Shabdiz and Golgon, two beautiful horses of Khosrow Parviz’s court, have been the subject of many historians, especially Shabdiz, that according to some historical sources, was one of the wonders of the court of Khosrow Parviz. The fame and glory of this historic horse brought it into the world of myths as far as many Persian literary works came out and many poets used it to create unique works. Since the name of Shabdiz is linked to night and darkness, it is a beautiful theme for the poet's imagination to fly in the night sky; however, the poet's imagination was not limited to the night sky, but the sky of the day, with its companionship, Golgon, was seized by him. Nizami is one of the most talented poets in the field, which illustrates the story of these two beautiful horses in the style of Myth-Lyric. The symbolic birth of Shabdiz's birth is somewhat reminiscent of the birth of the Mithras from the Stone and a marker of the new processing of the ancient myths, which undoubtedly derives from the past ritual beliefs in the drawing of day and night as a horse; it is possible that Nizami depicted Shabdiz and Golgon to associate them with Mithras and Bahram and as the symbols of day and night. Golgon symbolizes the day and the brightness of the god Bahram, and his counterpart, Shabdiz, is the night sky, and is a symbol of Mithras, the god of the night, as if they are a concept of time in a hall of symbols and similes. The magic of the Nizami’s word, with the preservation of the historical and structural framework of narrative, has tied the story of these two horses to the ancient beliefs, rituals and mythologies, so that the names of these two always shine in Persian literature.

Many researchers have researched the ritual of Mithraism and various articles and books have been written in this field in different languages in different years by these researchers. However, this mysterious ritual is still the research issue of different researchers and they look at it from different angles. One of the new books in the field of Mithraism studies is the book Images of Mithra, which was published by Oxford University Press in 2017, and sheds new light on the religion of Mithraism from the perspective of iconography. The author reviews this book in this article.

The Cult of Mithras (Mihr) is an ancient religion that originated in Iran. Evidence of this cult's presence can be found across its historical realm, from east to west. Over the past two decades, scholars from various fields have focused on this cult. Due to the lack of documented sources and conclusive empirical evidence, researchers have proposed different hypotheses about the cult's origins and its spread to other regions, each meriting investigation. This article examines these hypotheses alongside the existing evidence related to the Cult of Mithras. Understanding the origin of this cult is crucial for revealing the roots of Western Mithraism, which is undoubtedly connected to its Eastern counterpart. To achieve this, we consider three types of evidence: historical, archaeological, and theoretical. By analyzing these sources, we can trace the origin of the Cult of Mithras to Indo-European ethnicities in eastern antiquity. These groups, after merging with Persian culture, moved westward, forming a religious bricolage. Along the way, they absorbed various cultural influences, eventually developing into the recognized form of Western Mithraism.

The cross motif is frequently found on Persian pottery. This paper argues that the origins of this motif could be traced back to Mithraism, i.e. the worship of the ancient Persian god Mithras, a god of light, truth, and honor who was worshipped before Zoroastrianism. The motif initially symbolized Mithras’ chariot, but took other meanings in later periods. The diverse meanings this motif symbolizes are reviewed. An analysis on the physical characteristics of the cross leads to the use of this motif and its impact on architecture.

Mithras is one of the oldest mythical, religious, and cultural characters of Indian and Aryan tribes. The god, expression of common beliefs in gods, before migrating Indo-European and long before the advent of Zoroaster were formed. On the one hand, religious texts and sacred hymns India and Iran represents the ideas and religious beliefs the land millennium BC. Mithras too one of the gods and common characters the two old people, which after the separation, his special position with both retained. The present study tries to study Mithras based on the oldest indigenous and Iranian populations and by direct reference to Rig Veda and Avesta, it seeks to stamp the role of the intellectual-cultural context of these tribes in determining the actions and characteristics of a mythical face. The findings show that the common actions and attributes of the goddess are rooted in the period of the unity of these tribes and the root of the differences in this mythical face must be found in the Iranian branch and after the physical and spiritual separation of the Indian branch. So, after ethnic separation, intellectual and cultural differences also appear in common mythical characters. These characteristics and influences have evolved or evolved under the influence of cultural context and social factors.

