The interests of the Lurs in Shahnameh over the centuries have undergone changes under the influence of several factors, some of which are discussed below. Some of these reasons include the simplicity and liveliness of the Persian language, a kind of commonality of language and understanding, epical nature of Shahnameh, the seven hurdles Rustam faced, the lifestyle of the camp of heroes, the feeling of being a co-traveler of the heroes and coexisting with them in the difficult environmental conditions, dynastical system and social relations of the heroes of Shahnameh, a kind of common feeling of having the same structure, cultural similarities, type of some ceremonies, and the feeling of having the same religion among the figures of Shahnameh and the Lur nomads. These feelings are so strong among some Lur tribes and communities that they attribute the genealogy of some of the heroes of Shahnameh to themselves. Due to its widespread popularity among the Lurs, Shahnameh has several functions, some of which are enumerated below. Shahnameh is used for education, spending leisure times, exciting the warriors at the time of battle, spreading the language and establishing relations with other ethnic communities, psychiatric functions, and finally christening or naming the children. The main question is: how can one be a pioneer in the modern Shahnameh?    

Didactic literature includes a large part of Persian literature. Although Shahanameh considered to be an epic work, Ferdousi used every opportunity to express didactic doctrines in his work, especially in dramatic scenes and the final parts of stories Ferdousi’s presence and his moral doctrines is noticeable. Ferdousi’s recommendation to wisdom , fame, avoiding greediness, respecting moderation etc….in domain of individual and social life are demonstrative of Ferdousi’s attention to the didactic literature. Saadi, as a social peacemaker, two century later, wrote Boustan within the domain of mystical and didactic literature. Saadi with respect to the requirement of Iranian society ;especially, his time states, Saadi in Bostan deals with issues like goodness, modest, justice, fame, taking opportunities, avidness of greediness etc….a comparison of Ferdowsi’s didactic doctrines Saadi shows similarities and differences. Differences arise from time conditions and Jran situation at that time, including to effect of foreign domination, circulation of mysticism, poetic thinking, and disappearing of enthusiastic spirituality at Saadi’s time. In the present paper a comparison is made between didactic doctrines in Ferdwsi’s Shahnameh ans Saadi’s Boustan so that similarities and differences have been revrealed. Ferdwsi’s Shahnameh.

Shahnameh is the greatest epic work of Iran. Ferdowci versified it during thirty three or thirty five years. He composed this work in fluent persian language. In his acount and description about heroes, historical and ancient events he used simile. By studying and comparing these similes with these in next centuries, we nealize the chenges and development of imagery in this field. In this research we examine, explain all similes and classified them.

Shahnameh, versified byWise Man of Toos, Abul Ghasem Ferdowsi the Sage, includes the original lexicons of Persian Language. One of these terms, which conveys the extensive conceptual load in Shahnameh is term “Art” that has been used 352 times within 337 verses. Benefited from term of Art in his work more than ever, Ferdowsi has adopted this term by means of ten structures and twenty seven compositions so that this term might be found with more than 80 different meanings in Shahnameh. Doubtlessly, acquaintance with the given conceptual meaning in such words will be led to enrichment of our language in addition to raising our insight toward ancient texts; thus, at the present survey, the authors first try to purpose some information about term “Art”, its different meanings and changing trend and then to examine its (positive and negative) conceptual meaning for audiences and different classes in Shahnameh by depiction a schemata of them so that to reveal it to them for what cases Toos Master (Ferdowsi) has employed term “Art” in his masterpiece.

The word “Mazandaran” was first seen in Ferdowsi’s Shahnameh. This city was a famous city with names like Tapoorestan. Being the main geographical area in Shahnameh, the land is important in the area of urban geography.In addition to words, this article studies Ferdowsi’s mythical findings of the borders of this land as well as the history and the expanse. Its wonderful conformity with Hamavaran is also studied.

Shah Tahmasebi Shahnameh was transcribed between 930 to 944 AH/1535 AD in the Safavid Royal workshops in Tabriz and it, s one of the most valuable cultural gifts that has been sent to the Ottoman Palace from Iranian Palaces. This Masterpiece was presented to the Ottoman Palace in 974 AH/1566 AD to commemorate the coronation of Sultan Selim II by Safavid Shah Tahmaseb, and it was available to the Ottoman artists for more than three centuries. The aim of this study is to provide the researchers with certain criteria for comparing images in terms of their being Iranian or Ottoman. Reviewing of Shahnameh writing tradition in Ottoman culture suggests that Ottoman painters have used the Imaginative forms of this masterpiece of the Tabriz School during this period of time. In this paper, using historical-comparative method, images of the Tahmasebi Shahnameh have been qualitatively and quantitatively compared with the images of four Ottoman Shahnamehs. The results show that the visual elements and the subjects of images were influenced most, though Ottoman artists have tried to change the atmosphere of events, particularly the architectural elements of the images, which is the most pronounced difference of the Iranian and Ottoman paintings.

