The Arts Related to Bookbinding and Book Jacket are as old as corpus collection.Book Binding, Book Jacket and book Cover Illustration are one of the Out sanding Arts which differentiate Iranian’s Arts From those of other countries.Making Book Jacket was separated from the other Arts. These Book’s Jacket Protected papers, Sheets and Folio from Natural Damages.These books Cover were turned into symbols for introducing the concepts of Books.So Artists who made Jacket and covered Books used many Iranian arts and Symbols on such covers as Tazhib, Tasheer, Monabbat, Zirlaki, etc.During Centuries these arts were changed to Master Pieces by Distinguished Artists.Today the customs and traditional of these Arts Potential to be Investigated.The Aim of the Article is to introduce the Chronology and Development of Book, Bookbinding, Book cover and Making Book Jacket.

Literary creation is the most important points in the work of a poet. Since a poet values his lifegreatly, he arranges it aesthetically with appearance and inner richness. At the time, the composed recounts of his impressive strengths in the world of poetry with great fascination so that he became the lone rider of the eloquence field and on the other side, he offered positive qualities of human indirectly. Masood Saad Salman is a courtier poet and during the Ghaznavid kingdom; He has praised his eloquence art more than any other contemporary poets. He has reinforced his words’ venerability of blessings if responsibility of teaching educational concepts has been entrusted to him. The present paper has tried to bring briefly the art of eloquence, review of literature, introducing Masood Saad, his time and his poem as prelude; then with focus on Masood’s poems, it has been paid to the advantages with which the poet knows his words is superior and he intends to reinforce the readers toward the virtues as frequency topic, so that a new window of the art of this poet is opened for the mind of readers.

The poets who are mystics and mystical poets, as it is understood from their remaining works, don’t limit themselves to the constraints of pure poetry and if they recited a verse or created a rhymed work, it was more about instruction, illumination, and explanation of immaterial problems to the audience.Although Attar, in every part of his work, doesn’t consider himself a poet and doesn’t want to be called by this title, on the basis of what he has learned from mysticism, is on the apogee of mystical humility. We have tried, in this essay, to look at his poetic glories as a poet through his verses, and by evaluating it, we want to show that Attar, on his apogee of mystical humility, has appeared to be as a unique character in the field of poetic self-Glorification.

