ARDASHIR Papakan, the founder of Sassanid dynasty, emphasized to urbanism. He made a large number of cities to who pointed out most of historians and geographers of the first Islamic century. The largest and most important city of ARDASHIR was Gur or ARDASHIR Khoreh which was located in the vicinity of Firooz Abad in Fars province. This was the capital of ARDASHIR and also had a circular shape as like as some Parthian cities. There was located a lofty tower called Terbal in the middle of the town. It was the symbol of Anahita, the goddess of water and near it was a large palace. Islamic geographers have described the buildings of ARDASHIR Khoreh and also the archaeologists have dug in it in recent century. So, there are many data about this city and its installations. ARDASHIR Khoreh was founded after Ardeshir victory over Ardavan V and then constructed a glorious palace called ARDASHIR palace in the vicinity of the town and at a good climate place. This palace was Appropriate to dignity and glory of ARDASHIR, so, he rest in it at the end of his life and indeed, after abdication of power. ARDASHIR ordered to construct a strong and stable fortress on the summit of Tangab in order to maximize his small army against Ardavan’s attacks and also underpin the release of Iran.

The art of metalworking was very common in Iran during the Sasanian Empire (224-651/2 AD), and making silver vessels with various images and scenes on them, was more common than previous periods. For this reason, silver works became one of the main artistic characteristic of the art in the Sasanian period. Royal hunting as one of the most common themes in the art of Sasanian period, has decorated a large number of silverware of this period. On the surface of these vessels, Sasanian rulers are seen hunting and killing different animals in the hunting ground. In this article, human and animal icons on one of these plates have been studied, which belongs to ARDASHIR II, one of the kings in the fourth century AD in the Sasanian dynasty which is kept in the National Museum of Ancient Iran in Tehran. After describing the images on this plate in the first step, the meanings and hidden concepts in the scene have been analyzed using the iconography method. Finally, the application of visual techniques by the artist and their relationship to the basic concept of the scene has been studied. The research method in this article is descriptive and analytical, using library resources.

The motifications carved on Sassanid coins contain themes that reflect the culture, art and mythological and religious beliefs common in that era. These motifications are manifestations of ancient deities such as Ahura Mazda, Anahita, Mehr, etc. They are humanistically depicted in Sassanid coins or are a visualization of deep mythological-artistic beliefs and thoughts that seek a social event (internal or external) symbolically, in the form of animal motifs on the crown of the Sassanid king. The first Sassanid coins were multiplied by the role of Ardeshir I's right profile on the coin and the role of the firekeeper behind the coins, the rotation of the Shah's profile to the right was a visualization of the great change that occurred in the iconography pattern of Sassanid coins compared to the iconography pattern of Parthian coins, and behind the Sassanid coins, the role of the fireman replaces the role of the Parthian archer. This motification is preserved with little transformation until the end of the Sassanid era as the fixed role behind the coins. Some of the questions related to this research are as follows: What is the meaning of the anthropological depictions of ancient deities on Sassanid coins? When did animal motifs enter the Sassanid coinage art? One of the main objectives of this study is to investigate the deep themes and beliefs that lie in the coins of Sassanid first kings. By examining these motifs, it can be concluded that the changes that have occurred in the depiction of Sasanian coins are caused by the political-historical events of that period. This research was done by descriptive-analytical method and based on library and field studies.

