جستجوی مقالات مرتبط با کلیدواژه « اسطوره » در نشریات گروه « علوم انسانی »

Metaphors and myths have always been considered and explored as categories related to literary, linguistic, or semiotic knowledge, and less attention has been paid to the roles of these categories in shaping social issues or in visualizing operational strategies for problem-solving. The "Causal Layered Analysis" (CLA) model is one of the methods that, by emphasizing the role of metaphors and myths in the formation of social phenomena and issues, considers them as the deepest layers of causes interacting with higher causal layers (litany, social causes, discursive causes). This research, conducted based on Causal Layered Analysis, aims to elucidate the role of effective metaphors and myths in shaping the cognitive issues of religious preachers. In this study, through a library study and reflective thematic analysis method, two cognitive issues were extracted from the statements of the Supreme Leader of Iran as the main themes. Based on interviews with scholarly preachers from Islamic seminary and the author's personal findings, the causal layers were analyzed, identifying seven metaphorical factors and five symbolic (mythical) factors related to the cognitive issues of religious preachers. In addition to explaining these factors, the research also presents appropriate strategies corresponding to them.

Epic and myth own strong boundries, and notion of epic is being considered as emerging from the heart of the myth in some cases. Numerous ancient folk and epic stories have mythological foundations and their characters, creatures, and events are often wrapped in a mythological layer to make them more effective. Both Samnameh and Garshasabnameh are works arising from the mythological, historical, and cultural heritage of ancient Iran. Precisely, they are more or less mixed with the monotheistic worldview of their authors. By comparing the mythological signs in these two works and what is known as the characteristic of the epic text, the origin of these texts among epic and mythological texts can be examined. With this analysis, it is clear that the sequence of the events that heroes face in Garshasbnameh is, to some extent, towards national and ethnic goals, and is completely in accordance with the characteristics of epic texts. However, in Samnameh everything revolves around Sam's personal love, despite the use of metaphors by its composer. From the mythological viewpoint, this work can be classified in the category of semi-epic-semi-lyrical texts.

"Q" is a surah with the theme of resurrection. It is on the side of "Kov" and is related to "Caucasus". "Qaf" surrounds the earth and is responsible for the creation of mountains, and they consider it to be the place of angels and elves, gold, silver and musk, the sunset, the water of life and the abode of Simorgh. Zoroastrians considered it "Alborz" and the place of "Izd Mehr". The fame of mountains such as Jodi, Safa, Marwah, Tor Sina, Zita and Hara is due to their connection with the prophets. Ancient Iranians considered the mountain to be the link between man and God, and Alborz was the place to measure good deeds and knowledge. Compounds whose part is "Qaf" such as "Qaf of astonishment, knowledge, patience and..." Qaf means "stage" and some such as "Qaf of anger, glory, power, and..." are the attributes of God. From the similarity of Alborz and Qaf, the "highness" of the mountain, from the myth of Alborz, to the mythological stories of Qaf, and it is an Iranian idea, and the change of Alborz in Qaf with the acceptance of Islam by Iranians, some aspects of Islamic culture, from the body of Iranian culture. They were not removed, but joined to deeper layers. The influence of these two mountains on the cultivation of the prophets and its relationship with man and God made the authors to investigate the characteristics of these two mountains in a descriptive article.

Throughout history, Iranian mosques have embodied both esoteric and exoteric aspects rooted in the four elements within their architectural design, and they possess inherent symbolic and mythological dimensions. The present study aims to elucidate the mythology of the four elements in the spaces of Iranian mosques during the Timurid period, focusing on the Jameh Mosque of Isfahan and Goharshad Mosque. The research employs a qualitative methodology based on a phenomenological approach. Initially, a descriptive-interpretative method is used, followed by a qualitative approach in the research stage, a holistic-to-particular method in the reasoning stage, and a phenomenological method in the interpretation of the four elements and components of the structures in the Jameh Mosque of Isfahan and Goharshad Mosque. The results demonstrate that in the selected mosques, grounded in the understanding of the four journeys, the progression from earth to water, air, and fire, and the transition from the physical world towards the intermediate and afterlife worlds, in alignment with the four elements, sensory perceptions of spaces, archetypal images of elements and components, and proportions and movement towards the realm of imagination are consciously employed. This conscious application enables the representation of the myth of creation and death, which can be perceived and understood through the sequential transition of spaces. Based on the principles of spatial presence, the perception of knowledge and sensory experiences, and the phenomenological understanding of space, inlogical reasoning within the discussion, intuitive knowledge of spatial perception necessitates an archetypal behavior in users, with the goal of directing attention towards the metaphysical realm and perceiving the sacred.

