The Kerman region stands out as one of the most significant mining areas globally, owing to its extensive and abundant mineral reSOURCES. Bam County, situated in the southeastern part of Kerman, has historically served as a crucial hub connecting the southeast of Iran with Sistan and Afghanistan, attributed to its distinctive geological and geomorphological characteristics. Enjoying considerable commercial and military importance since the Sassanid era, Bam County has garnered attention in archaeological research as a strategically vital region. The exploration of Bam's archaeological sites becomes imperative for historical governments, highlighting the need to investigate and comprehend ancient centers engaged in metal smelting and mining activities. Consequently, an archaeological survey of the central part of Bam County was initiated in 2018-2019 with the specific objective of identifying metal smelting workshops and ancient mines. This article presents the outcomes of a field survey conducted in the central part of Bam County, shedding light on evidence of metal smelting centers, furnaces, and historical mining activities. The primary research inquiries center around the chronology of mining evidence in the central part of Bam County, the types of metals extracted, and the processes involved in metal mining and metallurgy within this region. Employing field and documentary methods, the research adopts a descriptive-analytical approach. The study identified and examined eight sites showcasing evidence of smelting and slag, one ancient mine, and two active mines. These sites have been associated with the extraction and processing of metals and elements such as tin, zinc, lead, silver, iron, and, to a lesser extent, gold. Notably, the substantial volume of zinc and zinc oxide processing in seven sites holds significance. Although cultural materials for chronological dating were absent in the investigated sites, historical SOURCES indicate that the extraction and smelting of these metals in the region date back to at least the 3rd century AH (9th century AD) and persisted until the Qajar period

Objectives: The present study was designed to determine the SOURCES of INSPIRATION and the variables related to the level of hope among cancer patients in Omid Hospital, city of Mash-had in 1999. Method: This analytic-descriptive assessment was carried out on 100 cancer patients from chemotherapy and radiotherapy wards as well as the clinic of Omid Hospital who were willing and able to take part in the study. The match-pairs method was utilized to sample two groups, one currently under treatment and the other already having completed a full treatment course. The data were collected by a demographic questionnaire, the Herth Hope Index, semi-structured interview, and an open-ended question. The data was analyzed by descriptive and inferential statistics. Findings: Patients considered God, family, interaction and communication with the physicians and nurses, lack of physical ailments, and material supplies as the SOURCES of in-spiration. The finding also indicated that variables such as completion of a full treatment course, social support, and religious beliefs have significant effects on the level of hope. Results: Reinforcing religious beliefs, social support, financial security, as well as signifying the significance of hope for the patients, and promoting communication and appropriate interac-tion of the physicians and nurses with the patients could enhance the level of hope among cancer patients.

Paying attention to and reflecting on the causes and motives which play an important role in composing poems have been taken into consideration by philosophers and poets since a long time ago. Most of them have considered a celestial and unseen source for poetry. In this article, first a background on the source of INSPIRATION is introduced and then Mowlavi’s poetic motives are discussed in detail. The author has divided Mowlavi’s poetic motives and his source of INSPIRATION into two general classes - amatory and external - and has explained and sometimes analysed each one by providing examples. An attempt has been made to show that Mowlavi has referred to his poetic motives and SOURCES sometimes intentionally or consciously and sometimes unintentionally or unconsciously. The origin of these motives returns to love and the beloved's appearance, attraction and call. Of course, the eagerness, request and need of the audience in addition to the concerns of guiding are effective in Mowlavi’s approach to the love-centred, rhythmic speech.

The stylization order of the tile works of Ibrahim- Khan Complex in Kerman is one of the rare samples in Iranian manner of stylization which is affected by both European and Iranian elements. In this order, also, the craftsmen have used native and local elements. Of these, partridges, blossom bushes and flora of Kerman are obvious. Such motifs are used at Kerman carpets as well. In compare with of Ottoman tile works, it is notable that such art works are affected by Iranian art of decorations. The stylization at the Ibrahim- Khan complex in Kerman, moreover, presents combination of Iranian geometric traditional manner with European manner of plasticsim and shading. In addition to harmony, Design and variety in both motif function and coloring has established the complex of Ibrahim-Khan in Kerman as one of the glorious Qajar monuments.This article has presented an analytical view of naturalism in decorative arts in Kerman during the Qajar dynasty.

