مجله مطالعات ایرانی
پیاپی 46 (پاییز و زمستان 1403)

Unlike the Sassanids, the Parthians were apparently not Zoroastrians and adhered to the Mithraic religion. Therefore, the Sassanids, who were great preservers of the Zoroastrian faith, attempted to erase the ideas and representations of Mithraism of the Parthian era from the text of the Wahman Yasn (a text fundamentally associated with the Parthians). One of these representations appears to be “Syāwaxš-e Bāmī” (Radiant Syāwaxš), and in his place, they inserted a figure completely aligned with the Zoroastrian faith and of their own lineage, namely Pēšyōtan, son of Wištāsp. 

Method and Research: 

In the following essay, considering these distortions in the Wahman Yasan text, the author will use a descriptive-analytical method to answer the question of why Syāwaxš should be considered the eschatological savior of the Wahman Yasan text, and will answer the reasons for the selection of Pēšyōtan by the Sassanian Zoroastrians in place of Syāwaxš in the current distorted text of the Zand ī Wahman Yasan.

Since Syāwaxš, according to some narratives, is introduced as the ancestor of the Parthians and shares many similarities with the deity Mithra and a Mithraic figure, Jam, it can be deduced that he was the savior of the end times in the Parthian text of the Wahman Yasn. In this text, alongside Alexander, whom the Parthians are considered the enemy of his successors, Afrāsyāg is also mentioned. It is natural to recall Syāwaxš in opposition to this character. Furthermore, in this text, Syāwaxš’s title "Bāmī" (Radiant) is attributed to Pēšyōtan, and Syāwaxš’s Kangdiz, considered a replica of Jamshid's Var and the residing abode of Mithra and Jam, is seen as the location of Pēšyōtan's resurrection at the end of the world. In this text, Mithraic representations (such as the name Jam, the sacrifice of the bull Hadayōš by Sōšāns, which is regarded as a replica of the bull-sacrifice by Mithra and Jam, etc.) have also been erased, indicating tampering with the text. Therefore, it can be concluded that Syāwaxš, who is a blend of Mithra and Jam, was the Bōxtār (Savior) of the Wahman Yasn text. Due to political and religious motives, he was pushed aside by the Sassanids, and Pēšyōtan, who does not hold much prominence in untampered texts, was placed in this eschatological text in his stead.

Ruznāme/ruznāma is a Persian word that entered the Arabic language from Pahlavi ruznāmag in ancient times and was used in texts in that language as Al-Ruznamaj and Al-Ruznāmajah. In Persian, the varieties of Roznāmaj, Ruznāmje, and Ruznāmcheh were also common and had many examples.

Method and Research: 

The research method in this article is description and through content analysis and the method of collecting sources in this library research. The "daftar-e ruznāme" was the most important and main Divāni tome where all the daily events, such as interventions, expenditures, and matters such as handing over responsibilities, complaints, events, and decrees issued, were written in order and day-by-day, along with their details.

Since what is said in general cultures about the idiomatic and legal meaning of ruznāmje is often not accurate. In this article, an attempt has been made to define and analyze the term "ruznāme" according to the first-hand sources of Estifā (Bureaucratic science) and its features and characteristics. Also, with the same approach, it has been tried to express the difference between the Daftar-e ruznāme and other similar Divāni tomes.

Herodotus in his brief report on the history of Media, speaks of a person named Deioces as the founder of the Median kingdom, who succeeded in forming a dynamic and powerful kingdom through a complex process that was simplified by Herodotus or his sources. Many researchers tried to interpret the data of Herodotus according to the common patterns of state formation in the ancient Middle East, but almost all of them ignored the role of Zoroastrianism in this process. The main question of the current research is that Herodotus's report on the process of gaining power of the Deioces and the formation of the Median kingdom indicates what State ideology?

Method and Research: 

the research method of this article is descriptive-analytical.

