Love of beauty and perfection is an inherent characteristic of human beings. The principle of "need" complements the sense that brings artistic creation in him to a peak, resulting in the formation and permanence of culture. The "carpet" may not represent a pure form of art, but it there is no doubt that its artistic and visual qualities put it beyond a mere commercial commodity and elevate it to the position of a work of art that embodies taste, thought, beliefs and a special custom. It presents the intellectual and cultural potentials of a people in the form of esoteric MOTIFS and SYMBOLIC forms. The elementary MOTIFS and patterns that are especially found in rural carpets and small carpets usually embody a purer content from the point of view of SYMBOLIC concepts that deserve a thorough investigation.

Sometime replete with sense of life, Gonabad pottery and its MOTIFS have gradually lost their original meanings and concepts in the course of time and now those meaningful MOTIFS reduced to just some decorative MOTIFS without their initiative notions for most of potters making pottery and applying those MOTIFS on the works. Therefore, it seems necessary to authors to determine the basic, essential concepts of MOTIFS on the pottery forgotten as a result of transmission by oral history as well as time passage. The aim of this study is to introduce and reexamine the concealed thoughts, ideas and philosophies these MOTIFS have maintained within them during thousands of years. The research is based on descriptive-analytical methodology and the data collection method on library review. According to the concept of study, the main sources for related data, articles and so forth in the research were scientific databases. The results indicate that there are generally three types of MOTIFS on Gonagad pottery, including zoomorphic, vegetal and geometric. In the zoomorphic group, peacock, sparrow (little bird) and pigeon (big bird) are so prominent that those like peacock and sparrow have appeared on Gonabad Great Mosque’ s portal as well. In the vegetal MOTIFS the tree and in geometric ones the sun motif is of significance. In fact, the basic concepts of such MOTIFS are embedded in popular stories as well as in folk beliefs, manifested SYMBOLICally in the form of single images on the pottery. Furthermore, the MOTIFS had strong and close relations with the religious beliefs of that period as well as the subsequent eras. Specifically, peacock motif on the one hand was prominent in Islamic Art and on the other it carried Zoroastrian connotations.

The Hoard of Kalmakarreh includes hundreds of golden and silver wares that were incidentally discovered by a local hunter in 1987 at a northwest 20 kilometer distance to Pol-e Dokhtar in province of Lorestan. The collection includes a variety of dishes, Raytheon, human and animal sculptures, masks, plaques, jewelry, … that belongs to the Neo- Elamite (first millennium BC). This research led to the identification and documentation of objects in the Museum of the kalmakarreh Cave Treasure. It also investigates and analyzes the mythological MOTIFS and SYMBOLIC ritual objects and religious beliefs and evolution were investigated. In this research, the link is part of the cultural/historical creators of these objects. Technically, metal art and symbology with other Iranian tribes and neighboring civilizations in the historical period, and then was evaluated. Concepts and SYMBOLIC MOTIFS and mythological creature, SYMBOLIC figures (king and hero), mythological beings (supernatural beings and animals), the elements of nature (plants, herb and water), a wonderful ceremonial tools and objects of mythological beliefs and rituals these treasures, all explanations of thoughts, ideas and beliefs of their creators and owners, and their presence is evident in the metaphysical powers. The fundamental institutional Kalmakarreh mythological narrative of creation and negation of each other in a battle of light and dark and wonderful nature that inspired the creators of these works is amazing. It should be noted that this belief has never completely died out. This trend can be seen as aggressive in Kalmakarreh art with a new face and a tone, even up to today's the struggle between good and evil, odern belief is common Lor. These things are not just a simple artwork, In each of them, but there is a world of thoughts, beliefs, industry, art, lifestyle, beliefs and lies of any kind. The main question in this article form, technique and application of this kind of things? And that the objects of decoration on them is comparable to the concept of SYMBOLIC and mythical peoples them? In this study, analytic and inductive methods with emphasis on study designs and shape of objects is done. Observation, as well as visiting museums in the country and Internet search websites in foreign museums, comparative and historical documents and texts used. Kalmakarreh Cave Treasure classification of objects based on shape and applied to two kinds of concepts and mythological MOTIFS are taken. This type of classification is both descriptive and interpretive aspects. The application is divided into two metal containers, decorative containers (ceremonial) ' ve shared and consumed. Appearance of Neo-Elamite inscriptions on some of these objects reveals their connection with the Neo-Elamite cultural horizon. Their unique specification is that they introduce a new dynasty in the western Iran in the 1st millennium BC that, in turn, plays a vital role for archeological researches on the outset of the Iranian historical era. Samaturra (Samati) rulers (Kalmakarreh Cave Treasure owners) as one of the independent states to Elam that emirates in the south of Lorestān in the 7th and the early 6th centuries BC.

