Abstract
The composition of music and poem has leaded both of them to poetical growth and deep thinking. Sasanid civilization had penetrated in to the pillars of the society in Abbasid period, and music found an important place as one of the symbols of Sasanid civilization. Poets in Abbasid period have  created lovely images by musical instruments. In this way, Abu Nawas was a poet who showed his power in creating poetical images by musical instruments. He was able to mix music with human feeling. He knew music as a doleful tune and delightful melody which rises up of the soul of musician, it did not come from a strict string, or a lifeless wood (stick). In his poems, he mentioned some of the instruments; Lute and Flute and Harp, Tambourine and Tanbur and Mizmar were the most important among them.
Keywords: Iranian Music, Abu Nawas, Sasanian Period.

Introduction
Music of Sassanid and Abbasid era: The history of musical performance in Sassanid Iran is, however, better documented than earlier periods. This is specially more evident in the context of Zoroastrian ritual. By the time of Xusro Parviz, the Sassanid royal court was the host of prominent musicians. In general, the period of Xosro Parviz reign is regarded as an “golden age of Iranian music” and himself is shown in a large relief at Taq-e Bostan among his musicians and himself holding bow and arrows and while standing in a boat amidst a group of harpists. The relief depicts two boats and the whole picture shows these boats at “two successive moments within the same panel”.
 The musical instruments which appeared distinctly on the Sassanid sculptures were the harp, the horn, the Daf, the drum and the flute or pipe. The harp is triangular, and has seven strings; it is held in the lap, and played apparently by both hands. The drum is of small size. The horns and pipes are too crudely represented for their exact character to be apparent. Concerted pieces seem to have been sometimes played by harpers only, of whom as many as ten or twelve joined in the execution. Mixed bands were more numerous. In one instance the number of performers amounts to twenty−six, of whom seven play the harp, an equal number the flute or pipe, three the horn, one the drum, while eight are too slightly rendered for their instruments to be recognized. A portion of the musicians occupy an elevated orchestra, to which there is access by a flight of steps. Music is one of the most important factors in the Sassanian Persian civilization. Unfortunately, there is no note left from that period about their melodies. Thus, we are not able to become familiar with the theory of music in these periods.
Abu Nawas, an innovative poet: Innovative poets in the beginning of Abbasid era changed the contents of Arabic poetry. It is exclamatory that the leadership of this innovativeness belongs to Iranians. Bashaar, Abu Ataaie, Abu Nawas are the initiators of evolution in Abbasid poetry and they are called as the modernists of Abbasid Period.
Musical instruments in the poems of Abu Nawas: The names of musical instruments in Abu Nawas’ poets are mixed with his poetic emotions. For Abu Nawas, these instruments are not a set of strings or woods to be mentioned in the poem, rather he connects his emotions with these instruments. He vitalizes them. He perceives them their sound as human emotions as he blows in them or plays them weather in mood of euphoria or illness.
Lute and Flute: Lute is also called Barbat. It is an old instrument which is called Mezmer by Arabs and it is considered the best and the most joyful instrument. It is said that: they asked Lute, “is there any instrument better than you?” It answered “No”, while he bent his head to the back and stayed that way.
Harp and Daf: Literary, harp means paw and it is the name of a popular instrument or the name of anything which is bent. Harp is made by zinc. Hitting two of them together makes it sing. In Hindi they call it Jahanche. In Persian, Daf is the name of a popular instrument. In Arabic it is called Dof. Daf has a circular shape and it is made by wood, covered by animal skin. In some of its parts, rings are attached to it and this instrument is very precious for Dervishes.
Tanbur: Tanbur is a Persian musical instrument which has entered into Arabs culture. Originally this instrument was called Danbare in the beginning. Its bowl and surface was smaller than the bowl and surface of Shervanian Tanbur and it surface was flat and smooth.
Mizmar: It is said that Mizmar is a reed or it is lute and also it has been referred to as Barbat. It has been called Mezmar by concise which means Trachea. Mazaamir are burnt reeds. Paluarr form of Mizmar means Trachea and in Arabic, it means the puluarar form of singers’ instruments.