The findings of the research will show that Herodotus, in his description of the process of gaining power of the Deioces, puts forward the Components such as justice, constructiveness, the sanctity of the king and the people, which are all the main components of the personality of an ideal king, from the perspective of the Zoroastrianism. Therefore, the Zoroastrian religion can be considered as the source of the narrators of Herodotus's report and even went one step further and claimed that the Zoroastrian religion was the main driver of the formation of the Median kingdom in the 7th century BC.

Propose: 

"Death" is an idea that has always occupied the human mind and to find a solution to this inevitable phenomenon, a multitude of rituals and beliefs have been formed around it and it has become one of the most important initiation rituals in the history of human life. The term “initiation” refers to a set of rituals and teachings that are repetitions of the mental archetypes of any society and ultimately bring about a fundamental change in the physical, cultural, religious, and social status of an apprentice. Although the rituals related to “initiation” have changed over time, but they have continued to this day and are performed in all the prominent and sensitive moments of human life from birth, puberty, and marriage to death.

Method and Research: 

This research has been done by library method and document analysis, by an inductive method based on the observation of events and their relationship with each other to reach general rules.

This article, for the first time, takes a closer look at the rituals of death in Iranian belief and has shown that the three stages of "separation, transition and connection" that can be recognized in all rituals, are slightly different in the rituals of death in Iranian belief, which, of course, can be the result of Iranian dualistic thought: According to the present study, each of the stages of separation, transition and connection in Iranian rituals can be classified into two parts: "first separation and final separation, two-period transition, first connection and final connection."

Painting is one of the most important decorations for buildings in the Qajar period. One of the distinctive characteristics of the tiling of this period is the use of various patterns and colors. This research deals with tiles from the Victoria and Albert Museum in England, which are more limited in terms of variety of designs and colors compared to the tiles of this period, and have a specific number and cover the time range of 1870-1850; It is glazed and is unique to Tehran without the artist's name. The use of these tiles has been limited to the floor in most cases and the wall in other cases. There are 154 Qajar tiles in the collection of the Victoria and Albert Museum, which were purchased by the broker "Victoria and Albert Museum", some of which are floor tiles, which are called modern Qajar tiles.

Method and Research: 

The present research method is qualitative and descriptive-analytical, and the data were collected using library resources and images were taken from museum specimens.

The results of this research in the examination of the modern tiles of the Qajar  period show that these tiles have a simple design and pattern and are divided into three ranges and are more simple than the tiles of this period in tile work. Simple design and color in the first spectrum, use of limited colors in combination with motifs in the geometric space in the second spectrum, use of more variety of designs and colors, attention to detail and dealing with flower and vase motifs are the characteristics of the third spectrum tiles in This is the course

Two features of Sassanid commemorative art are "realism" and "respect for hierarchy". Far from being an accurate portraiture, realism here refers to paying attention to signs (such as clothing, symbols, taking into account the hierarchy of positions), which together create a cryptic context in need of interpretation. The purpose of this essay is to assess the extent to which any sign can be interpreted in the symbolic language of Sassanid commemorative art, especially in the rock reliefs. To narrow it to one example, we are faced with two ways of representing “carrying the sword” by the figures in the presence of the king, which may raise the following question: why do they carry the sword differently in front of the king of kings?

Method and Research: 

The research approach is semiotics and research method is the comparative study of historical texts with archaeological evidence.

The central response of this paper is to show that the difference in sword-carrying is primarily due to the difference in the hierarchy of power. Regarding this matter, there might be two subsidiary hypotheses which can be put forward in the following way: First, carrying the sword vertically and/or placing the hands in front of the body can be interpreted as the respect for "superior lineage"; These representations are equivalent to the respectful movement of "raising the hand and bending the index finger." The second subsidiary hypothesis interprets the figures at stake, not as respect for "superior lineage" but as paying exclusive respect to "Shahanshah [the King of kings]", done by the royal family. It is clear that each of the hypotheses put forward can have an impact on the way to understand the characterology, genealogy, and position of the figures, and consequently, it can also be helpful in understanding the nature of the political system of the Sassanids.