The Glorification of creatures is one of the important topics discussed in the Holy Qur'an, Shia and Sunni interpretations, narrative hadiths, and most mystical works. The importance of this issue is such that it has a wide reflection in Persian poetry and literature, and many famous poets of Persian literature have addressed it in their works. Of course, there are many differences in the opinions about the nature of this Glorification (tasbih) and the way to listen to it in Islamic, literary, and mystical texts and sources. Nooruddin Abdul Rahman Jami was one of the great poets of the 9th century and one of the close followers of the school of Ibn Arabi. He was influenced by religious teachings, the teachings of Ibn Arabi, and following the example of the poets before him, and tried to explain the issue of Glorification in his works, especially in Haft Orang. In the present study, an attempt has been made to analyze this view using the descriptive-analytical method, while expressing the views of commentators, theologians, and mystics. It can be said that he has divided the Glorification of beings into verbal and non-verbal aspects. The Glorification of beings can be understood only by senses and imagination, and the companions of discovery can hear this Glorification with the help of the senses. But, non-verbal Glorification is understandable by the inner ear of the senses. In fact, Jami’s prominent difference from his predecessors is in the analysis and explanation of the mysteries of how creatures glorify, apart from the type and method of reasoning of creatures with the power of imagination. IntroductionThe Glorification (tasbih) of creatures is one of the important topics in Islamic sources, which has also had a wide reflection in Persian poetry and literature. Of course, there are different opinions in Islamic, literary, and mystical texts and sources about the nature of Glorification and how to listen to it. It is one of the most important and challenging religious, mystical, and literary topics because what and how to perform Glorification and whether it is in the verbal language remain unknown. Jami is one of the poets and mystics who have had a special look at this category.Jami Khatam, one of the great poets of Persian poetry in the Iraqi style, in addition to the variety of Persian poetry and prose formats, has also followed his predecessors in terms of content and theme. He is one of the most prolific writers and his works in both literary and mystical sections include Divan Poems, Haft Orang, Nafahat Elans, Naqd al-Nusus fi Sharrah Naqsh al-Fusus, Lawaih, Rayy al-Ma'at, Evidence of Prophethood, etc. (Afsahzad, 1999, p. 35; Danesh Pajoh & Mokhtarpour Ghahroudi, 2008, p. 12-45; Modaberi, 1990, p. 7-8; Safa, 1989, p. 347-348 ). In his works, especially in Haft Orang, he tried to answer the mysteries of the Glorification of beings using his religious and mystical teachings, along with the thoughts of Muhyiddin Ibn Arabi.In this regard, the present study aims to investigate the Glorification of beings and their intelligence in Jami’s Haft Orang. The three research questions posed in the study are as follows:What is the nature and essence of the Glorification of creatures and the way to listen to it in Islamic, literary, and mystical texts and sources?What was the quality of the Glorification of creatures, especially their verbal Glorification in Jami's works? And what is his view on this matter?In his works, especially Haft Orang, how has Jami responded to the mysteries of the Glorification of creatures by using his religious and mystical aphorisms? Review of the Literature A review of the literature reminds us that the issue of the Glorification of creatures is one of the most challenging religious, mystical, and literary topics. However, there are some studies in this regard. For Example, Aram (2011) investigated cosmic consciousness and Glorification in the Qur'anic and literary views. In another study, Mohammadi Sheikhi and Fereidunpour (2016) examined the generality of the true Glorification of creatures in the epistemological geometry of religious thought. Moreover, Seraj and Mansouri (2017) provided a philosophical explanation of the issue of the Glorification of beings from Mullah Sadra's point of view. They have established three arguments for the generality of the Glorification of creatures in the universe based on their knowledge, awareness, and their own special language. The issue of Glorification can be examined from different perspectives, including the interpretations of the Holy Quran, theologians, philosophers, and researchers of natural sciences, mystics, and mystical works. To the best of the authors’ knowledge, there are few, if any, studies investigating the Glorification of creatures in Jami’s works. Jami, following his contemporaries and poets before him and also influenced by the school of Ibn Arabi, considered all creatures, including plants, inanimate objects, and animals, without exception, to glorify God Almighty. According to Jami, only the Lord of Revelation understands the Glorification. He did not consider the speech of inanimate objects, plants, and animals to be necessary for speech and says: Just as God Almighty is able to speak without words and expressions, He has granted such speech to all the creatures of existence, including inanimate objects, plants, and animals. Jami believes in both kinds of Glorification (i.e. verbal and non-verbal) of beings, as he mentions them in Haft Orang.  MethodologyIn this descriptive-analytical research, an attempt has been made to analyze Jami's different views on the issue of the Glorification of creatures and its types in Haft Orang, as well as the quality of this Glorification from his point of view, while expressing the perspectives of commentators, theologians, and mystics. ResultsThe verbal Glorification of beings is one of the most important issues that have been discussed in Islamic works, as well as authentic mystical and literary sources. Jami, one of the great poets of the 9th century, also paid special attention to this issue and in his Haft Orang by referring to the principle of "All things are incomparable and non-comparable". He considered all beings to be connected to the divine essence; there should be no similarity between God and creatures. Therefore, the necessity of attributing the creatures to the source of the absolute consciousness of existence, that is, the Almighty God, has led to the consciousness of the creatures. By knowing their consciousness, it can be concluded that they are perfect. Jami, in Haft Orang, influenced by the teachings of the school of Ibn Arabi, considers all possibilities in the system of existence to be glorified and masculine, and he believes that this Glorification is realized in a real way and with the language of ‘Qal’. But not everyone is able to understand these conversations.In analyzing and explaining the Glorification of beings, Jami followed the examples of mystical poets before him and tried to depict the verbal Glorification of beings after their creation in Haft Orang. But in order to distinguish his opinion from others, after dividing the Glorification of beings into two verbal and non-verbal forms, he admitted that Glorification without words or formation (presence) is acceptable by any common sense. Moreover, he divides verbal Glorification into two categories. In the first category, only special people (discoverers of the nature of the universe) are able to understand this Glorification through reasoning and analogy. In the second category, it is understandable through imagination and with the help of the inner senses. In other words, the only prominent difference in Jami’s view, despite his pure imitation in the analysis and explanation of the Glorification of beings, is the Glorification of beings with the power of imagination. Otherwise, one can easily trace the thoughts of Ibn Arabi and great poets such as Molavi, Attar, and Sana'i in Jami’s works.

In spite of many researchers’ viewpoints who regard honored custom1 eulogy2 deed of Iranian culture as originated from flattery3 blamed deed and related to achieving material interests in the king’ s court, it seems that there existed a mysterious look at the Glorification4 face meaning the highest level of holiness for honored custom of ancient societies in the court of Iranian governmental superiors and probably this mysterious face and hidden face in the visual system such as the ancient petro graphs remains and painting schools of Islamic period has been reflected. The present study is an attempt to both investigate the theoretical fundamentals of the honored custom historically and find a reply to this question “ how can we deal with the reading of Glorification face in honored custom eulogy of Iranian culture using implied conformity of Glorification face and flattery in the two samples of ancient time petro graphs and Islamic period painting? ” Studying and clarifying Glorification face and separating it from flattery attributed to honored custom eulogy while paying attention to its visual repercussion in the Islamic and ancient period of Iranian culture in parallel with eulogy implied meanings5. Exploiting a historical research method based on documentary method in relation to describing Iranian culture related to the honored custom eulogy deed and intertextuality6 reading on two artworks based commands of Roland Barthes7 semantics system for the purpose of implied interpretation for glorifying praising poems8 in the theoretical fundamentals method to the ideology governing on honored custom eulogy culture based on intertextuality approach...

