Native people of Iran, before Aryans, had a matriarchal culture. They used to worship the Great Goddesses. After inhabiting in Iran, Aryans adopted the belief in goddesses. After the advent of Zoroastrianism, belief in goddesses were rejected, but latter this belief reappeared once again in Mazdaism. After studying matriarchy in ancient Iran, in this article we try to study functions of two important and famous goddesses, Anahita and SEPANDARMAZ, in ancient culture of Iran.

Most of the old celebrations and rituals have their roots in ancient myths; they are indeed reflections of the beliefs of a people who lived in a particular milieu and at a particular time. "Teer-mah Seezzehshoo" descends from the ancient Iranian grand celebration of "Teergan"; it is still celebrated in the north of the country, especially in the northern Iranian province of Mazandaran.The author of the current article will try to demonstrate the relation between "Teer-mah Seezzehshoo" with some other Iranian mythological stories such as archery myth of Arash, Afrasiyab, SEPANDARMAZ, etc. which have close associations with water and greenery of the north of Iran.

Worship of the mother goddess is one of the deepest beliefs in the minds of various nations and peoples throughout human history. Ancient civilizations such as the Iranians and the Turks have long had this religion and the beliefs and customs related to this myth still remain in the culture of these tribes; considering the closeness of the cultural and historical background of Iranians and Turks, a study on their mythology can  give us lots of information of the history and culture of both nations; Therefore, the aim of the present study is a comparative study of the mother goddess in Iranian and Turkish mythology and the main question is what is the relationship between the mother goddess in Iranian and Turkish mythology? The method of this research is comparative-analytical. Findings show that despite the differences in some aspects attributed to the Iranian and Turkish mother goddesses in the myths of the two nations, there are many important similarities between the concept and function of this myth among Iranians and Turks.

Henry Corbin (1903 – 1978), prominent French Shia scholar and philosopher, introduces the philosophical and mystical relationship between Hekmat Khosravani (the philosophy of ancient Iran) and Shia Islamic narrations and philosophy of Illustration (Falsafeh Eshraq). By reviewing the works of Suhrawardi and Ibn Sina, Corbin not only recognized the essence of Hekmat Khosravani, but also focused on the main sources of the Khosravan Wisdom, the wisdom of Mazdayasna, the mythological narratives, and the related texts of the Zoroastrian religion; also, he pursued the subject of similarity and adaptation of these doctrines with the traditions of Iranian Islam. In the present article, Corbin's studies are examined that address the symbolic mystical tales or Shia Islamic narrations and their similar correspondences in Hekmat Khosravani or the Mazda religion. In Shi'ite and Iranian ancient thoughts, there are two valuable forgotten subjects that Corbin has discussed them. One of them is the issue of continuity of generation and kingdom of Fereydun and Iraj through the son of his daughter, Manū chehr; the other is the introduction of Spendā rmad (SEPANDARMAZ) as goddess of water and Earth. The former is similar to the continuity of the generation of the Prophet through his daughter, Fatimah; and the latter is similar to “ Mehrieh” or Fatimah's dowry.

The worship of cattle, especially bull and cow was common in ancient cultures, from Egypt to the Indus valley , and many of its signs can be seen in images, texts and myths. Many of the gods and goddesses were bull or cow. The religion of the indigenous peoples of the Plateau are similar to the mentioned cultures and the image of a cow goddess on the Elamite seal the third millennium BC has been obtained. But in Iran, due to the arrival of the Aryans and the emergence and domination of the Zoroastrian religion and the changes that occurred in the sources of the Zoroastrian religion, there are various ambiguities and opinions about the Iranian goddesses. It is assumed that due to centuries of proximity of the indigenous peoples and newcomers and cultural ties with other areas, religious interactions have taken place. The main question is which goddesses can be a good example for a cow goddess like other civilizations? The aim of this study is to select two or three cow goddesses in Mesopotamian, Egyptian and Indian cultures and by comparative study and using the three universal and widespread symbols of cow, milk and tree of life as the main criterion and characteristic of the great goddesses, we will show that some of these characteristic can be matched with the goddesses; Drvasp (Goṧurvan), Anahita and SEPANDARMAZ. The two symbols of the milk and the tree of life have been seen in all ancient times and their association with the symbol of the cow in most cultures provides a good criterion for knowing more about the goddesses of Iran. This article has been done by descriptive- comparative and analytical method and using library resources. The lack of a study focused on the leading Iranian goddesses necessitates a comparative study.

