,Lexical cohesion, and ,semantic density, are genrally considered as assets of good poetry in various stages of Persian poetey.this  article addresses ZOLF in Hafez`s lyric along with its different realizations. Furthermore, the wide range of images and collocational exprssions artistically utilized by the great poet in reference to that keyword and its counterparts are presented. The author argues that the poet`s skillful selection of collocations in this semantic field reveals his miraculous command of poetry as well as lexicology.

In literary texts, "ZOLF" is sometimes associated with pub elements such as wine and butler, or has made a special combination with them, such as "ZOLF Saqi", "Saqi ZOLFandaz" or metaphorically "Nafeh". These notions are used instead of ZOLF, however, it should be noted out that there is no common concept of ZOLF as a member of the human body or the beloved ZOLF. Having that in mind, researchers have imagined ZOLF only as the human and the beloved ZOLF. The commentators of Hafez's divan, who considered ZOLF to be related only to the beloved, have gone beyond the meanings in the verses. Furthermore, one of the probable reasons for the inconsistency in Hafez's lyric poems is the lack of attention to the original and practical meaning of words such as ZOLF is in the age of Hafez. The main assumption in such cases is that "ZOLF" is used as a means of cap and closing. The words "ZOLFin" and "Zorfin" are used in ancient texts to mean a ring in the door. "-Yin" here refers to ZOLF, which means ZOLF. In “Dari” language of Afghanistan, "ZOLFi" and "ZOLFak" are still used to mean chains and also, closing doors and gates. The use of ZOLFi and ZOLFak in Afghan Persian indicates that the word ZOLF in ancient Persian was equivalent to the Arabic word "fedam" that is used for wine. Other words, such as chignon and hair, have become somewhat common in the same sense and usage due to the sharing of meaning with ZOLF. Based on this concept of ZOLF, some cases of Hafez's poetry, that scholars have previously mentioned as ZOLF's beloved, have been considered. Also, based on this, they have believed in incoherence in Hafez's sonnets and have neglected the use of humorous concepts in Hafez's sonnets. Introduction:One of the essentials in Hafez studies is to review the meaning and use of words from Hafez's Divan, which has been interpreted and explained in ways that are contrary to their use in his period due to the prevalent concepts in the contemporary era. Furthermore, these incorrect interpretations and explanations have led to a number of incorrect analyses on Hafez's life, personality, and poetry.  "ZOLF" is also one of the most highly used words in Hafez's Divan, which requires attention to its meaning, concept and use in the poet's period. The word "ZOLF", referred to the name of one of the body parts, is a frequent word in Persian poetry. This word, in addition to the name of body parts, is combined with other words, or applied to other names and phenomena. However, its extensive use as the name of a specific body part lead to neglecting its other meanings or uses in dictionaries or research works. Wherever in Persian poetry, especially in sonnets, the word ZOLF is used, researchers assume that the meaning of this word is the ZOLF of the beloved. Sometimes this word is combined with concepts that cannot mean the ZOLF of the beloved, but the concept of the ZOLF of the beloved has prevented other meanings, so that researchers have been appointed to far-fetched explanations, regardless of the way this word is used.Discussion:Sometimes in literary texts, "ZOLF" is associated with pub elements such as wine and butler or has made a special combination with them, such as "ZOLF Saqi", "Saqi ZOLFandaz" or metaphorically "Nafeh" is used instead of ZOLF, but in proportion to There is no common concept of ZOLF as a member of the human body or beloved ZOLF, but researchers have imagined ZOLF only as human and beloved ZOLF. The commentators of Hafez's Divān, who considered ZOLF to be related only to the beloved, have gone away from the meanings in the verses mentioned next to ZOLF. Perhaps one of the reasons for the inconsistency in Hafez's lyric poems is the lack of attention to the original and practical meaning of words such as ZOLF is in the age of Hafez. Our main assumption in these cases is that "ZOLF" is used to mean a cap and a means of closing. The words "ZOLFin" and "Zorfin" are used in ancient texts to mean a ring in the door. "-Yin" here refers to ZOLF, which means ZOLF. In the Dari language of Afghanistan today, "ZOLFi" and "ZOLFak" are still used to mean chains and means of closing doors and gates. The use of ZOLFi and ZOLFak in Afghan Persian indicates that the word ZOLF in ancient Persian was equivalent to the Arabic word "Fedam" used for wine. Other words, such as chignon and hair, have become somewhat common in the same sense and usage due to the sharing of meaning with ZOLF. Based