Abstract
Evidences found from Archaeological explorations, rock reliefs and rock inscriptions, express immemorial connections between music art and Iranian societies and cultures in the historical age. The music of Mythic era (Pishdadians and Kayanids) and Historical era (Medians, Achaemenids, Parthians and Sassanians) is the most general division of music history of pre Islam. The flourish of Elamid music, before the Achaemids, can be noted as well. This research is a descriptive – analysis type, conducted to survey the position of music art in the societies and cultures of Iran at the Historical age. The research findings are gathered by documentary and field studies and analyzed in qualitative manner. The results of this research state that the upper and lower classes of the society had an important role in formation, transition and evolution of this art at the aforementioned time. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. in orisons, sacrifice, wedding and mourning ceremonies, indicating the association of this art with social life of people and closed connection between music and cultural, religious, social, economical and political characteristics of societies in ancient Iran. 
Keywords: Music, Historical Age, Dominant Class, Iranian Societies and Cultures.

Introduction
Music, art phenomena of human society from ancient times had an enormous impact on human life and the instruments used in each of the shapes and forms found. Some researchers, regardless of the place of music in ancient societies, conflicting views about the history and musical instruments proposed. Melody of emotions and human-induced internal interactions and represents sadness and joy, excitement and peace of mind of human beings. Clearly, music is a twin phenomenon and the essence of every nation in the world and part of the national identity and the culture of each society. Is that every nation and culture with its own music and is presented well and every nation has a special music from the distant past, a feature that the nation remained culturally distinct from the rest of the United Nations. Evidences found from Archaeological explorations, rock reliefs and rock inscriptions, express immemorial connections between music art and Iranian societies and cultures in the historical age. The music of Historical era (Elamites, Medians, Achaemenids, Parthians and Sassanians) is the most general division of music history of pre Islam. The flourish of Elamid music, before the Achaemids, can be noted as well. 

Discussion
This research is a descriptive – analysis type, conducted to survey the position of music art in the societies and cultures of Iran at the Historical age. The research findings are gathered by documentary and field studies and analyzed in qualitative manner.
Elamite period, the religious aspect is more art (probably due to lack of awareness of the use of this type of art, not a fact issue) of music and musicians in different events such as prayer to God (s) and sacrifice is used, although in that evening treated to music for celebrations. Choghamish seals in pre-historic and close to the Elamite era boom in the art show. Another important point in this era, there are three types of instruments (wind, percussion and string) in relief Kul-farah, Nineveh and Choghamish is obvious. The Medes also continued the tradition of singing the prayer ceremony. The art of this period are still among the lower class of society was not room for growth. Apparently the enthronement ceremony of the kings of the Medes, and continued playing music with ancient traditional shows. Another important point is that in this era, more music and religious aspects of the court official. In the Achaemenid era, a variety of martial music, festive and popular religious and because they Achaemenid Empire, many ethnic groups and was brought under the umbrella of its sovereignty, it is natural that people and communities benefit from these experiences. For example, the relative effects of Elamite and Achaemenid Persians in Mesopotamia the art of music is evident. There are a variety of instruments such as bass drum, horn, trumpet, harp, and trumpet and so does the variety of music in the evening. Although most economic activity in the state and was Clergymen and music is also closely associated with the court and Clergymen, but the bards and minstrels in ceremonies such as weddings and parties, it is reported that the ceremony might have the class and the ruling of is. Women who are part of every society, at court, continuing a long tradition, at least since Elam shows. Of military music show which direction the signal should not ignore the start and end of the war was used. In the Seleucid era by combining the theory of joint Iranian Persian music and Greek - Greek arose that its effects can be seen in the Western and Arabic music communities. The Parthian era, social security and qualitative progress in the industry, the development of the art of music. At this time a singer by the name of the party “gossan” was formed and it was probably the kind of song street market quotes were chest to chest. The importance of music in the Sassanid era, forced the king to appoint a minister for relations such art. Rank them in court Bahram Gur was promoted to second grade classes of the community court. Due to the rising value of the musicians in the court, there are special procedures for the ceremony music. In Sassanid period like the past, different types of music can be seen. Including a festive and happy, when hunting was hunting that deception, as well as the religious ceremony of singing used to comply with previous periods. In the course of the past continued to use some of the instruments. Also at this time the instruments were invented, how notation arose and skilled musicians and great musicians like Barbad, Bamshad, rebellious, Nakisa and others emerged and certain sounds like Ravshn or “way” was coined during this era. Poetry and music together in this land, and poet and musician is often a people. The music of this era is also quite popular among ordinary people and continued to Islamic periods.

