the book Cefu yuangui , or Outstanding Models from the Storehouse of Literature is one of the so-called “four large books” (sòng sì dà shū) of the Northern Song. Collectively, they cover more than five hundred years.The account of the last Sasanians in the Jiu Tangshu is a vague, and probably contains factual errors. For example, the section regarding Pērōz (here called, Bilusi) is quite different from what is presented in the Xin Tangshu. According to the Jiu Tangshu, Pērōz was captured by the Turkish prince of Ṭoḵārestān, while the Xin Tangshu correctly has Pērōz’s son, Narseh, captured by the Turkish prince of Tocharistan. Errors, like this in the account of the last Sasanians in the Jiu Tangshu, are a reflection of the limited information with which the author had available. Since the Jiu Tangshu was revised during the Song Dynasty and published as the Xin Tangshu, or the New Book of Tang, the account of the last Sasanians in the Xin Tangshu appears more reliable because it was written at a time of peace when the authors had access to additional sources of information.   In fact, the author of Xin Tangshu based his accounts strictly on what he considered reliable evidence, including reliable materials, and eliminated any material that he was unable to verify. Thus, we can regard the account of the last Sasanian in the Xin Tangshu as containing highly relevant information which we can use to reconstruct a fairly realistic image of Sasanians’ kings in the last years of this dynasty.

After discussing the historiography of the Tang period, the author quotes the narrations of Tang texts related to the survivors of Yazdgerd III in the Tang court to show the mistakes of Jiu Tangshu to determine the reasons for the originality of Xin Tangshu. In fact, access to archaeological data in China has led Iranian researchers in recent years to study more cultural materials and cultural exchanges between Iran and China. In fact, unfamiliarity with the classical Chinese script, has caused the Iranian scholars do not know the details of the reports of these two texts of Tang history about the Sasanians. The author believes that Xin Tangshu has described the political, cultural and social developments of Iran in the late Sasanian period in more details. Moreover, this article provides new interpretations of the statues of Pērōz and Nanmei which are constructive for understanding the history of last Sasanians. As it was mentioned, the information of these statues tells us that Pērōz and Nanmei had important positions at Tang’s court.

The term "court" has generally been applied to the central government at various times, and in this sense, especially in the Supreme Court, where governmenl affairs are conducted and the state organization is opposed to the military organization, these courts have changed over time. Bureaucracy in French (Bureaucratie) is made up of two parts (bureau) meaning desk and office and the suffix (cratie) meaning "rule". Its Persian equivalent is "bureaucracy". In fact, bureaucracy means a system of rational and lawful functioning. From a theoretical point of view and in the field of historical studies, from the point of view of many historians, the bureaucracy system is a set of the most important institutions that always determine the quality of the performance of governments and governments to their nations and also the degree of survival. And these governments have survived throughout history. Looking at the history of Iran before and after Islam, it can be clearly said that the issue of bureaucracy and the way of governing the country and the phenomenon of bureaucracy has always been one of the important historical features that has a great impact on governance and bureaucracy in many other countries. It manifests itself to the extent that some historians believe that the way of governing, bureaucracy, bureaucracy and administration of the country that has existed throughout history in many countries of the world is somehow taken and modeled on the common bureaucracy of Iran in different historical periods.


This article uses the method of historical research, relying on the main sources to study the history, position and structure of post-Islamic Iranian bureaucracy until the end of the Safavid period.


According to researchers, regarding the history of the court system, one of the human achievements that the world owes its possession to the Iranians is the art of statehood and administrative organization. Therefore, in the field of Iranian judicial system, independent works or in the context of historical studies and researches have been compiled in different periods, each of which has studied the issue of bureaucracy in a specific period of Iranian history, but what is less researchers and historians have paid attention to the knowledge of the Iranian bureaucratic system along with identifying the functions, spirits, attitudes and characteristics of each dynasty and political, social, cultural and economic factors cause or inhibit the fundamental change in the Iranian bureaucratic system throughout history. In the history of post-Islamic Iran, with the formation of semi-independent governments in different parts of Iran, including the eastern regions of Iran, such as Taherians and Saffarians, we see the re-establishment of bureaucracy and the creation of different types of Iranian courts so that each dynasty of the Iranian sultans ruling Iran after Islam until the end of the Safavid period, including (Taherians, Saffarians, Samanids, Al-Buwayh, Ghaznavids, Seljuks, Khwarezmshahis, Mongol Ilkhans, Timurids and Safavids) to manage government affairs and also to manage society affairs by following the example of the former bureaucratic systems that ruled Iran, by making changes and developments, by creating their own bureaucratic systems, tried to manage government affairs regularly and expand their influence and control over the political developments of their society.


The results of this study show that the bureaucracy system in Iran has a historical antiquity that has undergone many changes and developments throughout history according to different historical situations and necessities and needs, despite all the historical ups and downs of the Iranian bureaucracy system. In addition to being stable, it has been able to be a model and basis for the ruling political systems in order to establish an administrative, political and systematic system for governance.

One of the manifestations of the traditional influence paradigm in political science discussions is espionage, which, because of its tangibility and visibility, falls under the category of hard influence. In international relations, obtaining information from political, military, economic, etc. rivals have a necessary and effective role in seeking the supremacy of nations and helps them to determine fundamental strategies. Hence, the spies try to provide comprehensive information on the quality and quantity of the enemy's potential capabilities through their actions in order to be able to influence the political and military rival and to achieve the desired goals. In other words, it is possible to change political currents through the use of espionage tactics and access to vital competitors' information. In general, in international relations, the principle of power is of particular importance and is at the heart of the study of international politics. Examining the exact dimensions of the act of infiltration (espionage) in the enemy shows that power is a means to an end. The nature of a government's foreign policy goals and the skill of nations in using their capabilities to achieve foreign policy goals are directly linked to the principle of foreign influence and espionage. Hence, intrusion (espionage) is defined as a type of communication with aliens with the intention of changing or stabilizing the behavior of reciprocal forces. A government tries to influence another government or governments in various ways; because it has set specific goals for itself, the realization of which is possible by having comprehensive information on economic, political, military issues of the rival. Consequently, the process of infiltration and espionage plays a crucial role in international politics. Espionage is not an emerging phenomenon of the present century and is common in the political culture of civilizations. Of course, it must be acknowledged that the techniques used for espionage have changed over the centuries and become more sophisticated today. However, the importance of maintaining the survival of governments has always led to this issue in security and intelligence issues. Ferdowsi's Shahnameh is one of the most important epic works in Persian which narrates the efforts of the Iranian nation and the governments in this land to push back the foreigners from the borders and protect the people from the enemies.


This research has been compiled based on descriptive-analytical method and inductive method (part to whole) and to collect data and analyze it, documentary studies including books, articles, etc. have been used. Also, the statistical population of the research, Ferdowsi's Shahnameh and the sample size, include all the verses drawing on the espionage category. The general structure of the article is such that first the main concepts of the research are explained, namely influence and espionage, and in the main part, various headlines are addressed to issues such as tools, goals and motives of spies and its political and governmental positions.


The spy is described as a "detective" in the Shahnameh. This word indicates that the spy in the first step must be a person who is aware of various issues and with special expertise and skill seeks to gather information from the enemy. In other words, the spy in sensitive situations must, in addition to recognizing critical points and threats and external and internal influencing factors, recognize the negative actions affecting the security of the government and the territorial integrity of the land and have a comprehensive knowledge of its details and generalities. And finally, by transferring it to its own forces, to be effective in neutralizing undesirable political events. Therefore, the spy is at the forefront of the fight against enemy threats. The tactics and tasks of the spies described in the Shahnameh have a classical approach and naturally do not have the complexities of espionage in the contemporary era. However, the results obtained through espionage are important.
Espionage and obtaining military and political information from a rival group play a role in the survival or extinction of a civilization. “Today, information is considered as one of the national resources of any country and supports any planning, policy-making and management” (Davoodi Dehaghani et al., 2018, p. 54). Spying on outsiders and gathering information is a public duty in the early stages, and spreading a culture of intelligence cooperation will protect society from all kinds of crime and threats, and deterrence should be based on gathering sources of information and their analysis. (Also see Peterson, 2005, p. 212). Information is a means to an end (See: Gill & Phythian, 2007, p. 1). Deceptive influence based on strategic deception is manipulating the audience's mentality and making computational mistakes through forging and creating information. Influential actors take a series of actions to deceive, confuse, seduce, or hasten the decision-makers to make unrealistic estimates. In fact, the purpose of deceptive influence is to deviate from the opponent's decisions by providing guided and sometimes erroneous information and forcing him to act or not to act in the national interests of his own country or to the detriment of his own interests (See: Bagheri Choukami, 2016, p. 20).
Spying and gathering information through trained manpower is difficult, time consuming, costly and dangerous, and if the mission is revealed and disclosed, it creates problems for the target country and the country of origin (Borisudi & Goodman, 2005, p. 129). Espionage in classical and traditional form is conducted based on observation and information with emphasis on human senses and creativity (see: Locker, 2001, p. 48). Human resources, considering their discernment and initiative, review and analyze situations in order to take advantage of opportunities and constantly increase their access to the goal (see: Yaghoubi & Ishaqifar, 2013, p. 12). Rostam's goal and motivation in this infiltration was to access sensitive and public information. This espionage should be considered military. “The purpose of military reconnaissance is to obtain knowledge and information about the armed forces in times of peace and war. The enemy seeks to steal the country's defense intelligence, and obtains information about the types and size of weapons, the number of armed forces, and the form of their organization, and that this type of espionage is taken into consideration in the laws of most countries” (Evera, 1992, p. 237).
One of the important issues in espionage is the ideological unity of spies. Believing in a common ideology between the spy and the organization is the surest way to get it; because with this idea, such a person considers himself obliged to serve and work with the necessary faith and commitment (see: Almjan, 1990, p. 209). The world's intelligence and counterintelligence agencies generally list four motives for espionage as money, ideology, coercion, and selfishness. No spy is potentially as useful as an ideologically motivated agent. Ideology and school are binding and permanent motives and are considered as the most stable motives. Spy, which is influenced by positive ideological motives, acts because of its commitment to a specific subject (see: Friedel, 2003, p. 39). One of the fundamental goals in the issue of infiltration is to identify the enemy’s strategy and provide appropriate solutions to deal with it. “The essence of a serious threat is the use of military force and even killing, and its target is mainly the territory or military power of the other side. The aim and intention of the enemy is mainly to secure geopolitical, political, economic and sometimes doctrinal interests” (Ahmadian, 2015, p. 40).
Spies sometimes obtained classified and vital information about the enemy's military structure. “Spying is the acquisition of classified information without the permission and knowledge of its owner. Espionage is usually an organized, transnational crime; because in it, the vital information of a country is provided to the country or other countries through an organized system and human resources” (Karimi, 2015, p. 67). Espionage is carried out with specific planning and goals to dominate predetermined interests (see: Mir Mohammadi, 2013, p. 37). Hence, the intelligence knowledge enables the prevention of crimes and security breaches and the confrontation of threats and vulnerabilities by obtaining news and information, and by mastering the peripheral issues and anticipating inaccessible events. (See: Jamshidian, 2009, p. 12). The main task of a spy is to report from within the enemy's decision-making body. (See: Nirmal & Astana, 2012, p. 229) Access to the classified and special information has always been the main key to the success of political actors (see: Security Studies Group, 2008, p. 70).


The most important manifestation of the hard influence in the Shahnameh is the preparation and acceleration of the espionage process, or in other words, the security influence in the political and military structure of the enemy. The study of espionage techniques in Shahnameh shows that the realm and scope of influence includes objective and real space. The spies’ actions to infiltrate the enemy were mission-oriented and of an intelligence and security nature. The main function of this infiltration was to gather strategic information and news, identify the weaknesses and strengths of the enemies, estimate their military tools and weapons, be aware of the geographical conditions of the camps and infiltrate key and sensitive points to facilitate the control process. The method of obtaining information was limited in a human and physical way based on positivism through observation. As a result, this infiltration has a one-dimensional and simple structure, and in this regard, the type of infiltration and espionage should be considered as a case and as an agent or spy infiltration in the target group. The human targets were spies, commanders and military elites of the enemy. Influential actors include the states involved (Iran, Turan, Rome) and the parties involved (kings and their internal opponents) who were using the capabilities of the intelligence services and achieving their security, intelligence and military objectives. The sphere of this influence in Shahnameh is of tactical-military and intelligence. Ferdowsi considers the two great qualities of "commitment" and "expertise" to be necessary for spies, and believes that by creating these two qualities, detectives will achieve great success in carrying out their missions. In general, the scope of the spies’ duties under Ferdowsi includes the following: a) obtaining information from foreign forces; b) monitoring internal social movements; c) ensuring the security of the passage or location of military and national leaders; d) making suggestions to the Shah to adopt appropriate political and military strategies and analyze them; and e) surveillance of soldiers and military leaders of local forces.

