In Iranian Art mystical Concepts and Symbolic signs have always been affective methods in conveying thoughts, religious and ceremonial insights. For this reason, symbolic concepts and mystical Literary and artistic works have been assigned a major part of Iranian art. Probably no other symbol was known more than the winged circle in different tribe's culture and this is why today in the modern world we can still see this sign in different companies and organization logos and trademarks. For this purpose we study the falcon sign which was the sun's symbol in all ancient civilizations and has a deep relation with this sign, then will consider the meaning and symbols of the winged circle on those civilizations. We hope that this research will be useful to all who wish to know more about this mystical sign.

Attention to the Ethical problem from ancient times have been an alive field of great civilizations even the most impatient scientist have given idea about this matter. This study is a bief summary related to this trend.

Anesthesia is one of the main issues in surgery and has progressed a lot since two centuries ago. The formal history of surgery indicates that beginning of anesthesia backs to the 18th century, but reviewing the history of medicine shows that pain management and anesthesia has a long history in ancient times. The word “ anesthesia” , comes from Greek language: an-(means: “ without” ) and aisthē sis (means: “ sensation” ), the combination of which means the inhibition of sensation. The oldest reports show that the Sumerians maybe were the first people that they cultivated and harvested narcotic sedative like the opium Poppy as early as 3400 BC and used them as pain killers. There are some texts which show us that Greek and Mesopotamia’ s doctors prescribed alcoholic beverages before their surgeries. In the Byzantine time, physicians used an elixir known as “ laudanum” that was a good sedative prior the patient’ s operation. Ancient Persia and China were as the biggest civilizations, of which medicine anesthesia had a great role in. Also, Persian and other Muslim physicians developed the field of anesthesiology in early medieval era which is called Islamic Golden Age.

Background: Senile dementia is the most common kind of dementia with considerable social and economic costs. Since the nature of disease is multipathological, current treatments cannot cover all aspects of the disease. Recently, scientific considerations have focused on the role of natural products, especially those with traditional backgrounds. Objective: to review natural treatments of dementia in ancient Greek, traditional Chinese, Ayurveda, and Iranian traditional medicines with concentration on common herbs concurrently mentioned in two or more than two of them. Methods: Scopus database and primary sources were thoroughly searched for selective keywords. The common herbs concurrently mentioned in two or more than two of the aforementioned traditional medicines were selected to deeply investigate for their active ingredients as well as their mechanisms of actions. Results: The results showed that Acorus calamus, Nardostachys jatamansi, Glycyrrhiza glabra, Phyllanthus emblica, Semencarpus anacardium, Terminalia chebula, and Zingiber officinale had been commonly prescribed for dementia in mentioned traditional systems. According to pharmacological studies, these herbs act their anti-dementia effects via cholinergic, anti-NMDA, antioxidant, anti-inflammatory, anti-apoptotic, and anti-β amyloid activities. Furthermore, 16 active principles of these herbs were identified, including α-and β-asarone, desoxo-narchinol A, narchinol B, glabridin, liquiritigenin, emblicanins A and B, 3, 5, 6, 3', 5', 6'-hexahydroxybiphenyl-2, 2'-dicarboxylic acid, 1', 2'-dihydroxy-3'-pentadec-8-enylbenzene, 1', 2'-dihydroxy-3'-pentadeca-8, 11-dienylbenzene, chebulagic acid, and 1, 2, 3, 4, 6-penta-O-galloyl-β-d-glucose, Zingipain, 6-gingerol, and 6-shogaol. Conclusion: Chinese, Indian, and Iranian traditional medicine can play a complementary and alternative role in preventing and treating senile dementia. The scientific evidence supports their traditional anti-dementia claims.

Among the existing chordophones, the harp (in Persian, Chang) had a special position in ancient civilizations. No investigation has yet been conducted on the history of harp and its development in different periods; however, in this regard, historical sources and archeological data provide valuable information for researchers. Musical instruments, especially harp, have not been invented and developed during one civilization. Due to cultural similarities of Ancient Near East civilizations and their supremacy over these civilizations, the development of this musical instrument may be effected by various factors such as environmental, geographical, cultural, and etc. The harp has been mentioned in texts dated to Sassanid era like Bundahiš n, Husraw ī Kawā dā n ud Rē dag-ē , and Draxt Ī Ā sū rī g, as well as in sculptures, mosaics, silverware, figurines, and seals. The harp was originated in ancient civilization of Mesopotamia, ancient Egypt, Sumer, and Elam, and was developed in Sassanid era. It can be evidenced by the resemblance of some types of Sumerian and Elamite harps to Sassanid harps. According to Pahlavi texts, Van or Vin is a kind of harp which was widely used in Sassanid era. This research is a descriptive-analytical one. Library research was used to gather relevant data based on archaeological findings and documents. The aims of this research were to compare Sassanid harps to the eras before it, and to identify its structure. The definition and description of the harp in this study is based on its appearance in archaeological evidence and Organology literature.

