Folklore culture and literature have long been linked to the ancient beliefs and views of human societies, Hence, it has become a magnificent asset that is a reminder of the artistic tastes and moods of the people of the past and a solid evidence of the national and cultural identity of human beings. One of the elements of popular culture, folk beliefs and beliefs that has existed in the culture of most nations for so long, has been examined by each ethnicity in accordance with their culture and beliefs. Bidel Dehlavi is one of the poets who has explored these beliefs and opinions in the Indian subcontinent. Bidel's sonnets have the potential to be examined and analyzed; thus, in this descriptive-analytic study using library tools, the authors intend to explore the scope of these fascinating beliefs and dimensions, and the extents and instances of elements of popular culture in the poetry of Dehlavi. The result of this study shows that Bidel Dehlavi, with his scientific, religious and social abilities and skills, applied folklore elements and popular beliefs in the form of imagination in his sonnets while at the same time taking the roots and texture of these rhetorical forms from the language of the people and has added belief to his imaginative and literary artworks to the extent that he has permitted scholars to identify the intellectual origins of his poetry. Research aims: 1-The examination of natural and visual elements in Bidel Dehlavi's sonnets. 2-The investigation of popular beliefs and principles in the form of imagination in Bidel Dehlavi's sonnets. Research questions: 1-How is the natural and visual reflection reflected in Bidel Dehlavi's sonnets? 2. How are the popular beliefs, dimensions, and instances of elements of popular literature expressed in Bidel Dehlavi poetry?

Not long after the discovery of the Halilud (Jiroft) civilization, much research has been done on this civilization and the study of the structure of motifs on recent works. Given the lack of written information and sufficient historical evidence from this civilization and its place in the history of ancient Iranian art, articles on the subject can be a good source of inspiration and inspiration., Our knowledge, technical know-how, and so on. The motifs used on the works are an important part of ancient Iranian art. The motifs of pottery, and many of which are decorated with very beautiful themes, have always been at odds with the worldview, symbolic concepts, and cultural connections of societies in times past. The purpose of this research is to study the visual structure of decorative motifs (technical knowledge of aesthetics) on the found works of Jiroft civilization and to question their aesthetic quality. As well as studying the visual structure of the motifs used on the works, we can reveal the visual sensibilities of the creators of these works on the beautiful, the principled and precise application of aesthetic elements (technical knowledge) such as rhythm, symmetry, balance, proportion, concentration, balance and so on. The stone artifacts of Jiroft civilization are widespread and it is important to note that the people of this civilization, in addition to the functional aspects of everyday life, use various motifs (geometric, human, plant, animal, thematic and symbolic) on these works. They have tried to satisfy their aesthetic needs. The method of data collection in this article is library studies and field research through objective observation and research method is descriptive and analytical. It seems that the origin of the visual elements, abstract ideas, and realistic images is derived from the surrounding nature and mythological rituals of the field, along with the sensitive and aesthetic mind of the artists emanating from their culture. Engraving on these containers has been a means of conveying the message in pre-historic times and has been used by artists as the most appropriate canvas for displaying the message and human knowledge. The questions of this study are: 1. What are the elements and qualities of the technical (visual knowledge) used in the design and composition of the decoration of the containers and what are the visual communication techniques associated with the Harylrud stone containers? What is the semantic relationship between the form and content of the motifs in these works? Objectives: 1) To study the visual and visual structure of the motifs in the works of this civilization 2) To analyze the relationship between form and content used in the works of this civilization

