From ancient time, use of MAGIC and sorcery was prevalent among people of different countries. Ancient man lived among a host of frightening, negative demonic forces which he attempted to control or coerce in order to ensure a harmonious and benevolent word-order. THEy believed on effect of MAGIC on banishing demons and evils and had different ways for making use of THEm. A vast array of MAGIC-religious mechanisms evolved to cope with this problem in Sasanian period, including incantation BOWLs which were produced in vast quantities in Mesopotamia and Khuzistan more specifically in Susa during THE sixth and seventh century CE., or may suppose THE practice began somewhat earlier, in THE fifth or even fourth century C. E. Also some Sasanian seals with special pictures and texts are supposed to be made for purpose of protection against THE disease, THE evil eyes. THE peculiar nature of THE incantation BOWLs raises many questions to which no satisfactory answer has yet been given. THE reason for THEir sudden emergence in THE fifth or sixth century CE remains obscure; moreover, THE practice seems not to have spread outside a limited geographical region. An incantation BOWL, also known as a demon BOWL or devil trap BOWL, is a form of early protective MAGIC. THE BOWLs were usually inscribed in a spiral, concentric circles beginning from THE rim and moving toward THE center and may be read in some cases by turning THE BOWL clockwise and in oTHErs counterclockwise. THEre are also deference’ s in language and script: THE texts on extant BOWLs are in Aramaic, Syriac, Mandaic or Pahlavi (Middle Persian). THE language of THE BOWLs is some kind of strange MAGICal jargon incomprehensible to all but demons. It contains formulaic expressions and oral compositions which show a certain play on words normally not found in written texts. THEy are varying in size, shape, and type of clay. In shape, THEy are eiTHEr hemispherical with round or flat bottoms or truncated cones with flat bases. THE BOWLs were buried usually face down but also occasionally face to face with anoTHEr BOWL to form an enclosure and were meant to capture demons. According to a tradition a little salt was placed between two such BOWLs before THEy were buried. THEy were commonly placed under THE threshold, or a gate or courtyards, within a household at THE four corners of a room or bed and also in graveyards. THE study of Incantation BOWLs is a matter of great interest and importance. THEy are an important source of knowledge which shed lights on old cultures, practices, beliefs. THEy constitute THE only direct epigraphical documents of Mesopotamia, written mostly by some of THE minority groups like Mandaean, Christians, Jews and oTHErs. Names that use in texts, may tell us about a person’ s religion. We find clients with typically Persian (presumably Zoroastrian), names in BOWLs that imply despite THE MAGICal powers commonly attributed to THE Zoroastrian clergy THEmselves, some people sought help from sorcerers outside of THEir community. Since THE BOWLs are original manuscripts, THEy can teach us a great deal about popular religious practices and certain aspects of social life, family, structure and dwellings and provide precious evidence of how THEse ancient religious traditions survived or were transformed in one corner of late antique world. This article aims to introduce THEse two ways of averting evil forces from life in Sasanian period and answer THEse questions: what was public opinion especially in THE Sasanid era about MAGIC and also what kind of information THE incantation BOWLs provide. In introduction of this research paper, first explain about MAGIC and sorcery and also give a short explain about BOWLs and seals. Afterward, illustrate about BOWLs and seals separately, showing belief of people and ways of using MAGIC and sorcery in ancient time.

THE royal magnificence was passed from Fereidoun to Kayghobad and THEn to his six sons and grandsons. In oTHEr words, it was passed to Kayapiveh, Kaykavous, Kiarash, Kaypishin, Kaypiarash and Kaysiavash and finally to Kaykhosro. Shahnameh and words of Sohrevardi such as Avesta have mentioned THE possession of wisdom by Kaykhosro and his ability to do great works and holy virtues and his immortality which were achieved by Kaykhosro, ascending him to THE status of a pious disciple and a wise THEist and owner of discovery and intuition, which will be reviewed in this article in THE form of an abridgement.