The Cairn Burial (stone graves) of south and southwest of Iran can be seen in two forms: Cylindrical and Simple stone pile. These graves are similar in terms of structure and appearance and are usually created on stone and rock pillars. A large number of these graves are related to the settlements near them. The basis of dating these graves is pottery, while other cultural materials such as glass, metal, objects and stone vessels are also found in a number of other sites. Similar to south and southwest stone graves, other graves have been reported from the southeast of Iran and outside the borders like Pakistan, Afghanistan, Central Asia and the southern area of the Persian Gulf.

 Method and Research:

 The aim of the current research is to describe, classify and typology of the stone graves of South and Southwest of Iran based on the samples obtained from Farsan.

The results indicated the similarity of these stone graves design with other cases discovered from different parts of Iran. The most of the Cairn Burial of central Zagros were vandalized and destroyed, and therefore it was not possible to determine the exact direction of the design. But based on the obtained cultural materials, it seems that such graves belong to the Iron 3, Achaemenid, Parthian and Sasanian periods.

with Safavid coming to power, noticeable changes happened in the field of music and miniature art, which has been reflected in the remaining miniatures of this period. Some of these miniatures show female musicians and dancers, working under the supervision of the court. On the other hand, during the reign of Abbas I, much important information about female artists resulted from travelers and travelogue writers coming to Iran. According to what has been told, this research aims to point out the relation between the narrative of miniatures and travelogues, and the manner of the narrative. The purpose of this research is to complete the circle of cultural information from the Safavid period in Iran.

Method and Research: 

this research has a fundamental purpose and a qualitative approach, and presents its findings, by semiotic analysis of the pictures and miniatures, and utilization of library resources and scientific database.

The analysis of miniatures in this research shows that female artists of the Safavid period were paid high wages and had suitable and luxurious outfits, which is a fact confirmed by many historians and travelogue writers. The Persian miniatures of the Safavid period complete the narrative of written sources. They are aligned with the written narratives of the same period, and this can be a considerable source of cultural knowledge of the Safavid period in Iran.

In Iran's long history of several thousand years, none of its historical figures has been surrounded by such an aura of ambiguity, legends and various and possibly contradictory sayings as Bozorgmehr-e Bokhtagan, the wise minister Khosrow Anoushirvan. As a result, there is no consensus among historians and researchers about the meaning of the name, the surname, or even its historical existence. Most of our information and knowledge about Bozorgmehr, in addition to the Pandnameh that has been known by his name and work for a long time, is the same information that has been written about him in the historical and literary books of the Islamic period and most of it also includes his moral teachings and advices.

Method and Research: 

therefore in this research an effort has been made to understand his personality from a different angle by studying and examining the texts and writings in which Bozorgmehr and his advices are mentioned and meditating on these advices.

Among the most important findings is that Bozorgmehr belonged, at least for a time, to the community of clergy (advisers) of the Sassanid period, through which he gave advice and wrote didactic treatises in a special way and on a significant scale.

One of the subjects of economics is the theory of the fatigue puzzle or the thrift puzzle. What is raised in conventional economics regarding this theory challenges the economic doctrines of contentment in the spiritual Masnawi; Based on these theories, Rumi's advice to contentment actually prevents the society from economic growth.

Method and Research: 

This article aims to answer the question, "What is the difference between conventional economic theory and contention in the Masnavi?"

With a descriptive and library method. to answer The findings of this research show that contrary to what has been suggested about the Masnavi by the mentioned theories, Rumi's call to contentment at the individual level does not reduce consumption at the macro level. The concept of contentment in the Masnavi, in addition to implying comfort and well-being in worldly life and peace, in some cases encourages the increase of the final desire to consume; For example, in Masnavi, Rumi has mentioned charity, charity, zakat, etc., which increase the consumption of others and financial circulation

By reflecting on the historical Texts such as Badaye’ al-azman fi vaqaye’-e Kerman and eqd-al-ula I'il-mowqef- al-a'la and poems of lesser-known poets such as Azraghi Heravi, Abu Ishaq Ibrahim Ghazi, Abd -al Malik Burhani Neishabouri, Abul Hija Ibn Bakri and Hakim Siraj al- Din Abu Mohammad Othman Mokhtari; You can find valuable information about Kerman during the 5th and 6th centuries AH, as well as the praises of some of the Seljuk rulers of Kerman. A government that, although compared to the powerful dynasty of the great Seljuqs in Iran, is less branched and a brief research has been done on it, but some of its statesmen supported the Persian language and literature and played an essential role in the spread of Persian poetry and literature in the land of Kerman.

