پژمان دادخواه

Among the Iranian artistic works and branches, the metal works have been reflecting ritual and denominational views throughout history in the discussion on traditional arts. Here, the metal works of the Safavid period are of great importance, because that period is among the magnificent eras of Iranian art, and because it created a monolithic state and promoted the Shiite denomination. This study aims at revealing the basic evolutions and transformations, embellishments and themes of the metal works in that era with ‘religious’ and ‘national’ parameters. Thus, it seeks to answer two main questions: first, “Why did the artists in the Safavid period want to use the names of twelve Imams in making metal things for expressing religious themes and social approaches?” And second, “In evolution of which formats did the Safavid rulers want to promote the Shiite themes and elements in the society by supporting artists?” This article has been written using a descriptive-analytical method and field resources of libraries and museums. The results of this investigation, in addition to cultural and artistic prominences as well as the Shi‘a themes in the inscriptions of that era, shows the typology and application of various types of plant embellishments, adjustment to previous eras, and using Farsi language and script in the Safavid period; and accordingly, the present study is founded on the hypothesis that the generalities of the structure of metal works in the Safavid period, though filled with aesthetic elements deserving propagation, is captured by the ideological thought, which must be explained in an apparent review.

The aim of this study is to analyze the thematic and structural similarities between the Azerbaijani folk song Sari Galin and the romantic legend of  Sheikh San'an based on the theory of its intertextuality and elucidation of the intertextuality concept by Gérard Genette through the narrative of Attar's story. By examining the differences and similarities between these two narratives, this study seeks to achieve a deeper understanding of the Sari Galin folk song. Intertextual analysis is highly effective for understanding the background, critiquing literary or artistic texts, as well as discerning their authenticity and creativity. In this research, if the Azerbaijani folk song Sari Galin can be comparatively and intertextually examined with the literary work of Attar's narrative, it may provide fresh insights and facilitate a better comprehension of the Sari Galin song.

The present research is descriptive-analytical and employs qualitative data analysis. Initially, interviews were conducted with several scholars and researchers in the field of Azerbaijani folklore music to gather information about the "Sari Galin" folk song. Subsequently, information was collected through library research on Attar's narrative and theoretical foundations. Then, relying on Gérard Genette's theory of intertextuality, the analysis focused on the themes, characters, and actions of both narratives. The text was examined to identify similarities and differences.

The main characters and events in both narratives, such as the love between a Muslim man and a Christian girl, marriage conditions, apostasy from Islam and becoming a shepherd out of love, the tragic end of the Christian girl's life due to separation from her lover, demonstrate significant thematic similarities, portraying an unfulfilled love and intense sorrow. The characters of The Legend of sari Galin, who openly uses the characters of the story of Sheikh Sana'an atar and becomes a Muslim man of the heart of a Christian girl, as well as the precise and common theme of Love, whose religious issues are disturbing and deterrent, and whose failure in his connection is rooted in religious beliefs, as well as the difficult condition of passing through Islam to reach a lover, which is derived from the story of Sheikh Sana'an ATAR, is the death of the daughter of Teresa from the separation of the truth and the death of sari. Galin of the separation of the friend and the heartbreak and the sorrow of the love of this world that the difference in the narrative of the outcome of the Christian girl considering that there are differences in the explicit intertextuality of the second text compared to the first text and the similarity and emphasis on the end of the life of the Christian girl in both It's a story that establishes an explicit intertextual relationship between all of these things. Also, the herding of the lamb herd in The Legend of sari Galin can be a sign and reference to the pigs in the story of Sheikh Sana'an ATAR, which is part of the implicit intransigence.

Ultimately, this intertextual analysis elucidates the influence of Attar's narrative on the Azerbaijani legend of "Sari Galin" and enhances a better understanding of the folk song. It appears that the legend of "Sari Galin" is essentially a folk rendition of Attar's narrative

The presence and application of semiotics in our surroundings are evident. Signs are used extensively throughout life, including in art. One of the prominent areas of their use in art is cinema and the film industry. Utilizing signs in this field not only aids in conveying concepts implicitly and indirectly but also serves to express various ideologies. Thus, interpreting works from this perspective can significantly help us understand and grasp the main concept.Mani Haghighi, the director of the film "A Dragon Arrives", has used his artistic and philosophical background, as well as his knowledge of semiotics, to provide an opportunity for us to explore signs and embedded concepts within the layers of the film. 

