The concept of God is the most important concepts in the sacred texts. In these texts the attributes and characteristics of God are told through the names, so that each name describes an aspect of God. In Avesta, as a sacred book, God has several names included Ahura Mazda and 101 other names. Ahura Mazda, in Gahan, is God of wisdom who creates heaven and earth. So the universe, which is full of goodness, is considered as the act of God. Ahura Mazda is infinite and limitless but the cosmos is finite and limited. Ahura Mazda is self-existing God and Amesha Spantas, the divine sparks and manifestations depend on Him. Therefore, Ahura Mazda is inherently creative and benevolent and these attributes are manifested through Spanta Mainyu, His holy wisdom. This article tries to survey the names of God in Avesta and its interpretation.

This article tries to compare two contiguous concepts in Zoroaster's Gāthas, “Spenista mainyu”- “spenta mainyu”, with two others in Ibn Arabi's mystical system, “al-fayḍ al-aqdas”- “al-fayḍ al-muqaddas”. By this comparison, we are in quest of arraying an explanation of  two basic concepts of the Gathas within the theories of a major figure of Islamic mysticism rather than corresponding these two to those. For this purpose, this paper takes a look at “Spenista mainyu” and “spenta mainyu” and after pursuing the function of these two hypostasises in Gathic theology, in the second part, it offers a very short explanation about the two Ibn-Arabian concepts “al-fayḍ al-aqdas” and “al-fayḍ al-muqaddas”. In the third part the mentioned comparison between the two Gathic elements and the two Ibn-Arabian is accomplished. The Gathic terms, words and phrases are transcripted according to Humbach's method all over this article.

The contrast between Ᾱz (greed) and Xrad (wisdom) is one of the oldest, most fundamental and everlasting Iranian concepts which has had a very effective role in forming Iranian's political and religious thought; however, unfortunately, it has not been noticed well. Although other faces of this concept (i.e. the contrast between Spenta-Mainyu and Angra-Mainyu, Hormazd and Ahriman, Aša and Druj, etc.) have been researched more, it seems the exact perception of them depends on the understanding and perception of the contrast between Ᾱz and Xrad. This research, relying on national stories, with historical research method, attempts to show the role of this concept in Iranian cosmology and its contribution to form Iranshahri's thought. The results of this research indicate that the contrast between Ᾱz and Xrad is a human face of Iranian dualism, because it manifests inside human beings more than other places. Thus, Xrad is divine essence or Farr-e Īzadī (divine glory) inside humans, and it is best guide to go along Aša or rightness rout and reaching redemption, and in contrast, Ᾱz is a devil which tries to mislead humans. This encounter become manifest in the form of contrast between Dād (justice) and Bi-dād (injustice) in politics and ruling as well. The kings whose guide is Xrad, are just and they have Farr, but the kings who Ᾱz overcomes them, are oppression and so they do not have Farr and legitimacy. In particular, this idea has appeared in the myth of Jamšid and Ẓaḥḥāk.

Religious texts of Zoroastrianism and Judaism, represents Jewish religious thought and Zoroastrians in the millennium B.C., in which the contribution of the occult beings in the creation and administration of world has been clearly Is mentioned.According to the Avesta, Ahoorah Mazda created the Good World by assistance of heavenly being named, Spenta Maynioo and administrates it along with Fravashis, xwarrah & Amesha Spentas.According to the Old Testament, God created the universe by the Divine Forces: the Spirit of God, Angels, & completed its administration by them.This article first introduces & expounds the nature and function of each of invisible troops mentioned in Avesta and the Old Testament, and shows the differences and specially similarities between them.

Due to the full ability to create dreamy characters and imaginary spaces، animation productions have more possibilities than using visual fantasy compared to other types of performances. . The purpose of this research is to examine the exact way of describing the appearance of Minoan creatures in Iranian myths، for the correct narration of Iranian legends in a manner consistent with the Iranian attitude towards mythological creatures، which can be represented and cited in animation art due to their nature. For comparison and exact matching، the mentioned creatures are divided into two categories in terms of function: Sapente (good) and Angre (evil). In both categories، they are classified in terms of ability and status، and based on the ancient texts of Persian literature، the external signs and the way of representation of each have been extracted and specified. The present research is of a descriptive and analytical type. It has been done in the library method and with the approach of disciplinary discourse (adaptation) and the inferential (qualitative) method has been used in it. The results show that considering the dualism or duality of all creation in the majority of ancient Iranian texts، Sepante Minwan and Angre Minwan are easily recognizable and depicted. The force of good is always described with a simple awe، with general expressions without mentioning details، bright، fragrant and beautiful. On the other hand، the evil force، the giant، the black sheep with the ablaq، with unusual body parts، animal-like، and on the opposite point، Izdan are described.