Conclusion
Last words: Abu Nawas, a modernist poet of Abbasid period, is an Arab poet (originally Persian) who has created new and beautiful concepts and images based on the culture and civilization of Sasani. This concepts and images include Iranian instruments and melodies of Sasanid period. Reed, Lute, Harp, Daf, Tanbur, Mizmar are mentioned in Abu Nawas’ poetry. Among this instruments, Reed and Lute are two mostly been mentioned together. An important point to mention about these instruments is their vitalization by the poet. These instrument are not only names to be used to describe the event or report the lifestyle of that period, they have been used as symbols to show us the joy of living, by imagination and vitalization of the instruments. Abu Nawas’ proficiency in Arabic language, his knowledge of Iranian culture and Sasanid music, enabled him to create new images and meanings and granted him a special place in Abbasid period.
 

Abstract
Greater Khorasan, which is now divided into six countries, in addition to its geopolitical importance, have great historical importance due to the formation of the Parthian State and then the powerful presence of the Sassanid Empire along with the expansion of territory and protection of borders against the invasion of the Eastern nations. Despite these reasons, there is little information on past events in the area in the historical and archaeological sources. Iranian Khorasan occupies a large part of the northeast and east of the country. Archaeological survey in the middle part of the Kopeh Dagh-Ala Dagh corridor in northern Khorasan has identified various sites from the Parthian and Sassanid eras. Among the identified ancient sites, sixteen architectural structures were identified in the form of a fort. Recognizing the differences and similarities between the architecture of the forts with each other and then comparing them with other similar examples inside and outside the borders of Iran, led to a better understanding of the fort-building styles and their grouping in this region. In this research, in addition to identifying forts and recognizing their architectural features, using remote sensing, ecological studies and the type distribution of forts from each other. This article emphasizes the socio-political role of the study area as the last border access to the central plateau of Iran.
Keywords: Northern Khorasan, Kopeh Dagh-Ala Dagh Corridor, Tappe-Ghaleh & Forts Parthian, Sassanid.

Introduction
To understand the cultural developments of the Parthian and Sassanid communities in the northern region of Khorasan, it is important to know the nature of the settlements of this period. In written sources, Greater Khorasan is often depicted on the northeastern edge of the civilized world. This region has always played a dynamic role in ancient times due to the function of the pathway and the connection of the East to the West in the field of population movement with the entry or invasion of nomadic tribes and cultural exchanges. The origin and emergence of the Parthian state, the development of eastern territories and the control of borders and communication routes, and the monitoring of trade were other reasons for the importance of this region during the Parthian and Sassanid eras. These subjects had caused the geographical-political-administrative boundaries of the two governments in Khorasan to be constantly changing.
Aims and Necessity of the Research: Typology of forts of Parthian and Sassanid historical periods in the middle part of Kopeh Dagh-Ala Dagh corridor is part of the purpose of writing this article, in addition to the identification of architectural styles and their comparison with other simultaneous examples in the territory of these two governments. The function of forts and their role in the socio-administrative structure presents their historical context and also highlights the importance of the studied geographical area in the political-governmental structure of the Parthians and Sassanids.
Research Questions: What are the architectural features of the forts during the Parthian and Sassanid eras? Is it possible to provide a relative chronology for forts based on architectural features? Did the form and shape of the forts affect their functional role? What was the position of the studied geographical area in the Parthian and Sassanid historical governmental structure?
The middle part of the Kopedagh-Aladagh corridor is located in the northeastern part of Iran and northern Khorasan and is based on the political divisions include the cities of Farooj and Shirvan in North Khorasan Province and the city of Quchan in Khorasan Razavi Province. 
The first systematic survey was conducted in 1977 in the Upper Atrak area (from the western part of Quchan to Shirvan). Archaeological studies have been re-conducted by the author in the last two decades in the middle part of the Kopeh Dagh-Ala Dagh corridor. These studies led to the identification of various sites from the Parthian and Sassnid periods. These studies led to the identification of various sites from the Parthian and Sassanid eras. Sixteen architectural structures were identified in the form of forts. Recognizing their architectural features, differences, and similarities with each other and then comparing them with other similar examples inside and outside the borders of Iran, led to a better understanding of forts construction styles and their categories in this region. By studying the characteristics of forts, they can be divided into two groups according to their geographical location. 1- Mountain fort: Two mountain forts are located on the northern and southern slopes of the Middle Mountain Valley. The position of these two sites is very significant because they had complete control over the opposite plain and the surrounding area. 2- Plain forts: As it is clear from the title, this group of forts is in the plain but based on their physical characteristics, they are divided into three subgroups: a) single forts. b) a fort with a non-enclosed settlement area. c) enclosed settlements. All the structures introduced in the three groups of plain forts, despite the differences, also have common points with each other, which indicate the existence of a common style of architecture and its continuation from the Parthian to Sassanid period, and the differences can indicate the different functions of these structures.
The eastern borders of the territory of the Parthian and Sassanid governments have been one of the main gateways for the invading tribes such as the Scythians, Khyuns, Heptalians, etc. These attacks often occurred from three entrances. 1- Merv route to Mashhad-Neishabour, 2- Herat route to Taybad-Neishabour, and the third route was crossing the northern margin of Kopeh Dagh and entering from Gorgan to the central plateau of Iran.  But in northern Khorasan, the Kopedagh mountain range, as a natural wall, has been part of this defensive system. The Kopeh Dagh-Ala Dagh corridor in the east-west direction has been a geographically enclosed and closed area between two wide areas, namely the Akhal plain in the north and the central plateau of Iran in the south. Therefore, due to this natural feature, it has played a deterrent role against the direct attack of the invading tribes on the central plateau of Iran.

