---

Mithras is one of the oldest mythical, religious, and cultural characters of Indian and Aryan tribes. The god, expression of common beliefs in gods, before migrating Indo-European and long before the advent of Zoroaster were formed. On the one hand, religious texts and sacred hymns India and Iran represents the ideas and religious beliefs the land millennium BC. Mithras too one of the gods and common characters the two old people, which after the separation, his special position with both retained.The present study tries to study Mithras based on the oldest indigenous and Iranian populations and by direct reference to Rig Veda and Avesta, it seeks to stamp the role of the intellectual-cultural context of these tribes in determining the actions and characteristics of a mythical face. The findings show that the common actions and attributes of the goddess are rooted in the period of the unity of these tribes and the root of the differences in this mythical face must be found in the Iranian branch and after the physical and spiritual separation of the Indian branch. So, after ethnic separation, intellectual and cultural differences also appear in common mythical characters. These characteristics and influences have evolved or evolved under the influence of cultural context and social factors.

---

 

 
Reza Sattari,PH.D.
Marzieh Haqiqi
Zahra Moqadasi
 
Abstract
Gashtassb is one of the well-known kings of the Kiyani dynasty. Based on Zoroastrian sources, he promotes improving religion and a favored kingdom. In Avesta and Pahlavi scripts, his wife is named Hotos; an Iranian girl from the Nozar race. Yet there are obvious differences among the personality of Gashtassb and his wife in Avesta and the Pahlavi scripts with the descriptions of these characters in Shah-Nameh by Ferdowsi. In Shah-Nameh, Gashtassb has a negative and undesirable characteristic. Also, unlike these mentioned texts, in Shah-Nameh his wife is called Katayoon; and their union takes place during Gashtassb’s trip to Rome. The present paper makes an attempt to introduce Gashtassb and his wife; while it discusses the dual differences within different texts; such as Avesta and Shah-Nameh.
 
 

---

The demonstration of female figures on Sasanian silver vessels was an interesting subject to Sasanian silversmiths which caused much dispute among the scholars over whose character the female figure represents. Are they representations of the goddess Anahita or members of her cult? Is there any connection between them and the cult of Asiatic Dionysus? The other question that arises is whether they are secular objects or bearing a religious significance. This paper aims to review previous studies and then, on the basis of an iconographical study and also referring to the Sasanian religious text, present a new interpretation of themes.