Old Qur’ ans, belonging to the early Islamic centuries, particularly the first three centuries, are rare and, for that reason, precious. Folios of one of the few Kufi copies of the Qur’ an are kept at Tehran’ s Reza Abbasi Museum. Although the folios are separate from one another, and even dated differently ranging between 3rd-4th centuries, indeed, they all belong to the same Qur’ an. Since nearly forty years ago, other folios of this holy book have found their way to London auctions and, from there, to museums and private collections in other parts of the world, their transcription date having been reckoned at the 2nd century A. H. and the Abbasid time. The present article tries to explore and introduce the existing 9 folios of the Qur’ an in the Reza Abbasi Museum as well as some other folios outside of Iran, with a view to demonstrating its unique visible as well as textual features of this Qur’ an, some of which, such as the rare readings and orthography of words, are exceptionally interesting.

The social history of Iran in the Safavid era is one of the fields of study that still needs attention and revision due to the poverty of Iranian historiography. AND aND aNDThe establishment of political stability and the consequent growth of the cultural and artistic atmosphere in the Safavid era led to the growth of all types of art, including the emergence of prominent and influential artists on the flow of Iranian painting. Iranian painting, which was mostly focused on fictional, courtly or mythological effects, with a short history, reflected a part of the social life of the Safavid era in the paintings of the Shah Abbas era. Single portrait or single painting, although it started before the Safavids, in this period it was established in the works of Reza Abbasi (died 1044 AH), one of the most important painters of the Isfahan school.The present research deals with the representation of social elements in Reza Abbasi's one-faced paintings using historical and analytical methods, relying on library and museum sources. The research question is that, in the absence of attention of Persian historiographical sources to the social life of the Safavid era, what themes and social classes have been depicted in Reza Abbasi's monographs. The findings of this research show that Reza Abbasi, a master artist in the Isfahan school and who had a presence in the court and lived among people, was able to depict different social classes, gender, and occupations more than any other artists of his time

Composition is an indispensable part of each picture or visual art & it is crucially salient that the quality & features in Iranian painting basically depends upon a variety of other elements such as the artists view, taste of the art fan, influence of different art schools, previous arts as well as non Iranian elements. Figurative compositions in (Reza Abbasi) arts benefits from making use of lion in a smooth and parallel way, in addition he employed traditional visual methods which brings about a rich set of paintings including Iranian rich paintings. But of at the end of Safavid era and due to a great deal of changes in structure of economy, society, noticeable series of changes were imposed on this art. One of the upheavals was tending to have a materialistic thought, focusing on realistic & avoiding mystic atmospheres. Other changes can be named as possessive & artificial composition technical principle an aesthetic view. Late in Safavid dynasty by (Reza Abbasi) students such arts started to Burgeon & in Qajar they reached the peak and glorified in the best way. Such an art was greatly supported y Qajar officials which was an aid to establishing the art at the time & helping that to enter a new phase. In this article an attempt is made to have a contrastive & analytic view of (Reza Abbasi) as Isfahan school representative & works of two Qajar painters, (Mirza baba) & (Mehr ali). In the end this conclusion can be drawn that Iranian art in this field in the passage of tradition to modernity & by assimilating some European elements & change of fans taste had gone through dramatic changes & use a result the figurative composition of artists were in flounced. Gifted artists of Iran managed to blend previous traditional & new elements to creative a new style for art which was its own of great value.

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.

The growth of Bandar-e Abbasi under Safavids brought its own bureaucratic administration. As Bandar-e Abbasi was the most important harbour of Persia in that time, it was administered directly by Safavid rulers from the capital. The finance section of the harbour was separated from its administrative-military section by Safavid rulers in order to prevent the centralized power in the hand of one person. The first section was controled by the harbour governer, while the second was directed by the sovereign. This article explains the role and function of the Safavid rulers in Bandar-e Abbasi.