Conclusion
By studying all the conditions affecting the subject of political-administrative, economic-social and military structures in the middle part of Kopeh Dagh-Ala Dagh corridor, it can be concluded that this region, in addition to having relative military security, economically meets the needs of the region’s inhabitants (although it was independent, but politically it had to be under the tutelage or part of one of the satraps of its time. Perhaps it can be argued that due to the density of Parthian and Sassanid castles and sites on the southern slope of Kopeh Dagh, especially their density in front of a passage in the north of Farooj city, was due to a political and administrative relationship with a city in the north of the region. According to archeological excavations and historical sources, the two important cities of Nisa and Merv from the Parthian and Sassanid periods in the north of this region have been the political center of the region. On the other hand, based on the interregional route, the northern and southern parts were interconnected, so the region may be politically subordinate to one of the two states of Parthia or Merv, depending on the time and government.

Abstract
Studying architectural decorations in public buildings leads to identifying the artistic features of the buildings and also representing the interests of their builders and ordinary people. Bathhouses are public buildings with special importance in Persian culture. They were also among the most important urban buildings after the Islamization of Iran. The reason for such special attention is the sanctity of water and the significance of washing ceremonies among Persians. Sanandaj city had been traditionally one of the cleanest cities in Iran and a proper resort for nobles and government officials. This study uses a descriptive-analytical method and adopts a historical and comparative approach. The data was gathered using field and library research methods. The research questions are (1) what were public and governmental bathhouses during the Qajar dynasty and who were their builders? (2) What kind of decorations were mostly used in these bathhouses? (3) What architectural motifs were used in these bathhouses? The main objective of the current study includes studying prominent public and governmental bathhouses ad their decorations during the Qajar dynasty. The results indicated that a large portion of the decorations for changerooms, washrooms, and rinse rooms are composed of ornamental elements, such as lime work, tiling, and wall paintings. The decorative motifs include pictures of animals, plants, geometrical shapes, tools, and celestial bodies. Plant and celestial motifs are composed of arabesques indicating plurality in unity and unity in plurality. Animal motifs include lions, dragons, birds, goats, eagles, peacocks, and snakes, indicating the victory of right over wrong and a sign of justice. Therefore, the symbolic meaning of these motifs is common for all bathhouses during the era.
Keywords: Bathhouse, Decorations, Sanandaj, Qajar, Lime Work, Tiling.

