جستجوی مقالات مرتبط با کلیدواژه « رمز » در نشریات گروه « ادبیات و زبان ها »

Color and image, which provide the main part of the beauty of an artwork, are effective in conveying the concept to the audience; therefore, the analysis of its components can be considered an indicator of the poet's special use of language and the distinction of the literary type of each work. Of course, beauty here is not only the use of literary arts. Poetry can also be beautiful without them. Here, the poet works on strengthening other tools in his hand and compensates for the lack of poetic beauty. In this study, structural and aesthetic factors are discussed, which play a different and deeper role in distinguishing the literary genre. Therefore, it has been tried to avoid as much as possible the mention of descriptive concepts that have been mentioned many times in various literary works. The considered works are the story of Sheikh Sanaan by Attar Nishaburi, the story of the Shah and the Maid of Rumi, and the poem Salaman and Absal by Jami. The main achievement of this research is to clarify the fact that the rhetorical and linguistic elements in Ramzi's romantic works, on the one hand, help to strengthen their lyrical dimension, and on the other hand, they have a great effect on the formation and opening of the identity of Ramzi. 

Comparative literature is a means of crossing political, ethnic and cultural boundaries, where subjective data find the opportunity to develop and break out of their confines paving the way for getting acquainted with similar works among other ethnic groups. Indeed, the result will be the discovery of commonalities, the study of each can not only reveal the effects and interactions, but also unveil the influence of external and contextual factors in the formation of similar works. Comparative symbolism is beneficial in this framework and can pinpoint the factors influencing the formation of each. Obviously, resorting to symbols is in fact avoiding clarification, which is done due to various reasons. One prominent reason is to multiply the induced image by the number of audiences, and this breadth and multiplicity of the created image is one of the main reasons for durability of symbols in literary works.

This study follows a comparative descriptive approach to investigate the poems of two contemporary Iranian and Arab poets, namely Simin Behbahani and Nizar Qabbani, and the impressionability of each of these two poets in terms of use of symbol. It is obvious that symbols are used to avoid direct perspective was used to investigate the works of two contemporary Iranian and Arab poets, namely Simin Behbahani and Nizar Qabbani, in a library and descriptive manner, with the purpose of pinpointing the influence of symbols on these two poets.

Today, in linguistic studies in the field of word meaning, there are two types of attitudes: the first attitude is the in-time attitude; It means examining the meaning of words historically and the second attitude: it is a contemporary attitude; That is, examining the meaning of words regardless of history and examining the semantic relationships between them, including semantic relationship, semantic inclusion, opposition, linear order relationship, and causal relationship. In the Holy Qur'an, some words have gone out of their cultural and lexical meaning and have found a mystical meaning, and this type is often found in words that are used for tangible phenomena and natural beings. The present essay examines the symbolic meaning of the names of animals in the Holy Quran with a descriptive-analytical approach and based on the knowledge of temporal and simultaneous semantics. The results of the research show that often these words have kept their symbolic meaning in the texts before the revelation of the Qur'an and the texts of the Islamic period, and in the Holy Qur'an, they appear in accordance with the structure of the verses, and based on the knowledge of temporal semantics, between the words It contains symbolic meanings, there is a type of semantic inclusion relationship, causal relationship, linear order relationship, and verbal opposition.