This article aims to introduce readers to the main ideas of semiotics and to analyze the film "A Dragon Arrives" from a semiotic perspective, allowing for a better understanding of the signs and the film itself.

The research method in this study is descriptive-analytical and aims to discover and explain the relationships between phenomena and signs present in the film. This work was conducted using library methods, supported by articles, existing books, and by studying visual information. 

The findings of this research indicate that the director has used various signs, from character creation to the underlying layers of his work, to convey concepts. Even the environment in which the film's world is being shaped has been chosen with consideration of these tools, that is, signs and implicit concept conveyance.In the film "A Dragon Arrives" signs are extensively used and can be seen and interpreted throughout the entire story. Certainly, this extent of sign usage, as well as the methods of their use—especially those with metaphysical properties and drawing from local or historical traditions—are very influential in the storyline or, better to say, in the understanding of the story. Upon initial viewing, the film may come across as a complex crime drama with a non-linear, postmodern narrative. However, a closer analysis of the film reveals themes such as alienation, ignorance, superstition, and most importantly, the concept of death. Death is sometimes portrayed so alien and majestic that it has transformative effects on lives like an earthquake, sometimes so soothing that escaping it becomes difficult, and sometimes so ordinary and insignificant that it seems no one notices it.Moreover, analyzing the reactions of different character types to the same issue and their various responses becomes easier after interpreting the signs. This makes the characters’ developmental trajectory, collapse, and growth throughout the story more tangible, providing valuable information to the audience, especially considering that individuals might encounter and interact with such characters daily. Additionally, the use of signs and their application to define a multi-layered and complete story signifies the director’s mastery and skill in his craft. The issues raised in the film cannot be easily overlooked, and each can be the subject of extensive discussion, which alone is a valuable act of reminding the audience.Mani Haghighi's "A Dragon Arrives" stands as a testament to the director’s ability to intertwine semiotic elements with cinematic storytelling. The film becomes a fertile ground for semiotic analysis, offering viewers a layered narrative rich in hidden meanings and symbols. By delving into these layers, one uncovers a deeper understanding of not just the film but also the broader implications of the signs and symbols in our everyday lives. The use of semiotics in this film is not merely a stylistic choice but a profound method to engage the audience on a more intellectual level, prompting them to reflect on the underlying messages conveyed through the narrative.In conclusion, the application of semiotics in cinema, exemplified by "A Dragon Arrives", highlights the significance of signs in enhancing the depth and meaning of a film. The director's adept use of semiotic elements not only enriches the narrative but also invites the audience to engage in a more thoughtful and analytical viewing experience. By recognizing and interpreting these signs, viewers can gain a deeper appreciation of the film's themes and the director's artistic intentions. This approach underscores the importance of semiotics in the broader context of art and communication, offering valuable insights into how meaning is constructed and conveyed in various forms of media. Thus, the study of semiotics in films like "A Dragon Arrives!" is crucial for both filmmakers and audiences, fostering a richer understanding of the intricate layers of meaning that lie beneath the surface of cinematic works.

The Alhambra Palace is one of the most famous monuments of Islamic architecture located in Granada, Andalusia, Spaine. It has inspired artists for artistic creations.  Francisco Targa is one of the artists who, influenced by the unique beauty of the Alhambra palace, created a work called Recuerdos de la Alhambra for classical guitar. The piece is performed with the tremolo technique and is one of the important pieces in the classical guitar repertoire. Due to the importance of this piece to classical guitar players, the purpose of this paper is a comparative study of the architecture of the Alhambra Palace and Recuerdos de la Alhambra. This article examines the common elements of architecture and music in a descriptive-analytical way and the use of library and internet resources, and then analyzes and examines the influential elements of the architecture of the Alhambra Palace in the Targa piece. The results show that despite the differences in the world of architecture and music the Alhambra Palace and Recuerdos de la Alhambra have something in common and influence the perception and feeling of the audience by their influence on each other.