Introduction
During the Islamic period, decorations were very common in Iran, and they developed based on the technology of each era. Architectural ornaments are an inseparable and a major part of Islamic era architecture (Maki Nejad, 2009:97). Reviewing the ornamental motifs used in architecture can lead to common meanings the builders used to form their social interactions. By meeting more than physical needs, these spaces contained a lot of meaning and represented rituals and, consequently, culture. Since these motifs originated from human interactions with the ambient environment based on collective and ritual activities, they are categorized as ritual scenes (Mansouri, 2013:5). Among these spaces, bathhouses were of special importance and regarded as one of the most ritual spaces in cities and a place for social exchange, as well as their services and public functions (Nahrfruzani, 2019:36). Traditional baths, known as bathhouses, are recognized as historical monuments with tangible cultural heritage value due to their special architectural design, stucco, and paintings with literary, mythological, and religious motifs (Omidvar & Razmjooie, 2019:492). Evaluation of motifs in architecture-related ornament is a researchable feature for these bathhouses. Lime works and especially tiling created a pleasant and eye-catching environment with various plant, animal, and human motifs as well as their insulation function (Mansouri Jazabadi & Hosseini, 2016:104). This paper seeks to assess Sanandaj bathhouses during the Qajar dynasty and describe their major ornaments. The author tries to outline the tiling and lime works used in the bathhouses of Sanandaj and describe their semiology. Bathhouses were important buildings due to the special attention of Iranians to cleanliness and their various social and cultural functions. Bathhouses are related to Iranian cultures in different aspects, and their historical architecture and cultural features are a part of the cultural and regional identity of those people. To this end, the current study adopts a descriptive-historical-analytical-comparative approach to describe the decorations (motifs) used in prominent governmental, private, and public bathhouses during the Qajar dynasty. The field study data were gathered by photography and sketching the pictures and how they were painted and analyzed using library references. All collected data were ultimately analyzed.

Data
Public Bathhouses: From a structural aspect, public bathhouses usually have flexuous inlets leading to changerooms. The bathhouse reception was located at a corner in the changeroom (Zandi et al., 2017:3). Public bathhouses were naturally separated from residential buildings, and people paid a fee to use the facility. However, nobles might pay a higher fee to use the facility privately (Wills, 1989:372). Some public bathhouses of the Qajar dynasty include Khan, Salahi, Khalife Fattah, and Shoja Lashkar. Khalife Fattah and Shoja Lashkar bathhouses are located in Sanandaj currently without any decorates, and it seems unlikely that they had any decorations (lime work and/or tiling) during that era. For lime works in the Qajar era, plant, geometrical shapes, and animal motifs, especially peacocks and birds-of-paradise, were decorating the bathhouses. Unlike the previous era, tiling was not limited to mosques, tombstones, and khanqahs during the Qajar dynasty, and it was employed to decorate palaces and mansions of nobles, city gates, and government symbols. Furthermore, traditional patterns are mixed with realistic iconography and illustration (tiles with flower and leaf motifs and vase designs) in the tiling, conveying a kind of vitality and life (Farie, 1995:291).
Private and Governmental Bathhouses: Built inside or adjacent to a residential building, private bathhouses were only used by nobles. These bathhouses were the fourth area of noble houses, in addition to the exterior, interior, and den (Roshevar, 1999:206). However, some private bathhouses were used by the public with or without paying a fee. Private and governmental bathhouses of Qajar include Mollatafullah Sheikhul Islam, Asif, Moshir Diwan, and Khosrowabad.