 Bahar Danesh is one of the folk and ancient Indian legends, written by Inayatullah Kanabwe Lahori (1088A.H.), it is a joint chapter of folk and literary stories in the style of Indian storytelling and stories within stories. Transfiguration (human to human, human to animal, human to illusory beings, animal to animal, etc.) is one of the recurring themes in the stories of this book, with themes such as shape-shifting, spells and magic, incarnation in a state of change. The form, the awareness of the science of taking off the body and transferring the soul from one body to another is evident throughout the space of stories. The cultural diversity of the vast field of ritual literature in India has led to the discovery of rich collections of folk tales in which the occurrence of extraordinary things is a common thing; Therefore, in legends, we are faced with creatures that suddenly change, metamorphose, do things beyond the natural power of man and reveal the unattainable hopes of the mass of Indian people like a mirror. Various types of personification in Bahar Danesh folk tales have been done with the purpose of analyzing and analyzing the function.

 This research was carried out in a descriptive-analytical way and based on the theoretical framework of the research and using the method of collecting information in a library.

 The types of transformation in the folk tales of Bahar Danesh include a wide range of transformation of humans, animals, divan, fairies and their actions and speech, especially in those types where the elements of imagination and illusion are mixed together, it presents the idea of transformation of humans, an approach towards capacities Ghani"s imagination can be imagined in contrast with natural phenomena.

 In the tales of Bahar Danesh, a large part of mythological beliefs, belief in dissolution and reincarnation, traces of Vedic religion, magical powers of the lord of knowledge and Indian Brahmins in their folk narratives in Persian language have been reflected in it.

One of the important features of Iran at the beginning of the Sassanid rule was the close alliance between religion and the state to maintain the country's unity. Consolidation of the foundations of power through religion and the development of religion with the help of political and military force are the pillars of the Sasanian founders' thinking. In those days, religion and religious leadership were heavily involved in many political, cultural and even artistic trends. Inspired by the wisdom of Zoroastrian priests and the Avesta book, which always combines religion and mythology, Sassanid artists mixed mythological symbols with historical images in the design and engraving of Sassanid inscriptions and reliefs. And they considered the utmost care that the combination of religion and myth should be manifested in the form of symbols and signs in the reliefs. This close relationship, both from an artistic and physical point of view, as well as from a cultural and spiritual point of view, is a great connection to the ancient Iranian myths. has it.The question raised in this research is that; How are Izad Mehr, Izad Wai and Izad Bahram, the bestowers of the Yazidi fur, embodied in the symbols and emblems of Taq-Bostan in giving the fur to the Sassanid emperor? Symbols such as the crescent moon, two waving angels, wavy ribbons in the wind, patterns and motifs on the emperor's clothes, and two plants carved at the foot of the large tower of Taq-Bostan, how do they relate to Izad Mehr, Mitra's religion, and Fer's grace. Are they related to Yazidi?

The hero’s journey is a symbolic paradigm that many researchers in the field of art utilize. Christopher Vogler, based on Joseph Campbell’s theory that all myths adhere to ancient archetypal patterns, introduced the concept of the “hero’s journey.” This article, using a descriptive-analytical approach and relying on documentary and library sources, aims to explore the life of Prophet Jonah (peace be upon him) as narrated in the Quran, following the hero’s journey pattern proposed by writer Christopher Vogler.The hero, who curses his own people and embarks on a journey, eventually returns to them after overcoming challenges. He dives into the belly of a fish, reminiscent of Vogler’s deepest cave. Ultimately, this hero’s life story becomes an elixir for future generations. Successfully completing both external and internal journeys, the tale of Jonah’s sea voyage and transformation into a fish is found in historical, interpretive texts, and even Persian literature. Finally, this hero and his life story became an elixir for future generations. A hero who successfully completes both external and internal journeys. The story of Yunus being thrown into the sea and being caught in the mouth of a fish is mentioned in historical and commentary books and even in Persian literature, however, the place of this story and this great hero is empty in screenplays and plays, and there is a place with a look The story of this prophet should be mentioned again.