on this concept of ZOLF, we have reviewed some cases of Hafez's poetry that scholars have previously considered as ZOLF's beloved. Also, based on this, they have believed in incoherence in Hafez's sonnets and have neglected the use of humorous concepts in Hafez's sonnets.Conclusion:The Origin of the word "ZOLF" means binding, and its other forms such as "ZOLFin" and "zorfin" in ancient texts mean the ring of the door, which shows that this word has been used in another meaning other than the hair and ZOLF of the beautiful ones; Especially the type of accompaniment and combination of it with elements related to wine and tavern indicates that in the analysis and reading of poems that ZOLF is accompanied by tavern elements, attention should be paid to the lexical meaning of this word, which is binding and hiding. The accompaniment of ZOLF with jug and wine shows that the word ZOLF in ancient Persian was equivalent to the Arabic words "Fedam" and "khatm" for the cover of wine. The word "Gisu" (hair) has also become popular to some extent in the same meaning and use due to the commonality of meaning with ZOLF. Based on the use of "ZOLF" as a cover for wine, we have clarified the meaning of some special and rare expressions such as "Saqi-e- Kamandandaz" and "Saqi ZOLFandaz".Based on the use of “ZOLF” as a cover for wine, it has been reviewed that some cases of Hafez’s poetry that researchers have previously considered as ZOLF of the beloved, and also based on that, they have considered inconsistency in Hafez’s ghazals and neglected the use of humorous concepts in Hafez’s ghazal. The two examples that we have analyzed from Hafez’s ghazals to explain how the verses of ghazals and Hafez’s humor are connected in the accompaniment of ZOLF with tavern elements, testify that the views based on the independence of verses in some cases are the result of the modern look at the words and terms of verses.

When mysticism entered the Persian poetry and romantic themes were combined with mystical ones, they were applied as symbols to express mystical meanings, so that it caused disagreements between some Sheikhs and persuaded them to write the books and treaties, to give some definitions and justifications of those terms according to their schools. This article intends to analyze the ideas of some Sufi Sheikhs such as Hojviri, Ahmad Ghazali, and ' Einul Qozat Hamadani about the terms and themes of describing the beloved, and it is limited to such terms as ZOLF (hair), Chashm (eye), Khadd (cheek), Khal (mole) and Abru (eyebrow). Hojviei's idea about these terms is based on juridical and religious views especially while discussing on Sama' ; Ahmad Qazali describes the states of the lover and the beloved in a coherent way to express a certain system and Einul Qozat Hamedani explains these terms in different situations and concepts, by citing some verses from the viewpoint of mysticism and introducing the Shahed.

This paper is a comparative study of two allegorical stories. The Pilgrim's Progress by John Bunyan and Hosn-o-Del (Beauty and Heart) by Sibak Neishaboori are the Western and the Eastern stories in which characterization is done on the basis of human characteristics andsome parts of the human body. Based on a morphological characterization, the characters are divided into two groups of helpers and opponents. In Bunyan's book, Patience, Sagacity, Charity, Hopeful, Prudence, and Faithful and in Neishaboori's book Sight, Imagination, Patience, and Faithful are examples of the helpers. Opponents in The Pilgrim's Progress include Obstinate, Sloth, Formalist, Hypocrise, Mistrust and Pagan. In Hosn-o-Del lthey include Zargh, Raghib, Ghamzeh Jadoo, Naz and ZOLF. There are also helper and opponent places in these two books.

Islamic potteries have been studied since about 100 years ago, which concluded to whole bunch of disseminated literature, including books and articles. However, new findings from archaeological excavations and surveys light ambiguities and develop modern knowledge of potteries. Archaeological excavation project of troglodytic structure of Tahigh revealed glazed and unglazed potsherds that have been left unstudied. Accordingly, present research aims to classify findings from Tahigh to define cultural interactions with neighboring areas, further than relative chronology. Two main problems raise here as period of potteries of Tahigh and relevant manufacturing center(s). collecting data follow bibliographic and field work studies that is based on analytic-descriptive method. Considering comparative studies, the findings probably date to Islamic medieval centuries; and regarding available data, exotic items mostly imported from sudden neighboring areas or close regions of Central Iranian Plateau, including ZOLF Abad of Farahan, Moshkoyeh Zarandieh, Aveh, Rey, and Kashan, however, there have not been identified any items from further regions of Kurdistan, Zanjan, and Kirman or other countries of China and India.