Introduction Cultural diplomacy, in the contemporary era, is considered as an important factor in decision making among countries in various fields. Therefore, world countries cannot, as before, merely depend on governmental interactions among governments in the framework of conventional diplomacy. They need in order to increase efficiency, to follow meaningful communication with the public, particularly the educated elite, and in this view, deploy various approaches and methods in this regard (Samiei Isfahani & Fathi Mozafari, 2012, p.146).According to Marshal Maclohan, the process of life in the information and communication era, due to the rapid communication and cultural exchanges, has resulted in the noticeable participation of people, and inevitably more consideration of public diplomacy capacities, and consequently more involvement of nations in the international processes. In this way cultural diplomacy has earned a special new position in the foreign policy trends of governments.This essential task has so much evolved, that in addition to the different dimensions and scientific, cultural grounds, has intensely structurally affected the foreign policies of governments.Among the cultural elements of the country's foreign policies, the language and literature factors, are the most effective and influential players for the realization of other objectives. The reason for the emerging importance of cultural diplomacy is to attain a higher level of possibilities and capabilities as compared to the traditional diplomacy. This task is deployed with full capacity, can help attract public confidence, increase the role of identity making, and establish effective socio-cultural stability.For this reason, the government attempt, in line with the realization of cultural diplomacy, to convey most of the information and cultural efficiency criteria in order to create trust and provide national interests. Methodology The basis of this paper’s methodology is analytical descriptive, a library type which is objective oriented and seeks through surveying the capacities of the country's cultural diplomacy criteria to have access to ways for the utilization of the Persian language capacities vis-a-vis cultural diplomacy to achieve ultimate national interests. In this way the procedures deployed will be used in designing efficient cultural diplomacy’s practical and strategic programs and plans. The article's main question is to seek the components of the Persian language soft power capacities in the cultural diplomacy context.It is attempted, in this line, upon examining the theoretical dimensions of cultural diplomacy, through reasoning based upon studies of library sources, to derive the capacities and components of the Persian language soft power in cultural diplomacy. Therefore, the hypothesis of the article is also composed of the fact that Iran enjoys the essential, necessary capacities of Persian language literature and linguistic for the promotion of cultural diplomacy for the sake of materializing national interest’s objectives and consequently influence other governments approach in this regard. Concerning the role of language in cultural diplomacy, Persian language and Persian literature are the most important recognized criteria. This fact is due to various dimensions of art, such as painting which throughout Iran's cultural development has so much mingled with the content of Persian language and literature, that its essence cannot be known without understanding the Persian language heritage. Discussion The important role of language and cultural diplomacy in the information era, simultaneous with the political-cultural domination of the bipolar world order, and its replacement with the soft power instead of hard power, enjoys a special status and position. The writer of this article through the concepts of Persian language and cultural diplomacy studies the cultural interaction in this respect with other nations. As mentioned earlier, language and literature play a key role in cultural diplomacy and are influential for the relations of objectives and national interests of other countries. Due to such facts, in the contemporary world, cultural diplomacy with the objective of influencing the public opinion and consequently affecting the implementation of foreign policy goals, receives more focus than mere conventional diplomacy.In this way the main goal of cultural diplomacy is to impress the general public opinion of nations, organizations and NGOS, through cultural exchanges and offering a positive impression of the countries’ intentions. Based on this reason, ignoring this fact can cause weakness in the country's foreign policies and, as a result, with respect to their relevant position in the international arena.This article; moreover, intends to explain the components and capacities of the Persian language in the soft power of Iran cultural diplomacy. Regarding the Islamic republic of Iran, although foreign policy is intermingled with ideology and geopolitical issues, but relying on the promotion of Iran's international status through the composition and recognition of the cultural diplomacy, observing historical, social and Persian language heritage, can undoubtedly influence the realization of Iran's soft power abilities.Iran, considering its civilization, historical, literature, cultural and religious background enjoys adequate soft power resources that if reaching planned for fruitful objectives and utilizing potential resources can become one of the successful countries in the application of cultural diplomacy in the region and the world (Dadandish & Ahadi, 2011, p.146).The effects of the Persian language over cultural diplomacy is a reality derived from the Iranian history which can be considered as the greatest Persian language capacity for transferring the cultural, civilization values of Iran to other nations. The Islamic Republic of Iran has been able to introduce such concepts to the world within relevant socio-cultural and political context by conveying new concepts in cultural diplomacy which in addition to its Iranian values has Islamic identity. The components exhibit both rich Islamic cultural teaching as well as genuine Iranian cultural values, because the cultural language and literature is an effective media that can be instrumental in strengthening cultural interaction among countries. Conclusion With the fading out of the role of war and emergence of the information and communication of global village, more can be written on cultural diplomacy and its side effects.Cultural diplomacy through conveying the governments and nations the capacities of the relevant cultural concepts, and establishing private, intimate interaction among nations, will provide the possibility of making the related policies and programmers seem more attractive to the world public opinion, and have always been paid attention by the governments. It is unwise, at this juncture of time that cultural diplomacy with such privileges in the communication, information era, being the main priority for advancing international objectives, the Islamic republic of Iran be deprived from this benefit and not take it into its services.Not taking advantage of this opportunity will carry irreparable damage and consequences, and in the long run, will influence the realization of Iran's cultural, political and strategies interests.Cultural diplomacy, on one hand, serves as an instrument for realization of international diplomacy, and on the other hand, is a branch of diplomacy that should be paid attention to by the politicians.The privileges of this sort of activity include, relatively low cost, the software positive nature and public admission, as well as, benefits from the expanded ground of interaction and non-political management.Cultural diplomacy is based on soft power resources as a new method of means for the success of governments in foreign policy. Therefore, recognizing the components and capacities of the Islamic republic of Iran, cultural diplomacy and its timely correct deployment is necessary for the success of its foreign policy. The proper and optimum usage of such resources demands planning and following precise instruction.The Persian literature and Persian language are a valuable, unifying and identity making heritage in the history of this land. Despite the existence of various religions and ethnicities, the unifying factor of Iranian identity is the Persian language. This factor has so much infiltrated of the Iranian society that chapter 2 and article 15 of the constitution has expressly indicated on it. The importance and reflection of Persian language at junctures of time was influential in the expansion of socio-political exchanges, and acted to turn it to the language of science and knowledge in its respective geographic area, as well as a means of international exchange in its related time. In the contemporary time also, the admirers of the rich Iranian culture and literature in other parts of the world, are interested in studying this culture in a way that some universities in Europe and America have offered language study opportunities in this field.This essential possibility, combined with using public and cultural diplomacy, can demonstrate the software power aspects based on cultural attraction, and in this way make the utmost usage of such capacity in the neighboring sphere. The geographical proximity in the Central Asian and Caucasus region demonstrate the deep influence of Persian culture and language in Tajikistan and Afghanistan. Due to the expansion of social developments and communication, since the past time up to now, a noticeable part of people in Iraq, Turkey, Uzbekistan and Pakistan use this language, or at least are familiar with it. This is not merely related to the verbal communication, but considering the link between language effects and cultural transfer, as aspects of soft power, then we can firmly point to the ultra-regional influence of Persian culture in the Muslim world and even the European geographical areas.

According to the tradition of folk literature, those who sing folk songs and folk tales in prose and rhyme are called "Aashiq". Today, there are various forms of "Ashiqlar" literature throughout a vast region of Iran, Turkey, Azerbaijan, Tajikistan, Uzbekistan, Kyrgyzstan, etc., according to the characteristics of each region. Among the Turkish nations, "Ashiqlar" stories, which are from folk literature, have an important position. These stories, which are combination of verse and prose, have been preserved by different narrators until today. Although the main theme of these stories is heroic and romantic, they contain religious, social, cultural and economic values. One of the famous folk tales that have a fictional aspect is the story of "Ashiq Gharib and Shah Sanam". This tale belongs to the 16th century. Rasool (Magsod in the Turkish narration) the hero of the story who is later known as Ashiq Gharib, is son of a Tabrizi businessman. Ashiq Gharib falls in love with his beloved (Shah Sanam, the daughter of Khwajeh Senan in Tbilisi) in a dream and at the same time become an "Ashiq". To be with this dream, he sets out on a journey and with this journey and learning during the journey, he reached wisdom and then attained the holy position. The story of Ashiq Gharib, like most oral stories, has gone beyond the borders of Iran and is narrated by many nations of Turkey, Azerbaijan, Turkmenistan, Uzbekistan and etc.
A lot of scientific research has been done about the story of "Ashiq Gharib" and the best scientific research is dedicated to "Fikrat Turkman". In a Turkeman’s work, in addition to the information given about folk tales, the works are done on "Ashiq Gharib", the analysis and adaptation of its different narratives (five written works, eight oral works, one work from Crimea and two narrative works from Iran and the Republic of Azerbaijan, as well as the poems that exist in Turkey and outside of Turkey, about "Ashiq Gharib" have been collected, and at the end of the work, two manuscripts and three oral works have been attached). In addition to this story, works of art such as cinema and theater have been created. Among which we can mention the movie "Ashiq Gharib", the last feature film of Sergei Barajanov, a famous Tbilisi filmmaker. This work dates back to 1988 based on the works of the Russian poet Mikhail Lermontov, and won the Felix award of the European Film Academy and made this story universally famous.


This article studies the story of "Ashiq Gharib and Shah Sanam" in the narratives of Iran and Turkey in a descriptive, comparative and analytical way with the unique model of Joseph Campbell's "Unique Myth". Through the archetype of the hero's journey, Campbell tries to show that most folktale heroes need to go through certain stages to gain self-knowledge and spiritual perfection. The story of "Ashiq Gharib and Shah Sanam" is also one of the folk tales of the Turkish nations, which includes the flawless archetype of Campbell's "Heroic Journey" and its three main stages of departure,  Initiation and return. In this story, like other folk stories, as Joseph Campbell's model, the hero goes through a difficult process and opens the doors of another world. Although events and places are infinitely varied, all legends follow a similar pattern. In the book "The Hero with a Thousand Faces", Campbell uses the term "monomitos" to explain the "unique myth" and generally explains great searches, discoveries, freedom and great actions with the archetype of "Hero's Journey". Ashiq Gharib also with going through the physical and spiritual stages, finds a harmonious and perfect existence through which one can acquire knowledge while reaching the beloved.


The oral fictional tale, from whatever ultimate origin, is practically universal both in time and place. Certain people tell very simple stories and others tales of great complexity, but the basic pattern of tale-teller and audience are found everywhere and as far back as can be learned. Differing from legend or tradition, which is usually believed, the oral fictional tale gives the storyteller absolute freedom as to credibility so long as he stays within the limits of local taboos and tells tales that please. A folktale travels with great ease from one storyteller to another. Since a particular story is characterized by its basic pattern and by narrative motifs rather than by its verbal form, it passes language boundaries without difficulty. The story of Ashiq Gharib and Shah Sanam, which has a lyrical-imaginative aspect, is one of the most famous stories of "Ashiqlar".
The hero of the story such as other heroes in the compilation of «Ashiqlar tales« such as «Taher and Zohreh », «Nowruz and Qandab» and «Asli and Karam», drink from love wine in a dream and take action in search of the beloved. Love in Ashiqlar" literature appears in two forms; heavenly and human. While poets were treating divine love, they benefited from human elements, and for reaching the divine love, they accepted human love as a means. Falling in love in Turkish folk tales has a very important status. The story which is analyzed tells a love story which Âşık Garip feels towards a beautiful girl. In the story, the plot is fictionalized to end up in marriage. Ashiq Gharib falls in love with a beautiful girl who lives, not an abstract being. The goal of Ashiq Gharib is to reach this beautiful girl. The beloved in the story is a beautiful girl in the real life who lives, suffers, and becomes happy. Ashiq Gharib reaches the beloved after seven years, while these seven years full of hardship in the path of individuality, made him perfection.