Epic texts are the literary record of nations and the mythical thought of people of different lands, which is called the "collective unconscious conscience" of the nation in Jung's interpretation. In addition to their main function, some mythological tools in epic texts have features beyond their natural nature. In this research, the mythical function of the scepter in the epic texts of Iran and the world is investigated and analyzed by descriptive-analytical method. The results of this research show that the scepter does not play a role in the national epic texts as one of the necessary accessories of the kingdom, while in the paintings of the ancient kings of Iran; it is considered a symbol of their power and legitimacy. Unlike the national epics in the epic texts of the nations of the world, the royal scepter is one of the symbolic tools of gods and goddesses, kings, warriors, judges, and priests, and it has a fundamental and mythological function in the ceremony of oaths and oaths. In the epics, the wand has magical properties and the goddesses used the wand to transform their faces and bodies. The property of invigorating, preventing battle, helping to win the battle, showing strength and maturity are other cases of the use of canes in the national epics of Iran and the world.

In this article, the nature of the four elements that make up Giti (water, wind, earth, and fire) is examined in the view of ancient Iran and Iranian mythology, and according to the belief of the divine (Ahriman and Ahuramzda) hidden in the four elements; The specific class position of these elements has also been investigated. In this essay, on the basis of masculinity; Also, the clarification of the mythological and Pahlavi texts on the femininity of the two lower elements of water and earth against the masculinity of the elements of wind and fire has been extracted with the reflections of this belief in the national epic and in the stories of the Shahnameh, and based on that, the parts of Nemur are dark, dirty and German and have Undesirable features are associated with inferior elements that are considered feminine and are considered demonic manifestations. According to the distance and proximity from Ahuramzda and Ahriman, the four elements have a noble position and are divided into male Ahurai, female and lower Ahrimani elements.

In this research, a descriptive-analytical method based on the library method has been used.

The dualisme face of the elements is manifested in three forms in Ferdowsi"s Shahnameh including divinity face ,dualisme face and devilish face .This paper has extracted all three different forms and faces of these elements through the poems of Fersowsi Shahnameh .

The present paper has concluded that there are all three faces of the four element including divinity ,devilish and dualisme face in shahnameh.

The literary flow in the field of literature shows a kind of convergence that, while differentiating itself, represents a certain type of thought and expresses it in literary forms. Streamology has a semantic and thematic approach, and it does not mean only format or style. In flow science, "higher frequency" is of interest, which can represent the topic and problem of that flow in each flow. In this way, it is possible to determine which issue and problem each literary stream emphasizes more while forming a kind of intellectual convergence.

This research has collected its data from library documents by using the descriptive-analytical method and paying attention to historical periodization (1384-1368) and using the approach of literary flow.

Two general literary currents can be identified about the sacred defense: "value-oriented" and "non-value-oriented" currents, which have various sub-branches in fiction literature with significant works. Of course, some works of these two currents have common boundaries with each other. The main approach in the fictional literature of Holy Defense, during the period 1376-1368, is realism. The side stream of myth also in the period of 1384-1376, a visible period and due to the literary and theoretical developments, the trend towards new forms and styles of story writing deepens the realist approach and we see works with naturalistic streaks.

The works of the 1370s follow the modern styles of narrative and realism, and mental, psychoanalytic aspects, and themes such as fear of death, despair, etc. are visible in them. During the 1380s, the narrative style of the works is modern and postmodern. A bold human look and the themes of death, fear, personal issues, etc. can be seen in them, which describe the horrific events of the war with a gray perspective with clear and explicit language and words.

Mythology and mysticism have deep and studyable links. Jung's theory about archetypes and the theory of mysticism about the perfect human being is an interesting example of this connection, which is discussed in this article. In Zal's story, the archetype of flight perfectly reveals the link between myth and mysticism. A perfect human being like Zal and Rostam must overcome the seven khans of the city of love with a difficult struggle to reach the light. In this article, in a library manner and citing first-hand sources, the comparison of the mythological archetypes of the story of Zal and the perfect human in mysticism is analyzed and it is shown that the semantic connection between them is very abundant and what is seen in the Shahnameh to introduce a hero like Zal is one of the common features of myth and mysticism, which can be collected in the form of Jungian archetypes. The result of this adaptation is the root of the unity of human culture in the primary examples which, although it has been presented in different fields in different cultures or religions in appearance, it originates from a single source, which is also an example for the origin of the unity of religions, mysticism and mythology.