Coins are engraved metals that are similar to a book full of historical, cultural, religious, and mythological information that can survey their motifs through symbolism. Therefore, studying the images and symbols on them opens a window to ancient periods for researchers. The Parthians (Arsacid) is one of the most important periods of ancient Iran. due to their long reign, they minted many coins with various motifs. The aim of this study is identifying the symbols of Mehr (Mithras) in the Parthian drachma coins of Ekbatan mint, to be revealed the religious belief of the rulers of this period. This research has been done in a descriptive-analytical method with an iconographic approach, which is a method of collecting information and data based on library and museum studies. The statistical society consists, two hundred and fifty coins in the repository of the Reza Abbasi Museum were examined and studied. These coins were purchased from individuals and collectors in the years before the 1979 Revolution. The results show, according to Zoroastrian religious texts, the motifs that symbolize Mithras are: Bow, Rosette, Flag, Ring, Bird, Star and Moon. Parthian Kings have used these symbols since the beginning of their reign which is caused by their being warriors and nomads. Symbols of Mithras increase during the reign of Mithradase II to Artabanos II (121 BC- 38 AD), Its probably caused by the increase of their power in the region and from the reign Vologases I to the end of the period, the symbols of Mehr are removed from the drachmas, on the king's hat can be seen deer antler symbol which originates from the nomadic traditions of Central Asia. Considering that Parthian kings were liberal in religious matters. they did not have an official religion but mostly they have used Mehr(Mithra) symbols in the drachmas.

Mithraism, also known as the Religion of Mithras, is one of the ancient and well-documented religions of the ancient East, with origins tracing back to the second millennium BCE. Archaeological and religious sources indicate that this ritual entered the Indian subcontinent and the Iranian plateau via the Indo-European peoples. Over time, Mithraism spread westward as a religious bricolage, affecting cultures from East to West and existing in the West under the name Mithraism until the 4th century CE. Mithraea, or temples dedicated to Mithras, represent significant centers of worship for Mithraists. These sacred places were where the devotees gathered to carry out their religious obligations and rituals. Notably, Mithraea display remarkable artistic and architectural features, with one of the most iconic being the religious depiction of the Tauroctony scene at the center of the altar. The Tauroctony is a central motif within Mithraic worship, usually shown as a representation of Mithras sacrificing a bull in the presence of his companions. This scene, whether depicted in reliefs, sculptures, plaques, or paintings, is not only an artistic expression but also an essential and inseparable part of Mithraic cult centers. It is considered a key symbol of the Mithraic Mysteries, a system of secret religious teachings and rituals associated with the cult of Mithras. The Tauroctony scene, showing Mithras in the act of bull-sacrifice, plays a vital role in conveying the philosophical and theological principles of Mithraism. This scene, drawn in various forms across the geographical spread of Mithraism, reflects a consistent conceptualization of the cult’s underlying beliefs, despite regional variations. The term Tauroctony, meaning "bull-slaying," was first used by the Roman poet Statius in the 1st century CE in his epic Thebaid. The word and the scene it represents have been a subject of scholarly interpretation ever since. German scholar Franz Stark initially linked the Tauroctony motifs to stars and constellations, associating each character in the scene with a counterpart in the zodiac. His work was later contested by the Belgian scholar Franz Cumont, who proposed that the Tauroctony motif had its roots in the ritual practice of sacrificing a bull and bathing in its blood for the "Great Mother" goddess in Phrygia, Asia Minor. As a result, scholars have proposed two distinct interpretations of Tauroctony: an Eastern-Avestan interpretation and a Western-astronomical one. While these interpretations differ, most agree that the ritual structure of Tauroctony is central to understanding the eschatology and purpose of Mithraic practice. Due to the lack of original written texts from the Mithraic religion, the Tauroctony scene serves as one of the few reliable sources for studying Mithraism and its rituals. These visual representations not only demonstrate the religious affiliation of the worshippers with Mithras, but also offer a glimpse into the timing and execution of their sacred rituals. As such, this motif plays a pivotal role in understanding the cult of Mithras and the development of its religious art. The research into the Tauroctony scene attempts to clarify several important aspects of Mithraism: its etymology, the origins of its artistic representations, and how the scene evolved geographically and over time. This study seeks to identify the time and place of the earliest known examples of the Tauroctony, the geographical framework of its expansion, and the artistic developments that took place in different regions. This paper examines and analyzes 61 examples of Tauroctony scenes from 19 different countries worldwide, using a descriptive-analytical-statistical-comparative approach. The chosen examples were selected from regions with a small but notable number of Tauroctony representations, as well as from books, scholarly articles, and catalogs. The study adopts a comparative methodology, which assumes that Mithraism originated in the East and traces the spread of Tauroctony scenes from East to West. The 61 selected samples provide a comprehensive view of the geographical spread of this religious symbol over a period of approximately 900 years, offering valuable insights into how the Tauroctony motif evolved over time and space. The study's primary focus is the classification and typology of the Tauroctony scenes, which reveals key insights into the artistic continuity and change within the Mithraic tradition. These changes are reflective of the different stages in the artistic training of early Mithraic artists, as well as the distinct artistic schools that developed in various regions of the Mithraic world. The 61 examples are categorized based on three main criteria: 1) the technical features of the Tauroctony scene, including object type, gender, inscription, dimensions, the number of characters depicted, and symmetry; 2) the main characters of the Tauroctony scene, such as Mithras, the bull, the snake, the dog, and the scorpion; and 3) the secondary characters, which include the raven, Mithras's companions, Sol and Luna, as well as additional elements like lions, stars, zodiac signs, and aquatic animals. Once these scenes are classified, they can be further typologized into different types and styles. This typology is essential for understanding how the Tauroctony scene was adapted to communicate particular theological or philosophical ideas specific to each region. The typology of Tauroctony scenes is crucial for understanding how they evolved over time. Each of the scenes within the three categories can be depicted in several different forms or subspecies. This means that the Tauroctony scene had multiple variations that differed based on the location, the community’s specific beliefs, and the local iconography. By analyzing these variations, it becomes clear that the changes in the Tauroctony scenes were not random; rather, they reflect the changing beliefs and religious ideologies of Mithraic practitioners as they spread across different cultures. The evolution of these scenes provides insight into the theological concepts emphasized by Mithraic artists in different periods and geographical locations. The study concludes that there were three main artistic schools responsible for the creation of Tauroctony scenes: the Eastern, Central, and Western schools. These schools correspond to the three primary geographical regions where Mithraism flourished, with each region contributing distinct features to the representation of the Tauroctony. In each of these artistic schools, changes in the design of the scenes occurred as the cult spread, shaped by regional beliefs and the preferences of local communities. Some artistic features of the Tauroctony scene were created in one region and later exported to others, while some features remained confined to their original location. These regional variations of the Tauroctony scene carry valuable insights into the local religious beliefs, regional iconography, and the transmission of Mithraic rituals from one area to another. In terms of chronological development, the oldest known examples of Tauroctony scenes are from the Achaemenid period in Egypt. The styles used in these early examples can be seen as the models for later representations of the Tauroctony scene. Over time, as Mithraism spread from the East to the West, the artistic style of the Tauroctony scene evolved, with each region incorporating its own cultural influences. This progression is evident in the changes in the portrayal of the main and secondary characters, as well as the incorporation of additional elements like the zodiac signs, celestial bodies, and animals. These variations reflect the diverse religious, astronomical, and cultural influences that shaped the Mithraic world. In conclusion, the Tauroctony scene is a central and enduring symbol of Mithraism, representing both the religious beliefs and the artistic traditions of Mithraic worshippers across different regions and periods. Through the study of the typology and evolution of these scenes, this research highlights the adaptability and continuity of the Mithraic cult, offering insights into how religious motifs evolved over time and how they were influenced by the changing social, cultural, and geographical contexts of the Mithraic world.

