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Abstract:
Zarrin Qabā Nāme is a huge verse in 23133 couplets that probably has been versified in the Safavid period. Its poet is unknown and beginning of itś matter is coming of Solomonś messenger (Zarrin-qabā) to Keyxosrowś court and his confronting with Iranians. Afterwards several stories are narrated that their important persons are Sistanś heroes. Structure, language and content of Zarrin-Qabā-Nāme are storytelling-folklotic. Therefore, studying of its important motifs is useful in knowing and completion of Iranian folk- storytelling literatureś motifs. In this paper, some of these kinds of points and motifs are studied in four parts: 1) Semitic and Islamic matters 2) Rare and single indications, 3) Other matters and contents, and 4) Modeling from other stories.
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Garden city idea as an important idea had emerged on 19 century. Creating sustainable complexes and having more relationship with natural environment were the main goals which had been defined for this idea. This idea was established in urbanism literature by Howards' research about creating a balance between city and village living; whereas in east, Garden City as a pure idea has had a metaphysic meaning which is used to create earthy paradise since 16th century. Respect and reverence for water and trees is institutionalized in ancient civilizations of Iran. Iranian people respect trees and water, both separately and in composite forms as gardens, which have been a well-known cultural value both before and after Islam. The oldest Persian garden that have been discovered dates back to the Achaemenid Empire and the quadripartite gardens (charbagh) of Pasargadae. By studying about existent historic gardens, Persian Gardens are divided into different types. The way people use special physical and functional features could also be used as a scale of this division. In Persian Garden category, Garden City has been defined as a well-known model for designing particular gardens in city scale. According to this model, gardens have used sacred and soft spaces as a combination of hard and heavenly, for defining body structure and the development of the city textures. In advanced (pre- designed) samples, the entire city has been formed as a big garden; composed of a set of small gardens with many symbolic features, such as pavilions and water ponds, as seen in the Persian Charbagh Garden. During Safavid dynasty, Isfahan, as the largest Persian garden city, had been supported by a green major axis; which is the so called Charbagh that has been remained as a green heritage so far. Gardens and trees were the most important natural and architectural elements in Isfahan's cityscape at that period. These elements usually have been considered as the traditional identity of the garden city; hence their sustainability had a key role in preserving the structures. Therefore, Designers manufactured particular urban infrastructures to provide useful irrigation system. They had to construct the channels that branched off from the central river of Isfahan (Zayandehrood) and made the water accessible all around the city. First section of this paper is about Safavid Garden City origin. This subject was studied from the politics and governance points of views. In the following, Howard's Garden City origin has been studied. It has formed according to the special Utopias, which had relationships with that time's believes. In addition, some principles of Safavid Garden City have been compared to Howard's. The special study has been done about Intellectual origins which have influenced these Garden Cities creation. In conclusion, the comparison of Howard and Safavid Garden Cities shows that these ideas had been developed based on the worldview and vision of creative Iranians during Safavid dynasty and in 19th century. Moreover, the special methods of plantation, the quality of social relationships and economic similarities were the main differences between these two Garden Cities.

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The exact date of coffee into Iranian territory is not known, but what has come to us from literature, show the reign of Shah Abbas Safavid and especially, in coffee houses in big cities in Iran like Isfahan flourished. The coffee houses of Safavid has cultural practice that most public places and especially the artists and poets. Because the Safavid poets of the era, such as the Board did not know about the art of poetry, the place was not in court and the other party's growing middle class in this day and age class gathered in coffee houses, poetry and literature to suit Since literature and society are constantly being traded bilaterally with elements in coffee houses in poetry and art of the period of manifestation of this age is certain. Coffee, opium and opiates are the most important elements that have been visualized in the poetry of this age. The method is a cross-sectional study and tool researched biography of the Safavid court and some of the poets of this era.