Conclusions
The results of this research state that the music, as a general, was a special art for dominant ruler in the society which professional artists used to gather in their courts. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. Playing various instruments such as harp, reed (Ney), Drum, hornpipe, timpani, etc. in orisons, sacrifice, wedding and mourning ceremonies, indicating the association of this art with social life of people and closed connection between music and cultural, religious, social, economical and political characteristics of societies in ancient Iran.

Abstract
Perhaps painted rocks are the oldest surviving artifacts of prehistoric humans. Man has painted before the letters would create.  This art has a very ancient history in Iran and especially in the west of the country (Lorestan). This article studies the motifs of newly discovered petroglyph of Bauki village, Azna county in Lorestan. So far, no measures have been taken to record this site. Therefore, the record and study of petroglyph Bauki has the great importance in completing the archeological map of the country and the petroglyph studies. In particular, these motifs are variety and have narrative themes which is different from the style of human or animal motifs of other Iranian petroglyphs. The main study questions are: What motifs has designed on Bauki petroglyph and what style and method have used in designs of motifs? What areas are these motifs comparable to? What was the aim of creating the designs? What historical period do the Bauki petroglyphs belong to? The research method of this article has been did both field and desk study that documentary method were applied on comparative of motifs, anthropology and chronology of the newly discovered area. The research results show this The number of Bauki motifs is 74 which is on interconnected rocks and includes the motifs of human, animal, geometric, plant, and instrumental. According to the studies done, it can be said that in quantity and quality, the motifs of this area are similar and comparable to the petroglyph motifs of different regions of Iran, such as petroglyph of Timura (Khomein), Sungun (Arasbaran), Zarrineh (Qorveh) and abroad with Qobustan (Azerbaijan) and Gagama (Armenia). According to the obtained information from the motifs and the pottery evidence from the area and its surroundings, the surveys of the settlements around the site, comparison of motifs with other dated sites in Iran, pattern style and other historical data, subject to caution, is dated to Iron Age motifs.
Keywords: Petroglyph, Motif, Iron Age, Bauki.

Introduction
Petroglyph is one of the oldest living art traditions in the world, which has lasted for thousands of years. It seems bedrock have been the first surviving surface that man has chosen to record his artworks (Qasimi, 1399: 25). The subjects of petroglyphs are influenced by the geographical, cultural, and environmental conditions of each region. Until 1967 rock carvings were considered insignificant not only in Azna, but in all of Iran, and archaeologists made only minor and transient references to them in reports, but so far many studies have been done and there are many reports on the petroglyph motifs in different parts of Iran. The cultural and historical infrastructure of Lorestan province is so pristine and rich that in any field, especially point of view archaeology, it allows researchers to survey and to study and obtain valuable results. In addition to other archaeological data (pottery, buildings, etc.), other signs, such as the petroglyph motifs left on the rocks are specially worth considering from the point of view of archeology and the cultural-artistic interaction of the ancient tribes living in these areas with the surrounding areas, which points to the necessity and importance of the archaeological position of petroglyph in this part of Iran. The present research has been done both method: a desk study and field. The main objectives of the research include: introduction and study of Bauki petroglyph motifs, classification of motifs based on the type and style of petroglyphs, comparative study and similarity of motifs with other parts of Iran and abroad, the proposed chronology is based on the evidence of the relative chronology of the existing motifs.  In this regard, the authors of this study try to answer the following questions: What motifs has designed on Bauki petroglyph and what style and method have used in designs of motifs? What areas are these motifs comparable to? What was the aim of creating the designs? What historical period do the Bauki petroglyphs belong to?

