Persian mythology in the context of "Avestan period"

The manticore or mantichore (Latin: mantichorās; reconstructed Old Persian: *martyahvārah; Modern Persian: مردخوار mardḫ(w)ār) is a legendary creature from ancient Persian mythology, similar to the Egyptian sphinx that proliferated in Western European medieval art as well. It has the face of a human, the body of a lion, and the tail of a scorpion or a tail covered in venomous spines similar to porcupine quills. There are some accounts that the spines can be launched like arrows. It eats its victims whole, using its three rows of teeth, and leaves no bones behind.

The Shahnameh is a long epic poem written by the Persian poet Ferdowsi between c. 977 and 1010 CE and is the national epic of Greater Iran. Consisting of some 50,000 distichs or couplets (two-line verses), the Shahnameh is one of the world's longest epic poems, and the longest epic poem created by a single author. It tells mainly the mythical and to some extent the historical past of the Persian Empire from the creation of the world until the Muslim conquest in the seventh century. Iran, Azerbaijan, Afghanistan, Tajikistan and the greater region influenced by Persian culture such as Armenia, Dagestan, Georgia, Turkey, Turkmenistan and Uzbekistan celebrate this national epic.

The work is of central importance in Persian culture and Persian language. It is regarded as a literary masterpiece, and definitive of the ethno-national cultural identity of Iran.

Rostam or Rustam (Persian: رستم [rosˈtæm]) is an Iranian legendary hero in Persian mythology, the son of Zāl and Rudaba, whose life and work was immortalized by the 10th-century Persian poet Ferdowsi in the Shahnameh, or Epic of Kings, which contains pre-Islamic Iranian folklore and history. However, the roots of the narrative date much earlier.

In the Shahnameh, Rostam and his predecessors are Marzbans of Sistan (present-day Iran and Afghanistan). Rostam is best known for his tragic fight with Esfandiyār, the other legendary Iranian hero; for his expedition to Mazandaran (not to be confused with the modern Mazandaran Province). He is also known for the story of his Seven Labours.

Avestan geography refers to the investigation of place names in the Avesta and the attempt to connect them to real-world geographical sites. It is connected to but different from the cosmogony expressed in the Avesta, where place names primarily refer to mythical events or a cosmological order.

Identifying such connections is important for localizing the people of the Avesta and is therefore crucial for understanding the early history of Zoroastrianism and the Iranians. Sources for such geographical references are exclusively found in the younger Avestan portion of the text, in particular in the Vendidad and several of the Yashts. The identification of these Avestan place names with real locations is often supported by comparisons with references made in later Iranian sources.

A daeva (Avestan: 𐬛𐬀𐬉𐬎𐬎𐬀 daēuua) is a Zoroastrian supernatural entity with disagreeable characteristics. In the Gathas, the oldest texts of the Zoroastrian canon, the daevas are "gods that are (to be) rejected". This meaning is – subject to interpretation – perhaps also evident in the Old Persian "daiva inscription" of the 5th century BC. In the Younger Avesta, the daevas are divinities that promote chaos and disorder. In later tradition and folklore, the dēws (Zoroastrian Middle Persian; New Persian divs) are personifications of every imaginable evil. Over time, the Daeva myth as Div became integrated to Persian mythology.

Daeva, the Iranian language term, shares the same origin of "Deva" of Hinduism, which is a cognate with Latin deus ("god") and Greek Zeus. While the word for the Vedic spirits and the word for the Zoroastrian entities are etymologically related, their function and thematic development is altogether different. Originally, the term was used to denote beings of cultural folklore which predate use in scripture.

A cosmic ocean, cosmic sea, primordial waters, or celestial river is a mythological motif that represents the world or cosmos enveloped by a vast primordial ocean. Found in many cultures and civilizations, the cosmic ocean exists before the creation of the Earth. From the primordial waters the Earth and the entire cosmos arose. The cosmic ocean represents or embodies chaos.

The cosmic ocean takes form in the mythology of Yazidism, Ahl-e Haqq, Alevism, Ancient Egyptian mythology, Ancient Greek mythology, Canaanite mythology, Ancient Hindu mythology, Ancient Iranian, Sumerian, Zoroastrianism, Ancient Roman mythology and many other world mythologies.

Mount Damavand (Persian: دماوند [dæmɒːvænd] ) is a dormant stratovolcano and is the highest peak in Iran and Western Asia, the highest volcano in Asia, and the 3rd highest volcano in the Eastern Hemisphere (after Mount Kilimanjaro and Mount Elbrus), at an elevation of 5,609 metres (18,402 ft). Damāvand has a special place in Persian mythology and folklore. It is in the middle of the Alborz range, adjacent to Varārū, Sesang, Gol-e Zard, and Mīānrūd. It is near the southern coast of the Caspian Sea, in Amol County, Mazandaran Province, 66 km (41 mi) northeast of the city of Tehran.

Mount Damāvand is the 12th most prominent peak in the world and is part of the Volcanic Seven Summits mountaineering challenge.

The phoenix (sometimes spelled phenix in American English; see spelling differences) is a legendary immortal bird that cyclically regenerates or is otherwise born again. Originating in Greek mythology, it has analogs in many cultures, such as Egyptian and Persian mythology. Associated with the sun, a phoenix obtains new life by rising from the ashes of its predecessor. Some legends say it dies in a show of flames and combustion, while others say that it simply burns to death and decomposes before being born again. In the Motif-Index of Folk-Literature, a tool used by folklorists, the phoenix is classified as motif B32.

The origin of the phoenix has been attributed to Ancient Egypt by Herodotus and later 19th-century scholars, but other scholars think the Egyptian texts may have been influenced by classical folklore. Over time, the phoenix motif spread and gained a variety of new associations; Herodotus, Lucan, Pliny the Elder, Pope Clement I, Lactantius, Ovid, and Isidore of Seville are among those who have contributed to the retelling and transmission of the phoenix motif. Over time, extending beyond its origins, the phoenix could variously "symbolize renewal in general as well as the sun, time, the Roman Empire, metempsychosis, consecration, resurrection, life in the heavenly Paradise, Christ, Mary, virginity, the exceptional man, and certain aspects of Christian life". Some scholars have claimed that the poem De ave phoenice may present the mythological phoenix motif as a symbol of Christ's resurrection.