In this story, Ashiq Gharib and Shah Sanam are both called to a journey of individuality. Shah Sanam personally completes this journey, but Ashiq Gharib's journey to individuality is combined with his earthly journey, which is in two stages from Tabriz to Tbilisi and Tbilisi to Aleppo. This story is very similar to the mythical journey of Joseph Campbell. Apart from the three stages: a) the woman as a temptress, b) the refusal to return and c) the magical escape, the story is completely distinguished by the pattern of a mythological journey. Its distinguishing features are helping of dervish in a dream, giving love wine (buta), " instrument" as a symbol of "Ashiqlar", tests such as determining of the gift to a bride's mother (for having nursed her) and competing with other "Ashiqlar".
In this study, it was found that although the concepts of love and lover expressed in the story of Ashiq Gharib sometimes have different elements from classical and mysical literature, they have very different qualities also. Conducting such studies in different types of folk literature, instead of achieving general results, reveals a different love for each type of literature.

Introduction Kiumars Monshizadeh is one of the great and famous poets of contemporary Iran, many lyrical themes can be found in his poems. He studied philosophy, mathematics, physics and law. Mostly known as the founder of mathematical poetry. He is one of the few contemporary poets who was able to make a tremendous impact on the current of contemporary literature with only two books of poetry, in a way that he became the inventor of two types or branches in poetry namely Nimai and Post-Nimai poetry: one is "math poetry" and the other is "color poetry"; his creative and artistic work is not only related to poetry, but also in the field of press satire, which has never existed before in the history of our journalism. Monshizadeh can be also considered a pioneer and trend-setter herein.  Methodology In this study, it is tried to investigate Monshizadeh’s poetry and thought from the point of view of stylistics, especially the intellectual stylistics, with descriptive-analytical method and library study tools for answering the following questions:What are the most important stylistic features of Monshizadeh and in particular, what are the intellectual thoughts behind his poetry? Discussion Various themes are covered in Monshizadeh’s poetry as scientific terms (mathematical, philosophical, etc.), life, death, longing, complaint, love, nihilism, social pains, humor and etc.3- 1. Mathematical termsKiumars Monshizadeh invented "math poetry" in the late forties and wrote controversial and interesting poems using numbers, mathematical concepts and physical formulas. Often, in cases where mathematical concepts appear in Monshizadeh’s poetry, the text of the poem is made with the help of these concepts, and it is logical to draw conclusions from its premises. Mathematical, astronomical and even chemical and physical concepts are colored and the mathematical coherence of the arguments is supported, but there are also cases where these expressive concepts find their way into the text of the poem by accident and completely find the aspect of mathematical and physical reasoning.3- 2. Nihilism or nothingness In Monshizadeh’s poetry, the poet’s nihilistic tendency and absurdity is visible. He is a nihilist poet expressing the events of the world and his life from the perspective of a melancholic person who does not care about the values ​​of the ordinary people. According to Shams Langroudi (2005(, “Kiumars Monshizadeh is a nihilist poet who does not take anything, not even poetry, seriously” (p. 477).3- 3. Satire One of the obvious tendencies of Monshizadeh’s poetry is his socio-political satirical view of the world and the surrounding. His poetry is associated with the special language of him, viewpoint and his characteristic sarcasm, and this feature has given some of his works a unique identity. He looks at many phenomena from a humorous perspective and this satirical look has a strong and effective presence in most of his works.Monshizadeh’s poem "The history of history" or "The geography of history" is perhaps his most important and complete poem in terms of the poet’s satirical view.3- 4. Eqtefa and Analogy Monshizadeh has followed some verses of the great poets, such as Hafez, in his poems and quoted from his poetry as well as Emad Khorasani.3- 5. ComplaintIn his poems, Monshizadeh has complained about the misfortunes of the times and the pain of being alone, being away from the homeland and immigration, trying to fight against the times to save himself. He compared living to a gambling game, the result of which is losing, burning, and building.3- 6. Enologies or KhamriyatA part of Monshizadeh's poetry includes Khamriyat. Sometimes this poet has likened the lover's red lips to saffron wine in Venice, and by using simile, he has compared the lover's eyes to the wineglass and the look to wine, also giving a special beauty to his poem with the help of analogy. In a verse, through the use of exaggeration, the poet has expressed his excessive drunkenness in such a way that he says, "I am not even able to see God because of drunkenness."3- 7. Eulogy Monshizadeh wrote a eulogy on the death of Forough Farrokhzad and also mentioned in verses the death of poet, journalist and writer Khosrow Golsorkhi, who was executed by the court order because of his Marxist and revolutionary beliefs.3- 8. Islamic thoughts Islamic thoughts are manifest in Monshizadeh’s poetry, in his assurances from the verses of the Quran, his historical and religious allusions also.3- 9. DescriptionPart of Monshizadeh’s poems contain descriptions. There are three types of descriptions: imaginary descriptions, symbolic descriptions, and real descriptions. The poet, especially in his real descriptions, by using the art of recognition, simile, intellectual analogy with sense, repetition, has touched descriptions and images of beauty in his poetry which an example of that and the unique imagery is in the poem called "The galaxy of color".He believes that some words are associated with colors for us; for example, the word snow is associated with whiteness, but some other words are in the word of the color itself. Like Sepidar, which transmits whiteness to us through the ear, and Sabzqaba also transmits green color. With the use of color, the images of the poem are colored, and imagery has a very significant status in poetry. Monshizadeh has created color images with the help of the modality of colors and the chromaticity of modes. Conclusion The results of the present study show that Monshizadeh’s poem is a lyrical poem containing descriptions, complaints, rumors, humor and the social and political issues. One of the prominent tendencies of his poetry is his socio-political satirical view of the world and its surrounding, most of his poems have strong and attractive streaks of critical humor or satirical humor.In the poems of Kiumars Monshizadeh, who is known as the inventor of mathematical poetry and color poetry, mathematical terms, colors, humor, absurdism, and nihilism are abundantly seen in Nimai and Post-Nimai poetry. He expresses the vision of a melancholic person who does not care about the values ​​of ordinary people.One of the prominent trends in Monshizadeh’s poetry is his socio-political satirical view of the world and its surrounding which is mentioned earlier. Most of his poems have strong and attractive streaks of critical humor or satirical humor. Even in everyday conversations, humor is an integral part of the life of his poems.

In Iranian carpet weaving, one of the most attractive and popular developments in design style is the beginning of the illustration movement in the thirteenth century (AH). In particular, the portraits of historical and mythical kings as an ideal and archaic subject with cryptic and symbolic themes are given much attention in this period. In the meantime, the myth of Hoshangshah has been woven in a diverse geographical area with a special and fixed composition. Therefore, this research is directed to seek meaning of the texts and find the signs and social messages hidden in the carpets of Hoshangshahi to answer the question of what concepts the elements of this carpet indicate.


In this regard, the present article, by examining and analyzing carpet actors in the form of image semiotics system and establishing intertextual relations, has tried to discover and analyze hypertexts and two-way communication between carpet and society in a descriptive-analytical manner. The processes of cognition and communication and the search for signifier and modular relations between the actors in the heart of Qajar society and the carpet system have been done and hypertextual actions and dominant thinking in the construction of this carpet have been realized.
It should be noted that the data of this research was collected in a documentary method, using Nonreactive Measures like online data, pictures, historical backgrounds and methods like that.
In this research, two samples of carpets have been selected from image types, the first sample is related to the rural style and the texture of Nahavand, Hamedan, and the second sample is related to the urban style and the texture of Kerman. The constituent elements of these two carpets are placed on the two levels of the border and the background of the carpet, having visual and verbal symptoms. The reason for presenting two examples of two different styles in this research is that the design and patterns in the human and social geography of handwoven carpets are not always subjected to an exclusive system and sometimes some kind of interaction takes place in order to express common concerns among the weaving communities, which creates commonalities in thematization, but each region cultivates and represents the themes according to its style and visual language.


Cultures and cultural manifestations are made of signs, each of which is a manifestation of something other than itself, and the person living in the culture gives meaning to these signs (Roze as mentioned by Miek Ball, 2014, p. 144); therefore, each sign has a meaning beyond what comes from words (Adams, 2009, p.1), and a picture is often more eloquent and explicit than thousands of words. Hence, with the formation of the illustration movement in the Qajar era, abstract patterns of carpets were removed from their biological symbols and became a kind of the second-order semiotic system (mythological level) and until the middle of the fourteenth century (Tanavoli, 1989, p. 7), artists produced these broader systems of meaning in the form of images. In this regard, the most frequent design of the theme in the field of Qajar carpets has been the weaving of carpets with the theme of mythological and historical kings and the iconography of the kings of their time in the form of myths; therefore, the influence that the myths and stories of the Shahnama have had on the various arts of Iran, especially the carpet weaving of this era, in their thousands of years of existence, is undeniable (Tanavoli, 1989, p. 21).
In this regard, the discovery of structures and relationships between society with visual and verbal symptoms in the system of Qajar carpets with the theme of Hoshangshah is important and in some positions and themes it is ambiguous, so the purpose of this study is seeking meaning of the texts and social messages hidden in the carpets of Hoshangshahi in order to answer this main question: what concepts of the elements of this carpet are influenced by the Qajar culture and society? in addition to the main question, other questions can be raised, the answers to which will provide the goals of this research as What was the artist's goal in creating Hoshangshahi carpets? And how has this carpet as a medium played its social role during the Qajar era? Therefore, there is a need to discover some of these ambiguities, among the necessities of conducting this research; especially since these types of carpets were used in the Qajar period with a special composition for political purposes and to gain the legitimacy and popularity of the Qajar kings among the general and special masses of people through the name and deeds of Hoshangshah. Therefore, in the analysis of Hoshangshahi rugs, one is faced with a wide range of meanings and concepts, which researchers have addressed in various fields and have obtained valuable results.


The findings of this study indicate that each of these signs, mysteries or myths, is a diagram of great and wonderful phenomena. Thus, the desire to create pictorial carpets of mythical kings during the Qajar period somehow paved the way for the use of myth as a linguistic-visual tool in art that is a powerful and well-known platform in the transmission and re-creation of ideas, culture and civilization and even the aspirations of the artist in the society are provided and by learning this movement, the formation and rehabilitation of the process of recognizing and receiving ideal and active ideologies in the heart of Qajar society has been well facilitated, the actions and the socio-political hegemony has led to the formation of discourse and people-centered systems in this art, and the designer through ideological-mythological grammar by providing the components of the needs of his society (which is the symbolism of the constitutional movement in the form of discourse legitimacy), has translated the present ideology of society according to the grammatical language of carpets and brought it back to the society.
On the other hand, an unrestricted discourse, under the control of the carpet theological level (inscription written by Hoshangshah), is easily formed and has provided a platform for the intellectualism, idealism and ideology of its society. Therefore, Hoshangshahi rugs with this structure and meaning have been made from the political events of their society. On the other hand, on a visual level, by imagining the throne of fog with the elements of the throne of historical and mythical kings, and especially placing fire in the crown of the throne, he has narrated the absence of evils and evil communities on the kingdom of Iran and through this a kind of pride and the fervor of nationalism, praise of the Iranian identity and idealism is seen in the characterization and planning of the rugs of the Hoshangshahi type, which is considered unique and pristine in its own kind.

Darabnameh by Abu Tahir Muhammad ibn Hasan ibn Ali ibn Musa al-Tarsus is the story of Darab, son of Bahman and his daughter, Homa. The reflection of Ayari's special rituals and the symbolism of the initiation in Darabnameh are among the remarkable features of this work. Given the symbol is like a language that, although abstract and conceptual, expresses a clear and coherent idea of existence and the world.
Access to the underworld whose gateway is through a cave is in the processing of the storyteller's mind and the inner and hidden form in the story and is directly related to the attachment of the human soul to the pre-descent position and more proximity to God.  It is symbolized by descending to the lower world and ascending to the higher world. Symbols and symbolism create an inseparable link between the symbolist and human and the symbol with human beings, which responds to human needs and validates their psychopaths. Examining and explaining symbols enables us to be aware of what is in the human mind and to realize that their expression may change over time, but their function and result are that of liberation, and is freedom, transformation, and metamorphosis stay constant. Regarding this explanation, the main question of the present study is to what extent in Darabnameh, the creation of sacred places and centralization of that space through access to the underworld can matter as a way to reach perfection and die from the stage and give birth in the upward stage.