Among the creators of literary texts, Khwaja Shams al-Din Muhammad Hafez-e Shirazi has a prominent and supreme position. This superiority and great eminence is because of several factors that Hafez and his greatness. In creating his literary works, Hafez has employed various artistic techniques which are related to firstly, his approach towards language, secondly, to his method of collecting the words as well as ordering and arranging them in the chain of speech. Many researchers have done their best to enter the mental and linguistic realms of Hafez' poems. Though most of these efforts have achieved valuable outcomes, "the endless and eternal story of Hafez" is at the beginning of its way. Every day his works are observed from different viewpoints and new efforts are being done to describe and interpret his goals and meanings, especially to demystify the enigma of "the delicacy and elegance of Hafez's Speech". The power of Hafez in calling upon the words and combining them in the chain of speech as well as his intellectual associations are crystal clear for the researchers. To demonstrate one of his capabilities, the application and artistic relation between these two words, heart (del) and ringlet (ZOLF) are examined in Divan of Hafez. In Divan of Hafez, these two words have been used almost seventy eight times (per two hemistichs) together and also in association with each other, though each time with different interpretation and meaning. In this study these artistic applications will be classified into twenty two categories whose analysis and investigation is the main goal of this paper.

1. Introduction Study on people’, s daily life, aiming at understanding both science and art used by them, is among the most extensive categories of research world. Exactly it is during such studies that most uncertainties are resolved and new theories are formed. Adoring beauty is something rooted in human being’, s nature,for the same reason there is a desire to adornment in their nature. Hairdressing is an occupation that has long been recognized as a form of art and since literature of each nation is where one can find interests and inclinations of that nation, manifestation of this art is found in the ancient literature. In Persian literature, thanks to their lyrical nature and fictional form, romantic poems are one of the most important resources proving Iranian’, s inclination to adornment,as research on their descriptions about “, lover”,not only provides the reader with a sort of literary pleasure and joy, but also helps them to reach a better understanding about make-up and its different types and forms during different eras. 2. Methodology In this basic descriptive-analytical research, both library method and note-taking tool were used. It is necessary to note that since adornment is a very extensive subject, only hairdressing in the wellknown romantic poems of fourth, fifth and sixth centuries A. H. have been considered in this study. The purpose is gaining knowledge about Iranians’,hairstyle in different times and comparing them to each other in order to resolve some poetic ambiguities and making them available for the interested researchers. 3. Discussion Adoring beautiness has been illustrated in different extensive forms in the Persian poems,as most of them can be seen in the lyrical literature. Reflection of the “, lover’, s”,beauties across the romantic Masnavi1 descriptions, apart from limitations one may face in other poetic forms like odes, proves how important poems are as valuable resources regarding Iranian desire to adornment. Throughout the cultural and social history of Iran, adornment had been recognized and accepted by all Iranian ethnics and religions. Adornment can be divided into several separated categories: head and face trimming, using clothes and ornaments, pointing to the fact that adorning hair is a subcategory of head and face trimming. To understand Iranians’,adornment, hair usage and its synonyms including ZOLF, Ja’, ad, Giss and Gisu in the romantic poems were studied. While some differences found in the meanings of these words and terms, they only refer to hairstyle of Iranian men and women. The necessity of conducting such interdisciplinary studies is that they not only resolve some poetic uncertainties, but they pave the way to start investigation in other fields such as history, social sciences and etc. and also can begin new and innovative ideas on various arts such as filmmaking, sculpture making and make-up. 4. Conclusion Our study made it clear that along with the tight mouth, lip’, s speckle, tall height, arch eyebrow, narcissus eyes and etc. other descriptions such as long hair, lock of hair, blacks and fragrant hair are among the critics to percieve someone’, s beauty. Some hairstyles like braided, pinned hairs, dropping hair on forehead or shoulders, fragrant hair, using ornaments such as crowns and jewelry were common between men and women. However, there were styles which were only for women: center parting, using bonnets and scarves. The most attractive descriptions about hairstyles can be found in the sixth century poems and it seems that both content and origin of story and time and place of the poet have been very effective in description and explanation of hair adornment.

