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
The tomb of Cyrus the Great, the founder of the Persian Empire, is one of the most important buildings of the early Achaemenid period in Pasargadae. The function of the tomb has changed over time, the most important of which is the transformation of it into a mosque in the Ataba-kan period and the construction of a miḥrāb inside the chamber of the tomb on the southern wall. In addition, the walls and stone surfaces of this building contain signatures of visitors, tourists, and pilgrims who have visited the building over time. Previous research has been done on the miḥrāb of Atabaki Mosque, but its inscriptions and memorabilia have received less at-tention. The purpose of the present article is to classify and identify the petroglyphs left on this tomb, which, as a result of a field study of all the motifs and lithographs, has been fully de-signed and documented. In the library study stage, all historical sources have been studied and, according to the inscriptions as well as the comparison of the signs engraved on the walls, each one has been studied separately. The following questions have been asked in this regard: What are the tomb’s oldest petroglyphs or inscriptions? Is there an inscription on the stone blocks of the tomb from the Achaemenid period? To which historical figures do the inscriptions on the tomb belong? The results of this research are the identification of more than one hundred in-scriptions and petroglyphs, the oldest of which are signs belonging to the Sasanian period. Many of the signs and inscriptions on the tomb belong to the contemporary era, which has led to the study of part of the historical course of this valuable building.
Keywords: Tomb of Cyrus the Great, Pasargadae, Memorial, Petroglyph.

Introduction
The tomb of Cyrus the Great has always been of interest throughout its life, and many people who have visited or lived around it have written inscriptions on its stone walls. From the com-mon people to European travelers and agents, Since many humans, animals, plants, and geo-metric motifs are engraved everywhere on the stones of the tomb of Cyrus the Great, a number of motifs were selected and studied from each category.
 The purpose of this article is to classify and identify the drawings, which were the result of a detailed study of all the stones in the tomb of Cyrus the Great. In the first stage, all the litho-graphs have been fully designed and documented, and in the next phase, by referring to the ex-isting books and documents, as well as comparative studies, he has analyzed and interpreted the lithographs and signs. The result of this research is the identification of more than one hundred inscriptions and engravings, the oldest of which are motifs belonging to the Sasanian period. Many of the motifs and inscriptions on the tomb belong to the contemporary era.
Azizi Kharanaghi and Ms. Salimi have studied the tombstone lithographs and one of the animal motifs of the tomb under the title “Pasargadae petroglyphs” (Azizi Khoranaghi and Salimi 2011). Also, Mirza Abolghasemi has already studied the Mihrab inside the tomb and the inscriptions on the columns and stone pieces under the title “Pasargadae inscriptions in the Islamic period” (Mirza Abolghasemi 2011). A comprehensive study of the signs on the tomb has not been done yet.

Inscriptions
On the stone blocks on each step, there are many inscriptions in Persian, Arabic, and Latin. Most of the themes are names, dates, prayers, and some poems, each written in a different size, style, and script. Many of these texts were written on top of each other; that is, at the point where the stone was flat, a text was written. After time and erosion, another person wrote the same text on the previous text.

Human Motifs
A scene of cattle grazing is carved on the stone blocks in the northwest corner of the tomb. In one part of this scene, two people are depicted standing with very light bodies. On the foot sur-face of the second platform on the south side of the building, a large number of engravings, in-cluding the face of a woman whose long hair is silver, by creating a line on the right side of her face and the left side by creating several parallel lines.

Animal Motifs
Most of the motifs are related to animals such as goats, sheep, and a number of dogs, which were probably created by cattle breeders and shepherds in later periods. The most interesting animal motifs that can be mentioned are the needle motif of five deer standing. The signs are created with shallow lines on the stone and some of the details of the animals’ bodies are finely silver-plated. These needle designs probably belong to the Sasanian period.

Plant Motifs
Five plant motifs are carved on the stone blocks of the tomb. The role of a flower with short stems and two oval leaves, which is very primitive and can be seen obliquely inside the tomb room and on the north walls, The wheat cluster on the blocks on the west side of the tomb, the role of a six-pointed flower on the platform on the north side, the role of a flower with a long stem, two leaves, and a very simple three-leafed flower, and next to it, the word Shirazi with number 39 on the third platform.

Geometric Signs 
Many different geometric signs can be seen on tombstones, including circles, squares, rhom-buses, and irregular geometric patterns that have been repeated over and over again. A marker for the qibla has been created in the southern corner of the third platform of the tomb with a diameter of 20 cm. The outer circle is about 20 cm in diameter and the inner circle is about 15 cm in diameter.
A square has been created in the western corner, the interior of which has been filled with inter-secting lines. Below this picture and attached to it, the two words “Action ------- Al-Hamdani” is written with a space between them.

Other Signs
Other motifs and works that can be mentioned are scissors, horseshoes, and instrumental mo-tifs. A grid square is one of the most notable works that has been seen several times on some of the petroglyphs.

Conclusion
In this research, the signs have been classified into six categories: more than 100 lithographs in Persian, Arabic, and Latin and 200 lithographs including human, animal, plant, geometric, and other signs have been identified. All the motifs and inscriptions identified in the tomb belong to the post-Achaemenid period. Given its style and subject matter, the needle motifs of the deer on the north wall of the tomb might belong to the Sasanian period. Some of the writings belong to famous people and officials from Iran and European tourists who have engraved their names or titles in Latin and beautiful script with history. The existence of a number of inscriptions and memorabilia of high-ranking officials and people shows the importance of this building in the Islamic periods. The present study has been written as a preliminary, and its supplementary studies will be published in the future.