Method and Research: 

This article seeks to prove it by using the method of historical studies and descriptive-analytical approach. In this regard, the main question of the present article is, what was the approach of the Seljuk statesmen of Kerman towards Persian poetry and literature, and how did the poets and praisers of their court mention these statesmen?

The findings of the research indicate that some of the Seljuk statesmen of Kerman, and especially the Minister of this government, Sahib Nasir al-Din Abu Abdullah Mokram Ibn Alaa; In addition to providing security, peace and well-being of the people, they have played a significant and undeniable role in elevating the status of Persian language and poetry in the court and territory of the said government. This caused many writers and poets to enter Kerman, and they also praised the Seljuk statesmen in their historical Texts and poems.

Pilgrimage is one of the oldest and lasting rites in Zoroastrianism. Believers of this religion go to visit fire temple and holy places that have titles such as "Pir" or "Banū" before and after their names, and praise, pray, and supply to Yazdan. Some ancient fire temples, such as Adrian fire temple of Yazd and places like Pir Sabz, Pir Hrisht, Pir Naraki, etc. are among the most important Zoroastrian shrines. From the point of view of Zoroastrian believers, the fire temple is both a place of prayer and a place of pilgrimage, and there, besides worshiping God, one can visit the holy fire- which is the earthly manifestation of Ahura Mazda- and keep it. Due to the connection of many Zoroastrian pilgrimage places with the element "Water" and "Goddess Anahita", which are usually seen in the foothills of mountains, next to springs or rivers, there is a possibility of a connection between pilgrimage and the woman in Zoroastrianism. On the other hand, women have been regular and faithful visitors to the shrines, who go on pilgrimage with various intentions such as asking for fertility and having children, finding a wife, asking for sustenance, solving family problems, warding off disasters and diseases, asking for forgiveness… and Zoroastrian women have preserved this tradition even today.

Method and Research: 

In this research, by referring to related sources and using a descriptive-analytical method, with a new approach, we will study the relationship between women and pilgrimage in Zoroastrianism and first of all find out what is the feminine origin of the pilgrimages of this religion and which elements related to women and femininity can be found. In the next place, we will refer to the rituals of pilgrimage and its functions for women.

Both the presence of women from the Sassanid court in narratives related to the origin of some shrines and their proximity to water, mountains and trees and the connection of these natural elements with goddesses, especially Anahita, give a seal of approval on the connection of these Zoroastrian pilgrimage places with women. We will also find that Zoroastrian women have always played a prominent role in going to the Pirs, preparing votive and ritual foods, performing pilgrimage ceremonies and even serving the shrines.

Divan Shams-al-Din Mohammad Hafez Shirazi is a valuable document in ethics, social behavior and civilization teachings of Iran. The Purpose of this research is to analyze, interpret, and explain the dimensions and manifestations of Tolerance and Compromise in Hafez Shirazi’s Poetry Divan.

Method and Research: 

we have used Norman Fairclough's three-dimensional discourse analysis method as well as Theon Van Dijk's theories about ideology and cognition. In this method, we have structured the textual data in three levels: language usage, recognition of conceptual and ideological propositions, and discourse ethics.

Linguistic usage shows that Hafez has always used respectful and clean and sometimes humorous language, which is a rhetorical manifestation of tolerance. The centrality of love in ideology and worldview, the philosophical relativity of truth, pluralism, specifying the hiddenness of truth and inclusiveness, belief in the general mercy of God, tolerance and hope for the grace of God and universe, advice for forgiveness and tolerance from the conceptual set of the discourse of tolerance in Hafiz's Divan. Also, the behavioral analysis of the discourse shows that the poet's emphasis on good morals, peaceful coexistence, covering the faults and mistakes of others, condemning blatant exposing of defects and abuse, the image of Pir Moghan's ideal character and the creation of Rand's mysterious character are also among the manifestations of tolerance and tolerance.