Resistance literature is rooted in history. Wherever there is oppression, literature of resistance has sprouted in the form of one of the literary types. In Iran, this literature has always received attention, and, especially after the victory of the Islamic Revolution in 1357, and during the eight-year war with the neighboring country, it increased and was favored by Iranians.Although prison literature, as a type of the subset of resistance literature, ows part of its existence  to the prisons of the Pahlavi regime, its colorful and main part was born in the prisons of Iraq. The letters exchanged between Iranian war-prisoners and their families are part of this captivity literature.For Iranian prisoners, who were in captivity from two to ten years, there was no other way of communication than the two special letters delivered to them at the beginning or end of each month, or sometimes every two to three months. Once given to them. Obviously, in those few pages, a prisoner had to share important information with his family and write about his situation, and, in return, the family of the prisoner had to write back about the life of the family, the city and the country, and their friends to reduce the pain of his exile. In such limited and difficult conditions, and in such a small space of writing, half of which should be left empty for the recipient of the letter, a stream of literature-in-captivity was formed and those few pages were able to record a large part of prison-literature."From the beginning of 1359, when the first letters of Iranian prisoners of the Iran-Iraq war were received by their families, until August 1369, when the great exchange of prisoners began, within these ten years, that is, from the beginning of the war to the great freedom, we in the Office of the Missing Soldiers and Prisoners of War, exchanged about six million letters from both sides, and this was when almost half of our 40,000 prisoners were registered, and we learned about the presence of the rest of the prisoners in captivity only when they were released. And these letters were exchanged under the strictest limitations and different excuses of the Iraqis" (Afraz, 2019).The history of letter writing in Iran dates back to the Achaemenid period; at that time, words were written in cuneiform on the tanned skin of animals, and the skin was given to a chapar (mailman/messenger) to carry it to its destination. Of course, in the BCE history, writing was not used except in government offices and courts. 1800 years ago, when paper was made by the Chinese, letter writing on paper and book writing appeared, and letter writing became much easier (cf.: Amini, 1379: 43). In the history of Herodotus it is stated: "Harpak wrote a letter to Cyrus and encouraged him to fight with Astyaks (Korush's maternal grandfather) and in order for the letter to easily pass through the Medes and reach Persia, Harpak put it in the belly of a rabbit. He hid it and a letter carrier in hunter's clothes was able to deliver it to Cyrus. In the Torah, a letter and a decree from Cyrus about rebuilding the building of Jerusalem - which was destroyed by the Chaldean victory - is mentioned" (ibid.).The oldest work in Pahlavi language on the art of corresponndence is the small letter "Ayin Nama-Novisi". "This book contains special examples of correspondence in various cases and to various people. This text has forty-five paragraphs, each of which presents different methods in letter writing style. The first paragraph is an introduction in the description of those to whom the letter is written. In other paragraphs, the way of writing different types of praise, address, heading and title of a letter, sympathy and consolation, and how to start and finish a letter are mentioned (Mehdizadeh, 2012).

In 1387, the author of the present study took part in the national plan for collecting letters from Iranian ex-prisoners of war carried out by the Office of Resistance Literature and Art in Hozeh Honari, and collected more than 1500 letters from Kerman province; nearly 8000 letters by prisoners from other provinces was also collected and effort was made to determine those letters with coded messeges. The research method in this study is mainly based on analyzing collected letters, and memoirs of the ex-prisoners.

The contents expressed in the prisoners' letters were important and sometimes included war secrets, that is why it was tried to express these contents in code and in literary language, and these codes were revealed only between the writer and the reader.One type of literary arrangement that the writers of letters have used a lot to express secret content was simile, because the simile was understood only by the reader and the writer, and others did not know about it.Another type of literary figure that is used to express secret content in prisoners' letters is metaphor. Metaphor has been defined as "the use of a word in its non-real meaning along with the interest of similarity between the real and figurative meaning and the analogy that prevents the will of the real meaning. In fact, metaphor is a type of lexical permission whose interest is similarity, and sometimes it is interpreted as "metaphorical permission". For example, someone who has seen a brave man in school says “I saw a lion in school.” Lion hasbeen used in the meaning of a brave man, and the speaker actually has seen a similarity between the vehicl (lion) and its tenor (brave man), and has established communication (Hashmi, 2011: 1/258).Sometimes, in the structure of some letters, especially coded letters, an equivoque was used to express the purpose; the writers could use it, hidden from the eyes of the enemy, to explain things to their audience in a coded manner in order for the secret content about the war to be protected and the desired messages to be transmitted easily. Equivoque is the use a word with more than one meaning in poetry and prose, some of whose meanings are close to the mind, and some are detached.In captivity, to have a photo of Imam Khomeini or the officials of the Islamic Republic was considered as a crime. Correspondence with these people also had bad consequences for the prisoner, and if the enemy noticed a letter written by a prisoner, his first impression was that the writer of the letter was probably a prominent soldier who had been hiding his rank. Therefore, some prisoners accepted the risk and started writing letters with tricks such as using code words instead of the name of the official. During the years of captivity, some of the prisoners, as mentioned, wrote letters to the officials of the Islamic Republic and received answers. Imam Khomeini, may God bless him and grant him peace, Mr. Khamenei, Rafsanjani, Meshkini and some other officials were among the people who answered the letters of the prisoners, and these answers encouraged and created morale among the prisoners.One of the most important issues that had to be expressed in code language was the communication of war news and secrets. If these news were revealed to the enemy, it would result in the worst torture for the prisoners, and on the other hand, it would cause their army's plan to be turned upside down and lead to their defeat.