Discussion
Each architectural work can be analyzed based on different underlying reasons for creating such a work. Each reason can establish a part of the process and implication of the building. Lime works and tiling are decorative elements and an inseparable part of Iranian-Islamic architecture that was used in most buildings during the Qajar dynasty. Based on the research on public and governmental-private bathhouses in this era, the decorations can be categorized into three different themes: politics, religion, and symbols. Regarding the nature of tiles and lime works in bathhouses, the motifs manifest the features of Qajar art, and they represent Qajar identity and culture. Decorations such as tiling and lime work were very common in public bathhouses. In private bathhouses, such as Mollatafullah Sheikhul Islam, Asif, Moshir Diwan, and Khosrowabad, decorations were mostly lime work, and simple turquoise and yellow tiles were only used for dadoes. The theme of each motif in bathhouses referred to ancient Persia. Mollatafullah Sheikhul Islam and Khan Bathhouses are different due to the difference between the demands and expectations of their customers. Therefore, Amanullah and others tried to showcase their power and social status in their private bathhouses, and so they put their name on the building to last forever. However, private bathhouses tried to recognize justice and righteous judgment among people. Private bathhouses tried to keep the connection between the government and the people. The raised platforms in some public bathhouses, such as Khan, and the material used to show the structural glory and majesty of the building tried to implement urban development policies in important regions, especially downtown.

Conclusion
The analysis of decorative motifs in the Qajar bathhouses of Sanandaj showed that these bathhouses were either private-governmental or public, and the decorations were in the form of lime work or tiling. Regarding the function of the studied bathhouses, it should be noted that what distinguishes public bathhouses from private ones is the space, dimensions, and privacy of the users. Some public bathhouses, such as Khan, are more glorious than others. The architectural principles are perfectly conformed. The builders of public bathhouses tried greatly to achieve their goals, be with people, and support them. Their efforts are manifested in different places of the bathhouse in the form of engraved decorations and symbols. Therefore, although bathhouses are structured and built under a specific dynasty, the method and vision of builders significantly affected attaching spaces and even the construction material. Most decorations and motifs referred to people’s life and aimed to induce peace of mind in people. Tiling in public bathhouses is very beautiful, with diverse motifs, including animal, geometric shapes, and plant pictures. However, the tiles in private-governmental bathhouses are simple, without any motifs, and in yellow and turquoise. In all bathhouses, the lime works are covered with geometric shapes, plants, and animals on walls. The plant motifs are composed of arabesques indicating plurality in unity and unity in plurality. Animal motifs include lions, dragons, birds, goats, eagles, peacocks, and snakes, indicating the victory of right over wrong and a sign of justice. Therefore, the symbolic meaning of these motifs is common for all bathhouses during the era.

Abstract
Persian literature, either in its oral or written forms, is full of pure myths which arise from the depth of human nature. And in order to understand human civilization better it is required that Iranian myths which have gained universal form today. Therefore, Jamšid’s myth (including Freydun’s era) has been considered as Iranian paradigm-myth In Persian literature domain and has been compared to its Egyptian and Indian equivalents. Narrative style of Jamšid’s myth is significantly similar to that os Osiris’s myth. Also its narrative Equivalent could be fragmentarily found in the fight between Indra and Veritra and also between Trita Aptya and višurpe. In this study, instead of a mere narrative comparison, it has been tried to consider the formation aspect of these myths regarding the centrality of the Iranian myths and based on the nature-mythology Approach. So, these myths have been studied in three parts, namely water, the sun, and water and light with regard to elements of nature, in particular the natural phenomena so that their common formation aspects could be properly cleared.
Keywords: Jamšid, Freydun, Osiris, Indra, Nature-Mythology, Water, The Sun, Light.