This research follows a documentary and library method based on symbolism and its role, specifically examines the function of the symbols in the ritual initiation ceremony based on the report of Aboutahir Tarsusi in Darabnameh. The importance of the present study lies in the fact that it can lead to new findings from Ayari texts and on the other hand shows the function of the symbols in conveying some of the beliefs of its predecessors.


3.1. Symbol and symbolism
A symbol is usually a sign that replaces something else and is considered as an indirect cognitive tool. The existence of such symbols and images in the works of authors, in general, indicates the existence of an ideal world beyond reality. The meaning of symbols and symbolism is understandable to us when we can fully understand the structure of the symbol because if we stop at one meaning or concept of the symbols and do not try to discover other dimensions of the symbols, we cannot claim to understand them.
3.2. Symbolization and initiation
What lies in the idea of the symbolism of initiation is the expression and value of the first appearance and the first manifestation of everything, which makes it possible to express the return to the origin and living in the time when the universe appeared, and the capacity of symbolic initiation allows the novice and the beginner to get rid of a mental and inner state and to understand and recognize the reality and objectivity of his personal experiences. Meaningful components of any ritual are the symbols and codes that form the basis of the components of the initiation. These components together with metaphor, simile, allusion, and recognition in the mind of the author, who also takes them from his community and group, narrating them in a story. A ritual symbol is not like a literary symbol in which there is a substitution and analogy between words, but it is an image that restrains and stabilizes the subconscious mental force and has a hidden and unknown aspect, and is a personal experience and a state of mind and individual attraction.
3.3. Story and basis of the What is remarkable in this discussion is the preservation of all forms of rites of passage in the story to which the opposite meaning is imposed. Propp calls this semantic opposition "reversal." The plot of the story is inversely related to reality and shows that the plot of the evolutionary method does not arise from the direct reflection of reality, but is born from the negation of the plot of the story.
3.4. Ascents and descents
Literature has four main narrative currents. First, descent from the upper world, second, descent into the underworld, the third, the ascent from the underworld, the fourth, ascent to the upper world.
All stories arise from the fusion or metaphorical separation of these four (radical) narratives in literature.
3.5. Symbolization of initiation in Darabnameh
Using symbols such as ascent and descent, magical flights, entering the land of the talking tree, entering and leaving the dark caves by ladder, abandoning the child in the mountains and his raising by an animal, going to the darkness for immortality, passing through Mount Qaf, etc., each of which is considered a journey for the hero and a complete test for dying in one stage and being reborn in the next stage for the hero and they all can be seen in Darabnameh of Tarsus. The following section discusses the basic symbolic concepts associated with the discussion of initiation.
3.5.1. Cave
The element of the cave in philosophical and religious traditions is very noticeable and can be seen in the myths of rebirth and the rites of initiation in many societies. The idea of the protagonist passing through the cave as a transferring means to enter the underworld can be examined in the category of transitional stages.
3.5.2. Well
The well has a sacred state in all traditions because it is a combination of three cosmic orders: the sky, the earth, and the underworld, and the three elements of water, earth, and wind. The well is a way to connect the three, on the other hand, the well is a microcosm. Through the well, communication is established to the place of the dead. Entering the abyss or deep well, which is reminiscent of a ritual hut in the ceremony of burial and mystery-learning, and leaving it, is a symbol of rebirth.


By examining the principles of the initiation and its symbolism in primitive and ancient cultures, it can be deduced that their purpose is to express the human condition of the early age and his attitude and belief in immortality and rebirth. Entering the underworld and ascending to the supernatural world is followed by perfection for the protagonist of the story, which is the meaning hidden in the initiation. Upon entering the underworld (the world of the dead), the hero encounters the truth of his existence and uses the origin of man to achieve prosperity and spontaneity and to enjoy the freedom and liberation that he lost after the fall of man.
The symbolism of the cave and other symbolisms in Darabnameh, such as entering and leaving the well and climbing the mountain, illuminates that the symbol of the "cave" in Darabnameh is one of the main images of the story and in the form that the hero enters the cave, disappears then reappears by climbing a ladder or an opening in the roof of the cave and can be defined as reaching a level of spiritual evolution. The hero's spiritual evolution is a kind of achievement from self-awareness to unconsciousness and gives meaning to the sacred space and place and "centrality" in the story. The result is a return to his group and association for the sake of helping, which is the main meaning behind the visit.

“Literature is a mirror of all events, rituals, behaviors, efforts and ideas of a society, which is the current language and identity of a nation, and a society can be identified by examining the content and subject of its literature and understand the events of social behaviors and trace the evolution of social phenomena ” (Ruholami, 2000, p. 9). The relationship between literature and social reality is not one-sided. In other words, literature is not a mirror in which the present of a society or social situation is merely reflected. If that was the case, then there would be no distinction between literary texts and social reports or history books. Literature not only emerges from the heart of social reality, but can also have a negative effect on that reality and help it change. It can be said that the relationship between literature and society is a dialectical one; literature arises from social structures, but at the same time it questions and denies those structures.

With the rise of qualitative method in humanities research in recent decades, this method is mostly used in social sciences and humanities such as anthropology, educational sciences, literary studies, cultural studies and political science and is usually a combined research; that is, from a set of methods, techniques, and tools; it uses personal experience, introspection, biography, narrative, cultural products, and a variety of observational texts, historical texts, interactive, and visual texts, and encompasses a wide range of methods of interpretation and interpretive analysis. In fact, due to Richardson, qualitative research is an attempt to understand a phenomenon from different sides and angles and to engage in a process similar to the crystallization of the phenomenon under study (Raha Doost, 2004, p. 250). Since the field of literary research is wide and many of its problems are rooted in the various sciences, the literary researcher usually prefers to start his research activity with a question instead of hypothesizing and presenting a hypothesis or hypotheses after gathering information. Therefore, the place of hypothesis is floating in the design of literary research.Accordingly, how is the interaction and dialectical relationship between agency and structure in the evolution of Persian poetry and literature through the impact of contemporary Iranian socio-political structure forms the main question of this research. In order to answer to this question, this article according to Pierre Bourdieu's theory believes the prevalence of a realist approach in Persian literature provided a good platform for literary figures to establish such a "relationship" with the people and society by focusing on popular concerns and taking them into account during political events.

Events, customs, behaviors, ideas, and moral and social status are considered as an example of a nation's historical background or in other words, social, cultural, and political developments, can be considered as its spoken language. Many of these events can be found in the boundless sea of ​​literary masterpieces. “The literature of any nation represents the heart and soul of that nation and encompasses one of the political and cultural pillars and civilization of any nation” (Grace, 2002, p. 50). Also, since the language of literature in politics is in fact a transition from internal to external thought in a social system, “a society without poetry becomes dumb, and a society that becomes dumb goes into decline.” (Davari Ardakani, 2009, p. 56)The creation of literary works arises from certain social situations, and therefore literature cannot be properly understood unless its relation to the mentioned situation is first carefully analyzed. Reflecting society situations is known as one of the functions of literature. Poetry, as the most prominent creative product of the language system, inevitably strengthens the social contexts of language and enriches the special social functions of language by adding mental mobility. Poetry that enjoys a prominent social status reorganizes language as the only factor in the relations of existence and, in Heidegger's words, “turns language into the home of existence” (Heidegger, 2002, p. 214).Following the Iranians' familiarity with the concept of "national state", which was first introduced in Europe in the 19th century, the interest in this concept (nation-state) as an ideal in which the state is no longer the power and domination but the representation of the people, in Iranian intellectual circles increased. The political structure was such that up to that time, such a government had not been experienced in Iran and there was no such a thing as nation, but it had to be invented, and this heavy task of innovation could be fulfilled through literature. Although Persian literature, despite having a long history in Iran, addresses abstract issues on the one hand and not addresses the concerns of the people on the other hand, caused its presence felt less in the context of society. But since the literary environment could not escape the influence of the social environment resulting from the constitutional changes, the poems of Iranian poets and writers as a literary asset found a large number of customers and audiences through language expressing the realities of society in the linguistic market by establishing a logical "relationship" with social structure. It was after this reception, the writers of poetry realized the value of their possessions more and better, and according to a mechanical and not merely emotional "relationship", the process of composing poetry to the more hidden layers of society was intensified.

The result of this research indicates that by adopting a realistic approach leading to the establishment of a "relationship" between writers and poets (agency) and the text of society and the audience of their poems (structure), Iranian poetry came out of the abstract state and instead of covering up and reporting general issues, it showed the realities of the society, the needs and demands of the people, and in return, the people recognized the words of the writers as their loud voice.

The present study is a comprehensive study of Qais ibn Amer, the main character of Layla and Majnoon of Nezami who, due to his unusual and irrational behaviors, led us to investigate his character with the help of personality theory of Raymond Cattle. This theory tries to describe the traits of a person that guide his behavior. “Perhaps the most distinctive feature of the theory of traits is its emphasis on the traits that make up a person's personality”. “The theory of traits emphasizes that the personality of each person can be described according to his traits” (Shojaei, 2010, p. 130). Cattell considered the adjective as a psychological structure that is inferred from observing a specific human behavior and is responsible for the order and continuity of this behavior” (Shamloo, 2003, p. 174). According to the above explanations, it should be said that “the main axis of Cattell's theory is the distinction that is made between two types of formal traits and basic or deep traits. Formal attributes are obvious and superficial and their duration is very short, and deep attributes are the source of formal attributes and the real causes of human behavior. These traits are enduring and are more important to Cattell and they are in two categories: natural traits that are inherited and environmental traits that are obtained through learning and education and are the result of the environment” (Karimi, 2005, p. 150-151). “Cattell divides traits into three categories based on how they manifest themselves as dynamic traits, traits that move a person toward a goal; ability traits, traits that show a person's talent, ability and ability to achieve a goal; and mood traits, traits that show characteristics such as energy, emotional response, speed of reaction and speed and motivational strength” (Shamloo, 2003, p. 74). He considers human reactions to be due to two deep and dynamic attributes, which play a motivating role.


This research has been done by analytical-descriptive method. In this way, we have first studied the basics of Cattell's theory from books related to the subject of research, then we have extracted the evidence of each of the main topics from Layla and Majnoon and we have examined each of them in detail. Finally, with a logical conclusion, we psychologically analyzed the personality of Qais ibn Amer for the audience.


The science of psychology helps us to better understand people's personalities, and this is very effective in improving the emotional relationships between different people in various fiction books. One of these people is Qais ibn Amer, the character of Layla and Majnoon of Nezami who has certain moral characteristics. To advance this, we used Cattell's theory. By studying the story of Layla and Majnoon and using the above theory, we found Majnoon as a quiet and withdrawn person who does not show any sign of being social throughout the story. He was an anti-social person who, from an early age to a time when he was studying at school, became attached to Lily, which provided more space for Majnoon to withdraw from society. Also, according to the content of the story and the study of Majnoon's character, we found that the components making Majnoon an intelligent human being do not exist during the story, and this is mostly due to the love that gripped him at the very beginning of his intellectual maturity. He has completely unnatural reactions to behaviors and issues and problems. An example of this trait is found in Majnoon's character when his father argues with Layla about his love and starts advising Majnoon about it, but Majnoon forgets his father's words in an unusual behavior, this forgetfulness in such for a short time, it seems abnormal and indicates a disorder in majnoon intelligence. In most cases, he cannot control his emotions in terms of stability and excitement, and cries when he hears the slightest news. The character we are studying is a domineering person, and not only he does not have any objections to those who have dominated him, but also the person himself strengthens his ability in him, and this factor causes the person to give up the effort. Majnoon is also morally carefree. This carelessness is more related to social issues and customs, because love has dominated him in such a way that he completely withdraws from the surrounding events and is careless about them, but he is expedient towards a human being and his actions are more based on benevolence and he does it out of charity. An example of this type of behavior can be seen in freeing a deer from the hunter. Majnoon, seeing a rope around the neck of the hunter, takes pity on him and buys the deer from the hunter in front of his horse out of benevolence and charity. In terms of personality, Majnoon has an arrogant personality that insists on his affairs and desires, in which he not only is not afraid of anyone, but also acts very boldly and courageously. A clear example of this can be seen in the story when Majnoon's father takes her to the Kaaba's house so that he may give up Layla’s love, but Majnoon stubbornly asks God not only to take Layla’s love away from him for the rest of his life, but to take it from him and add it to Layla’s life. In addition to the above, it should be said that Majnoon does not have a skeptical personality, but his behavior indicates a gullible human being who easily believes in the behavior of others and stands by these beliefs. While being gullible, he is very frank and openly declares his desire, and in this regard, he is not afraid of anyone, which shows that he is fearless, and in most issues, he is not afraid of dangers and problems, and with open arms they are welcomed. However, he relies more on others in his actions and promotes his behavior and actions by relying on others. Behaviorally, he has a very disturbed and anxious personality, and examples of this behavior are evident throughout the story. A person who exhibits disturbed behavior does not have a patient personality, and most of his reactions are of the unpleasant type, which eventually leads to hasty and far-fetched behaviors. It should also be noted that Majnoon is a fearful and worried person, and his fears and worries in life are more related to the love he has been caught in since school, and this has caused him to run away from the facts and fantasize more than his companion in a way that he walks around the animals and talks to them.