Celestial elements and animals are among the most frequent phenomena in the poetry of Zolāli Khānsāri, each of which can individually represent a central image or together create a set of visual associations in combination. Accordingly, the present study aimed to investigate the visual associations of celestial elements and animals in Zolāli Khānsāri’s poetry. To achieve this, the verses in question were selected using library method and analyzed via qualitative content analysis at the textual and verse levels. The identified visual associations were placed into three categories; visual associations of celestial elements, visual associations of animals, and common visual associations of celestial elements and animals as central images. The visual associations of celestial elements in Zolāli Khānsāri’s poetry, based on their frequency, are the color, the representation of eloquence, the description of beauty, the influence on fate, the power, the light and illumination, talking about wine and its derivatives, and the rotational movement. The visual associations of animals are the reflection of wisdom, the description of beauty, talking about wine and its derivatives, desire for fire, display of malice and deceit, the representation of misery, representation of eloquence, the description of power, and color. The common visual associations of both celestial elements and animals are the description of praiseworthy power, the color, light and illumination, representation of eloquence, the description of beauty, and displaying the rotation and movement. Innovations can also be seen in his imagery of celestial elements and animals.

Epical and mystical literature properties are different. Islamic Persian Painting has been influenced, in company with these two styles of Persian literature. So, the images that have been illustrated in one of the two discussed styles, have some differences in their compositions and using of visual elements.This research tries to find the quality of interaction between Persian painting and literature and the questions which to be answered in this article are: How did Persian literary specificities in mysticism and the saga, appear in visual elements and have influences on paintings? And what differences have created in the epic and mystical paintings? Despite of the same appearance between the epic and mystical paintings, there are differences between them which seems, differences have been, due to the nature of the stirring epic themes and stability and peace of mystical themes. visual symbolization and coloring, along with features of Persian literature, are the most important features that appear in the elements of these paintings.This research has been done based on library practices. In codification and conclusions, has been used of comparative, descriptive and analytic methods.