THE importance of rhythm in THE latest texts of Antonin Artaud written in an invented and incantatory language invites us to extend THE scope of our understanding of this phenomenon. And it is particularly surprising that contrary to what one might imagine, THE simple word of rhythm is far from representing a universal definition easy to access. This has led many authors to give THE name a more accurate and satisfactory definition, but it is only by following THE path that Artaud spawn had influenced in our mind that we could reach a MAGICal definition of this term. It is for sure that THE MAGIC of rhythm connects THE beliefs of a primitive culture to THE most recent contributions of THE humanities in this research. French: La magie du rythme L’importance du rythme dans les derniers textes d’Antonin Artaud, écrits en une langue inventée et incantatoire, nous invite à nous pencher sur ce phénomène. Il est particulièrement intéressant de constater que contrairement à ce que l’on pourrait croire, la notion de rythme est loin d’être universelle. Cela a incité de nombreux auteurs à vouloir définir exactement ce terme, mais seul Artaud a frayé la voie vers une définition magique de ce terme. C’est la magie du rythme qui relie dans cette recherche les croyances d’une culture primitive aux apports les plus récents des sciences humaines.

THE mystical texts while including some secrets, mystery, conceptual and meaning complications and also using THE symbolic, impressive, MAGIC and tuneful language, differ from THE oTHErs literary and non-literary texts considerably. THEse differences are only considered by some of THE intellectuals as THE differences in language structure and know THE meaning related complexity originated in THE especial features of that language. Opposed to THE mentioned viewpoints, this essay brings THE priority of THE concept and meaning over THE language in mystical texts into sharp focus and reveals that revelation, understanding, interpretation and explanation of THE meaning have priority over THE terms and appropriateness of THE language. Although THE new findings based on revelation of meaning and concept creates a new language, it will be different from THE oTHEr languages. In this regard, THE understanding and interpretation by THE general interpreters upon a THE Holy Quran verses as well as THE Khorasan mystics and Ibne Arabi"s ones in Fososelhekam, have been studied. THE result of this essay and study have shown that meaning has priority over THE terms and thought, in mystical texts. It also shows that THE complementary development of THE mystics" understanding of THE Holy Quran till THE period of Ibne Arabi and THEir effects and interplay on each oTHEr.

THE study tries to discuss a Golden BOWL which is kept at THE Mostazafan Foundation’s Cultural Institution of Museum. Such BOWLs and vessels were primarily produced along THE souTHErn shores of THE Caspian Sea, particularly in THE Rudbar region, and later in Azerbaijan. In this article, THE author studies this BOWL based on iconography and argues that this was related to THE first millennium BC.

THE current study tries to discuss a Golden BOWL with four-headed lion which is kept at THE Mostazafan Foundation’s Cultural Institution of Museum. In addition to minor cracks and fractures at several places on THE body, THE cylindrical rim of THE BOWL has also been slightly altered and deviated from its original form, making it difficult to distinguish THE lower part of it and THE base. As can be seen, its bottom design is adorned with five circles, with one being a water lily with twelve petals. In this article, THE author studies this BOWL and based on iconography, argues that this was related to THE Achaemenid period.