AbstractWith the conversion of the Mongol Ilkhans to Islam and the support and leadership of the great Iranians, the construction of religious complexes received special attention and large and prestigious complexes were established, especially in cities such as Tabriz, Maragheh, Soltanieh and Hamedan. One of the significant and great collections of the patriarchal period is the Bozanjerd monastery, which was built by Ghazan Khan, the patriarchal king, in the plain of Hamedan. This important complex has disappeared over time and the exact reasons for its construction as well as the quantity and quality of its construction are not available. The main purpose of this article is to identify the status of this religious complex through the study of archaeological data obtained from modern studies and historical documents. The questions of this research are: According to historical documents and archeological evidence, where can Bozanjerd Monastery be located? And the influence of which areas in terms of construction style and design can be seen in the pottery and tiling works of Buzanjard area? The present study is a historical and descriptive-analytical research in which information has been collected in the form of documents and field matching of the findings of this field with other regions. According to the results, this complex is located about 60 km east of Hamedan and next to the communication route from Hamedan to Saveh and the south of the current village of Buzineh-e-Jard. Has given this collection. Comparable cases with the findings of this area based on shape, texture and technical details in neighboring cultural centers such as Markazi province (Aweh, ZOLF Abad), Rey, Kermanshah (Kangavar and Bistoon), Zanjan (Aq Kand, Soltanieh) and northwest of Iran (Takht-e Soleiman and Urmia), which were more closely related to the Hamedan plain, have been identified and studied.Keywords: Bozanjerd Monastery, Ilkhanids, Ghazan Khan, Hamedan Plain, Buzineh Jerd. IntroductionAccording to the issues raised, the location mentioned in historical sources for Bozanjerd monastery complex, its name and similarity with the current name of Buzinehjord village, the historical and religious importance of this village during the Islamic period, archaeological evidence that indicates the existence of important collections in this It has an area and finally the discovery of the mentioned treasure all corresponds to the location of the historical monastery of Bozanjerd with the ancient site of the village of Buzineh Jerd.The location of Buzanjard village and its importance in ancient written sources can be clearly examined; In other words, the collection of written documents from Bozanjerd contains valuable information that directly refers to the characteristics of the building, the location of ten Bozanjerd and mentioning its distances to neighboring areas, including Hamedan. As mentioned, Ibn Khordadbeh, Moqaddasi, Katib Baghdadi, Hamavi and Abdul Haq Baghdadi have written the distance from Hamedan to Buzanjard as 10 farsakhs (Table 1). This distance is mentioned in another way, such as a house, a dock and a stage, from Hamedan to Saveh and Rey, in the Jabal region. According to what is commonly used in Farsi and Farsang in today ‘s common geographical term, this unit of distance is equal to six thousand yards or six kilometers (Dehkhoda, 1998 and Farhang Farsi Amid, 1996).According to historical documents, if we consider the distance from Hamedan city to Bozanjerd village to be ten farsakh, this place was located about 60 km northeast of Hamedan city, on the way from Hamedan to Saveh. A house and a stage is the amount of distance that a traveler travels in one day with a compound between two stops; This amount of distance has generally been about 8 farsakhs (Persian dictionary of Dehkhoda and Amid). Identified TracesAccording to historical documents, the birthplace of Khajeh Imam Abu Ya’qub Yusuf ibn Ayub Buzanjardi in the year 440-441 AH. He is known as one of the great elders of Sufism in the village of Buzanjard in Hamedan (Samaani 1962 J 2: 356; Ibn Khalkan, 1994: J 7: 79). The rise of this mystic from the village of Buzanjard added more and more to this place in the following centuries and was considered by the patriarchal Muslim rulers. Naturally, this place is located in the alluvial and northern part of the habitat of Alvand mountain valleys and northeast of Hamedan-Bahar plain. Sefidkuh mentioned in the comprehensive texts of histories and history of Mubarak Ghazani near Bozanjerd Monastery (Hamedani, 1994: 1385; Hamedani, 1979: 215) with a distance of approximately 750 meters, in the east and southeast of the area, is considered the most important neighboring natural complication. Evidence, a large part of the stone materials (especially in the foundation of the building) of the surrounding buildings was provided from this mountain. The central and main area of the monastery complex is located at latitude 35 ° 1’7.32 “N and longitude 48 ° 56’41.61” E, at an altitude of 1624 meters above sea level (Figure 1). Based on the description of distances in historical texts, this place name is completely compatible with the location of the current village at the expense of Jerd Hamedan. What can be seen today, this place is located exactly on the