Achaemanid art is one of the most important periods of Iranian ancient culture. In different periods of time, it has been considered as the determiner of the Iranian identity. The art of this era has been analyzed and investigated in different ways. According to the range of the available studies and the intertextuality which is the approach of this study, the research question is that whether the Achaemanid art follows the Elamite civilization, or transgresses, imitates, absorbs, and integrates it? The purpose of the study is to make easier to follow the common artistic traditions and rituals of the old eras in different periods of time, which return the remains of the motifs, designs, and traditions back to Achaemanid era, and ignore the role of the Elamite civilization. This study uses the descriptive-comparison method and intertextuality approach to the artistic rituals, traditions and motifs, in order to find the way of oweness of Achaemanid civilization to Elamite, in comparison to other foreign and also neighboring civilizations. So, based on this division, and the intertextuality approach, the context of explaining the multiplying and the dependence of the motifs, artistic traditions, and rituals will be provided. The other purpose of this study is clarifying the way of using the intertextuality approach in the art of the ancient era, and also determining the degree of extension of this relation. As the result of this study, the Achaemenid art is introduced in different periods of time in architecture and its related arts, for example; the forms of ascending stairs, landscape gardening, rocks and petrographic traditions, and also in using the simple and hybrid animal motifs, hybrid, as developer and extender of many traditions and motifs of the Elamite art. We show that the durable motifs and traditions in Iranian art in the next periods of time should not only be owed to Achaemid era, but also to Elamite era, by strengthening the relationship between the Achaemenid and Elamite art as compared to other foreign and neighboring civilization and indigenous people.

The use of motifs and Iranian artistic symbols of pre-Sassanid era continued to exist during the Sassanid dynasty and even thereafter, in Islamic art and civilization. These motifs can be perceived as the expression of social and cultural experience and religious beliefs of their time. Hence, they are great help to better understand the history of evolution of the peoples‟ ideas. Following the conquest of Iran by Muslims and the Iranian‟s conversion to Islam, under the influence of Islamic teachings, art and culture found significant changes. However, a lot of concepts and artistic traditions and customs of pre-Islamic Persia continue to exist with new values of the religious community. One of the most important characteristics of Sassanid textiles is their wide use of decorative motifs with a profound influence on later artistic works of the later historical periods including Samanid and Buwayhid. The research applied a qualitative method and tried to introduce the common motifs and decorative elements used in textiles of Sassanid and Buwayhid periods. Also, it presented a symbolic analysis to identify common patterns of textiles in the eras. The findings of this study showed that most of the themes and decorative motifs, with different qualities of form and content, in textiles of the Buwayhid period originated from the Sassanid‟s. It also showed that symbolic textiles of Sassanid motifs on textiles Buwayhid showed continuity of cultural and artistic traditions and the National Iranian beliefs in the creation and processing of works of art of this periodThe most important trends in textiles of Buwayhid period revealed the increasing prevalence of inscriptions in Arabic. Thus, fabrics were decorated with the prayers and the rulers‟ names and titles in Kufic style. Among the common motifs, the tree of life was the most widely used embracing symbolic meaning. Many animal motifs used as decorative elements in Buwayhid textiles can be traced back to the shapes and designs of the Sassanid era. In addition, the use of natural elements in Buwayhid textiles was more prominent, more dynamic and more realistic than the Sassanid era. Among the Sassanid textile designs image, animal motifs were more common. Most of the motifs, moreover, were repetitive and placed in circular frames. It can be concluded that the motifs followed the designs of the previous eras. Research Questions: 1. what were the most important themes and motifs transferred from the Sassanid to Buwayhid textiles? 2. what were the most important motifes in the transmission of symbols and motifs of textiles from Sassanid to Buwayhid? Research Hypothesis: 1. It seems that the most important themes and motifs transferred from the Sassanid to Buwayhid include natural and plant motifs such as lotus tree of life, animal motifs such as Phoenix, eagles, peacocks, lions, horses, role angels and humans.2. It seems that the most important factors in the transmission of visual symbols and themes of Sassanid art to Buwayhid‟s were Buwayhi‟s sense of affinity to Sassanid rulers to create an integrated power and give rise to the restoration of the historical identity of Iran.