Undoubtedly, the emergence of coins is one of the most important achievements of human society. The spread of coins made the standard of trade and commerce between humans and societies clearer. The aim of the research is to study the coins of the Ilkhanid period, the patterns and visual elements used in their decorations in order to achieve communication with religion, language, script and their use in commercial and cultural exchanges. The research is based on the “ substantive-theoretical” goal and the “ content analysis” method and based on the iconography of Irwin Panoffsky’ s views. The method of collecting information and data is “ library-archives” . The research problem is: How did the decorative elements on the coin affect the culture of the Ilkhanids? The results of this study indicate that the first coins from this era have writings in the Uighur line and Mongolian language. The presence of phrases such as “ La elah el-Allah” and “ Mohammad Rasulullah” , along with the names of the Mughal sultans, such as “ Muzeddin” , in Persian line, show how the kings of this dynasty from time to time became Muslim. Thus, the Muslim history of Ghazan Khan is clearly characterized by his coins. The first trend towards Shiite religion is also one of the other historical issues that appeared on coins. On the coins of this period, the name of the twelve Imams, especially Imam Ali (AS), is to be seen. As in previous Islamic periods, the motifs of animals and plants, along with Qur’ anic inscriptions, have been used to decorate coins. In general, writings related to the Shiite and Sunni religions, geometric decorative frames consisting of circles and squares, plant motifs and animal motifs with the use of Tamgha, are the most visual representations used in Ilkhanid coins. Introduction One of the important developments in the history of the Ilkhanid era was the Islamization of the Mongols and the transformation of the patriarchal government into a Muslim. This development was the result of a series of intellectual, political and social interactions, and different groups played a role in its implementation. Although the first Mongol rulers had a different religion, there are Islamic rites on their coins. Mongol coins of the eighteenth and late nineteenth centuries are unique in the ancient world in terms of design, shape, materials used and writing elements. The presence of the Ilkhans with their religious, Buddhist, Christian, religious tolerance in the political arena of Iran, who had their own religious and cultural beliefs. The works discussed in this study are related to a number of coins of the Ilkhanate period. The study of the visual elements of coins puts the audience on the path of changes in the style of Iranian art in this period, considering the influence of Islam on the tastes of rulers. The importance of research is that art is influenced and influenced in a two-way relationship with culture and religion. The aim and necessity of the research: The aim of this paper is to analyze the visual elements of Ilkhanid coins with an iconographic approach in order to achieve a logical connection between the elements used in Ilkhanid coins with culture and religion during the process of describing and interpreting the motifs. Question and Hypothesis: The answer to this question: What do the visual elements of the coins of the patriarchal period have to do with the culture and religion of the patriarchal period? It has led to this research. The research hypothesis indicates that the use of human elements according to Islamic teachings, as in previous Islamic periods, has decreased and more attention has been paid to geometric patterns, animals and plants along with Quranic inscriptions. Research Methods The present study covers the study of visual elements in the illustration of patriarchal coins. Various methods can be used to achieve a coherent historical structure for categorizing and introducing patterns, and answering article questions. In this study, the iconographic method was selected. By researching the coins of the patriarchal period with an iconographic approach, the connection between the theme of the work and the form emerges. On this basis, the coins of the patriarchal period are viewed as textual images. Discussion Most of the Mongol coins are made of silver. Some of these coins depict various images of animals, such as peacocks, lions, cats, eagles and cows, the image of the cross and the inscription of Bismillah. Most of these coins were minted in the eastern part, especially in the city of Tus. Most of the decorations on the coins are inscriptions that include prayers and titles with the Kufic script engraved on the coins. The general shape of all coins of this period is circular or elliptical, in some cases the coins also have a ring-shaped section that has been added to the circular section. . In some coins, only the name of the sultan is written in Persian letters, in order to recognize the new king from the previous ruler. The name and titles of the sultan are often written in Persian words and letters. In early Islamic coins, the use of geometric patterns was limited to circles or concentric circles, and only in a few cases, such as some Al-Buwayh coins, did geometric divisions apply to coins. This use of geometric patterns increases little by little and in a limited way, creating shapes that fit the circular and small space of the coins in this era. The Tamagha, as a brand, were usually associated with a particular tribe. When a tribe was separated or divided, the new institution of the Tamagha changed. But the old symbol was still preserved. Tamagha was typically associated with the leader of that group, thus becoming a symbol and property of the aristocracy and thus inherited by their sons. As the Mongol Empire began to organize, the Tamagha became a trademark of the government and were not only a symbol of Khan’ s approval and approval, but also later appeared on coins. Conclusion The importance of Ilkhani coins in recognizing the events and social events is significant. The reflection and impact of these events on the role of motifs, writings, as well as the quality of coinage, can be seen and examined. These motifs have religious themes, and on the other hand, it seems that the reflection of the image that the patriarchal king wanted to create in the minds of the audience of coins, and the visual elements, the key role in this. On Ilkhanid coins, it is generally dedicated to religious rites and the coinage of coins to inform and honor kings. In special and small cases, figurative motifs can be seen on the coins. The main motifs used on the coins are margins that enclose the inscriptions. The composition of the text is based on the shape of the main margin and is completely shaped accordingly. For the first time, coins and inscriptions were minted on coins that had nothing to do with the official religion and propagated. There are various animal and geometric patterns on the coins of this period. Animal, geometric, lion and sun symbols are among the most important motifs and motifs used in these coins.

Handwoven traditional fabrics are representations and carriers of the oldest meanings, traditions, and historical customs of Iranian civilization. These ancient artifacts, as the material aspects of civilization, simultaneously narrate the most spiritual dimensions of everyday life and the ordinary culture of common people. The Safavid era, symbolizing the Iranian culture's revolt against the intrusive "other," manifested its spirit in certain civilizational artifacts, including handwoven fabrics and the motifs depicted on them. This study aims to conduct a semiotic analysis of the motifs and visual elements in the Safavid-era textile industry, as well as to examine the impact of the art of that period on the trajectory of art in later periods. The research employs a semiotic methodology and purposive sampling. The findings indicate that Safavid textiles exhibit a remarkable variety and richness of motifs, with the entirety of the fabric often adorned with a blend of inscriptions, motifs, and narrative or romantic themes. The integration of romantic, religious, and national themes in many of these artifacts reflects the Iranian civilization's effort to distance itself from the "other" and construct a novel form of Iranian-Islamic identity. The continuation of this endeavor is clearly observable in various forms during subsequent periods, even in other artistic genres.