Based on material evidence and written sources, the contribution and role of the metalwork of Khorasan, especially in the 13th century, which is one of the most active and the most outstanding metalworking schools in the Islamic period, is effective in developing the basic changes in the area of building and decoration of defined metal works and has given it a privileged position. But after the devastating attack of the Mongols, the destruction of Khorasan and the escape of artists to the west, it was the school of Mosul in northern Iraq that reached the sublime stance which earlier belonged to the great Khorasan. Though until the end of the 13th century the dominant style of Iranian metalworking was actually a combination of Iranian and Mosul styles, the reputation of the works of Mosul most of the exquisite objects produced at that time to be attributed to Mosul. However, a large part of the decorative motifs and themes in this area have been the realization of the continuation of the experiences of Iranian Islamic artists with a modern identity that artists took advantage based on their contemporary culture and region.This article evaluates and studies the decorative motifs and the form of two metal samples (basin and tray) inthe museum of Reza Abassi, which both samples have some common features of Khorasani and Mosuli styles with the aim of determining their true origin. This paper uses a descriptive-analytical research method and desk research method attemmpting to define the origin of the two metallic works of the 13th and 14th centuries belonging to the museum of Reza Abbasi and also a separate analysis of motifs and decorative motifs seeks to find a compelling and rational answer to Iranian origin and the use Khorasani’s style in each of the above works. The results of the findings show that in spite of the use of some decorative elements in these works, they should not be attributed to countried neighboring countries of Iran... According to authorss of this article, the works were produced in the western part of Iran.