Coded letters showed that: 1. Literary language can be most useful in expressing content and news when necessary. 2. Forcing prisoners to write coded letters reveals the dire conditions of captivity and the filth of the Baathist regime and the hypocrites. 3. In secret letters, simile has been used the most because of its simplicity and its familiarity for the author and the reader, and equivoque has had the least use in these types of letters due to its ambiguity for the reader. 4. The simplicity and intimacy of the letters and the fact that most of them are devoid of literary language indicate the level of literacy of the letter writers at the high school level. 5. Most of the topics and content of the encrypted letters followed the same line, including issues such as politics, mentioning the names of the officials of the army, Basij and Sepah, family news, war secrets, and the pains of exile.The most repeated subject was mentioning the names of the officials of the Islamic Republic, especially Imam Khomeini. 6. Much of the sensitive content of the news and war secrets has been conveyed through pun, which shows the utmost cleverness of the Iranian prisoners. Contrary to the opinnion of some people who interpret literature based only on the scale of pleasure, these could confuirm the practicality of literature.

Allegorical travelogues are mainly influenced by Islamic religions, which are written by great writers inspired by religious teachings and based on religious traditions. Since there are many commonalities regarding the hereafter in all Islamic religions, such travelogues are also common in various ways.The author has explained the points and mysteries of each of them,focusing on thetravelogues of Ardavirafnameh, Siral abad eli maad and Komedi Elahi. At the same time, the author has tried to examine the allegory from various lexical,idiom,Quran and narration, history and psychology perspectives.The purpose of this article is to express different angles of one of the most common and effective ways of expression,which is allegory. Whether this efficient tool can be effective in educational purposes is one of the basic research questions.This research is written in a library based on analytical and descriptive method.

Contemporary novel is one of the most suitable subcategories and safe entries for different ideas. One of the dominant and common discourses in the novel is mysticism and mystical attitudes. The cipher and symbol in these novels are among the most prevalent elements and literary works of great expediency in expressing mystical concepts and themes, and they are closely intertwined with the content and content of stories, so that the cipher and symbol of something separate from Themes and themes are not stories and they have been removed from its array, and in the form of interpretation, interpretation and revelation to express the mystical concepts and serve the ultimate goals of the stories, namely, raising knowledge and gaining insight and Consciousness The purpose of this study is to analyze the code and the way it is used in the novels"roye mahe ghodavand ra bebos", " i", " malakot" and " badeh kohan"

Mystical experience, as a type of religious experience, has characteristics that each of the religious philosophers and mystics have listed characteristics according to their point of view. Walter Stacey is one of these renowned scholars who in the book Mysticism and Philosophy has seven basic characteristics including monotheistic vision or unifying consciousness, timelessness-impossibility, sense of objectivity or reality, sense of peace and tranquility, sense of holiness and sanctity and divinity, Has mentioned paradoxes, and inexpressibility for mystical experience. Divan-e Shams contains manifestations of Rumi's mystical experiences, including objective and subjective experiences. Rumi's objective experiences have manifested themselves in the form of mystical fables, mystical springs, transformations, mystical epics, and wonderful encounters In her psychic experiences, in which God really speaks in the language of Rumi, categories such as pride and warning, questioning and reproach, the need to recognize oneself, and enthusiasm and forgiveness can be seen. Analysis and explanation of the sonnets of each category requires knowledge of the theoretical foundations of mysticism, attention to the structure and meaning of the sonnet, as well as mastery of the poet's mental system. In this research, one of Rumi's mystical fables has been studied. In this narration, Rumi has used the code "thief" to express the manifestations of one of his objective experiences. The present study, while deciphering this poem using other lyric poems of Divan-e Shams, has discussed all the features considered by Stacey for mystical experience.