In this research for my Statement of the question; the author was guided in this direction by the preconceptions of the two words feminism and neo-formalism, in order to form a new theoretical approach by choosing one of the abandoned remnants of Iranian-Pahlavi classical literature (Yadgar Zariran). In the topic of Ta'zia as a theater, which led to a memorial with this main keyword: the world of the soul of art?! For Purpose, But here, for the main purpose, we have always tried to present a new topic for the world of theater therapy and (art) therapeutic hero in a necessary aesthetics, and of course we also included reviews & the background with the efforts of Mr.Abdolreza Nasser Moghadasi came close to the book: Neuro-mythotherapy. And about my R.method we used library sources and field experiences (anti-feminist), made data and our work is qualitative, descriptive and analytical. In conclusion, we hope that as a result of this effort, the discussion of art therapy in Iran will become more practical, and the criticism will be more honest! And some superstitions should be removed to see if something called art-hero therapy is possible at all? If yes; How can its future be improved and controlled? Hope it will be useful.

Photography was created to make the world easier to understand, but the result was the opposite. A photo that was taken in America and had concepts of culture, language, race and even climate created a different understanding for a viewer on the other side of the world. So that it was necessary for him to understand and decode the image in the details of those cultural and linguistic concepts. Lack of complete knowledge of these concepts leads to misunderstanding.Roland Barthes proposed the method of semiotics of "explicit meaning" and"implicit meaning" and said that in order to understand both of these, all the surrounding information of the work should be understood and then analyze that work. This research analyzed the photos of Dian Arbus. In this way, according to the elements in the photos, gestures, age, culture, etc., the signifiers have been determined and the primary and then the secondary signifiers or the implicit signifiers have been described based on the background of the photo. The research method in this study was analytical-descriptive and based on the library method. The photos of Arbus were black and white and had a definite square shape, and in most of the photos, the subject was placed in the middle of the frame, staring at the camera lens and frozen, bringing the viewer into the cold and soulless world of the photo. What was the purpose of Dian Arbus photography? According to the analysis and interpretation of Arbus's photos and taking into account the historical conditions of America in the 60s, he depicted another world so as not to be forgotten. Despite the flaws and defects of most of the Arbus subjects, they were still beautiful and remarkable. Arbus showed in his photos that humanity, kindness and love exist above everything else in this world.

Statement of question:

 One crucial aspect of contemporary art analysis lies in the widespread adoption of environmental criticism. This approach consistently seeks to identify historical connections between the appearances of nature and art, contributing to their mutual enhancement. For instance, consider a poem by the poet Basir al-Din Shirazi that describes a province in Iran with a once distinctive vegetation cover, now diminished. Through this method, we can ascertain the contemporary adaptations and discern that the reduction of a particular element (such as a pine tree) may be linked to the increased occurrence of floods in the region. However, this study aims to delve deeper, fostering a more profound understanding of our ecological impact.

Beyond environmental correlations, this research endeavors to introduce a new creative dimension to the realm of art. It explores a specific sub-part, employing an alternative approach to the literature and mystical conduct of Zahabiyeh. Research

This study employs a descriptive-analytical method, combining qualitative and practical information gathered from both library and field resources.

Finally, our research reveals that, despite a human-centered epistemological focus, our understanding of mythology and its symbolism is integral. This comprehension serves as the key to connecting and applying previously acquired knowledge, contributing to a more concrete understanding.

