In some Middle Persian texts, there is a story about Gayōmart which is not mentioned in older texts such as the Avestan texts, and also it is difficult to find evidence of it in Persian and Arabic epics. This story refers to the killing of a DEMON named Arzūr by Gayōmart, the work which is counted among the most important works of Gayōmart on the day of Khordād of the month of Farvardīn (the sixth day of month Farvardīn). In addition, in Avesta, Arzūr is the name of a mountain where the DEMONs gather and in Pahlavi texts such as Bundahišn, Šāyist Nē-šāyist and Pahlavi Rivāyat, it has been mentioned as the gate of hell and the passage of Ahreman and DEMONs. In this article, an attempt is made to explain the relationship between mount Arzūr, the door of hell and the DEMON Arzūr, by searching for the name Arzūr in Avestan and Middle Persian texts, and also in the Šāh-nāma and Ātār al-Bāqīah. As far as the author is concerned, Šāh-nāma story can be reconstructed with respect to Pahlavi sources and Bīrūnī’s account like this: Gayōmart killed Kharzūr/Arzūr’s DEMON; After that, Ahreman sent Kharzūrān (= son of Kharzūr) to fight with Gayōmart and in this battle, Siamak was killed. Finally, Siāmak’s son took revenge on Kharzūrān and killed him.

Epistemologists in various theories of epistemic justification attempt to respect the intuition that lies at the new evil DEMON problem. One of the most important problems that external theory has in justification is the conflict of these theories with the intuition that lies in the new evil DEMON problem. Recently, Moon has tried to raise this problem against moderate internalists by argument. If Moon’s argument is correct, most internalists face the same problem. In this article, I discuss and evaluate Moon’s argument and the answer given to it in defense of internalism. While examining this issue, I increase the accuracy of the internalists’ response to this problem. In addition, I show that Moon’s argument against internalists is not correct.

A popular belief common among all nations is the conflict between good and evil forces, the division of the world into two zones of light and darkness, and the belief in the perpetual battle between the good (divine) and the evil (devil) phenomena, a battle to continue as long as life shall last, in which the final victory will be that of the light. Such a view can also be traced in the myths, religions, and even thoughts of the modern world. The objective of the present research is to investigate the origin of one of the parties involved in this battle: the evil forces and DEMONs in Persian literature. To this end, it pursues the origins of such a thought in the Western Asia and the Mesopotamian civilization, the influence of which is undeniable on the Iranian culture. This study attempts to DEMONstrate the changes that took place in the above beliefs through the course of the time and the changes of geographical regions. The study is supported by the fact that the belief has passed both through the filtering of a reformer like Zoroaster and the culture of Islam as a religion. Meanwhile, the increasing awareness of man through the time and his dominance over the nature and his surrounding environment has also played a role in the evolution of this belief as compared with its early origin.

The book of “Aja’ieb al-Makhluqat va Ghara’ieb al-Mawjudat Qazwini” is one of the descriptive incredible phenomenon and phenomenal fantastic creatures' references and resources that during centuries which consider by authors. Arabic and Persian's encyclopedias refer a lot to phenomenal and fabulous creatures in “Aja’ieb al-Makhluqat va ghara’ieb al-Mawjudat”.This book divide to three parts: First part is astronomy and cosmogony works, second is weather and a world with its inhabitants and third is herbal, organic and concrete. In this book in addition of phenomenon and incredible lands describe different kinds of phenomenal and fabulous creatures: various composites imaginary creatures, DEMONs, geniis, giants …Whatever pay attention in this research is exact outward structure and behavioral description of these creatures especially three kids of giant, geniis and DEMONs. In the book sometimes also some traditional, religious or narrative roots is presented in detail.As regards there is no comprehensive research about this subject; this article could help to understand public opinion about these imaginary creatures.Questions that we try to find answers:- In view of symbolic and behavioral aspects which kinds of DEMONs, sprites and giants are describe in this book.- In point of the Physical form, how is their structure and appearance.giants and genii and DEMON have many different types and efficiencies, such as Nasnas, Shaq, Davalpa and Sa’ala. Their outward's structures are a combination of human and animal.Their dreads were like humans with animalistic characters or with animalistic outward and habits and human’s behavior. Therefore, it can say that include two main compositions: “human-animal”, “animal-human”. The method of research is according library, descriptive and comparative, and different manuscripts in the Astan-e-Qods Razavi library (Mashhad) and other prescription, describe and compare some other versions.

