In some communities, TREE had been revered and worshiped. TREE in its oldest vision is a giant cosmic TREE, which is the symbol of the universe and Creation. With regards to the close relationship between the TREE and human life, many communities have attributed a sense of sanctity to the TREE.The relationship between the man, the TREE and its holiness was in a way that people in some communities believed man was born from the TREE. This belief affected a part of the ritual, magic and aesthetic ceremonies of some nations. On the other hand, in some images, this is the TREE which has grown out of the human body.The TALKING TREE and Wak Wak TREE are instances of legendary TREEs which have entered into the Islamic art and culture.The different forms of illustrations of Wak Wak which have been drawn by Iranian painters depict the blend of the decorative and imaginative compositions in a beautiful manner. In this article, we aim to find out answers to the following questions:1- What is the similarity between the TREE and the man in the beliefs and legends of different nations?2- What is the relationship between the sacred TREE, the TREE of life, TALKING TREE, and Wak Wak’s forms?Hypothesis: The common capabilities of man and TREE can be mentioned as fertility, growth and procreation. TREE has been posed as a symbol of fertility and procreation besides the man, thus there exists a close relationship between these two creatures, which has led to the creation of extraordinary myths. With regard to this issue, the sacred TREE, the TREE of life, the TALKING TREE and the Wak Wak TREE with the human and animal fruits have resulted into the formation of Wak Wak through a process.This research aims to understand the relationship between the TREE and human thoughts as well as the public beliefs reflected in fictions and various forms of arts.It may be interesting to note that few studies have been carried out in this field in Iran and they mostly described Wak Wak’s forms.

The Persian carpet has invariably been a means for expression of the beliefs and traditions of various people of this country. Among various plant and animal motifs, the carpets with the motif of the "TALKING TREE" which are also known as “vaq vaq”, have replaced the allegorical and symbolic representation of the decorative designs of carpets with anecdotal motifs due to their pictorial characteristics. The present research aims at achieving the visual qualities and concepts of this TREE by means of a comparative study among the present works in three civilizations, i.e. Persia, India, and Middle Asia.This research was conducted on the concepts and within the field of pictorial tradition, relying on the remaining records in the culture, literature, and pictorial tradition of the carpets of Persia, India, and Middle Asia. The result obtained indicates that vaq vaq has its roots in the ancient Indo-Iranian culture. It has however adopted different meanings through the separation of the branches of this civilization. From a conceptual perspective, this TREE is an image of the TREE of knowledge and a picture of Kelileh va Demneh, as wisdom uttered by animals. However, as it enters eastern regions, this conceptual aspect is retained and in northwestern regions of Iran, a part of fertilization rituals and the haven of the residence of spirits create its present shape, due to a connection with the roots of shamanism remained from the Middle Asia. This decorative motif is gradually manifested in various manners since sixth AH/ twelfth AD century, as the Middle Asian tribes enter the homeland of Iran. This research was conducted using descriptive/ analytical approach.

Most traditional motifs have rooted in the cultures, religious be lifes or mythological stories which are implemented on a variety of synthetic arts by passing through the filter of the designers’ minds. TALKING TREE is an inscription that has been created from the combination of human and animal forms with plant motifs. In most books written by Muslim geographers it has been referred to TREE or is land of Vaq the eastern regions such as China and India. However, some researchers believe that after the conquest of part of India by Ghaznavi rulers, this inscription has been entered into the decorative arts of Iran due to the Iranian scholarssuch as Abu Rayhan Biruni and Abolghasem Ferdowsi, since with the arrival of Islam to Iran and portrait painting sanction, the traditional motifs designer shave been looking for a way to display the human and animal forms. The first time TALKING TREE was used in metal working art in 6 and 7centuries AH/ 12 and 13 centuries AD. The main research question is “How the TALKING TREE has been used in the middle ages metal works? The aim of this study is to seed if ferent types of TALKING TREE in metal working art in the middle ages. The methodology in this articleis descriptive – analytical and the data collection method is also library and attributive research. After the classification and analysis of the existing works, it can be said that the inscription of TREE and TALKING have rooted in 6 and 7centuries AH /12 and 13 centuries AD in the decorative arts of India and has been entered to the decorative art of Iran by Khorasani artists.

The motif of “TALKING TREE” or WakWak TREE, derived from the stories and tales of different lands, has appeared in various shapes in artworks. This motif is the source of Wakdecorative motifs that depictcombinations of mythicalandreal creatures’ heads with arabesques and sprays, well known as one of the primary motifs of Iranian carpets depicted in different patterns such as medallion, corner, TREE, etc. These patterns are evolved from TALKING TREE and Wak TREE that can be found in the carpets of 10th-13th centuries (A.H.) in four categories. This article is aimed at exploring and understanding the different manifestations of this decorative motif and its structural and formal characteristics in the carpets of 10th- 13thcenturies. The research questions developed in this article include what types of Wak patterns may be found in the carpets of 10th-13th centuries (A.H) and what are the various styles of their design, painting and connections.The research has been carried out through gathering published material and observation, using descriptive and analytical methods.We also classified and analyzed the common patterns in most of the carpets including the humans’, dragons’ and demons’ heads to clarify the connections and structural characteristics of various manifestations of Wak motif. We concluded in this project that the frontal representation of demons’ headsare always present in the form of humans or animals while the humans’ headsare drawn more naturally and from two views, and the dragons’ heads are also drawn in combination with other creatures like snakes and crocodiles.

The main purpose of present study was to comparison of self-TALKING-based cognitive therapy considering the Iranian-Islamic models with common self-TALKING-based cognitive therapy on marital conflicts of married women. This study was a semi-experimental research with post and pretest with control group.42 women who referred to a counseling center in Meybod city were selected by available sampling and then randomly assigned in 2 experiment and 1 control groups (2 participant cannot finished the study). The first experimental group received self-TALKING-based cognitive therapy considering the Iranian-Islamic models, and second experimental group received common self-TALKING-based cognitive therapy (both of them have 7 sessions). The control group didn’t' t receive any intervention. Before and after the experiment, all groups answer to marital conflict questionnaire. Finally, data analyzed by one-way ANOVA. The results show that both of interventions in experimental groups significantly decrease marital conflicts of participants, but intervention based on Iranian-Islamic models than intervention based on self-TALKING-based cognitive therapy have greater effect on improving of the marital conflicts (p<.01). Therefore, we can conclude that in self-TALKING-based cognitive therapy, common models should be replaced by teachings witch roots in Islamic and Iranian Models.

Two elements of character and accident are studied in this paper to see if value added characteristics are a result of characterization or if they are dependent upon events. Eight variables of dynamic characters, sadness, happiness, fear, anxiety, hope, despair, patience, and intolerance were selected and studied using content analysis. The statistical analysis showed that anxiety had the highest prevalence-18 times repeated-while despair had the lowest frequency of 4 times. The high and low number of changes along with events and happenings by characters presents negative or positive behaviors on the part of the characters. Thus characters in this story overwhelm events adding positive or negative values. Also the writer's ideological views as well as political and social changes of his time have directly affected the outcome.