Due to the importance of Tabriz in various historical periods after the Mongol’s invasion to the end of the Qajar period, as continuously being the capital city or the residence city of the prince, entrance to this city has been reflected in various reports. Most of the foreigners who entered Iran from European countries came from Caucasus Road to Tabriz and reported many buildings on their way. Moreover, this road was one of the most significant roadways for Caravans on the Silk Road, where various residential buildings have been constructed. Alaki caravansarai is one of the most important roadside accommodations in Northwest Iran, and so many reports about it and the quality of its façade decorations can be traced in the travelogues of foreigners who traveled to Iran. Its vastitude and elegant entrance gate nevertheless, this building has unfortunately been neglected and was about to be ruined in the 19th century and afterward. However, the beauty of its entrance gate has gained the attention of many people and has been reported in many SOURCES. Based on the ornaments used, recent SOURCES in the history of architecture have estimated its date to the 12th century and Ilkhanid Abū Saʿīd Bahādor Khan and the Timurid period. These SOURCES based their estimation only on the type of ornaments used on its entrance gate and its probable that the existence of dated artworks of the Ilkhanid period nearby, such as the Mihrab of Marand’s Jame Mosque, has influenced this speculation. This article aims to meticulously study this building in various travelogues, al-Wqafīyya al-Rashīdīyya, and other SOURCES in the history of architecture and discusses the ornament types used and their history. The detailed study of the documents and SOURCES indicated that this building could belong to the presidency period of Ḵᵛāja Rašid-al-Din Fażl-Allāh, and based on his emphasis to establish this building, can be dated 1297-1309. The ornaments, moreover, indicate the transient period from brickwork to tilework which happened in the late 13th and early 14th centuries

Introduction The advancement of technology has been a prelude to the emergence of different ways of nature INSPIRATION, such as biomimic, which has led to the lack of recognition of how to model and inspire nature in order to make a scientific review of architectural projects from the biomimic perspective. The aim of this study was to define a model, using biomimic technology and nature INSPIRATION. Conclusion Functionalism is one of the most prominent features of the biomimic architecture. Architecture of Calatrava is organic, simple, and free of Gaudi’ s forming complexities. His INSPIRATION from nature is sometimes seen only objectively and in formal imitation in terms of metaphorical, formal, and functional imitation, and in Gaudi’ s works. Movement and Functionalism in Calatrava’ s works are more pronounced than that of Gaudi due to the different time periods and technological progress and the influence of constructivist architects. Calatrava was influenced by Gaudi in architecture. With the tone of the day and utilization of the structure and technology, Calatrava goes beyond his culture and traditions in the modern context, while Gaudi became a surrealist architect with growing up in the neoclassical framework, relying on the geometry and cultural diversity of his time; supported by the symbols and historical monuments of Spain, influenced by factors such as the environment, family background, religion, and concurrency with the industrial revolution, and affected by formalist and constructivist architects, Gaudi not only immortalized his artistic genius, but also affected constructivist architects after himself. The two architects paid attention to form and function in their INSPIRATION from nature. Gaudi can be considered the biomorphic architect and Calatrava can be considered biomimicic architect.

Revelation is an expanded concept in Quran, which consists of different guidance, such as guidance of objects, plants, animals, and human beings. Molavi, Iranian great poet, has different new views toward revelation and INSPIRATION, and has represented new and swift mystical interpretation about these concepts. In thisessay, Molavis views and ideas about revelation and INSPIRATION and their different kinds, are discussed. At the end, writer talks about the relationship between perfect man and revelation.

In some point of view, neither Michel Foucault nor Ibn Khaldun are considered philosophers in the conventional classifications, but both are very  important in intellectual and, of course, in philosophical contexts, especially for those who are interested in the deep study of human life from the perspective of political thought.The main concern of two thinkers, one in the 14th century, the other in the 20th century, is the issue  of power, although neither of them provided a precise definition of it. In this article, an attempt has been made to show the place of power and domination in the political thought of both thinkers by examining the thoughts of two thinkers. And in search of an answer to this question, how did Asabiyyah and industry of religion in Ibn Khaldun's thought and social control through self-technology and discipline in Foucault's thought lead to the expansion of the domination of power? This article is written by analytically comparing the opinions of two thinkers based on Ibn Khaldun's most important book called Muqaddimah and Foucault's late works