One of tools for the development of philosophical thought has always been the clash of the thoughts of thinkers and philosophers in the course of the history of philosophy and wisdom. The good tradition of criticizing others' words and writing glosses or commentaries on their books is one of the manifestations of this development. One of the people who tried to examine, analyze, reject, and criticize others' ideas and thoughts in his works was Ayatullah Rafi'i Qazwini. In his glosses on lalal al-Din Dawani's Sharh-i hayakil al-nur, he has harshly attacked the commentator employing a religious tone. However, following a specific and clever method, he has agreed with its religious framework.

Ignorance is neither against the ability to perform nor against the ability to oblige, but despite this, the religion of Islam has considered it as one of the causes of relief for the obligee in order to remove embarrassment from the obligee and to tolerate him. But this discount does not mean that ignorance is better than knowledge, therefore the scholars of jurisprudence and principles have set criteria and criteria for the validity of ignorance as one of the causes of discount on the obligee, which neither accept the excuse of ignorance as an absolute nor it They rejected it absolutely, because on the other hand, if an ignorant person is excused absolutely and without any rules, the Islamic rulings are closed and knowledge and ignorance are equal, the obligee becomes indifferent to the duty and in order to escape from Obligation and responsibility take refuge in ignorance in rulings, and on the other hand, if an ignorant person is absolutely and under no circumstances excused, it is not compatible with tolerance and tolerance of the Shari'ah, because sometimes ignorance is of a type that the obligee cannot avoid it and not be excused. In this situation, he is against the tolerance of Sharia because in Islamic Sharia, someone can be impeached and reprimanded for failing, but such a person has not failed. In the discussion of the signification of the rule, there is no difference between being proud of the scholar or being ignorant, and they have reached

The concept of all beings glorifying God is frequently mentioned in various verses of the Holy Quran. Many verses discuss the Glorification by all that exists in the heavens and the earth and it is revealed in one of the Quranic verses that everything glorifies God with praise: 'There is not a thing but celebrates His praise' (Al-Isra 17:44). The nature of how beings glorify is a theological and philosophical issue within Islamic culture. Addressing this question, some scholars (primarily theologians) have advocated for an inherent form of Glorification by beings, while others (mainly philosophers and mystics) have supported the idea of a verbal Glorification. This research, employing historical semantics methodology and analyzing the semantic evolution of Glorification from pre-Islamic times through the Quranic period and into the Islamic era, strives to transcend this dichotomy. It aims to unearth the meaning of Glorification in the Holy Quran and, based on this understanding, provide an appropriate interpretation of the relevant verses. The study concludes that the Glorification by beings is a type of 'Glorification with praise,' which is an expression of desire and enthusiasm towards the Creator of the universe. Therefore, contrary to common beliefs, beings do not engage in either verbal or inherent Glorification.

Without paying a proper consideration to the sources of Rumi’s thought and education, examining his works and ideas can not be completed. Among the sources the most important ones are: The Holy Quran, Persian prose and poetry and teachings of Rumi’s father, BahaWalad mentioned in Ma‘aref.In the present paper a comparative study between Ma‘aref and Diwan Shams mostly based on those common themes that have a Quranic origin, has been done. Although the themes have been put into verse in Diwan, but themethod of thinking, the way of deduction from Quranic verses and the diction of presenting subjects all are the same as Ma‘aref.The common subjects are: 1. The creativity and activity of God 2. The Glorification of God is not confined to human beings 3. The creation of God is based on God’s bounteousness not casual means. Besides, the usage of colloquial language and the style of admonishing in both works are very close to each other.

Sasani oppression over Iranians made grounds for their collapse such that when new_muslim Arabs attacked, Sasani tribes didn't tolerate any more and lost their political lives soon. But the rise of Islam within the provinces of Iran, despite the starting delight, accompanied with Omavi caliphes unbelievable rigours: according to historical resources, after Imam Ali's martyrdom in year 41AH, as the caliphate structures infected with the inane and strict foundations of throne, the rulers of different parts in Iran hadn't had any objective except personal benefits. The performance of Omavi caliphate governors in many countries like Iran, led to the insecurity, tyranny, cruelty and oppression in the history of this territory. The present research offers a documentary approach within historical documents using a descriptive _analytical method. The research results indicated that: Omavi rulers who were involved in a racism spirit, in an increasingly vast process just brought about the deprivation of social _human rights and as a result their collapse. These were unblessed preparations to sacrifice justice for injustice and delight for darkness.