The works of the third period of Reza Abbasi’ s life, which are related to the time of his return to the court, have not been yet extensively s tudied. By reviewing the political, religious, literary, intellectual, and economic situation, this article intends to answer the following ques tions that what is the meaning and meaning of the works of the third period of Reza Abbasi’ s life, and what difference do they show in the artis⁠ t’ s approach compared to the firs t and second periods of his life? The works of this s tudy consis⁠ t of five paintings including: «Golgasht with Ashrafzadeh (right)», «Golgasht with Ashrafzadeh (left)», «Golgasht in the desert», «Lovers and old man» and «Thief, poet, and Dogs ” . They have been purposefully selected as a perfect example of the artis⁠ t’ s dominant approach in the third period of his life. This research is considered fundamental in terms of purpose, and with an interpretive-his torical method and collecting information from library sources, including primary sources and new research, it has analyzed the subject. The results show that the works of the third period of Reza Abbasi’ s life express a dual and critical approach to life, part of which is derived from the experiences of the period away from the court. Reza Abbasi’ s time is a very important period in the his tory of Iran from a political, social, and artis tic point of view due to its coincidence with the reign of Shah Abbas. The abundance of articles and research about the life and works of Reza Abbasi shows his importance in the his tory of Iranian art. Despite leaving and rejoining the court, he is an artis t who has been revered by prominent figures of his time. Nevertheless, a series of contradictions rooted in the pas⁠ t and the events of that time raises many issues. Conflicts about tradition and modernity, different or new religions and beliefs, old and new military forces, confrontations between the court and the tribes, are only part of this chain. Reza Abbasi entered the court simultaneously as a talented young man in the field of painting and left the court in 1011 AH for various reasons. His torians of Shah Abbas’ s court, including Iskanderbeg and Ghazi Ahmad Qomi, in addition to describing his characteris⁠ tics, cite his connection with intimidators and wres⁠ tlers as reasons he did not get much respect. Reza Abbasi returned to the court in 1018 AH and resumed his work as a painter. According to Canby, this dis tance and his return to the court divide Reza Abbasi’ s life into three parts: the firs t period, which coincides with his early works, the second period, which is known as the period of rebellion, and the third period, which corresponds to the return of Reza Abbasi to the court. Meanwhile, the las t period of Reza Abbasi’ s life is doubly important for two reasons. Firs t, the amount of researche so far has been more focused on the rebellious period of Reza Abbasi and less on the third period of his life. The second is the maturity of Reza Abbasi’ s works in this period and considering the third period as the result of his artis⁠ tic life. More than his previous works, the works of the third period challenge the presuppositions and attitudes about the art of painting and the methodology of analyzing the artworks. The present s tudy aims to explain the thematic features of the works of the third period of Reza Abbasi’ s life by relying on the artis⁠ t’ s life. The main ques⁠ tion is that, considering the his⁠ torical context, what meaning do the works of the third period of Reza Abbasi’ s life hold, and the second ques tion is that compared to the firs t and second periods of Reza Abbasi’ s life, how these works show his different approach from the pas t. The use of a balanced and comprehensive method in the art of painting have mutual importance. Firs t, it is possible to get a more accurate unders tanding of his tory from information about art and examine the artis t’ s living conditions from another perspective. Second, one can get closer to creativity in contemporary art and thought by carefully recognizing and analyzing all of these themes in pas⁠ t art. In order to deal with this method, it is necessary to put together the historical contexts, the contexts of the thoughts around it to reconstruct the life of the artist and, most importantly, a detailed analysis of the theme of the works of art. This research, which is considered qualitative, with an interpretive-his torical method, intends to analyze the inferential analysis of the s tudied subject by collecting information from library sources, including primary sources and the new research. The s tatis tical population includes the works of the third period of Reza Abbasi’ s life and the s tudied samples include five drawings that have been selected purposefully and rely on a theoretical framework. According to the his torical method used in this article, firs t, the situation of the rulers of the time, a set of socio-political contexts, economic situation, his tory of literature, and contemporary thought of Reza Abbasi is s tudied. After recognizing these cases and receiving a picture of the formation of the works, the theme of the works and their various dimensions, based on the shreds of evidence and documents, are analyzed. The issue that needs to be addressed in the present research method is that all three dimensions of his tory, theory, and works of art are necessary to answer the ques tions related to the art of painting, and these three should be addressed in a balanced way. During the reign of Shah Abbas, the economy reached its mos t advanced level during the Safavid period. In addition, Shah Abbas, with his tact, upgraded the country militarily and security-wise. All the favorable policies of that time can be bes⁠ t seen in Isfahan of that period and from the available reports and travelogues. Nevertheless, one should not ignore the socio-cultural gaps and issues, and contradictions of that era. During this period, Reza Abbasi entered the court as a talented young man and grew up. In the middle period of his life, due to his religious tendencies, he dis tanced himself from the court for several years (this period is known as the period of Reza Abbasi’ s rebellion), and after returning to the court, his painting s tyle changed significantly, in terms of both form and theme. During this period, mos t of his works express his dual approach to life. For example, in Golgasht with Ashrafzadeh, although at firs t glance a completely different atmosphere is observed from the second period, with further analysis, it can be concluded that Reza Abbasi in this period of his life is trying to cope the court life and tendencies outside the court. However, in this connection, like the literary tendencies common to poets at that time, there was an attempt to create a special language, enigmatic, metaphorical, and containing content subtleties, which, firs⁠ tly, need more reflection to discover its dimensions, and secondly, in no way to the audience. It does not convey a definite and final meaning. Apart from such attempts to cons truct a special language, Reza Abbasi also seeks a way out of the usual tendencies to express his protes t, which, according to current information, is unprecedented until then. Throughout the his⁠ tory of painting, imitation of the pas t works has been pervasive, and painters have imitated these works for educational and technical purposes. However, the imitation of Behzad’ s work by Reza Abbasi, for the reasons mentioned, indicates a kind of conscious choice, which, considering its subject, clarifies the content of his protes t. In general, it should be said that Reza Abbasi’ s works in the third period of his life narrate a dual and, at the same time, critical approach to the life and current situation of the society during the artis t’ s life. There is a narrative hidden in the heart of his visual metaphors and clever choices, and it is not possible to receive it except by recognizing the socio-his torical context of the formation of works and the re-creation of the artis t’ s life.