Roland Barthes, a famous French literary theorist, cultural critic and semiotician, has important works in the field of semiotic analysis of literary texts and cultural phenomena. Among these cultural phenomena, we can mention the clothing system, which can be read as a visual symbolic system. Clothing as a sign contains different and multi-layered codes, expressing different concepts and meanings. One of the important pillars and layers of meaning in performing arts and cinema is clothing, which plays a colorful and key role in the interpretation and analysis of the work. Der Cheshm Bad series, as one of Iran's enduring national works, reflects important parts of contemporary Iranian history and has many characters, each of them is worthy of reflection in terms of social, cultural and political aspects. The cover can be analyzed and read. Also, in terms of the presence of characters in different time and place situations and having different clothes, it can be a good example for semiotic reading in order to achieve cultural and social issues. The point of departure of the current research is the semiotic reading of the men's clothes in Chesh Bad in the light of Roland Barthes' opinions and the answer to the question, how does the design of clothes in Chesh Bad express the personality, class, cultural and social characteristics of people?

This research is fundamental in terms of its purpose, and in order to achieve the stated goals, descriptive-analytical research method was used, and essential and needed information was collected in a library manner. In this regard, the selection and selection of images from different sequences and seasons of the series in Eye of the Wind has been made based on the emphasis on men's clothing, and images have been presented that best display men's clothing and are useful for semiotic interpretation and reading. And it is efficient.

The obtained results show that one of the distinguishing factors of the characters is the category of clothing design, which in a way reflects people's thoughts, views, social position, tastes, political attitude and generally indicates their social class. And this category contributed as a meaningful element in the introduction of different characters and despite the behavior, speech and performance of each character, their clothes also show the connection of the characters with cultural and social metatexts. The clothing design in this series has been able to display important parts of social, political and cultural classes as a meaningful system and also express the historical developments of contemporary Iran. In other words, the gender, color, model, and different combinations of clothes have been examined, each of them has many meanings that introduce the character and culture of that historical period. The examined clothes show the geographical region, historical period, social class, job, personal characteristics, tastes, moral characteristics and even the character of people

Vank cathedral or Surb Amenaprkich is one of the valuable historical monuments in Iran, which was built during the time of Shah Abbas Safavi by the Armenians who lived in Jolfa region of Isfahan during nine years (1655-1664); This cathedral, which is a Combination of Islamic architecture and Christian art, was built by order of Shah Abbas and in a different way from Armenian architecture, i.e. by using Iranian architecture and Islamic, but it was built optionally in interior decorations; Therefore, inside the cathedral, paintings of biblical stories (Old Testament and New Testament) were created by master painters such as Master Minas Zahra Bayan, Hovhaness Murkozes and their students. Now, according to the principle that the Christian religion is formed based on symbols and its primary art is iconography, the author aims to find the signs in the painting of the Last Judgment in Vank cathedral by using the semiotic model of Pierce. Analyze that image. Therefore, according to the classification of Peirce, the American semiologist and pragmatist, of signs which are divided into the three categories of symbol, profile and image, the present research seeks to answer the question that in Christianity, life after human death (heaven and hell) what is it like? According to the texts of the New Testament, resurrection is the day when the world will end and this is the time when Jesus Christ will appear for the Last Judgment. On this day, the souls of all people are resurrected together with their bodies and with all their characteristics and appear before God for evaluation and judgment, based on their belief in Christ, so that their eternal place, i.e. heaven and hell, is determined. In fact, the belief system of the majority of religions in the world is based on the fact that the dead pass through the gates before being sent to heaven or hell, which is the place of their eternal life. This theme, which has gained special importance in Christian art since the 7th century AD, was first painted by Michelangelo on the altar of the Sistine Chapel in the Vatican, which later became a model for others such as the artists of the Vank cathedral. One of the reasons for choosing this theory is that it is possible to use the descriptive-analytical method to understand the concept and function of signs in the painting, as well as the available information about the way of life after the death of humans, which is based on the sayings of the Christian religion in the painting. It is depicted in the cathedral of Vank achieved. The information in this research has been collected and analyzed in a qualitative way through the library method, field method, direct observation of the work, and the traditional polling method, as well as the use of the Internet; The results of this information have proven the hypothesis of using semiotics to answer the research question. Therefore, the findings indicate that: in the painting of the final judgment, the symbols are divided into two separate categories, that is, with positive and negative meanings to express the events of the Day of Resurrection, as well as heaven and hell, of course, some of them are placed in different sections. And next to various elements, they may have different meanings. But next to symbols, other signs such as profiles are signs whose subjects can be observed and deduced, in fact, a profile such as the sound produced through trumpets and trumpets implies "hearing". And it should be said about icons that they are signs that are similar to their signifiers; Therefore, according to the principle that Christ is the incarnation of God, therefore God has a human image in the painting of the final judgment. As a result, in general, it should be said that the final judgment painting expresses part of the teachings of the Christian religion and the theme of human life after death by using signs that, by distinguishing and recognizing them, we can understand that the religion of Christ promises humans to heaven and hell. And it refers to Jesus Christ as the manifestation of God among humans. In fact, this religion believes that Christ sacrificed himself for the salvation of humanity and the forgiveness of human sins; So on the final day, those who believed in him (God) will be accepted in paradise; And the people who did not believe in the Trinity (Father, Son, Holy Spirit) are tortured by the demons of the underworld that Lucifer, the exiled archangel, taught them because of their disobedience to God's commands. In the end, it is necessary to emphasize that each of the three aspects of signs played a role and was influential in the creation of the desired work.