Based on the above evidence, it can be said that Qais ibn Amer has many abnormal traits that take his behaviors away from positive traits and normal behavior and lead him to behaviors that are due to the depth of his emotions and these factors. It has caused the traits that can motivate him to advance to the goals not to be placed in the personality of this person enough and as a result he cannot act to get Layla himself and he is dependent on others to do so. Therefore, it can be said that this factor has caused the ability traits in this person to be completely weakened and open the way for mood traits leading to behaviors such as emotionality and unhappiness, and fear and worry in life and even anxiety and distress created in him and chain-linked these actions and behaviors as the result of the same acquired motivations that environmental conditions have caused it. Therefore, it can be noted that the frequency of negative and unusual actions of Qais is very high and leads him from an ordinary human being to a person with low intellect, which by analyzing and examining those behaviors based on Cattell theory, we see that Qais ibn Amer has a personality which was with dementia that this was inherently institutionalized in his behavior.

Introduction In a general definition, any study of Iran is called Iranology. Iranology in its specific meaning is the identification of Iranian literature, history, culture and civilization. Knowledge that is four centuries old and is essentially a European science. Iranology, both in the general sense and in the specific sense, has been monopolized by Westerners during these four centuries. All linguistic, historical, literary, cultural and artistic studies, both in scientific and non-scientific aspects, have been done by Westerners and in fact have been the direction of this science.But in the last century, some Iranians entered the field of Iranology due to traveling to Europe and observing the work of orientalists and Iranologists. Among these people was Mohammad Qazvini, who travelled to Europe and accompanied English, French and German orientalists, and became acquainted with their method of work and the nature of Western Iranology.Since much of the Western research has been flawed, Allameh Mohammad Qazvini thought of persuading Iranians to enter the field of Iranology and in correspondence and contacts with Iranian researchers encouraged them to do so. Allameh Mohammad Qazvini, by entering all the fields that were previously in the possession of the Westerners, broke the Western monopoly on Iranology. His collection of activities, which was accompanied by the utmost care and interest, made him a national Iranologist who had never held this position before. Methodology This research is based on collecting information from libraries and archival centers and descriptive-analytical method. First, the data were collected and then, according to the research topic, the data were processed. While doing the research, we came across two categories of data: data related to Allameh Qazvini and his historical and literary activities, which are under the subject of Iranology and data related to Iranology from which national Iranology has been extracted. Discussion Iranology in its specific meaning is the historical and literary studies of Iran. Fields in which Allameh Mohammad Qazvini was a unique master. The most important activities of Qazvini Iranology were: Commentary on Grammar of Persian Language, Persian poetry and comparison of Orientalists theories on literary issues, Documentary and the expression of rules and principles related to it, bibliography (See: Qazvini, 1953: 1 / 31-33, 34-45, 61, 70; See: Jorbozehdar, 1983: 1 / 238-241, 244-265, 133-144, 233-236), Codicology (Qazvini, 1956: 66-71; Jorbozehdar, 1983: 1/260-265), Genealogy of historical dynasties (Qazvini, 1944: 7-12), Biographical evaluation (See: Jorbozehdar, 1983: 1/9-98; Qazvini, 1945 c: 59-70), Morphology and Persian and Arabic meters of prosody (Jamalzadeh, 1971: 396-400), Dialectology(Qazvini, 2009: 389-390), Library issues such as: Descriptions of some librarians, booksellers and private library owners, Publishing words, history of the oldest Arabic manuscripts, old and contemporary libraries and organization of library materials (Shabani, 2000: 100-108) and following the contents of European newspapers about Iran (Abolhassani (Monzar), 2006: 12-17) and etc.In the field of textual criticism, Qazvini has critically examined the works of Iranologists and believes that not all of them should be trusted and the works that come from the west need to be re-examined. Qazvini's way of thinking and enlightenment in this field caused the entry of Iranian researchers into this field, which is in fact one of the branches of Iranology.Qazvini's goal was not only to criticism or recognize this and that manuscript, but also he tried to give a proper meaning to our cultural and national identity by identifying, collecting and recording documents related to the history and culture of Iran and fairly criticizing those documents (Ajoudani, 2014: 284).Mohammad Qazvini, in addition to researching, editing and textual criticism, is a pioneer in preparing photographs of important and rare manuscripts related to the history and culture of Iran in the libraries of East and West of the world (Bahramian and Motalebi Kashani, 2004: 153).Allameh Qazvini in the introduction to the photographed books addressed specific issues of Iranology such as historical geography, biographical evaluation, bibliography, Codicology and Oriental studies around the same book and author (see: Qazvini, 1982: Introduction). In addition, Qazvini preferred the introduction of Iranian scholars such as Mojtaba Minavi and Abbas Eqbal over the photographed manuscripts to Orientalists (National Arshives of Iran, 297/37756: 1-4; Motalebi Kashani, 2008: 447 -448).The sum of these activities was somehow useful in promoting and developing Iranian critical studies (Iranology) (Afshar, 1978: 132-133) and made many Iranian researchers interested in this field.In addition to text photographing and editing, Qazvini, after returning to Iran in 1939, wrote a biography of some contemporaries in Yadegar magazine under the title of Vafyat-e-Moaserin. It includes a brief biography and history of the greats of the Islamic world who more or less contemporary with the late Qazvini and he saw them or was aware of their names and symbols (Eqbal Ashtiani, 1949: 53). Also, in his writings, wherever he saw the name of Orientalists or Iranologists, he gave a brief description of their biographies in a margin or footnote. This issue is of special importance for introducing Iranologists and Orientalists to Iranians (see: Qazvini, 1945 a: 28-37).Allameh Qazvini, by dominating the research of Iranians and Westerners on the history, culture and literature of Iran, had gained a firm belief in some Iranian scholars. He talks about Eqbal: “with the presence of a person like Mr. Mirza Abbas Khan Eqbal, whose existence in Tehran is a conclusive reason that the research force and critical method of the Iranian race is no less than the European race” (Qazvini, 1953: 99). With the same encouragement and motivation, Allameh Qazvini created the grounds for Iranians to enter Iranology.In addition to historical and literary research, Allameh Mohammad Qazvini has also made great efforts in the field of geographical declaration. He has presented remarkable and enlightening explanations about many geographical locations whose exact location is unknown or that were ambiguities about them, with research and accurate follow-up among the encyclopedias and Persian and Arabic books of Al-Masālik Wa L-Mamālik. Qazvini  in removing ambiguity from the geographical places, in addition to the views of Iranian historians and geographers, has considered  the researches of famous Iranologists such as Schefer, Markwart and Barthold (see: Qazvini, 1948: 30-37).Communication with foreign Iranologists and Iranians abroad caused Allameh Qazvini to identify the strengths and weaknesses of Iranology and guide Iranian researchers to advance Iranology. As a result of these efforts, national Iranology gradually spread in Iran individually and organizationally and the Iranians believed that they could conduct a sample of Western studies on Iran.Finally, Allameh Qazvini has a very important role in the emergence of institutions promoting Iranology. He was always dissatisfied with the situation of Persian language in publications at that time and its extreme fusion with other languages, asked people like Mahmoud Afshar Yazdi to take the necessary actions to protect the Persian language (Afshar, 1959: 275). Although Mahmoud Afshar does not consider himself a fanatic in adhering to the rules and principles of the Persian language like Qazvini, he is influenced by such thoughts that in 1958 the "Dr. Mahmoud Afshar Endowment Foundation" was established to generalize the Persian language and consolidation of national unity. In the following years, many books entitled "Collection of Iranology" were published in the same foundation with the cooperation and assistance of Iraj Afshar. Conclusion In the early twentieth century, following the travel of a number of Iranian scholars to Europe and the observation of the work of orientalists this motivation raised in them that they can also do Iranology; among these people was Mohammad Qazvini, who, due to his association with great Iranologists in Britain, France and Germany, decided to conduct research like them and in their own way. As a result of Qazvini's Iranian studies, Iranians gradually became acquainted with the nature of Western Iranology and its strengths and weaknesses, and came to believe that they, like Westerners, could conduct Iranian studies.Qazvini's literary and historical activities in the field of criticism of historical and literary texts, historical geography, biographical evaluation, manuscript photography, introduction and annotation on prominent Iranian texts made him a national Iranologist, which had no precedent before him. His researches on Iranology, whose accuracy and importance were well-known, are among the first achievements of national Iranology. After him, many scholars continued his research fields, which led to the development of national Iranology.After Qazvini, Iranian scholars, many of whom were trained in Qazvini, developed Iranian studies activities individually and collectively. Holding world congresses and national and international conferences on Iranology in the following decades, provided fields of entry of foreign Iranologists to Iran and Iranology fell into the hands of national Iranologists after four centuries of Western history and its general policies in Iran were determined.

A work of art is the production of exchanges and interactions among creator, collective sources, simple and complex network of traditions, discourses and historical, social and political institutions. So, Hafiz’s Divan could be considered as an area for interactions and exchanges as well as discourses, traditions, political and social activities of Iranian society which transcends cultural and historical texts and boundaries with continuous dynamism. Modern historicism is a new approach in the study of historical and literary texts dating back to the second half of the nineteenth century. This neo-historicist approach is appropriate for the classical literary and historical works while it explains the various aspects and forms of collective sources, traditions and the system of domination in the reproduction of the system of power. To the extent that the creators are interacted with the political structure or system and power, they provide a clearer image of the complex layers and sources, traditions and the dominant historical and cultural discourses.Hafiz is a poet who interacts with authority and this issue can be traced in symbolic and general readings of his poems. Recognizing the relationship of the political discourses of the eighth century AH and Hafez's poetry as well as the exchanges, interactions and reproduction in his divan and the study of its aspect in his Divan, it is easy to understand the political discourses of the very period and to explain the role of these discourses in shaping the relationship between text and history meaning the effect and context of its production.

This study tends to examine social and political discourses of Hafiz’s era, interactions and reproductions of those discourses and the extent of its reinforcement and rejection in his Divan with a descriptive-analytic method using new historical approach.

One of the important issues of neo-historicism is the flow of discourses between the different texts. According to Foucault's point of view, any power system creates its own "truth regime", and the literary and cultural texts of any period are either influenced by this regime and consolidating it, or dream of changing it. In other words, either part of the "hegemonic" system is ruling or the other in opposition to it (Milani, 2001: 9). Hafiz had a huge interest in short and hasty period of Al-Inju's rule and its pleasant hegemony has extended the scope of ancient discourse of this dynasty to Hafez's poetry. Based on the ancient Iranian discourse of Al-Inju, Hafiz seeks for a wise and just king. Hafez's poetry does not concern with the asceticism and worship of the king, but what becomes relevant is the justice of the king. Hafiz showed special interest in the reproduction of the principles of the Abbasid Sharia-based discourse after the fall of Alainjo's government by Amir Mobarz al-Din Mozaffari (Shabankarei, 2002: 2/316). Hafiz was not happy about the assassination of his beloved Sultan, Shah Abu Ishaq, by Amirz Mobarez, as well as his strict actions in the matter of Sharia (Samarkandi, 1383: 293; Katabi, 1364: 64). As with the symbolic title of Muhtasib, which is a representation of the character of Amir Mobarez Mozaffari, Hafiz shows his opposition to his dogmatic discourse in various ways.  With the death of Amir Mobaraz al-Din Mozaffari, the intensity of his Shari'a-like discourse was adjusted by his son Shah Shoja 'and his sons, and they adopted a gentle and tolerant policy in this very regard. In Hafez's divan, there are signs of modification of this matter based on the reproduction of the discourse of the brave king and his children. With the weakness and decline of the Mozaffari dynasty and the continuation of bloody conflicts and social and economic disorders, their Shari'a discourse also declined and the focus turned to the discourse of the new and powerful power emerging from Transoxiana and represented by a person named Timur Lang. Towards the end of his life, Hafez, in despair of reproducing Mozaffari's Shari'a discourses and the emerging Turkic discourse in establishing security, again, in a general and implicit way, expressed his desire to fulfill Khosravi's discourse.

