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Rick Abad Tepe is located north of the Zab River in Northwest of Iran, close to the border with Iraq. The excavation at this archeological site was carried out in the summer of 2019. The materials and evidence obtained from there showed Rick Abad belonged to the Bronze Age, with some monuments not documented yet from any site in the Zab Basin. The Tamarchin passage, west of Piranshahr, connects this region to northern Mesopotamia. This research tries to respond to the following questions: What was the status of Zab Basin settlements in the Bronze Age? How was the regional and extra-regional communication with the surrounding areas? As a matter of fact, seven levels belonging to the Bronze Age were identified in the course of the excavation. In the south of Lake Urmia, Kura-Araxes potteries were less visible; however, typical black-burnished ceramics similar to those of the Kura-Araxes tradition were recovered from some sites. Surprisingly, Painted Orange Ware (POW) and beveled-rim Bowl were seen in the early Bronze Age of the Zab Basin. Furthermore, the impression of the seal from Rick Abad is remarkable as well since this type of object had an administrative function and it is a sign of economic and social activities as well as regional and extra-regional relations. The location of this region between northwest of Iran and the north of Mesopotamia (Iraqi Kurdistan) somehow turned this basin into a meeting place of various cultures. Probably these sites played a key role in trade and commerce, although, they never attained an urban status.  

Khalifeh Kandi village is located in the southeast of the Sahand mountain range and northwest of Hashtrud province. Investigation at these sites started in 2013 and continued until 2015. Obtained evidence included a variety of potteries, carved stones, and caves from the historical and Islamic eras. in this paper an attempt has been made to introduce and analyze cultural and historical founds. The result shows that most of the surveyed sites and places around Khalifeh Kandi, in terms of pottery types, belonged to the Islamic period and rarely, artifacts from the pre-Islamic period were observed. The settlements identified in the area under study are mostly located in w slopes by the river and shallow valleys, and only one of these archaeological sites was observed in flat and elevated lands. probably this site was used in certain seasons of the year. Glazed and simple pottery from the Islamic period and rough pottery that was produced in local workshops are among the artifacts observed in the surveyed sites.

Light and color are effective factors in the creation of works of art, which, as the most immaterial element of nature, have always been influential in Iranian Islamic painting, and in fact, they represent the sublime world and spiritual atmosphere Also, the research about light and color in painting and its impact on painters and its contribution to the scope of expressing the influence of mysticism in the whole Islamic culture and art is at the starting point certainly knowing and understanding the three words mysticism, light and color and finding their meaning and meaning in a symbolic way is not only effective in better understanding Iranian and Islamic painting, but also our insight in understanding the Islamic ideas that are rooted in mysticism and Sufism and It also makes the behavior smoother. Colors have a chemical aspect in art, and mixing them is an art similar to alchemy. The main concern of this research, which is presented in an analytical way, is aesthetics and investigating the mystical aspects of paintings and motifs in Islamic civilization in Iranian art and architecture. It seems that Islamic art and architecture tries to manifest God's unity among colors, forms, lights, and sounds. Each color has a special allegory and a relationship with one of the inner states of man and soul. Color is an important factor for spiritual use in the painting effects of Islamic architecture. Mosques in the Islamic world usually use turquoise green and blue colors. Blue and turquoise colors are the main background colors of walls, tiles, altars, domes, and courtyards and along with the golden color in Iranian Islamic paintings, among other colors, they have a special shine and effect. These colors are manifestations of the inner meanings of colors. The colors of turquoise, green and white, which are symbols of nature's sky and divine light, respectively, are mixed together and add to the majesty of the mosques. The colors that result from the radiation of light are a symbol of the manifestation of unity in multiplicity and the dependence of multiplicity on unity. The reflection of the existence of colors in Iranian art shows an extraterrestrial truth outside the world of the senses, rather than imitating the surrounding natural colors. Vigilance and accurate insight in the arrangement of colors and the correct selection of each color refers to a symbolic concept of colors and their mutual effects that permeate the human soul and spirit.

In the north of Ilam province, there are vast plains surrounded by rugged and forested mountains. Until many years ago, other than the Hollailan Plain that was examined by a Danish archaeological team, other regions of Ilam province remain unknown in terms of Paleolithic research. However, several sites from this period have been identified and introduced in recent years thanks to new studies and researches. In 2003, the author conducted a survey of the mountainous and forested areas of the Intermountain Plain of Aseman Abad for the first time. During the course of that survey, sites, and settlements from different periods were identified and studied. The results showed that the slopes and caves of this region have evidence from the Lower Paleolithic to the Upper Paleolithic periods and even later periods. In the current article, the author examines a cave and an open site located in the vicinity of the aforementioned plain, which, considering the presence of chert and flint rock formations on its surface level, as well as scattered remains near these rocks, appears to have been a place for obtaining stone and making tools during the Paleolithic era.

The paper at hand deals with Zoroastrian eschatology. Frashokereti, as it is called, is the term which is used in Zoroastrianism in order to express the end of times. This being the main focus of the current paper, the topics that will be unfolded are the arrival of the Saoshyant, who is the central Zoroastrian salvific figure and Zarathustra’s biological descendant who has been miraculously born of a virgin, the resurrection of the dead, their last judgement and the final battle between the forces of good and evil. The general clash between good and evil acquires a more precise character and becomes personified in the deities of Ahura Mazda and Ahriman respectively, the fundamental sources of morality and immorality. Regarding the above, the interrelated themes of man’s salvation and the restoration of the universe to its primary undefiled state are presented as results of the victory of good over evil. It will also be displayed how the concept of universal renewal is viewed not merely as a countdown, but moreover as a stepping-backwards to the conditions of the first state of creation, Frashokereti becoming thus a mirror of the first things in terms of Zoroastrian cosmogony. At the same time, other aspects, namely the Zoroastrian story of creation, its corresponding cosmology, the dichotomization of the world into two opposite spheres and the dualism that penetrates the universe in relation to the free will of man are introduced to the reader, so that a deeper understanding may be acquired in regard to the ways, the quality and the content of universal purification and renovation.

An archaeological survey was conducted in 2004-2005 in the middle of Mianab Shushtar in Khuzestan, followed by an excavation there in 2005-2006, which led to the discovery of a Sasanian palace as well as valuable stuccoes at two other locations, namely the JilJilak Tepe and behind a Gas Station on the Shushtar-Ahwaz Road. In this article, the discovered stuccoes have been examined, which indicates that the Jiljilak stuccoes can be divided into three categories based on their features and application: a) geometric patterns, b) plant patterns, and c) animal patterns. Comparing these stuccoes with those found elsewhere such as Kuh-e Khwaja, Bīshāpūr, and Bandian in Dargaz shows that they can be attributed to the Parthian-Sasanian period.