Fire temples and square domes are undoubtedly of special importance in archeological studies into the religious aspects of the Sassanian era. As Zoroastrian monotheists, Sassanians considered fire as sacred and over five centuries their kings built a large number of fire temples and square domes across the Persian Empire. The newly-discovered square dome called DEMON House is one of the most important square domes of the Sassanian era. Citing Pahlavi texts and Avesta, both foreign researchers and Iranian archeologists have introduced it as one of the three major fire temples of the Sassanian age known as Azar-Barzin-Mehr. Though archeological excavations at the site of this dome did not provide enough evidence to prove that claim, studies show it was the nucleus of a greater structure that used to be made up of four stone pillars, a circumambulation corridor, Padiav, a fire-place platform and a waiting room. The location of the square dome in a small stone mound among the heights of Rivand is quite unique and of extraordinary importance in studying Sassanian fire temples. Considering the significance of fire temples in religious studies pertaining to the Sassanian era and since the aforementioned structure had not been subject to any archeological excavation before, an Iranian-Polish archeological team studied the DEMON house square dome for the first time over two seasons.This paper has introduced the architectural elements discovered in the DEMON House square dome and as part of a greater archeological study into religious structures in the Sassanian ear provides some notes about the significance and position of the Azar-Barzin-Mehr fire temple based on Pahlavi texts.

DEMONs and DEMONic creatures are indispensable part of mythology and are the integral part of ancient Persian beliefs. Indeed, our ancestors for every malice and evil deed and phenomena believed in a particular DEMON and revelation of any of these DEMONic and destructive elements were related to a corresponding DEMON. A phenomenon named Astovidatu or DEMON of death is one such example. Although after coming of Islam this belief had lost its original vigor, yet its reflection could be clearly seen in certain works particularly in Shahnameh all the more reason for Ferdowsi’s use of imageries in connection with the concept of death. It is the purpose of this article to compare these imageries with information that exists regarding the DEMON of death, a belief already existed before Islam in Zoroastrian religion and to prove and DEMONstrate that the creation of those imageries consciously or unconsciously were under the influence of Astovidatu.

Shabrangnameh is one of the heroic poems after Shahnameh which is proceeded to take a revenge of Shabrang, the son of White Dave, from Iranians and his battles with Rostam and Iranians. Although the identification and introduction of the work goes back about a hundred and twenty years ago, knowledge and available studies about it are very scarce and its edited text has also recently been published. Shabrangnameh, the poet of which is unknown, has 2877 lines, and it is estimated that it goes back to the sixth century poets. Because this poem is the reference of two courses of the tendency epic literary topics in the Persian Literature PhD program, in this paper, while introducing edition of this book and designing the hints to determine the probable date of its composition, some proposals have been also presented about a part of cases of introduction and recordings of its text.

One of the elements of religious studies and Persian mythology is the study of DEMONs (deev). In this paper the place of DEMONs in heroic epics after Ferdowsi’s Shahnameh are studied. In some of these epics such as Banoo Goshasbnameh and Kok Kohazad DEMONs have a minor presence and are only used as adjectives for evil human beings. In some other epics such as Samnameh, Shariarnameh and Faramarznameh DEMONs have more prominent roles so that one of the seven labors that the hero must go though is a fight with a DEMON. The hero must fight the DEMON to save the girl or girls from the DEMON’s bondage. In some other heroic epics like Kooshnameh and Garshasbnameh, the DEMONs are not only presented as evil creatures and the enemies of the hero, but also as certain vices such as greed, anger, envy which have their origins in ancient Persian mythology and Pahlavi texts.