The fundamental characteristic of Gnosticism is its anti-cosmic attitude and strong duality between God and the material world. This thought requires un-deification of cosmic forces and consideration of the evil and antagonistic actors who control the world, body and psyche of man who are irrelevant to absolutely supreme God, who is beyond this system. In Gnostic thought, these cosmic powers are mainly the rulers of the heavenly planets (archons). In order to achieve salvation, man must be freed from the rule of these archons, and this salvation is not possible without the intervention of God's roar from outside of the cosmic system. At the same time, similar ideas have found their way in the religious texts of Zoroastrianism orthodoxy as well as in Islamic philosophy and mysticism without any contradictions with their basic principles. These anti-cosmic thoughts have found a special and unique resonance in Hafez's poetry through the role of astral spirits in the process of cosmogenesis and the events of the beginning of creation and the existential position of man in relation to these events which has connected Hafez's soteriology with the idea of "splitting the roof of the sky". By comparing Gnostic texts, myths and fundamental ideas with the ideas, themes and symbolism found in Hafez's poetry, this research shows the Gnostic themes of Hafez's poetry and their relationship with his worldview and ontology.

Myths express human aspirations and fears. Literary and folk texts in the depth of their thinking do not shy away from mythical themes. Myths, through their narrative function, reveal the themes of human archetype in the various contexts narratives. The narrative of the meeting and marriage of Maral and Golmohammad that this study deals with is one of the most basic parts of Kalidar. The folkloric and Kurdish narration of "Mahmoud Khan Balek and Khatun Parizad" is also one of the prominent and famous narrations in Kurdish folk culture. The problem of this research is the function of the common themes of myths that structure the above-mentioned folk narrative and excerpt. The present article looks at the mentioned texts based on the mythological approach and with a descriptive and analytical method, with the aim of explaining the mythological and thoughtful connections in the two mentioned narratives. Both narrations advance their narrative movement based on elements such as woman, water, spring, plant, moon and animal. These narrative elements demonstrate the archetypal themes such as life, life cycle, magic, horror of anime archetype and shadow control in both narratives. Based on common mythological and archetypal principles that systematize the two linguistic context and narrative structure. It is argued that the novel Kalidar, in addition to other aspects of intertextuality, is also influenced by Kurdish folk culture and its mythological and archetypal themes. The author of Kalidar has experienced again living in the horizons of Kurdish people thinking and their culture.

Abstract in English:Realism is a literary theory in which the poet expresses the social realities in his poetry. Although Sa’di and Walt Whitman are different chronologically, they were successful in expressing the common social subjects and retelling such issues; issues like congeniality, prorogation of justice, picturing cheerfulness, life and its avail.The present article attempts to mention the above issues.   Abstract in French:La vraisemblance est une théorie littéraire par laquelle les poètes éclairent les événements sociaux. Bien que Saadi et Walt Witmen appartiennent aux époques différentes, ils traitent les mêmes themes sociaux: unanimité, justice, bonheur, fuite du temps, sens de la vie et ses problèmes. Dans cette recherche, on étudie ces points communs.

In order to study the genetic control of resistance to common smut in maize, two resistant inbred lines, K1264/1 and K47/2-2-21 and two susceptible inbred lines, K3304/1-2 and K47/2-2-1-3-3-1, were crossed as K1264/1 × K3304/1-2, K47//2-2-21 × K3304/1-2 and K1264/1 × K47/2-2-1-3-3-1. The F1, F2, BC1 and BC2 progenies were produced and evaluated along with parents using randomized compelet block design with three replications. All generations were artificially inoculated with spordia of Ustilago maydis suspension. Inoculation was carried out 7-10 days after silking through injection of 3 ml of 106 spores/ml fungal suspension, using tip injection method. At maturity, disease severity was determined based on ears infection and analysed according to generation means analysis method for three crosses. Joint scaling test showed that the presence of additive, dominance and epistasis effects, especially additive × additive and dominance × dominance type, and in lesser extent, additive × dominance, in genetic control of resistance to maize common smut. Average broad and narrow-sense heritability based on three crosses data were estimated 80.3 and 57.3, respectively.

The use of zeolite was investigated to improve the environmental condition of common carp. The fingerlings of 13 grams were tested in 4 treatments. Each treatment contained 60 fish and 3 replications, in RBD experiment design. The treatment was performed 20, 40, 80 and 120 mg/l and one without zeolite as control. EC, T, O2 and salinity was equal but the amount of No2, NO3, NH4 and total hardness, was lower in zeolite treatment compared to the control group. Other parameters such as TDS, pH and sulfide were not different. The results showed that using zeolite can improve the water condition but the SGR, PER, FCR and total weight, in spite of pronounced difference between the dosage of 8 and 120 mg/l, the difference was not significant. In treatment of 80 mg/l, weight increased for 31%, GR for 29%, SGR for 29%, PER for 42%, more than the control group. FCR in the control group was 3.07 while in treatment with 80 mg/l zeolite, it was 2.34.The present study showed by using zeolite and by good management to improve the water condition, it is possible to improve the growth parameters of fish.