main and historical route of Hamedan to Saveh and Rey. ConclusionAccording to the written historical sources, Bozanjard was considered as one of the ancient and prestigious villages of Hamedan (with fortifications and gates) which was located 10 farsakhs of the main route from Hamedan to Saveh and Rey, near Sefidkuh (east and south of the area). According to the evidence, this route was the same route of Greater Khorasan, which is currently known as the old road from Hamedan to Qahvand. The study of historical sources, the name of the complex, geographical location and archaeological studies show that the location of this complex is in the vicinity of the current village of Buzineh Jard, one of the functions of the shopping department of Hamadan city and 60 km from Hamadan, on the way to Saveh. The reason for the importance of this place is that it is located on the east-west highway, and from the 5th century AH onwards, due to the birthplace of Khajeh Imam Abu Ya’qub Yusuf ibn Ayyub Buzanjardi, is one of the great elders of Sufism and this recent issue seems to be one of the main reasons for Ghazan Khan The construction of a monastery complex has been in this place. In addition, the general and special heartfelt desire for Sufism and the public interest in moral refinement and self-cultivation, as well as due to unique social and economic factors such as popular material poverty and economic crises, and patriarchal elders’ support for Sufis, led to Monasteries spread and Sufism and mysticism became the dominant worldview of this period.Field and archeological excavations carried out at this site led to the identification of extensive and valuable architectural remains from the patriarchal period, including square bricks and brick and gold tiles of the patriarchal period, especially fragments of inscription tiles similar to the examples of Abagakhan palace in Takht-e Soleiman. Along with the architectural remains, a wide range of pottery pieces of the seventh and eighth centuries AH were identified and studied, which in general testify to the existence of a large and valuable collection in this place in the period under discussion. Comparable cases with these findings based on the shape, construction technique and design in other cultural centers of the sixth to eighth centuries AH, especially areas (historical sites of Markazi province (ZOLF Abad, Aweh, Tahiq) Rey, Kermanshah (Kangavar, Bistoon), Zanjan ( Soltanieh), Boroujerd and northwestern Iran (Takht-e Soleiman and Urmia), which were more closely related to the Hamedan plain, have been identified and studied, indicating the cultural and artistic connections of these areas in the period under discussion and similar architectural and artistic tradition in this Areas. The discovery of metal treasures attributed to Bozanjerd is another evidence of the location and importance of the monastic complex under study. This treasure was most likely part of the gifts and assets of the Bozanjerd monastery complex; Similar to the treasures of other religious and non-religious centers. In the end, it is hoped that future archaeological excavations and studies will provide more information about the construction periods, scope and architectural and artistic features of this complex.

1. Introduction Persian poetry and prose texts (and local literature of Iranian ethnic groups) such as poetry collections (Shahnameh, Golestan and Bustan, spiritual Masnavi, travelogues and prayer letters, Khamseh Nezami, poetry collection, stories and tales, contemporary literature (poetry and prose, New poetry), native proverbs, are full of valuable and instructive tips to be used in planning, designing and organizing space. In the past periods of Iran, most cities and neighborhoods had a texture mixed with gardens and green areas inside and outside the city and neighborhoods. The existence of these gardens has had an economic function including the production of fruits, vegetables and economic income, playing an environmental function as the respiratory lung of the city and neighborhoods. In addition, there were alleys adjacent to the gardens with which the public life of the inhabitants was intertwined. The residents of the neighborhood felt comfortable, calm and belonged to their neighborhood by crossing these alleys. As can be seen in the poems and songs of some poets, some of these alleys have been places for the expression of poetic feelings and romantic dates, and many poems have been written with direct and indirect reference to the alleys of gardens. In the present age, with the destruction of gardens, large constructions and economic view of local and urban gardens, gardens have been destroyed and consequently, the alleys of gardens. As a result of this process of commercialization, the texture pattern of the neighborhoods has changed, and instead of gardens, residential towers, and instead of alley-gardens, lifeless paths have been produced. Poetic feelings of comfort and serenity have given way to the rapid passage of private cars, the movement of strangers, and the pattern of alienation and movement. Therefore, the most important issue of the present study is the neglecting of gardens and forgetting the pattern of alley gardens in the process of evolution of residential textures in cities and villages of Iran, over time. Paying attention to this at present can prevent the destruction of existing gardens and alleys. However, some neighborhoods, cities and villages of Iran now have valuable gardens and alleys that recognition, protection and attention to them can be effective in deepening this Iranian pattern. 