“Oyunum-oyunum” is the fourth novel published by the Azerbaijani researcher, linguist, author and novelist, Nasir Manzuri in Tehran in March 2023. He is mainly famus for his original studies on language, especially “sound-signify”. His latest novel has been written based on memories which he had taken their notes while talking to M. Farzana about late Azerbaijani actor who studied acting and directing in Tiblisi in Georgia. Mirza Baghir Hajizada was the son of one of the richest merchants in Tabriz. His father had forced him to becom a physician, but he followed his dreams to the picks of success in his career in Tiblisi. The news of his father’s serius illness forced him to leave his beloved wife, Maria there, in spite of banning him to return to the USSR then. He came back to his hometown and tried to pursue his acting career in Tabriz. However, acting in Turki (Azerbaijani Turkic) was completely forbidden then. So he had to move to Tehran to follow his dreams. But he spent lots of his life in prisons. N. Manzuri has tried to avoid a biographical-historical fiction. Instead, he has tried to immortalize one of his nation’s most favorite and popular actors through a mainly psychoanalytical and mythological fiction. His literary style is not only unique and original, but also the incomparable sublime of Turkic literature. The writer of this paper tried to write the first critical paper on this worthy novel.

Umay is a female deity in the beliefs of turks who is related to the role of production and reproduction. umay also has similarities with simorgh in avesta and shahnameh. for the first time hossein feizollahi vahid pointed out these similarities and introduced simorgh as umay. but his opinion was criticized by sajjad aydenloo. we have examined in this article the similarities between these two mythical creatures, and considering the similarities between these two creatures in being birds and especially their relationship with the eagle, we came to the conclusion that these two mythical creatures are an embodiment of fairies, which were creatures related to the role of production and have appeared in the form of a bird. and umay, which actually, is the homa bird, as well as the simorgh, just two of the incarnations of these fairies. in the following, we have examined the various forms in which fairies are embodied, and we have presented examples of them in the beliefs of the turks and in the shahnameh.

The originality and identity of any country represents the heritage of that country. A high quantity of poets have played a prominent role in preserving the legacy of the past. In the meantime, female poets, alongside men, have devoted a great deal of attention to this matter and have been in harmony with them. Behbahani and Bostani, with respect to their extensive knowledge in the field of literature and history, have been able to succeed in taking advantage of their heritage. In spite of being originated in diverse regions, they have many commonalities in the use of national and religious heritage. This research, via applying a descriptive-analytical approach and based on the American school of thought, has dealt with the adaptation of heritage in the poems of these two poets. As it has been indicated by the results, the use of past glory is clearly reflected in their poems, so that Simin talks about the Sassanid kings, Hafez and Saadi, and Boshra mentions the kings of Iraq, Motanabi and AbuTamam, which shows the mastery of the two poets in their rich culture. Having stated that the two poets have experienced common events such as war, anti-tyranny is one of the prominent manifestations of their poetry. 
The word of “heritage” means something that has been inherited from the past and is subdivided into two major parts of material (tangible) and spiritual (intangible). The first division, which is material heritage, includes objects and places, and the second part, which is marked as spiritual heritage, includes cultural heritage, including language, religious beliefs, traditions, history, archetypes, myths, and customs of each nation. This is referred to as a reminder of the national identity of that country and their intermediary with the past. Simin Khalili (1998), known as Simin Behbahani, is known as a prominent contemporary poet and writer. She was selected as a nomitnated woman by the International Foundation for Women's Research, and, in addition, she was able to record dozens of scientific and academic awards in the field of poetry, especially sonnet, in her literary career. Precisely, she was given the title of “Lady of Sonnets” and “Half of Sonnets”. She is one of the poets whose poems have been translated into multiple languages ​​all over the world. Boshra Hamdi Albostani (1985) is a professor of Arabic literature, criticism and text analysis at the faculty of Literature of Mosul University and has several collections of poems and books in the field of criticism and fiction Some of her works have been translated into several languages. These two poets from two different lands have always been guardians of the ancient heritage of their land, and this influence is evident in their poems.
In this research, emplying a descriptive-analytical approach and based on the American school of thought, a comparative study of heritage in the poems of Simin Behbahani and Boshra has been provided. The writers have tried to present the common and different aspects of the thought of these two poets by processing the reflection of heritage in the poems of these two poets and explaining it as a new window to the rooted heritage of the past.
As the results of this research indicates, Simin Behbahani and Boshra Bostani, as two intellectual and committed poets, have been able to succeed in exploiting their past heritage due to their extensive knowledge and mastery in the field of literature and history. Simin, having a nationalistic tendency, believes that; If the Arabic language has distinguished pioneers, their origins and race are Iranian, while humanity continues to be proud of the ancient and deep-rooted Arab past, and both of them have spoken of their roots with full force. Since the birthplaces of two poets are Iran and Iraq, and these two countries are neighbors of each other, and both of them have shared events such as; have experienced war and occupation; Therefore, anti-tyranny (fight against tyranny and suffocation) and criticism of the society's situation are among the prominent manifestations of these two critical poets. The use of poets' names and past heritage is clearly visible in their poetry; Simin speaks of the Sassanid kings, Anushirvan, Hafez, Saadi and Jami, and Boshra mentions the kings of Iraq, Motanabi and Abu Tamam. In his poetry, besides Arabic myths, Boshra has used myths of other nations such as Rome and Greece, while Simin is more inclined towards Iranian myths. Also, Simin's influence of ancient heritage in the form of vocabulary is more than structural antiquity in human poetic language. The religious outlook and thinking formed in the existence of these two poets has caused them to look at the divine and religious values ​​with respect, but Quranic intertextuality is more prominent in Bostani's poetry than in Simin's.
The results of this research indicate that Simin Behbahani and Boshra Bostani, as two intellectual and committed poets, have been able to succeed in exploiting their past heritage due to their extensive knowledge and mastery in the field of literature and history. In her poetry, besides Arabic myths, Boshra has used myths of other nations such as Rome and Greece, while Simin is more inclined towards Iranian myths. Also, Simin's influence of ancient heritage in the form of vocabulary is more than structural antiquity in human poetic language, in terms of using the ancient Arab heritage, Boshra does not tie her poem to the audience's gaze, through pointing to the presence of the enemy in his country, which, according to his interpretation, jumps around like a viper. She tries to make the reader to wakes up the sleeplessness and indifference towards the past heritage. In contrast, Simin makes the audience excited and hopes for the future by saying again, "Misazamat-ei Watan".

