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).

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.      

Aristotle's definition of imagination is the beginning of philosophers' conceptualizations of this issue. Farabi, Ibn Sina, and Suhrawardi have greatly extended this concept. Farabi defines imagination with three types of function: preserving the pictures of sensibles, manipulating them, and Imitations of sensibles and intelligibles by pictures. Ibn Sina conceptualizes what Farabi called imagination and imaginal faculty in four distinct faculties called the faculty of imagination, imaginal faculty, the faculty of estimate, and memory.Suhrawardi believes that imaginal perception is a kind of Ishraqi presential knowledge and clarifies it based on the observation of suspending images. The most perfect theology of imagination for the conceptualization of creativity is that of Farabi, based on which the four different levels of the creativity of imagination are definable. However, these levels are also realized in Ishraqi or Illuminative imagination, which differs from Peripatetic imagination only in the way it is clarified.

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.

In this article, we are going to introduce the style of "literary return" and its formation. Then, we shall look into the language peculiarities of the poems of the period.For certain, any changes in the style of poetry are affected by political and social conditions. Literary customs, addressees, and personal matters of the poet can be influential in the formation of a style as well. The "style of return" was founded during the two historical periods of Afshariye and Zandiye (1148-1200) H. This school of poetry formed its doctrine in terms of political, social and cultural changes during half a century. Later, in the time of Ghajariye, it found its firm reality in a school of poetry. The poetic language of the period is generally based on research and imitation of the Araghy- Khorasany style. By carefully studying the works of the poets of the time, we can see that they were not skilful enough with grammar and other rules of poetic language. So the language of their poems is simple and rudimentary. However, it seems that they were affected by the Hindu or Afshariye-Zandiye style. In this article, we will explain this in details.

In the fourth century AH, Badi al-Zaman Hamadani, introduced Maqameh, an innovative literary technique. The form was hailed by many scholars of his time, and in the years that followed, many began to imitate his style. Hariri is among those who imitated him, but his close Imitations bear striking resemblances to those of his master. This article is a comparative study of the maqamehs of these two writers.