Hafez's Divan welcomes the Khosravi and Iranian discourse of Al-Inju and strengthens its discourse foundations by using elements, concepts and symbolic historical and literary symbols. With the overthrow of Khosravani Al-Inju's discourse by Amir Mobarzaldin Mozaffari and the creation of his dogmatic discourse, Hafez's court rises to conflict and confront it by producing the symbolic element of the preacher in a network of negative associations. However, with the modification of Mozaffari's Shari'a's discourse by the sons of Amir Mubarz al-Din, that is, the brave Shah and his sons, a text is provided for the exchange and proximity of Mozaffari's Sharia's discourse and Khosravi's discourse, and its scope is extended to Hafez's court. Subsequently, with the weakening and decline of Mozaffari's discourse, this discourse provides the arena for the reproduction of the Turkish-oriented discourse represented by Timur Lang. Finally, with Hafez's despair at the end of his life from the Turkic discourse, in organizing the turbulent and unsettled situation of the time, his desire to revive Khosravi's discourse, which oversees Hafez's youth, is reproduced.

One of the important customs among Lak people is mourning. Mourning and lamentation for a dead person is called "Pers" by Lak speakers. "Pers" includes special ceremonies among some Lak tribes which is called Chamar. This brilliant mythological custom by both individual and group function has special principles to reverence the deceased. Deeply researching Chamar custom paleonologically and decoding it as an interpretative content indicates valuable manifestations of ancient culture of Iranian ethnics.

Generally, the method of this study is a combination of library-based and observation research. In this case study, the analytical-descriptive, structuralist and sometimes comparative methodology is applied. And qualitative method is used to show the importance, function and symbolic meaning of manifestations and elements of mysterious demonstrative ceremony, Chamar, welcoming ritual and also the death dance among Lak nations. One of the authors of this paper himself (Ahmad Kanjouri) is a native Lak speaker of Delfan town (Itivand or Ivatvand Tribe) who has participated to hold this mourning ceremony specially for the death of their beloved and relatives.

3.1 Artistic dimensions
The term "Mour" is a very important manifestation in Laki language which is one the most ancient songs. "Mour" is performed in different tunes to sorrow, praise and describe the ethical and social characters of the dead people in a painful and sorrowful way. The tone of "Mour" gives a doleful magnificence to Chamar place when men and women are singing it. According to different situations, Sorna (horn) players and drummers -sometimes just the Sorna player- perform different tones harmonically. Lak nations have performed the death dance (Rara) up to recent years. Not so long ago in NoorAbad Lorestan when an influential man died, men and women didn't use to cry but used to dance with the tones of Sorna and drum (Asadian, 1978: 8). A lot of men participating in Chamar ceremony hold eachothers' hands, in a circular way and dance with very slow movements. They dance coordinately with Sorna and drum and beat their breasts with their right hand simultaneously.
3.2 Literary dimensions of Elegies (Kalimas)
In Chamar ceremony men and women who have melodious voices sing some laments. These laments are the literature of "Mour". Laki laments are generally ten-syllabic single verses which are called "Kalima". These single verses are mainly epic and lyric. They have been transferred orally to the present generation. If someone valiant and commander died, this would be a sample of proportionate Kalima:
/ki diye sardâr wež beču va jang/
کی دیه سردار وژ بچو و جنگ
/tarsem bekošni sepâ buti lang/
ترسم بکوشنی سپا بوتی لنگ
No one has seen a commander himself do the battle with enemy
I am afraid of him being killed and his army getting disappointed
3.3. Mythological and ceremonial dimensions of Chamar
The ancient and historical ritual of welcoming has been a public or private ceremony being held by decorating the place and generally playing horn and drum and other kinds of musical instruments. The ritual of welcoming and its related aspects is still being held by some of tribes for the mourning of their dead and beloved family members especially in Delfan town. Usually seven Sorna (horn) players and seven drummers wearing native and local cloths stay side by side and shoulder to shoulder at the entrance of Chamar place. When any group of participants arrive, they play tunes of Chamar. In Chamar in order to be more impressive, demonstrative elements, lyrics, music and creating special atmosphere are applied; which are very similar to Siavash mourning. The dance of Rara, which is very slow and sorrowful, is performed leftward. This inversion and reversal which is the mystery of death, is also represented in Shahnameh for the mourning of several different characters. By comparing and studying the death dance among different nations, it could be said that these dances are customs of passage. It is an experience for spirit which strengthens and guides it to the narrow invisible road to achieve eternity.

Chamar mourning is a mythological, mysterious and symbolic custom and an alligation of expressions and gestures, demonstrative manifestation, dance, taboos, music and lamentation which is performed for the death of the loved ones among Lak nation from long time ago. The results of this study indicate that Chamar is a kind of passing ceremonies to return to balance and accommodation with the new doleful situation. In this ceremony, in order to be more impressive, demonstrative elements, mourning cloths through creating atmosphere and music are applied being very similar to Siavash mourning (Siavashan). Comparatively studying the accepting and meeting customs and death dance of Lak people with the myths (history - stories) of ShahNameh and also with other nations shows historicity, oldness, and mysteriousness of this ceremony. The dance of "Rara" is a demonstrative custom to banish the duality of life, alliance with the eternal and obtain the initial unity again. It is also an eagerly experience, worship and a communal demonstration to strengthen and guide the spirit of deceased to the narrow invisible road to achieve eternity.

The factor of textual coherence and sentence relation are divided into three categories according to Halliday and Hasan:
A) Lexical factor: including repetition, synergy and semantic domains.
B) Grammatical factors: including referral, replacement and deletion.
C) Connective factors: including conjunctions (Yahaghi and Fallahi, 2011, p. 331).
New linguists, in the course of their early studies, have relied only on the description of less linguistic units and have not paid attention to the study and analysis of disciplines beyond such as in the critique of these research approaches (De bougrand and Dressler, 1981, p. 21). Gradually, with the development of linguistic research and the development of new theories, Noam Chamsky's rotational method, became a concept between sentences, and the basic need for study was concentrated within the organization of the text so that the text could be studied by linguists as a larger linguistic unit. (Ibid 104-130).As a result, it led to the discovery of semantic relationships between elements of language which arise from the function of elements of coherence in the text.

Since from the end of 20th century, a more detailed study of speech has been opened especially with patterns such as the pattern of cohesion and on the other hand, Khaghani in Persian poetry is a symbol of the strength and stability of poetic speech in the form of Ode.
One should examine to see if the pattern of coherence confirms the coherence of Khaghani's speech. In the prevalence of some fascinations, it seems necessary to see and explore the magnificent Persian text from new perspectives in order to show their originality' strength and coherence.

In 1976 Halliday and Hasan divided English text cohesion tools into three categories: Grammatical tools including “referral”, “substitution” and “deletion”. Link tools including conjunctions; and lexical tools including repetition. In 1985 they expanded this division into another joint work.
It is the coherence consistency and integrity of the text that keeps the components of the text together; That is the meaning of lexical units within each sentence depends on the other units within the same sentence (Taki, 1999, p.73-81).Text coherence refers to the set of links and relationships that exist between the components of the text. These links and relationships distinguish the text from randomly stacked sentences and turn it into a coherent whole (Lotfipur, 1995, p. 110). Vocabulary coherence based on the relationship that lexical units of language have with each other in terms of the content of their meanings and the text trough these relationships can be continuous and coherent (Mohajer & Nabavi, 2014, p. 64). Word has no meaning in isolation. The meaning of a simple or compound word is related to other words in the language. The main task of semantics is the clarify words and determine these semantic relations (Tarask, 2001, p. 18).Recursion has the highest value among the elements of other words and increase the musical level of the poem, the stability of the words, the unity of the subject or the embodiment images and poetic emotions and feelings and the single theme and solidarity of the verses and connect them with chains (yavari, 2000). Recursion comes in several forms: repetition, contradiction, semantic inclusion, synonym.One of the factors of the lexical coherence in the text is the factor for repetition. According to Halliday, repetition is the most obvious type of lexical coherence. The cohesive factor of repetition includes all morphological construction of a word (yavari, 2018, p. 163-192).In Khaghni's view like the formalists, the word has a special importance to the extent that various literary techniques such as: prosody, repetition of sounds, repetition of syllable in words, etc. As a tool to draw the reader's attentions to the word element (Alavi Moghaddam, 1995). The thirst for word choice is clearly evident in Khaghani's words (Tajlil & Musavi, 2014).In this Khaghani's poem, 41 words are repeated more than once. The most commonly used word is morning (It is the most frequent word in this poem). Khaghani has been called the poet of morning. Maybe that is why he pays attention to the morning and sunrise in his poems.

Contemporary patterns in literary studies are clearly arguments for commenting on literary topics. One of these models is the model of Halliday and Hasan cohesion, which was reviewed by Hasan sometime after its publication and was finally presented by Halliday and Hasan shortly after. For decades, formal studies based on this model have become increasingly important. On the other hand, the importance and success of Khaghani in Persian has always been raised. In this research, using the evolved theory of coherence of Halliday and Hasan (1985) in role-oriented linguistics; analysis, coherence and continuity in verses of Khaghani's poem have been done to determine how the semantic connection of cohesive chains has been realized in this poem.
According to this theory, the coherence of the relations between elements is the constructor of the text, but it is not enough just to achieve the coherence factors in the texts; rather after showing these factors, it is necessary to examine the coherence of the text, based on coherence coordination. This study, following the achievement of coherence of the factors and coherence of the text of the poem, led to the conclusion that Khaghani's verses have a high coherence according to Halliday model. Although the strength of the structure of Khaghani's poetry does not need to be confirmed by such models but it is a conclusive argument and a valid argument that shows that the patterns favored by modern scholars also confirm the coherence of the words of the greats of Persian literature.
According to the collected analysis materials, the following contents were obtained. Repetition and reference have the highest frequency in the issue of coherence of Khaghni's logic poem. In the topic of repetition, the highest frequency of words, revolved around the following axes:
Topics related to religion: God, Guidance, Baggage, futurity, Clerics.
Topics related to nature: Morning, sky, night, sun, moon.
3.Vocabulary related to war: Cousin, dagger, armor, razor, ring, punch, kidnapping.
4.Topics related to clothing: Cloaks, robes, masks, hats.
It is as if Khaghani wants to sing the epic of the sultan of religion instead of the epic of sultan of the time and show us a deep alternative. In this axis, he combines all the elements of nature to achieve his goal. The method of Haliday and Hasan in the Latin articles that are available and in the Persian articles that have been published in prestigious academic journals in the last 35 years is the first case study- Khaghani's poem- is translated into text and then into words. and are checked. This method is very accurate in this regard and according to this model, we can speak with certainty about the coherence of Khaghani's speech.
Also, in response to the questions of expression of the problem, it was found that new patterns for examining the ancient texts are not prohibited and there is no problem and the firmness of Khaghani's speech, which is clear for Persian literature elites, was proved by this pattern. It was also answered that the use of modern patterns is not a problem for the study of ancient texts. This pattern which has good accuracy and detail, is suitable for the study of Khaghani's poem.