The use of MOTIFS and Iranian artistic symbols of pre-Sassanid era continued to exist during the Sassanid dynasty and even thereafter, in Islamic art and civilization. These MOTIFS can be perceived as the expression of social and cultural experience and religious beliefs of their time. Hence, they are great help to better understand the history of evolution of the peoples‟ ideas. Following the conquest of Iran by Muslims and the Iranian‟s conversion to Islam, under the influence of Islamic teachings, art and culture found significant changes. However, a lot of concepts and artistic traditions and customs of pre-Islamic Persia continue to exist with new values of the religious community. One of the most important characteristics of Sassanid textiles is their wide use of decorative MOTIFS with a profound influence on later artistic works of the later historical periods including Samanid and Buwayhid. The research applied a qualitative method and tried to introduce the common MOTIFS and decorative elements used in textiles of Sassanid and Buwayhid periods. Also, it presented a SYMBOLIC analysis to identify common patterns of textiles in the eras. The findings of this study showed that most of the themes and decorative MOTIFS, with different qualities of form and content, in textiles of the Buwayhid period originated from the Sassanid‟s. It also showed that SYMBOLIC textiles of Sassanid MOTIFS on textiles Buwayhid showed continuity of cultural and artistic traditions and the National Iranian beliefs in the creation and processing of works of art of this periodThe most important trends in textiles of Buwayhid period revealed the increasing prevalence of inscriptions in Arabic. Thus, fabrics were decorated with the prayers and the rulers‟ names and titles in Kufic style. Among the common MOTIFS, the tree of life was the most widely used embracing SYMBOLIC meaning. Many animal MOTIFS used as decorative elements in Buwayhid textiles can be traced back to the shapes and designs of the Sassanid era. In addition, the use of natural elements in Buwayhid textiles was more prominent, more dynamic and more realistic than the Sassanid era. Among the Sassanid textile designs image, animal MOTIFS were more common. Most of the MOTIFS, moreover, were repetitive and placed in circular frames. It can be concluded that the MOTIFS followed the designs of the previous eras. Research Questions: 1. what were the most important themes and MOTIFS transferred from the Sassanid to Buwayhid textiles? 2. what were the most important motifes in the transmission of symbols and MOTIFS of textiles from Sassanid to Buwayhid? Research Hypothesis: 1. It seems that the most important themes and MOTIFS transferred from the Sassanid to Buwayhid include natural and plant MOTIFS such as lotus tree of life, animal MOTIFS such as Phoenix, eagles, peacocks, lions, horses, role angels and humans.2. It seems that the most important factors in the transmission of visual symbols and themes of Sassanid art to Buwayhid‟s were Buwayhi‟s sense of affinity to Sassanid rulers to create an integrated power and give rise to the restoration of the historical identity of Iran.

The novel Saye-ye Malakh (The Shadow of the Grasshopper) is one of the most successful novels in the field of war literature. This novel depicts the beginning of the imposed war in 1980s with the invasion of Ba'athist forces in one of the villages of Iran borders. Due to the importance of studying the MOTIFS of literary works, this study analyzes the MOTIFS of this work. These themes artistically create symbols and, in the structure of the work, cause coherence and create connections in the whole work. An analysis of the motif indicates that the wolf, the grasshopper, the thief, and the Iraqi are connected in multiple ways. Each of these is linked to the others through alternative concepts. As an instance, the grasshopper is associated with Iraq with its color and invasion. The wolf, for example, is intertwined with the Iraqi forces by brutality and terrorize. The thief communicates with these forces through his connection to destruction and being armed. Thus, a network of entities is associated with negative concepts to present a negative image of Iraqi forces and, in addition to their explicit meaning, they have a SYMBOLIC implication.

The historical texture of the city of Yazd houses various buildings of different periods in its heart and houses related to the Qajar period have a special place. Of these, twelve houses have mirrored decorations (Aina-kari) that embellish various MOTIFS. This research is carried out using historical an analytical descriptive method. To this end, the sources of research, including written sources, have been gathered by library method and have been used to analyze the SYMBOLIC meanings of the intended MOTIFS. The most important questions raised in this research are: What SYMBOLIC MOTIFS have been used in mirroring of houses in Yazd? What is the SYMBOLIC origin of these MOTIFS? The results of this research show that decorative MOTIFS are classified into four general categories including herbal, animal, geometric and epigraphy. Each of these can include SYMBOLIC meanings. Many of these MOTIFS have a special meaning in their pre-Islamic culture and have been used in Islamic culture either with the same concept or with little change as a symbol. Some of the MOTIFS can be observed although they did not exist in pre-Islamic culture of Iran, but they also had an effect on Persian literature and used in applied arts because of their importance and emphasis on Islamic culture. Some of the MOTIFS have important in Persian literature and are considered as symbols. Therefore, three origins can be used as the SYMBOLIC source of many MOTIFS used in mirroring of Yazd city including Iran’ s pre-Islamic culture, the Iranian Islamic culture and Persian literature.