Discussion
Each of the Bauki petroglyph motifs has a meaning and most importantly, and most importantly, the existence of ancient habitats and hills related to different periods and around the petroglyph are the important and determinative factors to justify the historical and cultural position of these motifs and the time of their creation. Therefore, for this basis, we can say that:
1- About the semiotics and meaning of the selected motifs were pictography and ideography and a limited number of psychography have high concept and were directly related to ethnic-religious faith, beliefs, and environmental conditions which are rooted in the myths and beliefs of the people about animals.
2- The motif of a goat is a symbol of seeking rain and abundance and has long been hidden and preserved among the motifs like a spell. For this reason, the motif of the goat in the rocks was abundant and varied
3- Motifs found in the area include horses, leopards, dogs and deer. The variety of motifs is directly related to animal species in the region. 
4- Some of the animal motifs were native to the area, but today there are no motifs such as leopards in the area. Since the engraved artists of these motifs could not engrave their motifs or paintings except by observing reality. So there is no doubt that in the past, these animals lived in this area.
5- There is a relationship between the method of engraving and the position of the motifs and the variety of motifs in the petroglyph of the study area. In terms of workmanship, they are of the petroglyph type and have used smoother rock surfaces to create motifs, the material of which is composed of hard rocks. 
6- Regarding the style and manner of presenting the motifs from the point of view of artistic representation (aesthetics), it is simple and abstract and only 4 realistic (animal) cases have been mentioned.

Conclusion
The Bauki petroglyphs are very simple and a limited number of realistic motifs. This area contains 74 motifs: animal, human, plant, symbolic and instrumental motifs, most of which are related to animals and humans. The most common method of creating Bauki petroglyphs is engraving and the creating style of the studied motifs has been mostly in an abstract style. All animal motifs are engraved in profile. Ritual dances performed while collecting agricultural products as well as asking for rain. Also, the exaggerated deer antlers are symbolically a symbol of herding and agriculture. Goats are still very important in the lives of people in the region today.
The chronological basis of Bauki motifs in terms of morphology with other Iranian petroglyphs and other motifs has been database tools, method to dig stone, engraving tools for these types of motifs. Therefore, these motifs are based on animal motifs, tools found and the smashing type of impact on the rocks, with caution and condition, it has no history beyond the Iron Age and belongs to the second millennium BC. In terms of quantity and quality, the studied motifs, based on carried out surveys can be examined and analyzed with other motifs found in other parts of Iran such as petroglyph of Timura (Khomein), Sungun (Arasbaran), Zarrineh (Qorveh) and abroad with Qobustan (Azerbaijan) and Gagama (Armenia).

Abstract
Mohammad Saleh Esfahani was one of the prominent calligraphers and inscription writers of the Safavid period, under the rule of Shah Suleiman and Shah Sultan Hussein. According to the findings, a significant number of Nastaliq inscriptions in the buildings of Isfahan belong to him. In addition, there are several Chalipas by Mohammad Saleh. Based on this, it is important to explore his works in the field of calligraphy studies for finding methods of analysis of other works in this field. The purpose of this research is to investigate the differences between the pieces of Chalipa and the inscriptions of Mohammad Saleh Esfahani in three systems of baseline, composition and the visual weight. The question is, what are the differences between the Chalipa pieces and the inscriptions of Mohammad Saleh Esfahani according to the principles (which was mentioned)? And what are their reasons? The hypothesis of this research indicates that there are differences between the Chalipa and inscriptions of Mohammad Saleh, which can be recognized and investigated by three mentioned calligraphy systems. This descriptive-analytical research is done by use of library resources in order to analyses some of Mohammad Saleh Isfahani’s works, including the inscriptions  were found in three buildings in the city of Isfahan (Chaharbagh School, Imamzadeh Ismail, and the tombstone of Saeb Tabrizi Tomb) and some Chalipa pieces (available in museums and libraris). The results of the research show that there are differences in the application of calligraphy principles in the three systems of baseline, composition and the visual weight in pieces of Chalipa and inscriptions because of various reasons such as: text content, limitations of design , pen Dang. , the appropriate level of the works  and  etc. based on these reasons, it can be found that Mohammad Saleh Esfahani has adopted different methods and principles for the calligraphy of Chelipa and inscriptions.
Keywords: Principle of Calligraphy, Mohammad Saleh Isfahani, Chalipa, Inscription, Nastaliq Script, Safavid Period.