Historical and administrative geography of Sassanian period is more well-known to us compared to its preceding periods due to the existence of valuable contemporary literary and material evidence as well as many later written sources about the structure and history of Sassanian Empire. Nevertheless, there are still many uncertainties and unsolved problems. Moreover, finding new evidence in some instances necessitates review and/or improvement of previous studies. This paper studies two toponyms-Rew-ARDASHIR and Reishahr-whose identifications has not been an easy and established issue. The name Rew-ARDASHIR is recorded on seal of amargar of Rē w-Ardaš ī r, Ē rā n-Xwarrah-Š ā buhr, Ē rā n-Xwarrah-Š ā buhr and Tarm. Fourth and fifth century coins also bear the mint signature for this location in both its abbreviated and full forms as LYW and LYWARTHŠ T/LYWARTHŠ RT. The name is also recorded on Š KZ as a place where Christian captives from Shapur I’ s Syrian campaigns were settled in by mid-3rd century AD. The name Rew-ARDASHIR is also frequently mentioned in Church Synods from the early 4th century A. D. onward and in other Syrian sources such as the Acts of the Martyrs. It was the official seat of the Nestorian metropolitan of Fars since mid-5th century. The name Rew-ARDASHIR is also recorded in some Manichean texts. Apart from this ample contemporary evidence, Early and Middle Islamic geographical and historical sources have recorded two place names bearing the name Reishahr that is an altered version of Rew-ARDASHIR according to them: Reishahr of Tawwaj and Reishahr of Arrajan. These two places however cannot logically refer to one place due to considerable distance between Tawwaj that was located to the north of modern Borazjan and Arrajan that was located near the border of Fars and Khuzestan along Jarahi River, as well as other given descriptions. These ambiguous and dual reports have hence led to obscurity in identification of Sassanian Rew-ARDASHIR and then Reishahr. The present paper brings together all available contemporary material and literary evidence, archaeological information from the region as well as information available in the Islamic historical and geographical sources in order to provide an explanation for this dual location and propose a novel identification. It is suggested here that there existed in fact two place names as Rew-ARDASHIR/Reishahr both during the Sasanian and Early to Middle Islamic periods, one in the border area between Fars and Khuzestan and the other one in the Bushehr peninsula that was part of Fars province. Reishahr of Tawwaj was Rew-ARDASHIR of Pars that was seat of Nestorian Metropolitan of Fars from 3rd to 6th centuries A. D. and a mint town from late 4th to mid-7th century A. D., the location of which has been identified with a site in Bushehr peninsula. Reishahr of Arrajan is identical with the Rew-ARDASHIR recorded on the sealing of the ā mā rgar of Rew-ARDASHIR, Eran-Khuarrah-Shapur, Vahman-ARDASHIR that were both located in eastern Khuzestan. It has been thus located in Zeitun area near Arrajan in the border area between Fars and Khuzestan.