The standard culture is objectified in the community based on the recognition of cultural solutions and problems. The foundations of the standard culture refer to the fundamental elements of culture in the form of the system of vision, value and disposition. Thus, the discrepancy in the construction of these systems is considered a cultural division. To reach the civilized world, the Qajars focused on the development of foreign relations and fundamental changes. The connection with the Western world made the social context in that period receptive to the emergence and growth of new ideas. The new thoughts and beliefs and the resulting changes, which were followed with the support of the Qajar kings' vision and tendency, appeared to be traumatic in the character and social behavior of that era. Accordingly, the main objective of this study was to identify the origins and implications of cultural division in the Qajar period.

Method and Research:

 Using a descriptive-analytical design, the present study identified the origins and implications of cultural division in the Qajar period.

The findings indicated that Westernism and Westernization, modernism and self-loss, constitutionalism and justice, the dispersion of power and the domination of foreigners over the governance system were the origins of cultural division. Moreover, the emergence of the Roshan Fekri (enlightenment) discourse, the influence of enlightened ideas of western-oriented thinkers, de-traditionalization of Westernized students, as well as political, military and economic dependence of Iran are some implications of cultural division during the rule of Qajar kings over Iran.

This research aims to address the difference between visual paratexts and entry pages to verify their role in the interpretation of the main text

Method and Research: 

To study the effect of visual paratexts on the interpretation of the main text, the idea of Gerard Genette, and the concepts of paratextuality and transtextuality based on a descriptive-comparative method were applied.

The Timurid era is one of the historical times in which writing copies of Shahnameh was highly flourished. The three illustrated copies of Shahnameh: Bayasanghuri, Ibrahim Sultan, and Mohammed Juki are examples of these works. The noticeable point in this manuscript in addition to the illustrated text is the pictures on the entry pages before the main text. Since every text communicates with the mindset of the audience and the external world through paratexts, Shahnamehs can be examined by these parts, because to enter the realm of the text, it is required to pass through the entry pages or the paratexts. In copies of Ibrahim Sultan and Baysanghur paratext includes pictures of the hunting scene, and the court of the supreme king, while in Shahnameh of Mohammad Juki, the book has no paratext and initiates with a picture of Ferdowsi and the poets of Ghazni.By analyzing and reviewing the paratexts and the entry texts of three copies of Shahnameh, it is concluded that, the role of the king in the hunting scene or royal court, besides point to the position of the ruler or one who ordered the work, indicates the place of the king in the society which rules over the main text.

This research, try to find out who is/ are the senders, receiver and receivers of these tools and agents. What are the types of tools, what is the role of these tools in advancing the receiver's goals, what interpretations can be given from these tools and what kind of classification of these tools can be reported?

Method and Research:

 This paper done with the descriptive-analytical-documentary method, through the study of library resources and the use of internet databases.

After investigation, we found that most of the transmitters of these tools are epic and then religious characters, the transmitters or mediators are masters of knowledge (ascetics and pious, sages or philosophers), the recipient is an epic and sometimes historical character who has a mission and the point This is where only mission-oriented heroes receive these tools. The types of tools are mostly war and combat weapons, which have become extremely effective due to "contagious/proximity" magic. Some of these tools can be interpreted psychologically; For example, a mace, a sword, and especially arc can be a symbol of "manhood" and masculinity.

The tomb of Shāh Ismāil I has a small square-shaped space and is located between the shrine and the tomb of Sheikh Safi al-din Ardabili.

The main purpose of this research is: 

The examination of the physical and spatial changes of the tomb is based on field studies and restoration and protection plans of the building in the past years.Method and Research: The research method is descriptive-analytical & interpretative and it is the collection of library information and field investigations.