Introduction
Understanding the rules, discerning the structure, and grasping the principles that govern the Nastaliq script are essential aspects for a comprehensive comprehension of the development and evolution of this script. The Nastaliq script is employed in various formats tailored to its specific applications and purposes. Among the noteworthy calligraphers and epigraphers during the Safavid era, particularly under the reigns of King Suleiman and King Sultan Hossein, Mohammad Saleh Esfahani stands out. He has been associated with a considerable number of Nastaliq inscriptions adorning buildings in Isfahan, alongside his contributions to the creation of Chalipa pieces. Thus, it is imperative to closely examine his artistic works in the realm of calligraphy studies and adopt suitable methods of analysis. The primary objective of this research endeavor is to investigate the distinctions between Chalipa pieces and Mohammad Saleh Esfahani’s inscriptions across three key systems: Baseline, Combination, and Visual Weight.
This research endeavors to explore the dissimilarities between Chalipa’s pieces and Mohammad Saleh Esfahani’s inscriptions within the context of calligraphic principles, specifically in the three systems of Baseline, Combination, and Visual Weight. The underlying inquiry revolves around identifying the reasons behind these disparities. The working hypothesis of this study postulates that distinct variations exist between Chalipa’s pieces and Mohammad Saleh’s inscriptions, and such distinctions can be examined through the application of the principles governing the calligraphy above systems.
Research Method: This research is structured into three main parts, preceded by examining the research background and collecting relevant library information. The initial two parts entail a comprehensive study and scrutiny of the principles above, as evidenced in the works of Mashakhi and Mohammad Saleh Esfahani’s inscriptions, respectively. The third part aims to analyze the gathered information to address the research questions. The descriptive-analytical research method has been employed in this article to achieve a precise and thorough response. The data is primarily derived from an exploration of Mohammad Saleh Isfahani’s works, including inscriptions discovered in various buildings within Isfahan City (such as Chaharbagh School, Emamzadeh Ismaeil, and the tombstone of Saeb Tabrizi) and certain handwritten pieces sourced from museums and libraries. Ultimately, a qualitative analysis has been performed to interpret the findings.

Discussion and Analysis
This research delves into the investigation of the principles governing Mohammad Saleh Esfahani’s works, focusing on the three systems of Baseline, Combination, and Visual Weight. The study involves a separate examination of these systems in both Chalipa’s pieces and his own inscriptions. The research findings reveal that Mohammad Saleh employed distinct techniques to achieve the desired outcomes in each of the three systems. Specifically, in Chalipas, the consistent slope contributes to proportion, balance, and overall aesthetic harmony. To achieve these effects, Mohammad Saleh employed a subtle curve at the beginning and end of each line while carefully observing the ratio between them.
Additionally, the presence of identical rhymes played a significant role in harmonizing the Baseline curvature of the calligraphic pieces. In cases where identical rhymes were absent, Mohammad Saleh achieved proportional and balanced combinations by adjusting the positioning of letters and altering the degree of inclination of the stanzas. The meticulous selection and utilization of strokes emerged as another vital factor in the combination system, which Mohammad Saleh adeptly employed in conjunctive writing to achieve this artistic aim. As observed in Mohammad Saleh’s works, creating a hypothetical perpendicular line stands out as another pivotal factor in forming the Combination system. This hypothetical line becomes apparent through the careful selection of words and the establishment of rhythm, achieved by employing isomorphism in Chalipa’s pieces.
Moreover, the strategic utilization of dots, in accordance with the principle of ownership, as well as the positioning and direction of punctuation on letters and words, play influential roles in creating positive and negative spaces, ultimately achieving a balanced visual weight - techniques skillfully employed by Mohammad Saleh. When examining the three governing systems in calligraphic inscriptions, it becomes crucial to consider several principles. The initial principle revolves around the proportionality of inscriptions, focusing on the relationship between the width of the pen and the dimensions of the inscription’s length and width. Calligraphers ensure that the text is written so that its length and width exhibit uniformity and consistency from the beginning to the end. Another significant aspect involves acknowledging the distinction between forms of exercises and books, which are typically written by calligraphers themselves, and the execution of calligraphic pieces for inscriptions by various artisans such as tilers, plasterers, and stonemasons. This disparity can lead to unregulated variations in implementing letters and words.
Furthermore, in examining and analyzing inscriptions, considering three factors, namely color, light, and pattern, holds significant importance. Incorporating color alongside light as a contributing element plays a pivotal role in establishing the Visual Weight of the inscription. The color contrast achieved through distinct implementation techniques exerts a considerable influence on the visual arrangement for the audience and enhances the inscription’s legibility. For instance, in the sculpting technique applied to the inscriptions on Saeb’s tombstone, the monochromatic and uniform lighting choice relegates the inscription’s visual priority to the audience. Another aspect to consider is the motifs strategically placed around or between the lines of each inscription, which often serve as decorative elements. These motifs are among the various influential factors impacting the readability of inscriptions and the principles of combination, encompassing elements like Calligraphic Strokes and Lacuna, punctuation, and so forth.