Symbolic Reading of Sea Animals In Sayr ul Ibad of Sana'iA Debate on allegorical meanings of Oyster, Turtle, Alligator, Fish and Crab. In his symbolic Mathnawi, Sayr ul ebad, Sana’i Ghaznavi(529) has adopted a number of sea animals allegorically. These creatures signify the Elements and Natures. Each element is related to one of four Humorals (Akhlat). Water, with its cold and humid nature, and Air with warm and humid nature, establish bad conducts in Human soul. Describing the nature of these elements, Sana’i depicted the bad conducts in form of sea animals. Oyster, Turtle, Alligator, Fish and Crab, are used symbolically to signify bad conducts of human soul. In this paper I intend to decode these symbols and expose their real meaning. Afterwards, I will indicate the deficiencies of the old commentary of this master piece of literary work.f literary workKeywords: Sanai, Sir al-Abbad, Marine animals, Mystery, Allegory.

Resālat al-Abrāj is one of Suhrawardi’s symbolic stories in Arabic, full of symbols and metaphors asking for a return to the original homeland. Nevertheless, which roles do these symbols and metaphors play in understanding the text, and how should they be interpreted? Paul Ricoeur, one of the contemporary hermeneutics philosophers, considers symbol, metaphor, and narrative very essential as media through which one obtains the knowledge of oneself and one’s surrounding world. Interpreting symbols and metaphors with Ricoeur’s method in Resālat al-Abrāj provides an opportunity to understand Ricoeur’s hermeneutics and his method as well as an illuminated text in the contemporary worldview. Ricoeur’s hermeneutic method is a dialectic between “explanation” and “understanding”: interpretation begins with a semantic explanation of the text, especially symbols and metaphors as places to create new meanings. The interaction between these new meaning fields leads us to the world of the text: the world in which the reader finds the possibility of living and appropriates it. By this method, we understand that the world of Resālat al-Abrāj reminds the sacred call to “Return” to the illuminated homeland, and rouses the love towards this homeland for those who find themselves in deep darkness. This illuminated world threatens the current world of contemporary humans, because the concept of the sacred homeland may be a false consciousness. However, the world of the text, by reminding ontological darkness, points out deceits of consciousness. This new possibility results in the fundamental development of the reader’s world and his self-knowledge.

The world of mystical beliefs is based on the knowledge obtained from vague and internal intuition and sensory experience that conventional knowledge and language are not able to express. A hint of knowledge - not descriptive and inexperienced - that is gained through experience. Since the advent of the Qur"anic sciences and even before that, religious scholars, commentators, theologians, orators, parliamentarians, dervishes and Sufis have been well acquainted with the methods of cryptic expression. The most important indicator of the mystic"s thoughts and beliefs is reflection on language, and for this reason it is of special importance. In Persian, many mystics and Sufis have undertaken mystical interpretation of the Qur"an in order to achieve a deeper and more artistic understanding of God"s word, and during this period, various types of interpretation have been formed, one of which is the mystical interpretation of Kashf al-Asrar Meybodi. In this research, the third time of mystery discovery has been discussed from the perspective of layers and cryptographic networks and layers, and based on Roland Barthes cryptographic pattern in three hermeneutic, semantic and symbolic layers, the mystical features of mystical interpretation of mystery discovery in The third turn is analyzed.

This study was a descriptive-analytical study in the form of library studies.

