Sogdian painting in terms of both content and form has a direct relationship with Persian painting and its roots such as the Sasanian art of and Manichaean art as well. In other words; the opinion of those Russian art researchers who know the art of Transoxiana (also called Fararud / Ma Wara'un-Nahr) apart from Iranian art is incorrect, since this art is indeed part of Persian art, but independent from the Sasanid Court.Being far from the power center not only led the rich Sogdian artists to be more creative, but it made also possible for them to loan some artful elements from the neighboring lands and mix them with those of Sogdian art.Moreover, this distance made it possible to preserve the past heritage in different dangerous situations like Alexander or Arabs attacks, and it was reasonable that the first intellectual, cultural, and art movements of Iranian started from the Great Khorasan and Fararood. Hence, Sogdian art had latitude in portraying folklores, mythical- athletic legends and women's stories; the subjects which never found the chance of appearance in the official or Sassanid courtier art.Sogdian painting, with the consideration of its executive style and the themes in common with those of Persian painting, could have been an inspiring source for the Iranian art. This inspiring headspring has neither the fundamental difference of themes and aesthetic nor the time distance with Byzantine art .Moreover, it has also no Ideological and color bases differences with Chinese art and the themes’ maladjustment or the Hirbodian mood of Manichaean art as well.Objectives:1- Looking for origin of Persian painting of Islamic era.2- Understanding the similarities between Sogdian painting and Persian illustrations.Questions:1- What similarities exist between Sogdian and Persian miniature painting?2- How it is possible to indicate the relationship between Sogdian and Persian miniature painting, and to express this trade?3- What was the role of Khorasan and Fararud or in other words, the East of Iran in this process, particularly facing with the invasions of these nomads?

A “ compilation” is a work formed by the collection and assembling of pre-existing materials or of data that are selected, coordinated or arranged in such a way that the resulting work as a whole constitutes an original work of authorship, such as periodical issue, anthology, encyclopedia, telephone directory, etc. Since the prerequisite for protection of copyright works is originality, this question arises whether these works are original and may also be copyrightable. The meaning of originality is not defined in the majority of national copyright legislations. Instead, the interpretation of what is to be original has been left mainly to the courts. Courts have different opinions regarding the definition of originality and its conditions. However, the Supreme Court of United States in the Feist case put an end to this division. This article attempts to study the notion of originality of compilations works by analyzing the Feist case in order to answer whether compilation works have any originality and if the answer is yes, what is its scope.

The aim of this research is to discover the relation between citations of documents and subject related dissertations in library and information science. In this study citations are used as content descriptors of documents. A comparison has been made between subject related and citation related documents to explore the degree of capability of citations to bring together subject related documents. A measure of relatedness was computed between each pair of dissertations based on number of overlapping citations. For this aim, we used library and information science dissertation abstracts subject categorization as a base for categorization of studied dissertations. Degree of subject similarity was measured by title keywords and degree of citation similarity was measured by overlapping citations among them. It is shown that the dissertations which have more overlapping citations, have less subject similarity. Therefore, there is a weak correlation between the two types of subject grouping and citation grouping of documents.

Mulla Sadra has experienced three philosophical journeys: the originality of nature, the originality of existence of gradational oneness and the originality of existence of personal oneness. These three journeys are the main principles of Transcendent Theosophy, and any kind of evolution in them leads to evolutions in minor issues. Due to the systematic connection of the issues, in the issue of the reality of science and various issues related to it, there should be evolutions that are proportional to the three mentioned journeys. According to the first journey of science, the science is from the category of accident and as a result, it is an essential affair, while according to the requirements of the second and third journey, the science has coexistence with existence. This transformation leads to transformation in many minor issues and creates fundamental differences. The issues of the first journey are more influenced by the non-existential view of the realities related to the subject of science, which is referred to as the foundation of qảvm in pre-Sadrai philosophy. In this article, due to the position and opportunity, we will address and analyze some important preliminary issues, which include: the position of discussion, the essential or existential nature of science, being nature or concept of science, the definition of science, the equivocality of names or commonality of meaning of science, being contiguous or analogous of science and the type of attribution proposed in science based on three philosophical journeys.

The importance of recognizing the type of attribution between the knower and the known is determining the position of knowledge in the worldview approach and its epistemological function. The main question of this research is: What is the meaning and function of the type of attribution between the knower and the known with the evolution in the philosophical principles? According to the originality of nature, the type of this attribution is the categorical attribution, assuming the duality of the two sides of the attribution, causes problems such as the validity of knowledge, the distinction between the knower and the known, and the problems of mental existence. According to the originality of the existence of gradational oneness, the type of this attribution is the illuminative attribution. In this type of attribution, the knowledge of knower, in a longitudinal and gradational relationship, becomes the cause of the creation of known, and finally according to the originality of the existence of personal oneness, the unity between the knower and the known can be stated and the type of attribution is qāyúmi attribution. The findings of the research show that according to the three philosophical journeys, by passing from multiplicity to unity, the gradational aspect gives its position to unity between the knower and the known, until in the third journey, the presence and intuition of the knower appears in the mirror of his manifestations.

In this essay, evolution of the word Originality in ancient languages is considered using historical semantics or philology that is study of the formation process of meaning. The hypothesis of this essay proves that the meaning of the word "Originality" in different cultures and ancient languages is Existence and Being as its common usage in Islamic philosophy. To sum up, Originality means Existence and Being. The content of philosophical meaning of this word has been included in Greek so this is why we have such an approach on this word. In the essay, we find this hypothesis completely correct, especially by referring to the famous text of Aristotle and his book Metaphysics.

The Persian tradition of literary criticism believes that through Sanayi Qaznavi, the Persian poetry penetrates through the strict and narrow borders of nobility and pleasure-seeking materialism of the courts; stepping towards the modem domain of wisdom and intermingling with the public. It also seems that Sanayi Qaznavi's role is considerable in the elaboration of the poetry's principle regarding experimentalism; that is in addition to creating a serious change both in the content and approaches of the Persian poetry. Such issues are usually neglected in our literary criticism. While Sanayi revolutionized both the content and motif of sonnets, he also directed it towards achieving experience. In this relation he created sonnets that possessed his own mystical and inspirational insights which as a matter of fact blocked the path of imitation and repetition in the Persian sonnet. In this way Sanayi became a successful pioneer for the next great poets who appeared after him, such as; Attar, Sa'adi, and Hafez. The author intends to survey the principle of experimentalism in Sanayi' s sonnets in order to show his originality in poetry and sonnet in the domain of verses' structural cohesion and unity of meaning; the mentioned cohesion is created through maintenance of inspirational experiment and its recreation in the poetic language.

Originality is an essential requirement for the copyrightability of any artistic and literary work. Creative works are afforded copyright protection only if they are original. Originality has yet to be defined by international or national laws including Iranian Laws. The judicial interpretation of national laws also differ from one another and there is no consensus on the concept of Originality. Under traditional approach, Originality is often referred as to "labor and effort" or "self expression " of the author, whereas the more approach is that of "creativity " and exercise of "skill and judgment ". However, all legal systems recognize that the work must be independent and not copied from another work.The main question of this Article is which approach can strike a balance between author’s rights and public interest to cheap and easy access to artistic works. This article will examine originality under different jurisdictions and concludes the Canadian definition is the more appropriate approach to the said question. Finally, it suggests that the Iranian legislature shall replace the term “creativity” with “skill and judgment” in 14 of article 1 of the copyright bill.