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Aims: Mosques are one of the essential elements of Iranian and Islamic cities that interact with the urban environment. The entrance is the first space in the mosque that the audience encounters. According to the spiritual concepts, this space provides the audience with the necessary preparation to enter the hierarchy. Light hierarchy is one of the hierarchical factors that effectively understand space and evoke emotions. Light is a supernatural element that can change a person's feelings in space. Therefore, the present study quantitatively compares and contrasts lighting components in the entrance space of four-aisled mosques.
Methods: In the theoretical section, the research variables have been explained by studying scientific sources. Then, by simulating mosques, the light indicators at the entrance of mosques in the Climate Studio plugin are analyzed.
Findings: Considering the results of simulation data analysis, the relationship between the entrance and the inner courtyard of the mosque, entrance decorations, materials, and lattice opening are factors determining the light hierarchy in mosque entrance spaces.
Conclusion: The two parts of separation from the urban space and connection to the courtyard space have the highest light intensity and the changes in light intensity along the route are according to the location of the mosque and the characteristics of the human eye.

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Aims: The purpose of this article is to address the issue of Qazvin Space Organization in the Safavid period with the approach of cultural studies.
Methods: The present study has been carried out with the approach of cultural studies and exploratory-documentary method, with the aim of describing and interpreting the historical data of Qazvin city in the Safavid period and its analysis. In this regard, first-hand sources, documents were collected, studied and analyzed. In parallel with the library studies, field surveys were conducted and the signs were surveyed and studied.
Findings: In the present study, three views result from the approach of cultural studies, namely: 1- Regulation of the city- 2- Homogeneity and heterogeneity of neighborhoods and 3- Use of urban spaces and their rational concepts in the analysis of Qazvin spatial organization used during the Safavid capital it placed. The result of the research indicates that the structural changes of Qazvin city in the Safavid period in accordance with the newly created culture and is closely related to a set of several factors, including the "space" dimension which is a subset. It regulates the city, it plays a more prominent role, and because it is expressed through the body and by the designers, it is more tangible, and the other dimensions are related to it.
Conclusion: The "space" originated from the power of the government at that time in the city of Qazvin and the royal complex was not just an urban design but a tool to achieve political, economic and religious goals and the city's culture is based on the same structure. Has appeared.

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The relationship between the clergy as amajor social force and the Safavid state canlead our simple understandingto the exact understanding that may answer many of our questions in the social history of Iran. This paper considers the relations between the government and the clergy bystudying the fall and the rise of theclerics and the government relations, forms of their participation in policy, its development in the Safavid era and factors affecting on this evolution. This relationship can be investigated using the Tily’s theory and it can be saidthat this relationship takes many forms. Three overall types include membership in theoverall system of monarchy, influencing policy and resignation. Thismethodology is based on descriptive historical narrative approach.  

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During the Safavid era, communications between Iran and India became deeper than before due to the common official language. Persian romantic stories were among the written works during this period in the countries. The question is: "Are Persian romantic stories in the Safavid era in Iran and India fully similar due to the concurrency, common language and existence of similar structures, or have distinction due to different cultural environment?" Some Researches has been done on the storytelling of the Safavid period, But so far, there has been no works published on the influence of intellectual motifs on the Iranian and Indian Persian stories in any of the topics.
In this paper, it has been attempted to answer the question, by analyzing the content of the Stories. Of course, the assumption of this research is that there are many similarities in language, structure, sequences and character's functions in the Persian romantic stories in Iran and India, but despite these similarities, there is a different worldview and attitude towards the characters and events. These differences include: "Death of the lovers at the end of the story", "Girl's freedom in choosing a spouse", "supernatural creatures’ role", “presence of Mysticism and Sufism, "animals’ impact in the story ", "presence of Indian characters" and "independence of the source" that would help to understand the stories written in India from Iranian stories.

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The reason of existence of any country is a very sensitive and revived concept in the political geography. In spite of a grave theoretical background of this subject which most probably has been started from F. Ratzel, this concept, as far as the case studies are concern, is very weak and unreliable. In order to enrich this concept in having sufficient case studies, in this research the basic root of the creation and national survival of Iran government – country is investigated. The foundation of this library research project is to respond to the following questions. What have been the origin and essential reasons for the existence of new Iran government after five centuries and especially what is the raison for its continuity despite the different threats. .

