Mirror for princes is an important stage of political thought development and presenting traditional functions of governance system that writing them have been continued for centuries. The provenance of apparition of the mirror for princes was existence of traditional for of governance, namely autocratic and dictator governances, therefore with formation of modern countries this kind of writing style has expired. Mirror for princes are texts in the context of political operation traditions and desirable approaches of administrating the governance. In Iran and Islamic World this literature tradition has enjoyed a particular popularity. So far many papers and books have been written regarding this literature tradition particularly from viewpoint of political doctrine. However, above paper tries to examine library references through descriptive-analytical method and to examine the philosophy of apparition and development, nature, objectives, features and functions of mirror for princes. Similarly, it is shown that the most important feature of mirror for princes was offering operational plans to governances.

The princes of Hormuz are considered as local governors of Iran who governed between the 6th and 11th hejri centuries (12-17 AD). The origin of the founder of this dynasty, Deramko, is an equivocal problem, which has not received enough attention in persian Gulf researches; while their influences covered some areas in the southern and northern parts of the Persian Gulf.In the article it has been tried to deal with the racial origin of the princes of Hormuz and this subject matter is outlined in historical and literary resources.

As a legacy of Iran's political literature before Islam, Writing of Mirrors for princes has been one of the most important and influential historical-literary traditions in the history of Iran and Islam. The authors of the Mirrors for princes usually give political or moral advice to King by using anecdotes and stories related to the past kings and also by mentioning appropriate poems and verses. From this point of view, one of the main topics of the Mirrors for princes was to explain the functions of the royal institution. Works such as Khaje Nizam al-Mulk's Siyasatname, Ghazali's Nasihat al-Maluk, Kikavus bin Iskandar's Qabusnameh, and Saadi's Nasihat al-Maluk are among the most important works that have been written in this field. Among these, one of the least known Persian Writing of Mirrors is Aghraz al-Siyaseh fi Aaraz al-Riyaseh written by Khaje Mohammad bin Ali al-Zahiri al-Katib Samarkandi. This book is a text of ancient works of Persian literature, which is written in artificial and technical prose and contains the history and subtleties of the words of kings, rulers, warriors, philosophers, Iranian and non-Iranian scientists, prophets and caliphs. With this definition, this article seeks to answer the main question based on the analytical-comparative method, whether it is possible to examine the Aghraz al-Siyaseh in the framework of the tradition of writing of Mirrors for princes? Based on the findings of the research, the adaptation of the characteristics of the texts of Mirrors for princes with the text of Aghraz al-Siyaseh shows .

Traditional formations of dominance in continental lands were mainly based on gathering taxes and direct application of power. In contrary, the most current of their modern alternatives, i.e. colonization used science and technology as its structural bases of power. So, it has been able to change more effectively the structure of thought and life of the colonized people. This study addressed an indigenous case of confrontation with modern civilization of the west that is Qajari elite’s encountering with modern European colonization. Its purpose is to show how these Qajar elite understood modern western civilization and explain the main characteristics of their attitude to it as well. Its primary focus is on that part of aforementioned elite which in decades following the military defeats from Russia were sent to Europe to acquire some new information. Basing on textual analyzing method, this study aims to be able to present an explanation of this elite’s contribution to the approaches of Qajar government to modern European colonization. The results show that these Qajari elite were not able to attain a sound understanding of Iranian society’s situation in comparison with Europe. Their best achievement was a superficial grasp of European modern material culture which its strong focus was on military technology. They didn’t have a serious concern for political and social bases of this civilization with which they were dealing. Their understanding of modern European civilization did not proceed further than a sensational level. Therefore, they failed to understand and explain law and constitution as the crucial bases of this civilization.

The sphere of politics has long been defined based on a masculine approach and women have been neglected and have not been given a clear and prominent position in the politics. Even in the Western philosophy, which is known as a manifestation of rationalism, women are recognized as the second sex, on the assumption that intelligence is a masculine character. Due to the fact that the status and position of women in the mirror of princes in different periods, is one of the ways that can clarify this status in different historical ages, in this article their rejection or acceptance by epistemological systems has been analyzed. What appears in the mirror of princes as prominent political texts in the Medieval is a depiction of a creature called woman who was nowhere present and, therefore, men have drawn their appearance as they liked. But the question is: what metaphors were in medieval the mirror of princes and historical texts that have reinforced the exclusion and marginalization of women? For this purpose, here the prepositions of the political texts and governance literature have been examined with the theoretical framework of metaphorical analysis and classification of metaphors into three titles: metaphor of creation, metaphor of governance and philosophical metaphor of masculine intellect. This article is based on a hypothesis in which women were excluded and confined to a private life for many years, and such metaphors have played a special and effective role in removing women from the political arena.

