Art in traditional, religious and ritual cultures is a suitable context for manifestation of theosophical (mystical), spiritual and narrative implications, thereby researching these artworks can lead us to the exploration of encoded content will and perception of symbolic meanings.The symbolic expression in ritual Dances is one of the most important branches of art studies that can be researched from sociological, religious and theosophical aspects generally as cultural studies, aesthetic characteristics and the contents of artworks.Ritual Dances are among the most attractive areas containing mystical, religious and narrative concepts in addition to having aesthetic aspects of movement forms which could be realized in consecution of time and space. They are formed based on different civilizations and mystical knowledge or narrative themes, mythology and history which, in some instances comprise similar meanings as it seems the same meaning is expressed in two or more forms.The important thing here is the presence of diversity in forms of shapes and aesthetic aspects of expression to manifest the meaning.Art, as the most beautiful form of expression could provide the greatest appearance for manifestation of meaning and the intention of artist.Most of the religious, sacred and traditional art due to the dominancy of content over appearance, have found symbolic and mystic expression; these symbolic characteristics, per se does not resemble art symbols but beyond this, the symbolic features must convey artistic concepts not only in gestures and movements but also in writing as well. The conceptual function of these symbolic and metaphoric features in form and appearance is considered merely as a subordinate affair, otherwise the intention and purpose of the artist could not be emerged at higher and transcendental level. This rule applies in all areas of the arts, especially Dance and music.The Shiva Dance in India and the Sufi whirling Dance among the followers, comprise a set of movements with aesthetics features both arisen from their equilibrium with nature, as these two Dances in from and shape are categorized as cosmic Dances so that the mystical concepts are associated with their contents, although in terms of appearance they are quite apart from each other.This article is based on the premise that such a ritual Dances as Shiva Dance and Sufi whirling Dance despite appearing in different times and places and having distinct characteristic features in appearance both express a common fact and reality which represent symbolic and mystic characteristics with conceptual and celestial contents.

Sufi Dance is an exciting Sufi rite, which has been prevailing among the Sufis since the third century and a wide range of gnostic literature has been assigned to it. The gnostic Sufi literature, besides depicting different scenes of Sufi Dance, contains several points about ontological, behavioral, epistemological, psychological and aesthetic aspects.Gnostic music and songs, movements, rotating, dancing and stitching of Sufi garment are among the main components of Sufi Dance.Given the pivotal role of theology and ontology in mysticism and mystical experiences, the present paper is an attempt to discuss ontological aspects of Sufi Dance and its symbols.

Among the paintings and works found in historical places one can get familiarized with the ancient Persian culture and traditions. What catches the eyes among such paintings are ceremonies where one witnesses Dances.The purpose of this article is to investigate various aspects of such Dances. Then Sama which is regarded as a Sufi Dance is dealt with. In the course of history these two styles of Dances had some significance and by tracing ceremonies and feasts given by Royalties and the Sufis one can infer subtle points, but in Masnavi also there are some references to this subject. Mowlana had particularly held high regard for Sama in sufi ceremonies.

Sama is one of the pillars and accepted principles of mysticism and religious acts. In Sufism training adoption of mysticism is without any cause and at least to believe such a basic point it is somehow difficult so that it follows to ponder upon with the disciple beliefs in the field of action. This paper tries to explore the identity of sama (whirling Dance), its history, meaning of Sama to Rumi, its relation with dynamic and static provocative sama, the rules of sama movement to Rumi, and his followers, and the relation of motion with the soul and mind of sama Dancer.

From the mythological era on, the myth emergence and impact has been an undeniable face from many different viewpoints in human being living expenence. Further to making myth and mythological rituals known, in this paper, it has been strived to rise and impactas a ritual in mystic Semaa inserted in Persian chosen mystic prose up to the seventh lunar century.Moreover, among so many ritual manifestations, Dance and Semaa, as a common category between two other ones: myth and mythices, has been put under the scrutiny in the light of human beings collective unconscious, which knowingly or unknowingly has obtained a relatively common output in myth and mystic texts.