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Will you not then think? (Al-A›raf/ 169), Almighty God has invited the man to think and reason out anywhere of Qur›an. Intellect and reasoning are concepts that always have been reflected purposively, by philosophers and thinkers, in a different world view and to fit within the definition of man and his distinction from other creatures (animals). For in Shi›ism as a result of the impact of these substantive issues, it became distinguishing school from other schools of thought.» Shia Intellectual Thought» is as a distinctive element of other Islamic thought, affects Shia philosophers, result the definitions of intellectual worlds, and has been manifested in the physical or tangible world. In the meantime, manifests and arts of man-made due to manifesting glories of intellectual world in the world of the senses, the downward trend (trend from God), as well as preparing the ground for development of the human soul in the arc of ascent (trend to God) was considered by many thinkers. So the study, assuming that the art of landscape architecture of the Safavid period, with an emphasis on Shi›ism and thought of philosophers such as MullaSadra as Shiite thinkers could qualify as lasting in the minds of Iranian- Islamic national identity, survey the idea that the rational is this thought. This article attempts to answer this question that components and dimensions of the field of rational thinking and the how Safavid Shi›a architecture are reflected in landscape architecture? This article by considering the implications of appearance and reality, truth and the world of justice, magnitude and geometry as influential concepts in Islamic thought and Shia, is trying to find the relationship between these concepts in landscape architecture of the Safavid period. As the studies show that the Islamic world view has considered for anything outward and inner meaning, as know the birthplace of this world and introduce their meaning in the worlds of meaning and understanding of the essence of the person, even though at the levels of perception. If, as in all affairs are the internal and external traits, man also has the rational soul, not isolated and has both of these attributes. It can be concluded that the effect of landscape architecture and generally any man-made will stay good and durability that is capable of understanding it for appearance and reality. It looks trend or pass from appearance to reality of the body of architecture; means that the matter at the possession of architect became a material distances of its physical mode and closes up to its inner mode. Therefore, the requisite of this trend in the face of material is that to make their essential physical aspects hidden and this could be done by smoothing the levels, generally transparent and delicate, ”removing featuring physical adjectives». Artist man by using the capabilities and capacities of its existence (appearance) and also by resorting to inside can after ascending trend in the world receive intellectual intuition, with the creation of the signs of the world’s top witness in the world (by art and architecture here), be the underlying growth of origin, intellectual and other creatures is to receive the vision. And in these ways need to be able to exhibit these meanings in it. Of the other reviewed concepts in this article can be referred to the concept of justice; Islamic philosophers, hold noumenal true for justice, so that the stability of the world as it is and whatever it outside is doomed to fall and straying and it mediates communication with the realm of the sensible world knows and expresses the position of each object in its place. Islamic thinkers have been written books and numerous articles on this subject and many fields have expressed to justice but here it is enough to pay attention to only the meanings of justice and equity that the purpose of the article and indicate its relationship to the words, and its relation to the brains. With regard to the characteristics and meanings of the word of righteousness and justice, we can fit the words, the balance (for stability), survival, intermediate between the sensible and intelligible world in a set. On the other hand some of these words could have physical meanings, in space design and landscape architecture influence as a result of the intelligible world and the world of the senses are the belts and this is exactly (= proportion, balance and fit everything in its place) is what itcan be used as one of the physical dimensions of rational named one hand, the importance of the sense in Shi›ism (If you are a member of the Shiite religious principles) is next marker of Shiite rational thinking. Designing landscape architecture by worldview of Islamic thinkers and philosophers of Islam, to become inner meanings and the meanings supernatural world of the senses, and to reach outward to the inward journey and vice versa and also a manifestation of the concept of justice requires a tool by which a body of material life, and the divine spirit in which brightens up this way, architecture is a platform for the emergence of rational universe works, and flowering of reason and intellection of its audience, to feed in much higher existence. Organize the space through architecture and landscape architecture, with the aim of reason (and connect with the divine) requires a quality space that is associated. In this regard, according to the divine attribute such a geometry that semantic connection between the sensible and intelligible world is established, the words of the Quran and hadith assistance is intended, and the word ”Magnitude» according to the research conducted and appropriate interpretations of this theme. If more researchers, the geometry of Islamic science in the Quran is so closely linked to the concept and it recreated some sort of divine destiny and determine architectural and geometric forms of art introduced. The relationship between the magnitude and the world, for example, that the importance of the traditions of Islamic art on the principles verify. And in a sense, geometry noted the creation of permanent freezing of the sensible world to the world of the intellectual world that exists and is a language of reason. According to pave the presence of Shi›ism in the Safavid period, causing physical manifestation we see these concepts in landscape architecture, which have a rich concepts, as well as the potential impact of philosophical views during this period, have managed, lasting element in strengthening and lead to enhancing the rational perceptions . This paper tries to rely on the Qur›an, the traditions and ideas of Mulla Sadra, examined landscape architecture of Shiite Safavid of Isfahan within the realm of thinking, reasoning and criteria and physical manifestations of it under rational human perception. This research by using library studies, delving into the philosophical and religious studies, seeking to provide interpretation based on rational thinking in terms of Shia Safavid period. Findings show that the Iranian landscape architecture, especially Iran garden, which has well-known and long-lasting historical background, is a pattern for different centuries; during this period, by using the concepts emerging from this thinking, to concepts like world of justice and much greater.