The culture and art of each nation show its history, originality and ancient civilization which due to the valuable works it has left, has always been considered by different ethnic groups and nations, one of the most important civilizations in history that has been able to play an irreplaceable and effective role on others.Iranian civilization has been ancient since its original culture and art was able to influence different nationalities such as Arabs and Abbasids. Iran has a great and exemplary culture and civilization, and the role of Iranians in culture and art has been well-known to the general public, so it is important to show the original culture and civilization of the people which has many hidden values, because "such studies And research helps nationalities to better understand each other and sometimes leads to better understanding and improvement of relations between them "(Ghanimi Hilal, 1373: 132-133), in fact," Comparative literature looks at discovering the global dimensions of literature from its historical perspective and Its various manifestations show it over the centuries and give nations the opportunity to search for themselves in the literature of others and to become aware of their status and at the same time, to know their character well enough to be able to correct their position or To defend their position against false and untrue images of others and to provide the basis for understanding based on honesty between nations ”(Ibid: 546-547), therefore, considering the existence of manifestations of Iranian culture and art in the poems ofHussein Ibn Zahak, a famous poet of the second and third centuries, research in his poetry is important, the number of verses of Zahak, more than three thousand verse has been lost over time and only about eight hundred verses remain, he has been able to address issues such as: praise, Khmer and lyric, with a simple but clever and accurate expression, an honest but lively and dynamic account of culture and Present Iranian art and originality, and by presenting ethics and art, architectural style, Mehregan celebration, Sufi wine and wine, court aristocracy, good and bad days, portraits of Iranian and Barmakian characters, and the use of Persian words involved has been able to reach Iranian culture and art in the Abbasid era, and its great role and influence on the Arabic-Abbasid culture, so the poet's divan is an important historical document for researchers who study the news and situation of the people of the second and third centuries AH.


The present article, in a descriptive and analytical manner, using library sources, has examined Ibn Zahak's poems, but in order to clarify the subject as much as possible, first generalities of Ibn Zahak's illustrations and place in illustration have been presented. Then, by comparing the poet's poems with the authors' critical theories and historical documents, we came to the fact that Ibn Zahak's poems are a reflection of the culture and civilization of Iran.


   The culture and civilization of any nation shows the originality and historical richness of that nation. Due to the ancient connection of nations and cultural exchanges, and the deep connection of Iranians with Arabs, Abbasids and Christians, the importance of historical documents such as poetry in understanding the culture and civilization of nations becomes clear. But Iranian culture and civilization has a very long history. With the beginning of the Abbasid caliphate and the presence of Iranians in the Abbasid rule, the foundation of a great cultural movement was laid. In the Abbasid era, the Arabs interacted with other civilizations such as Iran and Rome, and many of these cultures were influenced by Iranian culture, including those who played a significant role in the Abbasid caliphate and were able to illustrate the culture and civilization of ancient Iran in various assemblies and circles, were poets, In fact, poetry was the court of honor and glory of the Arabs. Hussein Ibn Zahak, considering that he was an Iranian and had a privileged position among the rulers and caliphs of the time, was able to show the culture and originality of the Iranians by expressing poetry with special delicacy, skill and mastery, according to Shoghi Riyadh. It was a measure that could fill the assemblies with joy and richness, and arouse the admiration of the faithful and the elders, and express the language of its culture and originality in the Abbasid era ”(Shoghi, 1967: 43), the cultural and artistic manifestations of Hussein Ibn Zahak's poems which are signs of culture And Iranian civilization shows the ancient era in the Abbasid era, prominent in the poet's court In fact, the poet's divan expresses the identity and civilization of a nation that has been a pioneer in ethics, art, culture and originality, and thus has been able to influence others. so addressing the poet's poems and focusing on the essence, culture and civilization of the nation, Which has many intrinsic values, is important, but because literature is the broadest cultural horizon of nations, the main components of identities can be identified through its reports. Therefore, this study, by showing the elements of Iranian culture and art, the effects of which have appeared in the poems of Hussein Ibn Zahak, as a historical document, has an important role in identifying Persian and Iranian culture and civilization.


   Hussein Ibn Zahak, an Iranian poet of the first Abbasid era, one of the poets of the second and third centuries, was the language of culture and civilization of ancient Iran which was able to identify many elements of the culture and civilization of the Abbasid era on which manifestations of Iranian culture and art Had influenced, to show. in fact, Ibn Zahak's poetry is the manifestation of Iranian culture, ethics and art, and accordingly, the images presented of ethics and art, architectural style, Mehregan celebration, Sufi wine and Khmer, court aristocracy, days Good and bad, Iranian and Barmakian personalities, and the use of Persian words involved, as well as the cultural interaction between Iran and ancient Christianity, have been a reflection of Iranian culture and civilization in the Abbasid era that Hussein ibn Zahak was able to beautifully and in detail To depict them, and to point out the cultural interaction between Iranians and Arabs, as well as the irreplaceable influence of the Abbasids on Iranian culture and art. Most Iranians have been limited to the sensory and material aspects of life, and abstract images of morality, and the art of music, and Sufi wine has been focused on unique features with the help of which the poet has only described the ancient culture and civilization of the Iranians and thus has been able to point out the privilege and superiority of the Iranians over the Arabs.

The folk culture of any nation is the same culture, thought and belief of the people of that nation;  This type of culture expresses the customs and thinking of the people of each region;  In addition, by analyzing folk culture, information can be obtained in the field of historical sociology (cf. Mahjoub, 1387: 139).  Proverbs, beliefs, songs, stories, legends, etc. form part of popular culture, which itself is a subset of people's culture (cf. Derri and Khairandish, 2013: 82-83).  "Proverbs and sentences are also one of the subsets of popular culture" (Rahmati, 1383: 105). Proverb is one of the manifestations of popular culture.  The popular culture of every land is the result of the thought and experience of the past and represents the beliefs and customs of the people of that land.  Therefore, one of the manifestations of the culture, civilization and literature of any country is the proverbs, sayings, and aphorisms that have emanated from the mouths of the great people of science and literature or the common people of that land.  More than any living language in the world, Parable and wisdom are used in Persian language, each of which has a world of taste, thought, sweetness and good interpretation in fulfilling its purpose.  Thousands of years ago, Aristotle believed that proverbs and decrees are among the clusters of ancient wisdom, which have been spared from the danger of destruction in the light of brevity, correctness and correctness (Kolpaygani, 1376). The popular culture of Kerman is also a part of the culture of this ancient land with a long history. Therefore, by examining the historical figures and the common sayings of the people of this land, you can get to know small bits of the culture of this land. The purpose of this article is to examine the role of proverbs and common sayings of Kerman city in the cultural spread of the people of this country and to examine how they evolve.  For this purpose, with an analytical approach, we have investigated common proverbs and sayings in the city of Kerman, and we have examined the historical characters of these proverbs and sayings.  In the end, we have drawn conclusions about the prevalence of these historical figures on the cultural spread.

In this research, the authors first collected this special and common narrative of proverbs and sayings among the people of Kerman city in the field and through interviews;  Then, from the sources related to the subject, they investigated the titles of historical figures like Akhmel and Hakem, and took a picture.  Then he analyzed and presented the results.

Understanding the wealth of popular literature such as proverbs and sayings, myths and stories is one of the effective ways to create understanding and a sense of altruism and empathy between different nations of the world and to realize the ideal of dialogue between civilizations.  Examining these kinds of works can explain the basic physical and emotional needs of humans, and without a doubt, efforts to meet these needs will help foster a sense of brotherhood.  And this is where people will know each other better, and each one will see himself as a member of the great human family on this planet.  The cosmopolitan thought will gradually take shape, and everyone will be far from selfishness, racism, and blind religious prejudices, and will agree with the renowned Pakistani poet Muhammad Iqbal (Iqbal Lahori, 2033: 203).  Diffusion of culture means the spread of culture sometimes from one area to another, sometimes from one time to another and in a two-way manner.  The cultures created in the new world are sometimes independently developed from the old cultures and sometimes they are changed and replaced.  This view has been proposed in the form of a theory about the evolution of culture by people like Edward Tyler.  According to them, the dissemination of culture plays a very effective role in the development and development of culture (see: Bashiriyeh, 1385:128).  The people of Kerman are famous historical figures such as;  Shah Abbas Safavi, Mullahadi Sabzevari, Sardar Nusrat and Sardar Majal of Kerman governors, Iskandar Makdoni, Yusuf Kafi Chi, Nawab Safavi, Bilal Habashi, Bahlul, Bektash Khan governor of Kerman, Issa Khan Jalali, gendarme of the southern region of Kerman, and Shah Nematullah, but according to the measures  They have used their culture and society in proverbs and sayings.  Examples of proverbs and sayings of the people of Kerman and their historical roots are examined. One can have art!  (/dam mibâ honar dâšte bše/) The food should be hot, the bowl should be wooden! /âšeš xədang bâše kâsəš čubi bâše/ Oh, the house of the leader, the leader is left! /a: xune sardâr sardereš munde/ Be a nailer to a nailer, Hader Boon! /a mixkan tâ mixkub hâder bun bâš/ As if Yusuf is at a crossroads! /engâr yusefu səre dorâhiye/ He is great and the Nawab is a beggar and Abbas is a friend! /bozorgiš va: navvâb mimune gədâyiš va: abbâs-e dus/ Bilal is a man, don't ask for permission! /bəlâl ke mord dəge azun nəgoftan/ Bahlool and Barley Bread and Vinegar! /bohlulo: xərq-e nun-e jəvo: sərke/ Homeless son! /peser-e bytâš xâne: / The old man is burning with curdled ash! /pirət bəsuze âš-e kašk-e pādane/ It's annoying! /de 'səre bâr mikone/ A disciple of a donkey is better than a hundred and six dengi! /ye moride xar az sad dəhe šişdongi bəhtəre/ .

In proverbs and sayings, it is an attractive and heartwarming part of language and popular culture, which makes its use in writings and speech more beautiful and pleasant.  It prevents boring and lengthy speech.  Considering that some proverbs are very short, but they help the speaker and the writer in expressing the concepts.  By studying and examining the historical roots of proverbs and sayings common among the people of Kerman, one can understand the spirit, thinking, customs and especially the history of these people.  It is also clear that the function of proverbs and rulings for raising and teaching children is common among families, which makes traditions, manners and customs survive and transfer them to children and future generations in other regions.  With the spread of proverbs and rulings, altruism is promoted and empathy and understanding are created between the people of the same community and other regions.  These are the characteristics that make culture contagious, and throughout history, continuous cultural diffusion occurs among societies.  By examining the historical roots of proverbs and sayings common among the people of Kerman, the manifestations of culture, civilization, literature, habits, customs, ways of life and thinking of the predecessors of this region are determined.  Kermans have authenticity, that's why it spreads in other cultures.

Persian poetry and prose texts (and local literature of Iranian ethnic groups) such as poetry collections (Shahnameh, Golestan and Bustan, spiritual Masnavi, travelogues and prayer letters, Khamseh Nezami, poetry collection, stories and tales, contemporary literature (poetry and prose, New poetry), native proverbs, are full of valuable and instructive tips to be used in planning, designing and organizing space. In the past periods of Iran, most cities and neighborhoods had a texture mixed with gardens and green areas inside and outside the city and neighborhoods. The existence of these gardens has had an economic function including the production of fruits, vegetables and economic income, playing an environmental function as the respiratory lung of the city and neighborhoods. In addition, there were alleys adjacent to the gardens with which the public life of the inhabitants was intertwined. The residents of the neighborhood felt comfortable, calm and belonged to their neighborhood by crossing these alleys. As can be seen in the poems and songs of some poets, some of these alleys have been places for the expression of poetic feelings and romantic dates, and many poems have been written with direct and indirect reference to the alleys of gardens.In the present age, with the destruction of gardens, large constructions and economic view of local and urban gardens, gardens have been destroyed and consequently, the alleys of gardens. As a result of this process of commercialization, the texture pattern of the neighborhoods has changed, and instead of gardens, residential towers, and instead of alley-gardens, lifeless paths have been produced. Poetic feelings of comfort and serenity have given way to the rapid passage of private cars, the movement of strangers, and the pattern of alienation and movement. Therefore, the most important issue of the present study is the neglecting of gardens and forgetting the pattern of alley gardens in the process of evolution of residential textures in cities and villages of Iran, over time. Paying attention to this at present can prevent the destruction of existing gardens and alleys. However, some neighborhoods, cities and villages of Iran now have valuable gardens and alleys that recognition, protection and attention to them can be effective in deepening this Iranian pattern.