In the third turn of Kashfil al-Asrar, Meybodi is a kind of hermeneutic, semantic and symbolic cryptography is an attempt to mystically interpret the verses of the Qur"an.

Most of the interpretation of Kashfil al-Asrar in the third turn is allusive and symbolic; In other words, Meybodi in this section tries to explore certain aspects of the message of the word in its underlying layers, which are closely related to literary and coded speech. Meybodi engages with the hidden meanings of the word with the help of various hermeneutic, semantic and symbolic codes.

According Roland Barthes, “Writerly Text” are symbolic and it is not possible to understand hidden layers except by passing through the formal and superficial level. One of Sohrab Sepehri's poems "The Voice of Meeting" is such kind of text that narrates the intuitive experience of poet. In this poem, first the narrator reports his intuitive experience, encountering with the singer fruits and their circumstances and actions with ambiguity. At the end of intuition, the narrator indirectly, as well as during the conversation, deals with issues that obstacle intuitive reports. The main question of the article is what this poem has the unmentioned or hidden meaning and what concepts are clarified or created through the works that has the same horizon. In this article, this poem is interpreted with the method of hermeneutics and intertextual analysis and using other works of Sepehri, the Qur'an, and mystical concepts as a pre-texts. Through these works, the meaning of the codes in the experiences of the narrator become clearer. The results show that in the narrator's intuition, the happiness of fruits is on account of confronted with the hidden surface of the universe or the "expanded world". Attitudes toward the surface and utilitarianism prevent confrontation with the upper level of universe. Sepehri's poems as a whole and this poem show that revelation does not stop at a specific time or specific place. Evidences from Sepehri's biography also confirm this

The mystery and symbol in literature is used as a way for talking indirectly and mysteriously about someone or something. This hidden or occult talk bears an inner meaning the purpose of which is a symbolic expression of a further implied meaning. In this study, we examined the symbolic names used for God in spiritual text of Rumi’s Mathnavi. According to the findings of the research, it is proved that Rumi has referred to the symbolic names of God under three categories: water-based symbols, light-emblems, and emblems derived from human states. Each of the above symbols is also subdivided into subcategories. Among the above mentioned cases, Rumi's most frequent tendency has been toward using water-emblems. The reason for this tendency is among other things, the diversity and purity of this symbol.

One of the prominent features of all the fictional works is their mystery, so that this feature in the Shahnameh and the Haft Peykar has a certain prominence as the kings and heroes fought the divine power and wisdom of the evil forces to unravel the complex codes and spells. And sometimes they used to do difficult, unraveling of the closed and difficult knots to perform the decadence of cheerfulness and grandeur. The heroes of the stories used tools to unravel the secrets and secrets of tools such as astrology and divine prediction, and to consult with priests, clergy, and dreamers. Most of the codes in Shahnameh and Seven Bodies have been used to test the worthiness of heroes and princes, the bridegroom and the bride, and sometimes to determine the right time to celebrate a wedding, coronation, and important tasks, etc. Desirable and undesirable stars are turning. The main question of the research in this article is to pay attention to the factors that set up the feasts and celebrations and to unveil the passages and tales in the stories of Shahnameh and Haft-Peykar. The research method is descriptive-analytical and comparative, and the results show that most celebrations and celebrations have their roots in the opening of codes and spells.

Poetry is a prominent status in which the author expresses the feelings of his nation. Poets in different periods of human history have sought to portray the true faces of colonialists and tyrants. With the arrival of Israel in Palestine, the  difficulties of this Muslim country increased, leading to the formation of resistance literature in it. Palestinian poets fought side by side with people against this   usurping regime and helped the people with their hands and tongues. Saleh Mahmoud Howari is one of these poets who, despite being far from his country, has considered the situation of his country and has expressed the crimes of the occupying regime. The present article has tried to explain the manifestations of   resistance literature in his poetry by examining three Diwans of him. By examining Saleh Hawari's poems, it was determined that the poet pointed to various manifestations of resistance literature such as patriotism, oppression and lack of freedom, condemnation of oppression, etc. In his poetry, he has used the method of cryptography to express his goals. The poet mentions symbols such as mosquitoes, guards and pirates for Israel and also uses other symbols such as olives, figs,almonds, palms, etc.