The Makran is the location of ancient civilizations and one of the most important tsunamigenic zones in the world. Historical and instrumental records indicate the occurrence of large earthquakes on the main Makran fault and the resulting tsunamis but the accuracy of a number of these has been questioned. Geological and tectonics studies alone cannot confirm the occurrence of paleo-tsunamis. Archaeological data showing the collapse of the ancient civilizations along with geological records of paleo-tsunami can be of great help to have a better understanding this phenomenon in the future. The interaction of geology and archaeology can lead to a re-reading of the history of tsunamis which have influenced coastal civilizations, so provide a better estimate of the occurrence of tsunamis and their catastrophe in the future. Thus, to assess the environmental causes for the collapse of the ancient civilizations in the Makran shoreline, it is necessary to support geoarchaeological studies.

When investigating the historical roots of many cultures and beliefs that accompany phenomena such as performing rituals (festivals and mourning) and creating artworks, there are narratives with a deep scope of effect on the lives of the ancient people; to the extent that these narratives presented an explanation and reason for every natural and supernatural phenomenon. These narratives that are introduced to us as "myths", play a key role in shaping the visual culture of ancient peoples and civilizations, since illustration and visual forming of these narratives can be seen as the earliest artistic attempts of these cultures. Considering the importance of myths, there have been and still are various, and sometimes contradictory, approaches toward this phenomenon, according to which, myth is sometimes introduced as linguistic disease and distress of peoples. Ernst Cassirer is among those who have struggled to upgrade myth into a human cognitive form. Unlike Kant, Cassirer believed that human cognitive forms are not limited to rational patterns, rather irrational patterns also have a part to play in the human cognition and knowledge processes. Therefore, he introduced myth as one of the major irrational cognition forms of human life. According to Cassirer, the perceptions and the world created in mythology have certain features and contents that are not easy to grasp and accept based on the current standards of theoretical and rational knowledge. Therefore, these principles must be investigated within the framework of an irrational cognitive mechanism of the myths under study. In other words, rationality, as the dominant cognitive tool in the contemporary world, is not capable of properly explaining phenomena whose origin and nature flow from irrational foundations. Rationalism and its cognitive tools, therefore, cannot be used as similar models for analyzing the artworks of different civilizations. The problems are doubled when judging and reviewing non-Europeans artworks, particularly those created before the rise of Western civilization. The contemporary humans who live within the framework of knowledge and rational form of cognition assess the worlds existing before them and other than themselves using the same present-day rationality. They seek their entire world in rational cognition, even though rationality and ways of rational perception are only one of the paths of cognition and one of the types of human knowledge. This negligence is the root cause of cognitive misunderstanding of ancient culture and civilizations. On the other hand, similar to other narrative forms, the myth has presented visual imagination with an undeniable role. As such, a mythical narrative consists of a combination of mental, and of course imaginary, images that are consolidated based on a specific model and objective. In these narratives, the human knowledge and cognition of its self and its surroundings are expressed as special and mental (and also substantive) images. These mythical narratives and the visual world created in them have special features and contents which themselves are created based on the foundations of mythical knowledge. It seems that recovering these principles can bring us to an understanding of why and how the type of images shaped in mythology was created. The main focus of this study is to discover the relationship between the main features and contents of mythical knowledge (from the perspectives of Cassirer) and their type of visual representations in an example of ancient mythology, aiming to take effective steps toward a theoretical model for formal (visual) and content analysis and explanation of mythologies based on the fundamental features and content that shape mythical knowledge. The main research questions are: What are the fundamental features and contents of myth (as a cognitive form) from the perspective of Cassirer? What are the effects of the features and contents of mythical cognitive form on visual representations in a Mesopotamian mythical narrative from the perspective of Cassirer? The research method was descriptive-analytical, including the introduction of the features and contents of myth as a cognitive form and analysis of an example of mythical illustration and art based on these contents. The research data was collected through secondary research and analyzed qualitatively. The sample under study was a protective tablet for the sick, attributed to Pazuzu from the Neo-Babylon era (in the Mesopotamian civilization). According to the results, the main distinctions in features and content of mythical knowledge compared to rational cognition and knowledge were identified in differentiation and unification of phenomena and affairs, the quality orientation of phenomena, the concept of causality, perceptual mediators (space, time, and number) and representation of phenomena and affairs. In the analysis of the Mesopotamian case study, features such as spatial differentiation in mythical knowledge, the qualitative nature of mythical numbers, the substantive realization of mental and abstract phenomena and affairs, and semiotic representation of phenomena were analyzed.