Nature compels the nomadic people to abandon their settled dwellings, Yaylak in the summer and Kishlak in the winter, and pass treacherous mountains and rivers to establish new settlements twice a year. These nomads must safeguard their modest and concise way of life and transport it to the new location using their livestock, which serves as their primary capital. The women of the nomadic community skillfully craft ropes known as Veris from the wool produced by their cattle. Veris is a hand-woven fabric that exhibits exceptional practicality, beauty, and intricate patterns. The Bakhtiari people utilize Veris to fulfill various needs in their nomadic lifestyle, such as securing loads, transporting firewood and water containers, relocating the baby's crib, and more. These hand-woven ropes play a vital role in the Bakhtiaris’ mobile way of life, distinguished by the remarkable beauty of the Veris motifs, their durability, and their multi use. These ropes often hold significant cultural and spiritual value, as their women adorn them with a wide array of motifs, each with its unique reason and background. These motifs sometimes depict objects found in the nomadic surroundings, flowers and plants in the Bakhtiari people's natural environment, the nomads' work and daily life, as well as animals. Additionally, geometric and innovative patterns can also be observed among these motifs, and as they evolve, they acquire symbolic and enigmatic qualities. The Bakhtiari people employ a multitude of diverse designs and functions in their weaving production, all of which draw inspiration from their customs, traditions, habits, impressions, and insights, ultimately reflecting their rich and bountiful culture.

The conquest of Iran by the Mongol people caused a lot of damage to Iranian culture and civilization and left a hard-hearted image of the Mongols. After they defeated the opponents with the force of the sword, they inevitably carried out policies to gain the legitimacy of their government and used various methods to achieve their goals, which created social and political stability in this period. The purpose of the current research is to investigate the different ways that the patriarchs used to legitimize themselves in this period. The main question of this research is: How and by what tricks were the Mongols accepted in Iranian culture and were they able to gain the necessary legitimacy to rule over Iranians? The method of conducting the present research is descriptive-analytical and the findings of the research show that giving legitimacy to the Ilkhans is mainly done in the form of paying attention to religious values and cultural beliefs.

Urban landscape, as the consequence of the human perception of diverse dimensions of the city, the physical form, action, and meaning, is an objective-subjective phenomenon. Different human senses, including sight, get information about the urban scene as a perceived reality. “Seeing” is a large aspect of how humans get environmental information as part of their perceptual process. Everything seen in space forms the visual system of the urban landscape which makes sense when it is combined with information received through other senses and interplay with the subjective aspect (one’s understanding based on experiences, memories, conditions, and personal-social characteristics), and the urban landscape. Many studies on the visual system of the urban landscape have focused on the “physical form, ” its characteristics, and the way its components are organized, rather than the “activity”, which is part of the urban environment as experienced by humans. As a result, the function of activity in forming the visual system of the urban landscape should be addressed. The present study aims to understand the notion of a visual system in the urban landscape by describing its parts and the types of their correlations, which is accomplished through studying the theoretical relationship between the idea of the urban landscape and its components, as well as explaining perception by highlighting the information obtained through the sense of sight. The data of this descriptive and interpretive study were analyzed using documentary and bibliographic analysis and then were categorized and interpreted using logical reasoning. Findings demonstrate that the components of the urban landscape visual system can be explained in terms of visual elements (such as physical form and activity) and visual values (elements and their correlations quality, including the nine qualities of naturalness, sociability, readability, vitality, and dynamism, beauty, coherence and continuity, sense of identity, complexity, diversity, and contextualism) which are conducted through the research.