This article tries to examin and analyze various allegory in Persian literature and in the paper of In Reality of iove sohrevardi.
It is worth mentioning that they are compatible with each other and existential temperament.That is, in analytical and comparative thought, the above philosophical treatise on Persian literature is controversial. There is a kind of linguistic, empathetic and intellectual harmony between literary and Philosophical Lliterature as well as sohrevardi.This article deals witg the category of allegory in the paper of In Reality of love. It also examines the tree themes of love,Goodness or Beauty, and Grief.To Sohrevardi love belongs to goodness and beauty On the earth, as Goodness comes whith Zoleikha, Grief comes with Jacobe. It has been said that the speaker expresses his intention in a mysterious and closed way.

In this study, we attempted to investigate the nature of Zahak's myth and the rise of the snake on his shoulder. First, we examine fifteen bits of Zahak's story And then we come up with the art form of story that looks modern While the work was created in the context of ancient Iranian history We have known it from the human language that was in Iranian hands Then we will discuss the concept of mystery, symbolism, and conceptual metaphor That each has a head on similitude, We then conclude that the reality of the two black snakes is according to Zahak's symbolic story ,A History of Myth in Prehistoric Sources, It’s a live and efficient concept that traverses space and time. Zahak's Two Black Hands, which made Ferdowsi a lasting and sinister story. King Mardush encroach with the lives and property of the Iranian people.

Samih Al-Qasim and Hossein Israfili are prominent poets of the Palestinian and Iranian resistance who have common themes in their resistance poems; Both have written many poems about their homeland and have used myths, symbols and codes in their resistance poems. Israfili and Al-Qasim have used the myth of Angha in their poems and both of them have considered themselves obliged to perform their duty in the field of resistance well. Using descriptive-analytical method and using the American school of comparative literature, the authors of the present article have compared the poems of the resistance of the two poets and examined the commonalities between the two poets. The two poets consider the stone to be a symbol of the Palestinian resistance, and both have used this symbol in their poems. The poem of the resistance of the two poets invites to strength and endurance and cohesion of ranks and mobilization of national and world forces against the evil enemy and the declaration of his crime; Writer that by stability against the conspiracy of the evil enemy and non-acceptance of defeat to the last detail considered struggle against oppression and corruption as their task.

The masterpieces of literature are as prismatic as the prism that we look at each side we see a range of colors and new world in it. The symbols and parables used in spiritual masnavi are also. It is written out of a different perspective, and it has a strange vision, as much as his vision and vision. symbols and parables are widely used in mystical works, which analysis and analysis leads to the opening of many nodes and ambiguities in the literature. The aim of this study is to examine the stands of symbols and symbols in Rumi's masnavi more relying on animals and animals, and by determining the place, what is the views of Mawlana on them? And each of these stories, the mystery and the symbols. the method of this study is descriptive and analytical and based on library research.

In mystical worldview, this world is a shadow of another world or the unseen world. So whatever is in this world is the shadow or symbols of that invisible world which expressed through language. This fact is sometimes expressed in the language of the phrase, at a higher level inevitably has to be conveyed to the audience through the "sign" language. In Mathnawi, Molana has used both expression and sign language. In this article, we have shown how Molana's use of sign language has, in a vast way, represented different things for human beings, plants, animals, and abstraction. The main issue of this research is to explain how Rumi symbolizes in Masnavi. The sign language and symbols used by Molana are directly related to his worldview. In this study, which collected its data through a library method and examined them by descriptive- analytical method. The results showed that Molana presents all these symbols with a system that ranges from the evolution of the universe from the solstice to man and thought. But the stuffs are obviously increasing on plants, animals, and especially on abstractions.