2. Methodology The purpose of this study is to investigate the position of the garden alley in Iranian culture, art, poetry and literature. In this regard, the most important question of this article is what is the location of garden alleys, culture and art of Iran? The research methodology used in this research is a historical-analytical one with a logical reasoning approach which is carried out with documentary study methods, library and case studies. The research process is in a way that firstly the issue of research and research method is raised and the place of nature in Iranian culture and literature is examined. Then the terminology of garden alley and its relationship with psychological and mystical feelings is studied and then garden alley and garden neighborhood in the arts of architecture and urban planning, painting and Iranian carpets are examined in the form of case studies. 3. Discussion In Persian literature and prose, alley garden has been used in various meanings and concepts including: description of ZOLF Yar, description of mental space and sweet memories of love, description of beauty of mental space, desire for a sweet and hearty space, etc. In this regard, writers and poets have used the literary industries of metaphor, ambiguity and narration of memories. Alley garden has a high position in Iranian poetry and literature as well as traditional Iranian architecture and urban planning. The alleys of the gardens have been the place of expression of many pure poetic feelings for the people in the villages and cities. As many poems have been inspired by this poetic atmosphere. The metaphor of the garden alley in Iranian poetry and literature is sometimes used to express a desirable and mystical atmosphere, and sometimes it is used as a mental or real romantic and desired space of poets, composers and writers. Garden alleys in the tradition of traditional Iranian architecture and urban planning have been an integral part of urban textures that are still considered as part of the pillars of rural textures and small towns. As the gradual connection of the artificial texture of villages and cities has been established through the alleys of gardens to the texture of gardens and farms. This way of networking the passages and bodies of cities, gardens and farms is considered as an original, desirable and Iranian model in Iranian urban planning. A pattern which is declining in the contemporary period and giving way to non-native and western constructions. 4. Conclusion With a humane, literary and nature-oriented view of rural and urban spaces, it is possible to help institutionalize the garden alley pattern through planning and design strategies. These strategies include: Protection of the natural heritage of gardens and garden alleys,Respect for privacy and property,Efficiency of gardens with a reception garden pattern,Creativity in garden alley design: garden alley prediction in urban regeneration,Use of national cadaster system in stabilizing gardens and preventing change of use of gardens,National registration of garden alleys in the list of cultural heritage of the country and their restoration and prevention of their destruction,Amending the laws and regulations related to gardens and garden alleys and taking preventive measures, changing "violation" to "crime" in changing the use of gardens and destroying trees,Promoting the culture of protecting gardens and alleys as a social responsibility and rights,Use of smart methods and tools in permanent monitoring and quality control of gardens, lands and constructions.

1. Perface Undoubtedly, Saeb Tabrizi is one of the greatest Theme-maker and Punctilious poets in Persian poetry and his detailed and diverse themes of his poetry show that he has been poetic in all the phenomena and affairs of existence, The reason for the various, narrow, and fresh themes of his poetry is waved. This has led Saeb to play the most important role in Indian style and even some say that Indian style is Saeb style. Some sources have described him as the hero of Indian style (Ensani, quoted from Saeb, 2000: 34) and (Ehteshami Honegani, 1989: 14). Mirza Mohammad Ali Saeb Tabrizi is the greatest sonnets poet composing of Gazal of the eleventh century. By creating his own style of poetry, he created impeccable imagery in the style of Indian style, found neat themes, introduced allegory and Hosne-talil into a new way, and linked poetry with morality and mysticism and life (Anwari; quoted from Saeb, 2005: 23). The following verse was written by Saeb in response to those who claimed to have said all the words, and there was no longer any word left to say, and it was similar to the other. One life can be said about ZOLF Yar/ Do not leave the subject intact (Saeb Tabrizi 1988: 2/974) 2. Research Methodology In this Article, we have tried to investigate the functions of “ Zulf's” words in Saeb Tabrizi's sonnets in terms of lexical, inventive Moshabbehon-be, and various images. Qualitative