Abstract This comparative study examines the ar is one of the ly,rical works of the military that symbolically narrates the spiritual transformation of Bahram Gour, who housed seven martyrs from seven countries who were the symbol of their homeland's culture in seven palaces, and heard a story from them every night. The Shah overnight began on Saturday with the Princess of the Black Dome, and Adineh ended in the White Dome, which belonged to the "correctness" of the Iranian Princess. With a story centered on following Iranian culture and rationality, Dorsati transformed the Shah spiritually and brought him to immortality. While acquainting himself with Persian culture and literature, William Jones created the system of the Seven Springs based on the stories of the seven military figures. Aware of the influence of the number seven in various ethnic groups and its application in Eastern mythology, he set the foundation of the Haft Cheshmeh on the number seven, which corresponds to the seven figures in terms of morphology. , Examined the similarities and differences between the two systems and came to the conclusion that the young king of the Jones system finally evolved in dealing with a mythical maiden and reached immortality with the purification of body and soul. Haft Cheshmeh, in terms of structure and content, flows like streams from the areas of seven military palaces and calmly joins the ocean of Persian poetry and literature

The system of language and words has a capacity and strength that can make a bridge between poetry and visual arts; possibilities like forms of imagination, sensual words and the kind of their expression, discrimination and descriptions of miniatures, drawing of concrete pictures, and attention to surface structure, form and narrative structure of poetry more than its deep structure. Nezami Among the Persian poets has applied these possibilities more; he also could approach visual arts via focusing on the visual elements and implantation of color, light, line and so on and could add the visual and visual element to his poetry; Therefore, we can find the association between poetry and visual arts in Nezami’s poesy art more obviously. This research, having a comparative view, attempts to readout and repeat different aspects of visual arts in Nezami’s Seven Domes.

'Nizami"s 'Haft Paykar' has been anslysed based on reception theory in this paper. The background of such a reception is the combination of myth and gnosis in a symbolic language. Its characteristic is the transcendent understanding of the context through interaction between the reader and the context and its content is the perciptable and clear awareness of the reader and it is interpreted as Nizami's sacred observation of creation.Nizami's Haft Paykar as a lingual phenomenon has been assumed the external that reflects its interior (content) similar to a mirror. In other words, the appearance is the manifestation of its interior, which in turn represents a heavenly prototype; the content cannot be manifested without its appearance. The appearance is smaller than its interior; thus, it cannot reflect the whole interior but it can be the mirror and manifest it symbolically. From such a viewpoint dome is assumed as the mirror of heaven (seven planets). In order to explain such a reflection correlated elements such as location (heaven, dome, Haft Paykar and centre), number (seven), light, color, the material of planet and personality (Bahram, Shideh and Semenar) have been analyzed.

The purpose of this article is to understand the similarity and correspondence between the elements of the written text of the story of “Bahrām Gur in Seven Domes” in Haftpeykar, written by Nezami and its visual narrative in Bahrām Gur in Seven Domes Pictorial rug. To achieve such a goal, this article used a two-stage theoretical framework. Thus, a descriptive-analytical method and four components are used in this article. These four descriptive components are: 1. Description of persons 2. Places 3.  Times 4. Events.After the transition from the first stage of this theoretical framework and after measuring the correspondence of the visual text to the written text, in the second stage, by using two subtypes of intertextuality, which are allusion and citation, an attempt was made to answer the main question:  Is “Bahrām Gur and Seven Domes” rug a creative and allusive text or repetitive and cited text?In response to whether the pictorial carpet “Bahrām Gur in Seven Domes” is a creative and allusive text or a repetitive and cited one these results are obtained: it can be said that although the elements and motifs of the pictorial rug which were examined through the four components in some details have common features with Haftpeykar and ekphrasis has occurred in some elements, and they are faithful to the written text; but on the other hand, pictorial rug is not entirely a copy of the Haftpeykar and did not seek to repeat it. Rather, the pictorial rug (host text) creatively took the written text (guest text) and recreated it in its own way. In other words, Bahrām in Seven Domes rug received Haftpeykar and then reproduced it.In conclusion, in this research, the visual text (pictorial rug) is an allusive and creative text. One of the important reasons that can be used to emphasize that the “Bahram in the Seven Domes” rug is a creative text and it didn’t try to imitate the Haftpeykar in all details, is the conscious selection of three red, white and turquoise domes among the seven domes which are mentioned in Haftpeykar. The reasons for choosing these three domes are not clear to the author, but it can be said that the designer of the carpet was faithful to the written text and the general narrative of the story, but he made a conscious choice and included only three of the seven domes in the pictorial rug (Visual Text), while he could use all the seven domes.The research results showed that only in the description of people and events there is an ekphrastic communication between the written text (Haftpeykar) and the pictorial rug. Also, in examining of the actual or notional ekphrasis, it showed that only the character of Bahram Sassani and the Princess are belonging to the field of actual ekphrasis. All other descriptions belong to the field of notional ekphrasis.