Although many years have passed since its inception, the critical correction of Shahnameh, as one of the greatest literary and epic works of Iran and the world, has a long way to go. The vast volume of this great work and the wide variety of the issues presented in it, alongside its language antiquity, require that in order to reach as close as possible to the poet’, s original creation, all the stories, verses and words of it be reviewed and reexamined and scholars with various specialties and approaches comment on its various aspects. From the grammatical pint of view, this article discusses some verses from different parts of Shahnameh. The commonality of these verses is in their optative verbs. In the first part, the pronounconstructed verbs of Shahnameh are discussed. The second part introduces a rare verb construction in which the optative morpheme of the third person singular is ‘, iyi’, . The last part is about the optative form of bā, yistan “, have to, must”,which requires an enclitic pronoun complement in some of its constructions. These parts were studied and analyzed by measuring the recordings of the manuscripts and by analyzing the previous readings. In the case of pronoun-constructed verbs, the form ending in ‘, ti’,was suggested everywhere, and in the other two cases, based on the manuscript recordings and relying on grammatical points, the correctness of the readings presented before the publication by Khaleghi Motlagh, was emphasized.

Epic poetry and prose makes an outstanding part of Persian literature. The essence of these literary works reflects heroic battles between two opposite groups: just and unjust or protagonists and antagonists. The creators of the works usually tried to mirror their own culture and civilization in the behaviors of the heroes in addition to their ancestors enlightening ethics introduced by the use of specific terms, war equipment and battle field customs. These are cultural heritages which need to be understood more through a delicate study of epic works generated by Ferdowsi and other great epic poets. To this end, the present paper makes an attempt to focus exclusively on one type of equipment named in Shahnameh: musical instruments and their sounds. They have been classified in terms of their frequency of use. Then their features have been investigated.

As a country which dominated many regions and peoples with different cultures and was always at the center of attention due to its deep influence on the changes of world history, Iran has had very strong links with its neighbors. Indeed, its status in the world history and its share in the history of human being can be recognized only through its contact and interactions with great neighboring powers. Among such cultures is the culture and civilization of China. In the pre-Islamic period, Iran had contacts with Chinese culture and civilization in various situations and via different ways and, from a certain period, Iranian ambassadors travelled to China regularly. Such extensive relations affected different aspects of Iranian culture and civilization and Persian poetry is the manifestation of such influences.Ferdowsi’s Shahnameh is one of the important sources for understanding the relations between ancient Iran and China and the influences of such relations. In spite of such extensive cultural, economical and political relations between the two countries, Ferdowsi’s knowledge about China, its geographical situation and various aspects of its culture and civilization is incomplete. In fact, like his contemporaries and owners of information sources, he does not give us precise information. If Shahanmeh is divided into mythological and historical parts, it is hard to distinguish between China as an historical country and mythological region because he himself has seldom distinguished between Eastern Turkistan, China and Far East. For this reason, the present research aims to, first, identify the geographical status of China and Machin and, then, specify the similarities and differences between mythological and historical China in Ferdowsi’s Shahnameh.

Ferdowsi mostly pays attention to Persian culture and civilization, so this wise sag's great masterpiece is full of the wise and cultural doctrines. According to the statement: ''Wisdom is the first thing that was created'', Ferdowsi calls wisdom the hospital of any in curable disease, which nothing will lead to success without it. In this essay, the main subject is to review, study and present precisely the efficient wisdom that have been the pattern and the main strategy of our successful and prosperous ancestors in this territory.We will present a crystallization of the wise do ctrines of this cultural scientist to the reader's wisdom and intellect, in order to cause him to be able to use and adopt the precious pearls of these doctrines, and by using it, the reader would use his upper efforts and endeavors for the prosperity and success of this region and country, much more and better and more guiding. Besides the wise doctrines that have been emanating our ancestor's bright success, he prohibits us from going to the ignorance road, which he calls it the Satan's astray.