The description of wine (and the othere names of wine such as: mey, Bade, nabiz, siki and sahba) is one of the most common themes in Persian poetry. From describing its color, taste, and smell to enumerating its properties and functions such as healing, alleviation of grief, and immortality of life. In the Avesta and other Zoroastrian texts, we find the same pattern in the praise of "haoma" in three forms: God, Plant, and Drink. In this article, after enumerating the common descriptive themes of Zoroastrian haoma and sharab (wine) in Khorasan style poetry, we will attempt to answer the question of how tenable is the hypothesis of the transfer of the Zoroastrian haoma tradition to Persian poetry. The common themes of the two mentioned textual fields are: giver of eternal life, healer, grief-reliever, brave-maker, bright, shining and good as well as description of colors. This research is qualitative in nature and was conducted using the content analysis method. Extended Abstract 1.Introduction Sacred drinks have long been an integral part of religious beliefs and rites. These drinks have either an animal origin, such as blood and milk in shamanic rituals (see: Eliade, 2013: 198, 139, 98, 97), or herbal origin, such as Haoma among Iranian Zoroastrians, soma in ancient India, and ambrosia and nectar in ancient Greece (Titer, 2018: 17). By highlighting the presence of the sacred drinks and herbal gods attributed to them in the ancient mental patterns of the mankind, we attempt to emphasize the obvious and undisguised presence of this idea in the continuation of its cultural life in literature and especially in poetry, and especially investigate whether the attributes Zoroastrian Haoma were transferred to the attributes of wine in Persian poetry by expressing its non-apparent attributes-including the benefits of wine and its functions- and answer these questions: 1. What are the pretextual patterns of describing wine in Khorasani lyrical poetry? 2. To what extent can the hypothesis of the transfer of the Haoma tradition from Zoroastrian texts to Persian poetry be defended? The aim of this study is to show that the description of wine in Khorasani style lyrical poetry is a continuation of the tradition of describing Haoma in Zoroastrian texts. By collecting the common themes of these two textual areas, it is shown that the common patterns in the description of Haoma in Persian poetry were transferred after Islam. The reason for choosing Khorasani style lyrical poetry is that in the literature of this era, the issue of influence by poetic tradition and imitation of earlier poets is less prominent, at least in the field of Persian poetry, and it is easier to assume that part of the description of wine can be the continuation of the cultural life of the sacred drink "Haoma" in the Avesta and other Zoroastrian texts. 2-Research methodology For this research, library resources and analytical-descriptive methods were used and examples from Zoroastrian texts and Khorasani style were used. For this purpose, the attributes and piety of Haoma were collected and categorized from all Zoroastrian texts, including Avesta, Dēnkard, Bundahishn, Pahlavi narrations, Dasturan's instructions to Behdinan, and Zadsperm excerpts. Then, the attributes of wine (found in Persian poetry under various names such as Nabiz, May and Badeh) are among the first scattered examples of Persian Dari poetry, a large number of which are published in the book "Description of the life and works of the bookless poets" By the efforts of Mr. Modbberi and the book "Scattered Poems of the Oldest Persian-Language Poets" collected by the efforts of "Gilber Lazar" and what is available as Book of Peoms of Rudaki, Kassai, Farrokhi, Manochehri, Erani, Asjedi, Manjik Termazi etc. and historically covers the second half of the third century to the end of the fifth century. Finally, in analyzing and categorizing the research data, the common themes of these two textual areas have been highlighted with numerous examples. 3-Discussion After extracting all the attributes of Haoma from the Zoroastrian texts and also the attributes of wine in the Khorasani style poems, we have found seven themes that are common in both textual areas in the description of Haoma and Badeh, one of which is giving eternal life. Giving immortality is one of the most important attributes of "Haoma" in Zoroastrian texts and is frequently mentioned in Yasna, Yashts, Khordeh Avesta, Dēnkard, Bundahishn, Pahlavi narrations, Dasturan's instructions to Behdinan, and Zadsperm excerpts. Evidence of this theme is the description of wine in Khorasani style lyrical poetry, including the poems of Kassai, Unsuri, Manochehri, etc. The next theme is "healing," which is one of the constant characteristics of all sacred beverages. Eliade gives several examples of healing sacred plants and explains that "the magical and medicinal value of some plants is also due to the celestial version and model of the plant resulting from the fact that the first deity planted that plant." (Eliade 2010: 283). In Zoroastrian texts, this attribute is often found in Yasna, Yashts, Dēnkard, and Bundahishn for "Haoma." In Khorasani style poetry, this attribute for Badeh is found in the poems of Manochehri, Kassai, etc. The third common attribute of Haoma and Badeh is "antideprssant". The elimitator of sorrow and suffering with the word "Farashmi" is one of the attributes of "Haoma": (see: Yashts, nd: vol.2, 353). In the poetry of Khorasani style, there are many verses describing the elimination of sorrow and happiness through wine, including in the poems of Rudaki, Unsuri, Bashar Marghazi, Farrokhi and Monjik Termezi. The fourth common attribute is "bravery." In Zoroastrian texts, bravery is mentioned along with strengthening the body (in general) and strengthening warriors. From the presence of "Haoma" in the praise rites of Urdusura Anahita - the patroness of warriors and fighters - (see: Khordeh Avesta, nd: 282 and Yashts, vol. 2, nd: 131), this piety of "Haoma" can also be deduced. 