Considering the busy and everyday life and the complexity of modern life, remembering these logos is difficult and perhaps far from important for some people. All of us are looking for a simple way for quick understanding the content and images that we hear or see to escape the complexity.The present research, which is descriptive analytical is done by using library and electronic resources, it investigates the effect of stylized visual forms in logo design. The results of these research reveal that in the fields of logo formation, it is done by two factors: simplifying the main form and simplifying natural forms.That is, either the shapes are simplified into geometric shapes that are familiar to us ,such as squares ,circles ,and triangles ,so that they have the ability to express complex meanings in an impressive way ,or if the designer uses natural shapes in his logo design, he should familiar with the existing forms in nature and visual capabilities in order to simplify them without losing the visual structure and overall identity. Also, visual features, such as balance, symmetry, rhythm, etc play a crucial role in stylizing logos and helping viewers to understand the concepts of logo quickly.

The strategic use of visual elements by artists significantly influences the visual perception of artworks. The Gestalt psychological school, rooted in cognitive science and visual perception, offers a framework for both artists and audiences to comprehend and interpret art. The deliberate use of visual elements in Haft Awrang Jami's paintings provides an opportunity for psychological analysis, facilitating a deeper understanding of the collection's themes. Therefore, understanding the principles of Gestalt and their role in enhancing audience comprehension of artworks is crucial. This qualitative research employs an analytical-descriptive approach to explore the visual characteristics of human body placement in the selected paintings from Haft Awrang of Jami based on Gestalt theory. The study analyzes 4 images out of 28 from Haft Awrang of Jami using four Gestalt principles: similarity, proximity, continuity, and integration/completion. The findings demonstrate that the positioning of figures can be analyzed through these Gestalt laws, resulting in improved visual perception and comprehension. Moreover, this approach lends a scientific perspective to visual elements, uncovering their significance beyond initial observation.</div>

Problem Statement: 

The Roman myth of Zalmoxis is one of the most enigmatic myths in the world, with little specific research on its origins in divine/historical literature. This riddle became the focus of our work, and with Soheil Enayatollah's layered causality analysis, we have delved into the texts of Mircea Eliade and personal experiences. We aimed to unveil a different manifestation for this name that should have had another outcome: Mithra/Mithraism.

 We also explored the cultural interactions between Iran and Romania from an encouraging rather than promotional perspective.

 The research methodology employed is qualitative and applied, descriptive-analytical, and data collection is both library-based and field-based experimental. 

 We had no direct precedent for this; however, due to the multi-dimensional nature of our work, it addresses the separation and cultural interactions with the language of the soul of art. We introduced the notion that the path of the Mithraic army from Iran to the world has become crucial and ambiguous for the first time in world history.