Conclusion
The investigation aimed to address the research question concerning the disparities between Chalipa’s works and Mohammad-Saleh Esfahani’s calligraphy in terms of the principles of calligraphy, specifically focusing on the three systems of Baseline, Combination, and Visual Weight. The study also sought to understand the underlying reasons behind their respective utilization. The findings demonstrate that the calligrapher employed these principles in both Chalipa’s pieces and his inscriptions. However, distinctions in the form of Chalipa and inscriptions led to variations in how these principles were applied in their respective works. Notably, the choice of surface played a significant role, with paper being the preferred medium for Chalipa pieces, while materials like stone, tile, or wood were used for inscriptions.
Additionally, the constraints imposed by the customer, including limited space and frame for inscriptions, exerted a noteworthy influence, restricting the calligrapher’s application of the principles governing Baseline, Combination, and Visual Weight compared to the more flexible format of Chalipa. For instance, regardless of word count, the uniform size frame for all stanzas limited the calligrapher’s ability to achieve optimal combinations, baselines, and visual weight, a limitation not present in Chalipa pieces. Other factors contributing to these differences included adjustments in surface size for Chalipa or inscriptions and the limitations inherent in inscription implementation, such as using a dang pen. Taking into account the reasons identified in the research, Mohammad Saleh employed distinct methods and principles in applying the Baseline, Combination, and Visual Weight systems in his works.

The study of cultural and economic interactions in the southeastern part of the Iranian Plateau during the third millennium BCE is a key issue for understanding the processes underlying the formation of interregional exchange networks and the emergence of early urban societies. The two major archaeological sites of Shahdad, located in the Takab Plain, and Tepe Yahya, in the Soghan Plain, occupied strategically significant positions along the communication routes linking Central Asia, the Indus Valley, and Mesopotamia, and therefore played distinct yet complementary roles within these networks.  The main objective of this research is to examine the economic and cultural status of each site within the Bronze Age exchange system and to analyze the nature of their relationships with neighboring regions. The study aims to provide a comparative analytical approach to archaeological data in order to identify patterns of production, distribution, and transmission of cultural elements across southeastern Iran. The central research question focuses on how differences in communication routes affected the economic organization, production technologies, and cultural expressions of the two sites. The working hypothesis suggests that Shahdad, through its direct connections with the Bactria–Margiana Archaeological Complex (BMAC), functioned as an intermediary center between Central Asia and the Iranian Plateau. In contrast, Tepe Yahya, with its extensive chlorite vessel production and administrative evidence, such as Proto-Elamite tablets and Persian Gulf , type seals, served as a major industrial and commercial hub along the southern trade corridor. The methodology relies on a comparative and interdisciplinary analysis of archaeological data from both sites and their contemporaneous neighboring regions. The results indicate that the cultural and material differences between Shahdad and Tepe Yahya reflect their participation in two distinct yet interconnected exchange systems. Consequently, Shahdad embodies the direct influence of Central Asian cultural elements, while Tepe Yahya retained structural ties with the Elamite, Mesopotamian, and Indus worlds. These findings demonstrate that southeastern Iran during the third millennium BCE was a dynamic intersection of independent yet interconnected cultural systems.