The art of Sassanid period is considered as the last stage of ancient Persian art. Animal MOTIFS in Sassanid art have been identified as an important characteristic of Persian art because of their beauty and SYMBOLIC meanings. In the survey of Transoxiana’s art, the special influence of Sassanid art is quite remarkable. Imitation of various Sassanid designs, especially animal MOTIFS, was common in the textiles of this area. Therefore, the main questions of this research are about the exchange of animal MOTIFS and the reasons behind such common artistic themes between the artists of this region.The works of Persian art brought to the Transoxiana through different ways such as political, religious, cultural and commercial, created a number of common designs and MOTIFS. In order to demonstrate the effects of animal MOTIFS of Sassanid art on Transoxiana textiles, after reviewing special physical features and SYMBOLIC meanings of animal MOTIFS used in Sassanid art, the reasons for the transfer and effectiveness of such MOTIFS are investigated analytically. Moreover, comparing the obtained samples and explaining their similarities and differences, it is concluded that these MOTIFS were transferred to this area through the Silk trade Road and were welcomed due to religious communalities existed between the residents of this region and Persian people. Finally, it can be said that the designs used in Transoxiana’s textiles have been under the direct influence of Sassanid art with a few differences.

The history of the shrine of Imam Reza (AS), the most important attraction of religious tourism in Iran, dates back to more than ten centuries ago, which was decorated with various decorations during the Islamic states; and each section represents the art of architecture of the special era of Islamic art history. Characters and elders have been renovating and developing this scared place in every age. Allahverdi Khan, a brave warrior and military commander of Safavid era, paid special attention to the architecture of this era, and he has done a great deal to raise the culture and civilization of Iran; this can be emphasized by the culture and civilization of Iran; by looking at his remains in Esfahan (Si-o-se-pol), Shiraz (School of the Khan) And Mashhad (Dome of Allahverdi Khan). This magnificent building is one of the most beautiful buildings in the holy shrine that Arthur Pope, in the book of Iranian architecture, considers the most complete part of the shrine of Imam Reza (AS). The mosaic tiles of this porch are decorated with inscriptions, animal MOTIFS, plant, and geometric designs. Many of these MOTIFS are conceptualized, which have a particular place in the culture and literature of this boundary. In this regard, the present study was conducted using descriptive and content analysis based on field observations and library data. Among the 487 roles in 9 species of animals, each of which is a world with full of mysteries, the highest number MOTIFS include the motif of the bird (chicken) and then there are, respectively, pheasant, parrot, peacock, duck, dragon, simurgh, deer and Chicken Bismillah. Research purposes: 1. to introduce the SYMBOLIC of the animal MOTIFS in porch of Allahverdi Khan. 2. The study of SYMBOLIC concepts of animal MOTIFS in the mentioned porch. Research Questions: 1. what are the types of animal MOTIFS in porch of Allahverdi Khan? 2. What are the SYMBOLIC implications of this motif?

Seals and clay sealings are the most important cultural material of Sasanian period. There have been a few seals and bullas of various periods retained in the Moghadam Museum of Tehran. These materials have not been introduced so far. Authors of the present paper aim at to study and introduce the sasanian seals and bullas of this museum especially those bearing animal SYMBOLIC MOTIFS. We do this through comparing them by the same materials of the different collections such as Qasr-i Abu Nasr and Takht-i Soleiman collections while some of them are introduced here for the first time. The most interesting thing which we foun by this sresearch have been the Mithraism elements which were used by Sasanians as iconographic MOTIFS on their sealing systems.

Since the Sassanid era, many reliefs and seals have left and by reviewing their designs, the mythical and religious attitudes of those people can be understood. The purpose of this article is to decode and interpret the SYMBOLIC paintings and to review and study the myths, concepts, and religious rituals of this period. The question is that what the divine and human origin of the SYMBOLIC paintings and myths on reliefs, and seals over the Sasanian period is? In this regard, historical and archaeological evidences have been matched with each other, and checked using a technique called "Iconology". The result is that the powerful influence of mythical and religious attitudes of Zoroastrianism religion can be observed in divine and human SYMBOLIC paintings and myths in this period.