Objective:This study aims to examine To examine the content of the endowment documents of Qajar princes in Mazandaran Province during the Qajar period, with the aim of identifying the types of endowments and their modes of utilization.Method and Research Design:The article employs a qualitative content analysis methods to examine and analyze the number and types of endowments, as well as the objectives and intentions of the benefactors. This method allows us to gain a deeper understanding of the social history of Iran and to identify similar patterns in other historical periods.Findings and Conclusion: The research findings indicate that the endowments of Qajar princes in Mazandaran primarily consisted of land, shops, and baths, in that order of frequency. These endowments were allocated for purposes such as holding mourning ceremonies, supporting descendants, aiding the poor, Sayyids, and the needy, funding charitable activities, running schools, purchasing religious books, maintaining holy shrines and sacred places, repairing bridges and caravanserais, repairing water reservoirs, and providing lighting for the shrine of Al-Abbas (AS). Chronologically, 30% of these endowments were made during the reign of Mohammad Shah (1249-1264 AH), 60% during the reign of Naser al-Din Shah (1264-1313 AH), and 10% during the reign of Mozaffar al-Din Shah (1313-1324 AH).

Siavash is the most central link in the chain of Iranian myths. Her mysterious character, from birth to death, contains all the high human, heroic and ritual elements in the legends of the Shahnameh. In this research, the existential components of Siavash in painting as well as the symbolic concepts of common paintings of Shahnamehs of Timurid princes (Ibrahim Sultan, Baisangari and Mohammad Joki) have been discussed based on the theory of myth-ritual (taken from the theory of Samuel Henry Hook). It is an attempt to recognize, why and how the role of myth, man, nature and also the process of the return of the hero in the process of discovering and representing the art of the past. The creation of these works speaks of the power and creative thought of man and the historical truth. This research has an analytical approach and a descriptive-historical nature, which is fundamental in terms of its purpose and is reviewed based on documentation. He has dealt with the mythological role of man and showing the commonalities and differences of common images and visual and artistic characteristics in the mentioned illustrated Shahnamehs. Also, why the importance and attention of Iranian painters to the Shahnameh and its existential components in painting have been analyzed. . Since the myth of Siavash has always been of interest due to cultural reasons and national beliefs, it is necessary to deal with the various aspects of this issue and to have an analytical and comparative look at the paintings based on it. Myth - Ritual can bring in the study of the place of myth in the rites of Siavashan Babi Navin in the art studies of Shahnameh. Siavash's death is purposeful, he does not die, but is repeatedly manifested in rituals in the form of Sorush along with Mehr. Siavash is the most central link in the chain of Iranian myths. Her mysterious character, from birth to death, contains all the high human, heroic and ritual elements in the legends of the Shahnameh. In this research, the existential components of Siavash in painting as well as the symbolic concepts of common paintings of Shahnamehs of Timurid princes (Ibrahim Sultan, Baisangari and Mohammad Joki) have been discussed based on the theory of myth-ritual (taken from the theory of Samuel Henry Hook). It is an attempt to recognize, why and how the role of myth, man, nature and also the process of the return of the hero in the process of discovering and representing the art of the past. The creation of these works speaks of the power and creative thought of man and the historical truth. This research has an analytical approach and a descriptive-historical nature, which is fundamental in terms of its purpose and is reviewed based on documentation. He has dealt with the mythological role of man and showing the commonalities and differences of common images and visual and artistic characteristics in the mentioned illustrated Shahnamehs. Also, why the importance and attention of Iranian painters to the Shahnameh and its existential components in painting have been analyzed. . Since the myth of Siavash has always been of interest due to cultural reasons and national beliefs, it is necessary to deal with the various aspects of this issue and to have an analytical and comparative look at the paintings based on it. Myth - Ritual can bring in the study of the place of myth in the rites of Siavashan Babi Navin in the art studies of Shahnameh. Siavash's death is purposeful, he does not die, but is repeatedly manifested in rituals in the form of Sorush along with Mehr. Keyword:Mythology, Siavash, painting, Baisanghari's Shahnameh, Ibrahim Sultan's Shahnameh, Mohammad Joki's Shahnameh. Juxtaposing each other according to the similarities and differences and highlighting the mythical character of Siavash between three works in three different Shahnamehs according to the myth-ritual approach leads us to different results. The set of material and spiritual heritages that remain from a historical period or artistic school and are mixed with knowledge have put together the foundations for the continuation of civilization because without knowledge, civilization goes backwards. In response to the research questions: it can be stated that, as is evident, based on the myth-ritual theory, rituals precede mythology. Myths were created only to explain the origins of rituals.Considering the connection between "man and nature" and "art and myth", it leads to more courage of the artist to create the work and permanence of the story, and everything from these connections and the mythological role of man and its visual characteristics. He created a pattern in his mind, displayed it in the form of an image with the support of kings and powerful people and paid attention to it. It helps in rereading the visual narrative of Siavash myth based on the theoretical approach of myth-ritual (Samuel Henry Hook); Siavash's death is purposeful, he does not die, but appears again and again in the form of Soroush, along with Mehr, the God of covenants. In fact, myths never disappear and continue to flow in new forms in the souls of nations.

