Abstract
The Shahnameh of Madhi was painted by ottoman artists in the first half of the seventeenth century. Introducing this book and Studying the paintings is important because ottoman paintings has existed in the history of Islamic art, especially in Iran, because there is a close connection between the Safavi and Ottoman governments that can clarify many issues around the two countries and a historical analysis of the historical name and identity of one of the prestigious manuscripts of the Shahnameh is performed in a language other than Persian abroad. This book is writing in Arabic and in Turkish in Istanbul. The Turkish translation book is one of the Iranian texts with a worldwide reputation. The purpose of this study was to identify and understand the art of the Ottoman period and the impact of Iranian culture and literature on that art. Is referred to the Uppala library repository for reading and researching this book. The library has registered this book as a miniature Shahnameh 29. Original version of the book, for information on the paintings of this book, reference was made to Islamic art books, especially Ottoman painting, especially to the second Ottoman whose writing was commissioned by him.
Keywords: Ferdowsi Shahnameh, Madhi Shahnameh, 29 Miniatures Shahnameh, Ottoman Miniature Style, Ottoman Art.

Introduction
Shahnameh is one of the greatest literary and historical achievements of Iranians. This book hasn’t only been respected by the Iranian kings, but also by the kings of neighboring countries, who has translated and compiled copies of the Shahnameh of the examples writes outside of Iran cultural and political borders is a Shahnameh kept in the library of Uppsala University is Sweden and ordered by Sultan Ottoman by a person named Madhi who was the story teller of Ottoman kings. Translated into Turkish prose in the years 1024, 1028 AH, this book has been writed the middle of March 1620 AD to Nastaliq script The purpose of the study of these paintings, in general, was first to identify the influence of literature and the art of the Ottoman on its neighbors, and then to identify the effects that these neighbors, had on its drawing, as well as to analyze the painting and research on the original name and identify of this version varies and methods of painting the subject of Ottoman are and their approach to were quite different a grateful Iranian painting at the times covered in colorful flowers and beautiful tree and decorative springs emphasizes the scene. This isn’t the as vast plain or solitary hills the background colors in Ottoman painting are mild and neutral and details such as rivers, bridges, castles, and trees were portrayed only if they were important to the narrator. This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows: 
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD). 

Madhi Shahnameh 
This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows:
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD). 

Conclusion
The Persian kings created conditions at the court led artists to create beautiful works. But the spirit of the Ottoman court has been different due to the struggle for decolonization. In continuation, the Ottomans were began a wide range of activities in the field of art. The Ottoman artist has been recorded history and geography with realistic visuals of the surroundings such as the clothing of the people and the faces of the rulers. This artist hasn’t been looking for mysticism or religion. Probably for this is it simply blends the two opposing ideas of East and West. In the Ottoman painting, there are exaggerated views of Eastern painting with realistic elements. Elements like perspective that have been taken in account in the drawing of buildings. In some pictures the western face is also visible in the clothes folds. The aim of the Ottoman artist is to express events. The Ottoman artist clearly depicts the culmination of the narrative. In every book, he depicts the king in a palace of glory. These points are also clearly seen in the Madhi Shahnameh (29 miniatures). This Shahnameh was created during the period when the Turkish language tried to dominate. This translation is just like the pictures, is the duplicate direct and devoid of decorating, and expressing the sincerity of the word. The translation of this Shahnameh as mentioned, by a person named “Madhi” has done in the year 1027 AH.

Abstract
Khozestan and Ilam, the two geographically important provinces have always been under consideration by all reigning powers of all history in Iran. The attention was not limited to one or two governments and the fortune was with them even written history due to the suitable geographical situation and the shared borders with Mesopotamia. Because of political, religious, ethnic, etc. reasons, the power epicenter stayed out of the southwestern part of Iran’s plateau in the time of Sassanid and Achaemenian for example. Sassanid, over four centuries of power in a vast area in west of Asia, had an especial interest toward the Persian territory. Significant cities of the time, such as Estakhr, Goor and Shaporkhoreh were established in this very region. The extra ordinary number of reliefs, common wealth buildings and fire temples (Chartaqi/ groin vaulted buildings) existing in the area is a witness to Persia’s distinct status. In this paper, based on historical and geographical documents and writings (inscribed between the 3rd to 9th centuries), groin vaulted buildings (Chartaqi) and many fire temples of this area, the mentioned attention has been taken under study. The research method is historical descriptive and through studying the literature and archeological documents (groin vaulted fire temples) and the study on the progress of groin vault buildings from south to north approaching the ancient Mesopotamian borders, and the references in most of historical documents to numerous fire temples of the area, it can be concluded that this piece of land had the equal value of the whole country to Sassanid and this field needs more excavation as far as the Sassanid are concerned.
Keywords: Sassanid, Groin Vaults, Fire Temples, Khozestan, Ilam, Peshtkooh in Lorestan.