french:La Chouette aveugle de Sadegh Hedayat, auteur iranien, qui appartient à la caté gorie des œ uvres dites « noires », se fonde sur une INSPIRATION nihiliste. Malgré l’ influence indé niable de la philosophie nihiliste dans la cré ation de cette œ uvre compliqué e, il n’ y a aucune é tude cohé rente qui traite ce sujet de diffé rents points de vue. Ce qui est certain, c’ est que Hedayat é tait un lecteur attentif des œ uvres des philosophes nihilistes et aussi des œ uvres litté raires qui s’ en é taient inspiré es. Il semble avoir longuement mé dité sur l’ apport des idé es et des conceptions dé sespé ré es et nihilistes qui viennent de la lecture d’ Ivan Tourgueniev, de Fedor Dostoï evski, d’ Arthur Schopenhauer ou de Friedrich Nietzsche, et d’ autres encore. Le caractè re absurde de La Chouette aveugle prolongerait cette aspiration nihiliste. De la philosophie nihiliste, Sadegh Hedayat retient quelques traits caracté ristiques et les dé veloppe d’ une maniè re personnelle. Alors, il é crit un ré cit onirique qui é voque l’ existence du mal de diffé rents points de vue. Dans ce travail de recherche, nous essaierons d’ approfondir l’ aspect nihiliste de La Chouette aveugle tout en vé rifiant tous les é lé ments qui té moignent de l’ omnipré sence du né ant dans le ré cit. Dans cette perspective, nous é tudierons tout d’ abord l’ existence du mal dans cette œ uvre qui est concré tisé e par quatre é lé ments: la souffrance physique, la maladie morale, l’ empoisonnement progressif et la puissance malé fique. Nous approfondirons, ensuite, le rô le de la notion de né ant dans la progression du ré cit qui est incarné par la fascination de l’ oubli, la hantise de la mort et la tentation suicidaire. Cette dé marche marquera le rô le indé niable de la philosophie nihiliste dans la cré ation de La Chouette aveugle.english:The Blind Owl of Sadegh Hedayat, Iranian author, which belongs to the dark literature category, is based on a nihilistic INSPIRATION. In spite of the undeniable influence of nihilism in the creation of this complicated work, there is no coherent study to treat this subject from different points of view. The certain thing is that Hedayat was a careful reader of nihilistic works and the literary works which were inspired by nihilism. It seems that for a long time he was meditating on related ideas and the disappointed and nihilistic conceptions of some authors such as Ivan Turgenev, Fyodor Dostoevsky, Arthur Schopenhauer and Friedrich Nietzsche. The absurd character of The Blind Owl proves this nihilistic INSPIRATION. In the creation of this work, Hedayat uses the main elements of this philosophy and develops them in his own way. Therefore he writes an oneiric story which evokes the existence of affliction from different perspectives. In this research, we are going to deepen the nihilistic aspect of The Blind Owl verifying all of the elements that are the witnesses of the omnipresence of inexistence in whole story. In this perspective, we will study first existence of affliction which is demonstrated by four factors: the physical pain, the moral disease, the progressive poisoning and the maleficent power. Then we will analyze the role of the notion of inexistence in the progression of the story which is incarnated by the fascination of the oblivion, the haunting of the death and the temptation of suicide. This reasoning will indicate the undeniable function of the nihilistic philosophy in the creation of The Blind Owl.

One of the most frequent rules in various areas of demonstrative jurisprudence of Two Major Sects of Islam religion is a rule that is known among Shīʿa as “tolerance in the evidence of traditions” (Arabic: التسامح فی أدلّة السنن) and in Sunnī as “latitudinarianism in documents” (Arabic: التساهل فی أسانید). Believers in the general application of this rule have based it for reasons such as consensus (Arabic: إجماع), tradition famous through practice (Arabic: الشهرة العملیّة), and rational judgement (intellectual judgement) and a group of aḥādīth (Arabic: أحادیث, plural form for ḥadīth, literally “talk” or “discourse”) called “Akhbar-e- Man Balagh” (Arabic: أخبار من بلغ). The understanding of the aforementioned narrations and the extent of application of this rule has caused a conflict of opinions among scholars. The narrations containing the excellences of suras of the Holy Book of Quran is one of the fields of application of the rule of tolerance. The present research has explained the types of exposure to this group of narrations based on the rule of tolerance by using descriptive-exploratory method and using library SOURCES and seeks to find a suitable approach about narrations of the excellences of suras (chapters) of the Holy Book of Quran. The interaction with these narrations is organized based on a special reading of the rule of tolerance in the selected approach, which is based on a rational interpretation of the contents of Man-Balagh (Arabic: من بلغ)’s narrations and is compatible with the indications of some verses and traditions. The use of weak narrations containing the excellences of suras (chapters) will be permissible based on this approach considering three conditions and without any certainty of attributing these narrations to Sharʿ (Islamic rules).