There is no consensus regarding the nature of "Karname-e-Ardeshir-e-Babakan" (also known as "Karnameh Artakhshir Papakan", as it is considered to be an epic, a legend, a novel, and a historical account. The aim of the current research is to understand the nature of this work from a political perspective. Our main question is: What is the status and nature of the "Karnameh" from a political standpoint? To address this issue, we have applied Hannah Arendt's storytelling method to gain a deeper understanding of the text. Our investigation reveals that the "Karnameh" encompasses elements of storytelling as articulated in Arendt's philosophy, particularly her views on "Action" and "The Political. it can be classified as a distinctly political work. The "Karnameh" serves as a significant effort to articulate the history, epic narratives, legends, political thought, and other facets of Iranian culture and civilization as a unique phenomenon, embodying an identity expressed through an engaging language and format that evokes the essence of national identity. It is a work that, through the lens of Arendt's insights, captures the voice of ancient Iranian courtiers. The "Karnameh" represents the written form of Gosan's narrative, reflecting the beliefs and history of the Iranian people. Introduction: Many Iranian texts, theories, and ideas have yet to be systematically analyzed and critiqued by political scholars within the appropriate frameworks of this scientific field. One particularly important text is the Karnameh Artakhshir Papakan (Karname-e ARDASHIR-e Babakan) The Book of Deeds of ARDASHIR, Son of Papak). Understanding the nature, significance, and political implications of this work from a political science perspective is crucial and will enhance our understanding of ancient Iranian political thought and action. In this study, we aim to situate the Karnameh-e ARDASHIR-e Babakan within the framework of Hannah Arendt's concepts of storytelling and narrative through a political lens. We will analyze and evaluate this work to gain a deeper understanding of its political nature and significance. Our objective is to explore the political dimensions of the Karnameh Artakhshir Papakan and its most critical political implications. The central question we address is: What is the political nature and significance of the Karnameh Artakhshir Papakan? Methodology: To understand the political nature, significance, and themes of the “Karname-e ARDASHIR-e Babakan,” we seek to analyze this text within the framework of Hannah Arendt's ideas and methods of storytelling. The relationship between story and politics in Arendt's thought has specific components and functions, closely tied to the foundations of her political thinking, including the concept of action. Just as action in Arendt's thought is intersubjective, creative, initiatory, worldly, linguistic, and dialogical—encompassing presence in the public sphere, initiative, dialogue, speech, argumentation, persuasion, and standing up for goals, ideals, and resistance to evil—the story, as Arendt conceives it, has the capacity to express, reveal, and transmit all the potentials of action. As such, it acquires unique and political functions and components. Storytelling is the best medium and foundation for expressing, revealing, representing, and understanding political phenomena and events. Stories reveal events, the identity of heroes and actors, and, together, construct history. In this article, we attempt to analyze and evaluate the Karname-e ARDASHIR-e Babakan with these nuances of political storytelling from Arendt's perspective. Results and Discussion: Our investigation shows that the Karnameh includes the elements of the story in Arendt's thought, which is related to her views on "Action" and "The Political", and therefore it is a completely political work. Karnameh is an effective effort to express the history, epic, legend, political thought and other elements of Iranian culture and civilization as a unique phenomenon and an identity with an attractive language and format that can bring out the identity and spirit of the national identity. A work that only "story" - with Arendt's minutes - was able to do in the voice of the ancient Iranian courtiers. Karnamag is the written form of Gosan's narrative of the beliefs and history of the Iranian people. Conclusion: Politics and storytelling share a bidirectional relationship; politics and politicians influence the emergence of narratives, utilizing them to justify their actions and persuade their audiences. Conversely, stories enhance our understanding of society and individuals, playing a significant role in the construction of identity and selfhood. Given these roles, storytelling acquires specific components and functions within Arendt's intellectual framework, which are intricately connected to the foundations of her political thought, including the concepts of action and the public sphere. Arendt's perspective on storytelling and its components can be applied to the analysis of political narratives (including stories, ideologies, schools of thought, etc.) as well as to the construction of such narratives. Within Arendt's intellectual system: Story serves as the optimal medium for the emergence of identity. Storytelling possesses an exemplary and paradigmatic nature rather than a generalizing one. Story is the outcome of a "web of interconnected relationships." The hero of the story is the courageous actor in the public sphere. Story is a means of achieving immortality. The storyteller is situated within a specific context. Storytellers express identity (who one is) most effectively through narratives. Although the Karname-e ARDASHIR-e Babakan centers on the deeds and actions of ARDASHIR-e Babakan, its primary theme is the unification of Iran and the elimination of fragmentation. All the details of the story function as instruments for nationalist and political action aimed at unifying Iran. They recount and revive its myths and beliefs to rediscover the nation's spirit and identity. These objectives and methods are fundamentally political. The Karnameh aims to present Iranian identity, culture, and mythology through a narrative and storytelling format. Its goal is to convey a comprehensive understanding rather than to propose an overarching theory, generalize a specific intellectual model, or simply recount historical events. The work seeks to offer a distinctive portrayal of Iranian identity, which is, in itself, a political endeavor. The hero of the Karnameh is courageous and active in the Arendtian sense; his actions are both political and practical endeavors in the public sphere, aimed at achieving liberation. He seeks freedom and the defeat of his enemies through heroic deeds, embodying the qualities of the ideal Iranian king and representing the image of a worthy ruler for Iran. The narrative structure of the Karnameh-e ARDASHIR has significantly contributed to its lasting legacy and the immortality of its hero. The Karnameh is one of the few surviving texts written in the Pahlavi script and language. The storyteller within the Karnameh actively participates in the narrative, advocating for the unity and illustrious identity of Iran. His concern for Iran's political turmoil is evident throughout the text, as he accompanies and encourages the tale of Iran's liberation by reviving and emphasizing its myths, beliefs, and legends.