The mausoleum is an independent building that was later built in the empty space between the tombs of Sheikh Safi and the Haram-Khāneh, and after the death of Shāh Ismāil, it was used as his tomb. The mausoleum has a three-layered dome, the outer layer of which is Patupa clover. The decorations of the stem and the dome of the building have been changed in later periods. The shape of the tomb is small and simple, and the height of the dome is lower than other domes in the complex. But in order to give the dome a more visual appearance, the architect has increased the height of the dome by using a long leg to reduce the smallness of the building to some extent.

Abulfazl Beyhaghi (385-470 AH) has left a book as a souvenir for Iranians, which can be examined from other aspects in addition to its historical and literary values. For example, from the point of view of political thought and showing the traditions of statehood in one of the important periods of Iran's history after Islam. Therefore, in this essay, with the aim of getting to know Beyhaghi's attitude in finding the causes of historical events, the fatalism in Beyhaghi's history and belief in the role of fate in shaping events have been examined.

Method and Research:

 In fact, this research is A developmental research and in it, the deterministic attitude of Abulfazl Beyhaghi in historiography has been investigated by descriptive-analytical method. The sources used were also library sources.

Some of the conclusions and findings of the research are: In History of Beyhaghi, the main events as "macro-narratives" are attributed to destiny. In connection with this, the secondary events that can logically lead to the main event are also considered due to fate. Sultan Masoud's reign and his defeat of the Seljuqs are two macro-narratives in History of Beyhaghi. By providing a deterministic interpretation of the occurrence of these two events, other events related to them also have a deterministic aspect. The reason for the monarchy is only God's will, and this is how it is given legitimacy. In this way, some events are also formed: for example, a holy figure predicts that reign. Also, when the defeat in wars is due to the will of God and the transfer of power is tied to fate, the reason for a group of events is fate. Therefore, one should not blame the king and accuse him of failing to do things and being imprudent.

Proverbs, wise sayings, and aphorisms, emanating from the minds of great scholars, writers, and the general public, are a manifestation of the civilization, culture, and literature of every nation. They have been passed down from generation to generation, acquainting future generations with the culture, literature, customs, traditions, lifestyles, emotions, and thought processes of their ancestors. According to Halliday, the patterns of experience and mental concepts of the creators of works are manifested in the form of current processes of ideational function. Therefore, by examining the types of processes, the factors, and the situations that shape them, one can gain insight into the thoughts and experiences of the creators of literary works. This research seeks to answer the following main question: Given the instructive-persuasive structure of common Persian proverbs, what role does each type of linguistic process play in conveying the intended ideas in these expressions?

Method and Research: 

This study is descriptive-analytical, and the execution method is descriptive (involving an examination of the arrangement of ideational metafunction processes) and analytical (involving an analysis of the reasons for the specific formation of these processes). The statistical population includes common Persian proverbs that adhere to the standard language structure.

The findings show that in the textual structure of the studied proverbs, relational processes (39%), material processes (24%), and mental processes (21%) have the highest frequency. The frequency of these processes indicates that most of these expressions have a descriptive structure that indirectly conveys the intended idea to the audience. The use of verbs in these proverbs is often passive, and the generality and universality of the statements are strengthened by referring to indefinite persons. The focus in these proverbs is primarily on the behavior, temperament, and character of individuals, avoiding the use of complex and abstract metaphors. The main participants in these proverbs include people, animals, natural elements, and objects, which often assume the semantic roles of actor and carrier in the structure of these processes.

One of the fascinating aspects of studying metalworking art is the status of script engraving on metal vessels. Engraving of Kufic script adorned with complex decorative forms and inlay on metal vessels was widespread in the Seljuk period. In the Safavid era, artistic aspects flourished alongside a change in font style.

Method and Research: 

This article studies 20 metal vessels from the Seljuk and Safavid periods, sourced from various museums such as the National Museum of Iran, Metropolitan, Victoria and Albert, Britain, Boston, and Hermitage museums. The calligraphy on these vessels displays the manufacturing date, the creator and customer's name, the significant events of that period, prayer themes, and the owner’s titles. The main question is: How did the art of engraving scripts on metal vessels change based on script analysis during the Seljuk and Safavid periods? This study aims to compare the art of engraving scripts in the Seljuk and Safavid periods on metal vessels available in mentioned museums, focusing on inscriptions and script types.

