ANCIENT IRANian texts show that "whenever it person committed an unethical or a religiously unlawful mistake, inorder to compensate for the sin, that person had to do something in the interest of the society so that he could both polish his soul and avoid the penalties of the doomsday. Sicne repentance was solely a personalact,confession had to take place within the persons life period. However" as time passed, for different reasons, other people were allowed to confess in the place of the sinner and gradually simple repentance alone took the place of doing good deeds for the society"s interest. Later paying for one"s sins became popular and, finally, although the original intention remained the same, repentance underwent many changes. This article takes a look at all these changes through time.

Based on historical documents and texts the former civilizations of different dynasties of the world, especially the dynasties of Medians, Achaemenid, Parthian and Sassanid in ANCIENT IRAN, veil was common among women. The fact is clear that veil didn’t enter IRAN by the arrival of Islam. In fact IRANian women had veil from the ANCIENT period. Considering the climatic factor as wall as the social, professional and some other factors, their veil had a particular style. All this documents and texts show women’s style of having veil which can be seen, in ANCIENT period, by the help of the remaining historical inscriptions and protected sculptures and statues in museum, and in post- Islamic periods through authentic sources such as Ferdowsi’s Shahnameh which are reflections of the IRANian culture.

Political hikmah is an IRANian-Islamic concept and although at times it has been taken as synonymous with political philosophy, it is different from both political philosophy and political thought. The present article aims to explain political hikmah in ANCIENT IRAN. This is done in three stages. First, the meaning of hikmah and political hikmah is dealt with. Then, it is briefly discussed that hikmah and political hikmah originate from ANCIENT IRAN. Finally, some principles of political hikmah are examined. ANCIENT IRANians tried to rely on these principles in a macro intellectual and philosophical system in order to assign governmental positions to those who deserved them, direct the government toward justice and prevent rulers from committing injustice. These principles were as follows: dividing the universe into the world and heaven, the theory of philosopher-ruler, divine charisma, imperial splendor, and rejection of the theory of dominion. Some of the discussions in this article draw on Suhrawardi, the great philosopher and founder of the philosophical school of illumination, as he has presented this philosophy appropriately and his own philosophical school is based on the hikmah of ANCIENT IRAN.

Totemism, belief to sacredness of an animal or plant, is one of the beliefs of primitive peoples that can also be found among IRANians. Shahnameh, as one of the old and valid IRANian resources, can give much information about culture, religion, rites and beliefs of IRANians and other ethnic groups. For gaining access to this information, we need to search the book very profoundly. In the present article, we study the name of Arash, a famous IRANian archer, from etymological point of view, and suggest that Arash means “bear”. After examining the race of people who have the name of Arash, we think that this name is originally a Parthian word, and there is a connection between it and the second part of the name of Siyavash, both ending with sound of “-ash”. Also, based on nominal theories, bear can be a Parthian totem, for in Bundahishn bear is introduced as one of twenty five types of human species.

Many theorists hold that theater derives from rituals. IRAN and India are two ANCIENT civilizations with deep and joint origins in which rituals have an important role. There are many debates about the origins of drama in ANCIENT IRAN. In this research we will concentrate on a view which holds "ritual origin" for drama. First we will shortly introduce the related theories .Then according to the theory of puppetry's priority over drama and depending on the archeological evidences from ANCIENT civilizations of Jiroft and Shahr-I Sukhta and comparing them with similar findings from the civilization of Indus valley and their broad intercultural relations during the third millennium BC, we will express a new perspective about the background of drama in IRAN.

In different eras, IRAN has always been the center of various sciences especially pharmacy and herbalism. Origin of IRANian medical sciences backs to Avestan period and by emergence of Zoroaster, who was a noble physician. Extense of this knowledge along with others had been expanded which, in turn, had influenced other nations. However, despite impressionability of other nations from IRANian sciences, unfortunately no ANCIENT source for the history of medicine in IRAN remained, and all documents regarding these issues had been destroyed due to fire arisen from invasions and wars which burnt down IRANian cultural databases and historical documents. From among these issues, we can mention IRANian traditional medicine which merely exists in Avestan and some Pahlavi books and there are a few point-outs in Greek documents, and unfortunately, there have not yet been any documents and sources in IRANian medicine. Hence, IRANian medical history is divided into three distinct periods: The first period, from pre-Avestian and Avestian eras to emergence of Sassanid Empire; second from beginning to extinction of Sassanid dynasty, and the third, from emergence of Islam up to now, which is known as the golden ages of IRANian sciences. This article is a brief research on the first period of IRANian medicine which begins with Avestian citation to Fereydun (the first physician,) and will continue up to the beginning of Sassanid Empire.

In the mythology of nations, there has been a myth known as "the numen of poetry and art" and different cultures have samples for that. This numen has been the connecting point between human being and God (or divinities) that inspires poetry to the poet in an unconscious manner. The writer of this article has studied Shahnameh and Pahlavi literature to search for this myth in the culture of ANCIENT IRAN. The findings of the paper show that the inspiration function comes from Soroush and Nariosang and Soroushis only given the function of poetic inspiration in ANCIENT IRAN.

Since establishment of the Herbarium Ministerii IRANici Agriculturae ("IRAN") in 1945, during field excursions to different regions of IRAN, while sampling flowering plants along with some minor collections of mosses, after establishment of the herbarium of mosses in 1997, in order to expanding the said herbarium, regular samplings were started by the author in the form of research projects. While trying to identify the moss samples, taking into consideration of extensive molecular researches and phylogenetic analyses which are being carried out worlwidely, the scientific names of this group of plants, resembling other plants, are always subject to change at different taxonomic levels, hence it becomes necessary to update this information every now and then. Based on this, by reviewing all the moss samples in the above-mentioned herbarium using reliable sources, more than 240 species were identified, of which the names of 39 taxa were updated. The aim of this paper is, therefore, to present the first list of mosses of the “, IRAN”,herbarium including 248 species, 92 genera belonging to 37 families under 12 orders and four classes.

Although myths are described within story, but they have valuable application in human life. Whatever one goes back to the far past, he finds more important role of the myths in human life order. They inspired their ANCIENT way of life from these myths. However, to know about the ANCIENT myths means to understand the ideas of our ancestors in the past. Sometimes they are considered as an important source in this ground. The article attempts by analyzing ANCIENT Persian myths in different aspects in order to deal with the political application of the political IRAN’s myths.

Most of religious and political texts of ANCIENT IRAN were composed in the form of syllabic poetry. This type of poetry was accompanied by music to stay in mind and be protected from embezzlement of cultural brigand. Religious beliefs and the popularity of religious and national figures were strong support for the oral culture of ANCIENT IRAN. In the meantime, professional musicians (gusn, huniagar) had a role in keeping and transmission of the oral culture. This role and status is not only observed in IRAN, but also among the Georgian and Armenians so that later Persian musician were accused uf blasphemy and atheism by Christian