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The public sphere is place for discussion and criticism of powers that Habermas, for first times has introduced theoretically and connected its history the to European saloons and coffee houses.  This notion that the formation of the public sphere is special to the West does not look quite right because there was the same experience in the Safavid period. However the main point is that the continuation of the trend in the West and Iran is varied historically, politically and socially. This historical and descriptive-analytical study would attempt to prove that the West's public sphere or criticism of power started in the royal court and then spread to the community, but in contrast to the West, criticism of power and dialogue on general issues in Iran Were especially formed in coffee houses and later transferred to the royal court. Coinciding with the Safavid rule power, the religion (Shiism) could be the official state religion and spread in different ways, such as by Shi'ite ceremonies and rituals as a form of public discussion and criticism. Thus the public sphere from Safavid Iran to the Pahlavi had religious and public from which found a political and religious public from since 1960s.

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Set in the realm of politics and religion in the Safavid period’s approaches, The Sadat have a significant presence in this era. This presence can be followed in specific and non-specific postions.in this context, Kalantar in the Safavid research was included as non-specific postions. Studies show that the presence of Sadat in this post ion is more comprehensive than in other non-specific jobs. This phenomenon has been observed even when inheritance was considered. This study is an attempt to provide statistical analysis and causal explanations to check the significant presence of Sadat in Kalantar position, so, extraction of the names of all Kalantar Sadat has been taken into account.  The results show that Kalantar position with intermediate overlay (government-people) had a direct relationship with Siadat that contained social status and state function. So both Safavids and the then society in the equal opportunity used to choose Sadat for this job. This study further reveals in this phenomenon, inheritance is considerd. 

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The poems of fortuity are a collection of works written in the Safavid-Qajar period based on the algebraic thinking in the form of a story. Most of these poems are in the form of manuscript and they are more than 20. In this article, four prints and 11 manuscripts of these poems have been studied considering the elements of popular culture and literature. Although the poems of fortuity are written in the form of formal literature with a focus on the theological and philosophical themes, their linguistic and content characteristics prove that the main source of inspiration for these texts is the folk cultures and literature. The superficial approach to the fortuity that challenges the subject, being free  of the  complex philosophical reasoning and  the promotion of fatalism thinking in these poems,  the manifestation of popular culture and literature such as simple language and expression, the slang tone of these works, realization of superstition such as the belief in fortune, describing some popular traditions, reflecting some popular behavior, and describing personalities and places in the  popular life are some indications of fortuity poem  being  influenced by folk  literature. In terms of story structure, fortuity is also perfectly consistent with the structure of folk tales. Weaknesses in plot and verisimilitude, centrality of the events, static and dynamic characters, vague time and place and the omniscient narrative are some features that link these poems to the folk literature

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Abstract
Entertainment is one of the most well-known purposes of a story. In this article, it will be shown that in addition to entertainment, stories played an important role in the political and social goals and conditions of the Safavid era. To this end, the proverbial tales of the Safavid era have been content analyzed. The first major goal in the story of this period is to "propagate the ideological foundations"; the critics of this period aim to promote religious discourse among the masses by propagating the prevailing political ideology. Another purpose of the stories is related to the "political and social" issues in two areas: "Naql, in the role of stabilizing / shaping Iranian identity" and "Naql, in the role of socio-political preacher". It could also be mentioned that the stories have "psychoanalytic" themes, full of fantasies to raise people's health through the imagination or forgetfulness. Another aim of the proverbial tale of the Safavid era is "fun and entertainment." Based on the statistics extracted from the stories, it is revealed which of the purposes of the story in this period were more important than the other goals and why.  