Introduction
The myth of the fight between Jamšid, Freydun and Garshāsp with Zahhāk and the story of Kāve Āhangar’s lawsuit that led to Kāve’s uprising can rightly be considered as the paradigm-myth of Iran. In other words, this myth is the only myth that contains the essence of Iranian thought, including: the conflict between the two forces of good and evil, chaos, light and darkness in nature, history, and human life, to Iranian mythological optimism, which means the victory of goodness at the end of the world with the killing of Zahhāk by the brave Garshāsp, as well as the character of individualization and personification of single concepts and corporeality to the extent that it is difficult to distinguish a myth from a legendary or historical character. This myth includes the history of Iranian thought from the Indo-European era and the independence of the Iranian branch to the present time. Therefore, it is not possible to reconstruct the history of this thought only by knowing the ancient Aryan texts, because this myth is still dynamic and alive due to the richness of thought and the ancient pattern of anti-tyranny, and it can be traced to the present time.
On the other hand, looking at the current state of the science of mythology and also looking at the latest theories related to the explanation of the nature of myths and legends, folk tales and legends, perhaps regarding the origin and origin of these narratives, the school of “nature-mythology” considered one of the most important schools of opinion in this field. This is the approach based on which this research will discuss the components of the myth of Jamšid, Osiris (as an Egyptian paradigm-myth) and Indra (as an Indian paradigm-myth). This school has basically flourished in Germany and the scientists who follow this school claim that primitive people paid a lot of attention to natural phenomena and the nature of this attention and interest is theoretical, contemplative and poetic. Based on this, primitive men weave poetic imaginations by interpreting and explaining the houses of the moon or the regular but changing movement of the sun in the sky. According to the followers of this school, the center of every myth or the reality that the myth deals with is a phenomenon of nature that has permeated the body and soul of the story.
Some of the followers of this school have this eclectic view that primitive man created his myths by mixing celestial objects and natural objects. This approach seems much more reasonable than the other approaches of this school and provides the freedom of action of the mythologist or researcher in a better way, and based on it, even the intensity and weakness of primitive man’s attention to natural elements can be justified.

Discussion
Our view in this article is more in line with this approach. Of course, one should be aware that the naturalist theory may neglect the cultural function and move in a direction that ignores many other components. In fact, it should be noted that before human imagination is idle, myth is a very important cultural force whose influence is well evident. Regarding this point, although this is not the opportunity to deal with cultural influences, but based on this, human culture can be divided into two parts, moon culture and sun culture (and of course, a combination of the two) based on its manifestations. In the ancient symbols: Maghrib (left), moon, femininity, [cow, earth,] night and rain on the one hand, and Mashriq (right), sun, day, masculinity [lion, snake] and summer are mixed together on the other hand. In this research, it has been tried to examine these two cultures with the focus on their most central element (in three sections with the theme of water, sun, and water and lighting; in addition to the sub-sections related to each section) and analyze them in the discussed mythology. Based on this, in the culture of the moon, water and rain should be considered the most vital element, but in the culture of the sun, the sun itself is the most vital element, and in the body of the article, we will deal with each of them in a systematic way.

Conclusion
In this research, the discussed myths have been examined in four sub-branches from the approach of nature-mythology, i.e. from the point of view of moon-thinkers, sun-thinkers, atmosphere-thinkers and eclecticisms, focusing on the latter sub-field. What we learned from this research about the origin of the mentioned myths, clarifies the point that they should not be definitively attributed to one of the origins and consider it sufficient to explain and understand the researched myths, but the common images that appear in all they can be seen and should be the basis of work in reviews. Based on this, although we cannot show the original origin with certainty, the image that is the common product of all of them, i.e. the cause of all the mentioned myths, can be shown, and that common image is nothing but the cycle of nature and, as a consequence, the cycle of life. , such as the cycle of sunrise and sunset, spring and autumn, the cycle of the moon in its homes, the cycle of water and drought, the cycle of light and darkness, the cycle of life and death, etc., which are prominently expressed in these myths: Osiris was killed by Set and in Horus is born, defeats the enemy and becomes another Osiris; Jamšid is killed by Zahhāk and is reborn in Freydun, he defeats Zahhāk and becomes another Jamšid himself; The same is said in the Indian equivalent. Also, the most important finding of this research, which was obtained with the focus of Iranian mythology, was to show the remarkable similarity of the mythological thinking of primitive people with poetic thinking, with examples of Iranian poets, the main reason of which should be found in their common source of inspiration, which is nature.

Acknowledgment
Special thanks to the good opinion of the respected referees and the publication who took the trouble to judge the article.

