This article introduces the imitations of Nezami's Haft Peikar (seven figures) as a long process in the history of Persian literature. To this end, first, the author clarifies the concepts of 'adaptation' and 'imitatation' and expands on their differences with 'plagiarism'. Then, the paper proceeds to briefing Haft Peikar and its fictional values. It introduces 21 versified stories that have adapted and imitated Haft Peikar's style and its story telling approach. It is argued that Nezami originally established a special tradition in Persian story versification that was later taken to India by Amir Khosrov and, developed through integration with Indian fictional motifs and elements.

Reading and reciting the Shahnameh in Persian was popular not only in Persianate lands, like some parts of the Caucasus and Central Asia, but in Ottoman empire as well. Furthermore, some of the stories of the Shahnameh were known through oral tradition. Copying and making illuminated manuscripts of the Shahnameh was another method of spreading the fame of Ferdowsi. Ferdowsi, like many other poets of Iran, had considerable influence on the Ottoman literature. The present article examines translations and imitations of the Shahnameh in Turkish Lands.

The poetic imitation, quest, and response are some of artistic prevalent traditions in versification of Islamic traditional poems and particularly among Iranian poets where it is a type of versification by following of the previous model. In rhetoric book, this subject has been generally purposed and discussed under title of plagiarism. At this essay, in response to some questions such as: Do these quests and imitations from poets have any stylistic values and benefits? And if so, which are such values and benefits? We tried to explore and extract imitations from Iranian poets in versifying this poem from the beginning of Persian literature period until recent time; for example, in a very well- known ode that was versified by Sanaee with following prologue:“Oh Muslims! Oh Muslims. Keep out Islam,Keep out Islam, Of this atheist tradition, be repent, be repent!”And also on the one hand, review of questing verses may clearly indicate major artistic inclinations among the poets of an era and consequently basic characteristics of the literary style at the given period; and on the other hand, historical follow- up and review of questing samples throughout Persian literature period could prepare appropriate and befitting ground for investigation into stylistic changes in Persian verse.The other important outcome of such exploration is to clarification of significance, consideration and questing nature of a poet and his/ her works in history of Persian literature.

Degradation of inks and pigments has always been a major problem against Conservators. Some of the vulnerable pigments are metal pigments a major portion of which belongs to golden pigments in decorations of book-embellishing in Iran. In some cases, shades of green color are seen in golden pigments and sometimes paper degradation is also discernible. In this paper, golden pigment and its degradation were studied in three illuminated manuscripts from the Qajar period. SEM-EDS analyses indicated one type of brass alloy compositions as imitating golden pigments. Copper carboxylates were identified as degradation products of golden pigments by means of Raman Spectroscopy. Some sort of organic carbonyl pollutants and high humidity condition can possibly be effective in degradation of the pigments and formation of the greenish products. In addition to acid-catalyzed hydrolysis of cellulose, copper ions as catalyst in degradation products can accelerate oxidation of cellulose. This matter was investigated in one of the samples by Fluorescence Labeling in combination with Gel Permeation Chromatography (GPC).

One of the conditions for the validity of a transaction is the legitimacy of its purpose. In cases where the subject of the contract involves the adornment or resemblance of a man to a woman or vice versa, we face the question of what status such transactions have in terms of validity or invalidity. In response to this question, some researchers consider the transaction invalid due to the illegitimacy of its purpose, while others do not view the resemblance of a man to a woman or vice versa as prohibited and therefore rule in favor of the validity of such transactions. In the present study, which is based on a descriptive-analytical method, it has been concluded that, in principle, the adornment of a man to resemble a woman or vice versa is not prohibited unless the purpose of the resemblance is to commit a forbidden or prohibited act. Therefore, a transaction whose subject is the resemblance of men to women or vice versa will also be valid and enforceable. However, if the individual's purpose for the resemblance is to commit a forbidden or prohibited act, the contract will be deemed invalid due to the illegitimacy of its purpose, and the contract made for the adornment of a person to resemble the opposite gender will also be void.

The famous “Shapur Cameo” from the collection of Bibliotheue Nationale is an important object and appears in various studies of Sasanian art, as well as of arms and armour. Studies focus on dating of the object, identification of the scene or identification of the depicted personages without asking the basic question whether the cameo is surely genuine. The conclusion of the article is that the arguments pointing to its nineteenth century origin prevail. It must be stated that the Sasanian elements are employed in very skilled manner both in terms of composition and majority of depicted details, however indecisive nature of the picture which does not clearly define the victor, unclear clothes or garb of the Persian figure, archaic sword of the Roman figure, his awkward position, and not tied tails of the horses, allow to believe that the person who designed the cameo was not fully aware of Sasanian realia. The Sasanian elements are gathered from the limited range of references. The separate argument is that cameos are not type of art favored in Sasanian Iran.