research method is of analytical-descriptive type and method of text-research. Saeb has spoken in nearly two thousand verses of Zulf. 3. Discusse Zulf means the front of the hair and sometimes it is considered as the Giso “ long hair” . Iranian pronounce “ Zulf” with “ U” which means the few hair around and if especially belongs to beloved and its because of its black hair. (quoted from Dehkhoda; with tablature). From Zulf and its descriptions, such as twist, restlessness, distress, black and trap, are used to describe the beauty of the beloved. Saeb has selected some features for “ Zulf” that have made it a pleasant and attractive one. It is worth noting that Saeb has chosen new attributes for his newly-minded minds and tales of Indian style and delicacies in relation to the poets before Zulf. If Zulf had already been black before, it become black hair now. If he had been disturbed before Zulf, it had become irritable now. Of course, it should not be overlooked that. Sa'eb, along with the attributes of perfection, sedition, seduction and infidelity, has included completely new features such as life-giving water, pride, robber, and enhantment for Zulf. The word Zulf as an element that has been irrefutable in the beloved beauty of Persian literature, has been repeatedly revealed by Saeb's poetry with its lexical power and extensive semantic load. Saeb was aware of the abilities of the Persian language and the lexical capacities of this language, and "with his special art in a verse, he has put all the words in a special order "(Hasanli, 2004: 117). The active and searcher mind of Saeb, by invoking any term or phrase, have pursued a series of other words and phrases that have had lexical proportions and links in different directions. The relations that have come about in terms of art, the combination of meaning and the resurrection of the word. In his alternative word-of-mouth method, he has used the capacity of word placement in the chain of words, and the components of his biases have obvious and secret connections. Sa'eb has been used to create a foreign meaning from new, primitive, and distant moshabbehon-bes for Zulf, and has broken the limits of traditional traditions. He has advanced beyond the boundaries of the moshabbehon-bes, and has distinguished other distinct, non-existent elements of vulgarity as a moshabbehon-be one. In the poetry of Sa'eb, the words with their complex and repeated relationships have created a variety of visual clusters. The word "Zulf" was added along with the words ‘ ” Dell” (Heart), "Shane" (Comb), "Khat" (tails) and "Hosn" (Beauty) as pairs of images in poetry poems. Zulf in his poetry is also in line with the tradition of Persian poetry, home and it is the of heart, but the poet has brought this theme with innovative innovations in Indian style and his infinite creativity. As an example, in a pure image, the homeland drove the heart into a zoological, resembling a Muslim in the veil. These pairs of images are not exclusive to the Zulf with Dell (Heart), Shane (Comb), Khal (Mole), Khat (Tail), and Chaneh (chin); but Saeb has created numerous images along with other elements such as Roy (face), Mozhgan (Eyelash), Mouth, Kamar (Waist), Hosn (beauty), Nasim (spring wind), “ Goshvareh” (Earring) and “ Negah” (Look). The images, created by the indistinctness and intricacies, uncompromisingness and elegance of the poet, have been created in search of a foreign meaning and in accordance with Indian style indices. 4. Conclusion The results indicate that the word "Zulf" such as "Sarv" (Cedar) and “ Hobab” (Bubble) are key word and determinant in Sa'eb Tabrizi's Sonnets. In most cases, the word “ Zulf” has a literal and semantic relation in one verse with other words in the same verse. For example, Saeb likened Zulf to something, and, with the his perfect ability in art, mentioned the lexicon that was appropriate to that one in verse, and was able to form a lexical equation by linking the artifacts of the verse components. This fact expresses the deep awareness of the poet about the capacities of the Persian language and the rich treasure of his mind. Saeb, in strange likenesses associated with his innovation, puts Zulf alongside some innovative and unfamiliarMoshabbahon-bes such as "Changale Shahbaz", "Toughe Qomri” , “ Mesra", "Kochehbaghe", "Farrash", “ Parrikhaneye Chini", and "Reshteye Goldaste” , which do not have a color of repetition and banality. In addition, Saeb created paired images in unique imagery by putting "Zulf" alongside "Chane" (Chin), "Kamar" (Waist), "Shane" (Comb) and "Khat" (Tail). In particularly, these images have come up with unprecedented and ingenious elements in the structure of oppositional elements. For example, he has seen in a picture (Zulf and Kamar) (prominence and Sonnet). The findings indicate that in addition to the personal taste of Saeb, the usual taste of the time, the dominant rules on the common Indian style, the format of the Sonnet, and the theme of love and mysticism, also played a role in the prominence of the functions of the phrasal word in Sonnet's poems. In the end, it should be said that while Sa'ib may have just posited a poetic claim when it comes to this verse, he has finally proved that with a vast array of themes, Only one life can be said about Zulf Yar.