Ab-Pariya is a serial based on mythological and legendary themes that explores the inappropriate state of nature of Iran by relying on the role of "fairy" and its interaction with "human". The cinematic representation of such themes entails fundamental changes in the characters, mythical space and time. In this study, we examine the evolution of the process of transforming mythical phenomena of fairy into cinematic imagery that results from a change in kinship. The present study adopts using the mythical critique and the inter-semiotic approach and Jenetteey’ s hypertextualite theory to examine the mythical aspects of fairy and how it developments and analyze the similarities and differences of the definitions of fairy in literature Persian, Myth and legend With its definitions in the Current and modern world as well as in the cinema and Ab-Pariya series. hypertextualite is a type of Gerard Genette’ s Transtextualite Genette used the concept in order to expand on the Intertextualite theory. The term Intertextualite was coined by Julia Kristeva. Kristeva first applied the term in her studies on Mikhail Bakhtin. In those studies, she set to investigate the relationship between two texts. According to Intertextualite theory, a text may be influenced by some previously written texts by other authors. Hyper-textualite includes “ trigonomy” which refers to the possible differences between present text and previously written texts and “ homogeneity” which refers to the similarities between present text and previously written texts and in some cases its imitation from the previous text. In order to conduct the present study Ab-Pariya TV series is implemented. Findings of the study are analyzed through using descriptive-analytical methods. The study utilizes the library and electronic resources as well in order to analyze the collected data. After careful analysis, it became clear that the most significant myth that was depicted in this TV series is myth of water. In the TV series, Ab-Pary undertakes the duty of water protection. In mythology, this character is equal to Goddess of water (Anahita) and (Amshaspand) Khordad. Among other Pary character in this series are Sabz-Pary and Abr-Pary. Sabz_Pary is symbol of Amshaspandan such as SEPANDARMAZ and Amordad. Abr-Pary is symbol of Tishtar. In addition, Barf-Pary is another Pary character that appears in this series. She is symbol of Nane-Sarma who is a legendary character as well. Stylistic Translate of has been influenced by media change, but more Thematic Translate has occurred in the evolution of Perry's personality and his interaction with man. The reductions have been in the myths of creation and in the degree of divinity of the gods and Amish Spas, which are plotted in fairy, but the Resonances are more in line with the serial goal (emphasizing the importance of preserving the environment and especially water) and adding Nature related characters accomplished. The function of mythology has also been modified. This change is clear in cases such as change of religious function to non-religious, change in function of time and place, change in function of Pary.

This article seeks to analyze and explain one of the ancient and cosmological ideas of the people living on the plateau of Iran, called “ cow-fish” . The authors of this essay have tried to study and explain the mythological and religious roots as well as the public beliefs concerning such a myth by using historical documents and the method of reflection, besides a comparative study of ancient narratives and stories with some examples obtained from the history of Iranian art. The necessity and importance of conducting this research is to become familiar with the wide range of subjects used in the art of ancient people, the origin of ancient motifs, the significance of them in the past and their absence in the present time. A visual study of such works helps us identify the mindset and culture of earlier artists. The main focus of the research is on the interpretation and decoding of the body of an angel or goddess standing on a cow in a carpet with cow-fish motif. Therefore, by carefully studying this myth and examining it in history, an extensive essay has been presented to record the art and thoughts of designers and weavers in this field. The research methodology in the present article is descriptive-analytical with a comparative approach using the reflection method, and the method of collecting information is based on library sources. The results confirm a continuation of the reflection of cultural and social issues on the works of art and the thematic relations of cow-fish myth in ancient literature, folklore and Iranian art up to the end of the Qā jā r period. The woman standing in the carpet frame is identified as SEPANDARMAZ, angel who is the guardian of the earth on behalf of Ahura Mazda and is the protector of animals, closely related to Mā m-e Mahin. Dressed in a cloak full of mixed animal motifs, this angel is reminiscent of the mother and the original female creature, which due to the creative role of “ woman and mother” , stands in a higher hierarchy than the creation of animals and plants laid by a cow. Furthermore, the image of a cow with hybrid animals is the body of the “ first created cow” (Gav Aevo Data). Gathering and combining the animals in the dress of angel and the body of cow is the reconstruction of the original and eternal body of Mā me Mahin and the first created cow in the age of the creation of Minavi Ahura Mazda. According to the narrations in the ancient Avesta and Pahlavi sources, the unification of the corpses inside the body of the sacred cow in the cow-fish carpet is a reconstruction and reference to the body of the first great animal that was sacrificed to create plants and animals from its body parts. By gathering and achieving unity in the body of a cow or the body of another creature, such beings reach the homeland and womb and the safe place from which they were born, so that at the beginning of spring the story of creation is repeated. Iranians considered this myth as the origin of the creation of the world and passed it on to succeeding generations in the form of oral, written and illustrated tales. They have paid particular attention to this tale during the New Year and the ancient Nowruz ceremony.