Keywords: Prose story; Safavid period; political-social goals of a story.
Theoretical background of research
Zolfaghari, Bagheri, and Haidarpour in their study "Sociological Aspects of the Story of Alexander the Great" (Literature of Research, 2013) addressed some of the anthropological aspects of Alexander the Great's narrative, including allegory, insult, social life and etiquette.
Afshar, in the introduction to the book Alam Araye Shah Tahmasb, in the preface, briefly presents a statement about the political goals of the stories of the Safavid era (p. 8); he writes:
In the Safavid period, in order to show the political and governmental influence, and promote the activities of the army and successive struggles to protect the rights, and borders and of the country, there were writers and narrators who explained events to the people in their storytelling style. To cultivate.
 
Although Afshar's statement is about stories such as "Alamaras" and other historical texts, it is a generalizable statement that dates back to the Safavid era.
Research questions
1. Did the story in the Safavid era, in addition to entertainment, have any other content?
2. Why did the story take on socio-political content in the Safavid era?
3. Among the various purposes of narrating the story, what was the most important content of the story in the Safavid era?
Research hypotheses
1. The story in the Safavid era, in addition to entertainment, which is the most well-known purpose of the story, has other goals.
2. During this period, the story became a medium for the government's religious and political propaganda among the people, due to its popularity among the masses and the establishment of a coffee shop.
3. The most important content of the narrators' stories in this period was political and social issues.
The main topic of research
However, at the beginning of the Safavid era, the story of sanctions was imposed (see. Hamvi, 2007, 143-140). But when the kings and politicians of the Safavid era saw the popularity of the story among the people, they decided to use the story as a tool to transfer the religious system to the public, and in return, define a court order for narrators and storytellers.
The four main contents of the prose stories of the Safavid era
1. Religious propaganda
1.1. Direct and indirect references to the Shi'ite religion
The purpose of referring to the Shi'ite religion in the stories of this period is, in fact, parts of the story that the narrator / storyteller refers to in a clear or unambiguous way. These allusions are: the help the hero of the story by Imam Ali; A reference to one of the Shi'ite beliefs such as the savior of the resurrection day, taking one of the Shi'ite Imams as the protagonist.
1.2. Shi'iee truth
In most of the stories of this period, Shi'ism is considered as the religion of Islam; Islam at this historical juncture includes only a part of Islam, and that is the Sh'ite religion, and it seems that the only true religion of Islam is Shi'ism; therefore, wherever an individual or group acknowledges the true nature of Islam, they mean the Shi'ite religion.
1.3. Changing the religion of the opposition to the religion of Shi'ism
The main mission of most storytellers in the Safavid era is to convert non-Muslims [non-Shi'ite] to Islam. For example, in Eskandarname, Alexander is portrayed as a Muslim who seeks to convert non-Muslims into Shi'tes.
2. Political and social
2.1 The narrator in the role of a socio-political preacher
In this type of preaching and social critique, the narrator raises problems such as addiction, laziness, pessimism, and lack of religiosity, and tries to improve them.
3. Psychotherapy
The simple language and fascinating world of the story solves the narrative, and this, in turn, causes the audience's worldly connections to be cut off and make for him/her an entry into the colorful world of the story. This individual caliphate has psychological benefits from three aspects; The first is to eliminate personality defects. When the audience hears the story, they identify with one of the people and try to compensate for their weaknesses. The second benefit of this storyline is the unimaginable fantasy and departure from the real world, which has been one of the joys brought to the audience. The third benefit is the elimination of phobias.
4. Fun
In addition to the customary motives of the ruling power to the narrators in this period, storytellers did not neglect the inherent purpose of the story, which was to entertain the audience; because the mere expression of customized desires in the story, of course, caused the audience to be indifferent to the pursuit of the story.
References

•  Afshar, I. (edt) (1991). A'lam A'raye Shah Tahmasb. Tehran: Donyaye Ketab.
•  Afshar, I. (edt) (1999). Hossein Kurd Shabestari. Tehran: Cheshmeh.
•  Hakim, M. (2004). Summary of the seven-volume generalities of Eskandarname, narrated by Manouchehr Khan Hakim (selected and edited by Alireza Zakavati Qaragzlu). Tehran: Ney.
•  Hamwi, M. (1984). Anisalmonin (edited by Mir Hashem Mohaddes). Tehran: Bonyad Beesat.