Introduction THE nature of THE religion and rituals of THE Bronze Age Luristan metalworkers has always been met with conflicting interpretations. Among THEse artifacts is a bronze BOWL dating back to THE 8th century BC, featuring eleven celestial depictions and seven Aramaic inscriptions arranged in a meaningful configuration. Most researchers attribute THE production of Luristan bronzes to Indo-Aryan groups such as THE Scythians, Kassites, Medes, and Cimmerians. However, despite THE universal acknowledgment of this artifact's origin within THE Luristan Iron Age culture, previous studies have failed to interpret THE cryptic motifs and concepts on THE BOWL within THE mythological and symbolic framework of Indo-Aryan beliefs. This research hypoTHEsizes that analyzing THE celestial depictions on this artifact can shed light on THE existing ambiguities surrounding THE religion of THEse people. THErefore, for THE first time, THE celestial motifs of sections two and six of this BOWL are analyzed based on THE narrative and mythological concepts of Indo-Aryan religions and in relation to oTHEr Luristan bronze motifs. Research Method This research is qualitative in nature and employs a descriptive-analytical approach. Data were gaTHEred from library resources and museums. As a first step, THE visual patterns of THE celestial motifs in sections 2 and 6 were described. Since THE pattern connecting THE stars in section 2 of THE BOWL had been lost and this motif lacked a direct equivalent among modern constellations, it was necessary to reconstruct THE overall celestial map at THE time of THE BOWL's creation (800 BC) using THE following methods: 1) Utilizing THE Stellarium astronomy software; 2) Aligning THE constellations around THE BOWL with THE modern zodiac and cardinal axes of THE sky in 800 BC; 3) Consulting visual sources containing ancient constellations. After identifying THE astral identities of THE motifs, several sources were used to interpret THE cryptic meanings of THE celestial motifs: 1) Consulting astronomical THEmes and narratives embedded in ancient Iranian texts; 2) Consulting textual sources containing technical specifications and imagery of ancient sky maps, such as THE MUL.APIN; 3) Consulting THE cosmology of Indo-Aryan religions. Research Findings THE primary challenge of this research was identifying THE celestial body represented by section two of THE BOWL (a monkey-like figure within an arch). Through visual comparison, aligning THE BOWL's constellations with THE modern zodiac, and referencing representations on THE Bali drinking vessel, section two was identified as Gemini. While oTHEr scholars interpret this monkey-like figure (section two) as THE god Thoth, its proximity to a solar disc on THE BOWL suggests a solar connection. Similar depictions of monkeys on oTHEr Luristan bronzes—brooches, spearheads, and seals—also relate to solar discs, lion heads, and solar motifs (a female figure surrounded by solar rays). This reinforces THE association of THE monkey constellation with solar THEmes. FurTHErmore, significant similarities between sections two and six (THE monkey and Pleiades constellations) indicate an axial relationship. THErefore, from THE diverse and heterogeneous semantic interpretations of Gemini and THE Pleiades in various cultural sources, THEmes connecting THEse constellations to THE sun and moon were selected. In Iranian tradition, Gemini represents THE head of gōzihr Dragon, THE beginning of THE zodiac and THE Milky Way—a serpent causing eclipses by its movement and consumption of THE sun and moon. Section six, THE Pleiades, in Elam, signified THE Sibitti and lunar eclipses. Thus, THEse constellations seem connected to solar and lunar eclipses. Mesopotamian texts reveal that in Elam, eclipses symbolized a king's death and THE decline of his reign. THE "Kāvusan’s Path," anoTHEr name for THE Milky Way in Pahlavi literature, reinforces this axis's connection to royal legitimacy. However, how is this axis represented on oTHEr Luristan bronzes? Ancient Iranian astronomical texts, like “THE Kitāb al-Bulhān of Abu Mashar”, depict animal constellations alongside THEse planetary deities in a visual representation like THE master of animals. Conversely, a Luristan fibula shows a central human figure within a star, symmetrically holding two star-marked serpents. This imagery of a man holding two serpents symmetrically appears to represent THE Hunter constellation and THE axis between THEse two sections of THE BOWL. Conclusion According to research findings on THE Luristan celestial BOWL, sections two and six represent THE constellations Gemini and Pleiades, respectively. Gemini symbolizes THE head of gōzihr Dragon – THE Milky Way serpent and lunar nodes. THE Pleiades in section six are linked to THE Sibitti, a constellation associated in Mesopotamian texts with Elam, THE goddess Narundi, and lunar eclipses. THErefore, sections two and six of THE BOWL appear to represent solar and lunar eclipses. In ancient Iran, kings with divine authority, like Kayumars and Jamshid, whose earthly power was bestowed by THE gods, were likened to THE sun. Thus, in THE ancient world, eclipses signified divine disapproval of THE king's rule. Following THE prediction of THEse celestial events, or upon THEir occurrence, ceremonies for THE replacement king were held to avert THE resulting ill omen from affecting THE king and THE kingdom. Supporting this interpretation, THE Bundahishn refers to THE Milky Way as THE "Kāvusan’s Path." Kaveh was a king who, due to his arrogance and misguided ambition, sought dominion over THE heavens in addition to THE earth. He ascended to THE heavens on four eagles, but his divine authority was subsequently removed. THErefore, solar and lunar eclipses were visualized as a serpent-dragon, through which THE gods exerted THEir will in controlling THE fate of kings and kingdoms. Alternatively, THE "Kāvusan’s Path" represented THE path of tyrannical kings who misused THEir divine authority for THEir own selfish ends and were thus cursed and punished by THE gods. On certain brooches and seals from Luristan, Giyan, and Susa cultures, a goat-man controls two serpents flanking his body. In most instances, THE serpents' bodies are adorned with star patterns. THErefore, this imagery seems to represent a combination of THE human and goat constellations at THE BOWL's center, with gōzihr symbolizing THE axis of sections two and six, representing THE gods' power to alter destiny and punish tyrannical kings.