Existential Analysis of Narratives in The Black Dome and The White Dome Based on a Semiotic-Semantic Approach   Abdolbaghi Rezaei Talar Poshti* Fatemeh Dadbood** Behzad Pourgharib***   Ganjavi's Seven-Dome poem system is considered one of the cultural, literary, and historical masterpieces of poem system, which has unique features. Furthermore, this anthropological and ontological system deals with the originality of human existence and tries to distinguish the good from the bad. This research aimed to study the trajectory of the narratives and the semantic mutation by examining the first and last narratives narrated in the Black and the White Domes based on the semantic-semiotic approach. The analysis of narratives has been conducted by applying the components of the existential narrative discursive system. The results have indicated that the tales of the Iranian and Indian princesses have had roughly a similar trajectory. The main characters of these narratives had the characteristics of asceticism, piety, emancipation, and grandeur. Suddenly, they encounter some mishaps and dilemmas in the path of existence and life that lead them to inner darkness and aberration. They have struggled with negation of the primary Dasein and the compliance of the defect along with the lack of existential meanings. By passing through this turmoil and inner abnormality, they could traverse the darkness and obtain the lightness and transcendence, which have been the ultimate goals of existence. At the end of the narration, the characters have been involved in severe semantic mutations from the self-created, disordered situation and led to redemption and moral revival.   KeyWords: Semiotic-Semantic, Narration, Seven Domes, Nezami, Existentialism.   Introduction Life for a human being gets meaning not so much through cause-and-effect relations but through narratives and stories. Narratology, as an interdisciplinary area, investigates the frameworks of such narratives and reveals that the human mind is eternally constructing and reconstructing stories to understand the world and organize its experiences. On the other side, existentialism emphasizes freedom, individual responsibility, loneliness, absurdity, and death as a philosophical movement and has built the case for how human beings must create their own meanings in a senseless world. The sole method of this study lies in the combination of narratology and existentialism for the analysis of two narratives from Nizami Ganjavi's Haft Peykar (The Seven Beauties). Its primary focus is to analyze how death is faced by the characters' existential crisis-as they experience the devolution from inner darkness to enlightenment, or salvation. The main question reads: How does Nizami, through the usage of symbolic narratives, give insight into such deep philosophical concepts as the quest for meaning, freedom, and moral responsibility? Not only is it beautiful in aesthetic terms, but it also has an ontological dimension, for which it has been regarded as one of the masterpieces of Persian literature. The present paper, with a special focus on the Black and White Domes, employs semiotic-semantic research to investigate the often-hidden layers of meaning in the two narratives. It argues that interpreting these domes as the beginning and end points of the narrative journey can reveal an inner pattern of human change from suffering and absurdity toward enlightenment and transcendence. This study hence opens a new avenue in text history by including an interpretation of Nizami that is philosophically charged. It'll probably draw ancient texts into posing questions that modern human beings care about concerning the meaning of life, freedom, and death. In this view, the research might serve as a bridge between literature, philosophy, and psychology while revealing classical Persian texts' interpretative potentials.   