 Zolfaghari, H. Bagheri, B. Heydarpour, N. (2013). The anthropological aspects of Alexander's story. Literature Research, 33, 35-65. 

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The historical, social, and literary significance of folk tales is a generally accepted notion. Since these stories are oral narratives that were later written, they are important in terms of narrative prose and textual structure. The Safavid period is also noteworthy in terms of profiling many of these stories. So far as the style is concerned, the combination of order and prose is one of the characteristics of fictional prose of this period. There are many poems in fiction that can be studied. However, in this study, among the popular stories of the Safavid era, the story of Bustan-i Khayal (Garden of Imagination) is selected as one of the largest and most famous folk tales with a collection of historical tales and stories of demons and fairies, written by Mir Mohammad Taqi Al-Jaafari Al-Husseini nicknamed "Khayal", and also known as Khayal Ahmadabadi. The storyteller lived in the twelfth century AH in the Indian subcontinent. The purpose of this study is to analyze the scattered poems in the story of Bustan-i Khayal, following these objectives: 1. an investigation of the poetic themes and the variety of their use within the story, 2. their connection with the text of the story, 3. identifying the poets of the poems. The research methods are quantitative, qualitative, and analytical. The scattered poems in this work were extracted and analyzed based on the subject, function, and identification of their poets. The findings in the subject section indicate that the descriptive, romantic, emotional, social, critical, epic, prayerful, doctrinal, and praiseworthy topics have the highest to the lowest frequency, respectively. Based on the functions, we can group the poems in relation to the prose of the story into four sections: confirmation, emphasis, completion, and description. Their order is: completion 55%, description 33%, emphasis 9%, and approval 2%. The storyteller tries to use more poems of Saeb, Saadi, Hafiz, Jami, Mowlavi, Ferdowsi, Nizami, Attar, etc.
Research background:
There are several studies conducted in relation to the topic of our research. Aq Qaleh (2016), researched 224 printed Persian texts belonging to this period up to the year 700 (Hijri), of which 136 texts contained Persian poems and 88 works lacked Persian poetry. Soltani (2013) discusses the characteristics of folk tales, the characteristics of Safavid period prose, its related perspectives, and people's interest in the Safavid era to tell and read stories. Faghihi (1994) conducted a PhD dissertation on the collection, translation and description of poems in the second half of the sixth century.
Aims, questions, and assumptions
The study follows these aims:
1. Identifying the poets
2. Examining the poetic topics and the variety of their use within the stories
3. The use of these poems in the text and their relationship with the story
To these aims, the following research questions were raised:
1. What is the literary value and significance of the poems in the prose folk tales of the Safavid period?
2. What is the frequency of using poems in each of the selected folk tales of the Safavid period?
3. During the prose of the story, which of the Persian language poets has been martyred the most?
The hypotheses are:
1. The use of these poems in the context of the story is rhetorical and for the completion of the content of the story.
2. The poetry of famous Persian poets has been martyred in fictional prose.
3. The verses are given in order to complete, confirm, emphasize, and describe the story
Results and discussion
In this literary-fiction story, the author talks about the world of human beings and their connection with the transcendental existence. According to Mahjoub, this story is the longest story in Persian.
"Bustan-i Khayal is one of the greatest folk tales or a collection of historical tales and stories of demons and fairies. It has fifteen volumes written by Mir Mohammad Taqi Al-Jafari Al-Husseini alias Khayal" (Mahjoub, 2014, p. 620). The Safavid period is important in terms of having different types of stories. Safa has introduced a large number of them in his history of literature (Volume 5, Part 3). In the current study, however, scattered verses of this work have been extracted and examined in terms of their subject and function. Thematically, these verses have been categorized from various descriptive, romantic, admonishing, social, critical, epic, prayerful, doctrinal, and praiseworthy aspects. So far as their functions are concerned, they are categorized into four groups of confirmation, emphasis, completion, and description.
Conclusion
According to the descriptive verse statistics, love affairs are in the first place, and advice is in the third place.
The manner the verses are used in the narration of the story shows that these verses are directly related to the text of the story; that is, if it is a matter of wisdom and advice, the verses that refer to advice and counsel are given, and if it is lyrical and romantic, emotional and romantic verses are used. However, if it is an epic, epic poems related to heroism and battle are included in the text of the story. Examining how the verses are used and functioned in the text of the story, it was found that the narrator has included the verses in the text according to the confirmation, emphasis, completion, and description of the story. Poems in the completion section with 55%, description 33%, emphasis 9% and 2% confirmation have the highest to the lowest distribution, respectively. The storyteller's effort in using poems is manifested through verses that are in the category of proverbs and are common in the language of the people. Of the 592 verses, 190 verses, which account for 32.09% of the total number of poems, contribute to the poems that have become popular. Apart from Ahmadabadi's imaginary poems, most of the verses are from Saeb, Saadi, Hafez, Jami, Rumi, Ferdowsi, Nezami, Attar, etc., respectively. Few verses have been recited from Kaleem Kashani, Amir Khosrow Dehlavi, Abu Saeed Abolkhair, Asir Shahrestani, Bidel Dehlavi, Milli Mashhadi, Naziri Neyshabouri, Mohtasham Kashani, Anvari, and others.
References
Homaee, J. (1999). Techniques and figures of speech. Homa.
Khayal Gojarati, M. T. (2013). Boostan-i- khayal (edited by Seyed Kamal Haj Seyed Javadi and Pouran Zeinali). Pazooheshkadeh Honar.
Mahjoob, M.J. (2014). Iranian Folk Literature (edited by Hassan Zolfaghari). Cheshmeh.
Safa, Z. (1967). History of Literature in Iran. University of Tehran.
Safari Aq Qaleh, A. (2016). Scattered Persian poems in texts up to 700 Hijri. Mahmoud Afshar.
Shamisa, S. (1997). Stylistics of prose. Mitra.