A clean-shaven person behind the king is shown in the four ARDASHIR Babakan's reliefs in Firuzabad, Naghsh-e Rostam, and Naghsh-e Rajab. The various approaches have been suggested about this person's identity, mentioned with various names and titles such as fly-whisk bearer eunuch, the servant or bodyguard of the king. The comparison of this type of iconography with those of the same preceding examples the Sasanid state in Iran during the Achaemenid and Assyrian periods shows that the shaving of the face is one of the common traditions among high-ranking clerics, which is most likely continued the later periods and especially, the Sasanid. Also, there is the possibility of belonging mentioned person to person other than the royal family based on the analysis of some of the available emblems and historical narratives. The present study is based on historical and archaeological information, which has provided new information about a clean-shaven person behind the king, shown in the four ARDASHIR Babakan's reliefs in Firuzabad, Naghsh-e Rostam, and Naghsh-e Rajab. This paper examines the beardless person's figure in the ARDASHIR I's reliefs and similar examples in the archaeological evidence such as reliefs, seals, and historical narratives. Furthermore, we are trying to determine the identification and probable position of this person. The most critical questions in this research are the following: 1-What is the identification of the beardless person in the ARDASHIR Babakan's reliefs? 2-What is the position of the beardless person in the ARDASHIR Babakan's reliefs? Most researchers have used the titles such as whisk-bearer, eunuch, servants, or bodyguards of the king. Lukonin has described this person as the Karen dynasty representative and attributed the carved emblem on his kolā h to this dynasty (Lukonin, 2005: 309). Ghirshman identifies him as a Sasanid nobleman (Ghirshman, 2011: 125), and Hinz describes him as bitaxš of ARDASHIR (Hinz2006: 276). By studying Sasanid riders' descent in the relief of warrior's war in Firuzabad, Kalani considers this person as the representative of the Soren family by a special emblem on his kolā h (Kalani, 2017a: 90; Kalani, 2017b: 204). Mousavi Haji and Sarfaraz believe that this person has been a servant and bodyguard of the king (Mousavi Haji and Sarfaraz, 2017: 72). The presence of beardless persons (or clean-shaven? ) has a long history among the civilizations of the Ancient Near East; for example, we can see the examples of these people in different periods, such as Assyrian and Achaemenid ones, and in the Sasanid period, on the reliefs and seals later. Specimens of beardless persons are seen in ancient Near East works such as the Achaemenid and Assyrian periods (Figure 1, 2, 3, 4). A tradition that seems to have lasted until the Sasanid period, like Kerdī r (Figure 12). He reached such a very high position in the Sasanids' political structure that Narseh mentioned his name in the inscription of "Paikuli" among his noblemen and loyalists. Also, a person without a beard is seen in ARDASHIR I's reliefs in Fars. We can quickly identify these people as servants. Indeed, holding a device such as fly-whisk (? ) not only did not create a disturb and disorder in their task, but also they could reach a position that everywhere are portrayed behind the king, and their Specimens are visible in the reliefs of the Assyrian, Achaemenid, and Sasanid (including Kerdī r). It seems the person who has been portrayed without a beard in all of ARDASHIR I's reliefs in Fars is enjoying such a position (Figure 7, 8, 9, 10, 11). Regarding all of ARDASHIR Babakan's reliefs, this beardless person is portrayed with a diadem and royal ribbons, so he cannot be one of the Sasanid kingdom people. We should search for his identity among non-royal family members. Among the courtiers of ARDASHIR are only Tansar and Abarsam, that different narratives exist about these two persons, especially in the Islamic sources are mentioned about their high position among the clerics. Tansar has not been mentioned in any sources contemporary with the Sasanid. Abarsam is mentioned in the inscriptions of the Shā pū r I's Ka'ba-i Zardusht among the ARDASHIR's courtiers, not as the clergy or ARDASHIR's vizier, but as one of the courtiers in the fifteenth row of this inscription. Regarding this person in the relief of ARDASHIR's war with Ardawan IV and ARDASHIR's investiture from Ahura Mazda, he has been both the high political and the first rank of the clergy society. According to Ibn Balkhi's version about ARDASHIR's vizier called Nansar, some scholars consider Tansar and Abarsam one person. He is named as "Mobad-e Mobadan" in epic texts, such as Karname-ye Ardahsir, and mentioned in the Shahnameh Ferdowsi with various titles, such as "Dastū r", vizier, "Mobad" and "Kadkhodā or Kadiwar (alderman)". The likeness of this person with the great Sasanian cleric is that like Kerdī r carrying the sword in the reliefs of Sarā b-e Bahrā m and Sarmashhad, this person also, in addition to fighting on the battlefield of Tangab-e Firuzabad with the Parthian rival, in other ARDASHIR's reliefs carries a sword indicating this person has had a strong political influence, in addition to the high ranking clergy, as well as Kerdī r. This is a crucial point in rejecting the approaches of those who regard this person as a simple servant or a eunuch holding a fly-whisk behind the king's head. Is it reasonable a servant who is only his duty to hold a fly-whisk (? ) behind the king's head carrying the weapon with his own? On the other hand, the carved emblem on his kolā h shows his descent and ancestry. Emblems related to the family of essential persons were carved on their kolā h, not a servant whose duty was only holding fly-whisk (? ). Regarding the courtiers of ARDASHIR, Abarsam is the only person who has received the honorific title, "ARDASHIR's Farr" or ARDASHIR glory has been named in many sources as the senior clergy and grand vizier, so it seems has had a very high position. If we accept the view of the scholars that Parthian's adversary of the beardless person in the third scene of the relief of the warrior's war is the king of Ahwaz, or according to Henning, Ardawan V Elymais, probably can be more trusted in Tabari's version about the encounter king of Ahvaz with Abarsam who has attacked to the ARDASHIR Khorra in the absence of ARDASHIR, and should be considered the third scene of Firuzabad I's relief related to this battle and battle scene between the king of Ahwaz and Abarsam (Figure 7, 8). Probably a person portrayed without a beard in all of ARDASHIR's reliefs is Abarsam, who had both a very high political position because of his numerous services to ARDASHIR, and senior clergy of the Sasanid period appeared with this portrait and figure in the reliefs according to the tradition of shaving face among the clerics.