Introduction
The biggest part of attention of the ruling perspective, spending huge budget of improvement, building magnificent cities, designing and building roads and buildings in Sassanid era, was devoted to the central territory, meaning Fars province. Founding big cities such as Goor (Firuz Abad), Shapurkhoreh (Bishapur next to Kazerun) and Estakhr signifies that the special attention being paid from the administrations to this area. Their predecessors, Achaemenian, had made their home and place to stay in Persepolis and Pasargadae. The area under study was taken to consideration with following Achaemenian but such causes such as keeping the throne away from western borders to maintain more safety, keeping more control over Persian Gulf and religious, racial and tribal motives were the main reasons of this attitude.
In the following study, the two sites of Khozestan and Ilam are scrutinized geographically and archeologically because of being situated in the same geographical crest. Although two zones of Islam Abad Qarb and Gilan Qarb, both located in Kermanshah province were forgone in order to establish a locale. Examination criterion has been set due to political divisions of the country. The study time expand is the Sassanid period and the population expand is the groin vaulted buildings (Chartaqi) as a practically religious structure. 

The Fire Temples and Groin Vaulted Buildings in Khozestan
Sim Band Chartaqi: situated in north east of Masjed Soleiman and on the road to Shahid Abbaspour dam.
Keikavus Chartaqi: located in North West of Behbahan within 20 kilometers distance in a village of the same name. The exterior and interior (dome) had been about 12 meters in height. The building’s height is about 10.5 meters and the walls’ thickness –being made of stone and mortar- is 2.40 meters. 
Kherabad Fire Temple: situated in east of Behbahan by 15 kilometers, it is overlooking the vast field of Behbahan. The bridge over the river is not visible from the distance.

The Fire Temples and Groin Vaulted Buildings in Ilam
Dare Shahr Chartaqi: In Seimareh valley, west of the archeological site which the locals call Plaster hills which is the progressive form of ancient buildings. (Lakpour, 2005: 86-127)
Julian Chartaqi: The remains of the ancient city, known as Julian in the mountain sides of Abdanan, one of the southern cities in Ilam.
Siahgal Ivan Fire Temple: It is located with a distance of 25 kilometers away from Ivan in Zarfeh, near the river Gangir and among the farming fields of the local people.
Moshgab (Sarableh) Fire Temple: in the ancient city of Sirvan or Shirvan in Moshkan Sarableh within 3 kilometers distance of Sarableh city.
Molab Chartaqi: This building which has been registered recently, is located in the east of Molab viledge with 5 meters in height.
Qajar fire temple in Dare shahr: This is one of the ruined buildings of Ilam which Wandburg introduced for the first time in 1977 in an article called the Chartaqi in Poshtkoh Lorestan in Iranica Antiqua and covered some more groined vaulted buildings of the region as well.
Tablkhaneh Chartaqi or Naqarkhaneh or Posh Erisht: This is built in a manner that the angels are oriented to agree with the compass. In 20 meters distance of the north east, the remains of some platforms are visible which can be signs of fire temples and holy fire.
Mayee Mah Chartaqi: Pashtil, is what remains probably from a compliment to a chartaqi. The dome and ceiling are almost gone and very little of the columns are left.
Koshk Qanifar Chartaqi: This one, also called Chahar Kaleh or Chahar pa is located within the distance of 12 kilometers Imamzadeh peer. It is in the form of square with the upper side of the dome, completely destroyed is currently now with 3 meters of height. The total height is about 7 meters.
Mehr-Varpeel Fire Temple: This construction was analyzed and studied in 1969 by Wanderburg during the fifth archeological excavations. It is situated on top of a hill, in 8 kilometer distance to the south of Mehr village.  
Changineh Fire Temple: It is located in the center of a village in 22 kilometers of south east of Ilam, called Chahnjiha. It is not a complete square and each side has a dimension of its own.
Se-pa Fire Temple: Wonderburg studied Ivan from Sartang to Daruneh in his studies in 1970 and found a fire temple called Sepaa.

Conclusion
The present study has been conducted and compiled base on a rather lengthy report on historical data and the remained buildings with groin vaults from the Sassanid period known by many writings as fire temples. The aim and purpose was to change directions in Sassanid studies from Fars province to other directions. West of Iran, especially the southern parts as centers of gravity for the Sassanid with other reigning classes of the west and this area was constantly and seriously threatened by them. The Sassanid could not ignore nor neglect the destructions from the west and insult on its total authority. Thus, the use of religious buildings and related ones was taken into consideration as a serious measure. This is just but some of the existing monuments left in the area and the more western provinces such as Kermanshah are added, the more significance is added to the area during the Sassanid period.
But the west and south west, located in the western borders of the kingdom, also enjoyed an imperative and strategic state as well. The area that is today called the provinces of Khozestan and Ilam in south west and Kermanshah in the west witnessed a great deal of constant upheaval between Iran and West (Greece and Rome) in a manner that just with the two kingdoms of “ASHKANI” and Rome in this area the conflict lasted about 300 years. That is why they (the Sassanid) could not ignore this very area. Constructing the fire temple in Izeh which is mentioned in a lot of historical and geographical documents is one significant example of such. If from the southwest crest to northwest, one can be taken into consideration and study, the Chartaqi built in Poshtkoh in Lorestan to Iran and Dare Shahr, to south and Khozestan, denotes the geopolitical importance of the region for Sassanid.