Isfahan school is one of the leading schools of manuscript illustrations in the Safavid era. These manuscript illustrations reflect many narratives, including literary, mystical, historical, political, and so on. Metalepsis, as a special type of narrative, causes transgression between levels of narrative. This feature can be explored in many works of art, including manuscript illustrations. Around the world, especially in Europe, narratologists are trying to study the historical developments of metalepsis to better understand it by identifying how it appeared and examining its changes over time, thus providing more complete models. Although the properties of metalepsis have been considered in the postmodern situation, extensive research on it in the ancient cultures of the world shows that the use of this method in literature and art has a long history. Some of the manuscript illustrations of the Isfahan school, by drawing narrative levels, show obvious transgressions of the created boundaries. In these manuscript illustrations, narrative levels are demarcated and fictional worlds are intertwined while being separated through frames. Analysis of metalepsis in Iranian manuscript illustrations that have a long history can further confirm this claim. No research has been observed in this field so far and the present research has been done with the understanding of the importance and necessity of filling the existing scientific gap in this field. This article seeks to discover the characteristics of metalepsis in the Safavid period manuscript illustrations with a fundamental purpose. The method of this research is qualitative with a descriptive-analytical approach and based on collecting information from library sources and visual archives. It is worth mentioning that unrest, encouragement, and deviation from specific frameworks in Reza Abbasi's manuscript illustrations break the defined boundaries of a narrative world. In some of his manuscript illustrations, Reza Abbasi mixes narrative levels and violates the certainty of borders. Therefore, three illustrations by Reza Abbasi with the names "Rustam kills the elephant", "Tahmuras defeats the demon army" and "Golgasht (Picnic with a nobleman)" have been selected based on the purposeful selection of the desired items and based on the presented theoretical framework. The result shows that the selected manuscript illustrations from the Isfahan school create three levels of narrative by using the mise en abyme technique and have rhetorical and ontological metalepsis in different movements. In the first manuscript illustration, "Rustam kills the elephant" and in the second manuscript illustration, "Tahmuras defeats the demon army", the presence of verses in the inner frame creates rhetorical metalepsis. On the other hand, because the texts from the world of the painter have been applied to the world of fiction, so they can be considered as descending rhetorical metalepsis. In all three illustrations, elements such as two women in the illustration of Golgasht, tree branches, clouds, etc. have penetrated from the inner frame (lower level) to the outer frame (higher level), which creates ascending ontological metalepsis. In the first and second manuscript illustrations, the shift from another fictional world to the inner frame fictional world forms a horizontal (intertextual) ontological metalepsis.

The romantic purpose of Persian poems in painting returned to times before Isfahan's school. Reza Abbasi’ s works, including romance and lyrical themes, divised a new style in Iranian design and painting. The inner connection of various components of Lyrical works of Reza with the new composition not as the past works but away from the perspective, the shadow and in harmony of new Sadr-al-Mutalehin illustrate the culture and art of first shah abbas era's. Reza Abbasi’ s works are of different romantic, mystical, epic and social themes. In the current study some of the artist’ s images with romantic themes are analyzed in line with the ideas of Mulla Sadra. Reza mysteriously reveals the romantic and mystical motifs and subjects in the world around that are obvious in the hidden layers of his works. Afif's love can be found in the Molasadra's view and in some of Reza's work and start with an observation and ends with some allegories which is itself another beginning and at the end finished by accretion of love and beloved and being unify with GOD and unification. The objective of this study lies in the achievement of the principles of covert and overt romantic moods in the works of Reza Abbasi, Shah Abbasid artist, and matching and comparing them with the intellectual components of Mulla Sadra on Love. Thus, first, the views of Sadra in love will express and in the following, some of the works of Reza Abbasi, which are lyrical in contents and it seems to be alingned with Sadra’ s votes on love, will be analyzed. To achieve this, in this study, according to the analysis, comparative and collection methods and through library data collection from the available books, museums and analysis of the gathered data, the gained results support that most of Reza Abbasi’ s works are connected to Sadra’ s intellectual components on Love.