4-Conclusion After studying the attributes and pietyof "Haoma" in Zoroastrian texts and also extracting the attributes of "wine" in Khorasani style lyrical poems, we have concluded that there are seven common themes between these two fields of description, namely "The giver of eternal life", "healer", "grief eliminator", "courage giver", "good and decent", "bright and shining" and also the description of color. According to these similarities, which mainly refer to non-apparent attributes, the assumption that some of the attributes of Haoma were transferred to the attributes of wine in post-Islamic literature can be more strongly supported, and it can be emphasized that cultural elements of ancient religions and beliefs, especially when they appear in religious ceremonies and religious hymns of the tribes, for example, the praise of the god Haoma and the presence of Haoma plant and drink in the Zoroastrian religion, do not completely disappear after the establishment of the new religion, but usually find a suitable platform among literary and artistic elements, thus continuing their cultural life. It seems that the description of wine in Persian poetry is a suitable platform to convey some of the characteristics of Haoma - in the three states of god, plant and drink. 5.References Andarz-e- Dastooran be Behdinan,( 1977). 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Introduction: In the study of ancient Persian religions, three religions are prominent; they are Zorvani religion, Mithraism or Kish-e Mehr and Zoroastrianism. Mithraism has close ties with Zorvani religion.  It also had two major rituals, one was the sacrifice of bulls and the other was drinking juice and extract of HOOM, a sacred plant of ancient times. HOOM is considered to be ephedra vulgaris, a small plant with yellow flowers.There are many sacred trees and plants in religious and mythological narratives of many religions which usually represent the living universe continually rejuvenating itself. There are also mysterious relationships between human beings and trees and plants; some tree or plant is considered as the mythological ancestor of a tribe.The word HOOM (Avestan haoma, Middle Persian hom) is mentioned in different parts of Avesta. HOOM was a golden plant and a drink was extracted from it which enjoyed a special place in Mithraic ceremonies. With the advent of Zoroastrianism HOOM was regarded negatively but later on regained its importance as depicted in adding a part to Avesta named HOOM Yasht in which Haoma is manifested as: 1) a golden plant, 2) an intoxicating drink, 3) a man, 4) a god.In this paper the role of this mythical plant is discussed in the formation of some of the narratives of Persian Epic, Shahnameh. This study uses textual analysis of ancient religious texts and Shahnameh to discuss the mythological and archetypal elements of a classical Persian epic. Discussion: HOOM is only once mentioned directly in Ferdowsi's Shahnameh, that is the appearance of a woolen-clad pious man named HOOM. The story relates how during his prayers at the temple, HOOM hears a man groaning in a cave. Finding out that he is Afrasiyab, the enemy of Iran, he ties his arms with his girdle. However, Afrasiyab tricks HOOM and runs away, but with the help of Kai Khosro he is captured again, then HOOM disappears.In Shahnameh, Simorgh (phoenix) the legendary bird advises Rostam to use a special plant to be mixed with milk and musk in order to cure Rudabeh's wound. In Rig Veda and Avesta the mixing of HOOM and milk and pounding them in a mortar are mentioned many times. It is also mentioned that this plant is medicinal. HOOM is said to grow on Alborz Mountain where Simorgh used to live. HOOM can also be traced in the story of Rostam and Sohrab. Rostam not recognizing his son, Sohrab, wounds him; he asks Kai Kavus for an antidote with wine to cure Sohrab. The description of antidote is very much like that of HOOM. Another instance is the story of the death of the invincible Esfandiar in war with Rostam. Simorgh advises Rostam to choose an arrow and to dip it in raz water (grape juice) or wine which is supposed to be fatal. Again the description and the toxicity of the drink is very much that of HOOM.Conclusion: The ritual-mythical relationship of Simorgh and HOOM in Shahnameh is mostly related to Rostam's family. Simorgh and HOOM are also related to Mithraism and the worship of Mehr, an older religion that Rostam is its chief priest. That is why Esfandiar as the upholder of the new Zoroastrian religion kills Simorgh that with the help HOOM is the protector of Mehr and the followers of Mehr.