Comparing artifacts or products of civilizations to each other shows that how diverse historical nations made different decisions when confronted with the same challenges. This paper aims to investigate designers’ solutions for tackling similar problems in neighboring civilizations, Helmand (Shahr-i-Sokhta) and Indus valley (Mohenjo-Daro), in a Same Period of Time. Research methods have been developed through the study in two steps. initially, after studying all the discovered seals from two civilizations, based on research hypothesis, comparing factors were defined based on three main product design dimensions (functional, aesthetic, symbolic), and 4 seals of each civilization were selected. Afterward, the similarity of Shahr-i-Sokhta and Mohenjo-Daro’s seals was evaluated via a sample group, including 34 Iranian industrial designers, as participants with a DbA (Design-by-Analogy) questionnaire. The results show that in the considered period in both civilizations, the design focused on the form, aesthetic, and the symbolic aspects more than the engineering considerations.

Ancient artifacts of past civilizations and various designs on them carry ideas, cultural values, beliefs and archetypes. Therefore, examining the remaining works is a way to understand the function of codes, symbols and myths in ancient times. These symbols and motifs, which are created by the human mind to show transcendental forces, have been mixed together throughout history, a kind of harmony and closeness can be seen in the main themes and motifs, which makes a comparative study of these traditions possible. In fact, the use of symbols was probably the first attempt of man to describe his position in the universe. The role of different artistic materials shows ethnic religious beliefs and some realism. Humans have always believed that some creatures were selected and bred with supernatural powers. As a result of this breeding, the good or bad nature of those animals has been revealed in the material life of their breeders. Some of these motifs include animal symbols or human-animal hybrids. As one of these old motifs, the scorpion has been the origin of legends in the past and with characteristics such as insidiousness, evil and pain; it has been a symbol of death, war and sometimes a guardian. This animal was noticed by ancient nations because of its special role and place in the life of ancient man and based on this, various myths and beliefs emerged around its existence; To the extent that some of these motifs have always been important as a manifestation of gods or as a role or image. The necessity of this research is due to the fact that considering the importance of Iran and Egypt civilizations both in their historical existence as two of the oldest known civilizations and in the aesthetic aspects of the obtained works, it is necessary that the motifs of these works in terms of Scorpio symbology be examined and studied To show its value, content and cultural aspects. Throughout history, myths and motifs are mixed as if they were watered from the same source. In this research, it is hypothesized that the motif of the scorpion in the two ancient civilizations of Iran and Egypt as a symbol arose from the beliefs, beliefs and environmental conditions of the creation of these works. And this motif has a transcendental concept more than it has a mythological and literary meaning and it has been related to the religious rituals and beliefs related to the world after the death of the people of their time in both civilizations. In the upcoming research, the Semiotics of the scorpion in the ancient civilizations of Iran and Egypt will be discussed with a comparative study as two examples of the oldest known civilizations in the world. The research method of this research is comparative-analytical and the method of collecting information is library-documentary. The key question of the research is that in the comparative Semiotics of the archetype of the scorpion, what commonalities are evident between the ancient civilizations of Iran and Egypt? The results of the research indicate that the use of the scorpion motif on works and reliefs was considered in the ancient civilizations of Iran and Egypt due to the removal of evil and the support of this creature. And in the ancient civilization of Egypt, it was also worshiped as a protective goddess. In some books and researches, ancient symbolic and mythological animals have been investigated and studied. But from the study of the available sources, it is clear that the studies conducted in relation to the symbolism of the scorpion were case-based and less research has been directly related to the topic of this article, i.e. the comparative symbology of the scorpion in the ancient civilizations of Iran and Egypt. In this article, an attempt has been made to study and investigate the degree of adaptation of the Scorpio motif in these two civilizations by finding cross-cultural connections. The area under discussion in this research is the ancient civilizations of Iran and Egypt and the uncovered ancient works with the motif of the scorpion. The statistical population in this research is the ancient works of Iran and Egypt that have the symbol of a scorpion. From both ancient civilizations, pottery and artifacts with scorpion motifs and decorative scorpion paintings on tombs were examined. Finally, thirteen examples of works from different regions of ancient Iranian civilization and five examples of ancient Egyptian civilization were selected and subjected to a comparative study. It seems that the scorpion symbol in both ancient civilizations, in addition to the mythological concept, had a transcendental concept related to religious rituals and ceremonies.