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The term mazmoun [theme] is one of the main keywords in the Indian Style [Sabk-e Hendi] of Persian poetry. This word, also used as a literary term since the fifteenth century in Persian poetry, is not synonymous with meaning, content, concept, intent, context, and diction in the literary terminology of Persian poetry. In the following paper, I try to examine the nature of “theme” as the Indian Style’s main literary element, its mechanisms, and how Persian poets and tazkirah writers of the fifteenth century employed the term. To this aim, the frequency of the early usages of this literary term from the late-fifteenth century to the early-seventeenth century has been considered. I have identified eight different characteristics of the term “theme” based on the Indian-Style poetry and the critical writings on this school at the time. Furthermore, I have differentiated three processes of constructing the “theme” based on three frequent verbs: to find, to reach, and to close. I will further point out the rising complexity of the structure of “theme” from Saib Tabrizi to Nasir Ali Sirhindi in the late-seventeenth century

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One of the main reasons of building Qadamgāhs (literally meaning the place of foot or the place of stepping) was the dreams a believer had of a saint. There are a large number of such buildings in Iran. In some cases, the dreams are inscribed on tablets in order to preserve the dream for future generations. This paper introduces five lustre ceramic tablets, which contain records of such dreams. The texts of two of them have been preserved completely, and significantly show astonishing similarities. The first is dated back to 1312 AD and belongs to Qadamgāh of Mehrīqābād. Its text mentions that Fakhr al-Din Hasan Tabari saw Imam Ali in a dream ordering him to build a shrine. According to the text of the second tile in Qadamgāh-i Khezr in the village of Yazdelan in 1607, someone saw Khezr in a dream who orders to reconstruct a ruined domed building. This article examines the differences and similarities between these two tablets from the Ilkhanid and Safavid periods, and analyzes them in detail. It can be said that these two tablets have a common content that have been written with the aim of documenting the reconstruction of a religious building borrowing the Iranian and Shi'at themes. These two examples show that the tradition of recording dreams on lustre tiles was not only prevalent at the glorious era of lustre production, but also extended to three centuries later.
Introduction
“Qadamgāh” refers to some places of pilgrimage in the Islamic world where a Prophet, Imam or saint has passed or has been seen in a dream. Dreaming has been one of the main reasons for building Qadamgāhs, in that, it was built when someone saw one of the saints in a dream and based on the saint’s order or his own decision, he called that place a Qadamgāh. This phenomenon, which sometimes led to the establishment of a building, has been common among Shi'ats. In some cases, commemorative tablets made of stones or tiles were used to record the dreams. Five lustre tiles, which belong to the Qadamgāhi buildings, have been identified in the region of Kashan, that contain a record of a dream. Three of them, which bear the name of a Qadamgāh, called Darb-e Mehriqābād, were produced in the fourteenth century. Although the tradition of writing on lustre tiles has continued until the Safavid period, no example containing a dream is known except for an unpublished tile from Qadamgāh-e Khezr in Yazdelan village. This tile, which dates back to 1015 AH/1607 AD, is full of symbolic and mythical signs. Interestingly, the Mehriqābād tiles dates back to 711 AH/1312 AD, and the Yazdelan tile have significant similarities with them in terms of form and content.