The purpose of this study is to investigate the position of the garden alley in Iranian culture, art, poetry and literature. In this regard, the most important question of this article is what is the location of garden alleys, culture and art of Iran? The research methodology used in this research is a historical-analytical one with a logical reasoning approach which is carried out with documentary study methods, library and case studies. The research process is in a way that firstly the issue of research and research method is raised and the place of nature in Iranian culture and literature is examined. Then the terminology of garden alley and its relationship with psychological and mystical feelings is studied and then garden alley and garden neighborhood in the arts of architecture and urban planning, painting and Iranian carpets are examined in the form of case studies.

In Persian literature and prose, alley garden has been used in various meanings and concepts including: description of Zolf Yar, description of mental space and sweet memories of love, description of beauty of mental space, desire for a sweet and hearty space, etc. In this regard, writers and poets have used the literary industries of metaphor, ambiguity and narration of memories. Alley garden has a high position in Iranian poetry and literature as well as traditional Iranian architecture and urban planning. The alleys of the gardens have been the place of expression of many pure poetic feelings for the people in the villages and cities. As many poems have been inspired by this poetic atmosphere. The metaphor of the garden alley in Iranian poetry and literature is sometimes used to express a desirable and mystical atmosphere, and sometimes it is used as a mental or real romantic and desired space of poets, composers and writers.
 Garden alleys in the tradition of traditional Iranian architecture and urban planning have been an integral part of urban textures that are still considered as part of the pillars of rural textures and small towns. As the gradual connection of the artificial texture of villages and cities has been established through the alleys of gardens to the texture of gardens and farms. This way of networking the passages and bodies of cities, gardens and farms is considered as an original, desirable and Iranian model in Iranian urban planning. A pattern which is declining in the contemporary period and giving way to non-native and western constructions.

With a humane, literary and nature-oriented view of rural and urban spaces, it is possible to help institutionalize the garden alley pattern through planning and design strategies. These strategies include: Protection of the natural heritage of gardens and garden alleys; Respect for privacy and property; Efficiency of gardens with a reception garden pattern; Creativity in garden alley design: garden alley prediction in urban regeneration; Use of national cadaster system in stabilizing gardens and preventing change of use of gardens; National registration of garden alleys in the list of cultural heritage of the country and their restoration and prevention of their destruction; Amending the laws and regulations related to gardens and garden alleys and taking preventive measures, changing "violation" to "crime" in changing the use of gardens and destroying trees; Promoting the culture of protecting gardens and alleys as a social responsibility and rights; Use of smart methods and tools in permanent monitoring and quality control of gardens, lands and constructions.

Persian painting is one of the critical contexts for the emergence and design of Persian and Islamic wisdom, which has a long life in the history of illustration of this land. The main issue of this research is to reflect on the use of Persian painting from philosophical principles affecting its color and light. The Persian painter uses various techniques to create this meta-sensory space, one of which is wisdom-based coloring. The primary purpose of this research is to study and analyze the views of Najmuddin Kobra to use them in the audience-oriented critique of works of art. However, the question that guides this paper to achieve its goal is that if the audience is aware of Najmuddin Kobra's views on the manifestation of the colored lights, how do they read that work encountering with a work of art?

Accordingly, Sheikh Najmuddin Kobra's views were analyzed in this study through Henry Corbin's hermeneutic phenomenology, and later, an artwork's colors were analyzed with a descriptive and analytical method by the audience. The present paper intends to adopt this approach to read the views of Sheikh Najmuddin Kobra and then consider the practical application of these views on a work of art to find an answer to the problem brought up in this article.

In the case study of the present paper, the slightest visual and color details in a mystical ideal system such as the mysticism of Sheikh Najmuddin Kobra can be part of a set of conventional cultural codes. The general basis of Najmuddin Kobra's views on the concept of intuition has been formed by himself. To explain his views, the Sheikh refers to what he calls "the path of observation." In his view, the dual levels of observation are such that forms and fantasies are perceived first, and in the second place, essences are revealed by colors. Of course, it should be noted that in Najmuddin Kobra's thought, color is not an accident but a kind of manifestation of meaning. In addition to this, he mentions two types of observations which are as follows:Mundane observation: Attention to the earth, occult observation, related to shapes and colors, seas and wells, and the like.Transcendental observation: Attention to the sky, apparent intuitive observation related to the sun, moons, and stars, and any subjective intuition.Najm Kobra begins his discussion on the intuition of colored light with the question of "In the path of observation, how different are existence, soul and devil?" In answering this question, he mentions a system based on the three factors of existence, soul, and devil and describes the intuition of colored light based upon the diversity of the effects of each factor.
Existence effects; According to Najm Kobra, existence in the first degree is the infinite darkness and gloom that attracts the seeker, and when there is a little purity and light in it, it corrects itself and finds a unique purity and becomes a white cloud.
Soul effects; According to Sheikh, a person's soul is melted in the color of the sky as soon as it appears, and if the devil dominates it, it will burn like dark springs or fire. Sheikh attributes each visible light due to the effects of the soul to one of Amara, Lavameh, or Motma'ina.
Devil effects; Najm Kobra believes that the devil is a fiery fire in which no purity is felt and is accompanied by darkness and blasphemy and embodied in the body of optimism.To overcome the evil effects of existence, soul, and devil, Sheikh proposes solutions such as the reminder and appearance of a helping angel or a heavenly witness and finally finds his way to see the light through allegories about the deserts to be traveled, mountains, plains, rivers, wells, and the sea which are to be understood. Finally, he describes his system of colored light as follows:Green; green is the sign of the life of the heart.Red; if it is not cloudy, the color of fire is a sign of the life of effort and power. If it is cloudy, it is a sign of intensity and unhappiness, and it means that the seeker is suffering due to a struggle with the soul and the devil.Blue; blue is the color of life.Yellow is a sign of weakness and disability.Finally, Najm Kobra speaks of a timeline through which humans with struggle can observe black light, dark shades of red and dark shades of blue seen as the green light, light shades of red, light shades of blue, and yellow. To experience this change in intuition, the Sheikh mentions a tool called heart. From one way, he likens the setting of this transformation, the seeker's existence, to a well in which man is at the beginning and end of the path and in an absolute state of darkness. After experiencing these transformations of the heart, a green light shines on the wellhead, and in a short time, it pervades everywhere so that no trace of the initial darkness remains. He describes how the heart transforms through the seven levels of existence and mentions the seven wells above which a sky and a constellation existed, talking with man from the bottom of the well. Sheikh considers the emergence of this light is possible when the man has borne the heavy burden of Mujahideen, so if a great intellect is revealed to him, the colors will also appear on him. The second factor causing the appearance of this light is the mention of the heart, one of the signs and symptoms of which is that the human being sees a source of light in front of him that flows as fast as possible, and the seeker feels calm when he sees it.This paper has studied a painted folio from the book Samak-e Ayyar of the Al-Injou period, currently kept in Oxford's Bodleian Library. This painting shows the story of the capture of Faghfor Shah in the battle with Daburah, who finally Samak rushes to his aid and saves him from the well. The set of colors used in this painting are six: black, two shades of red, green, blue, yellow, and white. The colors used in the lower part of the painting are black, blue, yellow, and red, and all the colors used in the upper part are white, red, purple, blue, yellow, and green, and all are bright and shiny. The black color at the bottom of the image is like a dark cloud that is the product of the appearance of purity and light in the seeker and the promise of his ascent from the depths of absolute darkness. In this painting, the predominant color of Faghforshah's dress is opaque red, and Najm Kobra considers it as a symbol of trouble and unhappiness, which is consistent with the situation of Faghfor Shah who is trapped in a well and is worried and anxious to get rid of it and has struggled and intensified. All four colors, light black, red, blue, and dull yellow, are the product of the turbidity existing in Faghfor's life. The celestial witness which has led Faghfour to get rid of this darkness is Samak Ayar, whose three colors of green, purple and white are evident in his clothes simultaneously, and he is the one who will ultimately lead to Faghfour's liberation and freedom.

The findings of this study indicate that the components, composition, color, theme, and meaning behind this painting are entirely consistent with the theoretical foundations of Sheikh Najmuddin Kobra. The painter has beautifully shown this difference by combining the image into lower and upper parts and coloring it into two opaque and explicit modes. Criticism is placed on the role depicted in it and the apparent meaning derived from the observer text. An audience-oriented critique can indicate the degree of human ascent from the well of darkness.

Culture and language are deeply related. Language, whether spoken, written, or visual, can better reflect origins and cultures than any other element. In order to get a true picture of the culture of work in Iranian society and to judge the accuracy of the claim of some experts that there is a weakness of work culture in Iranian society as an undesirable historical heritage, the study of popular culture and literature is important. Given the relationship between language and culture, the cultural characteristics of society should be reflected in the language and the popular culture and the literature of society. Proverbs, as one of the most important elements of popular literature, can to a large extent represent the culture and values ​​ governing the  society throughout history.
Studying how work culture is represented in the popular literature of different local cultures can be an important step in developing research in the field of anthropology and sociology of literature. Therefore, in this research, an attempt will be made to study and study the components related to cultural work in Gilan culture. The issue of this research is how to represent work culture in Gilaki proverbs.


This paper is a descriptive and analytical study in which an attempt is made to refer to a part of the folk culture heritage of Gilan using content analysis method reflecting the work culture in Gilaki proverbs. Content analysis refers to any inferential method used regularly, objectively, and determining the characteristics of messages. After examining about 3070 Gilaki proverbs of East and West and the center of Gilan, 142 Gilaki-related cases related to work culture were extracted. In order to gain an understanding of the content of semantically ambiguous proverbs, an attempt was made to use several people familiar with the Gilaki dialect throughout the research process. Moreover, in this research, each of the proverbs were taken as one content unit. Subsequently, examples with common themes were placed under specific categories.


Today, in development programs, the element of culture is more and more considered to the extent that cultural development is introduced as a factor in the movement and dynamism of society beyond development and economics. One of the most important factors in the development of any society is the existence of an efficient cultureal work and human resources. If we consider culture as a set of values, norms and belief systems of a society, then we can say that cultural work is in fact a set of common values ​​and beliefs of a group or work organization or an economic community in performing productive and service activities. Work culture is a set of internalized, desirable and appropriate behaviors in employees that is necessary for the development and success of the organization. According to Giddens (1994), work culture is a set of values ​​and norms that members of a group have and follow.
People's views on work, commitment and work consciousness, discipline, criticism, teamwork and cooperation and consultation in work, appreciation, looking at wealth, individualism, rationalism, responsibility, risk-taking and foresight, hard work are among the most important components in cultural work. In addition to the above, observance of work divisions and organizational issues, rational thinking in doing things, educatbility, saving on substance use, flexibility, interest and attachment to work, observance of occupational health and safety, use of new technologies are other components of work culture.
Since work culture is one of the signifiant factors of growth and development in any society, most experts introduce the training of human resources and its optimal use as one of the indicators of growth and development of societies. When the work culture in a society is weak, it means that there is no desire to work productively, hence the activities will be less effective. Some studies in Iran emphasize the weakness of work culture in Iranian society. On the other hand, most of the researches emphasize the lack of positive values ​​related to work in the culture and temperament of the Iranian society throughout history believing that laziness, tendency to destiny, irresponsibility and the lack of collective spirit along with other negative characteristics are the most visible obstacles to the development of Iranian society. Proverbs as a part of popular culture and literature can be a reflection of the culture of a society.


After repeated readings of the proverbs, major categories related to work culture were extracted. The value of work and effort, attention to expertise and skills and experience, teamwork and participation, individualism and self-reliance, foresight, attention to time, order in work, wealth, tendency to destiny are among the most significant components of work that are illustrated in Gilaki proverbs.
Among the components of work culture, the component of importance of work and effort (26%), specialization and core skills (15%), foresight and reasoning (11%) and individualism and self-reliance (10%)  are of the highest content frequency in the proverbs. Also, the study of proverbs shows that there is a positive attitude towards the component of participation and group work (8%), order and rule in work (8%). These components are compatible with the culture of development and entrepreneurship. The findings of many previous studies often emphasize the weakness of work culture in Iranian society and the reflection of Iranians’ negative attitude towards it in the popular literature. These studies introduce laziness and weakness in work culture in Iranian society as a historical issue. For example, Rezagholi (1373) and Ghazi Moradi (1389) consider the tendency to destiny and non-individualism of Iranian society throughout history as one of the obstacles to Iran’s development. However, the focus on popular culture indicates that the positive individualism is praised in Gilaki proverbs.