Research Methodology and Theoretical Framework The investigation uses a semiotic-semantic approach and draws on Greimasian discursive theory to study the narratives of Nizami's Haft Gonbad. The methodology employs an analytical-descriptive design, in which the semiotic-semantic framework is used to elicit the hidden meanings behind the narratives. Thus, the signs are perceived as being in dynamic interaction with their cultural and cognitive contexts rather than isolated from them. Greimas's framework highlights discursive processes and the production of meaning through conflicting actions and internal tensions. There are four stages in Greimas's system: virtual presence, potential presence, actual presence, and the final decision of the actors. It analyzes the very shift of the subject from semantic crisis towards existential transcendence. In this framework, the subject disavows Dasein ("being-in-the-world") and leaps into a new state, creating alternative meanings. Other existentialist concepts, such as freedom, absurdity, and death, developed by Sartre, Kierkegaard, and Nietzsche, are employed to interpret the narratives and express the characters' passage from suffering to enlightenment. A combination of semiotics-semantics and existentialism is what this study attempts, thus proffering a different reading of Haft Peykar that highlights the extent to which Nizami's narratives are representative of humankind's meaning-making process vis-à-vis existential crises. The main concern is how characters move from the darkness of the self to brilliance using Greimasian discursive mechanisms.   Discussion Nizami Ganjavi, the prominent poet of the 6th century AH, narrates symbolic stories rich in profound mystical, moral, and philosophical meanings in his poem Haft Peykar (Bahram Name or Seven Domes). This work, the fourth poem in Nizami's Khamsa (Quintet), was composed around 17 years after Khosrow and Shirin and 9 years after Leyli and Majnun, at the age of 60. At the beginning of the narrative, Nizami blends spiritual and worldly aspects of life, praising the Creator and expressing devotion to the Prophet of Islam, while discussing transcendence from worldly limitations toward spiritual elevation. A notable feature of this work is the central role of women in the stories, who not only achieve personal perfection but also guide other characters, including Bahram, toward transformation and enlightenment. In this epic, the Seven Domes, each associated with a color and a feminine narrative, impart life lessons, liberation from evil, and the attainment of goodness to Bahram. The two narratives of the Black Dome (Ghaliyah Dome) and the White Dome, as the beginning and the conclusion of this narrative journey, symbolize the transition from darkness to light, ignorance to knowledge, and the base self (nafsammara) to the assured self (nafsmutma'inna). In the Black Dome, the tale of the King of the Black-Robed depicts a spiritual journey of a ruler who renounces worldly pleasures in pursuit of truth and attains mystical silence. This narrative can be analyzed through semiotics and Greimasian discourse analysis; the king distances himself from his initial Dasein (former existence) by navigating numerous semantic crises and eventually reaches secondary Dasein (new existence) after overcoming hardships. This transformation signifies the passage from surface meanings to inner truths, where silence represents ultimate realization and detachment from worldly attachments. Conversely, the narrative of the White Dome (associated with Venus and Friday) tells the story of a devout young man who initially fails the test of temptation but attains salvation through repentance and returning to the path of righteousness. This story can also be analyzed within Greimasian theory: the young man faces a semantic deficiency, loses his initial Dasein during his struggle with lust, but through remorse and inner change, achieves a new Dasein, where divine and human values triumph over primal instincts. Nizami employs colors in these narratives as symbols of human inner states—black representing darkness and ignorance, and white symbolizing purity and enlightenment. Bahram, too, transitions from multiplicity to unity on this journey, achieving inner peace after passing through seven stages. Therefore, Nizami’s narrative artistry in Haft Peykar is a blend of storytelling and practical wisdom. By employing narrative elements, colors, and symbols, he maps the spiritual evolution of humanity. The Black and White Domes, marking the beginning and the end of this journey, illustrate the transition from the darkness of the soul to the light of knowledge. This masterpiece not only reflects Nizami’s profound insights into ontology and human psychology but also serves as a guide to attaining a transcendent life and inner salvation.   