The strategic location of Georgia, have been placed it for a long time in the profits constellation of interests of major powers of Iran, the Ottomans and the Russians, each acting based on their own interests, military and diplomatic policies, which, sometimes in long term caused tensions and disputes between them. As the realization of economic and political ideas of the Tsars of Russia and the Safavid Shahs in the Caucasus was in contrast to the Ottomans, and confronting their advance and influence could only be made possible through the geographical continuity between conquered regions in the Caucasus, especially Georgia as one of their conformable and envisage states. In the meantime, some of the Georgian princes’ actions in disconnection and hostility to the Safavid court, and trending toward Russia, according to religious and political tendencies, rejection of coalition with Safavids to fight the Ottomans, and Russians policy to realize the idea of Peter the Great, using political and military weaknesses in the structure of Safavid government, loss of their control over Georgia and Georgians governors’ disobedience toward Safavid kings, resulted in the cold and eventually strained relationship between Safavid and the Tsars, ultimately leading to Russian immersive domination over Georgia. This paper intends to answer the following questions, using the review of documents method and based on historical data: What was the Georgia’ s role in conflict between Ottomans and Safavids? And what was the role of Georgian princes in intensifying this conflict?

By applying the policy of appointing his children to states and provincial governments, while expanding his dynasty power throughout Iranian lands, Fath-Ali Shah Qajar created an intense competitive atmosphere among the Qajar ruling princes. The competitions among the three powerful and power-seeking princes of Fath Ali Shah (born in 1203 AH / 1789 AD), i. e. Mohammad Ali Mirza, Abbas Mirza, and Hossein Ali Mirza-were more pronounced. Hossein Ali Mirza was appointed as the governor of Fars and southern regions of Iran under the name of Farmanfarma, ruling in the area until the kingdom of Mohammad Shah. His establishment in Fars led him to be influenced by the ancient kings and Muslim rulers of Fars. During this affectedness of Shiraz court, he took the royal glamorousness and grandeur, and the princes ruling Fars thought of ruling the whole Iranian lands. Until the second period of the Russo-Persian War, Hossein Ali Mirza had always obeyed the central government and demonstrated this citizenship by constantly sending taxes to Tehran. But since then, when the authority of the Shah and Abbas Mirza, the Crown Prince, collapsed, his centrifugal policies increased. He disobeyed the central government by expulsion of Nouri family which was affiliated to the Tehran court, and not paying taxes regularly. After the death of Abbasmirza, Hossein Ali Mirza rose to the position of crown prince against Mohammad Mirza and intensified the competition after the death of Fath Ali Shah, declaring himself the official king of Iran in Shiraz. In spite of the support of the Russian and British governments over the reign of Mohammad Shah and the internal disputes of Fars, Hossein Ali Mirza was defeated by his crowned nephew, Mohammad Shah and surrendered. Via a descriptive-analytical approach, the present study aims to present Hussein Ali Mirza's political-military achievements in Fars to examine his position and role in the early Qajar succession competitions.

During the rule of different governments and the reign of various rulers in Iran, the acceptance of the political and royal text of the Shahnameh and the addition of new meanings through illustrations provided a kind of political-cultural legitimacy for the clients of illustrated Shahnamehs. Throughout the Timurid period and the rule of Shahrokh and his three children, who acted as local rulers and were active in book illustration in the capital or elsewhere, the commissioning of Shahnameh was of special interest. Ibrahim Sultan in Shiraz, Baysunghur, and Mohammad Juki in Herat each had ordered a manuscript of Shahnameh with similarities and differences in their libraries. These Shahnamehs can be discussed in various ways, but the question here is whether these brothers, who all three died before their father and never attained the crown, dreamt of becoming the king? Assuming that the illustrated Shahnamehs are influenced by their contexts of origin, can we find a trace of their desire to be the king in these versions? For this purpose, initially, the political position of the princes and how they were crowned and delegated power in the Timurid period have been studied in historical resources. Subsequently, the commission of Shahnameh and historical books in this family and specifically the three Shahnamehs belonging to these three princes have been analyzed. After that, the three components of court scenes, paintings on the subject of father and son, as well as brothers, have been examined considering the connection between these manuscripts to the issue of power and succession, according to historical reports. In the end, it is shown that these manuscripts of Shahnameh, with the stories that have been chosen to be illustrated, are in the form of a political statement of its patrons and portray their mentality towards the monarchy.