"Islamic art" is a word that was first used by Orientalists. Despite the many definitions of "Islamic art" presented so far, it is still discussed and investigated by thinkers, since Islamic art cannot be considered a specific movement or style. In this research, the concept of "Islamic art" is considered from the point of view of Sheila Blair and Jonathan Bloom, and the comparison of their point of view with the approach of semanticists and essentialist orientalists. Now this question is raised, what was the purpose of Islamic art from the point of view of Blair and Bloom, and what was the approach of these two researchers in the study of Islamic art and the classification of these works in comparison with orientalists of the essence of belief and semanticists? The purpose of this research is to analyze the concepts and approaches related to Islamic art from the point of view of Sheila Blair and Jonathan Bloom and compare their point of view with the approach of semanticists and essentialist orientalists. The research method of this research is qualitative and its presentation method is descriptive-analytical. Information has been collected based on studies and library documents. The results show that regardless of the definition of art in the West and because of the lack of a specific definition of Islamic art, Blair considered it free from the restrictions of region, period, school, or specific style and considered the works in the realm of Islam as "Islamic art". On the other hand, Blair and Bloom promoted the Western-based study approach to the level of interpretive-based studies, but the approaches of these two researchers contrast with the object-oriented and traditionalist orientalist approaches.

The word ‘lion’ is a word that Iranians have always tried to generalize to many topics. While puns in literature have been discussed in many ways, they still hold a valuable place in his most bitter connections. Even the person who sees the scene of hunting a lion, either remains silent before it or talks about its majesty; Whereas if the killing was done by an animal or another creature, we would quickly condemn him. Thus, with a typological approach, we attempted to clarify the reason for this kind of repetition and evaluation in the world of art and science. The purpose of this research, in addition to what was mentioned, with a forward-looking view of the place of the lion in the validity of Iranian culture (in particular), we always express this theme, which is the essence of creativity of our work, but the background of the work owes a lot to Sadruddin Taheri and Arthur We are Pope. The use of library resources and field experiences was utilized in this research, and our qualitative performance is based on a descriptive-analytical element. May, a drop of the lost culture, be preserved with the remaining symbols, and in the excellence with a new vision, maybe by relying on our symbols and archetypes, we can even have an ancestor called Iranian symbol therapy in the subject of art therapy and it will remain stable, hope. To be beneficial.

Berenice Abbott is an American photographer. She experimented many different styles and genres of photography, during her life. Portrait photography, urban documentary photography and scientific photography are among the most important ones. She is one of the few photographers who have experienced such diversity in photography. From 1929 to 1939, she documented New York City by her photos in a straight (pure) manner. This project was named "New York in change". The outcome of this ten-year project is more than 300 photos captured by a large format camera named “View Camera”, which have been published in a book with the same title. In this regard, this question is mentioned that, what effect did the social conditions of the US in that period of time, have on Berenice Abbott and how was it reflected in her photos? The purpose of this research is to study and analyze the photos of the "Changing New York" photo collection, from the social point of view and to comprehend the social-economic changes during the era that these photos were captured. The way of collecting the needed information has been the library method and the research manner of the current research is based on the descriptive-analytical method. At the beginning of this article, Berenice Abbott, her style and type of photography and the social-economic conditions of the years she photographed New York City, are mentioned. Next, the "Changing New York" photo project is explained thoroughly, and at the end, this photo collection is analyzed from a social perspective. The research discoveries show that Berenice Abbott was able to reflect her ideas through her photos in this specific photo collection. The ideas which were influenced by social conditions of that period of time. The audience can uptake the reflected social and economic conditions in the photos, very well. This is the ultimate goal of a photographerو communicating with the audience through their photos.