Establishing order and then establishing security is one of the most important functions of any government or political system, and considering that in any political system, establishing order and establishing security is related to the issue of the continuation of the power and dominance of the rulers, so it can be said that the existence of order and security in The different forms are directly related to the manner and quality of the ruler's rule. Accordingly, in the political culture of ancient Iran, improving the quality of the kingdom of the emperors or practicing self-reliance based on the Yazidi tradition, has removed part of the security and order gaps in the society that led to the decline of the government and the fall of the kingdom. The book Ahed ARDASHIR contains the instructions of ARDASHIR, the founder of the Sassanid dynasty, addressed to his successors and derived from the political thought of ancient Iranians. This research, with a descriptive-analytical method, seeks to answer the question, what strategies does Ardeshir recommend in his directive in order to create order and security in the society, in the field of Shahriaran governance? And what is the purpose of Ardeshir in presenting these strategies? The results of the research indicate that Ardeshir presents the dos and don'ts of Shahriari in different political, social and cultural fields, taking into account the principles governing the ideology of the Sasanian government. It can be said that Ardeshir's short-term goal of expressing these strategies was to improve the quality of governance for the kings after him, to create order and maintain security both internally and externally, and his long-term goal was to maintain and survive the government or political system.

Following the content of Pahlavi texts (Middle Persian) and the reflection of their information heritage in the historiography of the Islamic period, today there is a consensus that at least since the Sassanid era to the era of modern studies, Cyrus II was not known to the Sassanid court and society, In such a way that his historical identity is described according to archeological documents and written sources. Whether this was due to the natural flow of time and the loss of the ability to read previous lines or the loss of written data, or a coercive decision, is one of the debates of the leading article. This research first examines the possible and documented next developments of the previous historical information to the Sassanid period and then, within this analysis, what signs of knowledge and lack of knowledge can be traced from Cyrus II to the Sassanid era. In this article, it was seen that around the western borders of the Sassanid Empire, it was possible to have a documentary knowledge of the identity of Cyrus in its historical form. Why and how some of the historical information related to the Achaemenid period, and especially the era of Cyrus II, was excluded from court historiography in the early Sassanid era is the basis of a leading study.

The historic-artistic and comparative probe accomplished on two pieces of painting on a clay layer belonging to Achaemenid period, which had been kept in a room in Susa Castle demonstrated that these two pieces were the two first paintings obtained from the Achaemenid period that have been created on the clay wall. In order to attain the essence of the paintings and their content, investigation about the figure's details was first done and, then it referred to the figures' relationship.The outcome of the study is to recognize and identify the figures and the subject matters of the pictures as well.

Metaphor always has been one of the important issues of rhetoric. New cognitive studies believe that human beings thinks in a metaphorical way and metaphor is not just verbal. Following this theory scholars such as Noel Carroll, John Kennedy and Charles Forceville brought up pictorial metaphor. Mapping the meaning from the target to the source is the common ground of their definition of pictorial metaphor. In the pictorial metaphor there is a derivation from common situation which causes to motivate one or more meanings. ARDASHIR Mohassess caricatures hold these characteristics; derivation from common reality of human body. The aim of this research is to study the way of reaching to meaning in ARDASHIR Mohassess unusual figures biased on pictorial metaphor. The concept of leaving human essence from human perfection as target, is portrayed as losing her/his usual appearance, in the caricatures, as source. The main content of his caricatures is to keep active the mind of audience. In the artworks of ARDASHIR Mohassess the meaning and interpretation cannot be achieved easily, and there is an accumulation of concept; so a constant cycle and a return to the artwork happens. The methodology is descriptive-analytical and in the data collection library-based studies and observation of artworks are used.