The majority of the labor force engaged in rice cultivation within the province of Guilan consists of rural women who possess extensive practical expertise in their respective fields; thus, their presence assumes particular significance. Women show the rituals of rice farming, i.e. planting, planting and harvesting, in performing rituals such as the Ghasemababdi dance, which, in addition to visual appeal, express a spiritual and mythological bond with nature. The purpose of this study is to provide an answer to the question of the significance of women's presence in Ghasemababdi dance in relation to rice farming rituals, which is raised in light of the crucial role that women play in this dance and the implementation of rice farming customs. The current research is theoretical in nature and methodology, with a descriptive and analytic approach serving its purpose. The method of data collection is library and field using the method of ethnography in the region, observation, interviews, registration, and the recording of information. Research indicates that women perform Ghasemababdi dance while demonstrating gratitude for the blessings of rice cultivation and adherence to its principles through the use of a variety of manual skills. In other words, the Ghasemababdi dance serves as a reflection of cultural diversity and human thought. It is through this form of movement that women joyfully demonstrate the concept of cereal making patterns; thus, they have acquired a legendary status. Therefore, as a mother goddess equivalent to Anahita, the mother of man and the mother of the earth, they are considered and worshiped. In other words, the continuation and extension of life and the aliveness of the role of women is embodied in the unconscious of a person in order to transmit blessing, bonding and healing

Reality is what we experience in our daily life, which can include personal or social issues. Social realism in ancient works can affect us in today"s life by the rituals and customs of the past. Therefore, in this research, by examining the social realism that has been carried out in the stories of the Shahnameh, we will achieve this important goal, which links the author of the Shahnameh, Ferdowsi, established between myths and reality, because on the surface, the cause of the events and actions is supernatural and unreal. It is said that while most of the narratives of the Shahnameh are based on the facts of life, the author in this research also examined the social events from the perspective of social, religious, political and cultural life in the Shahnameh.

The present research is a theoretical study that was conducted as a library research. The main scope and society of the study was Ferdowsi"s Shahnameh, works and websites related to the research contents, after studying these works, the analysis and comments of the authors were included.

In this research, we find that the foundation of most literary works is based on the reality of life, and the connection and similarity of the real manifestations contained in the Shahnameh corresponds to the social reality of our lives. Although the most artistic part of the Shahnameh is the mention of superhuman adventures, and apparently, at first glance, it does not fit with the reality and logic of our human life.

It is hard to believe the acceptance of many stories of the Shahnameh in concrete human life. Although Ferdowsi"s Shahnameh has a mythical and unreal appearance; But in its heart it has preserved the roots of reality. It can be said that the Shahnameh is based on the facts of life, and not only the facts of the life of the Iranian community, but the facts of human life.