Research Background
The major research on lustre tiles has been done by Oliver Watson (1975, 1985). However, no research has been done on the Qadamgāhi lustre tiles, except for two papers written by Chahryar Adle about the tiles of Mehriqābād (Adle, 1972, 1982). Nonetheless, he has made some mistakes in reading the text and also did not notice the fifty-year difference in the date of these tiles. In addition, he was unable to identify the exact building of this Qadamgāh.
Discussion
There is a pair of circular lustre tiles in the Musée national de céramique de Sèvres, the text of which mentions the construction of a Qadamgāh in Kashan. The text of the tiles tells us that a person named Sayyed Fakhr al-Din Hassan Tabari finds himself in a dream in the middle of a crowd in the garden of Amir in Kashan. There, he sees Imam ‘Ali who tells him to construct a building in that place so that whoever wants to visit him can come to that position. Three centuries later, a lustre tile was installed in the Khezr Qadamgāh of Yazdelan, which narrates a dream that led to the construction of the building. According to its text, a person saw Khezr in a dream, who asked him to repair a domed building.
One of the similar and important elements in both dreams is their connection to the garden. In fact, the holy sites in question are located in the garden that was famous at that time. The timing of both dreams is interesting in its own way. The dream of Mehriqābād coincides with Eid al-Fitr and the dream of Yazdelan coincides with Nowruz. In fact, the dreamers have been influenced by the religious festivals at both times, which belong to a mythical and ritual time. Another common feature of both texts is the effort to document the dream, which mentions the exact characteristics of the place and time of the dream.
Conclusion
During the Ilkhanid period, as there was more religious freedom for Shi'ats, the opportunity to express and document such Shi'at dreams became more prominent. On the other hand, with the rise of the Safavids and the prevalent freedom for the Shi'ats, the emergence of Shi'at beliefs developed unprecedentedly. Although the two lustre tiles examined in this paper were made over a period of three centuries, they are certain significant similarities in their content. The main theme, the type of time and place, the sacred personality, the attention to documentation and the influence of Iranian culture in both examples are comparable. In fact, they both express an identical concern: the reconstruction of a religious building the location of which has sacred memories. Interestingly, in the inscriptions of both buildings discussed in this article, there are signs of pre-Islamic beliefs of the people of the region. However, this is far from the common traditions of Islam and is based mostly on popular beliefs.
References
Adle, Ch. (1972). Un disque de fondation en céramique (Kâšân, 711/1312), Journal Asiatique, CCLX (3‒4), 277‒297.
Adle, Ch. (1982). Un diptique de foundation en ceramique lustrée, Kašan 711/1312, In: idem, ed., Art et société dans le monde iranien, (pp. 199-218). Paris: Institut Français d’Iranologie.
Watson, O. (1975b). Persian lusterware, from the 14^th to the 19th centuries. Le Monde Iranien et l'Islam: Sociétés et Cultures, 3, 63-80.

Watson, O. (1985). Persian lusterware. Faber and Faber.