One of the important research fields in literary research, which helps us better and more deeply understand the literary works is to investigate the links between art and literature and the exchanges that have existed between these two big branches of human sciences since ancient times, particularly the effect that art and its subcategories have had on literary evolution throughout history. One of such fields on which little research has been done is investigating the inspiring and enriching effect of performing arts in literature. One type of performing art that has a long history in the culture of Iran and Arab countries is the puppet show which has a dominant presence in Persian and Arabic literature, especially mystical literature, and mystics have benefited from it as a vehicle to explain their mystic thoughts. The current research has made an effort to fulfill the purpose of classic research on the relationship between art and literature and investigate one of the unique aspects in the mystical literature, that is the creative and artistic approach of Sufi masters to the art of puppet show and benefiting from that as a way to express the unspeakable and enigmatic perceptions of mysticism. Also, the present research has tried to clarify the historical roots of the use of the symbolic image of the puppet show in explaining ontological issues and disclose the evolution of this cryptic image in mystical literature. However, the period of this research is restricted from the 4th/10th to the 9th /15th century. The reason behind selecting this historical period is that this epoch is the period of the doom of the mystic thoughts and appearance of eminent mystics and the creation of mystical masterpieces in Arabic and Persian literature. But in later centuries, there is a little sign of previous mystics' Revelations and creation of past thinkers has descended to repeated and formulaic images. This raised this question in the authors' minds that why some mystics have taken hold of this performing art. Trying to find the answer to that question raised other questions in the authors' mind: why has the puppet show, especially the shadow play, become an opportunity for mystics to display their creative imagination? To explain which of their mystic thoughts did mystics use this performing art? What is the historical background of the symbolic image of the puppet show in ontological issues? Making an effort to reach a suitable response to such questions persuaded us to investigate the position of the symbolic image of the puppet show, especially the shadow play, in mystic thoughts in independent research and to figure out the reason for this intelligent selection by mystics.

The puppet show, which was more folkloric by almost fourth century AH, gradually entered the literary and mystic language and was suddenly welcomed by mystics due to their “aesthetic and artistic view of religion”. They found everything associated with spiritual experiences, and because of their spiritual needs and similarity between materialistic things and their supreme mystic experiences, they would make an effort to depict a part of the spiritual world in the form of the materialistic world. Therefore, they did not consider this performing art a means of entertainment. They had an artistic and mystic view of that and had made it an opportunity to display their imaginations by their artistic view and intelligent selection. In Conclusion, the main reason behind the selection of the puppet show by mystics was that such a show could be considered an appropriate tool that has depicted the thought system of Ibn Arabi and other mystics, whose thoughts were in line with him, in the form of an interwoven set of signs using a symbolic language. Because they sought a mystic purpose behind the puppet's movements and their relationship with the puppeteer who was hidden behind the screen and moved them with invisible strings or cast their shadows on the screen with light. They also considered that simple show with a symbolic image to be the best tool to explain their complicated mystic perceptions and thoughts from the world of mystic journey and tried to make hard-to-grasp mystic concepts as simple as possible for their audience and followers of mysticism by taking advantage of symbols and imagery. So, it is not surprising that despite its simplicity and informality, the puppet show entered mysticism, became known as one of the areas in which mystics could depict their creative thoughts, and was welcomed by mystics who sought supreme truths of the spiritual world through the simplest materialistic things and used everything to interpret their revelations. In General, based on mystics' quotes, we concluded that pantheism, the unity of divine acts, and explaining the position of heavenly spheres in controlling the world's affairs formed three functions of the symbolic image of the puppet show, especially the shadow play. Apparently, the statement of Ibn Hazm is the earliest in using the performing arts to express the impermanence of the world. Although the creation of past thinkers such as Ibn Hazm and Ghazali have benefited from this symbolic image, the boom in the usage of this symbolic image in Islamic mysticism dates back to Ibn Arabi who has most probably promoted the usage of this performing art among mystics. After him, many mystics have taken advantage of this image among which the symbolic image of Rumi in Persian literature and Ibn Fariz in Arabic literature seem to be the most imaginative and effective.