The history of ancient Indian literature, the diversity of cultures and religious kinds of literature in India have led to the emergence of complex, rich, and voluminous collections of mythical stories. many of which have been transmitted orally for thousands of years. On the other hand, most Indian mythology, exists only at the rural level and oral culture, which must be recorded. These myths are also ancient, and popular traditions and folk myths, and many of them are the myths that make up the bulk of today's gods in India. In addition, the occurrence of extraordinary things in myths and legends are common and fundamental. Therefore, we encounter creatures that suddenly change from solid to animal, from animal to human, and from human to angels, transform and eventually and doing things that are beyond the natural and innate limits of man. For this reason, it seems that these configurations have been created and addressed as a mirror of the aspirations and unattainable aspirations of those people. this study is to investigate and analyze the functioning of various forms of reincarnation in Indian myths and legends, which are human, animal, angelic, God, divan, fairy and even speech and metamorphosis. Includes them.

Deception is one of the important moral and social themes that has become a problem in our society. Because media is effective in social construction of meaning, this article attempts to examine what the media has to say about deception in society by examining the works of an Iranian cinema elite who has focused on the deception issue. From Barth's perspective, the media is mythical and imposes ideological issues on society as natural matters. The rigid approach to Stuart Hall's theory of representation also holds that the media is not a reflection of reality and that the social is based on personal ideology. Using qualitative and quantitative content analysis, this article seeks to see what myths and deceptions Farhadi is creating in Iranian society. Quantitative content analysis revealed that Farhadi, of the six components of deception, focuses mostly on "lying" and "secrecy" in his films. Qualitative content analysis showed that "socio-cultural conditions in Iran", "religion and law", and "type of governance" were among the components that were repeated in his works and represented as deceitful factors.

Kurdish folk poems, known as Kurdish verses, constitute the oldest part of Kurdish literature. Within these works, rich in themes of love and epic tales, are depictions of important mythological elements that have maintained their ancient essence. The protagonist of these poems encounters actions and rituals imbued with a mythological essence, mirroring similar occurrences found in the mythological narratives of Iran and other cultures worldwide. The most prominent of these poems are: "Khaj and Siamand," "Las and Khazal," "Mam and Zain," "Saidavan," "Sheikh Farkh and Khatun Asti," and "Sheikh Mand and Sheikh Rash." Using a descriptive-analytical approach, this study examines the mythological rituals and actions presented in Kurdish oral poems. The findings suggest that certain mythological actions and rituals, with universal significance, are depicted in Kurdish oral verses. The findings of the research show that extraordinary birth, dragon killing, son killing, rite of passage, and initiation, which are associated with enduring many sufferings and hardships, are represented in these poems, and it shows that many of the basic human needs everywhere and at any time are very similar to each other. The research findings reveal that themes such as miraculous births, dragon killing, son killing, rites of passage, and initiations involving trials and tribulations are portrayed in these poems. This demonstrates the universal similarity of basic human experiences across different cultures and eras.

Most of the ancient prehistoric cultures of Iran remain. The prehistoric criterion of Iran is before the formation of the Achaemenid Empire. It seems that some of these stained devices are not unrelated to cultural-mythical rituals. Meanwhile, depicted images of human figures with icons, status, position, and performing specific ritual and epic movements and actions are also impressive. The relationship between the mythical functional system and the images on those devices and drawings will be the fundamental issue of this article. The fundamental question in this regard is how is the quality of the relationship between the stained devices and drawings with the ritual- mythical system in receiving and transmitting explicit (explicit) and hidden (implicit) meanings and is interpretable? This is important research exploring the relationship between the nature of the surviving documents of the instruments and the ritual-epic images of that prehistoric culture with the four ritual-mythic functions proposed by Joseph Campbell. In order to achieve the functionalism of the nature of these works, the paper interprets the relationship between those motifs and mythical functionalism, belief and worldview of the post-narrative culture of ancient Iran. Authors make this happen by relying on the opinions of experts in the cultural-social and mythological domains. To realize this important essay, the essay uses a positivity-interpretive approach. The research method is qualitative and applied research is descriptive-analytical. Research data is prepared by historical method and library studies. The result of the research reveals that the devices and images of the ritual-epic drawings of the prehistoric culture of Iran are the explicit religious-cultural message and the implicit cultural message-myth related to the ritual-mythical system of that culture.