Background: Nowadays, many people believe in traditional medicines and use them for different diseases. Knowledge of medicinal plants and traditional medicine has been practiced for centuries through trial and error, and many important treatments for the disease have been passed down from one generation to the next. Ephedra is a valuable plant and has been used to treat diseases since ancient times. Accordingly, this study aims to comprehensively introduce Ephedra distachya L. in traditional medicine. Methods: In this review study, databases such as Google Scholar, SID, Scopus, and books on medicinal plants in Persian and English languages were searched to collect data. The keywords included “ ephedra” , “ traditional medicine” , “ goat’ s beard” , and “ medicinal plants” . Results: Many resources highlighted the importance of using ephedra due to its useful properties. Experimental studies in traditional medicine show the effect of this plant in the prevention of diseases, such as asthma and bronchitis. Conclusion: Considering the beneficial effects of ephedra and scientific evidence about its effects, further studies are needed to better understand the use of this plant in traditional medicine.

HOOM or Haoma also known in Vedic culture as Saoma is a mysterious plant assuming its position alongside Gods and deities in the vast expanse of Indo-Iranian mythology. The footprints of this plant deity can be traced in the most ancient written texts such as Vedas and also in Avesta well continued up to the literature of the middle period and then in Shahnameh. At present the standpoint of this plant and its essential oil in the Zoroastrians religious ceremonies and rituals is a relic of its glorious past. This research investigates the cultural roots of this plant since the antiquity till present and shows how a transposition from the realm of myth to the epic underwent remarkable transformations.

Mysticism and mythology have a few things in common, one of which is thinking about death. Both introduce death as the most important trouble and eternity as the most exciting ambition for human being. They paraphrase and decode death through revelation and intuition, and take it as a kind of sleeping and trance that could be overcome by some means. In mythology and mysticism, death is assumed as the advent of living again, and by destroying reality it leads to eternity. Their death thinking could be examined in their common beliefs such as mortality and eternity, flying soul, fire, HOOM and source of life.

In Iranian mythology and since the beginning of creation war has been a current theme. Some Iranian gods, such as Bahrā m, Mitrā , Bā d, HOOM and Soroush, are fighting for peace, security and purity on behalf of Ahuramazdā against Angra Mainyu (Ahriman). Myths play an important role in the collective and subconscious memory. As such, they have a profound impact on religions, arts, literature and general culture of all times. Therefore, this article examines the gods of war in the legends of Chahā rmahā l and Bakhtiā ri, Lorestā n and Kohgiluyeh and Boyerahmad province. The research context consists of legends written in Persian in Chaharmahā l and Bakhtiā ri, Lorestā n and Kohgiluyeh and Boyerahmad province. The purpose of this research is to explain and analyze the presence of mythological war gods in the legends of the above-mentioned provinces. Through a careful reading of this article, the reader will understand that the gods of war such as Bahrā m, Soroush, Wind and Mehr are present in the legends of these provinces, sometimes superhuman and sometimes terrestrial with metamorphoses in their appearance and function.