Coins represent important objects of our cultural heritage and are usually of high artistic and cultural value. The archaeological issue concerns questions in relation to the iconography, dating, provenance, and technology of production or authenticity. So, the symbols on the coins are the most important guide for researchers in recognizing religious beliefs with religious opinions and beliefs in different historical periods. Myths have played a major role in the culture and art of every nation for a long time and they have had various usages in different eras and have been manifested in the narrative stories or visual symbols from the heart of the religions, beliefs, and art of any nation. Plant motifs have a special place in Iranian thought from the past, which have been sanctified as symbols and myths in Eastern cultures and have been associated with ancient rituals. Numismatics is an auxiliary source for recognizing political and economic issues and for explaining historical periods from which there is limited information about them in written sources. In fact, in some cases, the design on coins is the only source that provides significant information for researchers, about the political, cultural, social, and religious structures of a historical period. Therefore, it is an important source in historical studies and art history. While other sources, especially written sources, do not have the information on these coins. Despite the importance of coins as first-rate sources, the knowledge of numismatics from the Parthian period is very incomplete, compared to other periods in the history of Iran, and studies on coins from this period are more about the identification of kings and political history, and less about the subject of religion. The symbols on the coins are the most important guide for researchers to recognize religious beliefs and opinions in different historical periods. In the culture of ancient Iran, plants and trees have been respected for a long time. According to the many designs found on seals, beddings, pottery, etc., it can be seen that some plants had a sacred and mythical place and a particular plant had high importance and status based on religious and ritual beliefs in different historical periods. The main purposes of this field research is to identify plant symbols by emphasizing the patterns engraved on Parthian coins, and to try to study, re-read and interpret plant images in order to identify their place in the religious and mythological beliefs of this period. The main issue in this study is the lack of resources and so far, no independent source has studied them. The questions of this research are: 1. What are the most important plant drawings used on Parthian coins? 2. Is it possible to understand the religious beliefs of this period from the plant symbols? In terms of the research method, this research has described and analyzed the drawings and symbols by using the fieldwork and library-based method. At first, two hundred and fifty coins in the repository of the Reza Abbasi Museum were examined and studied. These coins were purchased from individuals and collectors in the years before the 1979 Revolution and among them, one hundred and thirty coins had plant drawings. The research also referred to the coins of museums of Sepah Bank and Money Museum with two samples of coins of Arsaces I and II belonging to the Money Museum, and bronze coins with plant images belonging to the Sepah Bank Museum. Due to the limitations of museums regarding photography and providing photographs to the authors, eighty coins were selected for study,sixty-five of which were Tetradrachms and Drachmas while fifteen coins were Bronze, which had been designed in Photoshop and Corel softwares. In order to conduct library studies and to identify the Parthian kings, the Sellwood catalog of Parthian coins has been used. Thus, at first, the plant motifs, which were used in Parthian coins, were identified. Then, by collecting information through library research, and relying on the symbolic approach, plant drawings were studied and checked in order to provide a comprehensive interpretation about plant symbols which were used on Parthian coins, as well as their function and place in the myths, beliefs, and rituals of this period. The results of this study show that the plant motifs which were used in the Parthian period, include palms, olives, rosettes, grapes, wheat, pomegranates, lilies and oaks. The motifs of palm, olive, rosette and lilies can be seen in the Tetradrachm and Drachma coins of the Parthian kings, while the motifs of grapes, wheat, pomegranate and oak can be seen in the Bronze coins, and according to symbolic issues, it can be said that these arrays are related to Zoroastrian, Mithraic and Anahita’, s religions. In the Parthian period, Zoroastrianism is mixed with other beliefs, which is seen as the trinity of the gods of Mehr, Anahita and Ormazd, which ultimately indicates the religious tolerance in this period.

Felt is a kind of carpet that made from rubbed wool. Felt has an important role in Kermanshah and used by people from old ages. The weather of this area is a witness by itself. Felt maybe make without any design in some parts of Iran but not in Kermanshah the motifs are important for felt makers and all the products from mat to clothes and even saddle horses have some motifs. These motifs usually have seen on the sidelines or as a plant or animal motif in the center. The felt motif is not pre-determined as a carpet but it is created during the work by felt makers based on buyer’s willing or felt maker’s mind. This is one of the unique and artistic characteristics of felt making that far from traditional and thousand year’s designs sometimes create simple and innovative motif in the moment. These motifs are sometimes plants, objects or even animals that have rooted in people’s beliefs. Kermanshahan is known as one of the most important centers of felt products due to its climate and extensive livestock for a long time. In this research try to record and present the felt motifs of this province which seems necessary.