In the Seljuk period, inscriptions on metal vessels were mainly adorned with decorative Kufic script, flowers, leaves, and sometimes human faces, intensifying their visual and aesthetic appeal. In the Safavid period, inscriptions were elegantly engraved in various styles of Persian script (such as Thuluth, Naskh, Raqa', and Shekasteh Nastaliq). Beautiful poems were presented surrounded by Toranj motifs on the metal part of the vessel. In addition to scripting, the art of calligraphy has found a decorative role and even carries a meaning beyond that: mystical and romantic aspects with an increased spiritual facet.

Naghali scrolls represent a written form of the Iranian people's folk epic narratives, primarily transcribed during the Safavid and Qajar eras, although the origins of these tales predate Islam. Despite their antiquity, scribes have integrated a substantial amount of Islamic culture into these narratives.

Method and Research: 

This study extracts and categorizes the Islamic culture present in the Naqali scroll known as the Shahnameh Haft Lashkar. The scroll was chosen for its comprehensiveness in recounting numerous epic narratives and its prominence in being influenced by Islamic themes.

Research findings indicate that Islamic culture manifests in this scroll in several ways: establishing connections between these narratives and the stories of prophets, the presence of Arabic-Islamic phrases in the characters' speech, the existence of Shi'ite Islamic thought within these narratives, and the conversion or portrayal of certain characters as Muslims. Based on this analysis, it becomes evident that the narrator has perceived pre-Islamic Iranians as Muslims and their army as an Islamic force. Iranian characters are depicted as propagators of Islam, inviting their enemies to embrace the faith during their battles, and many adversaries convert to Islam while confronting the Iranians. The characters in these stories are consistently mindful of God and frequently supplicate to Him. The narrator and Naghali of this scroll have theorized narratives from pre-Islamic periods within an Islamic framework, thus imparting an Islamic character to them.

Naqali scrolls are a written form of Iranian folk epic narratives, primarily transcribed during the Safavid and Qajar eras, although the original narratives predate Islam. Despite their pre-Islamic origins, scribes incorporated a significant amount of Islamic culture into these narratives.

Method and Research: 

This study extracts and categorizes the Islamic culture present in the Naqali scroll known as the Shahnameh of Seven Armies. The scroll was chosen for its comprehensiveness in recounting numerous epic narratives and its prominence in being influenced by Islamic themes.

The research findings reveal that Islamic culture manifests in this scroll in several ways: connecting these narratives to the stories of prophets, incorporating Arabic-Islamic phrases into the characters' speech, embedding Shi'a Islamic ideas within the narratives, and portraying some characters as Muslims or converting to Islam. Based on this examination, it is evident that the narrator considered pre-Islamic Iranians to be Muslims and their army to be the army of Islam. Iranian characters spread Islam and call their enemies to Islam in their battles, and many of the demons convert to Islam in their fight against the Iranians. The characters of the stories are always mindful of God and never forget to supplicate and lament to Him. The narrator and storyteller of this scroll has theorized and Islamicized narratives that belong to pre-Islamic eras.

Explorations in the Halilroud region in 2001 AD revealed the discovery of a civilization that excelled in producing and exporting handicrafts made from soapstone, marble, and inlaid work to other regions. Among these, the artifacts made from chlorite stone have garnered more attention due to their high production volume. Although this historical region is of great importance, many aspects of the artifacts obtained from this region have received less attention or remain unknown. For example, there have been few studies on the form of these artifacts, with most research focusing on the patterns of these productions. This research aims to investigate the structural composition, classification, and formal analysis of chlorite stone vessels in the historical area of Halilroud, and to understand the formation process and the type of construction thinking in these objects.

Method and Research: 

The research method is descriptive-analytical, and the data collection method is library-based.

The results of examining the relationship between the form of objects and their performance, tools, materials, and the proportion of components to the overall effect, as well as other characteristics and relationships, indicate that the construction of soapstone objects in this region by the human Halilroud has been carried out in a completely intelligent and purposeful manner, and there is a meaningful connection between the various forms in the body of the objects and their performance