Conclusion Nizami Ganjavi, through the narratives of Haft Gonbad, seeks to portray the growth and transformation of Bahram Shah as a symbol of human transcendence. He illustrates the process of transformation and the journey through the seven valleys of love, using storytelling as a tool for narrative therapy. In this process, Nizami imbues existence with new meaning and elevates the world through narrative creation. Nizami’s stories prominently feature the use of symbols, particularly colors, as philosophical and spiritual tools to express profound ontological concepts. White symbolizes purity, salvation, unity, and transcendence, while black signifies self-purification, renunciation of worldly desires, and the majestic attributes of divinity in mysticism. By beginning his stories with black and concluding them with white, Nizami depicts the journey of humanity from multiplicity to unity. This color symbolism not only enriches the literary work but also reflects the philosophy of unity and spiritual evolution within Islamic mysticism. The interplay and progression between black and white illustrate themes such as solitude, anxiety, refinement, and transcendence in the inner transformation of humans. From the perspective of Greimasian discourse theory, human existence in the world is dynamic rather than static. Feeling a sense of meaninglessness, individuals reject their initial Dasein and, through fresh experiences, create new meanings that lead to the recreation of existence itself. Nizami Ganjavi, through his mystical and moral narratives, simplifies the path to uncovering the hidden truths of the world. He utilizes contrasts, metaphors, and semantic techniques in storytelling to convey philosophical and ontological concepts to his audience. Considering the outstanding qualities of Nizami's works, he stands not only as an exceptional poet but also as a thinker well-versed in existentialist principles and narrative-based psychotherapy. Nizami’s works act as a bridge between Persian literature and philosophy, serving as valuable resources for understanding human and philosophical themes. He remains one of the greatest poets in the history of Persian literature.   References Ahmadi, Babak (1991) Journey into existential ontology [Soloukdarhastishenasi-ye eksistansial]. 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Tehran: Danjeh Publishing. 22nd Edition.       * Assistant professor of English language and Literature Department of English Literature, Faculty of Humanities, Golestan University, Gorgan, Iran. a_rezaei_t@yahoo.com                                       ** Ph.D in Linguistics, Faculty of Humanities, Islamic Azad University, Sari Branch, Sari, Iran. fatima.dadbood@yahoo.com *** Corresponding Author: Associate Professor, Department of English Language and Literature, University of Mazandaran, Babolsar, Iran. b.pourgharib@umz.ac.ir

Problem Definition: Part of our current information about the lives of Qajar women is obtained from the Oriental travelogues. Women-centered illustrated works, including pictorial rugs as a visual document, can be helpful in this regard. For this purpose, two Qajar rugs have been selected better to understand the role of women in this era. The present study addresses how women are illustrated in two pictorial rugs, namely "Bahram Gur in Haft Gonbad (Seven Domes)". Based on Goffman's dramaturgical social theory, this research tries to remove the literary mask of the story and explore the simulated realities of women in two rugs. Objective: This study aims to compare the various dimensions of how the identity of Qajar women appears in the two rugs of "Bahram Gur in Haft Gonbad (Seven Domes)". Research Method: Data collection is a library-based approach, and the method includes descriptions, miniature paintings analysis, and elements' comparison. The instrument is reliable, and non-probable samples are selected. Results: Given its urban texture and literary background, this type of rug seeks intentionally to illustrate powerful women from different social classes. It also intends to move upward in the strata of society to show the unreal position of women in the Qajar society.

The Ziggurat was built as a place of worship.It has been suggested that the ziggurat was a symbolic representation of the primeval mound upon which the universe was thought to have been created. The ziggurat may have been built as a bridge between heaven and earth. The temples of the Sumerians were believed to be a cosmic axis, a vertical bond between heaven and earth, and the earth and the underworld, and a horizontal bond between the lands. Built on seven levels the ziggurat represented seven heavens and planes of existence, the seven planets and the seven metals associated with them and their corresponding colors. In the pre s ent article, the paradigm that The Seven Beauties (Haft Paykar) of Nezami has been inspired from seven stars of Ziggurat has been discussed.