Conflict of Interest
The author declares that there is no conflict of interest in this research.

Abstract
The concept of “manifestation” (Tajalli) is one of the fundamental concepts of Islamic wisdom and mysticism, which has its roots in the Holy Qur’an and the traditions of the innocents (peace be upon them), and from this passage, it enters the tasteful language of Muslim mystics, especially Ibn Arabi, pay special attention to it. they do. With this description, since the issue of manifestation in art finds a special place in mystical discussions and since one of the basic principles of the art of calligraphy is indeed “refinement” (Sh’an) and until the rust is not removed from the heart and refinement is not achieved, an image in it will not be manifested; Therefore, it seems that through the expression of this concept of manifestation, a close bond is established between mysticism and calligraphy. Based on this, the current research has tried to answer these two questions: 1. What is manifestation and what is its place in our sacred and mystical texts? 2. What is the relationship between manifestation and the theoretical foundations of Islamic calligraphy, especially “refinement” and “dignity” (Safā)? In order to reach a clear answer to these two questions and to establish a bridge between mysticism and Islamic calligraphy and to find the mystical dignity of “manifestation” in it, therefore, first the meaning of manifestation in religious sources such as verses and narrations was discussed and then in mystical texts (according to Ibn Arabi and mystics before him) has understood its meaning. In the following, the category of sanctity in calligraphy is discussed and based on the twelve principles governing it (according to the text of Babashah Isfahani’s Adab al-Mashq), the connection of “manifestation” with “refinement” and “dignity” in Islamic calligraphy and its relationship with its beauty (Hosn) is examined.
Keywords: Manifestation; Principles of Refinement and Dignity, Islamic Calligraphy.

Introduction
The fact is that there are not many sources about the wisdom of the origin of calligraphy and the investigation of its intellectual foundations among different Islamic nations. Therefore, there is no escaping the issue of having an opinion on the intellectual foundations of some Islamic sages and thinkers, although of course they have not directly addressed this specific issue and their talk has always been art in general. But what stands out more than anything else in the study of the wisdom of Islamic art is its wealth of terms such as intuition, presence, manifestation, imagination, discovery, dignity, love, etc. These terms find a special place among great people such as Suhrawardi, Ibn Arabi, Mulla Sadra and others. Meanwhile, the issue of “manifestation” in art has a special place in his mystical discussions. Therefore, it seems that since one of the very important principles of calligraphy (among its twelve principles) is indeed “dignity” - and a special meaning is meant by it and it is the foundation of the next stage, namely “dignity” - there is an inseparable relationship between mysticism and Calligraphy is in place. Therefore, the main preoccupation of this article is to find convincing documents and proofs related to the keyword “manifestation”, both in sacred and mystical texts and in texts related to calligraphy, to prove the mentioned claim. Based on this, the present research pursues two specific questions: 1. What is manifestation and what is its place in our sacred and mystical texts? 2. What is the relationship between manifestation and the theoretical foundations of Islamic calligraphy, especially refinement and dignity?

Discussion
Holiness has a long history in Islamic calligraphy. Undoubtedly, calligraphy has taken its sanctity from the Qur’an, which, as the first and most glorious Islamic art, has actually been the closest companion to the Word of Revelation. References in the Holy Qur’an such as “Nun. By the Pen and the [Record] which [men] write” (Qalam, 1) and the use of words such as tablet, pen, chair, line, cut letters, etc. also confirm this sanctity. Calligraphers in this position, knowing this sanctity, pay attention to the beauty of their handwriting so that the truth hidden in words is not hidden in the image form of calligraphy and is revealed in the best way. Calligraphic writing is not the same as calligraphy, but it implies a meaning, and the external role is to express a hidden role. Rumi has mentioned this in this regard: “No calligrapher writes line by technic/ The same line is not readable” (Rumi, 2013: Book 4). On the other hand, the wisdom of Islamic art, with its mystical base, is full of terms such as intuition, presence, manifestation, imagination, discovery, dignity, love, etc., which cannot be expressed and interpreted except with the language of judgment, and the audience as well. If he is not familiar with this language, he will not be able to understand it. With this description and according to the opinions of Islamic mystics - the most important of which was given in the first part of this research - the manifestations of holiness in the lives of Muslims are revealed. By generalizing his opinions to the field of religious art, Islamic art and sacred art, we can find the mysteries in Islamic calligraphy. The juxtaposition of the old popular myths with the opinions of Islamic thinkers, symbols, codes and its influence on Sufi intellectuals and popular culture, all lead to the discovery of relationships that show the sanctity in this art more than ever before.