Field and Aims: Today, human trafficking can be considered as one of the most commonly identified Transnational Organized Crimes in the field of criminology of transnational crimes. Like a market in some parts of the world where much of its sex trade is based on human trafficking, it threatens human security in a way, and the importance of this study can be important.Method: A methodical approach in the present research paper; with a descriptive and analytical look at the same time is comparable to the use of the documentary and library method.Findings and Conclusions: Taking into account all the factors involved in this phenomenon, areas such as Southeast Asia and South America are an official approach due to the hidden policy of governments. Given the phenomenon called human trafficking for sexual exploitation, it involves hiring, controlling and forcing people to provide sexual services against their will, known as sex trafficking. These people are affected by media propaganda with the promise of a better life this is more prevalent in Southeast Asia and South America as target areas studied for reasons cited by scientific studies, which the author thinks is nothing but the hidden political goals of the legal governments of these countries, contrary to their legal and international missions, if we look at it from the perspective of the criminology of transnational crimes. It requires that by identifying criminal responsibility for political leaders, making governments more accountable and systematizing markets that are based on sex trade, it's kind of a phenomenon to some extent.

The Persian poets have made use of ‘tulip’ in their poems because its colour nd shape which has made it possible to depict many images. This paper studies the numerous and various images of ‘tulip’. We study the evolution of this image in different periods of Persian literary history as well as poets’ creativity. The author tries to study and classify all images for tulip in the poems of 63 poets. This paper shows the initiator and imitator poets in this regard. This is a library study in which for the purpose of analysis, tables and charts are used to investigate the frequency and images of tulip.203 images were obtained by analyzing these poems and eliminating redundancies.The images refer to tulip and face, tulip and goblet, tulip and blood, tulip and fire, tulip and bereavement and so forth. 'Farrokhi' and 'Sa-ib' originated the most creative images of tulip. The images of tulip were more diversified in the 4th, 5th and 6th centuries.

This paper is an attempt to introduce and review the third piece of the poetic collection of "Imitations of the Koran" by Alexander Sergeevich Pushkin which was compiled under the influence of the concepts of the Holy Koran. Using these concepts great Russian writers have produced immortal works. These series of works, despite their attractions to eastern readers, have not received sufficient attention of Iranian translators and scholars for unknown reasons. The poetry collection of "Imitations of the Koran" by Pushkin is one of its most remarkable and beautiful ones which has been versified under the influence of the concepts of different verses of Surah (chapter) Abas. In this paper, while presenting a concise analysis of Puskhin's life, the Russian eminent poet of the 19thcentury and analyzing the third piece of the 9-part collection of" Imitations of the Koran" , efforts are made to show how verses of the holy Koran were the source of inspiration and formation of this piece. These poems reflect the psychological conditions of Puskhin in the hard periods of exile in the north of Russia in Mikhailovskaya village. By using the Koran's concepts and versifying these poems, he helped to reinforce his spirit and increase hope for his freedom.      

In Talkhī ṣ Buṭ iqā , Averroes has his own innovations. In this book, he expresses the most poetic rules according to the characteristics of Arabic language. Now the question arises: What is the purpose of these innovations? This essay tries to examine one of these innovations and answer the above question. In this study, the ethical Objective of religious speech from Talkhī ṣ Buṭ iqā are divided and expressed into two parts: the importance of using figures of speech and the ethical objective of Religious Speech. In these subjects, he follows ethical purposes. In his view, most Arab verses, while can be praised due to their aesthetics and exalted figures of speech, at the same time should be reproached because of their humiliation and frivolity. He believes that, because Arab poets are far away from ethical education they cannot overtake young people education. According to Ibn Rushd, every action is drawn to either goodness or ugliness, virtue or vice by simile and other figures. Moral virtue is well illustrated in religious discourse, especially in the story of Prophet Yusuf (AS). Cruelty towards him by his brothers leads to more virtues by changing the self and creating fear and mercy towards the brothers, thus achieving happiness and showing the status of morality. Therefore, the end of morality in Talkhī ṣ Buṭ iqā is literally completed with the verses of the Qur'an and the Shari'a, because it provides a complete tool for human education.