Ancient stories and folktales are one of the most appropriate contexts for the manifestation and continuation of the life of gods, goddesses and Amesha Spentan; they continue to live in different forms through metamorphosis. Khosrow and Shirin, composed by Nizami Ganjavi, is a famous tragic romance which its main source is local narratives. The mythical figures and characters of ancient Iran are present in this book. By using descriptive-analytical and comparative method, the present research tries to examine the characters of Khosrow and Shirin including Hormizd, Khosrow Parviz, Mahin Banu, Shabdiz, Golgoon, Shirin and Shapour, and to compare them with Amesha Spentan including Vohu Manah, Asha Vahishta, Kshatra Vairya, Spenta Armaiti, Haurvatat, Ameretat, Anahita and the god of wind. The results show that the characters mentioned have much in common with Amesha Spentan. Also, the book provides a platform for the presence of the ancient Iranian gods, goddesses, and Amesha Spentan, and it should be considered more than just a collected lyric poetry.

Without doubt, the most important human intellectual system which is now accepted by majority of human beings is monotheistic system of thought. In this paper, the monotheistic thinking of Zaroaster has been investigated through "Gathaha" or hymns. Also included are "Vadaha", the views of Greek philosophers as well as Indian scholars and finally the political and religious events in Sasanid era. The reflection of monotheistic views of Zaroaster in Farabi and Sohrevardi"s thoughts as well as Farabi"s social pyramid and Sohrevardi"s philosophical pyramid are explained.

Mani is among the philosophers and mystic scholars who had left the most profound effects on the theoretical grounds of Gnosticism which flourished in Iran after them. His beliefs about the divine or ancient human being, his fight against Iblis, his belief in the two bases of being (Spentä Mainyu and Angra Mainyu in the Zoroastrian religion or Ahmad and Iblis as meant by Halaj, Ahmad Ghazali, and Ayn al-Quzat), separating the soul from the body, mystical manifestation and exemplification were transformed exactly or with slight differences to the realms of ancient Iranian Sufism of which Ayn al-Quzat is a notable inheritor. The basic goal of the present study is to determine, explain, and analyze the degree to which Gnostic thoughts of Ayn al-Quzat Hamadani and Mani agree in the mentioned fields. The research hypothesis comprises the tracing of the mediated influence of Mani on Ayn al-Quzat Hamadani in the field of the two bases and also the unmediated effects of Mani on him in the field of mystical manifestation, exemplification, and the separation of the spirit from the body. This influence has been to such an extent that it can be said that Ayn al-Quzat’ s Gnosticism is affected by Mani’ s Gnosticism in the three different areas. The results of the study are as follows: Mani and Ayn al-Quzat both agree that every creature in the universe has exemplified alternative in the heavenly world (the Malakot), while Ayn al-Quzat believes that each action that human beings do has a good or bad exemplified reflection in the Malakot. In this research project, a descriptive-analytical method is applied to the common grounds in the mystical thoughts of Mani and Ayn al-Quzat.

The concepts of Ahura Mazdā and Ahriman in the Zoroastrian religious culture are intertwined with the concept of Mainyu, such that Ahura Mazda holds Spenta Mainyu within himself, and Ahriman is another verbal form of Angra Mainyu. In addition to these two antagonistic deities, Mainyu also applies to other concepts in Zoroastrian scriptures. These three concepts are still ambiguous and confusing, despite ongoing research, due to factors such as antiquity, semantic multiplicity, abstraction, and changes that have occurred over time in their meanings. The authors of this article have attempted to analyze and demonstrate these concepts from the perspective of the similes that have been formed around them, using a descriptive-analytical method and by extracting data from Zoroastrian scriptures. This is to show how simile, as one of the most important tools of cognition, has been used to visualize these abstract concepts and what visual and semantic characteristics have been explained for them. The results of the study show, firstly, that the authors of the scriptures under discussion have consciously used similes to relate the intellectual to the sensory as well as the tangible and the popular to bring these three concepts closer to the understanding and perception of the general public. Secondly, using simile to compare the concept of Mainyu to martial art terminilogy has defined a role for it beyond mere personification, identifying it as the agent and combatant soul of the world of Asha. Thirdly, while the similes referring to Ahura Mazdā maintain aesthetic criteria, the images associated with Ahriman have been chosen from among the most terrifying and striking phenomena in the view of that era.