Conclusion
The current research has clearly sought answers to two questions: 1. What is manifestation and what is its place in our sacred and mystical texts? 2. What is the relationship between manifestation and the theoretical foundations of Islamic calligraphy, especially dignity and dignity? In order to reach a clear answer to these two questions and establish a bridge between mysticism and Islamic calligraphy and find the mystical dignity of “manifestation” in it, the meaning of manifestation in religious sources such as verses and hadiths was first discussed. We saw that in this regard, this concept occurs in the most obvious way possible in the noble verse 143 of A’rāf, which is known as “the manifestation verse”. With this meaning, it is from manifestation that the divine names and attributes appear in the world and explain the nature of God’s relationship with his creatures. In addition to the Qur’anic verses, in many Islamic traditions, relying on those verses, especially “the manifestation verse,” God’s relationship with creation is mentioned, especially in sermons 108 and 147 of Nahj al-Balagha, where God manifests himself to his creatures, without them seeing him. And this is where the difference between manifestation and incarnation in Christianity is established. In addition to verses and traditions, this concept finds a special place in mystical texts, especially Ibn Arabi, which is one of the pillars of answering the above questions. Of course, with the mystics before Ibn Arabi (such as Hasan Basri, Rozbahan Baqli, Bayazid Bastami and others), manifestation has an intuitive meaning, meaning that the seeker goes through the states and mystical Authorities one by one with the intuition of the actions, attributes and nature of the Supreme Being. According to Ibn Arabi, a metaphysical (existential) meaning is also meant by it, which explains the system of existence and the way of connecting truth and creation and the connection of the world of multitudes with the absolute unity of truth. While discussing this concept, Ibn Arabi discusses the heart, which is the bearer of divine manifestations, and maintaining its dignity is the duty of the seeker, so that the heart does not have dignity, and the names and attributes of the Most High do not manifest on it. The existential meaning of manifestation according to Ibn Arabi is that for the appearance of different levels of beings, the existence of the absolute one must be determined through manifestation. In the manifestation of absolute existence, the general image of single existences emerges, which he interprets as “Khams”. These gentlemen are the bearers of God’s manifestation, and according to that, the world of the kingdom is the manifestation of the world of the kingdom; The world of the kingdom is the manifestation of the world of strength; The world of strength is the embodiment of the world of nobles; The world of nobles is the manifestation of the divine names (Vāhediat) and the unity is the manifestation of unity. Thus, man has the ability to be the embodiment and full-view mirror of the existence of truth and manifest his truth in the mirror of the human heart. It is from here that we can enter into the discussion of Islamic calligraphy and its connection with manifestation. Apart from the issue of sanctity of calligraphy in Islamic culture, which on the one hand is based on its connection with the writing of the Qur’an and on the other hand, from some Qur’anic verses, referring to texts such as Adab al-Mashq by Babashah Esfahani, in which he enumerates twelve principles for good calligraphy, the eleventh principle It, i.e. “refinement” clearly has a mystical element and is derived from the eternal quality of the human heart according to the likes of Ibn Arabi, to the extent that it manifests itself in the rusted mirror of the human heart. Therefore, “dignity” with all its mystical meanings in the basic form of the principles of calligraphy and is described as a stage that polishes and refines the heart to manifest or reflect the goodness of God, and the sincerity of the word is to say Sultan Ali Mashhadi: “The dignity of the line is the result of the dignity of the heart”.