In the field of painting, artists have penetrated the conventional boundaries of painting and set new standards, including Mohammad Siah Qalam. The problem of this research is how to use pictorial and visual elements as well as design in Mohammad Siah Qalam's divination. The difference between this research and the previous researches is in dealing with the pictorial, visual and design elements in Mohammad Siah Qalam's divination to show the two concepts of ugliness and beauty at the same time. One of the goals of this research is to deal with the neglected aspects of Siah Qalam's madhouses, as well as to analyze how ugly manifestations are reflected in it, with an emphasis on Mohammad Siah Qalam's DEMON paintings.Beauty in Iranian painting is the result of visual harmony and proportion; The beauty of harmony and proportion is a relative matter that is influenced by factors such as living environment, practice, experience, and education, and the repetition of concepts based on certain forms with similar structures causes the soul to get used to it, and this habit of the soul causes beauty. Be these concepts. But beauty, if it is relative to the truth, will always be beautiful and is not relative; Mohammad Siah Qalam painted the daily life of ordinary people during his lifetime and ignored the rules of the royal workshop-library, he is considered a realist artist, and at the same time, the way he dealt with the subjects he chose was with a formal method. Mohammad Siah Qalam, in his second period of painting, created a transformation in his work style; And for social criticism, he chose satire along with Grotesquera. The necessity and importance of the upcoming research is to investigate and research about the concepts and causes of this style of painting (which is neglected compared to the conventional style of the time of the painter under study); The new and original aspect of this research is the neglect of the concept of ugliness and specifically ugliness and madness in Iranian painting. The difference between this research and the previous researches is in dealing with the pictorial and visual elements and design in Mohammad Siah Qalam's divination to show the two concepts of ugliness and beauty at the same time. The aspect of innovation in the analysis is the reflection of the opposition of these two concepts in the DEMONizations of Professor Mohammad Siah Qalam. The concept called "beautiful" is one of the constant elements in the discussions of the philosophy of art, and different views have been presented about it. In parallel with beauty, another concept is formed called "ugliness". Unlike beauty, it is not the focus of art and philosophy researchers. In fact, the definition of ugliness is using the concept of beauty. The concept of evil is related to ugliness. To define these two concepts, their opposite concepts (goodness and beauty) can be used. These concepts can be traced in the history of Iranian art and painting. Ugliness plays an important role in this, it has been neglected. This role is remarkable and thoughtful in the works of painting and especially in the madness of Mohammad Sieh Qalam. An artist whose tendency to break the foundation and remove familiarity can be seen in his works. Regarding the way of coloring the works of Mohammad Siah Qalam, it should be said that in most of the works related to the second period of his work, we see the use of partial and spiritual colors. But in the later style, the colors are not uniform and dark colors are used. In such a way that he first removed the motifs with dark colors and then using dark colors, he painted them raw brown grays. The color in the works of black pen is very heavy and harsh and sometimes very bright; Garlic to light pea grades. Different tones of bright colors were used in his painting, the colors were dull and dark. The works of the second period of his paintings are different works compared to the first period, which have symbolic concepts in all areas such as the type of frame, the type of lines, the coloring method.This research has collected the materials using a descriptive-analytical method and using vouchers, library sources and documents. The method of qualitative information analysis has been investigated through information analysis using books, articles, researches and researches related to the subject of Mohammad Siah Qalam's paintings (here focusing on visual and visual elements and design). The findings of the research indicate that there are elements of humor, play, entertainment and vitality in the black ink drawings. In order to draw beauty and ugliness, he has used the lens of focusing on visual elements and design in murals, which categorization and separation are among the achievements of this research.

Shahnameh and Hadiqah, as two important literary works in two different epic and mystical subjects, have many similarities. One of the similarities between the two is the transcendental concepts of DEMON, which are used in both works, and cause these two works to have a special affinity in terms of aspect. Transcendental principles and themes and surreal ideas can be traced back to the mythological beliefs, religious beliefs and intellectual traditions of the time and even mystical ideas. The objective manifestations of the DEMON are based on mythological beliefs that have sometimes been used to symbolize Ferdowsi. The word DEMON was common in Iranian culture before Islam and changed after the advent of Islam and gave way to jinn. In this research, which is descriptive-analytical and with a library method; The supernatural concept of DEMON has been criticized in Shahnameh as the most important epic work and Hadiqah al-Haqiqah as the foremost official mystical work by mentioning evidences and comparing their frequency. This research shows that in Shahnameh, the DEMON has lost its previous position and the authority of the court and the influence they have had in existence has been drastically reduced and they have approached a lower position. While Sanai emphasizes its mystical aspects; Sometimes he uses it in the sense of jinn and sometimes in the sense of inner devil; In some cases, he thinks the same as the meaning of the devil, and sometimes, by using it metaphorically, he opens the door to interpretation and interpretation to this concept.