The topic of initiation or transition rites has been extensively addressed in the traditions of various cultures and societies, and these rituals have been linked to human life from conception to death. All of these initiation rituals have the same goal, which is to endure life’s stages with the adoring support of a community in order to accomplish a certain objective. In Seven Labours with a distinct and special function, the hero picks a perilous path in order to achieve a certain purpose, since the challenging tests along the way require individuals with exceptional abilities and special attributes in order to complete them, and bring about communal satisfaction and bliss. The Shahnama is one of the most significant literary works of Iranian culture, which also contains the ritual outlined above. It has always served as inspiration for artists, who have attempted to depict various passages from this literary masterpiece. One of the most significant themes, particularly in the seven labours of the Shahnama, both in the original text and in the derivative depictions from it, is the relationship between metamorphosis and initiation rituals. The primary focus of this study is to reveal the similar transformations of two main characters (Rostam and Esfandiyar) in the fourth labor of theirs seven-labor of Shahnama, as well as the conflict between good and evil (both in verbal and visual texts), using a trans-semiotic approach and based on an analysis of Shahnama’s metamorphosis’s intertextual field. The primary focus of this study is to reveal the similar transformations of two main characters (Rostam and Esfandiyar) in the fourth labor of theirs seven-labor of Shahnama, as well as the conflict between good and evil (both in verbal and visual texts), using a trans-semiotic approach and based on an analysis of Shahnama’s metamorphosis’s intertextual field. In addition to investigating the phenomena of metamorphosis and why it is utilized in analogous labours from seven of Rostam and Esfandiar’s labours, the study is also concerned with examining how the phenomenon of metamorphosis has been represented in the Shahnama’s visual versions, based on the signs used in the illustrations. This article begins by approaching the verbal metamorphosis from a trans-semiotic perspective. Subsequently, morphological analysis is carried out to provide an explanation for the observed transformations. This methodology is based on descriptive-analytic, synthetic, and comparative methodologies, as well as data gathered from libraries. In accordance with the study’s results, the metamorphosis in the fourth labour of Seven Labours, a similar phase, serves as a test and occurs during the protagonists’ most difficult transitional phases. In this struggle, one of the most major transformations of the evil force toward the achievement of a particular goal takes place, leading to the hero’s victory and his passage to the highest level of initiation ceremonies. The research’s further findings indicate that this transition also applies to the visuals derived from it. The visuals, however, are unable to independently reflect the verbal pre-text (metamorphosis and its relationship to initiation ceremonies).

As one of the most prominent theorists in the field of culture, Roland Barthes proposed and studied the clothing system. As a symbolic system, the clothing system has many elements that have a specific function for conveying concepts. This system plays a significant role in describing the states and moods of people, social classes, climate, ethnicity, and social identity. In the film and series production industry, they use this element as a sign for characterization in the film and to make the actor's role better seen. The current research tries to analyze and examine the  women's clothes in the series «Dar Cheshm-e Baad” (In the Eyes of the Wind) as a sign from the perspective of Roland Barthes. The research method is descriptive and analytical, and the necessary and required information has been collected with a library method. The obtained results show that the design of clothes has a significant role with a set of symbolic codes and sign elements that include form, shape, volume, texture, design, color, material, and fabric. There is a description of women’s cultural, social, and political position in the stated series aligned with the story’s narrative course and the actors’ acting.

Simurq is one of the most frequent motifs of ancient times on various works and buildings that has a mythological basis and is related to political and religious concepts. This study aims to recognize and investigate the political andritual role of Simurq on Sassanid fabrics. The research method is descriptive-analytical and based on the iconology approach. According to Erwin Panofsky’s views and in order for finding the content and semantic meaning of the role of Simurq on fabrics, this study attempts to read the image and the three levels in the text of the work of art. The sample size includes 5 case samples of available fabrics that have been selected purposefully. The results of the study indicate that the role of Simurq originates from the culture and religion of the people of Iran and has a prominent role. As a symbol of unity between material and spiritual powers, this bird was illustrated in the form of a creature combined of real animal organs such as the dog’s head, horse’s neck and chest, eagle’s wings, lion’s legs and peacock’s tail in the Sassanid period. In fact, the role of Simurq in the dress of the Sassanid king is a manifestation of God’s support for him and his political and religious legitimacy accordingly; as he is endowed with glory, supported with wide open wings and empowered by the Simurq.