BACKGROUND AND OBJECTIVES: The following article examines one of the religious foundations of the Mehr religion called "The Myth of Descent and Ascension" in Ganjavi Nezami’s Haft peykar and Masnavi. The purpose of writing the article is to highlight the common beliefs of Masnavi Haft peykar and Mehr religion about descent and ascension. METHODOLOGY: This article has been compiled using a descriptive-analytical method with comparison and interpretation. The method of collecting information has also been a library. FINDINGS: The concept of descent is one of the important and frequent themes of mystical literature, which also has a wide expression in spiritual masnavis. In Masnavi, it is mentioned about the sadness of parting and the obstacles to ascension, the desire for ascension and connection, and the relationship based on love between man and God. CONCLUSION: Rumi believes that the most important factor in a person"s downfall is the cycle of self-righteous love and the pain of parting in a person. In the Masnavi, heaven means the place of closeness to God, and therefore the descent is the separation of the soul from its original source, and the ascension is the loss of a drop of the soul in the sea of truth. The myth of ascent is emphasized more in Haft peykar,The main hero experiences a stage of recognition and introspection in this test by walking in the seven domes, which has many similarities with the seven steps of Mithras. The stories of Haft Gonbad are also surprisingly compatible with Mithraic themes and rites.

Iranshahr is the common name of the lands in Iran’ s terrain recognized in Persian mythology and in Pahlavi texts as the land of light and the territory of Ahuramazda. This idea is repeated in geography books in the Islamic era and in Persian literary texts. The result of this view regards Iranshahr as a center for the ancient world which is sacred and should remain intact from the invasion of evil doers. On the other hand, Babylon had been an immense influential civilization in Mesopotamia rising after Summerians and had a great impact on other civilization of Middle East and North of Africa and in particular influenced Europe by its astronomical beliefs. After Cyrus’ s capture of Babylon and its incorporation into Iran’ s soil, it had been always regarded as part of Iranshar, a fact reflected also in geographic texts. Regarding this issue, Babel like Iran should be seen as a sacred and auspicious land, yet according to Iranian’ s beliefs Babylon is assumed a place where demons and sorcerers arise and certain Iran’ s miseries proceeds from this place and this is contrary to all the positive attributes given to Iranshahr. Using descriptive analytic approach in this research it is argued that since Babel is located in the west of Iran’ s mythological geography where the sun sets, therefore according to cult of Mithras, its adherents believe that such strategic position had brought ominous outcome for the western lands, Babylon included.